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				<datestamp>2025-06-12T07:48:56Z</datestamp>
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	<dc:title xml:lang="en">Traditional Zardosi Embroidery in the Design and Development of Custom Wall Decor</dc:title>
	<dc:creator xml:lang="en">Poornasree M</dc:creator>
	<dc:creator xml:lang="en">Sangeethkumar, Subathra B</dc:creator>
	<dc:subject xml:lang="en">Zardosi</dc:subject>
	<dc:subject xml:lang="en">handicraft</dc:subject>
	<dc:subject xml:lang="en">Wall hanging</dc:subject>
	<dc:subject xml:lang="en">Zardosi Embroidery</dc:subject>
	<dc:subject xml:lang="en">Wall Decor</dc:subject>
	<dc:subject xml:lang="en"> Zardhosi craftsmen</dc:subject>
	<dc:subject xml:lang="en">Zardosi wall hanging</dc:subject>
	<dc:subject xml:lang="en">Fashion</dc:subject>
	<dc:subject xml:lang="en">Crafts</dc:subject>
	<dc:description xml:lang="en">Background: Zardozi embroidery is a traditional Indian method of surface decoration and needlework. This ancient embroidery uses metal wires, thread, beads, sequins, and stones. Once used to adorn royal attire with gold wires, zardozi now employs more affordable metals. It is commonly found in sarees, dupattas, and lehengas, with a significant market in wedding attire for its regal appeal. Purpose: Every year, Zardozi’s local and foreign markets grow. The government provides programs and incentives to support Zardozi craftsmen. However, Zardozi items are expensive, reserved for special occasions, and not affordable for all. As a result, machine-made imitations have emerged. Modern machinery affects traditional artisans, prompting new research to reduce costs and improve theirquality of life.Methods: Zardosi&#039;s works are done on clothing to enhance its appearance. However, there is a need to make the effort to teach the general public these procedures and make the Aari stitched sample available to everyone. Therefore, we must create a product that is both economical and accessible to everyone. A few research studies on motif selection, frame size, and product pricing were examined, and the items were prepared. Wall-hanging production has been scheduled.Results: A fresh attempt at creating the zardozi wall hanging was created using the appropriate fabric, and its appearance, cost, and client acceptability will all be favorable. In contrast to the clothing, the item was reasonably priced and looked good hanging on the wall. Therefore, the majority of clients might be drawn to it. Conclusions: Craft training was undergone by the artisan, and by adopting the learned experience, a new product of embroidered wall hanging was prepared successfully. 
Keywords: Zardosi Embroidery, Wall Decor, Zardhosi craftsmen, Zardosi wall hanging</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2024-12-04</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
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	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/2</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 1 No. 01 (2024); 21-29</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/2/6</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2024 Subathra B Sangeethkumar (Author)</dc:rights>
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				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/5</identifier>
				<datestamp>2025-06-12T07:49:21Z</datestamp>
				<setSpec>fashion:ART</setSpec>
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<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
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	<dc:title xml:lang="en">Sustainable Zero Waste Pattern Making: Geo-Cut Techniques for Pre and Post-Maternity Wear Design</dc:title>
	<dc:creator xml:lang="en">B. Netra</dc:creator>
	<dc:creator xml:lang="en">Sangeethkumar, Subathra B.</dc:creator>
	<dc:subject xml:lang="en">Geo-cut technique</dc:subject>
	<dc:subject xml:lang="en">Maternity wear</dc:subject>
	<dc:subject xml:lang="en">Sustainable fashion</dc:subject>
	<dc:subject xml:lang="en">Zero-waste pattern making</dc:subject>
	<dc:description xml:lang="en">Background: Zero-waste pattern making is an innovative approach to garment design that minimizes fabric waste and aligns with sustainable fashion goals. The technique involves creating patterns that use the entire fabric, reducing environmental impact by eliminating scraps.  This approach is especially important in maternity wear, where comfort, adaptability, and environmental responsibility are priorities.
Purpose: This study aims to design and develop pre- and post-maternity wear using a zero-waste pattern-making approach,  with a focus on the geo-cut technique. The objective is to create garments that adapt to the changing body shape during pregnancy,  ensuring both functionality and sustainability while addressing the unique needs of each trimester.
Methods: The geo-cut technique was used to design maternity wear that adapts to size variations throughout and after pregnancy. The study included creating multi-view drawings in CAD to facilitate just-in-time delivery and ensure consistent documentation for each design. A soft, sustainable cotton fabric was selected, and the garments were tested for comfort and adaptability across trimesters,  along with an assessment of the impact of zero-waste patterning on production efficiency.
Results: Garments developed using the geo-cut zero-waste technique demonstrated high adaptability and comfort across all trimesters.  Initial feedback indicates strong client acceptance, with the designs being both aesthetically pleasing and cost-effective due to reduced fabric waste. The application of zero-waste patterning successfully aligned with sustainability objectives while maintaining product appeal.
Conclusions: Zero-waste pattern-making in maternity wear design, particularly through the geo-cut technique, has proven effective in addressing environmental concerns and customers’  needs for adaptable clothing. This approach underscores the potential for wider adoption of zero-waste techniques within sustainable fashion.
Keywords: Geo-cut technique, Maternity wear, Sustainable fashion, Zero-waste pattern making</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2024-12-04</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
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	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/5</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 1 No. 01 (2024); 30-40</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/5/7</dc:relation>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/5/8</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2024 Ms. B. Netra, Mrs. Subathra B. Sangeethkumar (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
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				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/7</identifier>
				<datestamp>2025-06-12T06:43:19Z</datestamp>
				<setSpec>fashion:ART</setSpec>
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<oai_dc:dc
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	<dc:title xml:lang="en">Innovative Technology in the Retail Industry Its Scope and Challenges</dc:title>
	<dc:creator xml:lang="en">Chandani, Khushi</dc:creator>
	<dc:creator xml:lang="en">Upadhyay, Lakhshita </dc:creator>
	<dc:creator xml:lang="en">Banerjee, Sougata  </dc:creator>
	<dc:subject xml:lang="en">Retail</dc:subject>
	<dc:subject xml:lang="en">Artificial Intelligence</dc:subject>
	<dc:subject xml:lang="en">Retail industry</dc:subject>
	<dc:subject xml:lang="en">Innovative Technology</dc:subject>
	<dc:subject xml:lang="en">Management Retail</dc:subject>
	<dc:subject xml:lang="en">Internet of Things in Retail Industry</dc:subject>
	<dc:subject xml:lang="en">Retial </dc:subject>
	<dc:subject xml:lang="en">Marketing</dc:subject>
	<dc:description xml:lang="en">Background: The retail industry is undergoing a technological revolution, transforming operations and consumer experiences. E-commerce utilizes augmented and virtual reality, while in-store innovations like beacons and smart shelves enhance inventory management. Contactless payments, mobile wallets, and AI-driven analytics personalize interactions. Blockchain improves supply chain transparency, AI enhances demand forecasting, and robotics and voice commerce elevate in-store and customer engagement. These technologies are now essential in meeting the evolving demands of consumers.
