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Journal articles on the topic 'Artists, Bengali'
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MANJAPRA, KRIS. "FROM IMPERIAL TO INTERNATIONAL HORIZONS: A HERMENEUTIC STUDY OF BENGALI MODERNISM." Modern Intellectual History 8, no. 2 (July 28, 2011): 327–59. http://dx.doi.org/10.1017/s1479244311000217.
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This essay provides a close study of the international horizons ofKallol, a Bengali literary journal, published in post-World War I Calcutta. It uncovers a historical pattern of Bengali intellectual life that marked the period from the 1870s to the 1920s, whereby an imperial imagination was transformed into an international one, as a generation of intellectuals born between 1885 and 1905 reinvented the political category of “youth”. Hermeneutics, as a philosophically informed study of how meaning is created through conversation, and grounded in this essay in the thought of Hans Georg Gadamer, helps to reveal this pattern. While translocal vistas of intellectual life were always present in Bengali thought, the contours of those horizons changed drastically in the period under study. Bengali intellectual life, framed within a center–periphery imperial axis in the 1870s, was resolutely reframed within a multipolar international constellation by the 1920s. This change was reflected by the new conversations in which young Bengalis became entangled in the years after the war. At a linguistic level, the shift was registered by the increasing use of terms such asbideś(the foreign) andāntarjātik(international), as opposed tobilāt(England, or the West), to name the world abroad. The world outside empire increasingly became a resource and theme for artists and writers. Major changes in global geopolitical alignments and in the colonial politics of British India, and the relations between generations within Bengali bhadralok society, provide contexts for the rise of this international youth imagination.
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Crovetto, Helen. "Embodied Knowledge and Divinity: The Hohm Community as Western-style Bāāuls." Nova Religio 10, no. 1 (August 1, 2006): 69–95. http://dx.doi.org/10.1525/nr.2006.10.1.69.
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ABSTRACT: Hohm Sahaj Mandir (Hohm Innate Divinity Temple) is a new religious movement that has achieved international status under the name "Western Bauls." The Western Bauls have a number of similarities to the Bauls of Bengal, wandering minstrels with an ecstatic inclination whose lives are consumed by their search for the divine. Like many Tantric groups, the Western Bauls believe the body is a microcosm of the universe in which divinity is present. Their spiritual praxes are bodybased. In the advanced stages they include an esoteric yoga called kaya sadhana as well as other practices of aropa, the mystical conversion of matter to spirit practiced by the Bauls of Bengal. The close-knit members of the Hohm Community include a high percentage of talented artists, writers, performers, singers and musicians. They emphasize poetry and writing in addition to music, dance, and song, for which the Bengali Bauls are known.
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Datta, Anisha. "Through the eyes of an artist: consumption ethos and commercial art in Bengal." Journal of Historical Research in Marketing 10, no. 3 (August 20, 2018): 242–61. http://dx.doi.org/10.1108/jhrm-03-2018-0014.
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Purpose Through a critical reading of a twentieth-century Bengali artist’s autobiography, this paper aims to attempt to demonstrate how commercial art and the consumption ethos symbolized by that art represented an archetypal bhadralok insignia. A close examination of this insignia reveals how the dynamics of modern liberal values mediating through the colonial capitalist structure in relation to the regional particularities of Bengal opened up a new space of cosmopolitanism, where there is an attempt to reframe cultural practices in the light of a broader global history of interrogation, reason, change and emancipation. Design/methodology/approach This paper is a historical analysis of primary sources. Findings It was found that the bhadralok-led Bengal School of Art influenced commercial art of early postcolonial Bengal. Research limitations/implications The study is limited to the region of Bengal. Originality/value This paper makes contributions to one of the less-researched, but very important areas, of business history in India.
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Prasad, Sunil. "Livelihood Alternative among Patachitra artisan communities." BSSS Journal of Social Work 13, no. 1 (June 30, 2021): 7–23. http://dx.doi.org/10.51767/jsw1302.
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India is a rich country with various traditional practices like handicrafts which are ever glorious. Patachitra artisan community in West Bengal is famous globally for its quality paintings. The present study has examined the livelihood alternative among the Patachitra artisan communities in Bengal in India. Descriptive research design is used in this study, and data were collected using a structured interview schedule and participatory rural appraisal method. The study found that the artisans were entirely dependent upon handcraft and its allied activities for their livelihood. Their income, as well as saving, had been increased after getting an artisan card. The study also found that the artisans were not aware of the government`s various welfare schemes and facilities.
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Novillo-Corvalán, Patricia. "Global South Modernism: Tagore, Victoria Ocampo, and the Geopolitics of Horizontal Relations." Modernist Cultures 16, no. 2 (May 2021): 164–90. http://dx.doi.org/10.3366/mod.2021.0327.
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This article explores cultural dialogues between countries located in the (so-called) global South, focusing on India and Argentina through the nexus between the Bengali author, artist, and educationalist Rabindranath Tagore (1861–1941) and the Argentine writer, publisher, and feminist Victoria Ocampo (1890–1979). The article examines the dialectical tensions that arose out of their encounter in Buenos Aires in 1924 which, while forging productive cultural networks through the globalist paradigms proposed by Ocampo's modernist review SUR and Tagore's Bengal-inflected notion of visva-sahitya – as well as the latter's significant contribution to the Argentine cultural scene – it also brought to the fore the geopolitics of empire by foregrounding India's and Argentina's fraught colonial relations with imperial Britain. 1
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Zanatta, Maura, and Anjali Gera Roy. "Facing the Pandemic: A Perspective on Patachitra Artists of West Bengal." Arts 10, no. 3 (August 31, 2021): 61. http://dx.doi.org/10.3390/arts10030061.
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The COVID-19 pandemic has intensely impacted art production and the art market all around the world. This is dramatically visible inside the Patua or Patachitra communities in Medinipur, West Bengal, where Patachitras’ scrolls characterise the economy of folk-art communities in the so-called villages of painters. Patachitras’ singing pictures belong to an ancestral tradition of storytelling and performing art. For centuries, new themes have been embodied inside the Patuas’ repertoire, creating a living heritage that has always reflected the political, religious, cultural, and social main events and, ultimately, COVID-19. Resilience has always been an important component of this heritage, as social changes and new kinds of entertainment have changed the audience addressed and the performances’ function. In the last few decades, the role of travelling artists has resisted and been readapted to the global art market by approaching art fairs and festivals both inside and outside the villages. Now, the impact of COVID-19 on the economy of these artists has been severe, as art fairs and exhibitions have been cancelled, and lockdown orders have stopped tourism and travels, significantly reducing their income. Thus, new approaches and virtual spaces of exhibiting are being experimented with to support the survival of these artists and keep the performances’ essence alive. This article aims to address how the pandemic has affected Patuas’ art market and production both from an economic and social perspective. The difficulties encountered due to the restrictive measures and the impossibility of performing will be analysed through an empirical approach. Based on telephonic interviews conducted with 30 hereditary Patuas from Naya between April 2020 to April 2021 as part of the project “Folk Artists in the Time of Coronavirus”, the article hopes to shed light on the impact of the pandemic on hereditary, performing castes in India, which might mirror the experiences of similar groups in the rest of South Asia. The article will also try to outline the future perspectives for the art market of these folk artists. The article consists of two parts: the first traces the transformative journey of Patachitra and Patachitrakars, and the second focuses on the impact of the pandemic through deploying the concepts of precarity, precariousness, and resilience.
