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Printmaking
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This article is about techniques of printmaking as a fine art. For the history of printmaking in Europe, see Old master print. For the Japanese printmaking tradition, see Ukiyo-e.
Mount Fuji, from the Thirty-six Views of Mount Fuji, color woodcut by Katsushika Hokusai
Rembrandt, Self-portrait, etching, c.1630
Francisco Goya, There is No One To Help Them, Disasters of War series, aquatint c.1810
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a "copy" but rather is considered an "original". This is because typically each print varies to an extent due to variables intrinsic to the printmaking process, and also because the imagery of a print is typically not simply a reproduction of another work but rather is often a unique image designed from the start to be expressed in a particular printmaking technique. A print may be known as an impression. Printmaking (other than monotyping) is not chosen only for its ability to produce multiple impressions, but rather for the unique qualities that each of the printmaking processes lends itself to.
Prints are created by transferring ink from a matrix or through a prepared screen to a sheet of paper or other material. Common types of matrices include: metal plates, usually copper or zinc, or polymer plates for engraving or etching; stone, aluminum, or polymer for lithography; blocks of wood for woodcuts and wood engravings; and linoleum for linocuts. Screens made of silk or synthetic fabrics are used for the screenprinting process. Other types of matrix substrates and related processes are discussed below.
Multiple impressions printed from the same matrix form an edition. Since the late 19th century, artists have generally signed individual impressions from an edition and often number the impressions to form a limited edition; the matrix is then destroyed so that no more prints can be produced. Prints may also be printed in book form, such as illustrated books or artist's books.
Contents
[hide]
1 Techniques
1.1 Overview
1.2 Woodcut
1.3 Engraving
1.4 Etching
1.5 Mezzotint
1.6 Aquatint
1.7 Drypoint
1.8 Lithography
1.9 Screenprinting
1.10 Monotype
1.11 Monoprint
1.12 Mixed-media prints
1.13 Digital prints
1.13.1 Dye-based inks
1.13.2 Pigment-based inks
1.13.3 Giclée
1.14 Foil imaging
2 Color
3 Registration
4 Protective printmaking equipment
5 See also
5.1 Printmakers by nationality
6 Notes
7 References
8 Further reading
9 External links
Techniques[edit]
External video
Printmaking: Woodcuts and Engravings, Smarthistory
Overview[edit]
Printmaking techniques are generally divided into the following basic categories:
Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are usually known, wood engraving, linocut and metalcut.
Intaglio, where ink is applied beneath the original surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint.
Planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques.
Stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir.
Other types of printmaking techniques outside these groups include collagraphy and viscosity printing. Collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process. Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes.
Many of these techniques can also be combined, especially within the same family. For example, Rembrandt's prints are usually referred to as "etchings" for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all.
Woodcut[edit]
Artists using this technique include
Albrecht Dürer, Ernst Ludwig Kirchner, Dulah Marie Evans, Hiroshige, Hokusai, Gustave Baumann, Hannah Tompkins, Hussein El Gebaly, Carlos Alvarado Lang
Main article: woodcut
Félix Vallotton, La raison probante (The Cogent Reason), woodcut from the series Intimités, (1898)
Ernst Ludwig Kirchner, Portrait of Otto Müller, 1915
Woodcut, a type of relief print, is the earliest printmaking technique, and the only one traditionally used in the Far East. It was probably first developed as a means of printing patterns on cloth, and by the 5th century was used in China for printing text and images on paper. Woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text.
Woodcuts of Stanislaw Raczynski (1903-1982)
The artist draws a design on a plank of wood, or on paper which is transferred to the wood. Traditionally the artist then handed the work to a specialist cutter, who then uses sharp tools to carve away the parts of the block that will not receive ink. The surface of the block is then inked with the use of a brayer, and then a sheet of paper, perhaps slightly damp, is placed over the block. The block is then rubbed with a baren or spoon, or is run through a printing press. If in color, separate blocks can be used for each color, or a technique called reduction printing can be used.
Reduction printing is a name used to describe the process of using one block to print several layers of color on one print. This usually involves cutting a small amount of the block away, and then printing the block many times over on different sheets before washing the block, cutting more away and printing the next color on top. This allows the previous color to show through. This process can be repeated many times over. The advantages of this process is that only one block is needed, and that different components of an intricate design will line up perfectly. The disadvantage is that once the artist moves on to the next layer, no more prints can be made.
Another variation of woodcut printmaking is the cukil technique, made famous by the Taring Padi underground community in Java, Indonesia. Taring Padi Posters usually resemble intricately printed cartoon posters embedded with political messages. Images—usually resembling a visually complex scenario—are carved unto a wooden surface called cukilan, then smothered with printer's ink before pressing it unto media such as paper or canvas.
Engraving[edit]
Main article: Engraving
"Melencolia I", engraving by Albrecht Dürer, one of the most important printmakers.
The process was developed in Germany in the 1430s from the engraving used by goldsmiths to decorate metalwork. Engravers use a hardened steel tool called a burin to cut the design into the surface of a metal plate, traditionally made of copper. Engraving using a burin is generally a difficult skill to learn.
Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. Other tools such as mezzotint rockers, roulettes (a tool with a fine-toothed wheel) and burnishers (a tool used for making an object smooth or shiny by rubbing) are used for texturing effects.
