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The art is much more pronounced and attached to Meena community of Hadoti area. The ground is prepared with cow dung mixed with rati, a local clay, and red ochre. Lime or chalk powder is used for making the motif. Tools employed are a piece of cotton, a tuft of hair, or a rudimentary brush made out of a date stick.
India shares land borders with six sovereign nations. The state's Ministry of Home Affairs also recognizes a 106 kilometres (66 mi) land border with a seventh nation, Afghanistan, as part of its claim on the Kashmir region; however, this is disputed and the region bordering Afghanistan has been administered by Pakistan as part of Gilgit-Baltistan since 1947 (see Durand Line).
In the kolam patterns, many designs are derived from magical motifs and abstract designs blended with philosophical and religious motifs which have been mingled together. [5] Motifs may include fish, birds, and other animal images to symbolise the unity of man and beast. The sun, moon and other zodiac symbols are also used. [6]
The India–Pakistan, Indo–Pakistani is the international boundary that separates the nations of the Republic of India and the Islamic Republic of Pakistan.At its northern end is the Line of Control, which separates Indian-administered Kashmir from Pakistani-administered Kashmir; and at its southern end is Sir Creek, a tidal estuary in the Rann of Kutch between the Indian state of Gujarat ...
The Radcliffe Line was published on 17 August 1947 as a boundary demarcation line between the dominions of India and Pakistan upon the partition of India.It was named after its architect, Sir Cyril Radcliffe, who, as chairman of the Border Commissions, was charged with equitably dividing 450,000 square kilometres (175,000 sq mi) of territory with 88 million people based on religious lines. [2]
Border ceremony at Ganda Singh Wala–Hussainiwala border. Similar border ceremonies are also carried out at other India–Pakistan border posts, including at Ganda Singh Wala, Kasur district (Pakistani side) / Hussainiwala, Firozpur district (Indian side), [9] [18] and at Sulemanki, Okara district (Pakistani side) / Sadqi, Fazilka district ...
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The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican History of Art, ISBN 0300062176; Harsha V. Dehejia, The Advaita of Art (Delhi: Motilal Banarsidass, 2000, ISBN 81-208-1389-8), p. 97; Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts (New Delhi: Sangeet Natak Akademi, 1977), p. 8