Fabrics Used: The base fabrics used for traditional embroidery of Gujarat are mainly cotton, cotton silk and silk. Now-a-days it is done on variety of fabrics like Tassar, Crepe, Net, Georgette, etc. to give it an innovative look.
Motifs Used: The motifs are sacred or floral. Some of the most common motifs used for Gujarati work are peacock, garba dancing couple, elephant, and all traditional motifs. For Kutch and Katyawadi work motifs of birds, animals, flowers with the use of mirror work are very famous. Book covers mostly show the Fourteen Auspicious Dreams which are dreamt by the mother of each Tirthankara as she lies in a state between sleeping and waking’. In the centre is the four-armed Goddess Mahalakshmi. Below her is the dream of the ocean, usually represented by a ship in full sail. The elephant, the bull, the lion, the vase, the lotus lake, the Rosary, the moon, the sun, the celestial mansion, the heap of jewels and flames are depicted in different ways.
Gujarat Embroidered Hangings used for placing behind a priest when he delivers a sermon show inscriptions; mystic diagrams of the universe; flowers and small flowering shrubs. Apart from the gold and silver thread used for Gujarat hand embroidery work, both the Jain and Hindu work was
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This embroidery employs a hook for creating different motifs and patterns of dancing peacocks and human figures in dancing poses. Even Bandhani patterns decked with beautiful and delicate bead work is done with great artistry. People of different communities like Rabaris, Ahirs, Jats, Bharwads and Harijans in Gujarat are employed for the embroidery works that possess their own styles of embroidery. Jats and Mutuwas use cotton and quality silks to create different motifs and patterns on women's outfits. The Rabari community creates their typical embroidery work on a maroon background with the enclosed
Art originally in earlier cultures had a different purpose. Currently people create art for an aesthetic purpose for others to view in galleries, theaters, or museums creating distance for the audience. Initially art was created for purposes other than aesthetics, and people participated and interacted with the art and artist. This intertwined relationship between humans and art is especially seen in the Dineh and Wilbiri cultures. These two groups created drypaintings. People in both these groups directly interacted with the paintings instead of viewing them from a distance. Currently, there is a sense of distance instead of interaction. In these groups, humans participated directly with the artist and the art itself. In both these cultures, the people touched the drypaintings to evoke a response from the holy spirits. This physical interaction and participation with the dry paintings is termed contagion. The Dineh and the Walbiri both practiced contagion in different ways in order to evoke holy spirits because of similar religious beliefs, but their purpose for eliciting assistance from the Gods was different. Through contagion, both these cultures come into contact with the holy spirits.
The visual elements in this painting are shape, color and light. The shapes and contours of the mother and child are life like.
The ‘Green Tara 14th century’ is a metal sculpture which is about 10 inches tall and 6 inches wide. It is very precisely detailed with the clothes, head piece, earings, necklaces and other types of jewellery all intricately carved. The
The dominant line in this piece of art would have to be a straight line. To be precise, the vertical straight line is a vivid piece to this art. Within the art, you can also see shapes such as squares and rectangles. These four sided shapes are found in many different aspects of the artwork. For example, the buildings in the background are rectangles, and the border is full of rectangles and squares. The form of this art is clearly 2D, considering it is on canvas. Although, Ringgold did an amazing job at portraying a sense of 3D degression. The texture of this art is considered to be rough and clothlike. This is due to the fact that “Ringgold’s vehicle is the story quilt” within this work of art. (Spector, Nancy.) The space of this art could be described as busy. There is something new in each square of the quilt. There is also a large value change if you compare the inner middle of the artwork to the surrounding edges of it. The core of this piece of art is dark while the outside is light. The type of balance would be considered asymmetrical. There is also not a distinct pattern in this piece. Another detail to this artwork is that everything is in proportion. The only rhythm and movement found is the young girl in the sky looks as if she is flying. A strong contrast found is, again, the bright floral border compared to the dark picture inside. The pieces of this piece are bold and do not work together because they highly
There are countless stencils of popular designs. Fruit, flowers, vines and leaves are popular among the craft set. Animals, simple shapes and geometric forms and borders are also fashionable.
Although there are many types of quilting, there are three common types identified as whole cloth, piecing, and appliqué. The whole cloth technique uses only one piece of white fabric for the top of the quilt – usually, to show off the quilter’s fine stitching (Wilson 9-10). Piecing refers to sewing pieces of cloth together to make the quilt top. At first the pieces were sewn together haphazardly, but as collections of scraps grew, quilters began piecing colorful patterns together to form an accurately perfect square. Some of these had as many as 1600 small patches in a single quilt (Hechtlinger 61-62). Appliqué is the sewing of small cutout fabric shapes onto a background of another fabric laid down in a decorative design. This technique, often used to depict stories and ideas, has been used for hundreds – if not thousands – of years (Wilson 10-11). The oldest known appliquéd piece of quilted material was discovered in Asia. The floor of a Scythian chieftain’s tomb, found between 100 B.C. – A.D. 200, contained a quilted material that included finely detailed appliquéd animals. Therefore, the techniques used today in quilting are at least 2000 years old, with some of the patterns and designs being ...