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Singh, Kanak Lata. "A Study on Cultural Sustainable Tourism in Context of Painted Scrolls." Academic Research Community publication 2, no. 2 (May 27, 2018): 7. http://dx.doi.org/10.21625/archive.v2i2.248.
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India is known for its reach in Art and Culture. Cultural tourism provides a major contribution to the development of the country from different aspects. Apart from supporting the Indian economy, cultural tourism also helps in preserving and developing unique art traditions which are slowly dying out due to negligence. patachitra, the painted scroll of Bengal is one of them. The patachitra tradition is an essential part of intangible heritage based on tour practices. Patuas, as they are known as a community, chiefly represent a group of artists wandering with their painted scrolls and narrating the stories from place to place to earn their livelihood. The patachitra is a platform where several mediums of communication are united such as visual messages, oral traditions and music during process of storytelling. These painted scrolls represent narration of Hindu mythologies as well as folklore. In this regard, considering business as one of the purposes of tour, this research about patua artists working for patachitra in West Bengal is an attempt to reveal the fact that artifacts, as a part of culture, and tourism are two sides of the same coin. The existence of one is essential for the survival of the other.
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Zubair, Hassan Bin, and Dr Saba Sadia. "Analyzing Indian Socio-Political Thoughts, Hunger and Freedom in Bhabhani Bhattacharya’s Novel “So Many Hungers”." IJOHMN (International Journal online of Humanities) 5, no. 4 (August 14, 2019): 57–70. http://dx.doi.org/10.24113/ijohmn.v5i4.106.
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This paper focuses on the Indian cultural background having the themes like hunger, poverty, famine, war, politics, freedom, imperialism, economic exploitation, class consciousness in the Indo-Anglian English fiction writer Bhabani Bhattacharya’s novel So Many Hungers!, related to the socio-political and economic situations of Bengali’s society. The theme of the novel is mainly the existing pressing problems of India especially the rural India before and after the Independence. Realism is one of the most remarkable features of Bhabani Bhattacharya’s fiction. His novel shows a passionate awareness of life in India, the social awakening and protest, the utter poverty of peasants, the Indian freedom struggle and its various dimensions, the tragedy of partition of the country, the social and political transitions, the mental as well as the physical agony of the poor peasants and labor class people of the Indian society, especially that of Bengal and other adjoining states. Bhattacharya believes that an artist should inevitably be concerned with truth and reality, his portrayal of the life and society is never a photographic one nor a journalistic record. One can very well find the reflection of Indian culture, tradition and struggle in it.
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Yadav, Vishal. "RELIGION IN THE COLOR SYSTEM UNDER BADRINATH ARYA." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3678.
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Indian modern art is considered to have started from the mid-19th century. When the English ruler decided to set up art colleges in Madras, Calcutta, Mumbai, Lahore and Lucknow to train Indian artists in European art. These art colleges hired English artists who painted using natural English method. During this time, Japanese artists Hidisa and Taikan came to Calcutta who trained the Wash system first in India to Avindranath Thakur and this is how the Wash system was born in India. When it comes to the Indian wash system, first comes the atmosphere of the Bengal School, by which trained artists were established in all the important art centers of the country and an atmosphere of wash painting was created all over the country. In such a situation, after the Bengal School, Lucknow has emerged as the second center for wash depictions. Here, another developed form of wash came out, where opaque or opaque colors were used in Bengal, whereas in Lucknow it was avoided. The technique of wash painting was originally introduced by Avindnath Thakur in Calcutta. Some of his subjects were appointed in Lucknow Arts and Crafts College, thus the technique was further developed in Lucknow and later all these artists worked in this medium and developed it in which Arpit Kumar Haldar, Abdul Rahman Chughtai, LM Sen and Badrinath Artists like Arya kept experimenting with watercolor in the wash method.
भारतीय आधुनिक कला की प्रारंभ 19वीं सदी के मध्य से मानी जाती है। जब अंग्रेजी शासक ने यूरोपियन कला में भारतीय कलाकारों को प्रशिक्षित करने के लिए मद्रास, कलकत्ता, मुंबई, लाहौर व लखनऊ में कला महाविद्यालय स्थापति करने का निर्णय लिया। इन कला महाविद्यालयों ने स्वाभाविक अंग्रेजी पद्धति से चित्रण करने वाले अंग्रेजी कलाकारों की नियुक्ति हुई। इसी दौरान जापान के कलाकार हिदिसा और ताईकान कलकत्ता आए जिन्होंने वाॅश पद्धति का प्रषिक्षण भारत में सर्वप्रथम अविन्द्रनाथ ठाकुर को दिया और इसी प्रकार भारत में वाॅश पद्धति का जन्म हुआ। जब भारतीय वाॅश पद्धति की बात आती है तो सबसे पहले बंगाल स्कूल का एक ऐसा वातावरण समाने आता है जिससे प्रशिक्षित होकर कलाकार देश के सभी महत्वपूर्ण कला केन्द्रों में स्थापित हुए और वाॅश चित्रण का एक वातावरण पूरे देश में सृजित हुआ। ऐसे में बंगाल स्कूल के बाद लखनऊ वाॅश चित्रण के लिए दूसरे केन्द्र के रुप में उभरा। यहां पर वाॅश का दूसरा विकसित रुप सामने आए जहां बंगाल में अपारदर्शी या अल्पदर्शी रंगों का प्रयोग हुआ वहीं लखनऊ में इससे बचा गया। वाॅश चित्रकला की तकनीक प्रारंभ मूलतः अविन्दनाथ ठाकुर ने कलकत्ता में किया था। उनके कुछ विषय लखनऊ कला एवं शिल्प महाविद्यालय में नियुक्ति हुए इस प्रकार वह तकनीक लखनऊ में और विकसित हुई तथा बाद में इन सारे कलाकारों ने इस माध्यम में काम करते हुए इसका विकास किया जिसमें आर्पित कुमार हालदार, अब्दूल रहमान चुगताई, एल0 एम0 सेन व बद्रीनाथ आर्य जैसे कलाकारों ने जलरंग से वाॅश पद्धति में प्रयोग करते रहे।
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Bakel, M. A., A. Appadurai, C. Baks, Ákos Östör, W. E. A. Beek, B. Bernardi, H. W. Bodewitz, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 143, no. 1 (1987): 159–98. http://dx.doi.org/10.1163/22134379-90003345.
