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Compound verbs, a highly visible feature of Hindi–Urdu grammar, consist of a verbal stem plus a light verb. The light verb (also called "subsidiary", "explicator verb", and "vector" [ 55 ] ) loses its own independent meaning and instead "lends a certain shade of meaning" [ 56 ] to the main or stem verb, which "comprises the lexical core of ...
The term Prakrit, which includes Pali, is also used as a cover term for the vernaculars of North India that were spoken perhaps as late as the 4th to 8th centuries, but some scholars use the term for the entire Middle Indo-Aryan period. Middle Indo-Aryan languages gradually transformed into Apabhraṃśa dialects, which were used until about ...
Hindustani, also known as Hindi-Urdu, like all Indo-Aryan languages, has a core base of Sanskrit-derived vocabulary, which it gained through Prakrit. [1] As such the standardized registers of the Hindustani language (Hindi-Urdu) share a common vocabulary, especially on the colloquial level. [2]
Media, or mediums, are the core types of material (or related other tools) used by an artist, composer, designer, etc. to create a work of art. [1] For example, a visual artist may broadly use the media of painting or sculpting, which themselves have more specific media within them, such as watercolor paints or marble.
Artworks destroyed in the September 11 attacks in the United States included a painted wood relief by Louise Nevelson, a painting from Roy Lichtenstein's Entablature series and a Joan Miró tapestry. The total value of artwork lost in the September 11 attacks is said to have been in excess of $100 million [4] [better source needed]
Folk-deity Pabuji in Pabuji Ki Phad, a Phad painting scroll at National Museum, New Delhi. Phad painting or phad (/ p ʌ d /; IAST: Phad, Hindi: फड़) is a style of religious scroll painting and folk painting, practiced in Rajasthan state of India. [1] [2] This style of painting is traditionally done on a long piece of cloth or canvas ...
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He is considered the first of the modernists, and, along with Amrita Sher-gil (1913–1941), the main exponents of Western techniques to develop a new aesthetic in the subjective interpretation of Indian culture with "the promise of materiality in the medium of oils and the reality-paradigm of the mirror/window format of easel painting". [2]