ShodhKosh: Journal of Visual and Performing Arts https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh <p>ShodhKosh: Journal of Visual and Performing Arts is a half-yearly journal of visual and performing arts, in which research papers are published in Hindi and English language. This journal combines all topics related to Arts. The main objective of the journal is to make academics, scholars and students studying all aspects of arts. Through the journal, we want to provide the form of a repository by collecting all research papers related to the subjects of all arts. And this is our main objective.</p> <p>Editor-in-chief:<br>Dr. Kumkum Bharadwaj (Associates Professor (HOD) in Fine Arts, Maharani Laxmibai Girls P.G. College, Indore, India)</p> <p>Managing Editor:<br>Dr. Tina Porwal (PhD, Maharani Laxmibai Girls P.G. College, Indore, India)</p> Granthaalayah Publications and Printers en-US ShodhKosh: Journal of Visual and Performing Arts 2582-7472 <p>With the licence CC-BY, authors retain the copyright, allowing anyone to download, reuse, re-print, modify, distribute, and/or copy their contribution. The work must be properly attributed to its author.</p> <p>It is not necessary to ask for further permission from the author or journal board. </p> <p>This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.</p> EXPLORING THE EVOLUTION AND ARTISTRY OF CALLIGRAPHY: A HISTORICAL ANALYSIS FROM THE 9TH TO 19TH CENTURY IN INDIAN HISTORY https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1403 <p>This study explores the evolution and artistry of Indian calligraphy from the 9th to the 19th century through a thematic analysis of relevant literature. Tracing changes in scripts, styles, and cultural influences, the research delves into the dynamic interplay of artistic techniques and socio-cultural impact shaping Indian calligraphy over time. Drawing insights from diverse sources spanning from ancient Indian calligraphy from 9th to 19th century, the study illuminates the enduring legacy of calligraphy as a cultural artifact and artistic expression in Indian society. Through a nuanced examination of historical trends and cultural nuances, the research highlights the profound significance of Indian calligraphy as a testament to the artistic prowess and spiritual depth of its practitioners. The study concludes by emphasizing the importance of preserving and promoting India's calligraphic heritage for future generations, ensuring its continued appreciation and relevance in the ever-evolving cultural landscape.</p> Garima Copyright (c) 2024 Garima https://creativecommons.org/licenses/by/4.0 2024-07-25 2024-07-25 5 2 264–270 264–270 10.29121/shodhkosh.v5.i2.2024.1403 SATYAJIT RAY AS A DOCUMENTARIAN: A STUDY ON RABINDRANATH TAGORE AND SUKUMAR RAY https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1395 <p>Satyajit Ray, renowned globally for his cinematic brilliance, also left an indelible mark as a documentary filmmaker. It is to be mentioned here that the literatures and writings on Ray’s documentary are very less in number. Ray's documentaries on Rabindranath Tagore encapsulate the multifaceted persona of the Nobel laureate, exploring his literary contributions, artistic vision, and philosophical ideologies. Through meticulous research and visual finesse, Ray elucidates Tagore's timeless relevance, weaving together archival footage and dramatic reenactments to present a holistic portrayal of the poet's life and legacy. In his exploration of Sukumar Ray, Satyajit Ray ventures into the whimsical world of children's literature and satire to commemorate the centenary birth anniversary.<br />This paper tries to discuss on documentaries made by Ray with special emphasis on Rabindranath Tagore and Sukumar Ray. Besides reviewing relevant literatures, the researchers have tried to describe two documentaries vividly. In addition to this, they also have taken insightful interviews of three literary and film scholars to understand Ray as documentarian. The interviews were analysed and conclusion have been drawn on the basis of that. The paper shows, beyond mere biographical documentation, Satyajit Ray's documentaries serve as nuanced reflections on the socio-cultural milieu of their respective times, offering profound insights into the artistic legacies of Rabindranath Tagore and Sukumar Ray. The paper serves to highlight the intricate nature of Ray's documentary legacy and its ongoing significance in influencing conversations within Indian cinema.