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- J. van Goor, Rechtzetting. - M.A. van Bakel, A. Appadurai, The social life of things. Commodities in cultural perspective, Cambridge: Cambridge University Press. 1986. XIV + 329 pp. - C. Baks, Ákos Östör, Culture and power; Legend, ritual, bazaar and rebellion in a Bengali society, New Dehli etc.: Sage Publications, 1984, 224 pp., including notes and glossary. - W.E.A. van Beek, B. Bernardi, Age class systems; Social institutions based on age, Cambridge University Press, 1985, 199 pp. - H.W. Bodewitz, J.-M Péterfalvi, Le Mahabharata. Livres I à V. Livres VI à XVIII. Extraits traduits du sanscrit par Jean-Michel Péterfalvi. Commentaires, résumé et glossaire par Madeleine Biardeau, Paris: Flammarion, 1985 and 1986. 381 + 382 pp., M. Biardeau (eds.) - Paul Doornbos, Raymond C. Kelly, The Nuer conquest - The structure and development of an expansionist system, Ann Arbor: The University of Michigan Press, 1985, 320 pp. - Henk Driessen, Paul Spencer, Society and the dance: The social anthropology of process and performance, Cambridge: Cambridge University Press, 1985, 224 pp. - D. Gerrets, Daniel Miller, Ideology, power and prehistory, Cambridge: University Press, 1984. 157 pp. numerous figs., Christopher Tilly (eds.) - Peter Kloos, Jacques Lizot, Les Yanomami Centraux, Editions de l’Ecole des Hautes Etudes en Sciences Sociales, Paris 1984, 267 pp. - Peter Kloos, Jacques Lizot, Tales of the Yanomami; Daily life in the Venezuelan forest, Cambridge Studies in Social Anthropology no. 55, Cambridge University Press, 1985, 196 pp. - Peter Kloos, H. Zevenbergen, Zwakzinnigen in verschillende culturen, Lisse: Swets & Zeitlinger, 1986, 109 pp. - Piet Konings, Freek Schiphorst, Macht en Onvermogen: Een studie van de relatie tussen staat en boeren op het Vea-irrigatie project Ghana, Universiteit van Amsterdam, CANSA publikatie nr. 20, 1983, 107 pp. - S. Kooijman, E. Schlesier, Eine ethnographische Sammlung aus Südost-Neuguinea. - H.M. Leyten, Bernhard Gardi, Zaïre masken figuren, Museum für Völkerkunde und Schweizerisches Museum für Volkskunde, Basel, 1986. - J. Miedema, Bruce M. Knauft, Good company and violence: Sorcery and social action in a lowland New Guinea Society, Berkeley, Los Angeles/London: University of California Press, 1985, X + 474 pp. - David S. Moyer, David H. Turner, Life before genesis, a conclusion: An understanding of the significance of Australian aboriginal culture, Toronto Studies in religion volume 1, Peter Lang, New York, 1983, vii + 181 pp. - B. van Norren, Peter Kloos, Onderzoekers onderzocht; Ethische dilemma’s in antropologisch veldwerk, DSWO Press, Leiden, 1984. - Jérôme Rousseau, Victor T. King, The Maloh of West Kalimantan. An ethnographic study of social inequality and social change among an Indonesian Borneo people, Dordrecht-Holland/Cinnaminson-U.S.A.: Foris Publications, Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde no. 108, 1985. viii + 252 pp., maps, diagrams, plates, glossary. - Jérôme Rousseau, Alain Testart, Le communisme primitif, I. Economie et idéologie, Paris: Editions de la Maison des Sciences de l’Homme, 1985, 549 pp. - Arie de Ruijter, David Pace, Claude Lévi-Strauss. The bearer of ashes, London: Routledge and Kegan Paul (Ark Paperbacks), 1986. - B.J. Terwiel, Roland Mischung, Religion und Wirklichkeitsvorstellungen in einem Karen-Dorf Nordwest-Thailands, Weisbaden: Franza Steiner Verlag, 1984. - B.J. Terwiel, Niels Mulder, Everyday life in Thailand; An interpretation, Second, Revised edition, Bangkok: Duang Kamol, 1985. 227 pages, paperback. - R.S. Wassing, Sidney M. Mead, Art and artists of Oceania, The Dunmore Press, Palmerston North, New Zealand, 1983. 308 pp., drawings, black and white illustrations., Bernie Kernot (eds.) - Harriet T. Zurndorfer, Maarten van der Wee, Aziatische Produktiewijze en Mughal India, Ph.D thesis, Katholieke Universiteit, Nijmegen, 1985. xv + 399 pp. - M.A. van Bakel, J. Terrell, Prehistory in the Pacific Islands. A study of variation in language, customs and human biology, Cambridge: Cambridge University Press. 1986, XVI + 299 pp.
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Hazra, Prof Aparajita. "Nachni: The Saga of Art Unappreciated." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 113. http://dx.doi.org/10.24113/ijellh.v8i4.10528.
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The Nachni s of Purulia are a group of women dancers who dance to the characteristic Jhumur of rural Bengal. The dance form of the Nachni is without a doubt part of the cultural heritage of Bengal—and in a broader sense, of India. Yet, a closer look at the community would show up a distinctive lack of acknowledgement about this art form. On the contrary, these women, these dancers are most of the time stigmatized and looked down upon, so much so that these women themselves have come to see their profession as something not to be proud of. This paper proposes to talk of the Nachni s in the Rarh Bengal area—especially, Purulia—to unearth some not-so-pretty causes for the stigma that keeps these artisans of Nachni dance from holding their head high in society.
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Pinheiro, Hudson Azevedo. "Uso da Bengala Padrão na Reabilitação da Marcha de Pacientes com Sequela de Acidente Vascular Cerebral." Revista Neurociências 19, no. 2 (March 31, 2001): 358–64. http://dx.doi.org/10.34024/rnc.2011.v19.8378.
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Objetivo. Realizar uma revisão de literatura sobre os efeitos do uso da bengala padrão como auxílio-locomoção à marcha de indivíduos que apresentam hemiplegia/paresia como sequela de AVC. Método. A pesquisa foi realizada nas bases de dados LILACS, MEDLINE, SCIELO e COCHRANE; utilizando as palavras-chave: AVE, marcha e bengala; em português, inglês e espanhol; além de livros texto de referência sobre o assunto auxílio-locomoção; os critérios de inclusão foram estudos de revisão realizados nos últimos 25 anos em indivíduos adultos que apresentavam pelo menos marcha domiciliar. Resultados. foram encontrados 40 artigos, sendo selecionados 19 que atenderam aos critérios de inclusão. Conclusão. Não há consenso na literatura sobre o uso da bengala padrão, a maioria dos autores citados nesta revisão refere que seu uso pode propiciar marcha independente precoce, favorece o ortostatismo, aumenta a base de suporte, aumenta a estabilidade, e diminuição de assimetria na marcha; todavia pode estimular atividade muscular sinérgica do lado plégico/parético, o que favorece reações associadas e problemas ortopédicos em decorrência de sobrecarga articular.
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Rohit Reddy, Karmuru, Riya Barui, and Sayantani Biswas. "Kalighat Paintings as a medium of communication in Colonized Bengal province." International Journal of English Learning & Teaching Skills 3, no. 4 (July 1, 2021): 2582–91. http://dx.doi.org/10.15864/ijelts.3410.
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Kalighat’s paintings originated in West Bengal, India in the 19th century, near Kalighat Kali Temple, in Calcutta, India, and and from being souvenir pieces taken by visitors to the Kali Temple, the paintings developed over a period of time as a distinct Indian form of painting and art. The Kalighat Paintings developed to depict a range of themes ranging from mythological characters to depictions of the social scene. The paintings served as a kind of mirror of the society in which they worked. Under the influence of an increasingly growing European society, they underwent a transformation. They were able to rapidly adapt the interests of then popular interest and reflect different contemporary themes., and to represent different contemporary themes. The charm of the Kalighat paintings lies in the fact that they captured the essence of everyday life and have inspired contemporary artists like the late Jamini Roy even to this day. Experts find the brushwork on these paintings to be precise, flawless, elegant and one of India’s smoothest art types.
