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Subrat SaurabhAuthor of Kuch Woh PalSonam Ambe graduated from Sir J. J. College of Architecture and holds the IIT Bombay Institute Silver Medal for MPhil 2013. She is the chief course and content developer at ACEDGE, an e-learning platform for designers and architects. Sonam has co-authored three books on cultural heritage, ‘The Other Mahabaleshwar‘ (2018) and ‘Pinguli Arts’ (2019) and 'Panvel: Great City, Fading Heritage' (2020). She was conferred by Maharashtra Association of Schools of Architecture the Best Teachers Award 2016 in Humanities and Architecture Theory and has received a grant from the IndiRead More...
Sonam Ambe graduated from Sir J. J. College of Architecture and holds the IIT Bombay Institute Silver Medal for MPhil 2013. She is the chief course and content developer at ACEDGE, an e-learning platform for designers and architects. Sonam has co-authored three books on cultural heritage, ‘The Other Mahabaleshwar‘ (2018) and ‘Pinguli Arts’ (2019) and 'Panvel: Great City, Fading Heritage' (2020). She was conferred by Maharashtra Association of Schools of Architecture the Best Teachers Award 2016 in Humanities and Architecture Theory and has received a grant from the Indian Ministry of Culture in 2016, the Saint Gobain Scholarship 2018 (in collaboration with PICA) and the Sahapedia –UNESCO fellowship 2018.
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The Ramayan is one of the few texts across the world that allows agglomerations through multiplicity of interpretations, alterations and stylisations. The story of Ram and Sita, narrated by the Thakars of Konkan, uses the spine of Valmiki Ramayan and nurtures the tale to suit the socio-lingual context of their audiences. This book expresses the narrative of Ramayan using more than sixty paintings of Pinguli Chitrakathi, and photographs from string, and shadow
The Ramayan is one of the few texts across the world that allows agglomerations through multiplicity of interpretations, alterations and stylisations. The story of Ram and Sita, narrated by the Thakars of Konkan, uses the spine of Valmiki Ramayan and nurtures the tale to suit the socio-lingual context of their audiences. This book expresses the narrative of Ramayan using more than sixty paintings of Pinguli Chitrakathi, and photographs from string, and shadow puppet performances. The original performances of these art forms are transcribed in Marathi and are supported with a translation in English. The Rasas of Indian aesthetics also complement the reading of the Paintings.
This is a unique visual documentation of all the Kands in Ramayan selected from over ten Pothis (some painted in the early nineteenth century) from the ebbing art of Pinguli Chitrakathi.
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