To make a print, the engraved plate is inked all over, then the ink is wiped off the surface, leaving only ink in the engraved lines. The plate is then put through a high-pressure printing press together with a sheet of paper (often moistened to soften it). The paper picks up the ink from the engraved lines, making a print. The process can be repeated many times; typically several hundred impressions (copies) could be printed before the printing plate shows much sign of wear, except when drypoint, which gives much shallower lines, is used.
In the 20th century, true engraving was revived as a serious art form by artists including Stanley William Hayter whose Studio 17 in Paris and New York City became the magnet for such artists as Pablo Picasso, Alberto Giacometti, Mauricio Lasansky and Joan Miró.
Etching[edit]
Artists using this technique include Albrecht Dürer, Rembrandt, Francisco Goya, Whistler, Otto Dix, James Ensor, Edward Hopper, Käthe Kollwitz, Pablo Picasso, Cy Twombly, Lucas van Leyden, Carlos Alvarado Lang.
Main article: Etching
Etching is part of the intaglio family (along with engraving, drypoint, mezzotint, and aquatint.) The process is believed to have been invented by Daniel Hopfer (circa 1470-1536) of Augsburg, Germany, who decorated armor in this way, and applied the method to printmaking. Etching soon came to challenge engraving as the most popular printmaking medium. Its great advantage was that, unlike engraving which requires special skill in metalworking, etching is relatively easy to learn for an artist trained in drawing.
The Three Crosses, etching by Rembrandt
Etching prints are generally linear and often contain fine detail and contours. Lines can vary from smooth to sketchy. An etching is opposite of a woodcut in that the raised portions of an etching remain blank while the crevices hold ink. In pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy or acrylic ground. The artist then draws through the ground with a pointed etching needle. The exposed metal lines are then etched by dipping the plate in a bath of etchant (e.g. nitric acid or ferric chloride). The etchant "bites" into the exposed metal, leaving behind lines in the plate. The remaining ground is then cleaned off the plate, and the printing process is then just the same as for engraving.
Mezzotint[edit]
Main article: Mezzotint
An intaglio variant of engraving in which the image is formed from subtle gradations of light and shade. Mezzotint—from the Italian mezzo ("half") and tinta ("tone")—is a "dark manner" form of printmaking, which requires artists to work from dark to light. To create a mezzotint, the surface of a copper printing plate is roughened evenly all over with the aid of a tool known as a rocker; the image is then formed by smoothing the surface with a tool known as a burnisher. When inked, the roughened areas of the plate will hold more ink and print more darkly, while smoother areas of the plate hold less or no ink, and will print more lightly or not at all. It is, however, possible to create the image by only roughening the plate selectively, so working from light to dark.
Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the texture with burin, burnisher and scraper allows fine gradations in tone to be developed.
The mezzotint printmaking method was invented by Ludwig von Siegen (1609–1680). The process was used widely in England from the mid-eighteenth century, to reproduce oil paintings and portraits.
Aquatint[edit]
"The sleep of Reason creates monsters", etching and aquatint by Francisco Goya
Main article: Aquatint
A technique used in Intaglio etchings. Like etching, aquatint technique involves the application of acid to make marks in a metal plate. Where the etching technique uses a needle to make lines that retain ink, aquatint relies on powdered rosin which is acid resistant in the ground to create a tonal effect. The rosin is applied in a light dusting by a fan booth, the rosin is then cooked until set on the plate. At this time the rosin can be burnished or scratched out to affect its tonal qualities. The tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time.
Goya used aquatint for most of his prints.
Drypoint[edit]
Main article: Drypoint
A variant of engraving, done with a sharp point, rather than a v-shaped burin. While engraved lines are very smooth and hard-edged, drypoint scratching leaves a rough burr at the edges of each line. This burr gives drypoint prints a characteristically soft, and sometimes blurry, line quality. Because the pressure of printing quickly destroys the burr, drypoint is useful only for very small editions; as few as ten or twenty impressions. To counter this, and allow for longer print runs, electro-plating (here called steelfacing) has been used since the nineteenth century to harden the surface of a plate.
The technique appears to have been invented by the Housebook Master, a south German fifteenth-century artist, all of whose prints are in drypoint only. Among the most famous artists of the old master print: Albrecht Dürer produced three drypoints before abandoning the technique; Rembrandt used it frequently, but usually in conjunction with etching and engraving.
Lithography[edit]
Artists using this technique include
Honoré Daumier, Vincent van Gogh, George Bellows, Pierre Bonnard, Edvard Munch, Emil Nolde, Pablo Picasso, Odilon Redon, Henri de Toulouse-Lautrec, Salvador Dalí, M. C. Escher, Willem de Kooning, Joan Miró, Stow Wengenroth
Main article: Lithography
La Goulue, Lithograph poster by Toulouse-Lautrec.
Lithography is a technique invented in 1798 by Alois Senefelder and based on the chemical repulsion of oil and water. A porous surface, normally limestone, is used; the image is drawn on the limestone with a greasy medium. Acid is applied, transferring the grease to the limestone, leaving the image 'burned' into the surface. Gum arabic, a water-soluble substance, is then applied, sealing the surface of the stone not covered with the drawing medium. The stone is wetted, with water staying only on the surface not covered in grease-based residue of the drawing; the stone is then 'rolled up', meaning oil ink is applied with a roller covering the entire surface; since water repels the oil in the ink, the ink adheres only to the greasy parts, perfectly inking the image. A sheet of dry paper is placed on the surface, and the image is transferred to the paper by the pressure of the printing press. Lithography is known for its ability to capture fine gradations in shading and very small detail.