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Moraga Valle, Fabio. "Las ideas pedagógicas de Tolstoi y Tagore en el proyecto vasconcelista de educación, 1921-1964." Historia Mexicana 65, no. 3 (May 18, 2016): 1341. http://dx.doi.org/10.24201/hm.v65i3.3184.
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La historia de la educación en México ha planteado que, a partir de 1920, en el sistema educativo mexicano primaron dos influencias ideológicas disímiles: el “ejemplo ruso” y la “pedagogía de Dewey”. Estas interpretaciones no han reparado en que el proyecto educativo liderado por el filósofo José Vasconcelos no estaba inspirado precisamente en el modelo soviético y era absolutamente refractario a cualquier influencia de los Estados Unidos. Este artículo analiza dos fuentes ideológicas fundamentales en el “proyecto vasconcelista de educación”: el pensamiento pedagógico del escritor anarquista ruso León Tolstoi y el poeta y artista bengalí Rabindranath Tagore, cuya influencia se puede extender hasta la década de 1960.
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Sengoopta, Chandak. "Between Emulation and Innovation: Upendrakishore Ray and the Ambiguities of Colonial Modernity." History and Sociology of South Asia 11, no. 2 (June 12, 2017): 83–100. http://dx.doi.org/10.1177/2230807517701572.
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Using the example of Upendrakishore Ray (1863–1915), a well-known Bengali artist, writer, technologist and publisher, this essay critiques prevalent theories that portray colonial Indian modernity as a largely derivative discourse. Addressing Ray’s globally recognised contributions to the refinement of technologies for the printing of photographs and paintings, the article shows how Ray’s relative lack of resources could not obstruct his innovative approach and investigates why, in spite of his originality, his Western recognition was no more than transient. Turning then to Ray’s views on pictorial art, the essay shows how in this area, he merely followed the precepts of western ‘academic’ art and failed to attain any originality. Indian engagements with modernity, the essay concludes, were neither exclusively original nor invariably imitative, and we need new theoretical approaches that can accommodate this diversity and unpredictability.
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PRAKASH, OM. "From Negotiation to Coercion: Textile Manufacturing in India in the Eighteenth Century." Modern Asian Studies 41, no. 6 (January 11, 2007): 1331–68. http://dx.doi.org/10.1017/s0026749x06002563.
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The paper first provides a broad overview of the structure of textile manufacturing and procurement in India in the seventeenth and the first half of the eighteenth century. It then takes up for a detailed analysis the changes in this structure in the second half of the eighteenth century as a result of the assumption of political authority by the English East India Company in the subcontinent with special reference to the case of Bengal where such authority was exercised most intensively. A market-based system was replaced by one embedded in coercion of the intermediary merchants and the manufacturing artisans. In the concluding section, the paper makes a plea for a distinction being made between the distributive justice dimension and the implications for output dimension of the changed scenario and argues that the picture of a ruined textile industry in Bengal might be in need of substantive revision.
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Karmakar, Bikas, and Ila Gupta. "Tracing the Impact of Krishnalila Narratives on Bengal Temple Architecture: A Study of Terracotta Temples of Baranagar." Journal of Heritage Management 3, no. 1 (June 2018): 49–70. http://dx.doi.org/10.1177/2455929618773274.
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The Krishnalila narratives have an indelible impact on the architectural imaginations and designs of artisans of Bengal from seventeenth to nineteenth century. The article attempts to identify such portrayals on the front facades of the Baranagar temples of eighteenth century in Murshidabad, West Bengal. It explores the specific reasons for their inclusion and the changing nature of narratives and iconography under the varying impact of Krishna cult. It relies on literary sources, on site interviews with the priest, temple caretaker and local people and visual data collected during field visits. While romance was the primary theme of the seventeenth century temples, the eighteenth century Baranagar temples saw a diversification of themes to include heroic exploits of Krishna; portrayal of other deities attracted the devotees of Vaishnava, Shaiva and Shakta sects. Such depictions while revealing the secular nature of the chief patron also acted as a tool for legitimization of her authority.
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Mondal, Prolay, and Manisa Shit. "Socio-Economic Status of Dokra Artisans in Bankura-II C.D. Block, Bankura District, West Bengal." Asian Journal of Research in Social Sciences and Humanities 8, no. 6 (2018): 200. http://dx.doi.org/10.5958/2249-7315.2018.00103.x.
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Bradley, Tamsin, Avijit Chakravarti, and Jane Rowan. "What Happened When the Corporates Met the Artists of Rural West Bengal? A Critical Analysis into Art as Social Enterprise in India." Journal of South Asian Development 8, no. 1 (April 2013): 85–104. http://dx.doi.org/10.1177/0973174113477011.
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Čupković, Gordana, and Silvana Dunat. "Multimodal Metaphor as the Source of Parodic Integration in Hip Hop Music Videos." Narodna umjetnost 57, no. 2 (December 21, 2020): 65–78. http://dx.doi.org/10.15176/vol57no204.
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This paper deals with multimodal metaphors as the basis of parodic integration in selected videos and album covers by rap artist Krešo Bengalka and his band Kiša metaka. The case studies of parodic integration are marked by a spectacle that significantly contributes to the blend. The study focuses on multimodal integration and disintegration and on the reversal of the conventional way of representing both the relation between the interior and exterior and the relation between the static and the dynamic.
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Mandal, Tusharkanti. "Production Organisation and Determinants of Income of Artisans in Hand Embroidery Industry of West Bengal, India." Asian Journal of Research in Social Sciences and Humanities 5, no. 3 (2015): 99. http://dx.doi.org/10.5958/2249-7315.2015.00055.6.
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Geuens, Jean-Pierre. "Far from the Bengal Lights: The Fate of the Film Artist at the Beginning of the Twenty-First Century." Quarterly Review of Film and Video 19, no. 4 (January 2002): 299–307. http://dx.doi.org/10.1080/10509200214851.
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Kushari Dyson, Ketaki. "The Phenomenal Legacy of Rabindranath Tagore." Asian Studies, no. 1 (December 1, 2010): 37–44. http://dx.doi.org/10.4312/as.2010.-14.1.37-44.
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Belonging to a generation of Bengalis who received Tagore as an acknowledged classic of their tradition, I grew up reading his books, listening to his music, watching his dance-dramas, and writing poetry under the inspiration of his words. This youthful appreciation of Tagore eventually led to a deeper understanding of his stature as an artist and thinker, but it was only when I entered Tagore studies in a more formal manner that I realized how truly spectacular his achievements were from an international perspective. Tagore was fortunate in that his time, place, and circumstances allowed him to give a good run to the natural versatility and fecundity of his genius. He has thereby secured a rich and diverse legacy for us, which tends to mean different things to different groups of people.
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Banerjee, Abhradip, and Gopalkrishna Chakrabarti. "Exploring the Effects of Globalization on Silk Weaving Tradition of Bishnupur Region in West Bengal, India." Oriental Anthropologist: A Bi-annual International Journal of the Science of Man 20, no. 1 (April 8, 2020): 60–81. http://dx.doi.org/10.1177/0972558x20913660.
