The proposed invention disclosed Traditional & Dying Culture of Art Practice in the North-East India.
BACKGROUND OF THE INVENTION:
Colorful pictures on the surface of manuscripts were the primary way in which the art of painting was taught and performed in Assam, with an emphasis on keeping a distinct regional style, methods, approach and materials. This tradition of painting is entirely dependent on indigenous scientific knowledge, which includes everything from the selection of natural ingredients to their applications in order to obtain an appropriate carrier for the work, as well as their preservation and transmission from one generation to another, to the transmission of this knowledge from one generation to another.
We know that the oral traditions were changed into written characters in order to preserve the early culture and its customs for future generations, but it is unclear why this occurred. It is not possible to pinpoint the exact moment when the manuscript writing process began in this instance.
Assam has a long history of tradition. However, it has been thought thus far that the Harshacarita, written by the 7th century Sanskrit prose writer Banabhatta, is the oldest known written document, which was discovered in the form of a manuscript inscribed on the bark of an Aquilaria tree in the form of a manuscript. In Assam, the barks of Aquilaria or Aloe were referred to as Sanchipat, which means "aloe barks." Many historians believe that the 'king Bhaskarvarmana (595-650 A.D.) of Kamrupa, delivered to Harshavardana a book of beautiful writing with leaves carved from aloe bark (agar-valkala) and of the colour of ripe pink cucumber,' was Harshavardana's favourite gift. (208) (Nath, 208) It suggests that the habit of writing on aloe barks was a valued and vital medium for displaying dignity among the aristocratic families and contemporaries of the Kamrupa monarchs throughout their time period of control. As a result, the tradition of manuscript writing was preserved as a mode of communication in Assam throughout the 6th and 7th centuries. The Kamrupa monarchs had a textual tradition that they used to keep records of major events such as the scholarship of academics and Brahmans, as well as the land allocations made by the ruling family.
It is reasonable to suppose that manuscript writing began to evolve during the reign of the Varman dynasty in India. Another possibility is the introduction of writing into this country by Brahmans and court intellectuals who were patronised by the Kamrupa monarchs and brought the tradition of writing with them. "From the beginning of time, the ancient kingdom of Kamrupa or Assam has been carried away by a flood of Hindu civilisation that has preserved its cultural homogeneity with the rest of India," according to legend. GODWAMI XV (Goswami XV)

SUMMARY OF THE PRESENT INVENTION:
The skill of performing manuscript painting using Sanchipat, which was part of India's cultural legacy in the past, is on the verge of extinction. The indigenous knowledge of painting, including the selection of surface materials such as Sanchipat and the process of preparation that existed in the past Satriya culture, has been found to be vastly more significant when compared to modern surfaces such as paper and canvases that are readily available in the markets. As a result, centuries-old paintings are still alive and seem to be in good condition, which is an extremely significant characteristic in a painting or in any kind of art work created by an artist. In addition to the quality and selection of surface in the past, the selection of subject matter such as religious and secular, and representation of the same thing in a visual form of painting for communicating with the illiterate and uneducated people of the past society of Assam were important considerations. The traditional technical expertise of the production of a high-quality painting surface, as well as the aesthetical worth of the painting in India's social, cultural, and religious legacy, may serve as an inspiration for a whole new generation of painters and art enthusiasts in the future. The lengthy legacy of manuscript paintings in Assam, like the other painting traditions in India, must be seen as part of the mainstream of India's cultural heritage, just as the other painting traditions are.

