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Acharya N G Ranga Agricultural University, Guntur

The Andhra Pradesh Agricultural University (APAU) was established on 12th June 1964 at Hyderabad. The University was formally inaugurated on 20th March 1965 by Late Shri. Lal Bahadur Shastri, the then Hon`ble Prime Minister of India. Another significant milestone was the inauguration of the building programme of the university by Late Smt. Indira Gandhi,the then Hon`ble Prime Minister of India on 23rd June 1966. The University was renamed as Acharya N. G. Ranga Agricultural University on 7th November 1996 in honour and memory of an outstanding parliamentarian Acharya Nayukulu Gogineni Ranga, who rendered remarkable selfless service for the cause of farmers and is regarded as an outstanding educationist, kisan leader and freedom fighter. HISTORICAL MILESTONE Acharya N. G. Ranga Agricultural University (ANGRAU) was established under the name of Andhra Pradesh Agricultural University (APAU) on the 12th of June 1964 through the APAU Act 1963. Later, it was renamed as Acharya N. G. Ranga Agricultural University on the 7th of November, 1996 in honour and memory of the noted Parliamentarian and Kisan Leader, Acharya N. G. Ranga. At the verge of completion of Golden Jubilee Year of the ANGRAU, it has given birth to a new State Agricultural University namely Prof. Jayashankar Telangana State Agricultural University with the bifurcation of the state of Andhra Pradesh as per the Andhra Pradesh Reorganization Act 2014. The ANGRAU at LAM, Guntur is serving the students and the farmers of 13 districts of new State of Andhra Pradesh with renewed interest and dedication. Genesis of ANGRAU in service of the farmers 1926: The Royal Commission emphasized the need for a strong research base for agricultural development in the country... 1949: The Radhakrishnan Commission (1949) on University Education led to the establishment of Rural Universities for the overall development of agriculture and rural life in the country... 1955: First Joint Indo-American Team studied the status and future needs of agricultural education in the country... 1960: Second Joint Indo-American Team (1960) headed by Dr. M. S. Randhawa, the then Vice-President of Indian Council of Agricultural Research recommended specifically the establishment of Farm Universities and spelt out the basic objectives of these Universities as Institutional Autonomy, inclusion of Agriculture, Veterinary / Animal Husbandry and Home Science, Integration of Teaching, Research and Extension... 1963: The Andhra Pradesh Agricultural University (APAU) Act enacted... June 12th 1964: Andhra Pradesh Agricultural University (APAU) was established at Hyderabad with Shri. O. Pulla Reddi, I.C.S. (Retired) was the first founder Vice-Chancellor of the University... June 1964: Re-affilitation of Colleges of Agriculture and Veterinary Science, Hyderabad (estt. in 1961, affiliated to Osmania University), Agricultural College, Bapatla (estt. in 1945, affiliated to Andhra University), Sri Venkateswara Agricultural College, Tirupati and Andhra Veterinary College, Tirupati (estt. in 1961, affiliated to Sri Venkateswara University)... 20th March 1965: Formal inauguration of APAU by Late Shri. Lal Bahadur Shastri, the then Hon`ble Prime Minister of India... 1964-66: The report of the Second National Education Commission headed by Dr. D.S. Kothari, Chairman of the University Grants Commission stressed the need for establishing at least one Agricultural University in each Indian State... 23, June 1966: Inauguration of the Administrative building of the university by Late Smt. Indira Gandhi, the then Hon`ble Prime Minister of India... July, 1966: Transfer of 41 Agricultural Research Stations, functioning under the Department of Agriculture... May, 1967: Transfer of Four Research Stations of the Animal Husbandry Department... 7th November 1996: Renaming of University as Acharya N. G. Ranga Agricultural University in honour and memory of an outstanding parliamentarian Acharya Nayukulu Gogineni Ranga... 15th July 2005: Establishment of Sri Venkateswara Veterinary University (SVVU) bifurcating ANGRAU by Act 18 of 2005... 26th June 2007: Establishment of Andhra Pradesh Horticultural University (APHU) bifurcating ANGRAU by the Act 30 of 2007... 2nd June 2014 As per the Andhra Pradesh Reorganization Act 2014, ANGRAU is now... serving the students and the farmers of 13 districts of new State of Andhra Pradesh with renewed interest and dedication...

