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Journal articles on the topic 'Bengali Artists'
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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, 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 (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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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 the literary resistance to Neocolonial forces. Nachiketa is one of the few Kolkata-centric artists whose late post-90s modern Bengali songs have won the hearts of both West Bengal and Bangladeshi people. What is less noticeable during these three decades is that Nachiketa has a strong presence through vocal and melody, where his rebellious voice has not failed to criticize the government, political, religious, financial, or cultural institutions that indirectly represent Neocolonial ideologies like Capitalism, Globalization, and Cultural Imperialism. This article is going to excavate how Nachiketa has criticized different layers of malpractices prevailing in the diversified aspects of day to day life through his best known, surprisingly turbulent anti-imperial lyrical creations.
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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 underscores the lasting cultural impact of colonialism on Southeast Asia and the contested character of the region. Alpha’s condescending view of Balinese folk art echoed the paternalism of Euro-American colonial discourses about civilizing indigenous peoples that persisted because its key members received much of their education or training in Britain and the United States, a by-product of their countries’ pro-U.S. trajectory during the Vietnam War. Equally, Alpha’s transnationalism ran counter to Southeast Asian political elites’ fixation with pressing art toward nation-building. Indeed, the coalescing of nation-states does not define the region’s history during and after the Vietnam War. Rather, non-state actors like Alpha’s members, in imagining and pursuing their versions of Southeast Asia, contributed to the persistent contingency of the region.
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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 (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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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 – 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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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 , Gobardhan Aash and Ramkinkar were some of the most eminent artists of that particular historical period and the Calcutta Group based artists such as Nirad Majumdar , Suvo Thakur , Gopal Ghosh , Prankrishna Pal , Paritosh Sen and Pradosh Dasgupta tried their level best to express trauma and triumph of contemporary population of Bengal and especially struggle for survival of famine- stricken common people was depicted through famous paintings of Chittaprashad and Jaynul Abedin . In world of Somnath Hore and Debabrata Mukhopadhyay’s art reflecting social realism one can observe fathomless pain of poverty- stricken people and rebellious spirit against all kinds of suppression and oppression. In this article I tried my best to express contribution of some renowned artists of the Marxist Cultural Movement of Bengal who upheld harsh reality of stratified society through their painting and sculpture.
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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, 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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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 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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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 of freshness, directness and robustness in the artistic spirit that still survives in the scrolls, Kalighat paintings, Puja images and the hordes of artifacts created for rituals – all synthesized with the visual effects of Kanthas and Alpanas. Strong beauty of line work, powerful colour scheming and flawless motifs characterized his impeccable style.Roy, in fact, was trend setter as he had projected the popular style amongst artists to adopt folk style and folk traits to recondition the art works in 1930s. His style of painting is still relevant in today’s Contemporary Art scenario. The images, motifs, symbols, and idioms used by Jamini Roy inspired a number of Indian artists of present times.
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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 (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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Bakel, M. A., A. Appadurai, C. Baks, 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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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 (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 (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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Simões, Gabrieli. "Richard serra e o valor do peso." Revista Galo 1, no. 2 (2020): 193–204. http://dx.doi.org/10.53919/g2l16.
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O artigo se propõe a discutir o valor do peso na obra poética do artista Richard Serra, entendida como o esforço em explorar amplamente a utilização da materialidade do aço e da gravidade, juntamente com a valorização do espaço expositivo enquanto componente essencial de suas obras. Para isso, são feitas análises de “Fernando Pessoa” (2008), “Equal Parallel/Guernica-Bengasi” (1986) e “Torqued Ellipse IV” (1998). Busca-se encontrar conexões entre os três trabalhos, por meio do que Rosalind Krausschamou de “local demarcado”. Explora-se como cada um deles provoca e desconcerta a noção de experiência física, espacial e temporal através da relação entre materiais, espaços arquitetônicos, formas e técnicas utilizadas pelo artista.