Purpose: The study seeks to unravel the multifaceted implications of technological advancements on the retail sector and how innovative technologies act as catalysts for transformation, efficiency, and sustainability in the retail landscape. Methods: Through an exhaustive exploration of existing literature and real-world case studies, the paper examines the dynamic technological landscape in retail and the integration of innovative technologies into retail operations. Results: The study highlights the ways technologies foster efficiency, personalization, and sustainability across different facets of retail operations, including inventory management, transactions, customer engagement, and supply chains. Conclusions: This research illuminates the transformative role of innovative technology in retail, underscoring its status as a catalyst for operational evolution and a fundamental component in meeting dynamic consumer demands. The study also addresses the challenges and opportunities presented by these technological innovations in the retail industry.
Keywords: Retail, Retail industry, Innovative Technology,  Artificial Intelligence, Management Retail, Internet of Things in Retail Industry</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2024-12-04</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/7</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 1 No. 01 (2024); 1-14</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/7/4</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2024 Khushi Chandani, Lakhshita Upadhyay, Dr. Sougata Banerjee (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
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			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/8</identifier>
				<datestamp>2025-06-12T07:25:57Z</datestamp>
				<setSpec>fashion:ART</setSpec>
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<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
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	<dc:title xml:lang="en">Cultural Sustainability and Craft: A Design Intervention Project on Pattu Textiles</dc:title>
	<dc:creator xml:lang="en">Aggarwal, Reena</dc:creator>
	<dc:subject xml:lang="en">Crafts Sustainability</dc:subject>
	<dc:subject xml:lang="en">Pattu textiles</dc:subject>
	<dc:subject xml:lang="en">Natural dyes</dc:subject>
	<dc:subject xml:lang="en">Weaving</dc:subject>
	<dc:subject xml:lang="en">Design Intervention</dc:subject>
	<dc:subject xml:lang="en">Pattu Weaving</dc:subject>
	<dc:subject xml:lang="en">Crafts</dc:subject>
	<dc:description xml:lang="en">Background: Craft and sustainability are two closely linked concepts. Craft represents a way of life that has been passed down through generations and is deeply embedded in the cultural identity and values of a region. It can serve as a powerful means of promoting cultural sustainability. By preserving traditional crafts and techniques, one helps to ensure that cultural heritage is transmitted to future generations.
Purpose: With the understanding that crafts must be sustained for future generations, a research methodology was developed that integrates two ancient Indian skills: Pattu weaving and natural dyeing. The study also uncovered key factors contributing to the decline insales of Pattu textiles, including a shrinking market, low sales, and a lack of innovation in design and product development.
Methods: A research plan was devised to gather information about the craft and its craftsmen. An interview schedule and participatory observation techniques were included to obtain authentic data on the artisans’ profiles, demographic details, and the history and evolution of the Pattu weaving cluster. Additionally, questions were posed regarding the weaving process, motifs, colors, and the raw materials used in Pattu weaving.
Results: Design solutions were suggested through product diversification and design extensions of the existing product line to enhance variety. A collection of contemporary Pattu-woven cushions and curtains was designed and developed.
Conclusions: The study focused on expanding the market for Pattu textiles by strategically targeting urban consumers. The goal was to introduce modern designs and natural dyes that are appealing and which tend to differ from traditional designs.
Keywords: Pattu textiles, Weaving, Natural dyes, Crafts Sustainability, Intervention</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2024-12-04</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:type xml:lang="en">text</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/8</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 1 No. 01 (2024); 15-20</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/8/5</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2024 Reena Aggarwal </dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
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				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/9</identifier>
				<datestamp>2025-06-12T07:50:25Z</datestamp>
				<setSpec>fashion:ART</setSpec>
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<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
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	<dc:title xml:lang="en">A Comprehensive Review of Adaptive Clothing Practices and Innovations in Inclusive Design</dc:title>
	<dc:creator xml:lang="en">Lali Priya</dc:creator>
	<dc:subject xml:lang="en"> Adapted clothing</dc:subject>
	<dc:subject xml:lang="en">Adaptive design,</dc:subject>
	<dc:subject xml:lang="en">Disability</dc:subject>
	<dc:subject xml:lang="en">Fashion  Industry</dc:subject>
	<dc:subject xml:lang="en">ethnographic objects</dc:subject>
	<dc:subject xml:lang="en">Fashion</dc:subject>
	<dc:description xml:lang="en">Background- Adapted clothing begins by describing such clothes and how they make people with disabilities feel included, comfortable, and ready to conquer the world. An exploration of the advantages and disadvantages of specialized adaptive clothing suited to different groups This abstract examines the inclusive design concepts, rules, tactics, procedures, and examples that have positively impacted the fashion industry.
Purpose: This study explores the intertwined networks of adaptable clothing, inclusive design, and the fashion industry concerning persons with disabilities and their empowerment process. 
Methods: Various case studies &amp;amp; examples have been reviewed for the solution in the investigation of adaptive clothing and inclusive design practices. Examples like Adaptable Design’s global influence are projected in Tommy Hilfiger’s future-oriented project or Bezgraniz Couture. The collaborative initiative led by the Design of Dreams Foundation illustrates one such example where adaptive design proponents and mainstream firms can cooperate to create a culture of tolerance. Technical improvements in adaptive clothing for the fashion industry are addressed in detail according to its challenges and prospects. 
Results: In a nutshell, it is argued that the fashion industry should be at the forefront of advocating for diversity and embracing the changes as just but normal. 
Conclusions: Thus, the conclusion focuses on a call to action to point out the mutual contributions of designers and clients in pushing for innovation in fashion design. The significance of understanding them and talking about them openly is highlighted. Technology advancements are considered essential components of adaptive clothing, and it is time for the government to provide additional funding for research and development in this section. In this era, the abstract visualizes and idealizes a better tomorrow where the fashion industry becomes a powerful tool that alters perceptions and expands social space. Designers, manufacturers, and consumers work together in fashion to create a platform that gives voices to people of any kind.
