Pub Date : 2024-02-10DOI: 10.29121/shodhkosh.v5.i1.2024.834
Tanmay Samanta, Nitesh Tripathi
Filmmaker Anurag Kashyap is known for his unique and gritty approach to storytelling, which often explores the inner lives of individuals while also presenting the harsh realities of the world outside. Most notable aspects of Kashyap's cinematic approach are his dexterous use of color as a narrative instrument, visually assisting storytelling and conveying deeper meanings. This research paper investigates the significance of color in the films of Anurag Kashyap, concentrating on the analysis of five selected films: "Black Friday" (2004), "Dev. D" (2009), "Gulaal" (2009), "That Girl in Yellow Boots" (2010), and "Bombay Velvet" (2015). The purpose of this research is to investigate the color signature and symbolisms used in Kashyap's films, as well as analyze the significant use of primary colors in various scenes. By analyzing the specific color palettes and combinations utilized, the researcher will try to understand how Kashyap effectively employs colors to emphasize key moments and themes of his films. To justify the study’s objectives, qualitative content analysis methodology is employed, involving a systematic viewing and analysis of each film. Color occurrences will be recognized, coded, and categorized to reveal their symbolic meanings. A comparative analysis will be conducted to identify similarities and differences in the films' use of color. The results of this study will illuminate the aesthetic and narrative significance of color in Kashyap's filmmaking, explaining how color choices enrich the depiction of emotions, themes, and character dynamics. This research is significant because it reveals Kashyap's distinctive aesthetic philosophy via an examination of the symbolism embedded in his use of color. This study enriches our appreciation and interpretation of Anurag Kashyap's films by clarifying the symbolic representations and visual storytelling strategies he employs in them.
{"title":"CHROMATIC CHRONICLES: EXPLORING THE SYMBOLISM AND SIGNIFICANCE OF COLOR IN ANURAG KASHYAP'S FILMS","authors":"Tanmay Samanta, Nitesh Tripathi","doi":"10.29121/shodhkosh.v5.i1.2024.834","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.834","url":null,"abstract":"Filmmaker Anurag Kashyap is known for his unique and gritty approach to storytelling, which often explores the inner lives of individuals while also presenting the harsh realities of the world outside. Most notable aspects of Kashyap's cinematic approach are his dexterous use of color as a narrative instrument, visually assisting storytelling and conveying deeper meanings. This research paper investigates the significance of color in the films of Anurag Kashyap, concentrating on the analysis of five selected films: \"Black Friday\" (2004), \"Dev. D\" (2009), \"Gulaal\" (2009), \"That Girl in Yellow Boots\" (2010), and \"Bombay Velvet\" (2015). The purpose of this research is to investigate the color signature and symbolisms used in Kashyap's films, as well as analyze the significant use of primary colors in various scenes. By analyzing the specific color palettes and combinations utilized, the researcher will try to understand how Kashyap effectively employs colors to emphasize key moments and themes of his films. To justify the study’s objectives, qualitative content analysis methodology is employed, involving a systematic viewing and analysis of each film. Color occurrences will be recognized, coded, and categorized to reveal their symbolic meanings. A comparative analysis will be conducted to identify similarities and differences in the films' use of color. The results of this study will illuminate the aesthetic and narrative significance of color in Kashyap's filmmaking, explaining how color choices enrich the depiction of emotions, themes, and character dynamics. This research is significant because it reveals Kashyap's distinctive aesthetic philosophy via an examination of the symbolism embedded in his use of color. This study enriches our appreciation and interpretation of Anurag Kashyap's films by clarifying the symbolic representations and visual storytelling strategies he employs in them.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"10 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139786497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-10DOI: 10.29121/shodhkosh.v5.i1.2024.714
Vikram Kulkarni
The Indian society comprises of various castes and sub-castes that in the olden days had been organised into a neat system. At its centre was the farmer who supplied food and thereby took care of the sustenance of all the people. But outside its periphery lay many wandering tribes and communities whose subsistence was not quite the concern of the rural economy. One such community is that of the nomadic Potraja devotees of Maharashtra, who originally hailed from Andhra Pradesh. The Potrajas possess wooden mobile shrines decorated with paintings on various themes, including some based-on agriculture. These shrine paintings draw inspiration from the scroll paintings of Andhra Pradesh. The present research paper attempts to interpret the social relevance of agriculture as manifested in the iconography on Potraja shrines.
