Random Creativity Articles http://www.articletrader.com/ Articles at ArticleTrader en-us Cloaks and illusions http://www.articletrader.com/self-improvement/creativity/cloaks-and-illusions.html http://www.articletrader.com/self-improvement/creativity/cloaks-and-illusions.html Wed, 23 Jul 2008 00:00:00 -0500 Wizardhat Deals
is where I be pleased outlay much my pace throughout the hot summer. So when jump comes I’m fit with my junior hold back and unbeliever materials. I am having an awash run fest stag this descend around Day and I have established all the pagan
supplies
I desire like some overbearing leaving magician supplies and polished make tricks. I sound in an accommodation called Town Algonquin and where I inaugurate my pattern house has big gatherings where everybody celebrates tumble and we have roast outs, claptrap and playoffs such as conjuring tricks and select tricks. I ever solve inhabitants to go to Wizardhat Deals for all the moralistic machine. You see creature is for dole out so there is no significant what you mission treasure trove adjacent. Everybody can profession idolater goods such as cloaks and shingle so you lechery forever button down late part. You can encounter the outstanding characteristic charmed tricks too because most effigy magicians ofttimes some up with there have tricks to endow. I am always adjudicature material handsome at Enchanter Boater Deals like started I begin this eyeful fancy stifle that looks sooo puffed up. I can’t remain to bear it at our eventual plight. I have finished almighty a slab of online shopping for magician tricks stores and select equipment and I can candidly blow open that most of these shops sell entreaty crapat purely in charge prices, but at Wizardhat Deals it’s contrary, becase of the online mart set of the way it’s beiong gone you right won’t distinguish what youll place. I’m live you gotta go into it out You are animation to awww out when you find out how for instance and slake the idolater materials are like.

--

Where has all the illusions gone? I can help you find the way.



Source: http://www.articletrader.com ]]> Games - Stimulating the Minds http://www.articletrader.com/self-improvement/creativity/games-stimulating-the-minds.html http://www.articletrader.com/self-improvement/creativity/games-stimulating-the-minds.html Wed, 03 Oct 2007 00:00:00 -0500
In the 1960s a neuro-anatomist by the name of Maria Diamond and her fellow researchers at the University of California, Berkeley found that rats playing with toys – object that can be tossed, sniffed or chewed at, learned to traverse mazes better than others that were confined to their cages.
When she checked their brains, she found out that the ones that were given toys to play with had a significantly thicker cerebral cortex – the part of brain largely responsible for thinking.

Based on this experiment, these researchers believe that people who challenges their mind will be able to build reserve brainpower that will be useful as they get older.

In another test, scientists also discovered that game playing also helps students with other kind of learning. Stuart Margulies, a New York psychologist had showed in his experiment that kids aged eight to nine who played chess for more than half an hour a day performed better than those who do not in their reading tests.

In University of Wisconsin, scientist even admit that video games could also be useful for the brain. Experiments conducted by James Gee, a professor of learning sciences believe that there are some cognitive benefits of playing games: pattern recognition, system thinking, even patience. He also concluded that gaming can exercise the mind the way physical activity exercises the body:

Although the above experiment seemed to be useful as an excuse for video gamers out there, most scientists and psychologist believe there are some problems with pc or video games. They believe these games lack nonverbal cues and digression compared to the traditional board games. The board games they believe help build healthy relationship, provide a sense of companionship as well as contributing to social intelligence.

The board games suggested for students are games that can stimulate their thinking process as well as one that involves face to face interaction with others. Games like chess, monopoly and other similar genre games are considered perfect choices. Apart from such games, scientists also believe that crossword puzzles, brain twisters or bridge tournaments can also help one toughen the brain cells.

So, what are you waiting for? Switch off your first person shooting game and start looking for your old monopoly board and start playing to get your brain into tip-top shape.

--
Students, get pumped up with inspirational quotes for students as well as inspirational goal quotes to achieve success in life!

Source: http://www.articletrader.com ]]> winners of 2008 pulitzer prize were announced http://www.articletrader.com/self-improvement/creativity/winners-of-2008-pulitzer-prize-were-announced.html http://www.articletrader.com/self-improvement/creativity/winners-of-2008-pulitzer-prize-were-announced.html Tue, 08 Apr 2008 00:00:00 -0500 ------------------------------------------------

The 92nd annual Pulitzer Prize Board has announced the list of 2008 winners with the WP on top and the NYT as the second biggest winner.

The prize for Public Service is awarded to the Post for the work of 'Dana Priest', 'Anne Hull' and photographer 'Michel du Cille' in exposing mistreatment of wounded veterans at Walter Reed Hospital, evoking a national outcry that led to reforms by federal officials.

The Washington Post Staff are distinguished for exceptional, multi-faceted coverage of the deadly shooting rampage at Virginia Tech, telling the developing story in print and online.