Keywords: Adapted clothing, Adaptive design, Disability, Fashion Industry, ethnographic objects</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2024-12-04</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:type xml:lang="en">text</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/9</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 1 No. 01 (2024); 41-54</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/9/9</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2024 Lali Priya (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
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				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/11</identifier>
				<datestamp>2025-06-12T07:50:51Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
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	<dc:title xml:lang="en">Veganism: An Emerging Business Opportunity in the Global Market– A Review</dc:title>
	<dc:creator xml:lang="en">Megha, Megha</dc:creator>
	<dc:creator xml:lang="en">Madhu Sharan</dc:creator>
	<dc:subject xml:lang="en">fashion</dc:subject>
	<dc:subject xml:lang="en">textile</dc:subject>
	<dc:subject xml:lang="en">Sustainable fashion</dc:subject>
	<dc:subject xml:lang="en"> Adapted clothing</dc:subject>
	<dc:subject xml:lang="en"> Adaptive design,</dc:subject>
	<dc:subject xml:lang="en">ethnographic objects</dc:subject>
	<dc:subject xml:lang="en">Fashion</dc:subject>
	<dc:description xml:lang="en">Background: For thousands of years, veganism has been a part of Indian culture, with deep roots in religious and philosophical thought. A growing awareness of health and environmental issues is now motivating a larger proportion of people to turn to veganism, from diet to business. In addition, the textile industry is shifting towards sustainability due to the negative effects of synthetic and fossil-based materials. Purpose: This review explores the historical and cultural significance of veganism and examines the environmental and health impacts of effluents from the textile industry. It highlights the shift towards sustainable textile practices and presents ecology-friendly alternatives that gain increasing international recognition. Methods: The research has used a qualitative approach. Literature studies have been made related to veganism, sustainable textiles, and the environmental impacts of synthetic materials. Case studies and industry analyses have been done in order to understand the acceptance of sustainability in the Indian textile industry. Results: The study found that veganism is increasingly relevant in addressing modern environmental challenges. The Indian textile industry is transitioning to sustainable practices, with plant-based and biodegradable fibers emerging as promising alternatives to synthetic materials, helping reduce pollution and combat climate change. Conclusions: This emergence of veganism and sustainable practices means that the industry transforms to more ethical and socially responsible consumerism. More awareness about various environmental and ethical concerns affecting the traditional fashion industry has upped the demand for this cruelty-free alternative.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2024-12-04</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/11</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 1 No. 01 (2024); 55-62</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/11/10</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2024 Ms. Megha Gohil (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
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				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/16</identifier>
				<datestamp>2026-03-09T06:25:26Z</datestamp>
				<setSpec>fashion:REV</setSpec>
				<setSpec>driver</setSpec>
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<oai_dc:dc
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	<dc:title xml:lang="en">Fashion In the Digital Age -The Impact of Social Media on Brand Promotion and Customer Relations.</dc:title>
	<dc:creator xml:lang="en">Mishra, Ria</dc:creator>
	<dc:creator xml:lang="en">Priya, Lali</dc:creator>
	<dc:subject xml:lang="en">Social media</dc:subject>
	<dc:subject xml:lang="en">consumer engagement </dc:subject>
	<dc:subject xml:lang="en">digital advertising </dc:subject>
	<dc:subject xml:lang="en">e-commerce integration collaboration </dc:subject>
	<dc:subject xml:lang="en">fashion brand visibility </dc:subject>
	<dc:subject xml:lang="en">Social media</dc:subject>
	<dc:subject xml:lang="en">brand visibility </dc:subject>
	<dc:subject xml:lang="en">consumer engagement </dc:subject>
	<dc:subject xml:lang="en">digital advertising </dc:subject>
	<dc:subject xml:lang="en">fashion brand </dc:subject>
	<dc:description xml:lang="en">Background: The rise of social media transformed the fashion world, changing how brands present  themselves, communicate, and interact with consumers. Rather than using older forms of advertisement such as magazines, TV, banners, brochures, and posters, the digital tools include Instagram, Facebook, YouTube, and Pinterest These will allow fashion brands to reach bigger audiences at unprecedented speed and ease. 
Objective: The current study aims at understanding the social media integration into the fashion business and its aftereffects on branding and consumer involvement. This indicates that it researches how the use of social media acts as an intermediary tool between brands and customers in respect of opportunities created for customized marketing strategies and more positive relations with customers. 
Methods: This mixed-method approach using case studies of different fashion brands, including qualitative data from social media metrics, consumer engagement surveys, and influencer interviews, defines data analytics and user-generated content analysis as an approach to understand how brands personalize marketing strategies, build strong customer relationships, and are responsive to trends in real time. 
Results: Based on the analysis, integration of social media really has upped the ante in marketing dynamics for the fashion industry. It does have strengths where personal marketing and more intimate bond with customers can be seen, but there&#039;s also this danger of brand reputation management, in addition to overexposure, of course. 
Conclusions: In a nutshell, social media integration in the fashion world has reformed consumer interaction and perception and therefore, changed the marketing dynamics as well as democratized fashion. The convergence of traditional and digital marketing methodologies can provide ample scope for brands to innovate and communicate better with their target group.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-10-14</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/16</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 02 (2025); 91-98</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/16/22</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Ria Mishra, Lali Priya (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
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		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/18</identifier>
				<datestamp>2026-01-26T17:01:08Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
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	<dc:title xml:lang="en">Restricting indoor pollution with Organic Wool - &quot;Futuristic Sustainable Interiors&quot;</dc:title>
	<dc:creator xml:lang="en">Chaudhary, Seema</dc:creator>
	<dc:subject xml:lang="en"> Indoor pollution</dc:subject>
	<dc:subject xml:lang="en">home textiles</dc:subject>
	<dc:subject xml:lang="en">Gaddi sheep wool</dc:subject>
	<dc:subject xml:lang="en"> natural  dyes</dc:subject>
	<dc:subject xml:lang="en">Fashion</dc:subject>
	<dc:description xml:lang="en">Background: Home textiles today are a significant source of indoor air pollution. Chemicals such as formaldehyde, benzene, and volatile organic compounds (VOCs), commonly emitted from synthetic materials and finishes, contribute to poor air quality and pose health risks.
 Purpose: This paper highlights the hazards associated with synthetic fabrics and finishing processes in the home textile sector. It also seeks to propose sustainable alternatives that are both eco-friendly and culturally rooted.
 Methods: The study explores the traditional use of indigenous organic wool by the Gaddi tribe, a semi-nomadic community from the Himalayan region. Through design experimentation involving natural dyes and modern weaves, the potential of this wool in the commercial home textile market is examined.
 Results: The organic wool produced by the Gaddi community, using traditional spinning methods like the charkha and drop spindle, offers a viable alternative to synthetic textiles. The natural wool colors—black, ecru, and blended grey—are both aesthetic and sustainable. The use of this wool not only promotes better air quality but also supports rural livelihoods.
 Conclusions: Gaddi wool-based home textiles present a promising solution to reduce indoor pollution while generating employment for tribal women. Reviving these indigenous practices aligns with sustainable development goals and enriches the rural economy.
 Keywords: Indoor pollution, home textiles, Gaddi sheep wool, natural dyes</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-06-18</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/18</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 1 (2025); 1-13</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/18/11</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Seema Chaudhary (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
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		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/22</identifier>
				<datestamp>2026-01-26T17:01:08Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
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	<dc:title xml:lang="en">Visual Merchandising Mastery: Evaluating the Efficacy of Window Displays in Customer Attraction</dc:title>
	<dc:creator xml:lang="en">Anjum, Roba</dc:creator>
	<dc:creator xml:lang="en">Lali Priya</dc:creator>
	<dc:subject xml:lang="en">Window displays </dc:subject>
	<dc:subject xml:lang="en">sales performance </dc:subject>
	<dc:subject xml:lang="en">visual merchandising </dc:subject>
	<dc:subject xml:lang="en">customer behaviour </dc:subject>
	<dc:subject xml:lang="en">customer attraction</dc:subject>
	<dc:subject xml:lang="en">fashion brand </dc:subject>
	<dc:description xml:lang="en">Background: Window displays serve as silent salespersons, influencing foot traffic and sales. A good display will make a great first impression by displaying goods in an attractive and relevant way. By using colourful, lively, creative, and seasonal presentations, such displays draw attention, stimulate interest, and invite investigation, consequently increasing foot traffic and improving sales performance.   
Purpose: To understand the impact of window displays on consumer behaviour, this review paper delves into how attractive and effective designs impact decisions and entries into stores. It progresses with key aspects of design-brand alignment-significance and making an excellent impression. It further establishes factors that enable window displays to have the desired impact, ensuring a great first impression, increased sales, and a good time in the store.   
Method: This study employs a qualitative research approach, utilizing a comprehensive review of literature, case studies, and observational analysis. Data is collected from secondary sources, including scholarly articles, industry reports, and retail performance metrics, to examine the relationship between window display designs and consumer engagement and a comparative analysis is used to evaluate the effectiveness of different display strategies. 
