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Indian art is a wholesome, youthful and delicate art, a blend of symbolism and reality, spirituality and sensuality. The arte facts that have been discovered by archaeologists and historians reveal valuable facts about the lifestyle and mental patterns of that age. During ancient India various art forms developed at great pace. It is evident from the surviving art forms and literature that the ancient Indian art forms have great detailing and unique realistic style of their own. According to the evidence found, it looks like people in ancient India were great admirers of different art forms. They loved fine arts and indulged in dancing,

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Art in any form has always been an imperative and integral reflection of each and every community and its identity, since the time began. The early marks made by the human in dark caves as a delight or dejection, as a fear, as an excitement, as a scream, as a silence and certainly as devotion. Art is not merely a thought and expression,

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In ancient India teaching was considered to be holy duty which a Brahman was bound to discharge irrespective of consideration of the fee teacher were expected to devote their lives to the cause of teaching in the missionary spirit of self-sacrifice, and the society laid down the principal that both the public and state should help the learned teachers & educational institutions very liberally. Society realized that “Vidyadana” or the gift in the cause of education was to be the best of gifts, possessing a higher religious merit than even the gift of land. On the occasion of religious feats, students and teachers were invited and donations were given liberally. Rulers of the country had very little directly to do with education. It was a private affairs of the people managed entirely by Brahman. Teachers were a highly honoured class-honoured by even by kings. Kings rose from thrones to receive great teachers such as Narada, Vashishtha and Vishwamitra.

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Graffiti is also a form of self expression. The art as ‘writing’ is a creative method of communicating with other writers and the general public. What it communicates is the artist’s identity, expression, and ideas. Judgments are based solely on one’s artistic ability. This type of communication is of value because it links people regardless of cultural, lingual, or racial differences in way that nothing else can. (Stowers, 1997).

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Women artists of the 50’s do not show a uniform bent in their affiliation to these categories. Freny Behemenshah, Zainab Razvi and Ferozah Santukh draw more from nationalist art practices in late 40’s and early 50’s where in the craft was elevated to the status of art while, by mid 50’s Freny shifts to more modern Western ‘art’ sources such as post-impressionism, particularly Gauguin through Amrita-Sher-Gill. And her students Siddiqua Bilgrami, Zehra Rehmatullah, Fatima Ahmed, Dasrath Kumari Mathur, Urmila Shaw and Usha Shankar also did not wish to conform to academic realism ofthe curriculum and in their different ways took inspiration from Cezannesque post-impressionism. The progressive ideals and aspiration for the art to go ‘international’ can be evidenced in this phase of regional modern art among the women artists similar to very many of their male contemporaries

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