Auswahl der wissenschaftlichen Literatur zum Thema „Indian women painters“
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Zeitschriftenartikel zum Thema "Indian women painters"
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Reshu Shukla. „Resounding Resistance: A Critical Assessment of Women’s Contributions in Shaping the Literary Cosmos“. Creative Saplings 2, Nr. 05 (25.08.2023): 37–52. http://dx.doi.org/10.56062/gtrs.2023.2.05.361.
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Women, the glorious creation of God, have contributed magnificently to the growth of human civilization performing distinctive roles as well as holding influential positions miraculously throughout the history of humanity. India's illustrious past passionately and proudly tells the inspirational stories of strong, independent women who glorified our society and culture with their forceful presence. If we look at the contributions that they have made throughout the history of human civilization, we can see that they have contributed in a variety of ways to the formation of society as a whole. They personify "Shakti," the living manifestation of divine force. Undoubtedly, the universe endows women with innate resilience, as they have demonstrated for decades. They have fought their battles by first recognizing and then publicly embracing their self-worth. Their achievements can be acknowledged as philosophers, global leaders, businesspeople, poets, playwrights, authors, artists, journalists, painters, musicians, and other creative types. Though women have contributed multifariously to society at large, this essay will focus on the contributions made by women to Indian English literature. This study places a significant emphasis on the contributions made by women to Indian English literature throughout the course of its magnificent history, which spans from before the country's independence to the present day. In addition, the paper will analyse a number of different Indian authors in order to get a deeper comprehension of women’s writings and the role they have in the world of literature. This paper will comprehensively study the incredible contribution of writers such as Kamala Das, Shashi Deshpande, Bharti Mukherjee, Kamla Markandaya, Nayantara Sahgal, Arundhati Roy, Shobha De, Anita Desai, Manju Kapur, and Kiran Desai, who have paved the way for future generations of Indian women writers to express themselves. They are the progenitors of resistance, consciousness, and individualism.
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R. Banasure, Shravan. „PORTRAYAL OF WOMEN AND THEIR STRUGGLES IN RISHI REDDIS KARMA AND OTHER STORIES“. International Journal of Advanced Research 11, Nr. 10 (31.10.2023): 320–22. http://dx.doi.org/10.21474/ijar01/17710.
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Karma and Other Stories by Rishi Reddi is a collection of short stories that explores the lives of Indian immigrants in the United States, particularly focusing on the experiences of women. Reddis stories are rich with cultural nuances and provide a poignant look into the challenges and triumphs of these women as they navigate the complexities of their dual identities and the expectations placed upon them. In it women play a central role in the narrative, and their plight is a recurring theme throughout the collection. Reddi skillfully portrays the multifaceted struggles faced by these women as they grapple with issues of tradition, family, ambition, and cultural assimilation. Through various characters and their interconnected stories, Reddi paints a vivid picture of the unique challenges that women from Indian backgrounds often face. The analysis focuses on the social, cultural, and gender dynamics that shape the lives of women in the stories. Through an examination of key themes, character development, and narrative techniques, this article aims to shed light on the challenges faced by women in the context of Indian society. The article also discusses the authors intent in highlighting these issues and the impact of her work on raising awareness about womens rights.
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Ms. I. M. Sheeba Alorcious und Dr. K. Balachandran. „Picturization of Women: With Reference to the Select Poems of Jayanta Mahapatra“. Creative Launcher 8, Nr. 3 (30.06.2023): 50–56. http://dx.doi.org/10.53032/tcl.2023.8.3.06.
