{"id":692,"date":"2022-06-30T15:04:44","date_gmt":"2022-06-30T15:04:44","guid":{"rendered":"http:\/\/pranavjournals.com\/finearts\/?page_id=692"},"modified":"2022-08-12T07:10:35","modified_gmt":"2022-08-12T07:10:35","slug":"volume-2-current-issue-4","status":"publish","type":"page","link":"https:\/\/pranavjournals.com\/finearts\/volume-2-current-issue-4\/","title":{"rendered":"Volume 2- Current Issue 4"},"content":{"rendered":"

Volume 2 – Issue 4 – June 2022<\/strong><\/h4>\n

 <\/p>\n

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\u0b87\u0bb0\u0bbe\u0b95\u0bb5 \u0b9a\u0ba4\u0b95\u0ba4\u0bcd\u0ba4\u0bbf\u0bb2\u0bcd \u0b87\u0bb0\u0bbe\u0bae\u0b95\u0bc1\u0ba3\u0b99\u0bcd\u0b95\u0bb3\u0bcd<\/a><\/strong><\/h5>\n

\u0b9a.\u0bb0\u0bae\u0bcd\u0baf\u0bbe, Pg no 1-13<\/strong><\/p>\n<\/div>\n

\n
\u0baa\u0ba4\u0b99\u0bcd\u0b95\u0bb3\u0bbf\u0bb2\u0bcd \u0bb8\u0bbe\u0bb5\u0bc7\u0bb0\u0bbf \u0bb0\u0bbe\u0b95\u0ba4\u0bcd\u0ba4\u0bbf\u0ba9\u0bcd \u0baa\u0bbf\u0bb0\u0baf\u0bcb\u0b95\u0bae\u0bcd<\/a><\/strong><\/h5>\n

P.\u0bae\u0bc1\u0bb0\u0bb3\u0bbf Pg no: 14-31<\/strong><\/p>\n<\/div>\n

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VEENA AND ITS TRADITIONS<\/a><\/strong><\/h5>\n

K.N.Deepa & Dr. Shobana Swaminathan Pg no: 32-50<\/strong><\/p>\n<\/div>\n

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Concept of Bhakthi Redefined by Sath Guru Sri Thyagaraja<\/a><\/strong><\/h5>\n

N Ch Pardhasaradhi\u00a0 , Pg no: 51-55<\/strong><\/p>\n<\/div>\n

\n
Folk music forms in Harid\u0101sa literature<\/a><\/strong><\/h5>\n

Ragini A R, Pg no: 56-64<\/strong><\/p>\n<\/div>\n

\n
“RAMA<\/strong> BHAKTHI OF LORD HANUMAN\u201d – A Glimpse through the krithis of Sri Thyagaraja.<\/a><\/h5>\n

Pushpa Hariharan\u00a0 Pg no 65-71<\/strong><\/p>\n<\/div>\n

\n
\u0baa\u0bbe\u0bb0\u0ba4\u0bbf\u0bb0\u0bbe\u0b9c\u0bbe \u0ba4\u0bbf\u0bb0\u0bc8\u0baa\u0bcd\u0baa\u0b9f\u0b99\u0bcd\u0b95\u0bb3\u0bbf\u0bb2\u0bcd \u0b95\u0b9f\u0bcd\u0b9f\u0bbf\u0baf\u0b95\u0bcd\u0b95\u0bbe\u0bb0\u0ba9\u0bcd \u0ba4\u0ba9\u0bcd\u0bae\u0bc8\u0b95\u0bb3\u0bbf\u0ba9\u0bcd \u0bb5\u0bc6\u0bb3\u0bbf\u0baa\u0bcd\u0baa\u0bbe\u0b9f\u0bc1\u0b95\u0bb3\u0bcd \u2013 \u0b92\u0bb0\u0bc1 \u0b86\u0baf\u0bcd\u0bb5\u0bc1<\/a><\/strong><\/h5>\n

\u0baa. \u0b9a\u0b99\u0bcd\u0b95\u0bc0\u0ba4\u0bbe Pg no 72-79<\/strong><\/p>\n<\/div>\n

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CREDIBILITY OF AUTHORSHIP IN MUSIC COMPOSITIONS<\/a><\/strong><\/h5>\n

Sharanya Sriram & \u00a0Meera Rajaram Pranesh Pgno: 80-86<\/strong><\/p>\n<\/div>\n

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CHARACTER DEPICTION IN NATYA<\/a><\/strong><\/h5>\n

Vijayalakshmi M G & Dr. Ambika Kameshwar\u00a0 Pg no: 87-99<\/strong><\/p>\n<\/div>\n

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CHISELLED EXPRESSION AND NOTIONS OF MOVEMENT IN INDIAN DANCE<\/a><\/strong><\/h5>\n

