Pub Date : 2024-01-09DOI: 10.29121/shodhkosh.v5.i1.2024.447
Jyotsana Sinha, Gopal Singh
Cinema is a reflection of society. Viewers watch and learn so many things and make assumptions with the help of cinema. In this research, the researcher has done conceptual content analyses of three Bollywood films Taare Zameen Par, My Name is Khan and Barfi. All these films portray mental illness and fall under the same genre. The focus of the study is to find out the similarities between the portrayal of the symptoms of mental illness in Bollywood films and the diagnostic criteria of ‘Diagnostic and Statistical Manual of Mental Disorder- 5th edition’, often known as DSM-5. The American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders (DSM) is used to know the diagnostic criteria for different mental disorders. The researcher has analysed the themes, behaviour of the family and society and diagnosis and treatment of the person with mental illness in the selected films.
{"title":"BOLLYWOOD CINEMA AND MENTAL ILLNESS: AN APPROACH TO BALANCE ENTERTAINMENT AND EXACTNESS","authors":"Jyotsana Sinha, Gopal Singh","doi":"10.29121/shodhkosh.v5.i1.2024.447","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.447","url":null,"abstract":"Cinema is a reflection of society. Viewers watch and learn so many things and make assumptions with the help of cinema. In this research, the researcher has done conceptual content analyses of three Bollywood films Taare Zameen Par, My Name is Khan and Barfi. All these films portray mental illness and fall under the same genre. The focus of the study is to find out the similarities between the portrayal of the symptoms of mental illness in Bollywood films and the diagnostic criteria of ‘Diagnostic and Statistical Manual of Mental Disorder- 5th edition’, often known as DSM-5. The American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders (DSM) is used to know the diagnostic criteria for different mental disorders. The researcher has analysed the themes, behaviour of the family and society and diagnosis and treatment of the person with mental illness in the selected films.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"115 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139444784","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 : 2024-01-09DOI: 10.29121/shodhkosh.v5.i1.2024.604
Drabita Dutta
Folk art and craft comprises art created by indigenous cultures, peasants, and other common individuals. It is frequently learned through rigorous apprenticeships or passed down from generation to generation within families. The patterns, themes, techniques, and materials of folk art and craft must have specific importance and convey a great deal about the culture or civilization to which they belong. In Assamese culture, brass metal articles, silk and bamboo articles are used for various purposes daily household activities, religious ceremonies, marriage gift items, musical instruments, etc. As an anthropological researcher when viewing folk art articles a careless inquiry occasionally pops into the researcher’s mind out of curiosity. The question might be, How did this item come into existence? who are the people who make these craft items, how are they skilled and who trains them? It often focuses on the many concerns surrounding traditions influencing and enhancing their learning process. Using an ethnographic methodology and narrative analysis, it is believed that all of these and many other questions will receive proper answers. Many Assamese tribal and folk cultures' traditional arts and crafts are currently in danger of being extinct. This article is an effort to describe and exhibit the rich artistic and craft traditions of the Barpeta district, Assam, which are currently in danger of extinction. In particular, it focuses on the collection of dying arts and crafts made by the metal craft communities of Assam. This research focuses on brass metal craft groups in the Sarukhteri region of Assam through mapping the structure of craft communities and external bodies between which knowledge exchange occurs. The purpose of this study is to gain an understanding of how knowledge has been transferred in Assam's craft communities and to subsequently identify and comprehend some underlying problem areas.