</p> Debastuti Dasgupta Aritra Chakrabarti Copyright (c) 2024 Dr. Debastuti Dasgupta, Aritra Chakrabarti https://creativecommons.org/licenses/by/4.0 2024-07-22 2024-07-22 5 2 227–240 227–240 10.29121/shodhkosh.v5.i2.2024.1395 THE POWER OF COSTUME: DEFINING CHARACTER AND IDENTITY IN THEATRICAL PERFORMANCE https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1391 <p>This research examines the historical significance of costume design in Indian theatrical performance, focusing on its role in defining character and identity through case-based analysis. By investigating specific case studies from key historical periods and traditional Indian theater forms—Classical Sanskrit drama, Kathakali, and Parsi theater—the study explores how costumes have been utilized to convey complex character identities and cultural narratives. Each case study provides an in-depth examination of costume design practices, materials, and symbolic meanings, highlighting the profound relationship between attire and character portrayal. Drawing on primary sources such as historical texts, visual records, and contemporary accounts, this research traces the evolution of costume design in Indian theater and its impact on narrative and audience perception. Through focused analysis, the study underscores the enduring power of costume in theatrical storytelling and its significance in India's cultural heritage. This case-based approach offers comprehensive insights for historians, theater practitioners, and costume designers interested in the legacy and ongoing influence of historical costume design in Indian performance traditions.</p> Nirbhay Rana Copyright (c) 2024 Nirbhay Rana https://creativecommons.org/licenses/by/4.0 2024-07-04 2024-07-04 5 2 42–49 42–49 10.29121/shodhkosh.v5.i2.2024.1391 BWISAGU: AN ETHNIC IDENTITY OF COLORS AND FLAVOUR OF THE BODOS OF KOKRAJHAR DISTRICT, ASSAM https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1227 <p>Bwisagu is the springtime festival of the Bodo community that marks the beginning of the New Year. The Bodos belongs to the Indo-Mongolian family and they are one of the prominent indigenous tribe in Assam. The Bodos are predominantly agriculturists, and most of their religious activity, fairs, and festivals depend on agriculture. Most of the festive celebration is based on harvests, paddy planting, and the lunar calendar. Festivals are associated with dance, music, and food items, which are part of their cultural identity. The Bwisagu festival is associated with the Bihu festival of the Assamese people. There are many rituals and ceremonies associated with the Bwisagu festival that are performed before and after the celebration of festivals.<br />Bwisagu festival holds significant importance among the Bodo community as one of the most revered celebrations. The primary focus of this research paper is to shed light on the festivities surrounding the Bwisagu festival and its evolving customs. Bwisagu, a spring festival is commemorated under different names by various Indian communities. This paper delves into the details of the Bwisagu festival, exploring aspects such as observance practices, its ties to religion and agriculture as well as the traditional attire, colour and flavour worn during this festive occasion in a comprehensive manner.</p> Dhira mani Das Narendra Singh Copyright (c) 2024 Dhira mani Das, Narendra Singh https://creativecommons.org/licenses/by/4.0 2024-07-10 2024-07-10 5 2 75–84 75–84 10.29121/shodhkosh.v5.i2.2024.1227 ANALYZING INTENTIONAL PATINATION ON INDIAN SCULPTURES IN THE CONTEXT OF AGE, IMPERFECTION AND MATERIAL HIERARCHY https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1207 <p>A layer of patina gets acquired over surfaces with the passage of time and usage. The ever-expanding definition of patina has been discussed in fields like chemistry, philosophy and aesthetics. Intentional patina is a process employed by sculptors to alter the surface of their artworks artificially without the risk of material damage. This paper aims to take a deep dive into explaining the fascination around patina. It discusses various aspects of aging, decaying, wear and tear, and alteration of visuals to explain its aesthetics. The paper takes post-modern and contemporary Indian sculptures as examples to illustrate its findings. It was found that intentional patina can undoubtedly add the context of time and environment the art was presumably exposed to. Variation in opacity, color, and texture of the patina can be used to celebrate imperfections and textures on the surface. There is also a break in the material hierarchy, choosing emotional attachment to a material over newer, polished finishes.