Two Prizes of $10,000 each are granted to two Investigative Reportings by The Chicago Tribune Staff and the New York Times.

Walt Bogdanich and Jake Hooker of The New York Times received the Pulitzer Prize for their stories on toxic ingredients in medicine and other everyday products imported from China, leading to crackdowns by American and Chinese officials.

The Chicago Tribune Staff are the distinguished winner of the Pulitzer Prize for its exposure of faulty governmental regulation of toys, car-seats and cribs, resulting in the extensive recall of hazardous products and congressional action to tighten supervision.

Amy Harmon of The New York Times gained the prize of Explanatory Reporting for her striking examination of the dilemmas and ethical issues that accompany DNA testing, using human stories to sharpen her reports.

The Pulitzer Prize awarded the prize of Local Reporting to David Umhoefer of the Milwaukee Journal Sentinel for his stories on the skirting of tax laws to pad pensions of county employees, prompting change and possible prosecution of key figures.

Pulitzer believes the lucid exploration of Vice President Dick Cheney and his powerful yet sometimes disguised influence on national policy by the Post's Jo Becker and Barton Gellman is worth of winning the prize for National Reporting.

Steve Fainaru, another journalist of The Washington Post receiveed the prize of International Reporting for his heavily reported series on private security contractors in Iraq that operate outside most of the laws governing American forces.

Pulitzer awarded its Feature Writing to Gene Weingarten of The Washington Post for his chronicling of a world-class violinist who, as an experiment, played beautiful music in a subway station filled with unheeding commuters.

Pulitzer granted it prize for Commentary to Steven Pearlstein of The Washington Post for his insightful columns that explore the nation's complex economic ills with masterful clarity.

Mark Feeney of The Boston Globe was awarded the prize for Criticism for his penetrating and versatile command of the visual arts, from film and photography to painting.

The selecting board of the Pulitzer Prize found that none of the nominees qualified for Editorial Writing award.

Michael Ramirez of Investor's Business Daily won the prize of Editorial Cartooning for his provocative cartoons that rely on originality, humor and detailed artistry.

The Pulitzer board awarded its Breaking News Photography prize to Adrees Latif of Reuters for his dramatic photograph of a Japanese videographer, sprawled on the pavement, fatally wounded during a street demonstration in Myanmar.

The Feature Photography prize was given to Preston Gannaway of the Concord (N.H.) Monitor for her intimate chronicle of a family coping with a parent's terminal illness.



--
Jene Duffer is a prolific author who specializes on alternative views on a variety of topics.

Source: http://www.articletrader.com ]]> Gift Packaging Tips for your Gifts http://www.articletrader.com/self-improvement/creativity/gift-packaging-tips-for-your-gifts.html http://www.articletrader.com/self-improvement/creativity/gift-packaging-tips-for-your-gifts.html Sat, 19 Jul 2008 00:00:00 -0500
1) First of all buy labels to put on your gifts. You do not want it to be an anonymous gift and it would be outright silly to send a gift without the name of the sender unless the receiver knows you well, and will be able to guess who sent the gift. You can also add instructions on how to use the gift.

2) There are a host of attractively shaped jars and bottles which you can buy off the shelf. They are moderately priced too. You could also add a bit of decoration yourself. Paper decorations are best. To do this, cut a circle out of fancy paper larger in circumference than the jar. Tie it in place with bright ribbons.

3) For gifting cakes and pastries, shop for plates at flea markets or bargain stores. You will be able to get them there at throwaway prices.

4) Large coffee mug are also quite handy as gift containers. Place the dish that you have prepared in the coffee mug. Place the mug on colored paper and collect the ends of the paper on the top. Tie it at the top with a ribbon, making a fancy knot.

5) Metal tins are also a good option to pack food gifts. They are available in various shapes, sizes and colors. Place tissue paper on the inside of the tins before filling in the food items.

6) Packaging food gifts in baskets is a good idea too. They can be painted or decorated with colored linen. Nowadays they are available in a type and material which is convenient to be placed in an oven.

7) You could also place the food item in a gift bag. They are quite inexpensive and as they are plastic coated, they are suitable to pack foods which are watery or moist. Use colored paper to wrap the bags and put a fancy label on the top.

8) Nowadays you also get plastic containers with lids, which are available in attractive colors. Drape a colored paper around the container and stick it with glue.

9) If you have saved empty food cans for use later on, now is the time to use them. Wash the insides of the can and let it dry. Wrap decorative paper around the outer side of the can. They are ideal for filling cookies, nuts or candies.

10) Finally placing a miniature kitchen item on the gift will be like the icing on the cake. A small measuring spoon will look good on the packing.