DETAILED DESCRIPTION OF THE PRESENT INVENTION:
A great number of Sanchipat paintings may be seen in various locations across Assam, including museums and Vaishnava monasteries on Majuli Island, in Barpeta, and in the Nagaon region, as well as government and private institutions, all of which are located in the state.
There are severe religious limitations on the handling and exhibition of the artworks, both in terms of comfort and aesthetics.
In contrast to this, photographs of the original paintings were taken from several volumes of aloe bark manuscripts unearthed in Vaishnavite monasteries in Assam and used to chronicle the paintings. Discussion with the appropriate authority and resource person, as well as an examination of certain relevant books, journals, Bulletins, and catalogues, have been conducted as a source of information gathering. In order to explore the flavour of the local Assamese language, certain native names of the material have been utilised in the article, along with their English translations, to illustrate the point.
In addition to the legacy of writing, a tradition of painting was being given place on the same surface of Sanchipat as the tradition of writing. It is said that 'the unique tradition of writing and drawing Sanchipat manuscripts, which has survived over the ages, has survived until the early nineteenth century.' (Dutta, 240) The practice of painting on the surface of Sanchipat, on the other hand, began much later than the habit of writing on Sanchipat. ‘In direct reaction to the extraordinary religious movement, a flourishing culture of copying texts in an endless number of copies started to grow.' KALITA (age 7) is the main character. When it comes to the cultural history of Assam, this religious movement has been identified as a Bhaktimovement or as a Neo-Vaishnavite movement. This Vaishnavite movement in Assam is directly responsible for the creation of a great number of Sanchipat manuscript paintings, which can be traced back to it. In this context, it is crucial to note that these writings were worshipped and recited publicly in order to disseminate the teachings of the Bhagavata-Purana among the general audience. As a result, numerous devotional hymns, plays, and tales from the Ramayana, Mahabharata, BhagavatPurana, and Kalki-Purana were drawn in manuscript art, which was then used to illustrate many more. Borgeet, for example, is a volume of manuscripts containing illustrated paintings on the bark of the Aqilaria tree that was discovered in a Vaishnava monastery in Assam known as Dakhinpat Satra, which was established in 1584 A.D. on the river island Majuli and is located on the island of the same name. Borgeet is a devotional song based on the life of the Hindu divinity Lord Krishna, which is sung by devotees. All of the folios of Borgeet have painted artwork, which make it the most famous Vaisnava devotional song in Assam (Fig.1).
There are a plethora of similar paintings with On a folio of Sanchi bark that had been prepared by hand, higher artistic, religious, and secular qualities were painted. Which allowed the Vaisnava saints to communicate both aesthetically and textually with the general public, and which has become a very prominent aspect of the manuscript painting tradition of Assam, was one of the most important features to emerge.
During the period from the 16th to the 19th centuries, a considerable number of Sanchipat manuscripts were produced as a result of Vaishnavism and the Vaisnava monasteries. As a result, thousands of manuscript paintings on Sanchipat, which depicts the final section of the Mahabharata and was written around the year 1836 A.D., have been completed. The art of painting on Sanchipat has evolved into one of the most important art forms in Satra, and is popularly referred to as the Satriya School of painting. Despite the fact that there were different media that might be used for manuscript painting, parchment was the most common. Tulapat is a native media manufactured by pressing cotton, Talpat (palm tree leaves), and Muga silk together to form a cohesive whole. However, as compared to other surfaces, the usage of Sanchipat as a painting surface was far more popular. The rationale for providing priority to this specific carrier may be due to the fact that it has the greatest amount of availability in the area. Second, the surface of the Sanchipat is more resilient and provides a more comfortable platform for writing and drawing. The fact that the colors employed on the paintings were still glazing after many centuries of execution is another significant discovery; nevertheless, no such contemporary preservation procedures were utilized to preserve them is another significant finding. The surface of any artwork has an impact on how long it will last, and every artist should consider this while creating their work. Similarly, the amount of Aloe bark used as the surface of the paintings is far more important, resulting in the artworks remaining more brighter even after many years of existence. Because of this, it may be concluded that Sanchipat was preferred by painters and scribes of the period to be the most appropriate media in which to work. Another possible explanation is that the Sanchi wood, also known as "agar wood," and its essential oil "gained great cultural and religious significance in ancient civilizations around the world, being mentioned throughout one of the world's oldest written texts – the Sanskrit Vedas from India," according to the Wikipedia article. Incense sticks or coils made from agar wood powder and dust are used for religious reasons by Muslims, Buddhists, and Hindus, and are utilized in the preparation of incense sticks or coils.
Accordingly, although this invention is described in terms of examples and illustrations, those knowledgeable in the art will appreciate that the invention is not restricted to these visuals and is not meant to depict each component's size. The invention may also not have certain features that are shown in specific drawings for the sake of clarity. These omissions do not affect the various implementations that have been described. However, the pictures and extensive explanations do not restrict the innovation. On the other hand, the scope of the invention as described by the appended claims is intended to embrace all modifications, equivalents, and alternatives. a common phrasing
Instead of implying that something must happen, the term "may" is used as a synonym for "possible" (i.e., meaning must).
Furthermore, "a," "an," and "plurality" all denote "one or more" until explicitly stated differently. This is not to say that the language and phraseology employed herein are restricting in scope, but rather that they are utilized only for descriptive reasons. It is not meant to exclude any other components, additives, integers, or stages when using language like "including," "comprising," "having," "containing," or "involving," as well as variants thereof to imply a wide range of inclusion. Comprising is a synonym for "including," "including," and similar terms in legal contexts. Any mention of document actions and contents is included in this specification to provide a context for the invention. Any or all of these items are not implied or claimed to be part of the previous art or common knowledge in the area relevant to this invention.
The transitional phrase "comprising" is used in this disclosure to denote that the composition, element, or group of elements is also contemplated with the words "consisting of," "consisting of," "selected from the group of consisting of," "including," or "is" following the recitation of the composition, element, or group of elements.
According to the accompanying figures, the present invention is disclosed in different embodiments, wherein the reference numbers used therein correspond to the similar components in the description. Although this invention may be implemented in various ways, the following description should not be considered limiting. For completeness and clarity, a picture has been included in this disclosure to illustrate the extent of the invention. The following in-depth discussion gives numerical numbers and ranges for various parts of the specified implementations. The figures and ranges shown here are meant to serve as samples only and are not meant to restrict the scope of the claims. Several materials have been identified as appropriate for different implementation aspects. The use of these materials does not limit the breadth of the innovation.

We Claim:

1. a printing medium selected from the group consisting of ink, dye, and paint for use in applying an anti-theft marking to articles, said printing medium containing particles of at least two different magnetizable materials, said materials differing in permeability and/or particle size, and wherein said particles are intended to be magnetized when the printing medium is applied to an article or on a layer of a printing medium already applied to an article.
2. A procedure for applying and utilizing an anti-theft marking on goods includes the steps of applying to the goods a printing medium selected from the group consisting of ink, dye, and paint containing particles of at least two different magnetizable materials, said materials differing in permeability and/or particle size, magnetizing the particles, and subsequently demagnetizing the particles of the marking at a control station upon payment at a cash desk or leaving a pc terminal.
3. will dye the silk of the artwork and dry it along with the liner plate at a temperature of 70-90 degrees Celsius for 10-15 minutes;
4. The silk evaporates after it has been dried at a temperature of 100-105 degrees Celsius. 10 to 35 minutes in length