</p> Aashu Chawla Giriraj Sharma Copyright (c) 2024 Aashu Chawla, Dr. Giriraj Sharma https://creativecommons.org/licenses/by/4.0 2024-06-28 2024-06-28 5 2 1187–1197 1187–1197 10.29121/shodhkosh.v5.i1.2024.1207 STRATEGIC USE OF EROTIC CAPITAL IN CHALLENGING PATRIARCHY: THE CASE OF KURIYEDATH THATRI AND ITS CINEMATIC REPRESENTATION IN PARINAYAM https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1181 <p>The article examines the concept of erotic capital and its use by women to fight against the patriarchal system, with a focus on the historical figure, Kuriyedath Thatri (also called Thatrikutty) from the Namboodiri community in Kerala. The study aims to understand Thatrikutty’s strategic deployment of erotic capital, which marked an end to the chastity trial of smarthavicharam within the community. Additionally, it critiques the 1994 Malayalam movie Parinayam, which is based on Thatrikutty’s life, for its lack of portrayal of erotic capital. Employing a qualitative analysis, the study begins with an overview of the condition of Namboodiri women and the concept of smarthavicharam. It then delves into how Thatrikutty used her erotic capital as a weapon against the oppressive system. Subsequently, the article shifts focus to the movie Parinayam, detailing the film’s failure to depict erotic capital. The findings reveal how women can use erotic capital as a powerful weapon to challenge patriarchal oppressions, as exemplified by Thatrikutty’s actions. The study also finds out that the lack of portrayal of erotic capital in the movie Parinayam, accounts to the attempt to suit the movie to societal thoughts, concerning the response of a wide audience.</p> Vaidehi Rajagopalan Dr. Ann Mary George Copyright (c) 2024 Vaidehi Rajagopalan, Dr. Ann Mary George https://creativecommons.org/licenses/by/4.0 2024-07-22 2024-07-22 5 2 241–254 241–254 10.29121/shodhkosh.v5.i2.2024.1181 LOK NATYAS OF RAJASTHAN: NARRATING FOLKWAYS https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1173 <p>This research looks at Rajasthani lok natyas through the lens of their narrative content. The two major natya forms- Khyals and Rammats are explicitly taken into consideration in this study. The research draws from live lok natya performances at local lok natya festivals, recordings of Khyal and Rammat performances available with private collectors or on the internet, and Rajasthani literature on this genre available in the local dialect and in Hindi. The lok natyas provide a genuine and an all-encompassing picture of folkways, aiding in the comprehension of the intricacies and wisdom of indigenous people. Reflecting the socio-cultural, political, ideological, psychological, and religious attitude of the folk, the lok natyas delve deeply into the fabric of folk life. They exhibit the folk culture, customs, dharma (the right action, a way of life), rituals and ceremonies, and folk perspective on life. Drawing inspiration from mythology and history these natyas cover a broad range of themes, including gender study, multiple truths, green ideals, communal social obligations, and dichotomies in life. There is much to learn, examine, and unpack about the lok natyas as a cultural achievement. It is important to acknowledge the universality ingrained in this cultural manifestation as well as its distinctiveness, specificity, and otherness.</p> Santosh Kanwar Shekhawat Copyright (c) 2024 Santosh Kanwar Shekhawat https://creativecommons.org/licenses/by/4.0 2024-06-30 2024-06-30 5 2 1284–1292 1284–1292 10.29121/shodhkosh.v5.i1.2024.1173 BRUSHSTROKES AND BITES EXPLORING THE ARTISTIC FUSION OF FOOD AND COLORS IN INDORE, INSPIRED BY ARTIST WAYNE THIEBAUD https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1126 <p>In a city known for its delectable street food and vibrant culinary culture, the artistry of Wayne Thiebaud, USA, has sparked an intriguing opportunity for artist Pooja Jain in Indore. This study explores the inspiration drawn from Thiebaud's iconic food paintings and the unexplored potential it offers to artists in the region. The research delves into both the conceptual aspects of creating food-themed art and the technical methods and principles that have fueled Thiebaud's success. This investigation comprises a twofold methodology: an in-depth analysis of Thiebaud’s artworks focusing on color palette, brushstroke techniques, and compositional elements, and the creation and analysis of the researcher's own paintings of Indore's street food. Additionally, a survey was conducted in Indore to capture local perceptions of the fusion of art and food. By examining Thiebaud’s thick paint strokes and bold use of color, creating original artworks, and surveying Indore’s residents about their views on food-themed art, this study aims to unearth untapped creative possibilities, fostering a dynamic conversation between the city's culinary prowess and its burgeoning art community.