--
About the Author
For more useful tips & hints, please browse for more information at our website :-
http://www.reprintarticlesite.com
http://www.offlinepromotion.reprintarticlesite.com


Source: http://www.articletrader.com ]]> If there is a reliable creative tool it is mindmapping http://www.articletrader.com/self-improvement/creativity/if-there-is-a-reliable-creative-tool-it-is-mindmapping.html http://www.articletrader.com/self-improvement/creativity/if-there-is-a-reliable-creative-tool-it-is-mindmapping.html Thu, 11 Oct 2007 00:00:00 -0500
Although all of us are inherently creative, some are born creative genius. Creativity is known to be a ‘Right’ brained activity. The right brain qualities typically include imagination, risk taking, creativity, artistic abilities, highly philosophical orientation, etc. Creative people display certain common traits such as risk taking, rebellion, absent-mindedness, humor, focused, preoccupied, determined, and so on.

Creativity has no limits. However, we hardly explore the full potential of our creativity. We prefer to think and work along familiar patterns because any out of the box thinking calls for added effort, concentration and focus. But there are ‘programmed thinking’ methods such as Attribute Listing, Morphological Analysis, Reframing Matrix and other methods that can tap into our creative skills. They force you to look for solutions outside the conformed pattern and help explore new avenues of thinking.

Another well-known method is using ‘lateral thinking’ methods such as Brainstorming, Random Input and Provocation. It involves breaking free from the familiar thinking patterns and seeking new ways of perceiving things. The basic requirement in lateral thinking is the need to suspend judgment and criticism so ideas and concepts are given a free flow. Using all these methods can help in improving your creative skills.

Another simple and an effective technique that is steadily gaining momentum is the use of Mindmapping method. Mindmapping is a simple and highly efficient device for use in a great range of cognitive skills. For learning, note taking, memory, listing, recall, review, brainstorming, attribute listing, morphological analysis, reframing matrix, and in a range of other activities, Mind Maps serve as an immensely useful tool.

As the essence of Mind Mapping is built to stimulate thinking, association and imagination, it is a great tool for stoking creativity. It taps into the unconscious mind using the language of symbols, pictures, non- linear text, etc, and brings them to the surface.

Mindmapping lends itself greatly to all cognitive activities and is an ideal medium for enhancing your creative abilities. You can apply the mindmap technique under various situations and hence is of great practical value. It is only by using mindmapping that the full impact of the power of the technique will come through.


--
http://www.avezah.com/


Source: http://www.articletrader.com ]]> Self-Tutoring in French http://www.articletrader.com/self-improvement/creativity/self-tutoring-in-french.html http://www.articletrader.com/self-improvement/creativity/self-tutoring-in-french.html Sun, 22 Jun 2008 00:00:00 -0500
Watch French movies. Yes, the world of multi-media has long been upon us so you might as well make it educational. You can start out by watching French films with the subtitles in English (or in your preferred native language if they have it) and then eventually move on to watching French films in their original French. With enough movies, you'd actually be surprised at how well you can follow the storyline even without understanding most of the dialogue. And you'll find yourself picking up phrases, and even sentences in French that will help you. Besides, French films are said to be quite good, and who knows, you might learn more than just language by watching them.

You know how sometimes, even when you don't like a song but you hear it often enough, you realize you've memorized it already? That's right. The next tip is to listen to French music. Choose the songs that have lyrics, of course. Begin by using one album, or even just three to five songs. Keep the CD in your stereo at home, download it onto your handy music players and play them as often as you can. You can even keep them on while you're asleep and your subconscious will continue picking it up. When you think you've had just about enough of the songs, you'll find out that you can sing them out loud, word for word. Make sure you brush up on what the songs mean before you start this project, though.

Go to a restaurant. Ask for the menu and practice saying the dish and drink names quietly. Order in French, if you can, or ask your waiter how to pronounce the items you aren't sure about. While waiting or while eating (unless you're with friends), you can read a book in French. Sure, you probably won't understand most of it and you'll end up asking yourself what exactly happened, but it's good for your vocabulary. Make sure you have a handy French dictionary with you so you can look words up as you read.

One of the best things you can do is to find someone else aside from your tutor who speaks French. It has been an observation that language-learning happens best when students have the chance to practice what they are being taught. If you happen to know another person who is learning French, try getting him or her to talk to you in French, even for the most mundane things like asking each other about the weather or how to go to the restroom. Using the French you are learning in your daily life will help you a lot to remember it for a longer period of time, plus you get to exercise your tongue as you pronounce French words.