{"title":"SARUKHETRI PITAL SARAI CLUSTER: ARTISTIC AND AESTHETIC SENSE OF FOLK ART FORMS ANTHROPOLOGICAL PERSPECTIVE","authors":"Drabita Dutta","doi":"10.29121/shodhkosh.v5.i1.2024.604","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.604","url":null,"abstract":"Folk art and craft comprises art created by indigenous cultures, peasants, and other common individuals. It is frequently learned through rigorous apprenticeships or passed down from generation to generation within families. The patterns, themes, techniques, and materials of folk art and craft must have specific importance and convey a great deal about the culture or civilization to which they belong. In Assamese culture, brass metal articles, silk and bamboo articles are used for various purposes daily household activities, religious ceremonies, marriage gift items, musical instruments, etc. As an anthropological researcher when viewing folk art articles a careless inquiry occasionally pops into the researcher’s mind out of curiosity. The question might be, How did this item come into existence? who are the people who make these craft items, how are they skilled and who trains them? It often focuses on the many concerns surrounding traditions influencing and enhancing their learning process. Using an ethnographic methodology and narrative analysis, it is believed that all of these and many other questions will receive proper answers. Many Assamese tribal and folk cultures' traditional arts and crafts are currently in danger of being extinct. This article is an effort to describe and exhibit the rich artistic and craft traditions of the Barpeta district, Assam, which are currently in danger of extinction. In particular, it focuses on the collection of dying arts and crafts made by the metal craft communities of Assam. This research focuses on brass metal craft groups in the Sarukhteri region of Assam through mapping the structure of craft communities and external bodies between which knowledge exchange occurs. The purpose of this study is to gain an understanding of how knowledge has been transferred in Assam's craft communities and to subsequently identify and comprehend some underlying problem areas.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"95 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139444525","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 : 2024-01-08DOI: 10.29121/shodhkosh.v4.i2se.2023.634
Priyanka Dewatwal, Nirupama Singh
This paper presents the experimental digital documentation of Shekhawati murals using an augmented reality simulation system. Augmented reality is the most influential technology of this era. All other sectors are using AR to obtain the best results in a minimum amount of time and produce outstanding products and services for the masses. This paper tells the story of augmented reality technology’s intense relationship with traditional paintings in terms of creativity and showcases the experimental use of artificial reality technology to build a digital version of an open art gallery in Rajasthan. Shekhawati murals are huge and contain beautiful drawings and painting styles, unique colour palates, and incredible composition settings, all of which have the essence of our rich tradition. The digitization of the characteristics of murals and the application of artificial reality technology made this open art gallery virtually accessible for pedagogical use.This article discusses the approach of 3D digitisation techniques in wall painting murals, including testing. The project was tested based on the requirements of Shekhawati Havili's wall paintings and their digital equivalent using an open-source technology that may be utilised for several purposes. Because the total project was created using open-source techniques, anybody can access the project to experience the Haveli paintings and their specifications.
{"title":"DIGITIZATION OF SHEKHAWATI MURALS USING AUGMENTED REALITY TECHNOLOGY","authors":"Priyanka Dewatwal, Nirupama Singh","doi":"10.29121/shodhkosh.v4.i2se.2023.634","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2se.2023.634","url":null,"abstract":"This paper presents the experimental digital documentation of Shekhawati murals using an augmented reality simulation system. Augmented reality is the most influential technology of this era. All other sectors are using AR to obtain the best results in a minimum amount of time and produce outstanding products and services for the masses. This paper tells the story of augmented reality technology’s intense relationship with traditional paintings in terms of creativity and showcases the experimental use of artificial reality technology to build a digital version of an open art gallery in Rajasthan. Shekhawati murals are huge and contain beautiful drawings and painting styles, unique colour palates, and incredible composition settings, all of which have the essence of our rich tradition. The digitization of the characteristics of murals and the application of artificial reality technology made this open art gallery virtually accessible for pedagogical use.This article discusses the approach of 3D digitisation techniques in wall painting murals, including testing. The project was tested based on the requirements of Shekhawati Havili's wall paintings and their digital equivalent using an open-source technology that may be utilised for several purposes. Because the total project was created using open-source techniques, anybody can access the project to experience the Haveli paintings and their specifications.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"38 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139447928","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 : 2024-01-03DOI: 10.29121/shodhkosh.v4.i2ecvpamiap.2023.706
Shraddha Makarand Parange, Vaishali Anagal
Digital fabrication is not only the relation between design and construction but also the relation between thinking and making, which would be established by the use of modern technologies. The study aims to investigate the challenges formed between the two aspects of parametric architecture ‘Design’ and ‘Fabrication’ in India. There are various factors on which this gap depends. These factors would be the cost of construction, building material required for fabrication, and time required for construction compared with the conventional methods of construction. The objective of this study is to understand how digital fabrication will change the way of construction in India, which won’t be restricted to the classroom or only the computer-based design but will work in onsite construction with many different materials with no waste of time and money. The earlier literature focuses on a single aspect which may be either design or fabrication. There are fewer papers available that address both of the aspects comprehensively. The research would get an overview of different perspectives of people towards parametric architecture. This is done by conducting surveys of different practicing architects, students who have done their masters in digital architecture and now practicing, and contractors who are working on parametric construction. The survey was conducted by sending a questionnaire to different practicing architectural firms all over India, the students who have pursued Master’s degrees in digital architecture and professors teaching Master’s degrees in digital architecture who had an interest in parametricism. The data received was analyzed using descriptive statistics. The qualitative data received through the questionnaire was analyzed by identifying patterns and then categorized according to the different answers.