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Subject: Textile and Apparel Designing × Thesis Type: M.Sc ×
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    ThesisItemOpen Access
    CONTEMPORISING SCULPTURAL DESIGNS FROM TADIPATRI TEMPLE ON TEXTILES THROUGH TECHNIQUES OF WEAVING AND PAINTING
    (guntur, 2022-08-23) ROJA, M.; ANITHA, D.
    Tadipatri temples, the historical constructions from Vijayanagara empire had some excellent stone carvings on them. The two Hindu temples of Tadipatri, Bugga Ramalingeswara Swamy and Chintala Venkataramana Swamy temple are enriched with stone sculptural wonders of historical significance. Every part of the temple is carved with delicate and beautiful carvings of gods, goddess, dancers, animal, floral and other puranic scenes from Ramayana and Mahabharata. Inspired by the stone carvings, different sculptural designs from these stone carvings of the temple were collected and developed into designs suitable for application on textiles in terms of structural and decorative designs on sarees and stoles. Designs from the site location were collected in the form of photographs which consisted of animal, floral, birds, creepers and some epic scenes. The collected photographs were developed with suitable software CorelDRAW and developed them suitable for textile application as woven and painted motifs and designs. Research design was framed for execution of the work in a sequential manner from design to product development. Relevant questionnaires were developed for the execution process for expert‟s and consumer‟s opinion and the inputs formed a major source of information to implement and proceed with the work. Questionnaire was pretested to remove any uncertainty or add extra information as felt by the experts/consumers. Appropriate software was used for design development suitable for textiles. It was planned to design sarees and stoles with woven and painted designs. Of 200 designs collected as photographs from the temples, 71 were developed in CorelDRAW for the purpose of selection. From these 71 motifs/designs, a total of 50 which includes motifs and borders were shown to experts for their choice of best 5 designs from each category. All developed motifs/border designs were consolidated into a design catalogue. This aids the future researchers to access for their development besides being useful to the weavers in developing niche woven products. A total of 50 designs were selected from more than 200 collected photographs. These designs were divided under two sections as 23 motifs and 27 borders and were numbered accordingly. All designs were evaluated by panel of 50 judges using a xxi questionnaire for their preference in sarees and stoles. Experts opinion was sought for selecting the motifs and borders relevant to sarees and stoles. The overall mean scores obtained by the designs was calculated and the top scored motifs and borders were selected which had a mean average of 4 and above. The top scored motifs and borders were selected for further development. Based on this, 6 motifs and 4 borders were selected. The selected motif numbers were M22, M5, M10, M18, M20, M15 and were ranked as I, II, III, IV, V and VI respectively. The selected border numbers were B7, B27, B13, B3 and were ranked as I, II, III and IV respectively. The selected motifs and border designs were checked on preferential basis for suitability as woven designs on sarees & stoles and painting designs on sarees & stoles by consumers. Results indicated that motifs M5, M10, and border design B3, B7 and B13 were preferred for weaving saree designs. Stoles with woven motif or border was not opted by the consumers. The motifs and border designs selected for painting sarees and painting stoles are motif no. M15, M18, M20, M22 and border no. B27. The final selected motifs and borders were shown in different placements and colourways suitable for sarees and stoles for both weaving and painting. Each design was shown in 4 different colourways and 5 different placements along with zari as the fifth choice for woven products, while 4 different colourways and 5 placements were done for each painted saree and stole. A total of 25 woven product designs