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The present research aims to explore the representation and portrayal of women in the selected poems of Jayanta Mahapatra, one of India’s most profound and prolific contemporary English poets. His compelling depictions of women often encompass and transcend the boundaries of traditional Indian cultural norms and societal structures, thus requiring a detailed, nuanced investigation. His poems deal with the alienation of women from themselves and from the society. The atrocities that are exerted on women is explicitly exposed by the poet. They were not only termed as weaker sex by the patriarchal society but also made them as such. The poet stands by the deprived section of the society and acts as a voice of them, as the silent screaming is not heard by the world. His works serve as a bridge between the world of man and the world of woman. The pivotal focus of this study is an examination of Mahapatra’s depiction of women, ranging from symbolizing pure innocence and tradition to epitomizing complex modern experiences and gendered identity. The research critically investigates how the poet’s use of imagery, metaphors, and symbolic language paints a vivid picture of women across his poems, thereby adding another dimension to the thematic concerns of his poetic oeuvre. Moreover, the paper scrutinizes the elements of socio-cultural context, gender constructs, and feminist perspectives within Mahapatra's poetic descriptions. Through this examination, it seeks to analyze the intertwining of the personal, social, and cultural experiences of women in the poet's picturization. The study further delves into Mahapatra's poetry’s use of nature and its metaphorical connections to femininity, while considering Indian societal realities and dynamics. Mahapatra’s depiction of women in his poetry transcends from being merely characters to profound representations of societal paradigms and discourses, reflecting the inherent challenges and conflicts that women face in a patriarchal society.
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Singh, Neha, Sana Moid, Naela Jamal Rushdi und Nitin Shankar. „Finding a digital silver line during COVID-19 pandemic: a case of Madhubani Paints“. Emerald Emerging Markets Case Studies 14, Nr. 1 (29.12.2023): 1–26. http://dx.doi.org/10.1108/eemcs-07-2023-0246.
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Learning outcomes The case’s resolution will inspire students to engage in critical analysis of the hurdles encountered by Madhubani Paints amid the pandemic. It will prompt them to dissect cause-and-effect chains stemming from decisions made during this period, fostering a mindset of critical thinking and problem-solving. Additionally, it aims to cultivate a profound comprehension of the Indian entrepreneurial landscape, highlighting the pivotal role of micro-enterprises and women entrepreneurship. Furthermore, it will task students with brainstorming inventive solutions to the specific challenges faced by Madhubani Paints, particularly focusing on differentiation strategies and enhancing customer engagement in the online marketplace. The case highlights the strategic utilization of digital avenues for business expansion, showcasing how Madhubani Paints not only persevered through a challenging pandemic but excelled, securing 35% of its revenue through digital channels. Case overview/synopsis Madhubani Paints was a micro-enterprise in the small town of Darbhanga (India) that traded hand-painted products. The protagonist had a strong interest in Madhubani painting, and her enthusiasm led her to establish her own micro-enterprise. This case study highlights the protagonist’s journey towards entrepreneurship and what were the challenges faced during the COVID-19 pandemic. Additionally, the case study showcases how micro-enterprises leverage digital technologies to improve their business performance. Through this case study, students will be able to learn what the contribution of an entrepreneur is to the development of our society and will understand the fundamental concept of marketing and entrepreneurship. Complexity academic level The case study can be used in management for the course of marketing and entrepreneurship and is appropriate for post-graduate students. Discussion would be the most appropriate method for teaching this case study. The students would need to understand the concept of marketing mix, segmentation and targeting and the basics of marketing strategy to ensure effective learning. Supplementary materials Teaching notes are available for educators only. Subject code CSS3: Entrepreneurship.
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S Prasad, Krishna, und AJ Manju. „A Feminist Study of Manju Kapur’s A Married Woman“. Shanlax International Journal of English 8, Nr. 1 (01.12.2019): 61–62. http://dx.doi.org/10.34293/english.v8i1.1267.
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Postmodern tendencies have been reflected in Indian writing in English over the past few years. This paves way for the creation of new socio-cultural and political situation and circumstances that pushes the marginal or the extreme marginal to the centre stage. Feminism as it is an accompanying issue of postmodernism is the product of such a sensibility. The novel A Married Women is heavily plotted. It traces the life of Astha from her young adulthood through her early middle years. In the process she dates with a couple of young men of her own choice like her western counter parts, marries a man of her parents " choice and discovers the joys of intimacy with her husband, begets children, yet grows distant from him, and struggles to become a painter. She reflects the middle class values and seems to enjoy her mental bliss for a long time but gradually experiences that there is something certainly lacking in her life.