RAVIRAJ Pg no: 100-108<\/strong><\/p>\n<\/div>\n

\n
\u0ba4\u0bbf\u0bb0\u0bc1\u0b9a\u0bcd\u0b9a\u0bbf \u0bae\u0bbe\u0ba8\u0b95\u0bb0\u0bae\u0bcd \u0ba4\u0bbf\u0bb0\u0bc1\u0bb5\u0bc6\u0bb1\u0bc1\u0bae\u0bcd\u0baa\u0bc2\u0bb0\u0bbf\u0bb2\u0bcd \u0b9a\u0bcb\u0bb4\u0bb0\u0ba4\u0bc1 \u0b95\u0bb2\u0bc8\u0b95\u0bcd\u0b95\u0bcb\u0baf\u0bbf\u0bb2\u0bcd<\/a><\/h5>\n

\u0bae\u0bc1\u0ba9\u0bc8\u0bb5\u0bb0\u0bcd \u0b87\u0bb0\u0bbe. \u0ba4\u0bc7\u0bb5\u0bbf & \u0bae\u0bc1\u0ba9\u0bc8\u0bb5\u0bb0\u0bcd. \u0b87\u0bb0\u0bbe\u0b9c. \u0b9a\u0bc0\u0ba4\u0bbe\u0bb2\u0b9f\u0bcd\u0b9a\u0bc1\u0bae\u0bbf \u00a0<\/sup>Pg No: 109-136<\/strong><\/p>\n<\/div>\n

\n
\u0b87\u0bb0\u0bbe\u0b9a\u0b9a\u0bbf\u0bae\u0bcd\u0bae\u0ba9\u0bcd \u0b95\u0bb2\u0bc8\u0baa\u0bcd \u0baa\u0bbe\u0ba3\u0bbf\u0baf\u0bbf\u0bb2\u0bcd \u0b89\u0bb0\u0bc1\u0bb5\u0bbe\u0ba9 \u0ba4\u0bae\u0bbf\u0bb4\u0b95\u0b95\u0bcd\u0b95\u0bcb\u0baf\u0bbf\u0bb2\u0bcd \u0b86\u0baf\u0bcd\u0bb5\u0bc1\u0b95\u0bb3\u0bcd<\/a><\/h5>\n

\u0bae\u0bc1\u0ba9\u0bc8\u0bb5\u0bb0\u0bcd.\u0b87\u0bb0\u0bbe.\u0ba4\u0bc7\u0bb5\u0bbf Pg No: 137-151<\/strong><\/p>\n<\/div>\n

\n
\u0bb5\u0bbf\u0bb5\u0bbf\u0bb2\u0bbf\u0baf\u0bae\u0bcd \u0b95\u0bc2\u0bb1\u0bc1\u0bae\u0bcd \u0baa\u0bbe\u0b9f\u0bb2\u0bcd\u0b95\u0bb3\u0bc1\u0bae\u0bcd \u0b85\u0b95\u0bae\u0bbe\u0bb0\u0bcd\u0b95\u0bcd\u0b95 \u0baa\u0bbe\u0b9f\u0bb2\u0bcd\u0b95\u0bb3\u0bc1\u0bae\u0bcd<\/a><\/h5>\n

\u0bae\u0bc1\u0ba9\u0bc8\u0bb5\u0bb0\u0bcd \u0b9a\u0bbe\u0bb0\u0bbe\u0bb3\u0bcd Pg no: 152-162<\/strong><\/p>\n<\/div>\n

\n
\u00a0MADHURA MARGAM IN SHABDAM<\/a><\/h5>\n

\u00a0M. Shunmathi & Dr.V.Bala Pg no:163-172<\/strong><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Volume 2 – Issue 4 – June 2022   \u0b87\u0bb0\u0bbe\u0b95\u0bb5 \u0b9a\u0ba4\u0b95\u0ba4\u0bcd\u0ba4\u0bbf\u0bb2\u0bcd \u0b87\u0bb0\u0bbe\u0bae\u0b95\u0bc1\u0ba3\u0b99\u0bcd\u0b95\u0bb3\u0bcd \u0b9a.\u0bb0\u0bae\u0bcd\u0baf\u0bbe, Pg no 1-13 \u0baa\u0ba4\u0b99\u0bcd\u0b95\u0bb3\u0bbf\u0bb2\u0bcd \u0bb8\u0bbe\u0bb5\u0bc7\u0bb0\u0bbf \u0bb0\u0bbe\u0b95\u0ba4\u0bcd\u0ba4\u0bbf\u0ba9\u0bcd \u0baa\u0bbf\u0bb0\u0baf\u0bcb\u0b95\u0bae\u0bcd P.\u0bae\u0bc1\u0bb0\u0bb3\u0bbf Pg no: 14-31 VEENA AND ITS TRADITIONS K.N.Deepa & Dr. Shobana Swaminathan Pg no: 32-50 Concept of Bhakthi Redefined by Sath Guru Sri Thyagaraja N Ch Pardhasaradhi\u00a0 , Pg no: 51-55 Folk music forms […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-692","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/pages\/692","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/comments?post=692"}],"version-history":[{"count":0,"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/pages\/692\/revisions"}],"wp:attachment":[{"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/media?parent=692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}