Chapter 5 Print Culture and the Modern World (Pictures)

NCERT CLASS 10     

Chapter 5 Print Culture and the Modern World

IMPORTANT PICTURES:-

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Note :-

• In this post, I will point out all the important paintings and pictures given in the NCERT history book from Chapter 5.
• This can be used for reference so that you can be aware on the major details each picture is trying to depict all together.
• These will be asked only as identification questions.
• I have highlighted some important keywords within the points to make you remember it easier.
• The Page numbers given along side the pictures are with reference to the rationalized content from 2023-24.
• This will be updated yearly based on the rationalization.
• This post only has pictures which are more likely to come or came earlier during the board examinations.

PICTURE 1 (Pg 105):-

 

• FROM : Akhlaq-i-Nasiri (Book).
• 
  

PICTURE 2 (Pg 106) :- 

• This picture shows a page from the Buddhist "Diamond Sutra"
• This book is the oldest Japanese book.

PICTURE 3 (Pg 107) :-

• This picture shows printing woodblocks of the Tripitaka Koreana which are a Korean collection of Buddhist scriptures belonging to the 13th century.
• They were engraved on about 80,000 woodblocks. 
• They were inscribed on the UNESCO Memory of the World Register in 2007. 

PICTURE 4 (Pg 107) :-

• This is an ukiyo painted by Kitagawa Utamaro.
• Ukiyo (Translation : Pictures of floating world) is an art form which depicts ordinary human experiences mainly urban ones.

PICTURE 5 (Pg 107) :-

                       

• PAINTER : Shunman Kubo
• YEAR : Late 18th century
• This picture deipcts a man looking out of the window at the snowfall while women prepare tea and perform other domestic duties.

PICTURE 6 (Pg 108) :-

• The Jikji of Korea is among the world’s oldest existing books printed with movable metal type. 
• It contains the essential features of Zen Buddhism. 
• About 150 monks of India, China and Korea are mentioned in the book. 
• It was printed in late 14th century. While the first volume of the book is unavailable, the second one is available in the National Library of France. 
• This work marked an important technical change in the print culture. 
• That is why it was inscribed on the UNESCO Memory of the World Register in 2001.

PICTURE 7 (Pg 109) :- 

• This picture shows the mechanism of the Gutenberg Printing Press.
• This handle was used to turn the screw and press down the platen over the printing block that was placed on top of a sheet of damp paper. 
• Platen : Platen is a board which is pressed onto the back of the paper to get the impression from the type.
• Gutenberg developed metal types for each of the 26 characters of the Roman alphabet and devised a way of moving them around so as to compose different words of the text. 
• This came to be known as the moveable type printing machine, and it remained the basic print technology over the next 300 years. 
• Books could now be produced much faster than was possible when each print block was prepared by carving a piece of wood by hand. 
• The Gutenberg press could print 250 sheets on one side per hour.

PICTURE 8 (Pg 110):-

• This is a page from the Bible printed by Gutenberg's press. It was the first ever book printed in Europe.
• The text was printed in the new Gutenberg press with metal type, but the borders were carefully designed, painted and illuminated by hand by artists.
• Every page of each copy was different. Even when two copies look similar, a careful comparison will reveal differences.
• Elites everywhere preferred this lack of uniformity: what they possessed then could be claimed as unique, for no one else owned a copy that was exactly the same.
• The color in the letters had two functions: it added color to the page, and highlighted all the holy words to emphasize their significance.
• But the color on every page of the text was added by hand. 
• Gutenberg printed the text in black, leaving spaces where the color could be filled in late.

PICTURE 9 (Pg 110):-

• This painting shows a painter's workshop in the sixteenth century.
• All the activities are going on under one roof. In the foreground on the right, compositors are at work, while on the left galleys are being prepared and ink is being applied on the metal types.
• In the background, the printers are turning the screws of the press, and near them proofreaders are at work.
• Right in front is the final product – the double-page printed sheets, stacked in neat piles, waiting to be bound.