If you want an actual French tutor, or are looking to teach French, visit www.frenchtutors.net


--
Freya is an avid movie fan and travel writer who contributes for sites like www.Marconibeach.com and www.yardville-groveville.com

Source: http://www.articletrader.com ]]> How you Win Photography Contests online http://www.articletrader.com/self-improvement/creativity/how-you-win-photography-contests-online.html http://www.articletrader.com/self-improvement/creativity/how-you-win-photography-contests-online.html Mon, 02 Jun 2008 00:00:00 -0500 These days, with the advancements in technology, more and more people are buying cameras. It’s very easy to own one because of the improvements in ease of use and maintenance. We don’t have to buy rolls of film just to use a camera. It’s also easier to take great pictures, because we can preview the image that’s going to be taken and if it’s not up to standard, it can be deleted in just a press of a button. No film is wasted, and the photos come out as we want them.

It’s normal practice to bring a camera everyday, especially those that are compact and lightweight. This is so that every important moment is captured and thus, preserved throughout time. With this in mind, more and more people are getting interested in photography and enjoying it. Even non-professional photographers can take very good pictures, and there shouldn’t be any surprise if there are more people who join photography contests, whether it’s for the prize, the recognition, or just for fun.

If you’re one of the many people who enjoy photography, and someday you hope to enter and win a contest, here are some photography contest tips and advice:

  • Follow all the rules of the contest

There is always a different set of rules for every contest, and you should be aware of them first and foremost. Familiarize yourself with them and follow them to the letter. You might not understand why some rules are there, but don’t assume you can just disregard them. They are there for a reason. It’s better to follow the rules rather than have your work returned to you because you did not follow the rules.

  • Research on past entries

Researching on past winning entries will help you learn more about the contest that you want to join and its standards. If you know more about the standards and the judges’ basis for a good photograph, you’ll have a better edge against the other contestants. You also might get inspired from studying the past entries.

  • Study the categories

There are different categories in every contest, and you must consider the requirements of each category before submitting an entry under the category that you’ve chosen. Your photograph should be focused on the category’s topic. Many entries get disqualified for not following the requirements, and it’s sad because the photographer may be talented, but the entry is not even seen by the judges because of a technicality. For example, there are categories that might require your picture to have a few items at the background of the photograph’s main focus. One missing item may hurt your chances in the contest.

  • Consider your work with a critical eye

You might have a photograph that you’re really fond of. You might even consider it as your best, because of its meaning to you. Remember, your contest entry will be judged by many different people who are strangers to you. They don’t know the story and circumstances behind your favorite work, and they don’t care. They are also given a set of guidelines in choosing entries, and each of them has unique standards. If you want a good chance of winning, better submit photographs that are good on all technical factors. For your entry to stand out, your subject should be doing some actions. A subject that is doing something is more noticeable and has more depth compared to a subject that is on a pose.

  • Send only your best work

There are contests that allow multiple entries, and if you plan on submitting more than one entry per category, it’s better to submit just a few of your best work, rather than submit a lot of entries that include a few decent, but lackluster, photographs. This is to protect how the judges think of your best photograph. If you include a few second-rate photographs, chances are the judges’ opinion on those photographs might dampen their opinion on your best entry. Instead of your best photograph standing out, it might get buried under the mediocre ones.

It’s easier now to take pictures, and it’s even easier to prepare for a contest if you only study how. Apply these photography contest tips and advice, and improve your chances of winning a photography contest.



--

David Cross is a Photographer and Photography enthusiast who runs the site Hobby Photography, where he also posts regulary about Kirlian Photography among other things.



Source: http://www.articletrader.com ]]> How To Apply Temporary Tattoos http://www.articletrader.com/self-improvement/creativity/how-to-apply-temporary-tattoos.html http://www.articletrader.com/self-improvement/creativity/how-to-apply-temporary-tattoos.html Tue, 06 Jan 2009 04:03:29 -0600 transfer tattoos for different parts of your body are absolutely temporary & painless!

Directions:
• Skin should be clean & free from oil, dust and make up.
• Apply on any part of your body.
Warnings:
• Avoid using on sensitive & allergic skin.
• Don’t use tattoos too close to the eyes or any other sensitive parts on your body.
• Tattoo machines aren't always the best option!
• Don't prick at the tattoo!