{"title":"SHRINE PAINTINGS OF THE POTRAJA COMMUNITY: DEPICTING AGRARIAN CULTURE AND RITUALS","authors":"Vikram Kulkarni","doi":"10.29121/shodhkosh.v5.i1.2024.714","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.714","url":null,"abstract":"The Indian society comprises of various castes and sub-castes that in the olden days had been organised into a neat system. At its centre was the farmer who supplied food and thereby took care of the sustenance of all the people. But outside its periphery lay many wandering tribes and communities whose subsistence was not quite the concern of the rural economy. One such community is that of the nomadic Potraja devotees of Maharashtra, who originally hailed from Andhra Pradesh. The Potrajas possess wooden mobile shrines decorated with paintings on various themes, including some based-on agriculture. These shrine paintings draw inspiration from the scroll paintings of Andhra Pradesh. The present research paper attempts to interpret the social relevance of agriculture as manifested in the iconography on Potraja shrines.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"58 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139846899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-10DOI: 10.29121/shodhkosh.v5.i1.2024.834
Tanmay Samanta, Nitesh Tripathi
Filmmaker Anurag Kashyap is known for his unique and gritty approach to storytelling, which often explores the inner lives of individuals while also presenting the harsh realities of the world outside. Most notable aspects of Kashyap's cinematic approach are his dexterous use of color as a narrative instrument, visually assisting storytelling and conveying deeper meanings. This research paper investigates the significance of color in the films of Anurag Kashyap, concentrating on the analysis of five selected films: "Black Friday" (2004), "Dev. D" (2009), "Gulaal" (2009), "That Girl in Yellow Boots" (2010), and "Bombay Velvet" (2015). The purpose of this research is to investigate the color signature and symbolisms used in Kashyap's films, as well as analyze the significant use of primary colors in various scenes. By analyzing the specific color palettes and combinations utilized, the researcher will try to understand how Kashyap effectively employs colors to emphasize key moments and themes of his films. To justify the study’s objectives, qualitative content analysis methodology is employed, involving a systematic viewing and analysis of each film. Color occurrences will be recognized, coded, and categorized to reveal their symbolic meanings. A comparative analysis will be conducted to identify similarities and differences in the films' use of color. The results of this study will illuminate the aesthetic and narrative significance of color in Kashyap's filmmaking, explaining how color choices enrich the depiction of emotions, themes, and character dynamics. This research is significant because it reveals Kashyap's distinctive aesthetic philosophy via an examination of the symbolism embedded in his use of color. This study enriches our appreciation and interpretation of Anurag Kashyap's films by clarifying the symbolic representations and visual storytelling strategies he employs in them.
{"title":"CHROMATIC CHRONICLES: EXPLORING THE SYMBOLISM AND SIGNIFICANCE OF COLOR IN ANURAG KASHYAP'S FILMS","authors":"Tanmay Samanta, Nitesh Tripathi","doi":"10.29121/shodhkosh.v5.i1.2024.834","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.834","url":null,"abstract":"Filmmaker Anurag Kashyap is known for his unique and gritty approach to storytelling, which often explores the inner lives of individuals while also presenting the harsh realities of the world outside. Most notable aspects of Kashyap's cinematic approach are his dexterous use of color as a narrative instrument, visually assisting storytelling and conveying deeper meanings. This research paper investigates the significance of color in the films of Anurag Kashyap, concentrating on the analysis of five selected films: \"Black Friday\" (2004), \"Dev. D\" (2009), \"Gulaal\" (2009), \"That Girl in Yellow Boots\" (2010), and \"Bombay Velvet\" (2015). The purpose of this research is to investigate the color signature and symbolisms used in Kashyap's films, as well as analyze the significant use of primary colors in various scenes. By analyzing the specific color palettes and combinations utilized, the researcher will try to understand how Kashyap effectively employs colors to emphasize key moments and themes of