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English: Palm leaf etching is a traditional form of art from Odisha. Palm leaves are dried, soaked in water, dried again and pressed to be made straight. A metallic (mostly Iron) stylus (called Lekhani in Odia) is used for writing on it. Natural colors (made from wood apple paste and charcoal) is applied on the written text or picture.
The lowest leaf in the photo above is notable for narrating the Sanskrit alphabet list twice (starting in second line, right side after the hole; then repeating in mid-third line, note the shapes and compare with early Gupta, Devanagari).
Palm-leaf manuscripts are manuscripts made out of dried palm leaves. Palm leaves were used as writing materials in the Indian subcontinent and in Southeast Asia dating back to the 5th century BCE. [1] Their use began in South Asia and spread to other regions, as texts on dried and smoke-treated palm leaves of the Palmyra or talipot palm. [2]
Pusô or tamu, sometimes known in Philippine English as "hanging rice", is a Filipino rice cake made by boiling rice in a woven pouch of palm leaves. It is most commonly found in octahedral, diamond, or rectangular shapes, but it can also come in various other intricately woven complex forms.
The Palm Leaf by William-Adolphe Bouguereau (1825–1905), portrait of an unidentified woman in ancient dress. The palm branch, or palm frond, is a symbol of victory, triumph, peace, and eternal life originating in the ancient Near East and Mediterranean world.
Contour drawing – Chiaroscuro – using strong contrasts between light and dark to achieve a sense of volume in modeling three-dimensional objects such as the human body. Gesture Drawing - loose drawing or sketching with the wrists moving, to create a sense of naturalism of the line or shape, as opposed to geometric or mechanical drawing ...
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The bases of the inner leaves and the young flower clusters were eaten raw or cooked. Food was wrapped in the leaves for cooking, and the old fibrous leaves were used for kete, floor mats, and waterproof thatch for buildings. [3] Nīkau were a versatile material to use in weaving, as the fibres could be used raw without any need for processing. [5]