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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 (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 (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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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 ( Ailurus fulgens), painted to accompany a scientific description of the species which Hardwicke sent from Bengal to the Linnean Society of London in 1820. The painting pre-dates Frédéric Cuvier’s description of the animal by four years, and is almost certainly the first image of the red panda to have arrived in Europe. This paper sets the painting in the context of Hardwicke’s career as a naturalist and private patron of Indian artists, highlighting both his role as an early investigator of Indian zoology and the importance of “Company Art” in the accrual of scientific information.
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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 (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 (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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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 (2013): 85–104. http://dx.doi.org/10.1177/0973174113477011.
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Roy, Binayak, and Om Prakash Dwivedi. "An Era of Darkness: Satyajit Ray’s Anticolonial Project." Revista Canaria de Estudios Ingleses, no. 83 (2021): 51–65. http://dx.doi.org/10.25145/j.recaesin.2021.83.04.
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Satyajit Ray’s films are enriched with ideological concerns and engage with the issues of colonialism and the crisis of nationhood. His post 1970 films present an artist’s anguished response to the betrayal of the Nehruvian dream and to the anachronism of his own cherished values. It was also in this period that Ray turned to India’s colonial past and critiqued the dynamics of power relations. This essay studies how Shatranj ke Khilari (The Chess Players, 1980) assesses the reasons for colonization of India and its culture by the Britishers and how, in Ashani Sanket (Distant Thunder, 1973), he criticized the Raj, the mercenaries and the complexities in Indian society where he denounces the Bengal Famine of former times.
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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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Čupković, Gordana, and Silvana Dunat. "Multimodal Metaphor as the Source of Parodic Integration in Hip Hop Music Videos." Narodna umjetnost 57, no. 2 (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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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 (2002): 299–307. http://dx.doi.org/10.1080/10509200214851.
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Bean, Susan S. "Making, Using, Disposing, Remaking…: Sacred Arts of Re-Creation in Southern Asia." Religions 13, no. 7 (2022): 657. http://dx.doi.org/10.3390/rel13070657.
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For centuries, in the eastern Indian subcontinent, areas now in Bangladesh and the Indian states of West Bengal, Odisha, and Bihar, temporary polychrome terracruda (air-dried clay) figural images have been created for periodic pujas (rituals of worship) and immersed in nearby rivers or ponds at the event’s close. This essay explores how the perennial re-creation of terracruda ritual images supported the rise of goddess worship, stimulated the expansion of the annual cycle of religious festivals, and contributed to a modernizing cosmopolitan public culture. Drawing on recent reconsiderations of materiality that recognize the active roles of inanimate objects and substances, terracruda sacred sculpture is approached through the medium to consider the distinctive contributions that clay makes in interactions with artists, patrons, devotees, and the public. This essay focuses on how the transformational character of air-dried clay enables practices of making, worshipping, and disposing that evoke cosmic cycles, harness potencies that inhere in earth, and realign religious practices in changing times.
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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 involved in mask making as a profession and an art. More mask artists are found in the Ambalangoda area. In Ambalangoda, masks are found as an additional commodity for sale in the shops found on roadsides. It has been used by people in a variety of cases until now. The mask is also made by the artists as a decorative object. Many different forms are also created in the form of calmness, fear, and humor. They are also created to suit the needs of their people and are found with a variety of artistic features. The trees that belong to the mask art are selected and carved with the tools required for the engraving. They are also painted in an eye-catching way to look at. Certain types of paint are used. The use of colour plays an important role in mask art. Apart from color, it is a form of art that includes not only colour but also quantitative dimensions, organization, three-dimensionality, two-dimensionality, perfectionism, aesthetics, etc. The mask is created by the artists based on the above-mentioned details. This art form is found not only in Sri Lanka but also in many other countries. It is found in many places, like the State of Kerala, West Bengal, and India. It is also found in Indonesia. Mask art is also found in museums as an exhibit.
