Ragamala Paintings Have A Special Significance In The World Of Art, Which Has Not So Far Been Fully Realised. They Not Only Display Their Own Technique And Art Of Colour And Line But Also Express, Interpret And Exhibit The Soul/Spirit And Beauty Of Another Art, The Art Of Music, The Art Of Svara-Laya And Cultivated/Cultured Voice. Music Was Considered To Be Of Divine Origin And Was Supposed To Possess The Property Of Evoking An Ecstatic State Of Mind Or Mood, Called Rasa-Anubhuti, In The Musician As Well As The Listerner. This Conception Of Rasa Is The Basis Of All Art In India. The Sadhakas (Practitioners) Devised Some Formulas In Order To Capture And Comprehend The Divine Quality Of Music And To Evoke Rasa Or Brahmananda. These Were Formulated In The Form Of Prayers In Which The Conceptual Form, Dhyana-Murti, Of The Raga Was Described. Thus The Ragas Were Personified Or Deified. This Fact Provided A Rich And Expressive Theme To Indian Painters And It Has Considerably Enriched The Art Treasure Of India. Whether The Dhyana-Theory Of Ragas Is Scientific Or Otherwise It Certainly Furnished A Rich Source Of Theme For The Indian Artists Who Painted Some Of The Most Charming And Inspiring Pictures Representing The Ragas (Melodies). The Two Ragamala Mss Discovered In A Manuscripts Collection At Jammu Are A Part Of The Extensive Art Treasure Created All Over India During The Period From 16Th To 19Th Centuries. The Jammu Ragamala Paintings Were Done Expressly With The Usual Object Of Depicting Their Dhyana-Murtis Or Icons In Order To Create The Relevant Rasa Situation In Those Looking At Them.

On the erstwhile kingdom of Jammu.

An exclusive selection of a set of forty-four exquisitely beautiful and hitherto unpublished ragamala paintings of Bijapur rendered in the Deccan style(19th century), in possession of the National Museum, Delhi since 1989 have been presented in 'Ragachitra: Deccani ragamala paintings. Miniature paintings of ragaputras and raginis in other medieval styles act as a foil, highlighting the various trends in vogue during the times as well as the special lyrical quality and originality of the Bijapur paintings, which stand apart in their vibrant visual appeal, depth and range of content and the perfect symphony created between art and music. A lucid narrative documenting the history of Indian classical music, the range of traditions of the raga theory and their miniature visual forms created in medieval India, accompanied by detailed descriptions of the paintings portrayed–highlighting their special features–de-mystifies the elements of the abstract and the obscure in the rationale supporting the unique and aesthetic marriage of music and art. Finally, it is a delightful and overwhelming aesthetic and intellectual experience for the reader.

To enter the world of Rajput painting is to enter a dream world of fantasy and colour, of heroes and heroines gorgeously attired in brilliant hues, of epic poems and love songs, of courtly majesty and India's romantic past. These beautifully illustrated works convey the spirit of the great Hindu classical tradition that existed in painting, literature and all the arts from the 16th to the 19th centuries. Rajput Paintings explores the historical and art-historical background, focusing on the influence of Mughal painting and the important cult of Krishna. It illustrates and explores themes taken from folk tales and epic literature, erotic and religious poems, myths, legends and music, and provides a unique guide to local styles in the principalities of Rajasthan, central India and the Punjab. The illustrations, taken mainly from the collections of the British Museum and the British Library, include many previously unpublished images.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"Akashvani" (English) is a programme journal of ALL INDIA RADIO, it was formerly known as The Indian Listener. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes, who writes them, take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service, Bombay, started on 22 December, 1935 and was the successor to the Indian Radio Times in English, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it used to published by All India Radio, New Delhi. From 1950,it was turned into a weekly journal. Later, The Indian listener became "Akashvani" (English ) w.e.f. January 5, 1958. It was made fortnightly journal again w.e.f July 1,1983. NAME OF THE JOURNAL: AKASHVANI LANGUAGE OF THE JOURNAL: English DATE, MONTH & YEAR OF PUBLICATION: 20 SEPTEMBER, 1970 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 48 VOLUME NUMBER: Vol. XXXV. No. 39 BROADCAST PROGRAMME SCHEDULE PUBLISHED (PAGE NOS): 13-48 ARTICLE: 1.The Expanding Metropolis: Calcutta 2. Tilak As A Journalist 3. Democracy And Freedom of Expression 4. Chinese Economy: From Balanced To Unbalanced Growth Doctrine AUTHOR: 1. Dr. S. C. Sinha 2. Aruna Mukherjee 3. Sham Lal 4. S. Swamy KEYWORDS : 1.Calcutta,Social,Cultural,Political Climate 2.Lokmanaya,Tilak,Chowpatty,Editor 3.Lokmanaya,Tilak,Chowpatty,Editor 4.Democratic,System,Political,Freedom 5.Policy,Doctrine,Gaps,Relationship Document ID : APE-1970 (M-S) Vol-III-06 Prasar Bharati Archives has the copyright in all matters published in this “AKASHVANI” and other AIR journals. For reproduction previous permission is essential.

This Comprehensive History Of Indian Painting Begins With The Wall Painting Of He Classical Period Of Indian Art From The 2Nd To The 16Th Century When The Mughals Arrived Which Gave Rise To A Style Of Miniature Painting. The Concern Of This Book Is Style. Like New.