A variant is photo-lithography, in which the image is captured by photographic processes on metal plates; printing is carried out in the same way.
Screenprinting[edit]
Artists using this technique include
Josef Albers, Ralston Crawford, Gene Davis. Robert Indiana, Roy Lichtenstein, Julian Opie, Bridget Riley, Edward Ruscha, Andy Warhol, and Carlos Alvarado Lang.
Main article: Screenprinting
Screenprinting (occasionally known as "silkscreen", or "serigraphy") creates prints by using a fabric stencil technique; ink is simply pushed through the stencil against the surface of the paper, most often with the aid of a squeegee. Generally, the technique uses a natural or synthetic 'mesh' fabric stretched tightly across a rectangular 'frame,' much like a stretched canvas. The fabric can be silk, nylon monofilament, multifilament polyester, or even stainless steel.[1] While commercial screenprinting often requires high-tech, mechanical apparatuses and calibrated materials, printmakers value it for the "Do It Yourself" approach, and the low technical requirements, high quality results. The essential tools required are a squeegee, a mesh fabric, a frame, and a stencil. Unlike many other printmaking processes, a printing press is not required, as screenprinting is essentially stencil printing.
Screenprinting may be adapted to printing on a variety of materials, from paper, cloth, and canvas to rubber, glass, and metal. Artists have used the technique to print on bottles, on slabs of granite, directly onto walls, and to reproduce images on textiles which would distort under pressure from printing presses.
Monotype[edit]
Monotype by the technique's inventor, Giovanni Benedetto Castiglione, The Creation of Adam, c 1642
Main article: Monotyping
Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to acrylic glass. The image is then transferred onto a sheet of paper by pressing the two together, usually using a printing-press. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque color. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones.
Unlike monoprinting, monotyping produces a unique print, or monotype, because most of the ink is removed during the initial pressing. Although subsequent reprintings are sometimes possible, they differ greatly from the first print and are generally considered inferior. A second print from the original plate is called a "ghost print" or "cognate". Stencils, watercolor, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes are often spontaneously executed and with no preliminary sketch.
Monotypes are the most painterly method among the printmaking techniques, a unique print that is essentially a printed painting. The principal characteristic of this medium is found in its spontaneity and its combination of printmaking, painting, and drawing media.[2]
Monoprint[edit]
Main article: Monoprinting
Monoprinting is a form of printmaking that uses a matrix such as a woodblock, litho stone, or copper plate, but produces impressions that are unique. Multiple unique impressions printed from a single matrix are sometimes known as a variable edition. There are many techniques used in monoprinting, including collagraph, collage, hand-painted additions, and a form of tracing by which thick ink is laid down on a table, paper is placed on the ink, and the back of the paper is drawn on, transferring the ink to the paper. Monoprints can also be made by altering the type, color, and viscosity of the ink used to create different prints. Traditional printmaking techniques, such as lithography, woodcut, and intaglio, can be used to make monoprints.
Mixed-media prints[edit]
Mixed-media prints may use multiple traditional printmaking processes such as etching, woodcut, letterpress, silkscreen, or even monoprinting in the creation of the print. They may also incorporate elements of chine colle, collage, or painted areas, and may be unique, i.e. one-off, non-editioned, prints. Mixed-media prints are often experimental prints and may be printed on unusual, non-traditional surfaces.
Digital prints[edit]
Artists using this technique include
Istvan Horkay, Ralph Goings, Enrique Chagoya
Main article: Digital printing
Digital prints refers to images printed using digital printers such as inkjet printers instead of a traditional printing press. Images can be printed to a variety of substrates including paper, cloth, or plastic canvas.
Dye-based inks[edit]
Dye-based inks are organic (not mineral) dissolved and mixed into a liquid. Although most are synthetic, derived from petroleum, they can be made from vegetable or animal sources. Dyes are well suited for textiles where the liquid dye penetrates and chemically bonds to the fiber. Because of the deep penetration, more layers of material must lose their color before the fading is apparent. Dyes, however, are not suitable for the relatively thin layers of ink laid out on the surface of a print.
Pigment-based inks[edit]
Pigment is a finely ground, particulate substance which, when mixed or ground into a liquid to make ink or paint, does not dissolve, but remains dispersed or suspended in the liquid. Pigments are categorized as either inorganic (mineral) or organic (synthetic).[3] Pigment-based inks have a much longer permanence than dye-based inks.[4]
Giclée[edit]
Giclée (pron.: /ʒiːˈkleɪ/ zhee-KLAY or /dʒiːˈkleɪ/), is a neologism coined in 1991 by printmaker Jack Duganne [5] for digital prints made on inkjet printers. Originally associated with early dye-based printers it is now more often refers to pigment-based prints.[6] The word is based on the French word gicleur, which means "nozzle". Today fine art prints produced on large format ink-jet machines using the CcMmYK color model are generally called "Giclée".
Foil imaging[edit]
In art, foil imaging is a printmaking technique made using the Iowa Foil Printer, developed by Virginia A. Myers from the commercial foil stamping process. This uses gold leaf and acrylic foil in the printmaking process.