How to Apply Your Water Transfer Tattoos

These decorative water transfer tattoos for your body are temporary, to suit the occasion, you want to flaunt your tattoos on!
• Determine a good spot (forearm or anywhere on body), somewhere that doesn't bend a lot. To place the tattoo, please consider the tattoo’s size, design and purpose.
• Clean your skin(where you want to place the tattoo) thoroughly with soap and water (or alcohol), and dry off. It is extremely important the application area be clean, non greasy & air dry !!
• Skin patch where the tattoo is going to be placed must not be twisted or stretched. The more hairless the skin, the better. Shave/wax if necessary.
• Apply water, with the help of a washcloth onto tattoo backing and make sure that the entire design is covered...wait for 30-40 seconds.
• It is best to have your buddy apply the tattoo so it will be rightly positioned and also your skin is not twisted.
• Lift corner slightly to see if tattoo is getting transferred.
• Slide paper gently aside if it is transferred well. Start from a corner, peel half way, and then finish with the opposite corner.
• Rinse gently with warm water to remove the extra glue.
• Make sure not to twist or stretch your skin until the tattoo has set (at least ten minutes ).
• You may choose to follow the design as it is, or create your own thing by applying many different tattoos together.
• If you use any body lotions or creams, avoid applying them to the Tattoos, as it may come off accidentally.
• Tattoos can last between 2 days and 3 weeks, usually 4-8 days. This will depend on factors such as skin type, destination, and proper care.
Handy Tips:
• Smaller tattoos are usually easier to maintain because there's lesser chance of it being damaged when you remove the tattoo backing paper!
• If you're very new to using body art, don't be scared of failing because everything needs practice.
• Let your tattoo air-dry before wearing anything on top of it, touching it, or bending.
To remove...use baby oil/lotion, rub alcohol or masking tape


--
Niraj Gera is the Director of Tattoo Bug. Over the years, Tattoo Bug (tattoo suppliers , temporary tattoo manufacturers) has created longstanding values of quality, exclusivity and excellence in service that has made a great impact in the world of tattoos. Each & Every tattoo from our remarkable collection is designed and made with quality and impeccable style in mind. Our design team has created a wide range of designer tattoos committed to bringing you the tattoos that best expresses your way of life.

Source: http://www.articletrader.com ]]> On the Recognition of Art http://www.articletrader.com/self-improvement/creativity/on-the-recognition-of-art.html http://www.articletrader.com/self-improvement/creativity/on-the-recognition-of-art.html Mon, 05 May 2008 00:00:00 -0500
For the most part, the academe that have declared themselves the guardians of art, those who have dedicated themselves to the study of what makes things artistic, have attempted to explain to the apparent laymen the difference between true quality of art and “utter garbage”. In doing this, they may have ended up intellectualizing something that may very well simply be an inexplicable reaction – after all, certain pieces of art are thought to be art simply because they are liked. And often, reasons for liking things are very much unclear.

Nowadays, more and more people have come to accept the idea that what makes or breaks a work of art does not necessarily need the opinion of so-called experts backing it up. It does not need the name of an acclaimed artist for it to be truly valuable (for what is the name of the artist but a brand name for, say, a painting?). What it DOES need is that innate quality that brings out a reaction from people. That is not to say that a piece of art is to have a message or meaning that is meant to change the world, oh no. Art is expressive, it expresses feelings – feelings related to thoughts, feelings related to actions, feelings related to events. And art shares those feelings, shares them in ways that are universal.

Nowadays, there are so many people expressing themselves – especially over the world wide web. They would write journals, post photographs that they have taken, share art or comics that they have edited or drawn using graphics technology. In fact, one can argue that certain layouts of web domains can be considered works of art in that they reflect all that their designers wish to express. There is a whole well of creativity springing with fresh water in the internet, and the prospect of discovering even more ways of being artistic is rather exciting to think about.

Still, the more traditional patrons of the arts are rather hesitant to recognize the fruits of digital artistry. No matter how moving the result are, or how amazing they may be, traditionalists are loathe to admit that anything that could be found over the internet (save for digital copies of supposed classic art or art rendered in the traditional manner) could be anything but inferior attempts at art. The idea that some wonderful gems that could be found on websites like, say, DeviantArt or Flicker would be dismissed simply because they were found on the internet is rather frightening. Even more disappointing is the fact that web designs are simply written off because they do not fall under the traditional categories of art is also rather devastating to think about.

It makes one wonder why one needs the help of experts when recognizing art – do they really need such technical skill? Do they really need to be part of a certain ideal of artistry for them to be thought of as artistic? On the other side of the coin, does one really need to be avant-garde to be thought of as an artist – could a simple photograph of a man's silhouette against a backdrop of sunrise scanned and subtly altered to enhance contrasts not be capable of artistry, not be capable of moving people to tears?

Sure, there are more experts who are embracing this new approach to art, but more still who are uncomfortable with the notion of finding art in something unfamiliar.

--
Elea Almazora, contributor to Alarte.Com

Elea Almazora currently works as a contributor to many information-based websites, writing about many subjects ranging from culture to sciences.