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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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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 (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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Ghosh, Sreyasi. "Reflection of Socio-Economic and Cultural Turmoil of 1940s and 1950s in Short Stories of Manik Bandopadhyay : a renowned litterateur." RESEARCH REVIEW International Journal of Multidisciplinary 6, no. 11 (2021): 08–14. http://dx.doi.org/10.31305/rrijm.2021.v06.i11.002.
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The Progressive Movement or the Marxist Cultural Renaissance occurred in a blood- thirsty and horrible situation which was the outcome of The Second World war, Famine, Communal riots, Partition related refugee crisis and the Tebhaga Movement. Contemporary undivided Communist Party of India was the pioneer in this intellectual development. All – India Progressive Writers’ Association ( 1936), Anti- Fascist Writers and Artists related Organisation ( 1942) , Association of Friends of the Soviet Power ( 1941) and the famous I.P.T.A ( 1943) were established mainly for earnest endeavour of the Communist Party. Eminent author Manik Bandopadhyay was associated with the Anti- Fascist Cultural platform from 1943 and embraced the Marxist philosophy with heartfelt desire. He got membership of the Communist Party in 1944 and continued his creative works through a perfect amalgamation of identity of litterateur with identity of dedicated and devoted party – worker in different areas of Bengal. He created extraordinary short stories (1943/ 1944- 1956) in backdrop of food and clothing related severe crisis, famine – stricken terrible situation , hegemony of influential people of black market related trading system , moral degeneration , flesh trade / prostitution adopted by poor and helpless womenfolk, communal riots related bloodbath and aggressive peasant unrest etc.
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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 (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], № 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 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 (1994): 394–96. http://dx.doi.org/10.1177/001946469403100306.
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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 (1995): 181–82. http://dx.doi.org/10.1017/s0041977x00012428.
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Thakur, Meenakshi. "A CREATIVE EXPRESSION OF CELEBRATIONS: RANGOLI." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (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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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 (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 (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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HUREL, ROSELYNE. "The Disciple of the Yogini “Swallowed up” by the Tiger: Asceticism and Eremitic Life in Indian Painting." Journal of the Royal Asiatic Society, July 25, 2022, 1–21. http://dx.doi.org/10.1017/s1356186322000451.
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Abstract The long tradition of asceticism in India has an extensive iconography. It usually represents a poor and emaciated man, living on his own, occasionally with wild animals for company. Hindu and Muslim art and literature contain many such scenes, but female ascetics or yoginis only rarely appear. However, there is a seventeenth-century miniature in the Rietberg Museum which depicts the well-known subject of a young disciple visiting her guru. Seated together in a landscape in front of a thatched hut, they are surrounded by precisely painted Ustad Mansur-style flora and fauna. It was customary practice in Indian workshops for artists to copy original works by their masters, and to make versions using a stencil or charba. This particular miniature has been recreated several times. In the earliest, the two yoginis are placed in the same setting with their modest possessions. The topos remained popular until the end of the eighteenth century when a change occurred: the disciple of the old yogini disappeared, having been “swallowed up” by a tiger. Instead of two mystics talking together, the scene depicted is that of a tiger near a hermit, a typical Ragamala image known as Bengali Ragini. These new compositions were readily acquired by European collectors. A final version also exists that derives from the original Mughal topos which depicts the three: hermit, tiger, and…disciple.
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Karmakar, Bikas. "Decoding the Impact of the Srirama Panchali on Baranagar Temples Facades: The Driving Force behind Terracotta Artisans’ Narrativization of Ramayana Events." Rupkatha Journal on Interdisciplinary Studies in Humanities 13, no. 4 (2021). http://dx.doi.org/10.21659/rupkatha.v13n4.39.
