Theses and Dissertations
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Item Open Access Log Kehte Hai!(Dhirubhai Ambani Institute of Information and Communication Technology, 2017) Sharma, Saurav; Pandya, Vishvajit & Desai, BinitaStories, folktales, myths are an integral part of any community. These stories, myths, etc. are evolved from and within the culture. In the archive of tales, there is addition of contemporary folklores. Folklores establish connections with Great Traditions, this is how little traditions are evolved and sustained in our culture. These myths, tales, oral narratives are an inseparable part of our culture, that are narrated through various forms or mediums. Eventually, these stories are absorbed into a cultures’ tradition. One finds many such myths, tales etc. which are deeply integrated into our culture. For example “Om Banna Ji” is considered a local deity in the village of Chotila, near pali district in Rajasthan. A recent and locally revered God who is worshipped to protect people from road accidents, transportation and money related concerns. In Om Banna’s temple, people worship him and his vehicle, his motorbike; and the offering made is of alcohol; a combination of traditional ideas and contemporariness can be witnessed here. This is called Apo- theo -sis” (or deification or divinization). The glorification of a human mortal subject to divine level.There is a long tradition of heroic gods in Rajasthan cultural ethos, Pabuji, Teja Ji, Dev Narayan Ji are some of the important folk gods of the region. In fact, Pabuji and Dev Narayan Ji are the most famous local gods across Rajasthan and these two gods have painted Phads. Phad is a folk art form of Rajasthan, where heroic stories and genealogies of a particular god are painted by a chitarkar. The painted phad is narrated in the form of an oral and visual story performed by the Muhkvanchi Bhats known as the Bhopa or Bhopi. The project “Log Kehte Hai” is a convergence of the various communities in Rajasthan such Phad artists, Bhats, musicians etc. creating an effective communication of the story which is part of the Rajasthani culture, from the people, by the people, and for the people. The end product of the field research is in the form of an animated film which talks about the process of myth-making, the evolution of myths, the multiple narratives that co-exist, and the relationship between little and great traditions. The visual language of the film follows the traditional phad painting style, integrating the idea of myth-making with phad making. The second part of this project constitutes the making of the film “log kehte hai” through field research. The scenario of the Om Banna’s temple, stories, and experiences of the devotees, peoples beliefs, practices, rituals, etc. are recorded. This is integrated with the visual depiction and process by the artist. The “Making of Log kehte hain” compliments and integrates the ideas or decisions that were concieved and visualized during the making of the animated film. Hence at a certainpoint, both are linked to each other yet can stand independantly.Item Open Access Stitching Stories: Art of making Chamba Rumal, Focus: Himachal Pradesh(Dhirubhai Ambani Institute of Information and Communication Technology, 2016) Badhan, Akanksha; Desai, BinitaThe embroidery art of Chamba rumal is known for its uniqueness and stitches. Also, the involvement of religion, mythology and devotion makes this art work more significant. This art is prevalent in the Northern hills from a very long period, approximately 16th century. Chamba town stands on the right bank of the river Ravi. As a former princely State, it is one of the oldest in the century. During that time rumal embroidery was not confined to Chamba only but was also done in other neighbouring regions like Bilaspur, Kangra, Jammu, Nurpur, Mandi and Basohli. But most of the rumals found by art historians belonged to Chamba and they named it as Chamba rumal. Also Chamba has its own uniqueness and style of work which makes it distinctive. These are small square, rectangular, round as well pieces of fine or coarse textile skillfully embroidered with colorful untwisted silk thread. In earlier times rumals were embroidered by women households and were used for covering offerings made to Gods and Goddesses and were also exchanged by people on auspicious occasions and festivals. Embroidered rumal also played an important role in marriage and was always kept in girl’s dowry by her parents. Folk and classical are the two categories of rumal in which classical came later and have a deep relationship with Pahari paintings. The process of making rumal starts with drawing the outlines of the theme to be used. Earlier, the drawing and embroidery both was done by women only, but later when paintings came, people started getting inspiration from it and transformed the folk style of rumal to classical. In this case, drawing of outlines was done by painters which gave the touch of sophistication and royalty to this art. Chamba rumal flourished the most in 