For more information related to this article, please visit Alarte.Com

Source: http://www.articletrader.com ]]> Indian Art and Architecture and its relation to Indian Music http://www.articletrader.com/self-improvement/creativity/indian-art-and-architecture-and-its-relation-to-indian-music.html http://www.articletrader.com/self-improvement/creativity/indian-art-and-architecture-and-its-relation-to-indian-music.html Thu, 17 Aug 2006 00:00:00 -0500
This term paper in particular focuses on the visual arts and architecture in relation to their influence on Indian music. Indian art is highly symbolic. The much-developed ritual-religious symbolism presupposes the existence of a spiritual reality that, being in constant touch with phenomenal reality, may make its presence and influence felt and can also be approached through the symbols that belong to both spheres. The art and architecture produced on the Indian subcontinent dates back to the 3rd millennium BC. Therefore from that alone it can be determined as to how culturally influenced it must have been. To Western eyes, Indian art can appear strikingly ornate, exaggeratedly sensuous, and voluptuous. A strong sense of design is also characteristic of Indian art and can be observed in its modern as well as in its traditional forms.

Indian art is religious inasmuch as it is largely dedicated to the service of one of several great religions. It may be didactic or edificatory as is the relief sculpture of the two centuries before and after Christ; or, by representing the divinity in symbolic form (whether architectural or figural), its purpose may be to induce contemplation and thereby put the worshipper in communication with the divine. Not all Indian art, however, is purely religious, and some of it is only nominally so. There were periods when humanistic currents flowed strongly under the guise of edificatory or contemplative imagery, the art inspired by and delighting in the life of this world.

Although Indian art is religious, there is no such thing as a sectarian Hindu or Buddhist art, for style is a function of time and place and not of religion. Thus it is not strictly correct to speak of Hindu or Buddhist art, but, rather, of Indian art that happens to render Hindu or Buddhist themes. For example, an image of Vishnu and an image of Buddha of the same period are stylistically the same, religion having little to do with the mode of artistic expression. Nor should this be surprising in view of the fact that the artists belonged to nondenominational guilds, ready to lend their services to any patron, whether Hindu, Buddhist, or Jaina.

The religious nature of Indian art accounts to some extent for its essentially symbolic and abstract nature. It scrupulously avoids illusionistic effects, evoked by imitation of the physical and ephemeral world of the senses; instead, objects are made in imitation of ideal, divine prototypes, whose source is the inner world of the mind. This attitude may account for the relative absence of portraiture and for the fact that, even when it is attempted, the emphasis is on the ideal person behind the human lineaments rather than on the physical likeness.

To be properly understood, the art of India must be placed in the ideological, aesthetic, and religious framework of Indian civilization. This framework was formed as early as the 1st century BC and has shown a remarkable continuity through the ages. The Hindu-Buddhist-Jain view of the world is largely concerned with the resolution of the central paradox of all existence, which is that change and perfection, time and eternity, immanence and transcendence, operate dichotomously and integrally as parts of a single process. In such a situation creation cannot be separated from the creator, and time can be comprehended only as eternity. This conceptual view, when expressed in art, divides the universe of aesthetic experience into three distinct, although interrelated, elements—the senses, the emotions, and the spirit. These elements dictate the norms for architecture as an instrument of enclosing and transforming space and for sculpture in its volume, plasticity, modeling, composition, and aesthetic values. Instead of depicting the dichotomy between the flesh and the spirit, Indian art, through a deliberate sensuousness and voluptuousness, fuses one with the other through a complex symbolism that, for example, attempts to transform the fleshiness of a feminine form into a perennial mystery of sex and creativity, wherein the momentary spouse stands revealed as the eternal mother.

The Indian artist deftly uses certain primeval motifs, such as the feminine figure, the tree, water, the lion, and the elephant. In a given composition, although the result is sometimes conceptually unsettling, the qualities of sensuous vitality, earthiness, muscular energy, and rhythmic movement remain unmistakable.

The form of the Hindu temple; the contours of the bodies of the Hindu gods and goddesses; and the light, shade, composition, and volume in Indian painting are all used to glorify the mystery that resolves the conflict between life and death, time and eternity.

The arts of India expressed in architecture, sculpture, painting, jewelers, pottery, metalwork, and textiles, were spread throughout the Far East with the diffusion of Buddhism and Hinduism and exercised a strong influence on the arts of China, Japan, Myanmar (formerly Burma), Thailand, Cambodia, and Java. These two religions with their various offshoots were dominant in India until Islam became powerful from the 13th to the 18th century. With Islam, which forbids the representation of the human figure in religious contexts, geometrical patterns became the most common form of decoration in art and architecture created under India’s Muslim rulers, especially the Mughals.


The earliest surviving Indian architecture consists of brick buildings. While early wooden structures have generally not survived, later stone buildings, built in a similar style, are known. The oldest traces of architecture in India are the vestiges of buildings of burnt brick found at Mohenjo-Daro and Harappa (now in Pakistan), dating from about 2500-1750 BC. The subsequent Vedic period, which precedes the beginning of historical styles, is represented by burial mounds at Lauriya Nandangarh, in Bihâr State, and rock-cut tombs in Malabar, Kerala State.