</p> Pooja Jain Anu Ukande Copyright (c) 2024 Pooja Jain, Dr. Anu Ukande https://creativecommons.org/licenses/by/4.0 2024-07-11 2024-07-11 5 2 122–141 122–141 10.29121/shodhkosh.v5.i2.2024.1126 TYPES AND TECHNIQUES OF HANDLOOM SAREES IN MUBARAKPUR (AZAMGARH DISTRICT) https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1094 <p>India is known for its diversified art and cultural history. In which textile art occupies a prominent place. Clothing is one of the basic needs of human beings. Day by day different types of textiles and new types of weaving techniques are being used. All over the world, handloom is playing an important role in fulfilling these needs of people. Handloom is very labor-intensive work. After the agriculture sector, the textile industry provides direct and indirect employment to millions of people. An attempt is made to show all these aspects through this research paper, the history of handlooms in Mubarakpur, the sarees, their technology, and the challenges faced by the weavers at present. This paper discusses the weaving tradition of Mubarakpur, especially the sarees made here. Mubarakpur, which is called the city of silk, is the weavers of Mubarakpur transferring their unique weaving art from one generation to the next, keeping their traditions. This research is investigating the history of handloom in Mubarakpur, and the present condition of the clothes made there. To highlight the changes taking place. What types of sarees are made in Mubarakpur? The main objective of this research paper is to investigate their technology and what types of problems weavers are facing. Skilled weavers and people of the Mubarakpur were selected for this study. In which there are both men and women. Questionnaire methods and personal interviews have been used to collect information</p> Priyanka Yadav Kiran Gupta Copyright (c) 2024 Priyanka Yadav, Dr. Kiran Gupta https://creativecommons.org/licenses/by/4.0 2024-07-22 2024-07-22 5 2 216–226 216–226 10.29121/shodhkosh.v5.i2.2024.1094 EXPLORING THE INTERSECTION OF CHROMOTHERAPY AND FASHION-FORWARD THINKING https://www.granthaalayahpublication.org/Arts-Journal/ShodhKosh/article/view/1092 <p>Chromotherapy, often known as colour therapy, has profound therapeutic, psychological, and spiritual implications that impact people's feelings, actions, and general well being. This article explores the complex interrelationship between colour and fashion, looking at its theoretical foundations, historical antecedents, and real-world applications. Chemotherapy has used colour to aid healing and harmony since ancient times. According to the field of fashion psychology, colour is essential for communicating emotional, political, and social themes as well as for defining personal style and society conventions. Textile colour symbolism represents cultural values and identities from many countries and eras, underscoring Colour's continuous significance in fashion. Furthermore, people are using colour therapy into their personal styling and wardrobe selections more and more, taking use of its psychological benefits to improve their mood and sense of self. The notion of "dopamine dressing," which highlights how clothes can elevate one's mood, highlights the healing effects of clothing colour choices. This paper provides a qualitative analysis of the topic and examines how color therapy has developed, especially with regard to photochromic dye in Textile materials. It also consists the secondary sources, the topics Swhich includes healing properties of a colour, application methods, opportunity in chromotherapy in future. This research focuses on the effectiveness of chromotherapy on textile materials through visual examination and customers questionnaires evaluating colors and their relationship with emotions.</p> Apeksha Tallam Mokanaasri E Copyright (c) 2024 Apeksha Tallam, Mokanaasri E https://creativecommons.org/licenses/by/4.0 2024-06-29 2024-06-29 5 2 1219–1246 1219–1246 10.29121/shodhkosh.v5.i1.2024.1092