with 25 sarees and 50 painted product designs with 25 sarees and 25 stoles were developed. All product designs were assessed by panel of judges for their preferences and the best 5 designs for weaving sarees, 5 designs each for painting sarees and painting stoles were selected. All 5 woven sarees were selected in which zari was shown in the design. Among the five woven saree designs, border B7 was highly preferred. The next in choice was sarees with B3 and motif M5 followed by sarees with M10 and M13 motif. In painted sarees, saree with M18 motif received higher acceptance followed by B27 and M22. The next order of preference was seen for saree with M20 and the last was M15. In case of stoles it was M18 and M15 with same preference followed by M22 motif designed stole. Stoles with border B27 and motif M20 received the same preference. Body of the sarees were woven with 80s count cotton in warp direction and 20/22 denier silk in weft direction and saree borders 100 per cent silk yarn with warp in 20/22 denier and in weft 20/20 denier with developed motifs/border woven in half fine zari thread. All woven materials were sourced from Desaipeta of Chirala town located in Prakasam district. Based on consumer choice, fabrics used for painting sarees were hundred percent cotton, polyester crepe, and georgette and stoles in pure Mangalagiri cotton in different shades procured from Guntur and Mangalagiri towns respectively. Designs selected for weaving were converted into woven designs using „Paintshop Pro 9.0‟ software and cards for jacquard were punched on the automatic punching machine. Weaving was done in Chirala town on pit loom with jacquard attachment for weaving designs and catch cord mechanism to join border to the body of the saree in „Kuppadam‟ style. Four jacquards were used on the loom to design saree border, pallu and blouse design along with attachment of border to body of the saree. As many as 500 punched cards were used for each saree that was woven. Painting motifs and designs were enlarged and traced on materials. Hand painting was done with various colours and different painting strokes. The final developed products through techniques of weaving and painting were assessed by panel of 50 judges for consumer evaluation on different parameters. It xxii consisted of 11 parameters for woven products and 12 parameters for painted products. Almost 10 parameters used for evaluating woven products were rated to be in the „excellent‟ category. The final results of consumer evaluation showed that all the developed woven and painted products had „excellent‟ ranking by higher percentage of consumers. The cost of woven sarees, painted sarees and painted stoles were considered as appropriate by a greater number of consumers. When overall preference of developed products was considered, it was found that as per parameters colours combination, quality and trend, woven sarees were considered while parameters price and trend are considered, painted products were favoured by the consumers. All the consumers agreed that all products developed were trendy. The collected source of designs helped in adding new set of designs besides preserving culture and traditional designs from temples and was well appreciated by the consumers. Thus, it can be said that the contemporising of sculptural designs of Tadipatri temples were better implemented on sarees and stoles through techniques of weaving and painting.
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    ThesisItemOpen Access
    A COMPARATIVE STUDY ON DYEING WITH CANNONBALL FRUIT (COUROUPITA GUIANENSIS) AND NATURAL INDIGO
    (guntur, 2022-08-23) SAHITHI, P.; ANITHA, D.
