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Relevant bibliographies by topics / Bengali Artists

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Journal articles

Academic literature on the topic 'Bengali Artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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Journal articles on the topic "Bengali Artists"

1

MANJAPRA, KRIS. "FROM IMPERIAL TO INTERNATIONAL HORIZONS: A HERMENEUTIC STUDY OF BENGALI MODERNISM." Modern Intellectual History 8, no. 2 (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,

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2

Crovetto, Helen. "Embodied Knowledge and Divinity: The Hohm Community as Western-style Bāāuls." Nova Religio 10, no. 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 ar

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3

Mohammad Chishti, Kazi Ehteshumes. "Reviewing Nachiketa’s Lyrics as a Protest against Diverse Malpractices: A Study from a Post-colonial Perspective." Shanlax International Journal of Arts, Science and Humanities 9, no. 1 (2021): 54–63. http://dx.doi.org/10.34293/sijash.v9i1.4072.

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Songs are not always a source of recreation that soothes one’s mind with beautifully romantic hearttouching sugar-quoted lyrics. Songs may also be angry in tone and harsh in voice, as is noticeable in many of the songs of Nachiketa Chakraborty. Likewise, the crucial period of Colonialism may be over, but a more critical period of Neocolonialism is now a dominating practice in the developing countries by rich and most developed countries, mostly through their political and economic strategies. The interesting thing is that power and resistance go side by side. Nachiketa’s melodious lyrics are t

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4

Ngoei, Wen-Qing. "Exhibiting Transnationalism after Vietnam: The Alpha Gallery’s Vision of an Artistic Renaissance in Southeast Asia." Journal of American-East Asian Relations 29, no. 3 (2022): 271–99. http://dx.doi.org/10.1163/18765610-29030004.

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Abstract This essay examines the Alpha Gallery, an independent artists’ cooperative that Malaysians and Singaporeans established, which staged art shows during the 1970s to spark an artistic renaissance in Southeast Asia. The cooperative’s transnational vision involved showcasing Balinese folk art as a primitive and, therefore, intrinsically Southeast Asian aesthetic, while asserting that it shared cultural connections with the Bengali Renaissance of the early 20th Century. Alpha’s leaders believed these actions might awaken indigenous artistic traditions across Southeast Asia. Their project u

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5

Datta, Anisha. "Through the eyes of an artist: consumption ethos and commercial art in Bengal." Journal of Historical Research in Marketing 10, no. 3 (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, reas

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6

Novillo-Corvalán, Patricia. "Global South Modernism: Tagore, Victoria Ocampo, and the Geopolitics of Horizontal Relations." Modernist Cultures 16, no. 2 (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 –

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7

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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8

Prasad, Sunil. "Livelihood Alternative among Patachitra artisan communities." BSSS Journal of Social Work 13, no. 1 (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,

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9

Zanatta, Maura, and Anjali Gera Roy. "Facing the Pandemic: A Perspective on Patachitra Artists of West Bengal." Arts 10, no. 3 (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 event

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10

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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