Journal of Fine Arts Campus最新文献

{"title":"The Historical Context and Present Scenario of Madal","authors":"P. Poudel","doi":"10.3126/jfac.v3i2.48332","DOIUrl":"https://doi.org/10.3126/jfac.v3i2.48332","url":null,"abstract":"Madal is a two-faced hand drum used in Nepali music. It is also well-known throughout the world as a percussion instrument commonly employed in Nepali traditional music. In terms of its structure and playing style, limited works of literature and treatise have mentioned some rhythmic instruments akin to the madal. The origins of the madal have been linked to ancient instruments such as the mridanga, mardal, and muraj. The evolving trend of this musical instrument has been thoroughly examined in this study. The sources of information for this study were textual reviews and field trip notes. Furthermore, the researcher has also reviewed some research studies focusing on the caste and communities associated with madal. As a result, the current study is intended to be a valuable resource for people interested in learning more about madal. Similarly, this study has underlined the importance of madal in the current global context.","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126892435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Impact of Dance on Physical Fitness","authors":"Sujata Baral","doi":"10.3126/jfac.v3i2.48233","DOIUrl":"https://doi.org/10.3126/jfac.v3i2.48233","url":null,"abstract":"A series of steps and movements that body matches the speed and rhythm of a piece of music is known as Dance. It allows people to be more active, socialize and develop creative and physical skills. Regular exercise has been long associated with a fewer visit to the doctor, hospitalization and medication.  Physical activity can help to prevent or manage a wide range of health problems and concerns, including stroke, metabolic syndrome, diabetes, depression, and certain types of cancer, arthritis and falls. The main objective of this study is to analyze and describe the impact of dance on our body and mind. Through this article reader can perceive the significance of dance as physical fitness not only entertainment.","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126583548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"सङ्गीतमा घराना सम्बन्धी अवधारणा : एक विश्लेषण (The Concept of Gharana in Music: An Analysis)","authors":"Wenkatesh Dhakal","doi":"10.3126/jfac.v3i2.48238","DOIUrl":"https://doi.org/10.3126/jfac.v3i2.48238","url":null,"abstract":"घराना वा घरानेदार भन्ने शब्दले शास्त्रीय सङ्गीतको क्षेत्रमा विशेष स्थान वा विशिष्टता बुझिने गर्दछ । दक्षिण एसियाली शास्त्रीय सङ्गीत अन्तर्गत घरानेदार एवं संस्थागत दुई प्रकारबाट सङ्गीत सिक्ने प्रचलन रहीआएको छ । घरानेदार शिक्षा विशेष गुण एवं प्रतिभा भएका विद्यार्थीहरूलाई मात्र प्रदान गरिने प्रचलन रहेको छ । परम्परा एवं घरानामा तात्विक भिन्नता हुने हुँदा कुनै विशेष परम्परालाई घरानाको मान्यता प्राप्त हुनका लागि नितान्त आवश्यकता पर्ने अवयव के के हुन् ? भारत वर्षीय शास्त्रीय सङ्गीतमा कुन–कुन घराना हाल विद्यमान रहेका छन् ? शास्त्रीय सङ्गीत सिक्ने सिकाउने प्रक्रियामा गण्डा बन्धन के हो र यसको महत्व किन छ ?साथै वर्तमान समयमा घरानेदार शिक्षण पद्धति किन आवश्यक छ ? आदि प्रश्नहरूको उत्तर प्रस्तुत लेख मार्फत खोज्ने प्रयत्न गरिएको छ । प्राथमिक साक्षात्कार एवं द्वितीयक श्रोतको विभिन्न पुस्तक, शोधग्रन्थ, लेखहरूको सहयोगमा प्रस्तुत लेख विश्लेषणात्मक रूपमा तयार गरिएको छ । खोजको क्रममा नेपाल र भारतमा हाल प्रचलनमा रहेका घरानाको बारेमा उपलब्ध जानकारी प्रस्तुत गरिएको छ । प्रस्तुत लेखले दक्षिण एसियाली राष्ट्रहरूमा सङ्गीतको व्याकरणको रूपमा रहेको शास्त्रीय सङ्गीत अन्तर्गत भारत एवं नेपालमा घरानाको अवधारणा कस्तो रहेको छ भन्ने बारेमा शास्त्रीय सङ्गीत प्रति रूचि राख्ने विद्यार्थीहरू एवं शोध कर्ताहरूलाई आवश्यक जानकारी प्राप्त हुनेछ ।