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Valmiki Ramayana is one of the most popular, universally read, and widely circulated literary works. The poets of different languages in India ornamented Valmiki’s Sanskrit Ramayana with the vibrancy of their own indigenous languages and cultures. A significant number of such versions trace their roots to Bengal. The epic was first translated into the Bengali language by the great poet Krittibas Ojha. Its influences and popularity have been such as to justify it being called the Bible of the people of Bengal. Its intense undiminished popularity among the populace has also left an indelible impression on the artisans of Bengal and their creations in different eras. The study primarily aims to investigate the Ramayana narratives that have been found on the facades of the temples of Baranagar in Murshidabad, West Bengal, India. The intention is to trace the impact of Krittibas’s Srirama Panchali on the portrayals of the Ramayana episodes. The formal method of Art History has been employed to provide an in-depth description of the formal elements that have been incorporated by the artisans. Besides, a detailed critical inspection of the concerned portrayals has been complemented with literary references to get a lucid understanding of the intended issues.
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Sarangi, Jaydeep, and Anurima Chanda. "Writing Back." Writers in Conversation 7, no. 1 (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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Wille, Simone. "A Transnational Socialist Solidarity: Chittaprosad’s Prague Connection." Stedelijk Studies Journal 1 (2019). http://dx.doi.org/10.54533/stedstud.vol009.art11.
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The Indian artist Chittaprosad Bhattacharya (1915–1978) is best known for his visual reportages on the Bengal famine in 1943–1944. As a member of the Communist Party of India (CPI), Chittaprosad’s historic documents of the famine, in the form of sketches, texts and linocuts, were produced in line with the party’s demand for revolutionary popular art to mobilize the masses by means of posters as well as journalistic and documentary-style reports. Many of these works were published in the communist journals People’s War and People’s Age. This is how they circulated among intellectuals and a general readership. Chittaprosad can be situated within a socially responsive practice that is distinctive for one line of development characteristic of his native Bengal, notably represented by artists such as Zainul Abedin (1914–1976) and Somnath Hore (1921–2006). While these artists have produced compelling images in response to political crisis, the Bengal famine, and peasant rebellions, Chittaprosad’s recognition and fame gained in pre-partition India—unlike that of Abedin and Hore—was not carried into the post-partition era. His dissociation from the CPI in 1948, along with the general atmosphere in postcolonial India, with its concerns for signatures of national-modern art, left little room for a former party artist. This, I will argue, instigated him to build on a network beyond the national frame. The group of individuals from Prague that became aware of and interested in Chittaprosad around that time actively supported his career from this point on. This is how his work increasingly circulated within a transnational network that was marked by solidarity with a socialist outlook and paired with a curiosity for traditional and folk arts. These very personal connections exceeded his lifetime, and most of the documents, book illustrations, poems, and artworks related to this have not yet been studied or published.
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Sarker, Archishman. "From Inner Eye to After Sight: Benode Behari Mukherjee in London." Chitrolekha Journal on Art and Design 5, no. 1 (2022). http://dx.doi.org/10.21659/cjad.51.v5n102.
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Tracing the journey of artistic engagements with the Indian Modernist artist Benode Behari Mukherjee’s works, starting from Satyajit Ray’s 1982 documentary ‘Inner Eye’ to a 2020 exhibition ‘After Sight’ in London, this article reassesses scholarly and artistic encounters with Benode Behari’s artistic consciousness in the light of international Modernist art movements and the artist’s lifelong search for an ideal form. The role of nature in the development of his artistic uniqueness and ingenuity is discussed; as Benode Behari has often been erroneously imagined as a metropolis-centric Modernist artist, thereby also bringing to focus the broad subject of the significance of nature and the pastoral idyll in the development of Bengali Modernism and modern South Asian artistic consciousness. In this piece, a trajectory of the reception of his works is also drawn.
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Sarker, Archishman. "Reflections on Modernism in Bangladesh and the abstract artist Kazi Ghiyasuddin." Chitrolekha Journal on Art and Design 2, no. 3 (2018). http://dx.doi.org/10.21659/cjad.23.v2n304.
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This paper is an analysis and anamnesis of the art of the Bangladeshi abstract painter Kazi Ghiyasuddin This paper also explores Bangladeshi Modernism- as an artistic movement in close dialogue with Modernist art emerging from the rest of Bengal and the world at the point of emergence of an international Bangladeshi identity. A close study of his art leads to a contemplation on the syncretism of nature and art (culture) and a manifestation of such through the form of the abstract; while situating the ‘artist’ at an intersection of lived experiences, artistic perception and politics of expression.