India has produced provocative (From Western standards) sculptures, from Mithuna the Hindu, representation of male and female sculpture locked in a passionate embrace. During the time period of 500 through the 1300 CE, Hindu temple architecture, and sculpture reached new levels of imagination and complexity. A great example would be the Mithuna couple showed in a tight hug with the female leg crossed over the males arms wrapped around each other, and what appears to be the couple kissing, which on western standards, would exhibit a state of an erotic pose. India’s artistic ability’s showed an advanced style, when it produced the marvelous Shiva Nataraja, Lord of the dance, from southern India, Chola period, eleventh century, Bronze height 5ft surrounded by a ring of fire, Shiva dances the eternal rhythms of the universe, birth , death, and rebirth. This sculpture too, not one of eroticism, just magnificent with a women dancing inside a ring of fire, the overall size, just added to the statue, and present of this piece of art. Hindu devotional practices elevate, and promote a sculpture, to an individual’s state of looking or gazing at God’s image; Hinduism holds that God is present in its representations, thus visual contact with a sculpture is like viewing the divine. This is referred to as darshan (Literally, “seeing and being seen by the God”) the very act of beholding the image is an act of worship. Gothic design with its flare, when thinking about sculptures it leads you to the grotesque’s gargoyles waterspouts, these were grotesque figures or hybrid beasts that adorn the rooftops or flying buttresses of the Gothic cathedrals, and were said to ward off evil. The one’s adorning Notre Dame , in Paris are astonishing , Whe...
In terms of colours, the white colour dominates in this painting. It signifies purity, freedom and change. In the past the rulers have dominated over the people but now the prevailing power is in the hands of the peasants. The large green leaves, echoing the horse`s mane in the painting symbolise the revival of the human mind and notify of the arriving change in people`s lives.
The three most dominant elements are form, space, and value. The reason for this is that the inanimate or still objects in the artwork are dominantly three dimensional with illusions of depth and volume, as well as, colors or shades with light values and dark values. The three most dominant principles of design are emphasis, contrast, and balance. The reason for is this is that the artwork displays a contrast and difference towards the values and colors to direct focus and interest onto the work of art. The artwork dominantly consists of these elements and principles to emphasize the relationship and true nature between the insects, brittle leaves, fruits among the inanimate pillar draped in blue cloth.
A majority of southeastern art was lost when they were removed from their homes and moved onto reservations. It is through portable objects that were collected or bought by westerners that southeastern art survives. The main example this paper will be drawing from is a bandouliere bag titled only as Shoulder Bag made by the Cherokee people in the 1830s during the height of bandouliere bag production. It measures 20 x 23.5 cm and is currently held by the University of California in San Diego. A bandouliere bag is a bag that is worn crossbody with a large panel and a small pocket. The beadwork typically covers the strap as well as the front panel. Depending on the region the strap ends with different fringes and shapes. Almost universally, the beading pattern across the strap changes into a similar but distinctly different pattern when it reaches the top of the arch and travels back down. Most bag designs have a strong sense of balance but actively avoid symmetry. They also typically operate within a limited color pallet with certain colors being associated with different tribes. Although the most well known form for southeastern beadwork is the bandouliere bag, beadwork was also used in clothing such as belts and beaded panels. In some regions such as the Great Lakes bandouliere bags became objects to display artfully designed beadwork and lost their function as a
Weaving is a common thread among cultures around the world. Weaving is a way of producing cloth or textile. Today we have machines that weave large-scale textiles at cheap prices. Production of cloth by hand is rarely engaged in today’s Westernized societies. Not many people are thinking about how the fibers are actually constructed to make their clothes. However, in other cultures across the world the tradition of weaving still exists. By comparing three cultures that continue weaving as a part of their tradition we can see similarities and the differences between them. The reasons that each culture still weaves vary, as do the methods and materials. The desired characteristics of the cloth also vary around the world as each culture values different aesthetics.
The “Sacred Tree,” (fig. 1) was originally positioned behind the king’s throne. The scene shows two genii, sometimes with birds’ heads and sometimes with men’s heads and the horned hats of gods. Each of the winged figures holds a bucket and reaches out with an oval object toward a stylized “tree.” The composition has been read as being based on bilateral symmetry, with the vertical stalk-like structure crowned by a palmette. A meticulous examination reveals that although balanced, it has many discrepancies on both sides that deviate from perfect mirror symmetry. Ashurnasirpal appears twice, shown from two sides, dressed in ceremonial robes and holding a mace connoting his authority. The figure of the king on the right makes an invocative gesture a god in a winged disk in the top center of the relief. Ashur, the national god or Shamash, the god of the sun and justice, may be identified as the god who confers the king divine right. On the left, the king holds a ring, an ancient Mesopotamian symbol of divine kingship, in one...
In the following essay, I will be comparing and contrasting to architectural pieces by the Indians. The first is the Taj Mahal, a building constructed from white marble that took seventeen years to build in honor of Shah Jahan’s wife, Mumtaz Mahal (Z. Haq). This piece of architectural beauty belonged to the Mughal’s, the Muslim emperors in India (Z. Haq). The second is the Great Stupa at Sanchi, a holy, dome shaped structure that covers the body of the Buddha in honor of him and his contributions to Buddhism (Fischer, Julia). Furthermore, this structure was made of ruins, rocks, mud, and covered in bricks (Fischer, Julia). Both pieces of architecture are significant to the Indians, however they do contrast in some ways.
the tradition of primitive tribes. “In many cases the painting was only used to decorate
...traditions. I brought Agra rugs, Agra Marble. As the world famous Taj Mahal is made purely of Marble, it is natural that the markets must be flooded with the replicas of the Taj in marble, little stone elephants, and lovely marble coasters. Agra is also famous for leather industry, The leather workers of Agra offer shoes, slippers, sandals, purses, wallets, bags, belts, clothing, lampshades, furniture, beanbags and many more items made of leather. We can purchase for affordable prices with wide choices.