    ABSTRACT In concern with the environmental pollution, world is now shifting its interest toward 100 per cent environmental friendly products. Natural dyes suffice this concern of consumers in reducing the pollution level of dyeing industry. The meagre resources coupled with demand has shifted the focus of dyeing industry to investigate synthetic sources which are similar to natural dyes in terms of colour yet being more economical. One such dye is natural Indigo, which is now substituted with synthetic alternatives owing to the demand and weak supply market scenario. This alternative is costing the environment by its enormous pollution levels due to toxic chemical usage in its synthesis and dyeing. Demand for pure natural products and resistance from environmentalists, made researchers deliberate to explore for alternate sources and experiment to combat pollution. Present study is focussed on using natural, eco-friendly alternative source of Indigo dye for cotton fabric and to compare with the already existing age old source. Cannonball fruit was used as a new source for Indigo dye and Indigofera tinctoria was used to compare it in terms of dyeing and properties on cotton fabric. Natural dye has poor affinity for cellulosic fibers due to large dye molecules and it is also true with Indigo dye. Four natural tannin mordants Pomegranate peel (Punica granatum), Amla fruit (Emblica officinalis), Aloe vera (Aloe barbadensis miller), and Tamarind seed coat (Tamarind indica) were selected to observe the effect of mordants on colour strength and colour fastness of Indigo dyes. Dye extraction and dyeing methods were optimized for both Cannonball fruit and Indigo leaf powder dyes. Dye was extracted by fermenting the ripe fruit of Cannonball tree for three days. Dyeing was carried out after filtrate reduced with 1g of Sodium hydroxide and 2g of Sodium hydrosulphite at temperature of 900 C for 10 minutes and dyed at 900 C for 30 minutes. 15 Dye was extracted from Indigo leaf powder by fermenting for 24 h and the extract was reduced at 700 C with 12g/l of Sodium hydroxide and 10g/l of Sodium hydrosulphite for 30 min and dyed at 700 C for 30 min. Three mordant concentrations of each mordant ie. Tamarind seed coat (Ts10%, 15%, 20%), Aloe vera (Av 20g/l, 30g/l, 40g/l), Amla fruit (Am 10%, 15%, 25%), Pomegranate peel (Pp 10%, 15%, 25%) and two mordanting methods ie. Pre mordanting and Post mordanting were used in the study. Analysis of dyed fabric samples in Cannonball fruit dye, indicated that post mordanting was better than pre mordanting and colour strength improved with all mordants except Av over control. Most of the concentrations of Ts, Am and Pp mordant showed higher colour strength over control. L* a* b* values showed that all dyed fabrics except Aloe vera mordanted fabrics were lighter in shade than control. Ts and Pp mordanted fabrics showed negative a* values in pre mordanted samples. All pre and post mordanted samples with all other mordants showed negative b* values except post mordanted samples of Pp extract. Aloe vera as mordant has not influenced the properties of dyed fabrics. Indigo leaf powder dyed samples showed improved colour strength, with all mordants. Pre mordanting with Ts had higher colour strength over post mordanting. Pre mordanting with Av and Pp at lower concentration improved colour strength. Amla fruit mordant showed good colour strength in almost all concentration over other mordants. L* values were lower in mordanted samples over control. Pre mordanted with Ts and post mordanted with Av fabrics showed negative a* values. Almost all mordanted fabrics showed negative b* values except in Ts post mordanted and Pp pre mordanted ones. Colour fastness was graded good in both Cannonball fruit and Indigo leaf powder dyed fabrics with mordanting with all four mordants over control. Ts mordant showed good wash fastness compared to other three mordants in both the dyes. Dry rubbing fastness grades were good over wet rubbing in all four mordants. Rubbing fastness grades in Cannonball fruit dyed fabrics exhibited higher improvement with Amla fruit mordant. In Indigo leaf powder dyed samples rub fastness grades were good with Tamarind seed coat mordant. Amla fruit mordant showed good light fastness in Cannonball fruit dyed samples whereas Aloe vera mordant showed good light fastness in Indigo leaf powder dyed samples. Improved perspiration fastness was observed with all four mordants in both the dyes. All mordants improved colour strength and colour fastness of the Indigo dyed fabrics. Since no chemical mordants and dyes were used in the study, it will be helpful for small scale textile dyeing sectors for better colour strength of Indigo dyed fabrics and overcome the problem of colourfastness.
