Relevant bibliographies by topics / Bengal Painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Bengal Painting'

Author: Grafiati
Published: 3 March 2023

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Journal articles on the topic "Bengal Painting"

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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 (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. The
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2

Roy, Gillian. "THE CONSERVATION OF INDIAN POPULAR PAINTING IN BENGAL." Studies in Conservation 39, sup1 (1994): 28. http://dx.doi.org/10.1179/sic.1994.028.

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Ghosh, Sreyasi. "Analysis of contribution of some renowned artists of the Era of the Marxist Cultural Movement of Bengal." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 10 (2022): 01–06. http://dx.doi.org/10.31305/rrijm.2022.v07.i10.001.

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Undoubtedly during the era of colossal devastation and bloodbath occurred due to the World War II , famine , communal riots , Partition of India and refugee crisis emerged the Progressive Cultural Movement of 1940s that made its imprint on intellectual and cultural life of Bengal through organizations like the All Indian Progressive Writers’ Association ( 1936), the Anti- Fascist Writers’ and Artists’ Association (1942 ), Association of friends of the Soviet Countrymen ( 1941), the I.P.T.A ( 1943) and the Youth Cultural Institute ( 1940) etc. Jaynul Abedin , Ramkinkar , Chittaprashad , Gobardh
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Lowther, D. A. "The first painting of the red panda (Ailurus fulgens) in Europe? Natural history and artistic patronage in early nineteenth-century India." Archives of Natural History 48, no. 2 (2021): 368–76. http://dx.doi.org/10.3366/anh.2021.0728.

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Throughout the late eighteenth and early nineteenth centuries, British East India Company officials, based in the Indian subcontinent, amassed huge collections of natural history images. One of the largest collections, consisting of many thousands of individual paintings commissioned mainly from Indian artists between 1790 and 1823, was formed by Major-General Thomas Hardwicke. Some of these later formed the basis of John Edward Gray’s Illustrations of Indian zoology, but the vast majority remained unpublished. This paper focuses on one of these images, a detailed watercolour of the red panda
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Sonika. "FOLK-STYLE TRADITIONS IN INDIGENOUS ART OF JAMINI ROY." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 38–45. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.143.

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In early years during the twentieth century, there was a move towards seeking cultural roots, among artists in Bengal, guided by Abanindranath Tagore. Jamini Roy was one of them who made the pioneering efforts to foster self-respect for the indigenous creative output and greatly influenced the perspective towards art in those times.Jamini Roy received his art education through Western art perceptions but as opposed to the aristocratic perspective of the Bengal Art School, Jamini Roy drew inspiration from folk style traditions to create a peculiar indigenous style of his own. He found a quality
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Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (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
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Yadav, Vishal. "RELIGION IN THE COLOR SYSTEM UNDER BADRINATH ARYA." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (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 artist
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8

V, Gokularamanan. "A Review of the Current State of Mask Art in Sri Lanka." International Research Journal of Tamil 4, S-8 (2022): 427–37. http://dx.doi.org/10.34256/irjt22s859.

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Sri Lanka is a country with many artistic aspects. There are many other forms of art, like painting, dance, drama, palm leaf art, mask art, etc. Mask art has been regarded as a traditional art form by people from ancient times to the present. The arts generally bring joy and freshness to the mind. They are energetic. It is important to note that the art form is found in many places. Masks are found in two forms, i.e., art and craft. Art forms have new forms and crafts are the art of recreating the new forms created by the craft without changing the form. In addition, they are passionately invo
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Raha, P. "Патуа из Наяграма: путь, взлеты и падения". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 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 t
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Chatterjee, Ratnabali. "Representation of Gender in Folk Paintings of Bengal." Social Scientist 28, no. 3/4 (2000): 7. http://dx.doi.org/10.2307/3518186.

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Dissertations / Theses on the topic "Bengal Painting"

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Glikson, Michal. "Towards a Peripatetic Practice: negotiating journey through painting." Phd thesis, https://datacommons.anu.edu.au/DataCommons/item/anudc:5523, 2017. http://hdl.handle.net/1885/128513.

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Towards a peripatetic practice: negotiating journey through painting investigates painting as a way of comprehending lived experience of travel. The project develops from curiosity about journeys and their potential for bringing the artist into encounters with the world, and proximate to its issues and concerns. Aims of the project focused on peripatetic practice as a means of redirecting a personal experience of rootlessness towards connecting with others, and considering and communicating the complexity of cross-cultural experience through painting. Objectives as such were to investigate thr
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Books on the topic "Bengal Painting"

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Ramananda, Banerjee, Gayen Debashis, and Indian Museum, eds. Bengal school of painting. Indian Museum, 2006.

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2

Folk paintings of Bengal. Khama Publishers, 1993.

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3

Amita, Sahaya, Dancing Brushes (Calcutta India), and Gallerie Nvya (New Delhi, India), eds. Colours & palettes, Bengal. Dancing Brushes, 2005.

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Gallery, Delhi Art, ed. The art of Bengal. Delhi Art Gallery, 2012.

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5

Bhaṭṭācārya, Aśoka. Bāṃlāra citrakalā. Paścimabaṅga Bāṃlā Ākademi, Tathya o Saṃskr̥ti Bibhāga, Paścimabaṅga Sarakāra, 1994.

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6

Ratnottama, Sengupta, and Aryan Art Gallery, eds. Dhaara: Bengal masters and their students who have become signatures. Aryan Art Gallery, 2004.

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7

Ambica, Beri, and Gallery Sanskriti, eds. Call of the real: Contemporary Indian artists from Bengal. 2nd ed. Gallery Sanskriti, 2004.

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8

Priyasri Art Gallery (Bombay, India), ed. The city of joy: A show from Bengal School of Art. Priyasri Art Gallery, 2005.

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9

Suhr̥dkumāra, Bhaumika, ed. Patuas and Patua art in Bengal. Firma KLM, 1999.

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10

Ikabāla, Saiẏada. Mindscape: 4th solo painting exhibition : Bengal Gallery of Fine Arts presents Syed Iqbal. Bengal Gallery of Fine Arts, 2001.

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Book chapters on the topic "Bengal Painting"

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Ayu Trisnawati, Ida. "The Light Penetrates Silence: Kolok Dance Study in Bengkala Village, Buleleng, Bali." In Creativity - A Force to Innovation [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94397.

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Art is an expression of the pure soul of humans that is not limited by physical. Therefore, everyone can express their art in various forms of art acts such as dancing, singing, painting, and others. This occurs to the Kolok (mute) community in Bengkala village where they express their artistic spirit by dancing. The Kolok community in this village dances Janger Kolok Dance, Baris Bebek Bingar Bengkala (Bebila) Dance or Baris Bebila Dance, and Jalak Anguci Starling Dance. This dance illustrates the joy and excitement of the mute people in Bengkala village who are able to surpass their limitations into an opportunity to fill themselves up. The creation of this dance is motivated by esthetic, economic and religious reasons. Structurally, all Kolok dances in Bengkala follow the same pattern of general dance but there are adjustments to the conditions of the dancers. This dance has the meaning of struggle, discipline, hard work, cooperation, entertainment based on excitement through the limitations of those who are deaf Kolok.
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