| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
art were held by art historians like Ananda Coomaraswamy around the late nineteenth century and early twentieth century. It meant that we cannot un... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
Gulam Mohammed Sheikh and Bhupen Khakar in Baroda started using storytelling in their paintings, Jogen Chowdhury, Bikash Bhattacharjee and Ganesh P... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
Subramanyan, Sheikh’s teacher and a founding member of the Baroda Art School, had studied in G. M. Sheikh, Shantiniketan. He had learned about the ... |
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| Class XII |
Physics |
Physics Part-II |
6 |
donating one extra electron for conduction and hence is known as donor impurity. The number of electrons made available for conduction by dopant at... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
from trucks on highways to autorickshaws, in the back alleys 1988. Kala Bhavana, of small towns and in small shops. Santiniketan, West Bengal, Indi... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
from the wall with photographs displayed in glass cases. It offered a new immersive experience, which affected almost all our senses. However, it w... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
expressions have been documented through catalogues. Even social media has played a major role in evolving local art. As a student of visual arts o... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
S aints The Lives of Medieval Saints, a mural in Hindi Bhavana, Shantiniketan, was created by Benode Behari Mukherjee around the eve of India’s Ind... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
collage of paper cutouts. The artist is not interested in showing us the life of Mother Teresa realistically but uses bare suggestions. We, as view... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
traditions from India and the world. The title refers to his home in Purvapalli, a locality in Shantiniketan, from where his imagination seems to b... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
C hildren This is a graphic print on paper done with monochromatic etching with aquatint made by Somnath Hore (1921–2006) in 1958. The experience o... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
art language based on folk traditions and popular practices. He brings together many visual elements into the a composite narrative. His works occu... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
print. Reprint 2026-27 TheM odernIndiaA r 121 R ural S outh Indian M an –W oman This is an etching print on paper made by Laxma Goud (1940...) in 2... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
Human figures are installed in a way that create a curiosity in us as viewers. It attracts the viewers to see it from all sides. The image of group... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
flat rhythmical planes,yetitiseasytounderstandthemasafamily — husband, wife and child. Theyare shown flinging their arms above and crying out for ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
7 |
artwork was created by Mrinalini Mukherjee in 1994. She uses an unusual material to make this sculpture. She uses hemp-fibre, a medium that she exp... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
8 |
The Living Art Traditions of India here has always been a timeless tradition of art forms, T which have been practised for different reasons among ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
8 |
is symbolism, specific use of motifs, materials, colours and methods of making. There is a thin line between art of Reprint 2026-27 128 An ntroduct... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
8 |
capital, it is a widely recognised folk art tradition. It is presumed that for centuries, women living in this region have painted figures and desi... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
8 |
which often have symbolic intent, signifying love, passion, fertility, eternity, well-being and prosperity. Women paint with bamboo twigs to which ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
8 |
the demands of spirits. A bamboo stick, chewed at the end, is used as the paintbrush. Gond painting Gonds of Madhya Pradesh have a rich tradition w... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
8 |
(pata) and storytelling in regions of West Bengal. It is the most receptive oral tradition, constantly seeking new themes and formulating novel res... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
8 |
with soft white stone powder and glue made from tamarind seeds. There is a practice of making the borders first. A sketch of the figures is, then, ... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
8 |
others. Illustrating the valorous tales of these bhomias, the phads, are carried by bhopas, the itinerant bards, who travel the territory, displayi... |
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| Class XII |
Fine Art |
An Introduction to Indian A... |
8 |
locally revered deities and votive offerings in the form of snakes, elephants, horses, ritual pots, etc. Subsequently, with a decrease in demand fo... |
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