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Mandalal, Rajiv MandRajiv, Yang Xianyi, and Wang Meiyan. "Historical Ornamentation of Chinese Scroll Painting and Bengal Pata Painting." Chitrolekha Journal on Art and Design 2, no. 3 (2018). http://dx.doi.org/10.21659/cjad.23.v2n308.
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History of Chinese scroll painting and Bengal pata painting as well as Kalighat pata painting is very old and vide. Mainly the scroll paintings carrying different stories and episodes of different Epics, Mythological stories, activities with landscapes and daily life ornamentations. This paper is carrying the historical description of Scroll paintings from Far East and India. Chinese scroll paintings reflect stories and activities with landscapes, flowers, birds, poems and the massages were the Chinese characters played an important role as well. The Chinese scroll painting is an important source to the linage of the traditional painting to modern. It depicts from court to individual memorable events and stories. Bengal pata paintings developed to reflect a variety of themes of Myth and the other historical events. The artists depict Hindu Gods, Goddesses and other mythological characters and their stories as the episodes from Vedas, Puranas and Mangal Kavyas. Bengal scroll also reflects the history as well as the social and cultural daily life activities; at the time of colonial period, especially in Kalighat pata painting.
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Das, Abhinandan. "Covid 19 and the Durga Puja Decoration Artisans of West Bengal: Mapping the Crisis of an Unorganized Sector in South Asia." International Journal of Social Science and Human Research 05, no. 02 (2022). http://dx.doi.org/10.47191/ijsshr/v5-i2-35.
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The sufferings of the unorganized sector have increased manifold in the current times, due to the COVID-19 pandemic, especially in developing countries like India. The present study attempts to examine the precarious conditions of the decoration artisans of Krishnanagar (Nadia District) and Kumartuli (Kolkata City) areas of West Bengal, India during the COVID-19 pandemic. The overall analysis comparing the Pre-COVID-19 situations with the situation conditioned by the pandemic indicates a significant loss of annual turnovers during the times of the pandemic. The rise in the price of raw materials and shortage of labour supply caused by lockdowns and Covid-related restrictions have affected the livelihood mechanisms of the decoration artisans in both places. This has severely affected the market distribution chain of the artefacts of the decoration artisans encompassing the Indian and international markets. The study attempts to provide some policy recommendations for the survival of the decoration artisans which can assist the government and policymakers towards sustainable planning and provision of inclusive growth which is very important in the context of the addition of Durga Puja to the Representative List of Intangible Cultural Heritage of Humanity by UNESCO, preserving both heritage and economy in the long run.
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Bhattacharya, Ananya, and Madhura Dutta. "Empowering Heritage Entrepreneurs: An Experience in Strategic Marketing." Journal of Heritage Management, October 2, 2022, 245592962211204. http://dx.doi.org/10.1177/24559296221120471.
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This article describes an Indian experience in building rural, community-based enterprises that respond to heritage marketing challenges and opportunities in a huge creative economy. In an era often dominated by market-driven approaches, the NGO ‘banglanatak dot com’ has innovated its art for life (AFL) approach, offering a robust model for empowering rural communities through entrepreneurship and community-led micro-enterprises. Sensitive to issues of cultural integrity and ownership, the AFL model includes a strong rights-based commitment along with continuous innovation, branding and the use of marketing tools. These include building digital capacities, use of social media and partnership with the tourism industry. The banglanatak experience responds to the fast-changing consumer trends of a globalized and digital world, thus often characterized by a lack of connect between traditional artists and evolving markets, inadequate market awareness on the intrinsic and outstanding value of a particular craft or art form, lack of cultural sensitivity among stakeholders working with traditional artists and frequent violation of the creative rights of makers. This article shares learning from interventions in West Bengal, in eastern India, which aim at empowering tradition bearers as key protagonists of heritage businesses. Their experience, severely tested through the global pandemic, offers hope and direction.
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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 (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.