Results: According to the literature, attractive and effective window display designs positively influence consumer decisions and store entries. Comparison with existing theories and experimental results shows that good window displays greatly affect sales performance and customer experience. 
Conclusion: This review emphasizes the role of attractive and well-aligned window displays in attracting consumer attention and subsequently boosting sales. Through qualitative research, this review provides valuable insights into optimizing window display designs for maximum impact.    </dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-06-18</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/22</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 1 (2025); 20-30</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/22/13</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Roba Anjum, Lali Priya (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/27</identifier>
				<datestamp>2026-01-26T17:01:08Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">A Brief Study on Sacred Pots of West Bengal</dc:title>
	<dc:creator xml:lang="en">Dr. Agnimitra Majumder </dc:creator>
	<dc:subject xml:lang="en">Terracotta</dc:subject>
	<dc:subject xml:lang="en">Sacred</dc:subject>
	<dc:subject xml:lang="en">Clay pots in India </dc:subject>
	<dc:subject xml:lang="en">clay pots </dc:subject>
	<dc:subject xml:lang="en">Clay and terracotta pots </dc:subject>
	<dc:subject xml:lang="en">Applied Arts</dc:subject>
	<dc:description xml:lang="en">Background: Clay pottery in India dates back to prehistoric times,symbolizing one of the earliest expressions of human creativity and utility. Archaeological excavations have revealed clay vessels used byearly humans for storing food and liquids. Over time, these utilitarian objects evolved into artistic creations, decorated with geometric patterns and natural dyes. The dual purpose of these pots—both sacred and domestic—has remained a cultural constant through the centuries.
Purpose: This study aims to explore the historical continuity and cultural relevance of clay and terracotta pots in India, with a specific focus on West Bengal. It seeks to understand how these vessels have maintained their significance in daily life, festivals, and sacred rituals, despite changes in techniques and materials over time.
Methods: The research draws on archaeological evidence, ethnographic observation, and regional craft studies. It examines traditional pottery-making processes, artistic practices, and the role of potters in local communities, particularly in West Bengal. Visual and functional analyses of sacred clay objects used in rituals and festivals are also included.
Results: Findings reveal that while modern tools and techniques have refined the quality and detail of clay pots, the core artistic and cultural essence remains intact. In West Bengal, artists continue to shape a variety of clay and terracotta vessels, deeply embedded in the region’s daily life and ceremonial practices. Decorative approaches—mainly through color application or incised designs—reflect both tradition and innovation.
Conclusions: The enduring tradition of clay pottery in India, especially in West Bengal, illustrates the resilience and adaptability of indigenous art forms. Despite technological advances, the sacred and cultural functions of clay pots persist, affirming their integral role in rituals, festivals, and household life. This study highlights the importance of preserving such crafts as living heritage.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-06-18</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/27</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 1 (2025); 31-37</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/27/14</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Dr. Agnimitra Majumder  (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
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		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/28</identifier>
				<datestamp>2026-06-04T09:03:18Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">An overview of the Legacy of the Posters Art created by Nandlal Bose</dc:title>
	<dc:creator xml:lang="en">Dr. Loveneesh Sharma</dc:creator>
	<dc:creator xml:lang="en">Dr. Agnimitra Majumder</dc:creator>
	<dc:subject xml:lang="en">Indian artist</dc:subject>
	<dc:subject xml:lang="en">Nandlal Bose</dc:subject>
	<dc:subject xml:lang="en">aesthetic influences </dc:subject>
	<dc:subject xml:lang="en">Applied Arts</dc:subject>
	<dc:description xml:lang="en">Nandlal Bose, a renowned Indian artist, is renowned for his iconic posters, which have left a lasting impact on the art world. His designs showcased his creative talent and effectively addressed social issues. His posters serve as symbols of nonviolent resistance and self-reliance in India&#039;s quest for independence. The investigation also explores the cultural and aesthetic influences that shaped his work and his legacy in the art world.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2026-01-16</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/28</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 03 (2025); 130-134</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/28/29</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Dr. Loveneesh Sharma, Dr. Agnimitra Majumder  (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header status="deleted">
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/29</identifier>
				<datestamp>2025-11-03T11:06:20Z</datestamp>
				<setSpec>fashion:ART</setSpec>
			</header>
		</record>
		<record>
			<header status="deleted">
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/30</identifier>
				<datestamp>2025-11-03T11:06:20Z</datestamp>
				<setSpec>fashion:ART</setSpec>
			</header>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/31</identifier>
				<datestamp>2026-06-04T09:01:14Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">Kids Communicate through Art : An Observation</dc:title>
	<dc:creator xml:lang="en">Tanusree Choudhary</dc:creator>
	<dc:creator xml:lang="en">Dr. Bilasendu Shil</dc:creator>
	<dc:subject xml:lang="en">Non Verbal Comunication </dc:subject>
	<dc:subject xml:lang="en">effective communication</dc:subject>
	<dc:subject xml:lang="en">academic success </dc:subject>
	<dc:subject xml:lang="en">sculpture</dc:subject>
	<dc:subject xml:lang="en">art therapy</dc:subject>
	<dc:subject xml:lang="en">art-making exercises</dc:subject>
	<dc:subject xml:lang="en">Applied Arts</dc:subject>
	<dc:description xml:lang="en">Children frequently encounter a variety of obstacles in the busy metropolitan settings that may hinder their capacity for effective communication. Children living in urban environments may experience feelings of overwhelm, misunderstanding, and loneliness due to various factors such as the demands of academic success and the intricacies of social interactions. Understanding and interpreting nonverbal signs is crucial in this situation since it gives us a window into children&#039;s inner lives and important information about their wants, feelings, and experiences.
This observational experiment  provides a special means to understand kids and how they  express themselves and share their deepest feelings and thoughts. It is based on the idea that the creative process has the capacity to cure. A secure and encouraging environment for kids to explore and express their feelings, experiences, and views. This is especially useful for kids whose spoken language is still developing or is being hampered by outside influences. Children can communicate in ways that go beyond the confines of spoken language through the use of art media including drawing, painting, sculpture, and other creative forms, fostering deeper understanding and connections.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2026-01-16</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/31</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 03 (2025); 112-118</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/31/25</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Tanusree Choudhary, Dr. Bilasendu Shil (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/32</identifier>
				<datestamp>2026-03-09T06:25:26Z</datestamp>
				<setSpec>fashion:REV</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">Unveiling Feminist Narratives: Performance Art and Gender Activism in the 1960s</dc:title>
	<dc:creator xml:lang="en">Dr. Swapna Biswas</dc:creator>
	<dc:subject xml:lang="en">Feminist Performance Art</dc:subject>
	<dc:subject xml:lang="en">Judy Chicago</dc:subject>
	<dc:subject xml:lang="en">Valie Export</dc:subject>
	<dc:subject xml:lang="en">Gender Activism</dc:subject>
	<dc:subject xml:lang="en">Art and Feminism</dc:subject>
	<dc:subject xml:lang="en">Applied Arts</dc:subject>
	<dc:description xml:lang="en">Background: Feminist performance art in the 1960s emerged as a radical response to gender inequality, institutional exclusion, and the objectification of women within the art world. Artists such as Judy Chicago, Valie Export, and later the Guerrilla Girls challenged dominant patriarchal structures through provocative and interventionist artistic strategies, reshaping feminist visual and political discourse.