The establishment of historical styles began about 250 BC in the time of the Indian king Ashoka, who gave imperial patronage to Buddhism. Accordingly, the monuments of this time were built for Buddhist purposes. A characteristic Buddhist construction was the tope, or stupa, a hemispherical or bell-shaped masonry monument, typically surrounded by a railing, and with four entrances marked by gateways, and designed as a shrine or reliquary. Buddhism waned after the 5th century as Hinduism and Jainism became dominant. The Jain and Hindu styles overlapped and produced the elaborate allover patterns carved in bands that became the distinguishing feature of Indian architecture. The Jains often built on a gigantic scale, a marked feature of their architecture being pointed domes constructed of level courses of corbelled stones.

The Hindu style is closely related to the Jain style. It is divided into three general categories: northern, from AD 600 to the present; central, from 1000 to 1300; and southern, or Dravidian, from 1350 to 1750. In all three periods the style is marked by great ornateness and the use of pyramidal roofs. Spire-like domes terminate in delicate finials. Other features include the elaborate, grand-scale gopuras, or gates, and the choultries, or ceremonial halls. The next style that remained dominant was that of the Islamic era. Islamic architecture in India dates from the 13th century to the present. Brought to India by the first Muslim conquerors, Islamic architecture soon lost its original purity and borrowed such elements from Indian architecture as courtyards surrounded by colonnades, balconies supported by brackets, and above all, decoration. Islam, on the other hand, introduced to India the dome, the true arch, geometric motifs, mosaics, and minarets. Despite fundamental conceptual differences, Indian and Islamic architecture achieved a harmonious fusion, especially in certain regional styles.

Indo-Islamic style is usually divided into three phases: the Pashtun, the Provincial, and the Mughal. Examples of the earlier Pashtun style in stone are at Ahmadabad in Gujarat State, and in brick at Gaur-Pandua in West Bengal State. These structures are closely allied to Hindu models, but are simpler and lack sculptures of human figures. The dome, the arch, and the minaret are constant features of the style. The Provincial style reflected the continued rebellion of the provinces against the imperial style of Delhi. The best example of this phase is in Gujarat, where for almost two centuries until 1572, when Emperor Akbar finally conquered the region, the dynasties that succeeded one another erected many monuments in varying styles. The most notable structures in this phase are found in the capital, Ahmadabad. The Mughal phase of the Indo-Islamic style, from the 16th to the 18th century, developed to a high degree the use of such luxurious materials as marble. The culminating example of the style is the Taj Mahal in Agra. This domed mausoleum of white marble inlaid with gemstones was built (1632-1648) by the Mughal emperor Shah Jahan as a tomb for his beloved wife. It stands on a platform set off by four slender minarets and is reflected in a shallow pool.

Building in India since the 18th century has either carried on the indigenous historical forms or has been modelled after European models introduced by the British. Numerous examples of Western styles of the 18th, 19th, and 20th centuries may be seen in public buildings, factories, hotels, and houses. The most outstanding example of modern architecture in India is the city of Chandîgarh, the joint capital of Haryana and Punjab; the city was designed by the Swiss-born French architect Le Corbusier in collaboration with Indian architects. The broad layout of the city was completed in the early 1960s. Notable architectural features include the vaulted structure, topped by a huge, concrete dome, and the use of concrete grille and bright pastel colours in the Palace of Justice; the arrangement of concrete cubes topped by a concrete dome that is the Governor’s Palace; and the use of projections, recesses, stair towers, and other contrasting elements to break the monotony of the long façades of the secretariat building, which are 244 m (800 ft) long. Modern Indian architecture has incorporated Western styles, adapting them to local traditions and needs—as in the design of the railway station at Alwar, Rajasthan State.

The next most important aspect of Indian culture is Indian Music. It is an element that forms an integral part of their religion in addition to the culture. Dance in fact is an expression of that music and that too has religious importance in Hinduism. However one other important issue to consider is that the art and the architecture of the land were greatly influenced by religious beliefs and customs, as has been seen especially by the Buddhist and Islamic religions. The same is true for the music. That too was greatly influenced by religion. In fact the first forms of music were religious hymns and ballads called bhajans. They were songs sets to musical instruments such as the sitar and table and they were stories about religion and mythology.

Just as there is no such language as Indian, but instead many hundreds of languages, with over a dozen considered major, so there is no single entity as Indian music. The range of musical styles and traditions in the subcontinent of South Asia, which comprises modern India, Pakistan, Bangladesh, Nepal, and Sri Lanka, is in proportion to the vastness of the geographical area and the density of population. This is most obviously the case with folk and tribal music. Given that India is predominantly rural, it could be claimed that such categories of music are those of the majority. On the other hand, the rapid development of communications and wider access to the mass media have helped to create what is almost, despite the language differences, a pan-Indian popular music, recorded and disseminated electronically. This emanates from the Indian film industry, the largest in the world, of which the products tend to adhere to formulaic devices, including many songs and dances.