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Gill, Lesley. „Painted Faces: Conflict and Ambiguity in Domestic Servant-Employer Relations in La Paz, 1930–1988“. Latin American Research Review 25, Nr. 1 (1990): 119–36. http://dx.doi.org/10.1017/s0023879100023232.
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“My face grew white on the job, and when I returned to my community, my friends asked me why I was so pale. They said that I looked made up. I had to rub dirt on my face so that I would look browner to them.”Alicia Mamani, domestic servant, La Paz, Bolivia“The minute that you turn your back, [servants] use your clothes, your shoes, your make-up, everything.”Pilar Cordoba, employer, La Paz, BoliviaThe institution of female domestic service in La Paz has been characterized by continuity as well as change, despite the profound social transformations brought about by the Bolivian National Revolution in 1952. Domestic service has historically been the most important source of employment for women in Bolivian cities and Latin American urban centers in general (Glave 1988; Arrom 1985; Kuznesof n.d.). Live-in domestic service continues to be the norm in La Paz, even though the number of live-out household workers is increasing. The dependent nature of the Bolivian economy and enduring gender biases have precluded the absorption of women into “formal sector” employment, and generally depressed wage rates do not permit most women in La Paz the luxury of being full-time mothers, wives, or daughters. As a result, salaried domestic service is not only persisting but expanding as a prolonged economic crisis forces growing numbers of female Aymara Indian immigrants from the countryside to seek wage employment in the homes of criollo women in the city.
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Chakraborty, Arijit. „Love and Spirituality in Anita Desai’s ‘Cry, the Peacock’ and Rabindranath Tagore’s ‘Breezy April’“. SMART MOVES JOURNAL IJELLH 8, Nr. 2 (28.02.2020): 12. http://dx.doi.org/10.24113/ijellh.v8i2.10408.
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Rabindranath Tagore (1861-1941) was the first non-European and the first Indian to win the Nobel Prize for Literature in 1913. He was awarded the prize for Gitanjali. Tagore was a multi-faceted personality who not only composed poems, verses, short stories, novels etc but also sketched and painted with equal brilliance. As a flag-bearer, he presented the best of India to the West and vice-versa. In Breezy April, Tagore combines romanticism with spiritualism. On the other hand, Anita Desai (born-1937) is the youngest among the women novelists of eminence in India. The spiritual aspect of human life is at the centre of attention in her works. Women protagonists of fragile exterior and strong interior take the lead in Anita Desai’s works of fiction. Spirituality is an integral part of most of her works. In her first novel Cry, the Peacock (1963), Desai minutely depicts both love as well as deep spiritual intricacies.
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Tripathi, Shubha, und Beena Jain. „PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA“. International Journal of Research -GRANTHAALAYAH 7, Nr. 11 (30.11.2019): 135–40. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3722.
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The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD. The Ajanta art is considered as the classical age of Indian painting. The artists of Ajanta did not follow the law of perspective and represented the figures in its entirety rather than appeared through a normal eye. Ajanta artists tried to depict the whole view through horizontal bands. In the paintings at Ajanta, the background was painted at the topmost band, the middle part of the painting below it and the foreground below the middle ground.
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Vikrant, Dr Vikrant Shah. „“SANJHYA” THE GODDESS TRADITIONAL ART FORM OF INDIAN ART“. International Journal of Research -GRANTHAALAYAH 9, Nr. 9 (30.09.2021): 51–54. http://dx.doi.org/10.29121/granthaalayah.v9.i9.2021.4227.