 
Purpose: The purpose of this study is to examine how these three feminist art pioneers transformed performance into a tool of gender activism, redefined feminine artistic identities, and exposed systemic biases within major art institutions. The paper aims to trace the evolution of feminist narratives through their works and assess their long-term influence on contemporary gender representation.
 
Methods: This qualitative research analyses primary sources including artist statements, interviews, performances, and archival documentation. Secondary sources such as feminist theory, art-historical texts, and institutional critiques are used to contextualize each artist’s contributions within the broader feminist movement. Visual analyses of key artworks further support the findings.
 
Results: The study finds that Judy Chicago reframed feminine artistry through symbolic and collaborative practices; Valie Export used her body as a political weapon to confront objectification and gendered power structures; and the Guerrilla Girls employed satire, anonymity, and public interventions to expose institutional discrimination. Collectively, their practices catalysed a shift from second-wave to third-wave feminist thought and transformed the discourse around gender and performance.
 
Conclusions: The contributions of Chicago, Export, and the Guerrilla Girls significantly expanded the possibilities of performance art as a form of feminist activism [5]. Their interventions not only challenged historical gender biases but also established enduring frameworks for resistance and representation within contemporary art. Their legacy continues to inspire new forms of feminist expression and institutional critique. </dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-10-14</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/32</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 02 (2025); 78-84</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/32/20</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Dr. Swapna Biswas (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header status="deleted">
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/33</identifier>
				<datestamp>2025-11-03T11:06:18Z</datestamp>
				<setSpec>fashion:ART</setSpec>
			</header>
		</record>
		<record>
			<header status="deleted">
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/34</identifier>
				<datestamp>2025-11-03T11:06:18Z</datestamp>
				<setSpec>fashion:ART</setSpec>
			</header>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/35</identifier>
				<datestamp>2026-01-26T17:01:08Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">Exploring the Digital Physique: Human Figures in New Media Art</dc:title>
	<dc:creator xml:lang="en">Anupam Basu</dc:creator>
	<dc:subject xml:lang="en">Video Art</dc:subject>
	<dc:subject xml:lang="en">New Media Art</dc:subject>
	<dc:subject xml:lang="en">Figurative Art</dc:subject>
	<dc:subject xml:lang="en">Video Installation</dc:subject>
	<dc:subject xml:lang="en">Contemporary Art</dc:subject>
	<dc:subject xml:lang="en">Immersive Art</dc:subject>
	<dc:subject xml:lang="en">Interactive Art</dc:subject>
	<dc:subject xml:lang="en">Applied Arts</dc:subject>
	<dc:description xml:lang="en">Background:Human figure forms have remained one of the most enduring image elements for visual artists since the era of early human civilization. Across time and regions, artists have explored a wide range of approaches to representing the human form—from absolute realism to stylized, analytical, distorted, surreal, or expressionist tendencies. With the advent of electronic image processing technologies in the 1960s, a new medium of artistic expression emerged, and human figures naturally became integral to video art and experimental film practices. Figurative representation persisted as a key concern, even as abstraction gained popularity.
Purpose:This article aims to examine the ongoing use and transformation of human figures in contemporary figurative new media art, with a focus on how technological advancements have expanded the possibilities of representation.
Methods:The study traces the shift from analogue to digital video production and analyzes how artists manipulate human figures through lens-based media, digital effects, and 3D graphics software. The discussion is framed through both a critical overview and the author&#039;s own practice as a new media artist.
Results:Contemporary artists employ a wide range of digital techniques to create human figure imagery, from realistic renderings to highly stylized or surreal digital constructs. These approaches reflect not only technical innovation but also conceptual diversity in how the body is perceived and represented in the digital age.
Conclusion:Figurative representation in new media art continues to evolve, offering new visual languages and meanings. As an artist working within this domain, the author explores this diversity to better understand the broader landscape of human figure use in contemporary digital art practices.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-06-30</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/35</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 1 (2025); 63-71</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/35/18</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Anupam Basu (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/36</identifier>
				<datestamp>2026-01-26T17:01:08Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">Harnessing Animation for E-Content in Education: A Comprehensive Analysis</dc:title>
	<dc:creator xml:lang="en">Abhishek Bhattacharjee</dc:creator>
	<dc:subject xml:lang="en">Animation</dc:subject>
	<dc:subject xml:lang="en">E-Content in Education</dc:subject>
	<dc:subject xml:lang="en"> Online Learning</dc:subject>
	<dc:subject xml:lang="en">Blended mode of Learning</dc:subject>
	<dc:subject xml:lang="en">Applied Arts</dc:subject>
	<dc:description xml:lang="en">Background:The integration of animation into e-content has emerged as a promising approach to enrich digital education. As digital learning environments evolve, understanding the role of animation in enhancing learner engagement and comprehension becomes increasingly important.
Purpose:This study aims to investigate the benefits, challenges, and implications of using animation in educational e-content. It seeks to offer insights into how animation can support teaching and learning processes in digital contexts.
Methods:A mixed-methods approach was employed, combining a comprehensive literature review, data interpretation, and analysis of expert opinions. This methodology was designed to provide a well-rounded understanding of the impact of animation in educational settings.
Results:Preliminary findings suggest that animation can significantly improve learner engagement, conceptual understanding, and retention of information. However, challenges such as cognitive overload, accessibility, and production costs were also identified.
Conclusions:Animation holds strong potential to enhance educational experiences when thoughtfully integrated into e-content. Educators and instructional designers should consider both its benefits and limitations to maximize its effectiveness in digital learning environments.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-06-27</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/36</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 1 (2025); 52-62</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/36/17</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Abhishek Bhattacharjee (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header status="deleted">
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/39</identifier>
				<datestamp>2025-11-03T11:06:17Z</datestamp>
				<setSpec>fashion:ART</setSpec>
			</header>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/40</identifier>
				<datestamp>2026-01-26T17:01:08Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">Innovative Art Forms: Blending Traditional and Digital Techniques</dc:title>
	<dc:creator xml:lang="en">Jagseer Singh</dc:creator>
	<dc:subject xml:lang="en">Digital interventions</dc:subject>
	<dc:subject xml:lang="en">traditional techniques</dc:subject>
	<dc:subject xml:lang="en">modern technology</dc:subject>
	<dc:subject xml:lang="en">innovation</dc:subject>
	<dc:subject xml:lang="en">Applied Arts</dc:subject>
	<dc:description xml:lang="en">Background: In recent years, the distinction between contemporary digital technology and traditional artistic processes has become increasingly blurred within the realm of Contemporary Art. This shift is largely driven by the emergence and integration of digital tools and techniques, challenging long-standing artistic conventions.
Purpose: The essay aims to investigate how contemporary artists are utilizing both accessible and advanced digital technologies to redefine the boundaries of artistic expression. It seeks to understand the impact of these technologies on conventional art forms and how they are reshaping the visual language of modern art.
Methods: Through a critical exploration artistic practices, this essay examines the integration of digital technologies such as Virtual Reality (VR), 3D modeling, and algorithmic art generation and other opportunities into traditional media like painting, sculpture, and printmaking. The approach includes analysis of artist methodologies, technological tools, and the conceptual evolution of their work.
Results: The incorporation of digital technology has led to significant innovation across traditional art genres. Artists are not only experimenting with new media but also transforming their creative processes. These digital interventions have expanded the expressive possibilities of art, resulting in hybrid forms that merge physical and virtual realities.
