This article analyzes the theme of “kidnapping‟ in myth, folk lore and traditional storytelling among some adivasi communities in the Himalayas.
The article returns to the first book fully devoted to The Tribal Art of Middle India. Published in 1951, by the missionary turned ethnologist Verrier Elwin.
The books and papers written by Archer concern various fields of “tribal” or “folk art” from the sculptures of the Ahir, to the discovery of Madhubani paintings.
Adivasi art has the capacity to express Adivasi myths, songs and culture in order to re-enchant the real world even if the latter is full of problems.
The study investigates the historical traditions of Maithili art in Northern India, and its connections to Tantric art.
“In this article I attempt to unravel a mystery. The mystery is semiotic; it is about layers of meanings; it is about how meanings come into existence…”
Khovar and Sohrai paintings are considered auspicious symbols related to fertility and prosperity being painted on the walls.
पूर्णिया के ग्रामीण क्षेत्रों में मृत्तिका उत्कीर्णन मुख्यतः महिलाओं के द्वारा किये जाते हैं जिन्हे स्थानीय लोग ‘लिखनी-पढ़नी’ या ‘चेन्ह-चाक’ कहते हैं। उनके मोटिव्स के अपने सांकेतिक अर्थ हैं।
This article traces the historical journey of Mithila painting, that of the painting of walls, floor-spaces on the medium of paper in North Bihar.
This article traces the documentation of ritual wall paintings by Maithil Brahmans and Kayasthas through the collecting practices of private individuals, libraries and others.
The historiography of Maithil Paintings of 50 yrs. after independence (1947 to 1997) – a phase marked by its discovery, commercialisation and promotion as a fine art.
पटना कलम के चित्र मुख्यत: बाजार की मांग और मूल्य के अनुरूप थे। वह इस बात पर निर्भर करता था कि चित्रों के विषय क्या हैं और उनका खरीदार कौन है।
It’s a wonder to see the paintings of Patna kalam that they broke the age-old shackles of medieval conservatism for the sake of paintings of the Mughal age.