Color[edit]
Hiroshige, Morning Mist
Printmakers apply color to their prints in many different ways. Some coloring techniques include positive surface roll, negative surface roll, and A la poupée. Often color in printmaking that involves etching, screenprinting, woodcut, or linocut is applied by either using separate plates, blocks or screens or by using a reductionist approach. In multiple plate color techniques, a number of plates, screens or blocks are produced, each providing a different color. Each separate plate, screen, or block will be inked up in a different color and applied in a particular sequence to produce the entire picture. On average about three to four plates are produced, but there are occasions where a printmaker may use up to seven plates. Every application of another plate of color will interact with the color already applied to the paper, and this must be kept in mind when producing the separation of colors. The lightest colors are often applied first, and then darker colors successively until the darkest.
The reductionist approach to producing color is to start with a lino or wood block that is either blank or with a simple etching. Upon each printing of color the printmaker will then further cut into the lino or woodblock removing more material and then apply another color and reprint. Each successive removal of lino or wood from the block will expose the already printed color to the viewer of the print. Picasso is often cited as the inventor of reduction printmaking, although there is evidence of this method in use 25 years before Picasso's linocuts.[7]
The subtractive color concept is also used in offset or digital print and is present in bitmap or vectorial software in CMYK or other color spaces.
Registration[edit]
In printmaking processes requiring more than one application of ink or other medium, the problem exists as to how to line up properly areas of an image to receive ink in each application. The most obvious example of this would be a multi-color image in which each color is applied in a separate step. The lining up of the results of each step in a multistep printmaking process is called "registration." Proper registration results in the various components of an image being in their proper place. But, for artistic reasons, improper registration is not necessarily the ruination of an image.
This can vary considerably from process to process. It generally involves placing the substrate, generally paper, in correct alignment with the printmaking element that will be supplying it with coloration.[8]
Protective printmaking equipment[edit]
Protective clothing is very important for printmakers who engage in etching and lithography (closed toed shoes and long pants). Whereas in the past printmakers put their plates in and out of acid baths with their bare hands, today printmakers use rubber gloves. They also wear industrial respirators for protection from caustic vapors. Most acid baths are built with ventilation hoods above them.
Protective respirators and masks should have particle filters, particularly for aquatinting. As a part of the aquatinting process, a printmaker is often exposed to rosin powder. Rosin is a serious health hazard, especially to printmakers who, in the past, simply used to hold their breath[citation needed] using an aquatinting booth.
See also[edit]
Rembrandt, Christ Preaching, (The Hundred Guilder print); etching c.1648
Albrecht Dürer, Saint Jerome in his Study, 1514.
Artist's proof
Banhua, Chinese printmaking
Carborundum printmaking
Edition (printmaking)
Graphic design
Line engraving
List of Printmakers
Old master print
Shin hanga
Sosaku hanga
Ukiyo-e
Viscosity printing
Printmakers by nationality[edit]
Engravers by nationality
Etchers by nationality
Printmakers by nationality
Notes[edit]
Jump up ^ "Screen Fabric". A.W.T. World Trade Inc.
Jump up ^ Washington printmakers' gallery Archived 2010-12-28 at the Wayback Machine.
Jump up ^ Printmaking FAQ at Magnolia Editions Archived 2009-04-13 at the Wayback Machine.
Jump up ^ Susan Carden, Digital Textile Printing, Bloomsbury Publishing - 2015, page 27
Jump up ^ Johnson, Harald. Mastering Digital Printing, p.11 at Google Books
Jump up ^ Luong, Q.-Tuan. An overview of large format color digital printing at largeformatphotography.info
Jump up ^ http://www.printsandprintmaking.gov.au/catalogues/bibliography/136140/bunbury-alisa-not-picassos-invention--a-foray-into.aspx
Jump up ^ http://www.nontoxicprint.com/perfectregistration.htm
References[edit]
What is a Print?, from the Museum of Modern Art
Bamber Gascoigne: How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet (ISBN 0-500-28480-6)
Multi-Color Block Prints: Wood/Linoleum - Reduction Method Technique, by Hannah Tompkins
Catalog Design Handbook with Technics, visual ergonomics & printmaking glossary
Further reading[edit]
A. Hyatt Mayor (1971). Prints & people: a social history of printed pictures (full PDF). New York: The Metropolitan Museum of Art. ISBN 9780870991080.
Beth Grabowski and Bill Fick, "Printmaking: A Complete Guide to Materials & Processes." Prentice Hall, 2009. ISBN 0-205-66453-9
Donna Anderson Experience Printmaking. Worcester, MA: Davis Publications, 2009. ISBN 978-0-87192-982-2
Gill Saunders and Rosie Miles Prints Now: Directions and Definitions Victoria and Albert Museum (May 1, 2006) ISBN 1-85177-480-7
Antony Griffiths, Prints and Printmaking, British Museum Press, 2nd ed, 1996 ISBN 0-7141-2608-X
Linda Hults The Print in the Western World: An Introductory History. Madison: University of Wisconsin Press, 1996. ISBN 978-0-299-13700-7
Carol Wax, The Mezzotint: History and Technique (Harry N. Abrams, Inc., 1990)
James Watrous A Century of American Printmaking. Madison: University of Wisconsin Press, 1984. ISBN 0-299-09680-7
William Ivins, Jr. Prints and Visual Communication. Cambridge: Harvard University Press, 1953. ISBN 0-262-59002-6
Donald Saff and Deli Sacilotto. Printmaking: History and Process. New York: Holt, Rinehart, and Winston, 1978. ISBN 978-0030856631
External links[edit]
Library resources about
Printmaking
Resources in your library
Resources in other libraries
Wikimedia Commons has media related to printmaking.