Conclusions: Digital technologies are fundamentally transforming the landscape of Contemporary Art. By merging the digital with the traditional, artists are able to explore novel aesthetic dimensions and conceptual frameworks. This convergence is fostering a dynamic evolution of art practices, ultimately redefining what constitutes artistic creation in the digital age.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-06-18</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/40</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 1 (2025); 14-19</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/40/12</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Jagseer Singh (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/41</identifier>
				<datestamp>2026-03-09T06:25:26Z</datestamp>
				<setSpec>fashion:CASE</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">Crafts Meet Contemporary: A Fusion Redefining Indian Art (IAF 2024: A Case Study)</dc:title>
	<dc:creator xml:lang="en">Kaur , Parneet</dc:creator>
	<dc:creator xml:lang="en">Dhiman, Ravi</dc:creator>
	<dc:subject xml:lang="en">Crafts</dc:subject>
	<dc:subject xml:lang="en">Contemporary Art</dc:subject>
	<dc:subject xml:lang="en">Indian Art</dc:subject>
	<dc:subject xml:lang="en">India Art Fair</dc:subject>
	<dc:subject xml:lang="en">Fine Arts</dc:subject>
	<dc:description xml:lang="en">Background: In recent years, the sudden drift of traditional craft and contemporary art towards each other is reshaping the Indian art landscape. This shift is easily noticeable at big platforms especially the Indian Art Fair.
Purpose: This study tries to unfold evolving relationship of traditional craft and contemporary art. To understand the current Indian art scenario, the research looks closely at the India Art Fair 2024 as acase study. 
Methods: The research mostly relied on qualitative analysis supported by firsthand observations of artworks, installations, and curatorial approaches presented at IAF 2024.
Results: Findings indicate that the fusion of crafts and contemporary art is reawakening traditional techniques, encouraging innovative practices, and reshaping aesthetic and cultural narratives and slowly changing the whole aesthetic and cultural story of Indian art.
Conclusions: By highlighting diverse artistic approaches showcased at IAF 2024, the study demonstrates how the craft traditions integrating within contemporary frameworks is expanding the discourse of Indian art and strengthening its presence in the global cultural context.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-10-14</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Non-refereed </dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/41</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 02 (2025); 99-103</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/41/23</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Parneet Kaur , Ravi Dhiman, (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/42</identifier>
				<datestamp>2026-06-04T09:01:14Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">The Exploration Of Interdisciplinary Art Practice: Where Artists Blur The Lines Between Science And Art</dc:title>
	<dc:creator xml:lang="en">Malti Sharma, Malti Sharma</dc:creator>
	<dc:creator xml:lang="en">Dr.  Ved Prakash Paliwal,, Dr. Ved Prakash Paliwal,</dc:creator>
	<dc:subject xml:lang="en">Exploration of Interdisciplinary Art </dc:subject>
	<dc:subject xml:lang="en">Interdisciplinary Art </dc:subject>
	<dc:subject xml:lang="en">Interdisciplinary Art Practice</dc:subject>
	<dc:subject xml:lang="en">Performing and Visual Arts</dc:subject>
	<dc:subject xml:lang="en">Applied Arts</dc:subject>
	<dc:description xml:lang="en">This research paper is about interdisciplinary art practice. Artists try to find new ways of experiments and techniques. This is possible with science and art both. They explore new ideas to enhance their creative impulses. This paper is the investigation of the new advancements in art. Through the historical analysis and examples this paper delves into the new challenges of artistic freedom. By the integration of intellectual exploration and scientific principles artists sets a new perspective of art. The main focus of this paper is to highlight the amalgamation of art and technology. </dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2026-01-16</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/42</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 03 (2025); 119-123</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/42/26</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Malti Sharma, Dr.  Ved Prakash Paliwal, (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/43</identifier>
				<datestamp>2026-01-26T17:01:08Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">The Dynamic Interplay between Modern Art and Advertising: A Comprehensive Analysis</dc:title>
	<dc:creator xml:lang="en">Satyajit Biswas, Satyajit Biswas</dc:creator>
	<dc:subject xml:lang="en">Modern Art</dc:subject>
	<dc:subject xml:lang="en">Advertising</dc:subject>
	<dc:subject xml:lang="en">Consumer Culture</dc:subject>
	<dc:subject xml:lang="en">Visual Communication</dc:subject>
	<dc:subject xml:lang="en">Artistic Appropriation</dc:subject>
	<dc:subject xml:lang="en">Fine Arts</dc:subject>
	<dc:description xml:lang="en">Background: The relationship between modern art and advertising has long influenced the evolution of visual culture and consumer engagement. As contemporary art movements have developed, their styles and messages have increasingly intersected with the advertising industry’s efforts to captivate audiences.
Purpose: This study aims to explore the symbiotic relationship between modern art and advertising, focusing on how artistic innovations are adopted, transformed, and mainstreamed within advertising strategies. It seeks to understand the broader cultural implications of this interplay in shaping consumer perception and societal values.
Methods: An interdisciplinary approach is employed, drawing from art history, marketing theory, and cultural studies. The analysis includes case studies of notable advertising campaigns influenced by modern art, visual analysis of commercial video aesthetics, and a review of scholarly literature on consumer behavior and media influence.
Results: Findings reveal that advertising has frequently drawn from the visual language of modern art to create compelling, emotionally resonant messages. This has led to a blurring of boundaries between artistic expression and commercial intent. Consumers often engage with these hybrid forms of media not only as buyers but also as participants in a shared cultural and aesthetic dialogue.
Conclusions: The fusion of modern art and advertising reflects and reinforces contemporary social values and consumer identities. Artistic movements continue to shape advertising trends, contributing to a dynamic and evolving visual culture where creativity and commerce coalesce in powerful and emblematic ways.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-06-18</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/43</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 1 (2025); 38-45</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/43/15</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Satyajit Biswas (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/44</identifier>
				<datestamp>2026-06-04T09:01:14Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">Prints as global ambassadors of cultural aesthetics</dc:title>
	<dc:creator xml:lang="en"> Moutushi Chakraborty,,  Moutushi Chakraborty</dc:creator>
	<dc:subject xml:lang="en">Print</dc:subject>
	<dc:subject xml:lang="en">Culture</dc:subject>
	<dc:subject xml:lang="en">aesthetic influences </dc:subject>
	<dc:subject xml:lang="en">art</dc:subject>
	<dc:subject xml:lang="en">Applied Arts</dc:subject>
	<dc:description xml:lang="en">The will to subsist against all odds is the basic catalyst of human existence. At times the struggle is for space and at other times the dignified sustenance of a race. Communication, as a form of mark-making, whether physical or psychological, therefore remains the prime impetus in garnering change. From the earliest origin of prints in the form of Prehistoric Hand Stencils on cave walls to Digital-Prints maneuvered by pixels, Printmaking has navigated a long journey of human history and communication has been its prime objectivity.  This objective fulfills the natural human instinct of mark-making that stems from the fact that as a species humans are social beings with an urge to commune through collective discourse. From the stenciled Prehistoric Hand Stencils to machine maneuvered Digital-Prints – the idea is to propagate forms and ideas that expand the human vision and understanding of its existence in relation to time and space.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-01-16</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/44</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 03 (2025); 124-129</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/44/28</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025  Moutushi Chakraborty, (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
			</metadata>
		</record>
		<record>
			<header status="deleted">
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/48</identifier>
				<datestamp>2025-11-03T11:06:16Z</datestamp>
				<setSpec>fashion:ART</setSpec>
			</header>
		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/49</identifier>
				<datestamp>2026-01-26T17:01:08Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">The Immersive Journey of &quot;Birbhum Landscape&quot;: A Mural by Benode Behari Mukherjee</dc:title>
	<dc:creator xml:lang="en">Dr. Bilasendu Shil </dc:creator>
	<dc:subject xml:lang="en">Compositional placements, Benod Behari Mukherjee, Birbhum Landscape, Immovable Artforms</dc:subject>
	<dc:subject xml:lang="en">Compositional placements, Benod Behari Mukherjee, Birbhum Landscape, Immovable Artforms</dc:subject>
	<dc:description xml:lang="en">BackgroundArt possesses the profound ability to go beyond the limitations of canvas or paper, offering viewers an immersive and transformative experience. Benode Behari Mukherjee, a pioneer of modern Indian art, exemplifies this with his celebrated mural, Birbhum Landscape. Positioned on the ceiling of Kala Bhavana, the renowned art college at Santiniketan, the mural stands as a powerful testament to the integration of space, viewer, and visual narrative [1].