his films. To justify the study’s objectives, qualitative content analysis methodology is employed, involving a systematic viewing and analysis of each film. Color occurrences will be recognized, coded, and categorized to reveal their symbolic meanings. A comparative analysis will be conducted to identify similarities and differences in the films' use of color. The results of this study will illuminate the aesthetic and narrative significance of color in Kashyap's filmmaking, explaining how color choices enrich the depiction of emotions, themes, and character dynamics. This research is significant because it reveals Kashyap's distinctive aesthetic philosophy via an examination of the symbolism embedded in his use of color. This study enriches our appreciation and interpretation of Anurag Kashyap's films by clarifying the symbolic representations and visual storytelling strategies he employs in them.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"8 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139846327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-10DOI: 10.29121/shodhkosh.v5.i1.2024.714
Vikram Kulkarni
The Indian society comprises of various castes and sub-castes that in the olden days had been organised into a neat system. At its centre was the farmer who supplied food and thereby took care of the sustenance of all the people. But outside its periphery lay many wandering tribes and communities whose subsistence was not quite the concern of the rural economy. One such community is that of the nomadic Potraja devotees of Maharashtra, who originally hailed from Andhra Pradesh. The Potrajas possess wooden mobile shrines decorated with paintings on various themes, including some based-on agriculture. These shrine paintings draw inspiration from the scroll paintings of Andhra Pradesh. The present research paper attempts to interpret the social relevance of agriculture as manifested in the iconography on Potraja shrines.
{"title":"SHRINE PAINTINGS OF THE POTRAJA COMMUNITY: DEPICTING AGRARIAN CULTURE AND RITUALS","authors":"Vikram Kulkarni","doi":"10.29121/shodhkosh.v5.i1.2024.714","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.714","url":null,"abstract":"The Indian society comprises of various castes and sub-castes that in the olden days had been organised into a neat system. At its centre was the farmer who supplied food and thereby took care of the sustenance of all the people. But outside its periphery lay many wandering tribes and communities whose subsistence was not quite the concern of the rural economy. One such community is that of the nomadic Potraja devotees of Maharashtra, who originally hailed from Andhra Pradesh. The Potrajas possess wooden mobile shrines decorated with paintings on various themes, including some based-on agriculture. These shrine paintings draw inspiration from the scroll paintings of Andhra Pradesh. The present research paper attempts to interpret the social relevance of agriculture as manifested in the iconography on Potraja shrines.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":" 532","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139787361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Purulia Chhau, a folk, tribal, martial, masked dance-drama form of Eastern India, is performed over generations orally. Having no written performance text available, all the actions of Purulia Chhau, such as gestures, postures, dance movements and so on are materialized through the various performative utterances by the vocalist, who provide the storyline of the Chhau repertoires; musicians, who bring musical tempo into dance movements; and the dancers, who are dressed in big headgear masks and dynamic costumes enact the actual Chhau performances. Referring to the social and cultural perspectives and employing a qualitative approach as the primary methodological tool, the present paper, at the first level, seeks to explore how the cultures of orality exists in Purulia Chhau tradition and critically evaluates three Chhau repertoires with their contextual significance. It also examines how this folk-dance form manifests cultural values, shared beliefs and customs, and represents a unique cultural identity among the concerned people. At the second level, the paper analyses how the idea of performativity works on its reflexive level in Purulia Chhau and creates meaning to the audience. It also emphasizes on the performative procedure invoked and executed by all the performers correctly and completely.
