কয়েকটি ভারতীয় বিদ্যালয়৪, Some Indian Schools4

Bombay Girls School, a chromolithograph by William Simpson, 1867

Brahmin students,from the Illustrated London News, 1858

Brahmins of Bengal, from 'The World- its Cities and Peoples', by W. W. Birdsall, 1892;

Brahmins of Bengal, from 'The World- its Cities and Peoples', by W. W. Birdsall, 1892; - 1

কয়েকটি ভারতীয় বিদ্যালয়৩, Some Indian Schools3

A Turkish or Arabian School, from 'Geography on a Popular Plan',  by Rev J. Goldsmith, published by Richard Phillips, London, 1811

Arabic-Persian class at Canning College, Lucknow; a photo from 1871

Baba Nanak goes to school- a painting by Alam Chand Raj, 1733

bertuch indian scribe - in the iddle - 1790-1830

কয়েকটি ভারতীয় বিদ্যালয়২, Some Indian Schools2

A native school with palm-leaf books, in a photo c.1880

A sage with his students, Mughal school, c.1610

A School among the Hindoos, from Geography on a Popular Plan,  by Rev J. Goldsmith, published by Richard Phillips, London, 1811

A temple school for Brahmin boys at Rameshwaram, in a photogravure by Martin Hurlimann, 1928

কয়েকটি ভারতীয় বিদ্যালয়১, Some Indian Schools1

A missionary account, c.1870

A moulvi and his pupils studying Arabic, Agra; a photo by Simon Kempson, 1871

A Mulsulmaun Schoolmaster, by D'Oyly; late 1800'

A Muslim school in Allahabad, from 'Le Tour de Monde', 1874

Santal Pat

Santal Pat scrolls that deal with the origins of the SANTALs and their views of the life after death. These pats are used extensively in Purulia and in the north-eastern regions of Bankura in WEST BENGAL, where the Santals form the leading. Their artists thus tend to draw pictures that narrate the origins of their tribe based on their folk tales; the tale of Korizak is one such story.
The pictures are drawn in five parts. Starting from top to bottom they illustrate: 1. a submerged world; two swans, one male and the other female, flying over water; there is no dry place for them to sit on; 2. an earthworm building a plot of land out of the water; 3. the swans living on land and the female swan laying a couple of eggs; 4. two swans emerging out of the eggs, one male and the other female; 5. the first man and woman (like Adam and Eve) giving birth to the Santal people.
The legends of the Santals and the pictures drawn by their painters almost details. However, the pats only often the outlines of the story. [Yas Vanu Begum]

Alpana

Alpana, the form of Rangoli practiced in Bengal, is a natural representation of the artistic sensibility of the people. Practiced usually by the womenfolk of the state, the art form represents an amalgamation of the past experience as well as the contemporary designs. Even though the basic designs are more or less same, new forms and new colors are being tried on a large scale. The changing moods of the seasons are also very much reflected in the Alpana designs of India. The patterns are made with the help of a small piece of cloth drenched in a blend of powdered rice.

Making of Alpana patterns is a part of the rituals in the numerous vratas (fasts) kept by the Hindu women of Bengal. They beautify the whole house and paint the floor with Alpana art, drawing designs passed on from one generation to the other. Bengalis also make use of the Circular Alpana as a holy pedestal while worshipping a deity, especially at the time of Lakshmi Puja. The basis of the word 'Alpana' has two different versions. As per one version, it originated from the Sanskrit word 'Alimpana', meaning 'to plaster with' or 'to coat with'. The other version traces its roots to the word 'Alipana', meaning the art of making ails or embankments.

Origin
The origin of the Alpana art form is very difficult to trace. Some authorities believe that the vratas with which Alpana is associated can be traced to pre-Aryan times. The ascetics living in the country before the Aryans are said to have passed on this art form to the future generations. One can also find detailed mention of Alpana paintings in the later works like Kajalrekha. All the ritualistic and traditional folk arts of Bengal, including Alpana, are believed to have been used by the agricultural communities of the region for driving out evil spirits. The art form of Alpana has been used since ages for religious and ceremonial purposes and is usually done on the floor.

Making of Alpana
Alpana designs are drawn with the help of rice-powder, diluted rice paste, powdered colors (produced from dried leaves), charcoal, burnt earth, etc. Materials like colored chalk, vermilion, flower petals, grains, etc, are also used to decorate the designs. The motifs usually comprise of sun, ladder, leg of goddess Lakshmi, owl, fish, betel, rice stem, lotus, plough, sindur box, etc. Presently, Alpana patterns seem to be influenced by Santiniketani style of art.