{"title":"INVESTIGATING THE CHALLENGES BETWEEN DESIGNS TO THE REALITY OF DIGITALLY FABRICATED STRUCTURES","authors":"Shraddha Makarand Parange, Vaishali Anagal","doi":"10.29121/shodhkosh.v4.i2ecvpamiap.2023.706","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2ecvpamiap.2023.706","url":null,"abstract":"Digital fabrication is not only the relation between design and construction but also the relation between thinking and making, which would be established by the use of modern technologies. The study aims to investigate the challenges formed between the two aspects of parametric architecture ‘Design’ and ‘Fabrication’ in India. There are various factors on which this gap depends. These factors would be the cost of construction, building material required for fabrication, and time required for construction compared with the conventional methods of construction. The objective of this study is to understand how digital fabrication will change the way of construction in India, which won’t be restricted to the classroom or only the computer-based design but will work in onsite construction with many different materials with no waste of time and money. The earlier literature focuses on a single aspect which may be either design or fabrication. There are fewer papers available that address both of the aspects comprehensively. The research would get an overview of different perspectives of people towards parametric architecture. This is done by conducting surveys of different practicing architects, students who have done their masters in digital architecture and now practicing, and contractors who are working on parametric construction. The survey was conducted by sending a questionnaire to different practicing architectural firms all over India, the students who have pursued Master’s degrees in digital architecture and professors teaching Master’s degrees in digital architecture who had an interest in parametricism. The data received was analyzed using descriptive statistics. The qualitative data received through the questionnaire was analyzed by identifying patterns and then categorized according to the different answers.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"34 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139451440","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 : 2024-01-02DOI: 10.29121/shodhkosh.v4.i2se.2023.563
Deepak Giri, Jitendra Sharma
This exploration delves into the burgeoning influence of animation, augmented reality (AR), and virtual reality (VR) in both our cultural milieu and educational framework. In our digital epoch, these technologies assume a central role in weaving narratives, conveying emotions, and nurturing global connections. As they infiltrate education, they unveil innovative avenues for executing and germinating ideas, enriching students' creativity and fostering a positive outlook.This study also delves into the profound impact of these technologies on education, highlighting their potential to revolutionize traditional learning methods. Particularly noteworthy is the role of animation as an educational cornerstone, especially during challenging epochs like the pandemic, ushering in captivating and gratifying learning encounters. This approach has not only facilitated engagement but has also transformed learning into an enjoyable endeavour.Furthermore, advancements in visual effects (VFX), AR, and VR empower students to immerse themselves in real-life scenarios through interactive odysseys, propelling the acquisition of practical skills and knowledge retention. This not only enhances students' understanding of theoretical concepts but also equips them with practical skills essential for their future endeavours.By embedding animation within education, the educational landscape has undergone a momentous transformation, rendering it not just efficacious but also enjoyable for learners across all age groups. This study underscores the need for educators to harness the power of animation, AR, and VR to provide transformative and engaging educational experiences. We extend our heartfelt gratitude for being an integral part of this transformative journey.
{"title":"TRANSFORMATIVE EFFECTS OF ANIMATION, VIRTUAL REALITY, AND AUGMENTED REALITY IN EDUCATION - A STUDY","authors":"Deepak Giri, Jitendra Sharma","doi":"10.29121/shodhkosh.v4.i2se.2023.563","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2se.2023.563","url":null,"abstract":"This exploration delves into the burgeoning influence of animation, augmented reality (AR), and virtual reality (VR) in both our cultural milieu and educational framework. In our digital epoch, these technologies assume a central role in weaving narratives, conveying emotions, and nurturing global connections. As they infiltrate education, they unveil innovative avenues for executing and germinating ideas, enriching students' creativity and fostering a positive outlook.This study also delves into the profound impact of these technologies on education, highlighting their potential to revolutionize traditional learning methods. Particularly noteworthy is the role of animation as an educational cornerstone, especially during challenging epochs like the pandemic, ushering in captivating and gratifying learning encounters. This approach has not only facilitated engagement but has also transformed learning into an enjoyable endeavour.Furthermore, advancements in visual effects (VFX), AR, and VR empower students to immerse themselves in real-life scenarios through interactive odysseys, propelling the acquisition of practical skills and knowledge retention. This not only enhances students' understanding of theoretical concepts but also equips them with practical skills essential for their future endeavours.By embedding animation within education, the educational landscape has undergone a momentous transformation, rendering it not just efficacious but also enjoyable for learners across all age groups. This study underscores the need for educators to harness the power of animation, AR, and VR to provide transformative and engaging educational experiences. We extend our heartfelt gratitude for being an integral part of this transformative journey.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"32 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139390655","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 : 2023-12-31DOI: 10.29121/shodhkosh.v4.i2.2023.646
