This Book Is On The Drawings In The Palmleaf Manuscripts Of Orissa Drawn By The Scribes-Artists Who; Had No Family Background Of Art, No Training From Any Teacher.These Drawings Are Not Drawn By Pen Or Pencil But Etched By The Help Of An Iron Needle Called Style On Dry Palmleaves.They Are Based On The Text Of The Manuscripts And The Artists Have Shown Their Individuality In Their Drawings. They Are Successful In Expressing Their Feelings Through A Few Lines, Which They Have Drawn Spontaneously, But Precisely Within A Limited Space Of One To Two Inches (Which Is The Breadth Of The Palmleaf).
The book attempts to trace an overview of the different components that define the cultural landscape of the state of Odisha in relation to its history, religious cults, art, and literature and to link the development of the various aspects to the role played over the centuries by the Geeta Govinda poem in its different manifestations. From being an important component of the rituals performed in the Jagannath Temple to becoming an essential part of the people’s daily lives and artistic expressions, this immortal poem has exercised its influence on the cultural landscape of the state from its early inception in the twelfth century until present times. Religious beliefs, visual representations, performative expressions, and literary compositions have been influenced by the strong emotional appeal contained in its verses. Its musical structure, spiritual underline and histrionic content have been an essential font of inspiration in the process of the rediscovery of a cultural identity during the last century and continue to exercise a strong influence on the performing arts of the present times. Among all the art forms, the classical style of Odissi dance, the way it has been re-structured in the middle of the last century, is perhaps the one which bears the closest contact with the poem, almost being synonymous with it. The dance’s lyrical quality and its emotional appeal steeped in a long history of association with devotional and spiritual values make it an ideal form of visual expression for the literary content of the poem.
Kathak, the Indian classical dance form prevalent in the North, has a long past. Nurtured in the holy precincts of the Hindu temples, Kathak dance has over the centuries, attained refinement and enriched itself with various hues and embellishments. The art of story-telling which found expression in various forms like the Akhyana by the Manabhattas of Gujarat, the Pandavani by the artistes telling stories in Madhya Pradesh, the Harikathas and Kalakshepams of the South, the Kirtanas of the West, the art of Wari-liba, story-telling of the North-East, specially of Manipur, reflects the rich heritage Kathak has inherited over the years. In forms such as Baithakachi Lavani and the bhava to the Ghazals the range is both varied and vast. Though essentially seen in its solo form, Kathak in its Natya aspects shares a large corpus of the Rasalilas of Brindavan. Its journey from the Hindu temples to the courts of the Mughals is quite fascinating and the various elements it has imbibed over the different periods in history have given Kathak an equisite character. The Persian influence, the patronage of the Muslim kings, the flowering of the two main gharanas (schools), the Jaipur and the Lucknow, and the contribution of the Maharaj Brothers, the famous descendants of Kalka-Bindadin, viz.; Acchan Maharaj, Shambhu Maharaj, Lacchu Maharaj and Birju Maharaj, the great gurus of Jaipur like Jailalji and Sunder Prasadji portray Kathak as it has developed in recent times. Whereas the Choreographic attempts by Madame Menaka and later on by Birju Maharaj and Kumudini Lakhia provide a perspective for viewing Kathak in its many-faceted forms. The footwork, the nritta pieces like tode, tukde, parans, the improvisational aspects and the simple graceful gats and gat-nikas, the illusion of miniature paintings coming to life and many other aspects are vividly captured in this most comprehensive and thoroughl;y researched book on Kathak. It has an attractive section on the contemporary practitioners ranging from Birju Maharaj, Sitara Devi, Damayanti Joshi, Kumudini Lakhia, Rohini Bhate, Roshan Kumari, Gopi Krishna, Durgalal to the young exponents who carry forward the tradition in the present times. Lavishly illustrated with colour and black and white photographs and designed by Dolly Sahiar the many-splendoured beauty of Kathak is captured in this volume, which should appeal to the cognoscenti and lay readers alike.
An exclusive selection of a set of forty-four exquisitely beautiful and hitherto unpublished ragamala paintings of Bijapur rendered in the Deccan style(19th century), in possession of the National Museum, Delhi since 1989 have been presented in 'Ragachitra: Deccani ragamala paintings. Miniature paintings of ragaputras and raginis in other medieval styles act as a foil, highlighting the various trends in vogue during the times as well as the special lyrical quality and originality of the Bijapur paintings, which stand apart in their vibrant visual appeal, depth and range of content and the perfect symphony created between art and music. A lucid narrative documenting the history of Indian classical music, the range of traditions of the raga theory and their miniature visual forms created in medieval India, accompanied by detailed descriptions of the paintings portrayed–highlighting their special features–de-mystifies the elements of the abstract and the obscure in the rationale supporting the unique and aesthetic marriage of music and art. Finally, it is a delightful and overwhelming aesthetic and intellectual experience for the reader.
"Akashvani" (English) is a programme journal of ALL INDIA RADIO, it was formerly known as The Indian Listener. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes, who writes them, take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service, Bombay, started on 22 December, 1935 and was the successor to the Indian Radio Times in English, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it used to published by All India Radio, New Delhi. From 1950,it was turned into a weekly journal. Later, The Indian listener became "Akashvani" (English ) w.e.f. January 5, 1958. It was made fortnightly journal again w.e.f July 1,1983. NAME OF THE JOURNAL: AKASHVANI LANGUAGE OF THE JOURNAL: English DATE, MONTH & YEAR OF PUBLICATION: 31JANUARY, 1965 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 68 VOLUME NUMBER: Vol. XXX, No.5 BROADCAST PROGRAMME SCHEDULE PUBLISHED (PAGE NOS): 13-67 ARTICLE: 1. Nehru And The Scientific Temper 2. The Art of Venkataswamy Naidu 3. Humanities For The Technocrat 4. Role of National Development Council 5. Debunking AUTHOR: 1. Dr. H. J. Bhabha 2. N. S. Ramachandran 3. Prof. M. S. Thacker 4. B. K. R . Kabad 5. H. Y. Sharada Prasad KEYWORDS : 1.Attitude towards science, complementary approaches, aesthetic experiences, integral vision of life, no barriers 2.Early recognition,one of the elect, unforgettable experience 3.Natural apprehension, difficult question, first necessary step, 4.Extraordinarily casual approach, difference to the fore, centre's stand on rationing, more active role needed, interesting trend 5.Ford debunks History, greatest of them all Document ID : APE-1965 (J-A) Vol-I-05 Prasar Bharati Archives has the copyright in all matters published in this “AKASHVANI” and other AIR journals. For reproduction previous permission is essential.