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    ThesisItemOpen Access
    STAINED GLASS WORK - AN INSPIRATION TO CONTEMPORIZE AND DEVELOP DECORATIVE DESIGNS ON CLOTHING
    (2021-09-01) KEERTHI, J; ANITHA, D
    Stained glass or which is otherwise called “window glass” is a famous art form, used initially in religious constructions in the Middle Ages and still attracts architects and design lovers today. Its popularity rose and fell throughout the history. During the Roman period it was used in churches to educate people and later in public buildings for architectural beauty. Though traditionally used in windows, it’s use is now extended to many objects of household use by many designers. It is an art in which small pieces of glass of different colours are adhered as per the design using lead and dried in kiln for permanency of shape, set within a frame work. The elegance it produces when light passes through it is unexplainable. Inspired with these beautiful pieces, research was framed to adopt some motifs and designs available in stained glass on to textiles using stencil printing technique. Preliminary survey was conducted in Churches of Guntur and Vijayawada to view and collect designs present. Many of them were only painted ones on glass with human figures. Secondary sources were investigated for collection of designs. Research design was framed with various stages for adoption and adaptation. Every step was controlled with relevant questionnaires for the evaluation and opinion of the judges. As per the opinion some changes were carried out for the final products of printed kurti materials and sarees along with appropriate embellishment material. Almost 100 designs were collected from the web sources and magazines. After screening, 50 designs were selected and segregated them into 5 categories i.e Animal motifs, Bird/insect motifs, Floral motifs, Stylized and Geometrical motifs. All 50 motifs were redrawn in CorelDRAW software to make them suitable for stencil printing technique. These 50 developed motifs were designated with an alphabet based on its origin and were numbered consecutively. They were assessed by judges/subject experts and the best 10 motifs with 2 from each category were selected. Selected motifs were A4, A5, B6, B8, F5, F7, S1, S10, G1 and G4 with average score of more than 3. A4 and A5 are elephant and deer motifs from animal category, peacock and honey bee from bird/insect category with B6 and B8, floral category had motifs F5 and F7 with roses and daisies respectively, floral motifs were shown in stylized form with S1 and S10 and finally from the geometrical category were G1 a lotus motif and G4 a diamond motif. xv Judges have also categorized the selected 10 motifs for their suitability on kurti materials and sarees. Motifs A5, B8, F5, S10 and G4 were selected for kurti materials and motifs A4, B6, F7, S1 and G1 for the sarees. All motifs were developed using 3 different colour schemes each with help CAD software. These were evaluated by the 30 judges and the highest scored one colour way was selected. One each in triadic, monochromatic and tetradic colour schemes and two in split complementary colour scheme were selected for kurti materials. Three motifs in tetradic colour scheme and one each in mono and complementary colour harmony were selected for sarees with motifs A4, B6, F7, S1 and G1. Selected motif in selected colourway was shown in three different design placements for both kurti material and sarees. One highly scored design placement was selected from the inference by judges’ panel for printing on products. First design placement in motifs B8 and F5, second for motifs A5 and G4 and the third for S10 were selected. Among saree designs, the first placement in F7, second for motifs A4, B6 and G1 motifs and the last for motif S1 was selected. For choice of fabric colour, 5 different coloured fabric swatches each for kurti materials and sarees were shown to the judges. Kurti material was indicated as K and C1 to C5 for colour choice in it while S was designated for sarees and C1 to C5 for colour choice in sarees. One colour each was selected for each kurti material design and for saree design by the judges. For base fabrics, cotton material in plain weave with 90s X 65s count for kurti material and 60s X 40s count for saree and materials were procured from Mangalagiri. Embellishments were purchased as per the suitability of end products. Printing was done on the selected materials using fabric colours, pearl colours, fabric outliners etc. Background was first stencilled using different textured materials for simulating textured glass. Over the background, design was stenciled with selected colours. After drying and finishing, appropriate embellishment material was used at required places for final look. Final products were assessed for consumer acceptability on 10 different parameters. Kurti material designed with animal and floral motif indicated higher consumer preference over other motifs. The painting technique was found unique for all kurti materials by a majority of consumers. Among sarees, the one designed with animal motif received highest average over all other four motifs. Overall appearance of the product in all sarees was more than 2.2 average. Kurti material-I and -III scored higher averages of 2.71. Saree I and II also scored higher values of 2.59 and 2.52. The opinion of consumers on cost of the products indicated that 86% of the consumers agreed that the kurti material cost as “Average cost” while 90% consumers opined the cost of sarees as “Average cost”. Only 6.6% of consumers agreed the cost of both the products to be ‘high’. The research aimed at developing new styles in designs and creativity in printing along with preservation of stained glass designs. The developed products and concept of printing style was highly appreciated by the consumers. Overall appearance of the products was also highly approved by them.