{"title":"CULTURES OF ORALITY AND PERFORMATIVITY IN THE PERFORMING ART TRADITION OF PURULIA CHHAU","authors":"Maheshwar Kumar, Amarjeet Nayak, Pranaya Kumar Swain","doi":"10.29121/shodhkosh.v5.i1.2024.750","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.750","url":null,"abstract":"Purulia Chhau, a folk, tribal, martial, masked dance-drama form of Eastern India, is performed over generations orally. Having no written performance text available, all the actions of Purulia Chhau, such as gestures, postures, dance movements and so on are materialized through the various performative utterances by the vocalist, who provide the storyline of the Chhau repertoires; musicians, who bring musical tempo into dance movements; and the dancers, who are dressed in big headgear masks and dynamic costumes enact the actual Chhau performances. Referring to the social and cultural perspectives and employing a qualitative approach as the primary methodological tool, the present paper, at the first level, seeks to explore how the cultures of orality exists in Purulia Chhau tradition and critically evaluates three Chhau repertoires with their contextual significance. It also examines how this folk-dance form manifests cultural values, shared beliefs and customs, and represents a unique cultural identity among the concerned people. At the second level, the paper analyses how the idea of performativity works on its reflexive level in Purulia Chhau and creates meaning to the audience. It also emphasizes on the performative procedure invoked and executed by all the performers correctly and completely.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"79 s1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139801163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Purulia Chhau, a folk, tribal, martial, masked dance-drama form of Eastern India, is performed over generations orally. Having no written performance text available, all the actions of Purulia Chhau, such as gestures, postures, dance movements and so on are materialized through the various performative utterances by the vocalist, who provide the storyline of the Chhau repertoires; musicians, who bring musical tempo into dance movements; and the dancers, who are dressed in big headgear masks and dynamic costumes enact the actual Chhau performances. Referring to the social and cultural perspectives and employing a qualitative approach as the primary methodological tool, the present paper, at the first level, seeks to explore how the cultures of orality exists in Purulia Chhau tradition and critically evaluates three Chhau repertoires with their contextual significance. It also examines how this folk-dance form manifests cultural values, shared beliefs and customs, and represents a unique cultural identity among the concerned people. At the second level, the paper analyses how the idea of performativity works on its reflexive level in Purulia Chhau and creates meaning to the audience. It also emphasizes on the performative procedure invoked and executed by all the performers correctly and completely.
{"title":"CULTURES OF ORALITY AND PERFORMATIVITY IN THE PERFORMING ART TRADITION OF PURULIA CHHAU","authors":"Maheshwar Kumar, Amarjeet Nayak, Pranaya Kumar Swain","doi":"10.29121/shodhkosh.v5.i1.2024.750","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.750","url":null,"abstract":"Purulia Chhau, a folk, tribal, martial, masked dance-drama form of Eastern India, is performed over generations orally. Having no written performance text available, all the actions of Purulia Chhau, such as gestures, postures, dance movements and so on are materialized through the various performative utterances by the vocalist, who provide the storyline of the Chhau repertoires; musicians, who bring musical tempo into dance movements; and the dancers, who are dressed in big headgear masks and dynamic costumes enact the actual Chhau performances. Referring to the social and cultural perspectives and employing a qualitative approach as the primary methodological tool, the present paper, at the first level, seeks to explore how the cultures of orality exists in Purulia Chhau tradition and critically evaluates three Chhau repertoires with their contextual significance. It also examines how this folk-dance form manifests cultural values, shared beliefs and customs, and represents a unique cultural identity among the concerned people. At the second level, the paper analyses how the idea of performativity works on its reflexive level in Purulia Chhau and creates meaning to the audience. It also emphasizes on the performative procedure invoked and executed by all the performers correctly and completely.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"19 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139860790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-05DOI: 10.29121/shodhkosh.v5.i1.2024.820
Sunita Gupta, Ruchin Verma
Uttar Pradesh is famous for its art, craft, culture and spirituality form ancient time. It contributes in Indian economy by its art, crafts and culture. Beautiful shapes and colours of Zari Zardozi 's work of Bareilly, Budaun, Kasganj and Lucknow impress common people as well as richest. Ideal of gods and goddesses of Mathura craft are the symbols of Indian ideals, imagination, and sentiments. Due to the dence forest there are plenty of wood in Chitrakoot. Manufacturing of cheap and beautiful wooden toys has been going for thousands of years in Chitrakoot district. Khurja is famous for its white poetry that are the best examples of art and craft. Lucknow is famous for its Chikankari and hand block textile printing. Meenakari jewellery, stone work and silk sarees of Varanasi is well known in India as well as in foreign countries. Agra is famous for its leather work, stone work and engraving. Carpets designs of Bhadoi, handicrafts of Munj grass of Lakhimpur khiri and Prayagraj are marvelous. Brass items of Aligarh and Moradabad are also world famous. Kasganj, Firozabad, Mainpuri, Unnao, Hardoi, Shahjahanpur and Saharanpur are famous for its beautiful art and craft works.
