The Indian sub-continent has one of the richest records in the form of rock paintings. The rock-shelters in India were mainly occupied by the Palaeolithic and Mesolithic people in India. Cave petroglyphs began in Upper Palaeolathic Age. The rock paintings of this period are symbolic representation of the primitive way of life. Sympathetic magic was
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The moving communities of janas of the Vedic age entered upon the well defined areas called janapada states for settlement. Janapada state synchronizes with the literature that refers to it viz. Brahmanas, Strutas, Sutras, Pali Tripitaka, Jaina Agamas and Ashtadhyayi of Panini who gives a detailed picture of the Janapada units as well as of
The earliest representations of symbols are noted in Indus Valley seals. The seals bear on them several religious signs, human and animal figures and pictographic legend. They simplify popular religious beliefs. Unfortunately, the efforts are ongoing but the script’ has not yet been deciphered, hence the religious system of the Indus Valley people is not
In the later Vedic Age, a number of small kingdoms or city states had covered the subcontinent, many mentioned in Vedic, early Buddhist and Jaina literature as far back as 1000 BCE. By 500 BCE, sixteen monarchies and “republics” known as the Mahajanpadas_Kasi, Kosala, Anga, Magadha,Vajji or Vrijji, Malla, Chedi, Vatsa or Vamsa, Kuru, Panchal,
–Shashibala STrOLLiNG minstrels are highly skilled storytellers and actors who perform to teach folk people through singing and dancing, making gestures and playing music, using oral and visual material like painted scrolls and shadow projections. They are professional entertainers, moving from place to place, transmitting ideas, forms and styles of various types of arts. They
-Neera Misra Introduction VARIOUS forms of expressions since time immemorial connect man to man, and man to nature, sometimes also giving glimpses into their historical progress and interpersonal relationships. One form that has continued since ages is that of the folklore, which we find prevalent in almost all nations, reflecting their unique traditions and life
-D.P. Sharma –Madhuri Sharma This paper deals with the roots of symbols in early historic art of South Asia, for in the art of Sindhu–Sarasvatī civilization lie the roots that are observed in pre-Haṛappan and Sindhu–Sarasvatī civilization, an art which continued in later historic period and is still existing in the folk and classical art
-Anjali Capila Folk art is an integral part of living. It is functional and spontaneous. It also reflects the constancy of belongingness and affinity in a cultural context. In the process of cultural change, innovation has a special role. The roots are unchanging, the process is continuous. Change is characteristic of all cultures, but the