PICTURE 10 (Pg 112):-

• PAINTER : J.V. Schley
• YEAR : 1739
• This is one of the painting painted celebrating the coming of print.
• It can be seen the printing press descending from heaven, carried by a goddess.
• On two sides of the goddess, blessing the machine, are Minerva (the goddess of wisdom) and Mercury (the messenger god, also symbolising reason). 
• The women in the foreground are holding plaques with the portraits of six pioneer printers of different countries. In the middle ground on the left (figure encircled) is the portrait of Gutenberg.

PICTURE 11 (Pg 113):-

• NAME : The Macabre dance
• This sixteenth-century print shows how the fear of printing was dramatized in visual representations of the time.
• In this highly interesting woodcut the coming of print is associated with the end of the world.
• The interior of the printer’s workshop here is the site of a dance of death. 
• Skeletal figures control the printer and his workers, define and dictate what is to be done and what is to be produced. 

PICTURE 12 (Pg 116):-

• This is a cartoon from the 18th century which shows the nobility and the common people before the French Revolution.
• The cartoon shows how the ordinary people – peasants, artisans and workers – had a hard time while the nobility enjoyed life and oppressed them. 
• Circulation of cartoons like this one had an impact on the thinking of people before the revolution.

PICTURE 13 (Pg 117):-

• This is a Frontispiece of the Penny Magazine.
• Penny Magazine was published between 1832 and 1835 in England by the Society for the Diffusion of Useful Knowledge. 
• It was aimed primarily at the working class.

PICTURE 14 (Pg 118):-

• This is a lithograph by Alfred Concanen, 1874. 
• This shows printed advertisements and notices were plastered on street walls, railway platforms and public buildings.

PICTURE 15 (Pg 119):-

                                    

• This picture shows pages from the Gita Govinda of Jayadeva, eighteenth century. 
• This is a palm-leaf handwritten manuscript in accordion format.

PICTURE 16 (Pg 119):-

• This picture shows pages from the Diwan of Hafiz, 1824. 
• Hafiz was a fourteenth-century poet whose collected works are known as Diwan. 
• Manuscripts with Calligraphy and elaborate illustration and designs like this continued to be produced for the rich even after the coming of the letterpress. 

PICTURE 17 (Pg 120):-

• This picture shows some pages from the Rigveda. 
• Handwritten manuscripts continued to be produced in India till much after the coming of print. 
• This manuscript was produced in the eighteenth century in the Malayalam script.

PICTURE 18 (Pg 123):-

• PAINTER : Raja Ravi Varma
• This picture Raja Ritudhwaj rescuing Princess Madalsa from the captivity of demons.
• Raja Ravi Varma produced innumerable mythological paintings that were printed at the Ravi Varma Press.\

PICTURE 19 (Pg 124):-

• This picture shows yhe cover page of Indian Charivari. 
• The Indian Charivari was one of the many journals of caricature and satire published in the late nineteenth century. The imperial British figure is positioned right at the center.
• He is authoritative and imperial; telling the natives what is to be done. The natives sit on either side of him, servile and submissive.
• The Indians are being shown a copy of Punch, the British journal of cartoons and satire. You can almost hear the British master say – ‘This is the model, produce Indian versions of it.’

PICTURE 20 (Pg 125):-

• This picture shows Ghor Kali (The End of the World) which is a colored woodcut in the late nineteenth century. T
• he artist’s vision of the destruction of proper family relations. 
• Here, the husband is totally dominated by his wife who is perched on his shoulder. He is cruel towards his mother, dragging her like an animal, by the noose. 

PICTURE 21 (Pg 125):-

• This picture shows a black and white woodcut which depicts an Indian couple. 
• The image shows the artist’s fear that the cultural impact of the West has turned the family upside down.
• Here, the man is playing the veena while the woman is smoking a hookah.
• The move towards women’s education in the late nineteenth century created anxiety about the breakdown of traditional family roles. 

PICTURE 22 (Pg 126):-

• This picture shows an European couple sitting on chairs in a nineteenth-century woodcut.
• The picture suggests traditional family roles. 
• The Sahib holds a liquor bottle in his hand while the Memsahib plays the violin.

PICTURE 23 (Pg 126):-

• This is a picture of Lakshminath Bezbaruah (1868–1938).
• He was a doyen of modern Assamese literature. Burhi Aair Sadhu (Grandma’s Tales) is among his notable works. He penned the popular song of Assam, ‘O Mor Apunar Desh’ (O’ my beloved land).

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