PurposeThe primary objective of this study is to explore the immersive experience facilitated by Birbhum Landscape, highlighting its thematic richness and the unique ways it engages the viewer. The essay aims to underscore the mural’s departure from traditional, static modes of viewing, emphasizing its role in encouraging an interactive and contemplative form of artistic engagement.
MethodsThis essay employs a qualitative approach, focusing on visual analysis and interpretative observation of Birbhum Landscape. It considers the physical positioning of the mural, the required viewer interaction, and the compositional techniques employed by Mukherjee to invite exploration. Reference is also made to the spatial and cultural context of Santiniketan.
ResultsThe analysis reveals that Birbhum Landscape offers a multisensory and participatory experience. Unlike conventional artworks meant to be viewed in a single glance, this mural requires physical movement and sustained attention from the viewer. This dynamic engagement allows for a deeper connection with the imagery and themes embedded in the landscape, fostering a personal journey through the artwork’s intricate details and layers of meaning.
ConclusionsBenode Behari Mukherjee’s Birbhum Landscape exemplifies how mural art can transcend conventional visual experiences, transforming the act of viewing into an immersive journey. Its placement and composition encourage active exploration, granting the viewer the liberty to navigate and interpret the work individually. In doing so, the mural not only redefines artistic interaction but also deepens the bond between viewer and artwork through a uniquely intimate encounter.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-06-23</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/49</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 1 (2025); 46-51</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/49/16</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Dr. Bilasendu Shil  (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
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			<header status="deleted">
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/50</identifier>
				<datestamp>2025-11-03T11:06:16Z</datestamp>
				<setSpec>fashion:ART</setSpec>
			</header>
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		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/51</identifier>
				<datestamp>2026-06-04T09:01:14Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
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	<dc:title xml:lang="en">Revisiting the Miniature: The Enduring Legacy from Abanindranath Tagore to Contemporary Indian Art</dc:title>
	<dc:creator xml:lang="en">Tanmay Sen, Tanmay Sen</dc:creator>
	<dc:subject xml:lang="en">Abanindranath Tagore Bengal school of Art</dc:subject>
	<dc:subject xml:lang="en">Indian Miniature Painting</dc:subject>
	<dc:subject xml:lang="en">Rajput Pahari painting</dc:subject>
	<dc:subject xml:lang="en">Contemporary Miniature painting</dc:subject>
	<dc:subject xml:lang="en">Paintings</dc:subject>
	<dc:description xml:lang="en">Background
Miniature painting, revitalized by Abanindranath Tagore during the colonial period, played a central role in the nationalist art movement led by the Bengal School of Art. Tagore&#039;s works synthesized elements from Mughal, Rajput, and Pahari miniature traditions, establishing a visual idiom that countered Western academic art. His approach not only celebrated Indian heritage but also laid the foundation for future generations of artists to re-engage with miniature styles.
Purpose
This paper aims to explore the evolving influence of miniature painting from its revival by Abanindranath Tagore to its reinterpretation by contemporary Indian artists. It investigates how traditional miniature aesthetics have been transformed and recontextualized to address modern themes, including sociopolitical issues, personal narratives, and cultural hybridity.
Method
The study involves a critical analysis of key works by Abanindranath Tagore alongside the contemporary practices of artists such as Ghulam Mohammad Sheikh, Waswo X Waswo, Shahzia Sikander, and Manjunath Kamath. Through comparative visual analysis and contextual interpretation, the paper traces stylistic continuities and thematic shifts in the use of miniature techniques.
Results
The findings reveal that contemporary artists have adapted the miniature style in diverse and innovative ways. Ghulam Mohammad Sheikh fuses historical and mythical narratives with modern concerns through layered compositions. Shahzia Sikander redefines the miniature form to address gender, identity, and geopolitics on a global stage. Waswo X Waswo and Manjunath Kamath similarly engage with the miniature tradition, merging it with digital media, satire, and postmodern storytelling.
Conclusions
The influence of miniature painting extends beyond stylistic imitation; it serves as a conceptual framework through which artists reinterpret tradition in contemporary contexts. From Abanindranath Tagore’s revivalist vision to today’s experimental and critical adaptations, miniature painting continues to evolve as a dynamic and relevant art form in the modern world.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2026-01-16</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/51</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 03 (2025); 104-111</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/51/24</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Tanmay Sen (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
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			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/52</identifier>
				<datestamp>2026-03-09T06:25:26Z</datestamp>
				<setSpec>fashion:REV</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
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	<dc:title xml:lang="en">The Evolution of Animation from Pencil to Pixel</dc:title>
	<dc:creator xml:lang="en">Bhattacharya, Indranil</dc:creator>
	<dc:subject xml:lang="en">Animation</dc:subject>
	<dc:subject xml:lang="en">Evolution,</dc:subject>
	<dc:subject xml:lang="en">2D Animation</dc:subject>
	<dc:subject xml:lang="en">3D Animation</dc:subject>
	<dc:subject xml:lang="en"> Computer generated Graphics</dc:subject>
	<dc:subject xml:lang="en">Animation</dc:subject>
	<dc:description xml:lang="en">ABSTRACT
Background:Animation has evolved significantly as a creative medium, drawing inspiration from ancient and prehistoric depictions of motion to today&#039;s advanced digital animations. This evolution has been shaped by pivotal scientific breakthroughs and the pioneering efforts of early animators like Edward Muybridge and Winsor McCay.
Purpose:This article aims to trace the developmental trajectory of animation, highlighting key milestones such as the advent of CGI, Disney&#039;s Technicolour Revolution, and the Golden Age of Animation. It explores the diverse styles and techniques employed in modern animation, including 2D, 3D, stop-motion, and experimental forms.
Methods:The exploration of animation&#039;s evolution is conducted through an examination of historical events, technological advancements, and the artistic innovations that have shaped the medium over time. Case studies of influential animators and studios provide insights into the methods and creative processes behind their work.
Results:The study reveals animation&#039;s dynamic nature, continually propelled forward by the synergy of creative ingenuity and technological progress. It showcases how these elements have expanded the boundaries of visual storytelling, making animation a versatile and enduring art form.