Look up printmaking in Wiktionary, the free dictionary.
Wikisource has the text of the 1905 New International Encyclopedia article Print.
History of printmaking; glossaries
Museum of Modern Art, New York: What Is a Print?
Thompson, Wendy. "The Printed Image in the West: History and Techniques". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 – . (October 2003)
André Béguin's dictionary;enormous dictionary of terms, relating more to the printing than the creation of the image
Another glossary - for modern prints
Large list of links to museum etc. online images of prints
Judging the Authenticity of Prints by The Masters by art historian David Rudd Cycleback
Printing techniques explained

Printmaking organizations
Print Council of America
International Fine Print Dealers Association
SGC International (formerly Southern Graphics Council)
Seattle Print Arts
Bellebyrd - The Print Australia blogspot by art historian Josephine Severn.
Printmaking Artist: a glossary of contemporary prints
Iowa Biennial - Exhibition & Archive of Contemporary Prints
Site dedicated to the activity of printmaking and thinking creatively. Includes footage of well-known artists working at Crown Point Press in San Francisco.
Prints and Printmaking: Site devoted to Australian and Pacific printmaking practice and history
Mini Print International of Cadaques Site of the longest running international print exhibition and competition, catalogues, archive, winners, exhibitions, jury...
Mid America Print Council
International Sign and Printmakers Guild
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Folk arts of Karnataka
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Karnataka has a variety of folk arts, including folk dance and puppetry.
Yakshagana, folk theater of Karnataka.
Various styles of traditional drums are used in folk music, dance and theater of Karnataka
Contents
[hide]
1 Kunitha: a ritual dance
2 Kodagu
3 Mysore region
3.1 Dollu Kunitha
3.2 Beesu samsale and kamsale nritya
3.3 Somana Kunita
4 North Karnataka
4.1 Jaggahalige Kunita
4.2 Karadimajal
4.3 Krishna Parijatha
4.4 Lavani
5 Dakshina Kannada
5.1 Bhootha Aradhane
5.2 Yakshagana
6 Arts common to most regions
6.1 Hagalu veshagaararu
6.2 Goravara kunita
6.3 Nagamandala
6.4 Karaga
6.5 Gaarudi Gombe
6.6 Joodu Haligi
6.7 Puppetry
6.8 Veeragaase dance
7 See also
8 Notes
9 References
Kunitha: a ritual dance[edit]
The ritual dances of Karnataka are known as Kunitha. One such dance is the Dollu Kunitha, a popular dance form accompanied by singing and the beats of decorated drums. This dance is primarily performed by men from the shepherd or Kuruba caste. The Dollu Kunitha is characterized by vigorous drum beats, quick movements and synchronized group formations.
Kodagu[edit]
The Huttari Dance and 'Contemporary theatre culture in Karnataka is one of the most vibrant in India with organizations like Ninasam, Ranga Shankara and Rangayana active on foundations laid down by the Gubbi Veeranna Nataka Company Bolak-aat are dance forms in Kodagu. The Kodavas are a unique group who differ in customs, traditions and religion from the surrounding populace, and have an annual harvest dance. The men, dressed in traditional Kodava costumes with decorative knives, perform this slow dance to background music. The dance has different varieties:
Bolak-aat
Performed by Kodava men in back of an oil lamp in an open field. The men hold chavari(yak fur) in one hand and the Kodava short sword (odi-kathi) in the other while performing this dance. Regional varieties of this dance exist in which performers dance with the chavari and not the short sword. When the odi-kathi is also used, the dance is known as kattiyaata. The dudi, an hourglass-shaped drum, provides the rhythm.
Ummatt-aat
Performed by Kodava women, who wear traditional Kodava dress with jewelry, adorn their foreheads with kumkuma and dance in a circle to a swinging rhythm, brass cymbals in hand. A woman stands at the center holding a pot full of water to represent Kaveri Taayi (Mother Kaveri), whom the Kodavas worship.
Komb-aat
While the Bolaak-aat and the Ummatt-aat are celebratory and festive, the Komb-aat is a religious dance. It is traditionally performed in temples, but may also be performed in other places. Performed by Kodava men, deer horns represent the horns of the krishnamruga (a spotted deer in Kodava legend). The dance is performed to rhythmic tunes played on wind instruments and percussion, and includes martial movements representing techniques used by the Kodavas in warfare.
Mysore region[edit]
Dollu Kunitha[edit]
Togalu Gombeyaata, is a traditional form of shadow puppetry from Karnataka.
Dollu Kunitha is also danced by women.
This is a group dance named after the dollu used in its performance, and performed by the men of the Kuruba community. The group consists of 16 dancers, each wearing a drum and playing different rhythms while dancing. The beat is directed by a leader with cymbals in the center. Slow and fast rhythms alternate, and the group weaves a varied pattern. Costumes are simple; the upper part of the body is usually left bare, while a black sheet is tied on the lower body over the dhoti. A troupe led by K. S. Haridas Bhat toured the USSR in 1987, performing in Moscow, Leningrad, Vyborg, Archangelsk, Pskov, Murmansk, Tashkent and Novograd.
Beesu samsale and kamsale nritya[edit]
Main article: Kamsale
This is a group dance performed by village men in the Mysore, Nanjanagudu, Kollegala and Bangalore regions. It is named after the kamsale, which is played and as a prop by the dancers. The kamsale is a cymbal in one hand and a bronze disc in the other, producing a rhythmic clang.
