| Class XII |
Fine Art |
An Introduction to Indian A... |
3 |
collection of the Metropolitan Museum of Art, New York, USA. Harivamsa Purana is one of the many Sanskrit manuscripts, which were translated into P... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
3 |
Mughal emperor Jahangir by his nobleman Mir Ja’far, who had acquired it. Jahangir wrote on the painting in Persian, the court language, that it was... |
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| Class X |
Science |
Science |
10 |
Yellow, Orange and Red, as shown in Fig. 10.5. The acronym VIBGYOR will help you to remember the sequence of colours. The band of the coloured comp... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
The Deccani Schools of Painting he history of Deccani Painting can largely be constructed T from the late sixteenth century until the 1680s the tim... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
have strong affinity to regional aesthetics. The school preferred dense composition and attempted to create an aura of romance, which invariably ex... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
domes over the archades. All these features, except the hairstyle, have traces of north India or Persia. Reprint 2026-27 The DeccaniSchools oPai nt... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
The Ragamala are, as we have seen, Indian in their connections, with definite echoes of the Lepakshi style. They exemplify the luxuriant aesthetici... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
circle around her body, which has exquisite flora surrounding it in exquisite landscape. Golconda School of Painting Golconda became an independent... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
registers of flat screens one above the other. The ground appears covered with elaborately patterned carpets. It is important to note here that the... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
painting different from the Mughal style of painting? 5. What are the imperial symbols in a Deccani royal painting? 6. Which were the centres of pa... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
are of native inspiration. The galloping horse generates energy, which visually activates the entire panoramic landscape. This painting is in the c... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
scale, the elephant creates visual interest and breaks the architectonic structuring. Reprint 2026-27 64 An ntroduction tIndia Art —PartII S ultan ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
4 |
showing playing chaugan, the other name for equestrian polo game, a popular royal sport of the time. The painting appears to be provincial of much ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
The Pahari Schools of Painting ahari denotes ‘hilly or mountainous’ in origin. Pahari P Schools of Painting includes towns, such as Basohli, Gul... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
Pandit Seu (Shiv) was chiefly responsible for the course of Pahari paintings. He argues that identifying Pahari paintings on the basis of regions c... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
Reprint 2026-27 The PahariSchools oP ai nti g 69 Basohli School The first and most dramatic example of work from the hill states is from Basohli. F... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
epic, Ramayana, was one of the favourite texts of the hill artists at Basohli, as well as, Kullu. This set derives its name from ‘Shangri’, the pla... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
weapons. Another painting from the same set depicts Rama and Lakshmana accompanying sage Vishvamitra to the forest to defeat the demons, who would ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
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Museum, London, UK Reprint 2026-27 The PahariSchools oPai nti g 73 Sons and grandsons of Manak and Nainsukh worked at many other centres and are re... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
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of white or grey. Manaku, too, did numerous portraits of his enthusiastic patron Raja Govardhan Chand and his family. Prakash Chand, successor of G... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
in Kangra as it remained under the Mughals till 1786, and later, the Sikhs. Sansar Chand’s son Aniruddha Chand (1823–1831), too, was a generous pat... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
longer paralleled masterpieces of the period 1785–1805. This series of Bhagvata Purana paintings is one of the greatest achievements of Kangra arti... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
them, another gopi enacts the character of Yashoda, who along with other gopis, holds out her garment in a gesture of removing the evil eye after t... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
An ntroduction tIndia Art —PartII Even though describing Ashta Nayikas remained a favourite among poets and painters, none of them is treated with ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
5 |
Kashmir (1846–1885), the Kangra style initiated a local school of Hindu book illumination. The Sikhs employed other Kangra painters eventually. The... |
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