Varun Sahai, Pradeep Joshi, Atul N. Sinha
This qualitative research study scrutinizes the use of animation and special effects in Indian advertising on social media platforms, aiming to shed light on their impact on viewer engagement, message recall, and brand recognition. The growing dominance of social media in modern marketing has led businesses to explore innovative ways to create engaging content that stands out amidst the clutter. Animation and special effects offer a promising avenue to achieve this goal by crafting visually captivating advertisements that effectively convey brand messages. The social media platforms are carefully chosen based on their expertise in designing and implementing animation and special effects. The primary focus of the analysis lies in understanding how animation and special effects are strategically employed to achieve specific marketing objectives. These recommendations underscore the importance of tailoring animation and special effects to suit the target audience's preferences and demographics. Furthermore, it advocates aligning campaign objectives with the chosen animation styles and content, ensuring a harmonious and cohesive message. By striking the right balance and synergy between creative elements and brand values, marketers can maximize the potential of animation and special effects to elevate their social media advertising efforts. This study provides valuable insights into the strategic use of animation and special effects in social media advertising. By understanding the nuances of these creative techniques and their impact on viewer engagement, marketers can make informed decisions when integrating them into their marketing strategies. The research serves as a valuable resource for shaping future marketing campaigns, fostering meaningful connections with target audiences, and ultimately achieving marketing success on social media platforms. As the landscape of social media and advertising continues to evolve, this study paves the way for further exploration into innovative visual storytelling and user-centric marketing approaches.
{"title":"THE ANALYSIS OF ANIMATION & SPECIAL EFFECTS IN INDIAN ADVERTISING ON SOCIAL MEDIA PLATFORMS","authors":"Varun Sahai, Pradeep Joshi, Atul N. Sinha","doi":"10.29121/shodhkosh.v4.i2.2023.646","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2.2023.646","url":null,"abstract":"This qualitative research study scrutinizes the use of animation and special effects in Indian advertising on social media platforms, aiming to shed light on their impact on viewer engagement, message recall, and brand recognition. The growing dominance of social media in modern marketing has led businesses to explore innovative ways to create engaging content that stands out amidst the clutter. Animation and special effects offer a promising avenue to achieve this goal by crafting visually captivating advertisements that effectively convey brand messages. The social media platforms are carefully chosen based on their expertise in designing and implementing animation and special effects. The primary focus of the analysis lies in understanding how animation and special effects are strategically employed to achieve specific marketing objectives. These recommendations underscore the importance of tailoring animation and special effects to suit the target audience's preferences and demographics. Furthermore, it advocates aligning campaign objectives with the chosen animation styles and content, ensuring a harmonious and cohesive message. By striking the right balance and synergy between creative elements and brand values, marketers can maximize the potential of animation and special effects to elevate their social media advertising efforts. This study provides valuable insights into the strategic use of animation and special effects in social media advertising. By understanding the nuances of these creative techniques and their impact on viewer engagement, marketers can make informed decisions when integrating them into their marketing strategies. The research serves as a valuable resource for shaping future marketing campaigns, fostering meaningful connections with target audiences, and ultimately achieving marketing success on social media platforms. As the landscape of social media and advertising continues to evolve, this study paves the way for further exploration into innovative visual storytelling and user-centric marketing approaches.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"108 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139134544","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 : 2023-12-30DOI: 10.29121/shodhkosh.v4.i2ecvpamiap.2023.709
Rohit Kumar, Shaila Naaz
This research paper explains the fundamental and basic elements and principles of visual design, which plays crucial/important role in creating the best and aesthetically pleasing, visually appealing designs and compositions. This paper tells us about the important understanding the basic design elements, which is line, colour, shapes, textures and value. How we can easily make a design by using these elements and principles, their significance in designs. Also, how elements can be used in principles, there relationships. Principles like harmony, unity, proportion, balance, rhythm, and repetition etc., their role, importance in creating visual designs pleasing and eye-catching. This paper provides insights into how different artists, designers have use these elements and principles of design in their work, projects, along with the cultural and historical contexts that have influenced their design choices. Overall, the paper emphasizes the significance of these design principles, and how they can be used to create meaningful, impact and memorable works of art and design.