\u0000(The word gharana or gharanedar means a special place or specialty in the field of classical music. Under South Asian classical music, there is a trend of learning music through two types of household and institutional. There is a trend of providing home-based education only to students with special qualities and talents. Since there is a fundamental difference between tradition and gharana, what are the components that are absolutely necessary for a particular tradition to be recognized as a gharana? Which houses are currently existing in Indian classical music? What is ganda bandhan in the learning process of learning classical music and why is it important? Also why is gharanedar teaching method necessary at present? An attempt has been made to find answers to such questions through the presented article. The presented article has been prepared analytically with the help of primary interviews and various books, research papers and articles from secondary sources. During the search, available information about gharana currently in vogue in Nepal and India has been presented. The presented article will provide necessary information to students and researchers who are interested in classical music about the concept of gharana in India and Nepal under classical music as a grammar of music in South Asian countries.)","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127140530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"नेपालमा शास्त्रीय सङ्गीतको विकासक्रम {Development of classical music in Nepal}","authors":"रमेश Ramesh पोखरेल Pokhrel","doi":"10.3126/jfac.v3i1.42517","DOIUrl":"https://doi.org/10.3126/jfac.v3i1.42517","url":null,"abstract":"नाद उपासनाको लागि पूर्विय शास्त्रीय संगीत परम्परा सामवैदिक गानबाट सुरु भएर आजको अवस्था सम्म आइपुगेको हो ।सँगीतको व्याकरणको रुपमा रहेको शास्त्रीय सँगीतका आफ्नै मुल्यमान्यता, परम्परा, नियम र रस–सौन्दर्य विधान छन जुन भरतकोनाट्यशास्त्रीय परम्परामा आजपर्यन्त प्रत्यक्ष या परोक्ष रुपमा जोडीन पुग्दछ । नेपालमा शास्त्रीय सँगीतको यथेस्ट प्रचारप्रसार र सोकोविकास शाहकाल र त्यसमा पनि विशेष राणा शासनमा भएको देखिन्छ । लिच्छवी शासनकालमा शास्त्रीय सँगीतलाइ वादित्रगोष्ठी मार्फत सरकारी पो्रत्साहनमा अगाडी बढाउन खोजिएको पाइन्छ भने मल्लकालमा विभिन्न जात्रा, पर्व, नाटक आदिमा शास्त्रीय सँगीत गायन, वादन र नाचको प्रयोग हुन्थ्यो । उन्नाइसौं शताब्दीको सुरुवात सँगै भारतका अलग अलग देशहरुमा अंगे्रज सामा्रज्यको कारण विस्थापित दरवारमा आश्रीत शास्त्रीय सँगीतज्ञहरुलाइ नेपालको राज दरवार र राण दरवारमा संरक्षण दिइएको नेपाली सँगीत इतिहासले देखाउँछ । औपचारिक शास्त्रीय सँगीतसँग सम्बन्धीत प्रस्तुती, पठनपाठन एवं प्रसार प्रसारका कार्य विशेषगरि २००७ सालको प्रजातन्त्र पा्रप्तीसँगै नेपालमा शुरुवात भएको देखिन्छ । प्रस्तुत अनुसन्धान–आलेखमा नेपालमा शास्त्रीय सँगीतको ऐतिहासिक विकासक्रम, त्यसमा उल्लेखनिय भुमिका खेल्ने विभिन्न कालखण्डसँग सम्बन्धीत राज्य शासन व्यवस्था र वर्तमानको परिवर्तीत अवस्था, सँस्थागत शैक्षिक अभ्यास बारे वर्णनात्मक रुपले प्रष्ट पार्न खोजिएको छ र यस अध्ययनबाट जोकोही सँगीत जिज्ञासुले नेपालमा शास्त्रीय सङ्गीतको विकासक्रमबारे जानकारी हाँसील गर्न सक्छ ।","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115845547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Art in nature: Shifting trends in Nepali sculpture","authors":"Om Khattri","doi":"10.3126/jfac.v3i1.42494","DOIUrl":"https://doi.org/10.3126/jfac.v3i1.42494","url":null,"abstract":"Art has its environment and meaning, and it can exist free from a