{"title":"TRADITIONAL HANDICRAFTS OF UTTAR PRADESH","authors":"Sunita Gupta, Ruchin Verma","doi":"10.29121/shodhkosh.v5.i1.2024.820","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.820","url":null,"abstract":"Uttar Pradesh is famous for its art, craft, culture and spirituality form ancient time. It contributes in Indian economy by its art, crafts and culture. Beautiful shapes and colours of Zari Zardozi 's work of Bareilly, Budaun, Kasganj and Lucknow impress common people as well as richest. Ideal of gods and goddesses of Mathura craft are the symbols of Indian ideals, imagination, and sentiments. Due to the dence forest there are plenty of wood in Chitrakoot. Manufacturing of cheap and beautiful wooden toys has been going for thousands of years in Chitrakoot district. Khurja is famous for its white poetry that are the best examples of art and craft. Lucknow is famous for its Chikankari and hand block textile printing. Meenakari jewellery, stone work and silk sarees of Varanasi is well known in India as well as in foreign countries. Agra is famous for its leather work, stone work and engraving. Carpets designs of Bhadoi, handicrafts of Munj grass of Lakhimpur khiri and Prayagraj are marvelous. Brass items of Aligarh and Moradabad are also world famous. Kasganj, Firozabad, Mainpuri, Unnao, Hardoi, Shahjahanpur and Saharanpur are famous for its beautiful art and craft works.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"15 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139805388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-05DOI: 10.29121/shodhkosh.v5.i1.2024.820
Sunita Gupta, Ruchin Verma
Uttar Pradesh is famous for its art, craft, culture and spirituality form ancient time. It contributes in Indian economy by its art, crafts and culture. Beautiful shapes and colours of Zari Zardozi 's work of Bareilly, Budaun, Kasganj and Lucknow impress common people as well as richest. Ideal of gods and goddesses of Mathura craft are the symbols of Indian ideals, imagination, and sentiments. Due to the dence forest there are plenty of wood in Chitrakoot. Manufacturing of cheap and beautiful wooden toys has been going for thousands of years in Chitrakoot district. Khurja is famous for its white poetry that are the best examples of art and craft. Lucknow is famous for its Chikankari and hand block textile printing. Meenakari jewellery, stone work and silk sarees of Varanasi is well known in India as well as in foreign countries. Agra is famous for its leather work, stone work and engraving. Carpets designs of Bhadoi, handicrafts of Munj grass of Lakhimpur khiri and Prayagraj are marvelous. Brass items of Aligarh and Moradabad are also world famous. Kasganj, Firozabad, Mainpuri, Unnao, Hardoi, Shahjahanpur and Saharanpur are famous for its beautiful art and craft works.
{"title":"TRADITIONAL HANDICRAFTS OF UTTAR PRADESH","authors":"Sunita Gupta, Ruchin Verma","doi":"10.29121/shodhkosh.v5.i1.2024.820","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.820","url":null,"abstract":"Uttar Pradesh is famous for its art, craft, culture and spirituality form ancient time. It contributes in Indian economy by its art, crafts and culture. Beautiful shapes and colours of Zari Zardozi 's work of Bareilly, Budaun, Kasganj and Lucknow impress common people as well as richest. Ideal of gods and goddesses of Mathura craft are the symbols of Indian ideals, imagination, and sentiments. Due to the dence forest there are plenty of wood in Chitrakoot. Manufacturing of cheap and beautiful wooden toys has been going for thousands of years in Chitrakoot district. Khurja is famous for its white poetry that are the best examples of art and craft. Lucknow is famous for its Chikankari and hand block textile printing. Meenakari jewellery, stone work and silk sarees of Varanasi is well known in India as well as in foreign countries. Agra is famous for its leather work, stone work and engraving. Carpets designs of Bhadoi, handicrafts of Munj grass of Lakhimpur khiri and Prayagraj are marvelous. Brass items of Aligarh and Moradabad are also world famous. Kasganj, Firozabad, Mainpuri, Unnao, Hardoi, Shahjahanpur and Saharanpur are famous for its beautiful art and craft works.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"13 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139865473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-01DOI: 10.29121/shodhkosh.v5.i1.2024.677
Rajeev Sharma, Khushboo Chaturvedi
In the current competitive market landscape, companies are actively striving hard to create a distinctive identity from their rival company. Packaging especially in FMCG brands becoming a sales promotional tool. It helps in establishing effective communication and creating a lasting impression on their target audience. Within the constraints of time and with low involvement of the customer the purpose of packaging has been shifted from functional to attention seeker on an emotive level. These days we can see the rise of incorporating the illustration on the package design. Illustration can captivate the attention of the customer and visually persuade the customer to make a purchase decision. The present study after a comprehensive literature review prepares a questionnaire for conducting an online survey to analyze the effectiveness of using illustrations on the package design of a product. A convenience sampling model is adopted to get the response from the participants. A total of 144 respondents aged above 17 years in the survey helped in understanding that utilizing an illustration on package design can have a positive impact on consumer purchase decisions and can create effective communication by delivering brand messages. Also, it helps in creating a brand relationship with the customers.