{"title":"EXPLORING THE DEPTH OF ELEMENTS AND PRINCIPLES OF VISUAL DESIGN","authors":"Rohit Kumar, Shaila Naaz","doi":"10.29121/shodhkosh.v4.i2ecvpamiap.2023.709","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2ecvpamiap.2023.709","url":null,"abstract":"This research paper explains the fundamental and basic elements and principles of visual design, which plays crucial/important role in creating the best and aesthetically pleasing, visually appealing designs and compositions. This paper tells us about the important understanding the basic design elements, which is line, colour, shapes, textures and value. How we can easily make a design by using these elements and principles, their significance in designs. Also, how elements can be used in principles, there relationships. Principles like harmony, unity, proportion, balance, rhythm, and repetition etc., their role, importance in creating visual designs pleasing and eye-catching. This paper provides insights into how different artists, designers have use these elements and principles of design in their work, projects, along with the cultural and historical contexts that have influenced their design choices. Overall, the paper emphasizes the significance of these design principles, and how they can be used to create meaningful, impact and memorable works of art and design.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":" 35","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139139834","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 : 2023-12-29DOI: 10.29121/shodhkosh.v4.i2cdsdad.2023.593
Saurabh Singh
Today the whole world is struggling with the problem of waste materials and their proper maintenance. Examples of the use of waste material are also found in art. An artist always needs a medium to create their artwork, and also, in contemporary art, many artists are creating artwork from waste materials and beautify their environment and make people aware of its reuse. The process of making artwork from waste material is today known as ‘Scrap Art’ or ‘Junk Art’. An early example of the use of waste materials in art comes from the ‘Dadaism’ Art Movement, which started in France in the 20th century, when artists started exhibiting industrially produced objects as artwork, along with their titles. From here, a question mark was raised regarding the idea of ‘Readymade Art’ and its aesthetics. Behind this was the main artist ‘Marcel Duchamp’ whose work 'Fountain' in 1917. The other two major Artists were Man Ray and Francis Picabia. The second developed form was seen in Picasso's 'Bull Head' artwork in 1942, where Words like ‘Found objects’ and ‘Ready-mades’ became popular in the history of art. Many artists in contemporary art are creating artworks using these waste materials. This is not only enhancing the beauty of our public places but also making people aware of their reuse and also showing a new dimension of art creation. This research paper analyses what new changes have taken place in terms of style and thought due to the use of waste material in art from the beginning till today.
{"title":"HISTORY OF THE USE OF WASTE MATERIALS IN VISUAL ARTS: CONCEPT AND ROOTS","authors":"Saurabh Singh","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.593","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.593","url":null,"abstract":"Today the whole world is struggling with the problem of waste materials and their proper maintenance. Examples of the use of waste material are also found in art. An artist always needs a medium to create their artwork, and also, in contemporary art, many artists are creating artwork from waste materials and beautify their environment and make people aware of its reuse. The process of making artwork from waste material is today known as ‘Scrap Art’ or ‘Junk Art’. An early example of the use of waste materials in art comes from the ‘Dadaism’ Art Movement, which started in France in the 20th century, when artists started exhibiting industrially produced objects as artwork, along with their titles. From here, a question mark was raised regarding the idea of ‘Readymade Art’ and its aesthetics. Behind this was the main artist ‘Marcel Duchamp’ whose work 'Fountain' in 1917. The other two major Artists were Man Ray and Francis Picabia. The second developed form was seen in Picasso's 'Bull Head' artwork in 1942, where Words like ‘Found objects’ and ‘Ready-mades’ became popular in the history of art. Many artists in contemporary art are creating artworks using these waste materials. This is not only enhancing the beauty of our public places but also making people aware of their reuse and also showing a new dimension of art creation. This research paper analyses what new changes have taken place in terms of style and thought due to the use of waste material in art from the beginning till today.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":" 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139142720","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 : 2023-12-29DOI: 10.29121/shodhkosh.v4.i2.2023.727
Aakansha Kumari, M.S. Mawri
After the creation of the universe, the practice of consecration of statues and symbolic representation of gods-goddesses and nature as divinity began in civilizations across the world; proving its continued existence and practice across human history. These symbols serve the multiple purposes; from being an emblem representing the concept of religious faith, notions and beliefs in the psyche of the devotees to representing the desire for glory, protection and good fortune. These symbols communicate complicated human emotions through symbolic language in the simplest ways. From the prehistoric times to the contemporary age these symbols can be traced across the human civilizations with some variations in its physical form. These variations sometimes translate differently across religions and sometimes their expressions carry certain similarities. We find such instances in the iterations of some Buddhist symbols, when worshipping the idol of Gautama Buddha was prohibited in Pre-Sectarian Buddhist age. As a result, initially Lord Buddha was represented through the consecration of religious symbols. Gradually with the passage of time, due to cultural assimilation and the domination of Hinduism, Buddhism (Mahayana sect) came closer to Hinduism. We find early Buddhist sculptures in open natural spaces as the consecration of the statue of Gautama Buddha preceded the construction of temples. To protect these statues from Sun and Rain, these statues were soon covered by various forms of parasol like canopies (Umbrella) to the upper part of the idol as a unique feature on the upper side of the idol marking the influence of Kushan period. These parasols are engraved with various symbols like: Mangal Kalash, Swastika, Conch, Shrivatsa, Lotus, etc. The specimens of these parasols can be found protected in Mathura Museum. This paper studies the meaning of artistic and symbolic foundation of these engraved symbols.