pedestal. Different approaches have sprung up with current environmental impacts, including other outdoor sculptures in Nepal as a modern movement. This form of activity has given new meaning to local indigenous values, art, and crafts. The transition started after some naturalistic sculptures, including equestrian statues, were brought from Europe and installed in the open environment. Environmental sculpture is a type of public art that creates or changes the spectators' surroundings. Nepalese sculptors have practiced a new genre as an alternative discipline of sculpture. A significant sculpture, Nirmāna, which means construction, was created by Thakur Prasad Mainali in 2024-25 B.S. at Bhirkutimandap, Kathmandu. Hence, two methodological approaches-primary observation and historical connections used to conduct this study. Besides numerous modern sculptures, this investigation focused on the earliest environmental sculptures. The study also explores the historical significance of sculpture in Nepal as it evolved and assimilated into modernity over time. After centuries of artistic and cultural legacy in Nepal, environmental sculpture underwent new changes.","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117139968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"प्रस्तर मूर्तिकलामा औजार र प्रविधिको प्रयोग {Use of tools and techniques in stone sculpture}","authors":"नरेन्द्र प्रसाद Narendra Prasad भण्डारी Bhandari","doi":"10.3126/jfac.v3i1.42535","DOIUrl":"https://doi.org/10.3126/jfac.v3i1.42535","url":null,"abstract":"यसलेख प्रस्तर अर्थात ढुंगामा मूर्ति निर्माण गर्दा प्रयोग गरिएका विविध औजारहरू र तौर तरिकाका बारेमा संक्षिप्तप्रकाश पार्ने कोशिस गरिएको छ । मानव सभ्यताको विकास हुनुभन्दा पहिले ढुंङ्गे युगमा ढुंङ्गा नै मुख्य आधार रहेको थियो ।त्यसपछि सभ्यताको सुरुवातसंगै जन्म र मृत्यूमा प्रस्तरको प्रयोग मेसोपोटामिया, सिन्धुघाटी र मिश्रको सभ्यतामा ढुंगाको प्रयोगमुख्य आधार रहेकोछ । नेपालमा पनि प्रस्तरको प्रयोग आदिमकाल देखिनै रहिआएको अनुसन्धानकर्ताको भनाई रहेकोछ । मूर्तिबनाउन ढुंगा सबैभन्दा उत्तम माध्यम हुनुको मुख्य कारण स्थायी, आकर्षक र विभिन्न रंगमा पनि पाईने हुुदा यसको प्रयोगगरिदै आएको मानिन्छ । यस अनुसन्धान लेखलाई प्रभावकारी बनाउन विभिन्न पुस्तक, लेखरचना तथा इन्टरनेटमा उपलब्धसामाग्रीहरूको प्रयोग गरि प्रष्ट पार्ने कोशिस गरिनेछ । मूर्तिकला विषयमा विभिन्न पुस्तक तथा लेख प्रकाशित भएपनि प्रस्तरमाकुद्ने प्रकया र यसमा प्रयोग हुने औजारको विषयमा प्रकाशित पाईएको छैन । यसकारण यो लेख उपयोगि हुनेछ भन्ने आशालिएको छु l {This article gives you a brief overview on various tools and techniques used in making stone sculptures Attempts have been made to shed light. Stone was the mainstay of the Stone Age before the development of human civilization. Then, with the advent of civilization, stone was used in births and deaths. In Mesopotamia, Indus Valley and Egyptian civilizationThe main premise is. Researchers say that stone has been used in Nepal since time immemorial. Idol The main reason why stone is the best medium for making is because it is durable, attractive and is also available in different colors It is considered to be done. To make this research article effective, various books, essays and available on the InternetAttempts will be made to clarify using materials. Although various books and articles have been published on the subject of sculpture The process of jumping and the tools used in it have not been published. So hopefully this article will be useful I have taken.