17th century under the reign of Raja Umed Singh. But slowly and gradually, its importance and sacredness among people started becoming low. If we look at the current scenario, people of Chamba are doing this work for their survival and to earn money. Its more of a commercial object than religious. The people who came from other places buy these rumals and use them for decorative purposes. Also, the quality of work is not at all comparable to the old rumals. After the independence it was, Kamaladevi Chattopadhya who impressed by the Chamba Rumal took an interest in reviving this art form. But the revival did not continue for long. So, later the Himachal Pradesh government set up a center for promoting this art but it didn’t work because of disinterest and unwareness among the people. Then again in 1967, The Delhi crafts Council took up the challenge and started a training center in Chamba named ‘Charu’ to create awareness of this naive art among craftsmen as well as for other people. Most of the old rumals are in Museums now. Some of them are - Bhuri Singh Museum (Chamba), Baroda state museum, Kangra Art museum, Himachal Museum (Shimla), Indian Museum (Calcutta), National Museum (New Delhi), Calico Museum (Ahmedabad) and Victoria and Albert museum in London.Item Open Access Gondi art: music on canvas(Dhirubhai Ambani Institute of Information and Communication Technology, 2011) Singh, Ankita; Raje, NitinThe project attempts to create a digital experience for explaining the transitions faced by Gondi-art regarding their art forms. The purpose behind this project is to make artist and art enthusiasts, aware about the art form and its transformations. The information is to be delivered in the form of a website, which is narrowed down to the subject of art form of Gonds. This website also provides the information about the origin of Gonds and their cultural aspects. User can also view the profile of Gondi Artist who would be featured for a week, his work and his life from village to city would be explained in artisans‟ category. E-brochure and Tourist Guide are two additional elements with this website, where E-brochure would help user to browse various artist, know about them in a more clear way and contact them by their own. Tourist Guide is in its initial state, it will help users to browse the tribal place where this art is done and tourist places nearby. The presentation will combine various digital mediums like video, sound, illustration and text in a format that allows the user to explore at will. The various aspects of Gondi Painting in India and around the world, while providing the users with quick and simple access to the information they might need to know about the paintings, their stories or the music and for the tourists if they want to visit places where this art is done.Item Open Access What child art could say?(Dhirubhai Ambani Institute of Information and Communication Technology, 2009) Kaur, Abhineet V.; Pandya, Vishvajit“What child could say?” is project which intents to design a communication of public interest message for middle class urban Indians. It is to alert parents in the direction of importance of family peace and harmony. And to be sensitized to the impact of domestic conflict on there children in the family. It is a message in which a child drawn image is made to say to the adult’s world for not letting him grow in a place that is dark and unconstructive rather provides an environment which is bright and blissful for them to grow.Item Open Access Moving canvases: truck as a new medium(Dhirubhai Ambani Institute of Information and Communication Technology, 2008) Patel, Bhavesh; Sarkar, Aditi NathThe most common sight of daily life in India consists of the omnipresent truck that travels on the highways all across the nation. For everybody on the road, truck is a commonplace sign of thriving overland transport industry, and for many a momentary pause of appreciation of the wooden structures on the wheels covered with clashing motifs. A striking vision on the roads of India is the vision of truck covered in a riot of color and design. These monstrous vehicles are better known for clogging traffic then for their aesthetic qualities. There are three million trucks in India. Perhaps the biggest paradox of truck art is that despite its commonness most people do not recognize it as art. Truck art like movie banners, advertising and posters, is a popular medium that expresses the creators thoughts. It is a popular form of art that is self advertising and propagating one, which has no single artist, which is regional yet universal, which is exposed to masses. I want to look in to the concept of usage of paintings and the decorations done on the trucks in the specified domain of art. So through this project I want to show the importance of visual representation in popular culture by focusing on the decorations done on the truck. It is an attempt to go beyond the basic characterization of art and look in to how forms of art convey identity in society through this mode of visual communication.