{"title":"EXPLORING THE EFFICACY OF INTEGRATING ILLUSTRATION IN PACKAGE DESIGN","authors":"Rajeev Sharma, Khushboo Chaturvedi","doi":"10.29121/shodhkosh.v5.i1.2024.677","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.677","url":null,"abstract":"In the current competitive market landscape, companies are actively striving hard to create a distinctive identity from their rival company. Packaging especially in FMCG brands becoming a sales promotional tool. It helps in establishing effective communication and creating a lasting impression on their target audience. Within the constraints of time and with low involvement of the customer the purpose of packaging has been shifted from functional to attention seeker on an emotive level. These days we can see the rise of incorporating the illustration on the package design. Illustration can captivate the attention of the customer and visually persuade the customer to make a purchase decision. The present study after a comprehensive literature review prepares a questionnaire for conducting an online survey to analyze the effectiveness of using illustrations on the package design of a product. A convenience sampling model is adopted to get the response from the participants. A total of 144 respondents aged above 17 years in the survey helped in understanding that utilizing an illustration on package design can have a positive impact on consumer purchase decisions and can create effective communication by delivering brand messages. Also, it helps in creating a brand relationship with the customers.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"170 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139885917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-01DOI: 10.29121/shodhkosh.v5.i1.2024.677
Rajeev Sharma, Khushboo Chaturvedi
In the current competitive market landscape, companies are actively striving hard to create a distinctive identity from their rival company. Packaging especially in FMCG brands becoming a sales promotional tool. It helps in establishing effective communication and creating a lasting impression on their target audience. Within the constraints of time and with low involvement of the customer the purpose of packaging has been shifted from functional to attention seeker on an emotive level. These days we can see the rise of incorporating the illustration on the package design. Illustration can captivate the attention of the customer and visually persuade the customer to make a purchase decision. The present study after a comprehensive literature review prepares a questionnaire for conducting an online survey to analyze the effectiveness of using illustrations on the package design of a product. A convenience sampling model is adopted to get the response from the participants. A total of 144 respondents aged above 17 years in the survey helped in understanding that utilizing an illustration on package design can have a positive impact on consumer purchase decisions and can create effective communication by delivering brand messages. Also, it helps in creating a brand relationship with the customers.
{"title":"EXPLORING THE EFFICACY OF INTEGRATING ILLUSTRATION IN PACKAGE DESIGN","authors":"Rajeev Sharma, Khushboo Chaturvedi","doi":"10.29121/shodhkosh.v5.i1.2024.677","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.677","url":null,"abstract":"In the current competitive market landscape, companies are actively striving hard to create a distinctive identity from their rival company. Packaging especially in FMCG brands becoming a sales promotional tool. It helps in establishing effective communication and creating a lasting impression on their target audience. Within the constraints of time and with low involvement of the customer the purpose of packaging has been shifted from functional to attention seeker on an emotive level. These days we can see the rise of incorporating the illustration on the package design. Illustration can captivate the attention of the customer and visually persuade the customer to make a purchase decision. The present study after a comprehensive literature review prepares a questionnaire for conducting an online survey to analyze the effectiveness of using illustrations on the package design of a product. A convenience sampling model is adopted to get the response from the participants. A total of 144 respondents aged above 17 years in the survey helped in understanding that utilizing an illustration on package design can have a positive impact on consumer purchase decisions and can create effective communication by delivering brand messages. Also, it helps in creating a brand relationship with the customers.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"403 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139826023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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