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Over the years, increasing concerns among the scholars incline to see the adverse effects of globalization. One of the major reasons for this ever-increasing concern is the gradual infiltration of market-driven production system and global capitalism among different groups of people who earn their living either as wage laborers or artisans. This effect has been most profoundly noted among those whose place is on the fringe of the national economy. Another main reason is that the states are increasingly losing their capacity to govern and to regulate in this increasingly borderless world, where resourceless artisans have become the worst sufferers both in the cultural and economic frontiers. This article attempts to examine the effect that the process of globalization has made among the silk weavers of Bishnupur region in West Bengal, India. It adopts a transformational approach and uses both contextual reading and ethnographic data collected through firsthand fieldwork among the aforesaid community. The ethnography describes the messy and unquantifiable relationship between local actors and the international process.
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Mandira Dasgupta. "The Study of the Late Mediaeval Temple Architectures of Tripura (The North Eastern State of India)- A Style Evolved Due to the Multi-Cultural Assimilation During the Manikya Period." Journal of Advanced Research in Social Sciences 2, no. 4 (April 22, 2020): 31–39. http://dx.doi.org/10.33422/jarss.v2i4.251.
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The purpose of this study is to show the assimilated styles, motifs and designs of the Late Mediaeval Temple Architectures of Tripura. Like the other parts of India, Tripura has been an important centre of interaction of several cultures and traditions. The state is a home to numerous Tribes having different traditions and cultures. Therefore there is a wide variety in the life style and cultures of this state. Due to the friendly nature of the Manikya kings, the state was globally well connected. In the Royal courtyard, many scholars, artists, architects and other literates were invited for cultural exchanges at that time. We can see the influences of those sharing thoughts in the Architectures of this state. The temples constructed during the late 15th-16th century exhibits motifs influenced from the Indo-Islamic architectures, Bengal temples, Indo- Burmese style and other indigenous elements of this region. These temples reflect a synthesis of the arts, ideas, religious beliefs, values and the way of life during the Manikya ages.
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Kundu, Dipak Kumar. "Artisans’ Attitude towards the Library and Information Centre: A Study in North 24 Parganas District of West Bengal, India." Asian Journal of Research in Social Sciences and Humanities 7, no. 12 (2017): 96. http://dx.doi.org/10.5958/2249-7315.2017.00558.5.
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Maity, Payel, Sujaya De, Amitava Pal, Hiranmoy Mahata, Mousumi Chatterjee, and Prakash C. Dhara. "Identification of a suitable working posture for female workers engaged in golden thread work." International Journal of Occupational Safety and Health 4, no. 2 (March 17, 2016): 24–33. http://dx.doi.org/10.3126/ijosh.v4i2.14666.
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Background: The golden thread (jori) work is one of the major home based industries providing employment to thousands of artisans spread over several rural areas of the West Bengal. The study is essentially labor intensive and thus workers are prone to suffer from work related health problems. Objective: The present study was aimed to evaluate the musculoskeletal disorders (MSDs) and postural stress of the female golden thread workers. Methods: The study was carried on 123 adult female golden thread workers in different districts of West Bengal. The prevalence of MSD, body part discomfort rating (BPD) and postural stress (by OWAS, RULA, REBA method) of the workers were evaluated by standard methods. The EMG of shoulder and back muscle was recorded with the help of the BIOPAC system. Result: The results showed that the prevalence of MSDs, BPD rating and postural stress were comparatively lower in case of sitting on the floor with folded legs than squatting and sitting on the floor with stretched legs. The EMG and RMS values of EMG voltage of shoulder and back muscle were comparatively lower in this posture than that of other two postures. Conclusion: It was therefore, concluded that sitting on the floor with folded legs was less hazardous and it imposed less postural stress in comparison to other sitting postures adopted by the golden thread workers.International Journal of Occupational Safety and Health, Vol 4 No 2 (2014) 24 – 33
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Smith, David, and Rajesh Kochhar. "Multimedia Archiving of Technological Change in a Traditional Creative Industry: A Case Study of the Dhokra Artisans of Bankura, West Bengal." AI & SOCIETY 16, no. 4 (November 2002): 350–65. http://dx.doi.org/10.1007/s001460200028.
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Sriparna Guha et al.,, Sriparna Guha et al ,. "Empowering the Dokra Artisans through the Accessibility of Financial Resources for Survival of their Indigenous Technology – A Study of West Bengal, India." International Journal of Mechanical and Production Engineering Research and Development 10, no. 3 (2020): 12433–46. http://dx.doi.org/10.24247/ijmperdjun20201185.
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Raha, P. "Патуа из Наяграма: путь, взлеты и падения." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 32–47. http://dx.doi.org/10.46748/arteuras.2021.01.003.
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Patachitra is a form of folk painting, popular mainly in the Indian states of West Bengal and Odisha. It is done on cloth by the natural pigments and homemade adhesives. Patachitra is considered as one of the most important ethnic traditions of India. The simplicity and the highly stylized coordination of bold lines and bright colours of Patachitra and its narrative approach of storytelling may attract any of the artists and art researchers. It was considered as a dying tradition. In the recent years, by the support of several government and social organizations, the art has revived. Through their effective initiatives the new generation of the Patuas (Who creates Patachitras) are getting new platform to be recognized for their hereditary skill and new marketplace to sell their work. Nayagram is a village of the Indian state of West Bengal. All the residents of Nayagram are Patuas. This place is getting popularity for the artistic talent of its people, by the support of the government and social organizations. This research paper is trying to identify the means of development for this kind of ethnic art and artists by studding Nayagram as a model. It is mainly a field work based study to know the on ground reality. Shyamsudar Chitrakar, a veteran Patua of Nayagram was interviewed to learn the real history of Nayagram. On the other hand the young talented woman Patua, Sonia Chitrakar was interviewed to know how she is approaching towards the future betterment of this traditional art form and the and her struggle as a woman belonging from such a marginal community. After compiling their inputs with the other information about the village from both the primary and literary sources the research finds the first four families of Patuas of Nayagram who were given land to live by Gunadhar Bishal, a wealthy farmer who was a lover of art as well. Gradually their relatives (Patuas) also started to come to live at Nayagram. Thus the place was identified by the government and social workers as the place of Patuas and the art of Patachitra. This Paper deliberates the initiatives to identify the challenges and prescribes probable solutions to develop other dying ethnic traditions in the world after studding Nayagram as a model of development. Статья посвящена патачитре — виду народной живописи, популярной, в основном, в индийских штатах Западная Бенгалия и Одиша. Она выполняется на ткани с помощью натуральных пигментов и самодельных клеев. Патачитра считается одной из важнейших этнических традиций Индии. Простота, тонкая стилизация, сочетание смелых линий и ярких цветов патачитры, а также ее повествовательность привлекают многих художников и исследователей искусства. Патачитра считалась умирающей традицией, но в последние годы при поддержке ряда государственных и общественных организаций это искусство возродилось, а новое поколение художников-патуа получило признание своих традиционных ремесел и новые рынки для продажи своих работ. В данной работе делается попытка определить пути развития этого вида этнического искусства на примере деревни Наяграм в Западной Бенгалии, жителями которой являются патуа. Статья основана на полевых исследованиях и экспертных интервью с жителями деревни. Обсуждаются инициативы по выявлению имеющихся проблем и предлагаются возможные решения для развития других исчезающих этнических традиций в мире.