The kamsale nritya is connected to a tradition of worship of Male Mahadeshwara (Shiva) by the Kuruba community, from which most of the dancers are drawn. The dance is performed to rhythmic, melodious music sung in praise of Shiva. It is part of a diiksha(oath), and is taught by a spiritual leader. This dance was showcased in Kannada films such as Janumadha Jodi and Jogi, in which the protagonist is a kamsale dancer.
Somana Kunita[edit]
Somana Kunita (the Mask Dance) is a celebratory form of guardian spirit worship popular in southern Karnataka, performed primarily in village shrines dedicated to the Mother Goddess by the Gangemata community. The dance is characterised by elaborate masks (somas) painted in a variety of colours, with each mask's colour indicating the god's nature. A benevolent deity is represented by a red mask, while a yellow or black mask suggests the opposite. There are many types of masks, differing from region to region.
Somana Kunitha is a ritualistic dance associated with worship of the Grama Devate [village deity], and is primarily celebrated after Ugadi and before the onset of the monsoon at Maha Shivaratri. It is most popular in the old Mysore region, in districts such as Hassan, Tumkur, Bangalore, Mandya and Chitradurga.
On the ceremonial day, offerings are made to the spirits. The masks are made from the red sandalwood tree. Other props include a cane (or stick) and peacock feathers. A small hat with colourful flowers, neem leaves and colourful strips of cloth is also worn. Music is provided by the doonu(percussion), mouri(pipe) and sadde(a pipe for the Śruti). The dancer begins in the temple of the goddess, singing praise of the guardian spirit in a trance-like state. An offering of the blood of a fowl is sometimes made to the goddess.
North Karnataka[edit]
Traditional wooden Puppetry of Karnataka.
Jaggahalige Kunita[edit]
This is a folk art of the Hubballi Dharwad region (particularly the village of Byahatti), which is performed on occasions such as Ugadi and Holi. The jagghalige is a percussion instrument made from a bullock cart wheel wrapped in buffalo hide. The villagers roll out the large instruments and march in procession. The performance is directed by a choreographer playing a much-smaller percussion instrument called the kanihaligi, made of clay and covered with calf hide. The performance usually involves about 15 people.
Karadimajal[edit]
This is popular group folk music in north Karnataka, performed during occasions and in processions. The karadi or karade is the percussion instrument used by the group. It is a palm-sized cymbal producing metallic sounds, and the shehnai produces the melody.
Krishna Parijatha[edit]
Krishna Parijatha is theatre popular in North Karnataka. It is a combination of Yakshagana and Bayalata, portraying stories or scenes from the Mahabharata
Lavani[edit]
This folk dance of Maharashtra is also present in some parts karnataka
Dakshina Kannada[edit]
Jambavanta as depicted in Yakshagana.
Bhootha Aradhane[edit]
Main article: Bhuta Kola
This dance form is widely performed in coastal regions. The Bhootha Aradhane (Gana) worship includes a procession of idols and is characterized by drums and firecrackers. At the end of the procession, the idols are placed on a plinth. A dancer, personifying a bhoota (holy spirit), dances around the plinth with sword and jingling bells. The dancer dances quickly and then slows, signifying that he is now divine.
Yakshagana[edit]
Main article: Yakshagana
Yakshagana is a popular dance drama performed in coastal regions which is a blend of dance, music, songs, scholarly dialogue and colourful costumes. The word means "celestial music", and the dance drama is performed during the night (usually after the winter crop has been harvested).
Arts common to most regions[edit]
Hagalu veshagaararu[edit]
Folk artist applying character makeup.
This is a group of itinerant actors in Karnataka and Andhra Pradesh who specialise in unscripted miming; no stage or facility is used. The artists move from place to place, pitching tents and offering to perform. They play a variety of mythological, legendary and real characters. Performances draw from daily life, and sometimes full-length plays are staged. They perform vachana sahityas by Sarvagna, Basavanna and others.
The harmonium, the tabla-dagga and a pair of cymbals provide melody and rhythm. For their performances, staged in village squares and fairs, the actors receive food collected in a bag by an assistant accompanying the troupe. Most hagalu veshagaararus belong to the Veerashaiva tradition, while some are Muslims. Sometimes they are addressed as jyaatigaararu ("belonging to the Muslim community"). They are also known as suDugaaDu siddha ("monks of the cemetery") or bahuroopi ("having many disguises").
As their name suggests, they perform primarily during the day (hagalu) and only men take part (including female roles). While entertainment is the main objective, the hagalu veshagararu also educate villagers about mythology and social issues with their performances.
Goravara kunita[edit]
Goravara kunita is a dance worshipping Shiva which is popular in the Mysore and North Karnataka regions. In North Karnataka the Goravas worship Mylaralinga. In South Karnataka the Goravas wear black-and-white woollen garments and a black-bear-fur cap (of black bear), and play the damaru and the pillangoovi (flute). In North Karnataka the Goravas wear black woollen garments and a leather shoulder bag; some wear a black coat and white dhoti. The dancers rub crimson powder and vibhooti (sacred ash) on their foreheads. Traditional Gorava devotees dance in a trance, sometimes barking like dogs. The dancers move in a clockwise zigzag, with no fixed choreography. The North Karnataka Goravas wear yellow powder on their foreheads and give Prasad to devotees. Damaru, venu, small bronze bells and cowbells (paarigante) are played. The dance consists of trance-like movements with no fixed choreography.
