| Class XI |
Knowledge Traditions Practi... |
Knowledge Traditions Practi... |
7 |
Nyāya, Pūrva Mimāṁsā, Sāṅkhya, - Yoga and Uttara Mimāṁsā/Vedānta. Some of the theories and concepts from darśanas incorporated and used in Āyurveda... |
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| Class XI |
Knowledge Traditions Practi... |
Knowledge Traditions Practi... |
7 |
n S ystem in Ā yurveda You all may wonder if there could be another way to understand the human system, other than that of Western medicine. The hu... |
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| Class XI |
Knowledge Traditions Practi... |
Knowledge Traditions Practi... |
7 |
also recognises mind the importance of the mechanical aspects of human body, this can be network of psychological parameters inferred from the well... |
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| Class XI |
Knowledge Traditions Practi... |
Knowledge Traditions Practi... |
7 |
vāta, pitta and kapha? SurgerylĀyurvedaada In addition to functions, VPK includes parameters which are Tantra Tantra Bhoota biophysical, chemical a... |
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| Class XI |
Knowledge Traditions Practi... |
Knowledge Traditions Practi... |
7 |
shown and mental activities, seasons and clinical symptoms, all in thicker lines with the colour of the corresponding of which have a role in healt... |
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| Class XI |
Mathematics |
Mathematics |
10 |
8x. Solution The given equation involves y , so the axis of symmetry is along the x-axis. Thecoefficientofxispositivesotheparabolaopens to the righ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
1 |
she conceives Mahavir. They are — an elephant, a bull, a tiger, goddess Shri, a kalash, a palanquin, a pond, a rivulet, fire, banners, garlands, he... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
1 |
turn protected with wooden covers called patlis, placed on top and bottom of the manuscript. Early Jain paintings were traditionally done on palm l... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
1 |
folio around the main episode. Indra praising Devasano Pado, Kalpasutra, Gujarat, about 1475. Collection: Boston These paintings were lavishly pain... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
1 |
the late twelfth century, another strain of influence — Reprint 2026-27 8 A nIntroduction tndia nArt —PartII Persian, Turkic and Afghan — percolate... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
1 |
and religious instruction, and took back specimens of Pala Buddhist art in the form of bronze and illustrated manuscripts. Reprint 2026-27 The Manu... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
The Rajasthani Schools of Painting he term ‘Rajasthani Schools of Painting’ pertains to T the schools of painting that prevailed in the princely ki... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
The RajasthanSchools oP aintin 11 hair were used in brushes. On completion, the painting was burnished with an agate to lend it a uniform sheen and... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
text of artists, Rasamanjari, interpreted as the ‘Bouquet of Delight’. Written in Sanskrit, the text is a treatise on rasa and deals with the class... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
paintings are pictorial interpretations of ragas and raginis. Ragas are traditionally envisioned in divine or human form in romantic or devotional ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
Madho Das in 1680 CE. A large number of Malwa paintings discovered from the Datia Palace collection supports a claim for Bundelkhand as the region ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
of Ragamala paintings painted at Chawand in 1605 by an artist named Nisardin. The set has a colophon page that reveals the above vital information.... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
reds and yellows. Reprint 2026-27 The RajasthanSchools oPaintin 17 Nathdwara, a town close to Udaipur and a prominent Vaishnava centre, also emerge... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
Budh Singh, whose whiskered face is visible in many portraits. Despite numerous political disputes and having lost his kingdom four times, he is kn... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
and Khwaja Abddus Samad of the Mughal court. They mention Chunar (near Benaras) as the place of origin of the painting, where Rao Bhoj Singh and hi... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
excels in the depiction of hunting scenes and reflects an exceptional excitement and obsession for animal chase. Bundi and Kota were parts of the s... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
Kota paintings are characteristically spontaneous, calligraphic in execution and emphasise on marked shading, especially, the double–lid eye. Artis... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
his pupils, who may not be painting in the same style as the master. However, it becomes evident from these entries that the master artist would oc... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
working in the Kishangarh court. A distinctive style of the state with a general tendency to elongate the human form, making lavish use of green an... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
2 |
prominent one. His successor Ajit Singh (1679–1724) became the king after 25 years of war with Aurangzeb, which was fought by legendary warrior Vee... |
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