What is usually understood by the term Indian music refers to the classical tradition, based on the melodic system of raga and the rhythmic system of tala. This music is traced back thousands of years to the vedic chants of the early Hindu settlers, though it has reached its present form in the last four or five hundred years. Its development over almost the last two thousand years has been documented in a series of theoretical treatises, mostly written in Sanskrit, which enhance its status, whether they elucidate or obscure its actual practices. The word commonly found in Sanskrit for music is sangit, which denotes the primacy of vocal music, with instrumental music largely derived from it, and dance as a further integral element. Although it is not expected that musicians will be dancers, it is still vital that dancers be musicians. Muslim invasions and the establishment of the Delhi Sultanate in the 13th century and the Mughal Empire in the 16th century in the northern part of the subcontinent greatly contributed to a bifurcation of classical music by the 16th century into a northern tradition of Hindustani music, and a southern tradition of Carnatic music, and a gradual shift in both from religious application to a courtly entertainment. Both retain their basis in raga and tala and share many other general features, though they are sufficiently different in detail to necessitate separate training. Since independence from British rule in 1947 and the demise of the princely courts, Indian music has moved to the concert hall, the recording studio, and the world stage.

Hindustani Music is the classical tradition of the northern part of the Indian subcontinent, including Pakistan, Bangladesh and, to some extent, Afghanistan. It also corresponds to the area of Indo-Aryan languages and the greatest concentrations of Muslims within a predominantly Hindu region. Many of its characteristics are traced back to the court poet and musician, Amir Khusrou, at the end of the 13th century. From his accounts, and from treatises by other authors, it is clear that the Indian music of that time was already highly sophisticated, and he is said to have introduced several Arabic and Persian elements. This process continued under subsequent rulers, especially the Mughal Emperor Akbar in the late 16th century, whose court boasted the legendary singer, Tansen, and the later Mughals and regional rulers in the 18th and 19th centuries.

Under their patronage music became a matter of prestige, and there was intense rivalry between courts and between the musicians themselves. Repertoires were often jealously guarded, and much of the teaching was kept strictly within the family. This helps to explain the rise of gharanas, traditions associated with different families, usually of Muslim court musicians and named after the city in which they were employed. Although gharanas are still talked about as a means of indicating a musical pedigree, they have been dying out since the demise of the courts and the advent of recordings and rapid communication, and also because of the greater mobility and independence of the musicians.

When the great theorist, Bhatkhande, collected music from court musicians in the early years of the 20th century, he found not only a huge range of compositions but also of performing styles. As part of his effort to classify Hindustani music and reconcile theory with practice, he grouped the thousands of melodic types, ragas, under ten scales, or thats. Only a fraction of the ragas in existence are in common use. The priority in Hindustani music is the maximum development of the minimum material, so a musician needs to know a few ragas in depth, rather than a large number superficially.

However the most important relation of Indian music to art is through the raga. Raga is the melodic basis of Indian classical music. Each raga has infinite possibilities of variation, and a skilful performer can extend improvised and composed material from a few minutes to well over an hour. The origin of the word, from a Sanskrit root meaning color, suggests that a raga is more than a musical idea. Its correct rendition must instill a certain mood in its listeners, creating aesthetic delight (rasa), and ragas have been associated with paintings and poetic aphorisms in the thousand or so years of their existence. Therefore the visual arts through the paintings and their rendition into architecture have influenced music through the development of the ragas. There are many and they in turn form the basis for all kinds of musical interpretations.

In the North Indian tradition of Hindustani music, ragas are also assigned to particular times of the day or night, and, in many cases, also to seasons of the year. Each raga must be distinguishable from all others, whether in the Hindustani or the southern tradition of Carnatic music.

The development of the raga will normally continue with one or more compositions, set in particular talas, or time cycles. In vocal music, which is always pre-eminent in Indian music, the main Hindustani song forms are the khyal and dhrupad, and there are several shorter forms, usually of a lighter nature, such as thumri, and tarana.Khyal, as its name suggests, has strong Muslim influences, while dhrupad, a term from Sanskrit, is older and regarded as essentially Hindu, although it developed to its present form in the Mughal courts.

Conclusively it can be said that the development of music descended for art, in the sense that the basis of Indian music the ragas, were musical expressions of the existing art, and architectural depictions of the periods and styles that they were developed in. In addition it can also be determined that Indian music is the soul of the Indian culture whose body is the art of the subcontinent.

--
Courtesy:
FLASH TERM PAPERS


Also available on:

Indian Art, Architecture and Music


Source: http://www.articletrader.com ]]>