}","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133845921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"संगीत शास्त्र तथा प्रयोगको दृष्टिमा राग बसन्तको अध्ययन {Study of Raga Basanta in terms of musicology and usage}","authors":"पार्वती Parbati घिमिरे Ghimire","doi":"10.3126/jfac.v3i1.42534","DOIUrl":"https://doi.org/10.3126/jfac.v3i1.42534","url":null,"abstract":"वसंत ऋतुमा धेरै प्रस्तुत गरिने ऋतुकालीन राग बसंत प्रचीनकालदेखि वर्तमानसम्म संगीतका शास्त्रग्रन्थहरुमा उल्लेखित छसाथै प्रयोगात्मक रुपमा पनि प्रचलित छ । प्रस्तुत अध्ययनको मुख्य उदेश्य संगीत शिक्षक, विद्यार्थी, आलोचक, समालोचक तथाशास्त्रीय संगीतका पारखीहरुलाई राग वसन्तको फराकिलो क्षेत्र दर्शन गराई राग ज्ञानको भण्डार बढाउनु हो । विभिन्न संगीत शास्त्रग्रन्थहहरुको अध्ययन, संगीतका विद्घान कलाकारहरुसँग राग चर्चा, रेकर्डेड राग वसन्तको श्रवण आदि स्रोतहरुद्वारा तथ्यांक संकलनगरि प्रस्तुत अध्ययनमा विश्लेषण गरिएको छ । यस किसिमको राग अध्ययनको प्रयोग मुख्य रुपमा संगीतका विद्यार्थीरुलाई सहीशिक्षा दिन, राग चिन्तन तथा ज्ञानको क्षेत्र बढाउन, रागलाई लोप हुनबाट बचाई जीवित राख्नको लागि हुन्छ । प्रस्तुत अध्ययनद्वाराराग वसन्तको अध्ययन गर्दा अलग अलग स्वर प्रयोग भएको भेटियो । {The seasonal raga, which is often performed in the spring, is mentioned in the musical scriptures from ancient times to the present.Also prevalent experimentally. The main objectives of the present study are music teachers, students, critics, critics and It is to increase the store of knowledge of Raga by showing the connoisseurs of classical music a wide field of Raga Vasant. Various musicologyCollection of data from sources such as study of texts, raga discussions with music scholars, listening to recorded raga spring etc. Has been analyzed in the present study. The use of this type of raga study is mainly suitable for music students To educate, to increase the field of raga thinking and knowledge, to keep the raga alive from extinction. By the present studyWhile studying Raga Vasant, it was found that different tones were used.}","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132546252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Common Patterns in Contemporary Nepali Arts, Life and Society","authors":"Y. Sharma","doi":"10.3126/jfac.v3i2.48226","DOIUrl":"https://doi.org/10.3126/jfac.v3i2.48226","url":null,"abstract":"There are common trends and patterns in contemporary Nepal arts, politics, society, culture and education along with other dimensions of life. Such similarities suggest the interconnectedness of diverse dimensions of reality. One area mirrors the other one. Looking at art, we can infer the life and culture of the people. Superstructure is reflected in the base; and the base has been reflected in superstructure. Hypocrisy, pretention and imitation are the common patterns of Nepali art, culture and life in contemporary context. Due to such features, the foundation of the nation is shaking. The things that need to remain in the foundation are drifting on the surface. The drama of art, agriculture, education and politics will not support life and survival. It is just for showing until the disaster takes place. When there will be critical and catastrophic situation, we are sure to be drowned. Before this apocalypse, it is necessary to do little things that are real which enhance our art and life, which add a little stone on the foundation of the civilization. This research paper analyzes contemporary Nepali artworks and links them to cultural, social and political dimensions of the contemporary context. This is qualitative research since it interprets arts and events, and the interpretations can be multiple.","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114505553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"पौभाः