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The beautiful Kalamkari painting celebrates the happiness and joy of life. The tree and the peacocks are nicely painted with some exquisite designs and patterns. Kalamkari art is unique in its use of colour as a medium to portray daily lives and other mythological characters. As the name suggests, Kalamkari is the art of painting cotton fabrics with a kalam i.e. pen, a sharp pointed pierced bamboo that regulates flow of colour on the fabric. Kalamkari has a glorious history. The popularity of this exquisite form of art crossed the shores of the country during the 17th and 18th centuries. Kalahasti and Machilipatnam in Andhra Pradesh, the nerve centres of this art continue to be beehives of Kalamkari activity. Kalamkari colours are made from vegetable dyes. In addition to themes from the epics, Kalamkari leitmotifs comprise different forms of the lotus flower, the carwheel, parrots, an interlacing pattern of leaves and flowers.

The enhancing effulgence of the resplendent painting is manifest in the spectacular manner in which the Kalamkari painting is treated by the masterful hands of the artists. A detail pattern of colour and lines is evident in the painting. The birds and the beautiful tree are painted with some exquisite designs and the beautiful pattern of colours adds some sparks to the work. Centred on Kalahasti region of Andhra Pradesh, this type of painting is characterized by strong colour pattern and lines.

The hand drawn Kalamkari painting is given a spectacular touch by the artists. The painting is given a minute and detail treatment. The painting speaks of our life as its branches are spreading so is our life. IT talks about an ever growing life of a human being.

The enhancing impact of colours and the characters that emerge on cotton fabric, help create a glowing spread. Kalamkari art is unique in its use of colour as a medium to portray mythological characters. Kalamkari is the art of painting cotton fabrics with a kalam i.e. pen, a sharp pointed pierced bamboo that controls the flow of colour on the fabric. The popularity of this exquisite form of art crossed the shores of the country during the 17th and 18th centuries. Kalahasti and Machilipatnam in Andhra Pradesh, the nerve centres of this art continue to be beehives of Kalamkari activity. Kalamkari colours are made from vegetable dyes.

This spectacular Kalamkari painting depicts a large tree in a most accomplished manner. Tree is a symbol of our life and as the tree grows, it is decorated with leaves and fruits. As the tree is growing with its leaves and branches, our life also grows large and our experiences make us wiser and mature. As a full-grown tree lower its branches, so a mature and wise person always maintain a low profile and he or she doesn’t boast of his/her achievements. A deep sense of satisfaction on the part of the painter is manifest here.

This series endeavoured to evolve an important modern device to grasp the essential thought and knowledge system of the Indian tradition. Through an indepth investigation into the primary sources of various disciplines, the series aims at facilitating the reader to comprehend the interlocking of different disciplines. The present volume is the fifth in the series. It is the manifestation of the vicaragni (fire of thoughts) kindled by the earlier seers and continued by later thinkers that highlights a number of visual art forms. The form or shape remains the basic element despite its multiple representations and their explanations.

Kalatattvakosa series of the Indira Gandhi National Centre for the Arts has endeavoured to evolve an important modern device to grasp the essential thought and knowledge system of the Indian artistic and cultural tradition. Through an indepth investigation into the primary sources of various Indological disciplines, the series aims at facilitating the reader to comprehend the interdisciplinary approach of Indological and arthistorical research. The present volume: Abhasa (Appearance/Symbolic form) is the sixth manifestation of the series devoted to key concepts of Indian art and deals with the abstract or symbolic forms containing closely related eitht terms where the basic concept of abhasa, appearance or seemliness or reflection is inherent. Abhasa helps to realise the structure even in the field of symbolic or invizsible form. This volume contains eight articles on the following concepts abhasa, Sadrsya-sarupya, anukarana/ anukrti/ anukirtana, chaya, bimbapratibimba, linga, pada and vrttiriti.

Kalatattvakosa series of the IGNCA has endeavoured to evolve an important modern device to grasp the essential thought and knowledge system of the Indian tradition. Through an in depth investigation into the primary sources of various disciplines the series aims at facilitating the reader to comprehend the interlocking of different disciplines.

This constitues the first volume of the series. It indicates the scope of the project and provides a list of sources which will be surveyed in the sebsequent volumes, as well as provide a guide to secondary literature for further study of Indian Philosophy. It lists in relative chronological order, Sanskrit and Tamil works. All known editions and translations into European languages are cited; where puplished versions of the text are not known a guide to the location of manuscripts of the work is provided.

Specification

Description

SPECIFICATION:

• Publisher : Vani Prakashan
• By : Suryakant Tripathi Nirala
• Cover : Paperback
• Language : English
• Edition : 2005
• Pages : 64
• Weight : 250 gm
• Size : 7.9 x 5.5 x 1.6 inches
• ISBN-10: 8181432517
• ISBN-13: 978-8181432513

DESCRIPTION:

The capability of reading and other personal skills get improves on reading this book Kale karname by SuryaKant Tripathi Nirala.This book is available in Hindi with high quality printing.Books from Novel category surely gives you the best reading experience.

The tapestry of rich and vibrant colours is a paradigm of beauty and the masterpiece is a rare reflection of the rich traditions of patch work in Gujarat. Every segment of the wall hanging is being beautifully appliquéd with some dazzling beadworks and sequins plus the amazing mirror works have left no room for any complaints whatsoever. Some geometric and floral designs have been beautifully appliquéd together and the borders of the wall hanging are being colourd gray.

"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

Its author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet."

"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

The author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet."

"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

Its author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet. "

SPECIFICATION:

Publisher :  Motilal Banarsidass Publishing House
 By      :  M. A. Stein
Language : English
Pages : 562 pages
Weight :  600 Gram 
Size : ‎ 14 x 4 x 20 cm
ISBN-10 : 8120803701
ISBN-13 : 978-8120803701

DESCRIPTION:

Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

Specification

Description

An epitome of tremendous power and strength, the fiery image of the Goddess Kali is being given a spectacular treatment in traditional Pata pattern. Beautiful application of colour and patterns has added some sparkling impact in the painting on tussar silk. The Goddess is painted stepping over the sleeping Shiva, that symbolizes ignorance. She is wearing the garlands of human skulls. Believed to be a form of Parvati, Kali is the identified with the killing of the darker side of human beings. Worshipping her helps us get rid of the evil forces in life. The frame of the painting is being nicely decorated with some dazzling designs.

The ferocious image of the goddess Kali has been beautifully painted by the artists reflecting some of the basic characteristics of the Batik painting. She is wearing a garland of the human skulls on her neck and on her waist that of human hands. Identified with the spirit of destruction the lady god is holding the beheaded body of a human being on her one hand. The elongated lip shows a sense of fear.

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Specification

Description

The ferocious form of Goddess Kali is given a nice depiction in the Madhubani painting with the Goddess holding a beheaded figure of a human being. Her five heads are nice painted black and she is wearing garlands of human skulls and is painted trampling over the sleeping figure of Lord Shiva. A number of floral designs make the painting even more beautiful.