英国伦敦论文不会写：艺术
日本从日本的茶碗在仪式上的木偶剧院爪哇电视广播,从室画在印度婚礼的英国军队洗劫中国艺术从皇帝的宫殿,作者在文章中已经完全挑战了艺术价值的主流观念的新方法引入文化,使人们认为在相同的行。作者相当关注的关键方面印度绘画通常被他人未找到深刻的如Madhubani画那个时代。这些画是在婚礼仪式编译说明一种仪式合成(戴维斯,2008)。婚礼上的艺术室是新粉刷的婚礼,在初始阶段前印度婚姻的仪式。通过阐述婚礼室后现代化时代的概念,作者试图介入艺术的多个维度通常观众小姐。
英国伦敦论文不会写：艺术
甚至所有的离散元素这些婚礼钱伯斯指控相关的艺术高度的含义但是每个这些元素时完全由可能会改变特定的语境和认知对象被视为艺术。作者进一步启发新的分化系统的概念对于奖励和福利来减少整体发展包括竞争、感到嫉妒、欺骗和利用。之前,作者解释说有男性观众,但在这个现代化的世界艺术的角度改变了思维过程的男性让他们参加。意义和报酬的活动的主要原因是艺术是发达国家和没有这些重要功能没有适当的上下文的艺术和观众或画家(戴维斯,2008)。madhubani绘画转换作者的状态是深远的人原来住女性艺术家。没有多少承认这些女性艺术家,他们可能会逐渐消失,但主Ganga井斜的书目的内容,突出MAdhubani的艺术家之一已经深刻地珍视讨论的艺术家。
英国伦敦论文不会写：艺术
Ranging from Japanese tea bowls in ceremonies of Japan to the puppet theater on Javanese television broadcasts, ranging from the chamber paintings at Indian wedding to the British army which looted the art from palaces of Emperors in China, the authors in the article have completely challenged the artistic value prevailing notions in new ways of introducing culture and making people think on the same lines. The authors have considerably focused on the critical aspects of Indian Paintings which normally were not found profound by others such as the Madhubani paintings as called in that era. These paintings were compiled in wedding ceremonies illustrating a ritual synthesis (Davis, 2008). The art on the wedding chamber is freshly painted prior to the wedding and at the initial stages in the ritual of Indian marriages. By elaborating the concept of wedding chambers in post modernized era, authors have tried to intervene in the multiple dimensions of art which viewers normally miss.
英国伦敦论文不会写：艺术
Even all the discrete elements of the art associated to these wedding chambers are charged highly with an implication but each of these elements when wholly composed might change the context and perception from which that particular art object was perceived. The authors further enlighten the conception of new differentiated systems with regard to rewards and benefits coming as less whole for developing inclusive of competing, feeling jealous, deceptive and exploited. Previously the field that authors have explained had male audience but in this modernized world the perspective of art has changed the thought process of males making them take part in the field. A meaning and remuneration activity are the main reasons why art is developed and without these important features there is no appropriate context of art nor for the viewer or the painter (Davis, 2008). The madhubani painting transformation the author’s state was profound for individuals who originally lived as women artists. Without much acknowledgment of these women artists, they might have faded away but the bibliographical content of Master Ganga Devi, one of the prominent MAdhubani artists has been profoundly cherished in the discussions of the artists.