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Pub Date : 2023-12-29DOI: 10.29121/shodhkosh.v4.i2.2023.638
Dr. Poonam Rani
Jain school of paintings has a special feature in the wider perspective of Indian painting. The rich form of Jain art started in the form of sculptures and cave wall paintings. Later on, a new original form of Jain art started in the form of manuscript painting, which is based on various motifs of miniature style, such as - illustrated palm leaves, illustrated cloth paintings and illustrated paper books etc. Illustrated examples of Jain painting have been found in the handwritten texts made in all these motifs, along with these, the wooden covers which were kept above and below the manuscripts for the protection of these texts, have also been collected from private Collection and museums. These wooden covers were made to keep the palm leaves safe. Along with manuscript paintings, painters used to decorate these panels with beautiful figures and stories. The free expression of the painter can be seen in the depiction of these wooden covers. Like manuscripts, these plates also hold a special place in art history.There is a wonderful depiction of Indian animals and birds, geometrical shapes, design of bellflowers, columbines and religious symbols on these illustrated wooden covers of manuscripts. In addition to decorations, these panels also depict various contemporary events and cultural themes. Due to the uniqueness of designs and the amazing depiction of these wooden book covers it can be inferred that the painters who created them must have been highly skilled. These wonderful examples of paintings from Jain school of paintings have special importance in art history and Jain culture. The objective of the research is to do artistic analysis of these wooden manuscripts covers. Although analyzing all the collected data from the museums and manuscript centers was a challenging task for the researcher but eventually efforts were made to publicize the facts in detail.
{"title":"AESTHETICAL SIGNIFICANCE OF DECORATED WOODEN COVERS OF THE MANUSCRIPTS UNDER JAIN SCHOOL OF PAINTING IN THE MEDIVAL PERIOD","authors":"Dr. Poonam Rani","doi":"10.29121/shodhkosh.v4.i2.2023.638","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2.2023.638","url":null,"abstract":"Jain school of paintings has a special feature in the wider perspective of Indian painting. The rich form of Jain art started in the form of sculptures and cave wall paintings. Later on, a new original form of Jain art started in the form of manuscript painting, which is based on various motifs of miniature style, such as - illustrated palm leaves, illustrated cloth paintings and illustrated paper books etc. Illustrated examples of Jain painting have been found in the handwritten texts made in all these motifs, along with these, the wooden covers which were kept above and below the manuscripts for the protection of these texts, have also been collected from private Collection and museums. These wooden covers were made to keep the palm leaves safe. Along with manuscript paintings, painters used to decorate these panels with beautiful figures and stories. The free expression of the painter can be seen in the depiction of these wooden covers. Like manuscripts, these plates also hold a special place in art history.There is a wonderful depiction of Indian animals and birds, geometrical shapes, design of bellflowers, columbines and religious symbols on these illustrated wooden covers of manuscripts. In addition to decorations, these panels also depict various contemporary events and cultural themes. Due to the uniqueness of designs and the amazing depiction of these wooden book covers it can be inferred that the painters who created them must have been highly skilled. These wonderful examples of paintings from Jain school of paintings have special importance in art history and Jain culture. The objective of the research is to do artistic analysis of these wooden manuscripts covers. Although analyzing all the collected data from the museums and manuscript centers was a challenging task for the researcher but eventually efforts were made to publicize the facts in detail.","PeriodicalId":503455,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"9 15","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139147524","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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