Nagamandala[edit]
Main article: Nagaradhane
This ritual dance is performed in south Karnataka to tranquilize the serpent spirit, and is an extravagant night-long affair. The dancers (Vaidyas) dance all night around a huge figure, drawn on the ground in natural colors, in a pandal in front of the shrine. The dance is generally performed between December and April.
Karaga[edit]
The karaga, in a dance performed by the Thigalas, is a metal pot on which stands a tall, floral pyramid and which is balanced on the carrier's head. The contents of the pot are secret. The carrier's arrival is heralded by hundreds of bare-chested, dhoti-clad, turbaned Veerakumaras with unsheathed swords.
Gaarudi Gombe[edit]
Main article: Gaarudi Gombe
Gaarudi Gombe is a folk dance in which dancers dress in suits made of bamboo sticks. Gaarudi-Gombe means "magical puppet" in Kannada. The dance is performed during major festivals and in the procession held during the Mysore Dasara, and is known as Tattiraya in the coastal regions. Tattiraya means "someone carrying a doll made of bamboo sticks".[1]
The dance features masks, puppets and colourful regional costumes. The puppets are made from bamboo and papier mâché, painted with suitable makeup. During the fair and festival procession to the temple, the giant dolls are the central attraction to spectators. The dolls are hollow and permit a person to get inside, carry the structure on his shoulders and dance, while being able to see. The dolls are used for fun and to ward off evil spirits, depicting characters from Indian mythology and folklore. The dance is performed to the tamate and dholu (a percussion instrument). Each doll weighs 10 to 12 kilograms (22 to 26 pounds), and stand 10 to 12 feet (3.0 to 3.7 metres) tall. During the procession, some performers wear character masks and interact with the dolls. Itinerant performers dressed as a tiger (hulivesha) or bear (karadi-vesha) with dancing monkeys are common in South India.
Joodu Haligi[edit]
The Joodu Haligi is performed with two percussion instruments. The Haligi is round, made of buffalo hide and played with a short stick. The dance is characterised by high energy and exaggerated expressions by two or three performers.
Puppetry[edit]
Main article: Togalu Gombeyaata
Togalu Gombeyaata is a type of shadow puppetry unique to Karnataka]; its name means "a play with leather dolls" in Kannada.[2] The Karnataka Chitrakala Parishat has researched this art form, and has an extensive collection of leather puppets.
Veeragaase dance[edit]
Main article: Veeragase
Veeragase, a vigorous dance based on Hindu mythology, is one of the dances performed at the Mysore Dasara. It is primarily performed during the Hindu months of Shravana and Karthika.
See also[edit]
Karnataka
Janapada Loka
Notes[edit]
Jump up ^ A description of Gaarudi Gombe is provided by "Folk Arts - Music and Dance". Online webpage of udupipages.com. Shathabdi Graphics Pvt. Ltd. Archived from the original on 2007-01-02. Retrieved 2007-05-13.
Jump up ^ A description of Togalu Gombeyaata is provided by Staff Correspondent (2005-01-03). "Create atmosphere to develop rural theatre". Online Edition of The Hindu, dated 2005-01-03. Chennai, India: 2005, The Hindu. Retrieved 2005-01-03.
References[edit]
Wikimedia Commons has media related to Folk art of Karnataka.
Folk arts & Dances of Karnataka
Folk arts of Karnataka
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List of Passport Offices in India
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An Indian passport is a passport issued by the Government of India to citizens of the Republic of India for travelling abroad. It enables the bearer to travel internationally and serves as proof of Indian citizenship as per the Passports Act (1967).[1]
Passport Offices in India are known as Passport Seva Kendras (PSK's). As of 2015, The Ministry of External Affairs operates 81 PSKs in major cities and these PSK's are administrated by 37 Regional Passport Offices. The ministry has also setup 11 mini passport offices known as Passport Seva Laghu Kendras.[2][3]
Front cover of the Indian Passport.
Passport Seva Kendras[edit]
S.No.