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Gupta, Samita. "Book Reviews : TAPATI CUHA-THAKURTA, The Making of a New 'Indian' Art. Artists, Aesthetics and Nationalism in Bengal c. 1850-1920, Cambridge Uni versity Press, Cambridge, 1992, 352 pp., 96 Illustrations, Rs. 595." Indian Economic & Social History Review 31, no. 3 (September 1994): 394–96. http://dx.doi.org/10.1177/001946469403100306.
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Buzaian, Ahmed M. "Excavations at Tocra (1985-1992)." Libyan Studies 31 (2000): 59–102. http://dx.doi.org/10.1017/s026371890000532x.
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AbstractThis article presents a preliminary report on the post-excavation analysis of excavations conducted between 1985 and 1992 by the Department of Archaeology of the University of Garyunis (Benghazi) at the ancient city of Tocra. The construction and design of the buildings excavated are analysed, with particular emphasis on the late antique phases; and descriptions of pottery, other artefacts (including two early Islamic coins) are given. The area appears to have been an artisan district, as evidenced by the finds of a pottery kiln, ovens, vats and other structures associated with manufacturing activities. Mortar and plaster samples were analysed to help phase the structures, and to compare the excavated vats with their counterparts at another site within the city. A limited study of the faunal remains gives some insight into diet at the site in late antiquity.The study shows clearly that Tocra remained inhabited after the Arab conquest (AD 640s), confirming suggestions of previous excavations at other sites within the city wall.
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Radice, William. "Tapati Guha-Thakurta: The making of a new ‘Indian’ art: artists, aesthetics and nationalism in Bengal, c. 1850–1920. (Cambridge South Asian Studies, 52.) xxvii, 349 pp. Cambridge, etc.: Cambridge University Press, 1992. £45, $85." Bulletin of the School of Oriental and African Studies 58, no. 1 (January 1995): 181–82. http://dx.doi.org/10.1017/s0041977x00012428.
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Mohamed, Fadel Ali. "From the Memory of History: The Painted Room at Bardia." Libyan Studies 25 (January 1994): 287–91. http://dx.doi.org/10.1017/s0263718900006439.
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Bardia has a natural deep-water harbour confined by cliffs, making it an ideal submarine haven. It held a strategic position in the last war in connection with the capture of Tobruk, and was used by both the Germans and British as a supply base (Fig. 1). Set back from the shoreline were numerous single-storey, flat-roofed buildings overlooking the harbour, one of which was a lookout post where the mural under discussion survives.On 30th December 1941 the Allies launched a decisive attack on Bardia (Liddell Hart 1953, 177–178), which surrendered on 2nd January 1942 (Murphy 1961, 511–512). On 27 th January Rommel had struck again at Benghazi; General Auchinleck gave orders to withdraw, and formed a front line near Gazala in early February.According to its contemporary War Diary, the 5th Battalion, East Yorkshire Regiment arrived in the Western Desert from Palestine and Syria on 20th February, and two days later took over from the 11th Indian Brigade approximately 20 miles south of Gazala (W.O.169/5076). One of the soldiers in this batallion was Private John Frederick Brill 4617871 of the Royal Army Service Corps, the artist of the mural in the Painted Room at Bardia.
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Thakur, Meenakshi. "A CREATIVE EXPRESSION OF CELEBRATIONS: RANGOLI." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3523.
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Indian art has combined local tradition with outside influences, and has evolved along with a civilization, which has been remarkably innovative in all areas. The art has developed in the courts by the professional artists but folk art has developed in houses, worship places, courtyards, villages, among illiterate race. It is in fact an essential aspect of the celebrations in the family. India is a sub-continent and is composed of people with different cultures, different social customs and traditions and speaking different languages. Yet a stream of unity seems to run through the length and breadth of the country. It is this stream which in spite of all diversity keeps the country united. In Rangoli one can see the aesthetic expression of this unifying stream, with variation in styles and forms in different parts of the country. Rangoli is an Indian traditional - folk art, generally created on a floor on special festive occasions. The origin of this art can be traced to the “PURANAS”. The tradition of Rangoli originated in Maharashtra state and slowly disseminated to other parts of India. Almost invariably these are practiced only by women and take the form of drawings on the floor or on the walls of the house reflecting their creative artistic expressions. Their style and quality depended on the materials available in the place in which they were executed, these very factors that helps to identify the region. In Maharashtra it is called Rangoli, Sathiya in Gujrat, Mandma in Rajasthan, Alpanan in Bengal, Chowkapurna in Madhya Pradesh, Chaitrangana in Maharashtra, Puvidal in Kerala, Muggu in Andhra Pradesh, Rangoli in Karnataka, Kolam in Tamilnadu, Ahapan in Bihar. This decoration is done in every home in the nook and corner of the country though the decorative shapes and designs differ from place to place. The aim is to worship and celebrate the spiritual and divine existence by making the designs beautifully.
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Berg, Maxine. "Craft and Small Scale Production in the Global Economy: Gujarat and Kachchh in the Eighteenth and Twenty-first Centuries." Itinerario 37, no. 2 (August 2013): 23–45. http://dx.doi.org/10.1017/s0165115313000466.
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India's production of fine luxury and craft goods for world markets was discovered and exploited by Europeans in the seventeenth and eighteenth centuries. Textile producers in Gujarat, the Coromandel Coast, and Bengal applied fine craft skills to European designs, colour codes, and textile lengths and widths. Through the intervention of the East India Companies and private traders as well as their intermediaries, brokers and local merchants, weavers, and printers produced the goods to satisfy Western markets just as they had done for Eastern and African markets in the centuries before.Today Indian craftspeople are engaging in a new phase of production for global markets. They are using traditional techniques of the kind that attracted Western buyers in the seventeenth and eighteenth centuries: hand weaving, hand block printing, and natural dyes. Accessing the niche national and international markets needed to provide a future for these crafts is a major challenge. This article focuses on the artisans, skills and markets in one area of India—the region of Kachchh in northern Gujarat, even now considered a remote part of the new global India. It sets this within a wider context of Gujarat and the earlier and more recent history of its textile industries. Douglas Haynes's recent book, Small Town Capitalism in Western India (2012) provides a framework for the study of small-scale industry, and the article will address his subject and methods. The new sources used are a collection of oral histories of craftspeople in a range of industries. These oral histories address skills and training across generations, and how these crafts have adapted and continue to adapt to the demands of national and world markets.
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Freitag, Sandria B. "The Making of a New ‘Indian’ Art: Artists, Aesthetics and Nationalism in Bengal, c. 1850–1920. By Tapati Guha-Thakurta. Cambridge: Cambridge University Press, 1992. xxvii, 351 pp. $85.00 (cloth). - Cinema and the Urban Poor in South India. By Sara Dickey. Cambridge: Cambridge University Press, 1993. xiv, 213 pp. £30.00 (cloth)." Journal of Asian Studies 55, no. 3 (August 1996): 750–52. http://dx.doi.org/10.2307/2646487.
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Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 54–58. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.984.