Conclusions:Animation&#039;s future appears promising as it continues to innovate and diversify. The medium&#039;s capacity to blend tradition with cutting-edge technology ensures that it will remain a dynamic force in visual arts, continually pushing the frontiers of creativity and expression.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-10-14</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/52</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 02 (2025); 85-90</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/52/21</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Indranil Bhattacharya Indranil Bhattacharya (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
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		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/54</identifier>
				<datestamp>2026-03-09T06:25:26Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">Next Generation Art: A New Way To Redefine Traditional Art Practices in India</dc:title>
	<dc:creator xml:lang="en">Singh, Jagseer</dc:creator>
	<dc:subject xml:lang="en">Next-Generation Art</dc:subject>
	<dc:subject xml:lang="en">Digital Art</dc:subject>
	<dc:subject xml:lang="en">Traditional Indian Art</dc:subject>
	<dc:subject xml:lang="en">AI In Art</dc:subject>
	<dc:description xml:lang="en">Background
Indian traditional art forms have historically served as powerful vehicles for cultural expression, often rooted in local customs, rituals, and religious narratives. In the 21st century, the proliferation of digital tools and AI technologies has initiated a paradigm shift in how these traditions are practiced and reimagined by contemporary artists.
Purpose
This study aims to explore how next-generation digital tools and artificial intelligence are being used to redefine traditional art practices in India. It investigates how emerging artists blend historical motifs with modern technology to create hybrid forms that are both innovative and rooted in cultural memory.
Methods
The research is qualitative and analytical in nature, based on the case study method. It examines the works of three eminent Indian artists—Baaraan Ijlal, Raghava KK and other artists—through visual analysis, secondary literature, and contextual interpretation of their approaches to blending tradition with digital innovation.
Results
The study finds that these artists are not abandoning tradition but are instead reinterpreting it through contemporary tools and mediums. Digital platforms, AI-generated forms, and multimedia installations allow for new kinds of audience interaction and aesthetic experience while maintaining a dialogue with India’s artistic heritage.
Conclusions
Next-generation art in India represents a dynamic convergence of cultural continuity and technological advancement. By integrating traditional narratives with digital methodologies, contemporary artists are creating new visual languages that preserve and transform Indian art traditions for the modern era.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2025-10-14</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/54</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 2 No. 02 (2025); 72-77</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/54/19</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Jagseer Singh (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
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			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/58</identifier>
				<datestamp>2026-06-04T09:01:01Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
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	<dc:title xml:lang="en">The Influence of AI-Powered Personalization on Consumer Purchasing Decision Making</dc:title>
	<dc:creator xml:lang="en">Ghosh, Sayok Das</dc:creator>
	<dc:creator xml:lang="en">ANANT, B C</dc:creator>
	<dc:creator xml:lang="en">Parween, Pakeeza</dc:creator>
	<dc:creator xml:lang="en">Poddar, Muskan Kumari</dc:creator>
	<dc:subject xml:lang="en">AI- driven decision</dc:subject>
	<dc:subject xml:lang="en">Buying Behavior</dc:subject>
	<dc:subject xml:lang="en">Consumer Behavior</dc:subject>
	<dc:subject xml:lang="en">Predictive AI</dc:subject>
	<dc:subject xml:lang="en">Marketing </dc:subject>
	<dc:description xml:lang="en">The rapid proliferation of digital technology has fundamentally transformed consumer behavior, with online platforms and artificial intelligence playing a central role in reshaping how individuals evaluate and engage with products and services. AI enabled mechanisms, including personalized recommendation engines, conversational chatbots, and predictive analytics, have strengthened the overall consumer journey by offering tailored choices, instant assistance, and adaptive pricing models. These capabilities have created a strong positive linkage between AI adoption and consumer purchase decisions, as enterprises increasingly depend on data driven insights to reinforce engagement and brand loyalty. At the same time, the expanding influence of AI introduces notable challenges such as algorithmic bias, data privacy vulnerabilities, and concerns regarding diminishing authenticity in customer interactions. Biased training data can result in discriminatory outcomes, and excessive automation may dilute the human connection that consumers have traditionally valued. Furthermore, the large scale collection of personal data raises significant privacy and security issues, particularly under regulatory frameworks such as the GDPR and CCPA. To mitigate these risks, organizations must adopt responsible AI protocols that incorporate bias detection, transparent data governance, strong cybersecurity safeguards, and meaningful human oversight. Achieving equilibrium between technological efficiency and ethical stewardship remains essential for protecting consumer trust and ensuring long term business resilience. While AI holds substantial promise in redefining consumption patterns, its sustainable impact will depend on its deployment in ways that uphold fairness, clarity, and accountability across the digital marketplace.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2026-05-01</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/58</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 3 No. 01 (2026); 1-7</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/58/27</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2026 B C ANANT (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
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		</record>
		<record>
			<header>
				<identifier>oai:ojs2.glim.vyomhansjournals.com:article/59</identifier>
				<datestamp>2026-06-05T09:28:18Z</datestamp>
				<setSpec>fashion:ART</setSpec>
				<setSpec>driver</setSpec>
			</header>
			<metadata>
<oai_dc:dc
	xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/
	http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="en">Comparative Musical Frameworks: Vocal Techniques and Terminologies in Hindustani And Western Classical Music Traditions</dc:title>
	<dc:creator xml:lang="en">Gosai, Lavanya</dc:creator>
	<dc:creator xml:lang="en">Vats, Parul Purohit </dc:creator>
	<dc:subject xml:lang="en">musical framework,</dc:subject>
	<dc:subject xml:lang="en">western classical music, </dc:subject>
	<dc:subject xml:lang="en">hindustani classical music</dc:subject>
	<dc:subject xml:lang="en">artists</dc:subject>
	<dc:subject xml:lang="en">music</dc:subject>
	<dc:description xml:lang="en">Background Music is widely known as universal a form of expression according to scholars beyond any cultural, linguistic, geographical and other boundaries. Although Similar to belief system diversified in the given forms, music exists in the multiple traditions and reflects shared human core, devotional and spiritual aspects. Music helps in facilitating and evoking emotional connection amongst people from diverse and different cultures.
Purpose: The following research reflects the perspective of a Hindustani musician, rooted with its cultural foundation, while also being inspired by other traditions and global music practices. 
Methods: This research Analyses the key elements of a musical interaction evaluating Hindustani and western musical traditions by a comparative framework.
Results: Tracking down ancient times and modern era, the differences between the musical traditions highlight their socio- cultural context and theoretical development. Exploring fundamentals and bonding of Hindustani classical music with Western musical terminologies, finding comparisons, differences, similarities and discovering the vocal techniques.
Conclusions:  Although music is expressed through different cultures and languages, this research conveys that it also remains the same medium for connection. While also exploring the evolution of historical music, terminologies and various vocal techniques of Hindustani, Western and Fusion music, this research highlights key artists who played a vital role in bridging classical music with western influences.</dc:description>
	<dc:publisher xml:lang="en">Vyom Hans Vision</dc:publisher>
	<dc:date>2026-05-01</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://glim.vyomhansjournals.com/index.php/fashion/article/view/59</dc:identifier>
	<dc:source xml:lang="en">Green Lifestyle and International Market; Vol. 3 No. 01 (2026); 8-16</dc:source>
	<dc:source>3049-0995</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://glim.vyomhansjournals.com/index.php/fashion/article/view/59/30</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2026 Lavanya Gosain, Parul Purohit Vats       (Author)</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by/4.0</dc:rights>
</oai_dc:dc>
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