Code
Administration
PSK City
State/UT
1 AH Ahmedabad Mithakali, Ahmedabad Gujarat
2 AH Ahmedabad Navarangpura, Ahmedabad Gujarat
3 AH Ahmedabad Rajkot Gujarat
4 AH Ahmedabad PSK-1, Vadodara Gujarat
5 AS Amritsar Amritsar Punjab
6 BN Bangalore Lal Bagh, Bangalore Karnataka
7 BN Bangalore Marathahalli, Bangalore Karnataka
8 BN Bangalore Hubli Karnataka
9 BN Bangalore Mangalore Karnataka
10 BL Bareilly Bareilly Uttar Pradesh
11 BP Bhopal Bhopal Madhya Pradesh
12 BH Bhubaneswar Bhubaneswar Odisha
13 CH Chandigarh Ambala Haryana
14 CH Chandigarh Chandigarh Chandigarh
15 CH Chandigarh Ludhiana Punjab
16 MA Chennai Aminjikarai, Chennai Tamil Nadu
17 MA Chennai Saligramam, Chennai Tamil Nadu
18 MA Chennai Tambaram, Chennai Tamil Nadu
19 CB Coimbatore Coimbatore Tamil Nadu
20 DD Dehradun Dehradun Uttarakhand
21 DL Delhi New Delhi, Delhi Delhi
22 DL Delhi Rama Krishna Puram, Delhi Delhi
23 DL Delhi Shalimar Bagh, Delhi Delhi
24 DL Delhi Gurgaon Haryana
25 GZ Ghaziabad Ghaziabad Uttar Pradesh
26 GU Guwahati Guwahati Assam
27 HY Hyderabad Ameerpet, Hyderabad Telangana
28 HY Hyderabad Begumpet, Hyderabad Telangana
29 HY Hyderabad Toli Chowki, Hyderabad Telangana
30 HY Hyderabad Nizamabad Telangana
31 HY Hyderabad Tirupati Andhra Pradesh
32 HY Hyderabad Warangal Telangana
33 JP Jaipur Jaipur Rajasthan
34 JP Jaipur Jodhpur Rajasthan
35 JP Jaipur Sikar bikaner
36 JA Jalandhar Hoshiarpur Punjab
37 JA Jalandhar PSK-1, Jalandhar Punjab
38 JA Jalandhar PSK-2, Jalandhar Punjab
39 JM Jammu Jammu Jammu and Kashmir
40 CO Kochi Alappuzha Kerala
41 CO Kochi Aluva Kerala
42 CO Kochi Chengannur Kerala
43 CO Kochi Ernakulam Kerala
44 CO Kochi Idukki Kerala
45 CO Kochi Kochi Kerala
46 CO Kochi Kottayam Kerala
47 CO Kochi Thrissur Kerala
48 CA Kolkata Baharampur West Bengal
49 CA Kolkata Kolkata West Bengal
50 KO Kozhikode Kannur Kerala
51 KO Kozhikode Payyanur, Kannur Kerala
52 KO Kozhikode Kozhikode Kerala
53 KO Kozhikode Vatakara, Kozhikode Kerala
54 LK Lucknow Gorakhpur Uttar Pradesh
55 LK Lucknow Kanpur Uttar Pradesh
56 LK Lucknow Lucknow Uttar Pradesh
57 LK Lucknow Gomti Nagar, Lucknow Uttar Pradesh
58 LK Lucknow Varanasi Uttar Pradesh
59 MD Madurai Madurai Tamil Nadu
60 MD Madurai Tirunelveli Tamil Nadu
61 ML Malappuram Malappuram Kerala
62 BO Mumbai Andheri, Mumbai Maharashtra
63 BO Mumbai Parel, Mumbai Maharashtra
64 BO Mumbai Malad, Mumbai Maharashtra
65 NG Nagpur Nagpur Maharashtra
66 PJ Panaji Panaji Goa
67 PA Patna Patna Bihar
68 PN Pune Pune Maharashtra
69 RP Raipur Raipur Chhattisgarh
70 RC Ranchi Ranchi Jharkhand
71 SM Shimla Shimla Himachal Pradesh
72 SG Srinagar Srinagar Jammu and Kashmir
73 SU Surat Surat Gujarat
74 SU Surat PSK-2, Vadodara Gujarat
75 TH Thane Nashik Maharashtra
76 TH Thane Thane Maharashtra
77 TH Thane Malad, Mumbai Maharashtra
78 TR Tiruchirappalli Thanjavur Tamil Nadu
79 TR Tiruchirappalli Tiruchirappalli Tamil Nadu
80 TV Thiruvananthapuram Kollam Kerala
81 TV Thiruvananthapuram Neyyattinkara, Thiruvananthapuram Kerala
82 TV Thiruvananthapuram Vazhuthacaud, Thiruvananthapuram Kerala
83 VS Visakhapatnam Vijayawada Andhra Pradesh
84 VS Visakhapatnam Marripalem, Visakhapatnam Andhra Pradesh
85 VS Visakhapatnam Muralinagar, Visakhapatnam Andhra Pradesh
Passport Seva Laghu Kendras[edit]
S.No.
Code
Administration
PSLK City
State/UT
1 BN Bangalore Gulbarga Karnataka
2 MA Chennai Pondicherry Puducherry
3 GU Guwahati Aizwal Mizoram
4 GU Guwahati Dimapur Nagaland
5 GU Guwahati Imphal Manipur
6 GU Guwahati Itanagar Arunachal Pradesh
7 GU Guwahati Shillong Meghalaya
8 HY Hyderabad Karimnagar Telangana
9 CA Kolkata Agartala Tripura
10 CA Kolkata Gangtok Sikkim
11 VS Visakhapatnam Bhimavaram Andhra Pradesh
Source:
Passport Seva, Ministry of External Affairs, Government of India[4]
City Codes of Passport Offices[5]
References[edit]
Jump up ^ "MEA CPV Division". CPV.
Jump up ^ http://timesofindia.indiatimes.com/home/A-mini-passport-seva-kendra-passport-seva-laghu-kendra-will-be-inaugurated-by-the-the-Regional-Passport-Office-Hyderabad-at-Karimnagar-This-is-the-first-passport-seva-laghu-kendra-in-the-State-The-passport-services-will-be-launched-from-February-8-from-Karimnagar-/articleshow/30000658.cms
Jump up ^ http://www.business-standard.com/article/economy-policy/centre-to-set-up-16-passport-centres-in-eastern-india-by-2013-112082202012_1.html
Jump up ^ "Passport Seva Kendra Location Tracker- Locate Passport Seva Kendra".
Jump up ^ "Passport Status".
Retrieved from "https://en.wikipedia.org/w/index.php?title=List_of_Passport_Offices_in_India&oldid=802292198"
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Indian nationality law
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