र थान्का चित्रहरूमा रेखाद्वारा निर्मित आकार–प्रकार बीचको तुलनात्मक अध्ययन {A comparative study between the shapes and types formed by lines in the Paubha and Thanka paintings}","authors":"मकुन्द Mukunda पौडेल Poudel","doi":"10.3126/jfac.v3i1.42533","DOIUrl":"https://doi.org/10.3126/jfac.v3i1.42533","url":null,"abstract":"नेवारी शब्दको रूपमा परिचित पौभाः र तिब्बती शब्दको रूपमा परिचित थान्का चित्रमा प्रयोग भएका हरेक विषयवस्तुहरूएउटै जस्तो देखिएता पनि तिनीहरूका आकार–प्रकार बीच भिन्नता रहेको पाइन्छ । चित्रमा देखिने देवीदेवताहरू, उनीहरूलेपहिरिएका आभूषणहरू, वस्त्र लगायत मानवाकृति, धर्मगुरु, पशुपंक्षीका आकृतिहरूको साथै दृश्य चित्रमा प्रयोग हुने बादल,बोटबिरुवा, रूख, आगो, पानी आदि हरेक विषयवस्तुलाई गतिशिल र प्रवाही रेखाद्वारा आआफ्नै भित्र र मौलिक आकार–प्रकारमाढालेर चित्रमा प्रस्तुत गरिएको छ । जसले गर्दा यिनीहरूका विषयवस्तुहरूको बनौट र आकार–प्रकारमा भित्रता आएको छ । तर तीआकार–प्रकारहरू बीच त्यति ठूलो भिन्नता चाहिँ देखिँदैन । यो लेखले थान्का र पौभाः चित्रहरूमा केकस्ता र कसरी आकारप्रकारहरू प्रयोग भएका छन् भत्रे बारेमा तुलनात्मक अध्ययन गर्ने कोशिस गरेको छ । {Although the Newari word pauvaha and the Tibetan word thanka used in the painting seem to be the same, they differ in shape and form. The gods and goddesses seen in the picture, the ornaments they are wearing, the garments including human figures, religious leaders, animal and bird figures as well as the clouds, plants, trees, fire, water etc.  Due to which, there is an intrusion in the structure and shape of these subjects. But there is not much difference between the three types. This article attempts to make a comparative study of what and how shapes are used in Thanka and Paubha paintings.}","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125145284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Color: The Spirit of Painting","authors":"Krishna Prakash Shah","doi":"10.3126/jfac.v3i1.42491","DOIUrl":"https://doi.org/10.3126/jfac.v3i1.42491","url":null,"abstract":"Color exists in the presence of light. Light not only brings forth the existence of color but also helps to perceive its reality. Color is a powerful medium to express our feelings, and that also evokes emotional responses which attract and keep the attention of a beholder. Color combination in painting is concerned with aesthetic aspects. The color beauty sustains the undivided attention to the beholder. Color amplifies the degree of emotion that touches and influences the human body, mind and soul directly which leads towards contemplation. The contemplation opens up the way to the journey of eternity. All this is possible through the combination of harmonious and contrastive colors that awakens a corresponding sensation, which directly works upon the soul. Therefore, color is the spirit of painting that makes the work of painting lively by putting breath into it. This article, thus, attempts to trace how color becomes the spirit of painting. Color as the spirit of painting will be the center of research focusing on the influence of color upon human beings. The main objective of this article is to study the role of color in painting. The study explains the impact and aesthetic value of color in painting. It is relevant to explore the strength of color application in painting. The qualitative model of research is adopted to analyze and interpret the artworks.","PeriodicalId":201405,"journal":{"name":"Journal of Fine Arts Campus","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127101400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}