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Engish : In ancient Indian texts, the rules related to painting are mentioned in detail, in which texts of poetry, drama, epic, Puranas, Upanishads and various disciplines describe their popularity in ancient tradition and cultural methods of Indian painting and public opinion. Apart from this, there are some texts in which free and comprehensive painting has been explained in detail. For example, there are 269 chapters in this book composed by Vishnudharmottara Purana Markandeya. Under which, in the third section, Sanskrit subjects are especially important for the fine arts. In which chapters 1 to 118 are told about art. In this book, nine chapters from 35 to 43 are of Chitrasutra. It is very popular and most notable and well-known. In which detailed information related to the painting is given, which is not found in any other book before it.In the same way, in the epic, Ramayana, Mahabharata, there is a description of paintings on chitrashalas, palaces, chariots and the great dramatist Bhasa has described the paintings in his three plays Swapnavasavadattam, Pratigya Yogandharayana and Dutavakya. Apart from this, painting has also been mentioned in texts like Abhilachirtartha Chintamani, Mansar, Samranga Sutradhar.It is only through these ancient Indian texts that the painter has been able to study the artifacts microscopically. That is, following the rules related to the picture in these texts can be seen in miniature paintings of Ajanta, Mughal, Rajasthan. By following these rules, painters have been able to express their artistry by imbibing expressions like harmony, balance and cooperation, effectiveness in their artworks. The example of which can be seen in the artwork made by Bengal school and artists of Calcutta.
Hindi : प्राचीन भारतीय ग्रन्थों में चित्रकला से सम्बन्धित नियमों का उल्लेख विस्तृत रूप से मिलता है जिसमें काव्य, नाटक, महाकाव्य, पुराण, उपनिषद् व विभिन्न विषयों के ग्रन्थों द्वारा भारतीय चित्र लेखन की प्राचीन परम्परा व सांस्कृतिक विधियों एवं जनमानस में उनकी लोकप्रियता का वर्णन मिलता है। इसके अतिरिक्त कुछ ऐसे ग्रन्थ भी हैं, जिनमें स्वतन्त्र व व्यापक रूप से चित्रकला की व्याख्या विस्तार रूप से की गयी है। उदाहरण स्वरूप विष्णुधर्मोत्तर पुराण मार्कण्डेय द्वारा रचित इस ग्रन्थ में 269 अध्याय हैं। जिसके अन्तर्गत तीसरे खण्ड में संस्कृत विषयों में विशेषकर ललित कलाओं के लिये सर्वाधिक महत्वपूर्ण हैं। जिसमें अध्याय 1 से लेकर 118 तक कला के बारे में बताया गया है। इसी ग्रन्थ में 35 से 43 तक नौ अध्याय चित्रसूत्र के हैं। यह बहुत चर्चित व सर्वाधिक उल्लेखनीय एवं बहुचर्चित हैं। जिसमें चित्रकला से सम्बन्धित विस्तृत जानकारी दी गयी है, जो इससे पहले अन्य किसी ग्रन्थ में नहीं मिलती।
इसी तरह से महाकाव्य, रामायण, महाभारत में चित्रशालाओं, महलों, रथों पर चित्रकारी का वर्णन मिलता है व महान नाटकार भास ने अपने तीन नाटकों स्वप्नवासवदत्तम्, प्रतिज्ञा योगंधरायण तथा दूतवाक्य में चित्रों के बारे में बताया है। इसके अलावा अभिलषितार्थ चिन्तामणि, मानसार, समरांगण सूत्रधार जैसे ग्रन्थों में भी चित्रकला का उल्लेख किया गया है।
इन प्राचीन भारतीय ग्रन्थों के माध्यम से ही आज चित्रकार कलाकृतियों का अध्ययन सूक्ष्मरूप से करने में सक्षम हो सका है। अर्थात् इन ग्रन्थों में चित्र से सम्बन्धित नियमों का पालन अजन्ता, मुगल, राजस्थान के लघु चित्रों में देखा जा सकता है। इन नियमों का पालन करते हुये ही चित्रकार अपनी कलाकृतियों में सामंजस्य, सन्तुलन व सहयोग, प्रभाविता जैसे भावों को आत्मसात करते हुये अपनी कलाकृति को अभिव्यक्त कर पाने में समर्थ हो सके हैं। जिसका उदाहरण बंगाल स्कूल व कलकत्ता के कलाकारों द्वारा बनायी कलाकृतियों में देखा जा सकता है।
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Sarangi, Jaydeep, and Anurima Chanda. "Writing Back." Writers in Conversation 7, no. 1 (January 22, 2020). http://dx.doi.org/10.22356/wic.v7i1.68.
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Shyamal Kumar Pramanik is an author on social and political values and an engaging writer of Dalit literature and movement. His works glitter with pain, angst and social good will. For him, writing is a commitment, social and political. Dalit literature is born out of ideological warfare. Pramanik is a socially committed artist with many works under his belt. All his works lead us to a better society based on justice, equality and fraternity.His collection of Dalit poetry titled Aguner Bornomala was first published in 2000 in Bengali. In 2019, it was published in English as Fiery Garland of Letters translated by Kalyan Basu (Gangchil, Kolkata). This collection of poems is rich with military images to change the society for good. These are mainly protest poems, protest against the age-old stereotypes in the Bengali caste pyramid.This interview was conducted via emails in the month of December 2019. We sat with the author a couple of times in a café in south Kolkata where we discussed his works and activism for the upliftment of the Dalits in Bengal.
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Tun Lin, Saw. "The Buddhist Decorative Glazed Tiles of Mrauk U: The Arakanese Appropriation of Islamic Glazed Tiling | မြောက်ဦးမြို့ရှိ ဗုဒ္ဓသာသနိက အလှဆင် စဉ့်ချပ်များ အစ္စလမ်မစ် စဉ့်ချပ်အလှဆင်မှုဓလေ့ကို ရခိုင့်ဒေသယဉ်ကျေးမှုနှင့်လိုက်ဖက်စွာ ပြန်လည်အသုံးချမှု." SPAFA Journal 5 (January 19, 2021). http://dx.doi.org/10.26721/spafajournal.2021.5.659.