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If there is any priority for mankind with bread, cloth and house then it will be said to be an expression of his art, his feelings. This is the reason why pre-historic man has also painted on the walls of caves, which today help historians to understand that ancient civilization are the center of interest of tourists. "Sanjhya" is a very ancient and the goddess traditional art form of Indian. Perhaps it is a spiritual image to connect the divine to the earth. Apart from Madhya Pradesh, "Sanjhya" is spread in the terrain of Punjab, Rajasthan, Uttar Pradesh, and Haryana etc. Most of the women and youth are making Sanjhya in specific art form. The specialty of these folk art is that these are three-dimensional art on wall consider it to be a reflection of simplicity and culture of ordinary living being through his arts. These artworks show how colorful the imagination of a human can make even a simple straight life. Animals such as peacocks, lions, bears, deer, crocodiles, fish, rivers, mountains, fields, trees, moon are the subjects of their art work, which these community give a multi-colored look on a wall of length and width. These artwork made from unique images of human and divine also. Sanjhya is used on the entrance of the house and on the walls in the courtyard and portrays the family wedding, death or other religious occasions. These pictures are a simple demonstration of the nature and living conditions of these people.
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Thakur, Meenakshi. „MITHILA- A GLOBALIZED ART FORM“. International Journal of Research -GRANTHAALAYAH 5, Nr. 2 (28.02.2017): 208–12. http://dx.doi.org/10.29121/granthaalayah.v5.i2.2017.1725.
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India has long been a focal point of art. From the traditional to the contemporary, India is fast developing itself as a key destination for those who love art. India is marked by its rich traditional heritage of Tribal/Folk Arts and Culture. Since the days of remote past, the diversified art and cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, crystallizing social solidarity, fortifying communal harmony, intensifying value-system and promoting the elements of humanism among the people of the country. Folk and tribal arts are relatively less exposed forms of narrative Indian art and contain within them a gamut of styles originating from various geographical regions in India.
Women in the Mithila region of Bihar in north India have painted colorful auspicious images on the interior walls of their homes on the occasion of domestic rituals since at least the 14th century. This ancient tradition, especially elaborated for marriages, continues today. Madhubani painting or Mithila is a style of Indian painting, practiced in the Mithila region of Bihar state, India, and the adjoining parts of Terai in Nepal. Painting on paper for sale has changed this dramatically. Aside from generating important new family income, individual women have gained local, national, and even international recognition. Artists are being invited to exhibitions across India, and to Europe, the United States, and Japan - no longer as "folk artists," but now as "contemporary artists." Mithila's contemporary arts offer astonishingly vital -- and long overlooked -- depth and diversity, ranging from wondrous elaborations of traditional themes and styles to more experimental depictions of new, topical subject matter.
Dissertationen zum Thema "Indian women painters"
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Lalvani, Tasha. „Indian women painters from the 1970s to the 1990s with special reference to the work of Arpana Caur“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31228276.
Der volle Inhalt der QuelleBücher zum Thema "Indian women painters"
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Desert paintbox. New York: Avalon Books, 1999.
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Monterroso, Diego Vásquez. Pintura y empoderamiento en mujeres y pueblos indígenas. Guatemala: Magna Terra Editores, 2011.
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Major, Clarence. Painted turtle: Woman with guitar. Los Angeles: Sun & Moon Press, 1988.
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Major, Clarence. Painted Turtle: Woman with guitar : a novel. Los Angeles: Sun & Moon Press, 1996.
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Major, Clarence. Painted Turtle: Woman with guitar : a novel. Los Angeles: Sun & Moon Press, 1988.
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Painted prayers: Women's art in village India. New York: Rizzoli, 1994.
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Huyler, Stephen P. Painted prayers: Women's art in village India. London: Thames and Hudson, 1994.
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Vreeland, Susan. The forest lover. New York: Penguin Books, 2004.
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Imre, Lazar, und Indira Gandhi National Centre for the Arts, Hrsg. Elizabeth Brunner: Her life, her words. New Delhi: Indira Gandhi National Centre for the Arts, 2011.
