European Journal of Molecular & Clinical Medicine

The potpourri of Indian culture is deciphered by identifying certain popular visual elements that are a part of our everyday experiences. These elements define our perception and comprehension of that which is ubiquitously Indian. There is an assortment of factors that influences their evolution whilst preserving their indigenous essence. Changing visual technology is one such prominent factor that has defined and redefined cultural value systems in India. This paper essentially deals with how certain cultural ideas in India have been visually transformed through influence of global interventions, while retaining their core essence with change in technology. Phenomenological analysis based on the Gestalt theory of perception has been adopted to decipher the meaning of visuals. Random sampling of popular contemporary visuals which exuberate cultural values or practices have been compared with images from past that are engraved in the collective memory of people. This paper is an attempt to introduce a methodology on how the chosen historical segregations of visuals can be compared to contemporary visual art forms; and interpretations can be done for further investigation of meanings in art, culture and society for future generations of artists, academicians &practitioners.

Religion and mythology has been ubiquitous to the development of cultural ideas and their representations in various mediums.The idea of god as a personification of abstract values has fascinated the creative mind for generations. In India, the popular pantheon of Hindu gods and goddesseshas been worshippedforestablishing and upholding these positive valuesby subduing the negative characters in various narratives.Within this broad spectrum is the dominant character of Ravana who has varied literary descriptions and visual representations. This paper while investigating into the dichotomy that exists between the neutral literary portrayal of Ravana and his preferred negative visual depictions, will elaborate on the various cultural notions that are signifiedwith him in the context of contemporary India.
It is a qualitative enquiry for which Indian print advertisements published in the last two decades depicting Ravana have been analysed for their content and form.Formal analysis reveals that the visual representation of Ravana can be broadly categorized as realistic, illustrated or symbolic, wherein the realistic is the least preferred style. Though maximum advertisers have preferred an illustrated version, a growing trend towards its symbolic representation can be seen in the end of the current decade. Content analysis unveils that safety while travelling and unhealthy eating or hunger in India is two prominent evilsthat have been visually associated with Ravana. Maximumreference to Ravana in advertising is during the festival of Dussehra but there are a few brands which use his iconography for promotion at any time of the year.

Art therapy training programs provides students theoretical knowledge about art and psychology, whereas, under practical training students get insight into experimental learning under supervision. The study focuses on the significance of formal education and training in the discipline of art psychotherapy. For data interviews were conducted with five professional art therapists. Questions focused on their personal education, training and their practical experience during art therapy sessions. The interviews have indicated clearly that for the professional use of art therapy formal education and its practical training is mandatory. The stress was laid upon the interdisciplinary nature of therapy where the synchronization of elements of both- psychology and art play a vital role. Amalgamation of theoretical, clinical and experimental studies make them competent art therapists to deal with intellectually and emotionally demanding profession.