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Mrauk U is situated in the western part of modern Myanmar and was the capital of Arakan (Rakhine) from 1430 CE until the Burmese conquest in 1784 CE. Its unique position in the Bay of Bengal via the Kaladan river and its tributaries resulted in the development of a commercial and cultural center in its heyday. European travel accounts and chronicles describe Mrauk U as a prosperous cosmopolitan city with a polyglot court, not only using native Arakanese language but also Persian and Bengali. Consequently, the remnants of art and archaeology reveal that the artisans drew much of their inspiration from Indian, European and Burmese traditions (Gutman 2001; 2002; Leider 2002:83). This paper contextualizes decorative glazed tiles of Arakanese Buddhist monuments in relation to the historical, political and cultural situation of Mrauk U. Regional interaction will be taken into account to identify the origins and development of Arakanese glazing technology. Previous research has mainly focused on the art and architecture of the Mrauk U period and the origin of the glazing technique remains vague. The comparative analysis reveals that significant elements in Arakanese glazing art, such as the use of stylized, geometric, floral or vegetal designs and animal poses seem to be borrowed from Islamic art. This article argues that Islamic tile tradition exerted considerable influence on the Arakanese glazing technique, probably via Bengal. မြန်မာနိုင်ငံ အနောက်ဖက်ပိုင်းတွင်တည်ရှိသော မြောက်ဦးမြို့သည် 1430 AD မှစ၍ 1784 AD ဗမာမင်းများ သိမ်းပိုက်ခဲ့သည့်အချိန်တိုင်အောင် ရခိုင်လူမျိုးတို့၏ မြို့တော်ဖြစ်ခဲ့ပါသည်။ ဥရောပ ခရီးသွားမှတ်တမ်းများနှင့် ရာဇဝင်များတွင် ဖော်ပြချက်များအရ မြောက်ဦးသည် လူမျိုးပေါင်းစုံ အခြေချနေထိုင်ပီး မိခင် ရခိုင့်ဘာသာစကား သာမက ပါရှန်းနှင့် င်္ဘဂါလီဘာသာစကားများပါ အသုံးပြုသော နန်းတော်တည်ရှိရာမြို့လည်း ဖြစ်သည်။ ၎င်း၏ အကျိုးဆက် အနေဖြင့် မြောက်ဦးမြို့ရှိ ကျွင်းကျန်ရစ်သော ရှေးဟောင်သုတေသနနှင့် အနုပညာလက်ရာများသည် အိန္ဒိယ၊ ဥရောပ နှင့် မြန်မာ့ယဉ်ကျေးမှုဟန်များ ရောယှက်လျက်ရှိပါသည်။ ယခုစာတမ်းသည် မြောက်ဦးမြို့ရှိ ဗုဒ္ဓသာသနိက အဆောက်အဦးများတွင် အလှဆင်ထားသော စဉ့်ချပ်များအကြောင်းကို မြောက်ဦးခေတ် သမိုင်း၊ နိုင်ငံရေးနှင့် ယဉ်ကျေးမှု အခြေအနေများနှင့် ချိန်ထိုး၍ လေ့လာသွားမည်ဖြစ်သည်။ စဉ့်ပြုလုပ်သည့် အတတ်ပညာကို မည်သို့ မည်ပုံ ကျွမ်းကျင်တတ်မြောက်ခဲ့ကြောင်းကို ဒေသတွင်းအခြား ခေတ်ပြိုင် စဉ့်လုပ်ငန်းများနှင့် ချင့်ချိန် လေ့လာသွားပါမည်။ ယခင်လေ့လာခဲ့သော သုတေသနများသည် မြောက်ဦးခေတ် ဗိသုကာနှင့် အနုပညာရပ်များအပေါ် အဓိကဇောင်းပေးခဲ့ပီး စဉ့်အတတ်ပညာမည်သို့ ရရှိတတ်မြောက်ခဲ့ကြောင်း လေ့လာရန်လိုအပ်လျက်ရှိပါသည်။ နှိုင်းယှဉ်လေ့လာ ချက်များအရ ရခိုင် စဉ့်ချပ်များပေါ်ရှိ ပန်းခက်ပန်းနွယ်၊ ဂျီဩမေထြီ ဟန်ပန် ဒီဇိုင်းများနှင့် တိရိစ္ဆာန် ကိုယ်နေဟန်ထား ပုံစံများသည် အစ္စလမ်မစ် အနုပညာ လက်ရာများနှင့် တူညီသော အင်္ဂါရပ်များစွာတွေ့ရပါသည်။ အစ္စလမ်ဘာသာရေး အဆောက်အဦးများတွင် စဉ့်ချပ် အလှဆင်သောဓလေ့သည် မြောက်ဦးစဉ့်ချပ် အလှဆင်မှု ဓလေ့အပေါ်တွင် လွှမ်းမိုးမှုရှိခဲ့ပြီး ၎င်းနည်းပညာမှာ အိန္ဒိယနိုင်ငံ င်္ဘဂလားဒေသမှ ဆင်းသက် လာသည်ဟု ယူဆရ နိုင်ကြောင်းကို ယခုစာတမ်းတွင် ဆွေးနွေးတင်ပြသွားပါမည်။
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Bose, Indranil, Vishwas Gupta, and Atul Kumar Srivastava. "Self-help Group Participation & Women Artisans of Shantiniketan Leather Cluster, West Bengal: An Empirical Analysis." Adhyayan: A Journal of Management Sciences 2, no. 2 (May 17, 2016). http://dx.doi.org/10.21567/adhyayan.v2i2.10243.
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Micro-finance refers to small savings, credit and insurance services. These services are extended to socially and economically disadvantaged segments of society. The women artisans from Shantiniketan leather cluster, who have a long tradition of manufacturing leather bags and other accessories, have changed their lives and their socio-living condition in many aspects, by adopting the ways of self-help group formation under different coordinating agencies (specially the non-governmental organizations (NGOs) since 1992). These self-help groups have been extended soft loans of various natures; through the respective coordinating agencies. These initiatives have added different and new positive dimensions in respect to the lives of members of such groups. This structured and questionnaire based feedback empirical study, attempts to evaluate the level of positive changes that occurred in the lives of under-privileged rural women artisans, engaged in leather craftsmanship under several self-help groups, coordinated by different NGOs at the grass-root level.
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Ray, Amitabha. "Technical Education A Brief History And Continual Development Of Polytechnic Education In West Bengal." PREPARE@U - Preprint Archive, October 24, 2019. http://dx.doi.org/10.36375/prepare_u.a31.
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In 1757, the battle of Plassey gave the Britishers unique opportunity to change their status from commercial traders to colonizers. Thus Britain’s relations with India underwent a drastic qualitative change. Britain gradually captured the political power and became the rulers of this country. To rule any country the rulers should have an intimate knowledge of its topography and resources through physical survey.So in 1794, the English traders established a Survey School at Madras to train Indian personnel in modern land survey to assist British surveyor. The major initiative of starting a new centres of technical education came out of the necessity of the British rulers for training the diddle level technical required for construction and maintenance of public buildings, roads, canals, ports and harbours, railways and other services as well as training artisans and craftsmen in the maintenance of instruments and equipments needed for army, navy and other technical establishments. In 1825 Technical schools were established in Calcutta and Bombay for training the artisans and artificers. These schools were attested to ordinance factories and engineering establishments. Technical education was always on demand when there was crisis like war. natural calamities, change of political power etc. but not in a systematic manner like other education system. So there were some sort of development during the period of world wars. In this process AICTE formed in 1945
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Nickell, Chris, and Adam Benkato. "On Blackness and the Nation in Arabic Hip Hop." Lateral 10, no. 1 (March 2021). http://dx.doi.org/10.25158/l10.1.14.
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In this contribution, Chris Nickell and Adam Benkato think together about the mobilization of Blackness in Arabic hip hop from two different contexts: a rap battle in Beirut, Lebanon and music videos from Benghazi, Libya. In both, hip hop artists confront Blackness with the nation through the Afro-diasporic medium of hip hop. Although the examples we consider here participate, in several ways, in hip hop’s larger generic functions as a globalized Black medium of resistance, they also bolster pre-existing discourses of race and racism, anti-Blackness in particular. We argue that this seeming contradiction—instances of anti-Blackness appearing in an iteration of a Black expressive form—is in fact a feature, not a bug, of the flexible way the genre works. We have paired these two examples, which we describe and analyze individually given their differing social contexts as well as our differing research focuses, in order to glimpse the discursive level at which racecraft functions.