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Vreeland, Susan. The forest lover. Waterville, Me: Thorndike Press, 2004.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Indian women painters"
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Desmond, Ray. „Pursuit Of The Picturesque“. In The European Discovery of the Indian Flora, 173–84. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198546849.003.0013.
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Abstract Until Hodges’s paintings were published in London towards the end of the eighteenth century, the British visual perception of India relied upon engravings inspired by travellers’ descriptions or amateurs’ drawings. William Hodges (1744-97) was the first professional artist of any merit to record his impressions of the subcontinent. Trained at William Shipley’s drawing school in the premises of the Society of Arts, he was apprenticed to the landscape painter Richard Wilson, a devotee of the classical landscapes of Claude and Poussin. Hodges learnt from Wilson how to compose poetic landscapes in the manner of these French painters, adroitly manipulating atmospheric light and shade on canvas and paper. The Admiralty engaged him as a topographical artist on Captain Cook’s second voyage to the Pacific in 1772. During his three years on HMS Resolution, he had to subordinate his romantic vision to the prosaic requirements of topographical accuracy. He returned to the tropics, selecting India as a subject for his brush after the death of his wife in 1777. Landing in 1780 on the broad strand skirting Madras, his trained eye appraised approvingly ‘the clear, blue, cloudless sky, the polished white buildings, the bright sandy beach, and the dark green sea’. Such light and strong colours tested his technical skills, the country and its inhabitants proffered picturesque compositions-temples and forts, parades of soldiers, caravans of merchants, and the ‘fine antique figures’ of women emerging from the river ‘with wet drapery which perfectly displays the whole person’. He was attracted by the extraordinary configuration of the banyan tree. He rejoiced in the rebirth of the countryside during the monsoons, everywhere ‘such a freshness of verdure ... such vigour and fulness of foliage’. The powerful aquatints in his Select views of India (1785-8) enticed other artists to the country.
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Bahal, Girish, Ujaan Chandra, Sriya Iyer und Anand Shrivastava. „Religion and Employment in India“. In Studies in Religion and the Everyday, 201–16. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198902782.003.0009.
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Abstract Over the last couple of decades, the Indian economy has experienced substantial growth rates, and India aims to be an economic superpower of the future. However, the translation of this growth into improved employment and incomes for Indians has been highly uneven across various social categories of gender, caste, and religion. While there has been considerable work on inequalities on gender and caste lines, in keeping with broader interest in the economics of religion, the study of differences in outcomes across religious groups seems to be comparatively less developed. Specifically, this chapter aims to redress that gap by understanding how religious identities affect the labour market outcomes of individuals in India today, a topic which garnered attention in the Sachar Committee Report in 2007. The data indicate that overall, India’s Hindus have better employment prospects than India’s Muslims. Although Muslim men are more likely to be employed than Hindu men, the order is the reverse for women. The resulting picture that the chapter paints is of concern to those interested in the economic well-being of Indian communities as well as those who are interested in the economics of social inclusion.
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Bachrach, Emilia. „Religious Reading and Everyday Lives“. In Text and Tradition in Early Modern North India, 413–33. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199478866.003.0021.
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Emilia Bachrach paints a vivid ethnographic picture of vārtā satsaṅgs in present-day Ahmadabad—meetings in which female members of the Vallabha Sampraday read and discuss sections of the Sampraday’s two central hagiographies, the Caurāsī vaiṣṇavan kī vārtā and the Do sau bhāvan vaiṣṇavan kī vārtā. Showing how these women use the stories of the saint’s lives to understand and navigate their own social and religious worlds, Bachrach argues that such religious reading practices are an active and productive process, providing a space for debate, interpretation, and exploration of sectarian identity.
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Dutta, Uttaran. „Portrayal of Women in Hand-Painted Visual Discourses on the Streets of India“. In De-Westernizing Visual Communication and Cultures, 125–42. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748906933-125.
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