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Sunderlal Bahuguna (9 January 1927 – 21 May 2021) was an Indian environmentalist and Chipko movement leader. The idea of the Chipko movement was suggested by his wife Vimla Bahuguna and him. He fought for the preservation of forests in the Himalayas, first as a member of the Chipko movement in the 1970s, and later spearheaded the anti-Tehri ...
The Chipko movement (Hindi: चिपको आन्दोलन, lit. 'hugging movement') is a forest conservation movement in India. Opposed to commercial logging and the government's policies on deforestation, protesters in the 1970s engaged in tree hugging , wrapping their arms around trees so that they could not be felled.
Gaura Devi came to the forefront of the Chipko movement in 1974. On 25 March 1974, she was told by a young girl that local loggers were cutting trees near their village. The men of Reni village had been tricked out of the village by news that the government was going to pay out compensation for land used by the army. [1]
The practice allows an artist to draw strenuous or spontaneous poses that cannot be held by the model long enough for an elaborate study and reinforces the importance of movement, action, and direction, which can be overlooked during a long drawing. Thus, an approach is encouraged which notes basic lines of rhythm within the figure.
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The movement of objects in the real world, such as the human body, animals, vehicles, etc. needs time to accelerate and slow down. For this reason, more pictures are drawn near the beginning and end of an action, creating a slow in and slow out effect in order to achieve more realistic movements.
Murlidhar Devidas "Baba" Amte was born in an affluent Deshastha Brahmin family [5] [4] on 26 December 1914 in the city of Hinganghat in Maharashtra. [3] His father, Devidas Amte, was. a colonial government officer working for the district administration and revenue collection departments.
Art historian Dawn Ades writes, "Far from being inferior, or purely decorative, crafts like textiles or ceramics, have always had the possibility of being the bearers of vital knowledge, beliefs and myths." [51] Recognizable art markets between Natives and non-Natives emerged upon contact, but the 1820–1840s were a highly prolific time.