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Journal articles on the topic 'Nepali Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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1

Sharma, Yam Prasad. "Nepali Art: Thoughts & Musings by Madan Chitrakar Review." SIRJANĀ – A Journal on Arts and Art Education 8, no. 1 (2022): 100–107. http://dx.doi.org/10.3126/sirjana.v8i1.46663.

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Madan Chitrakar's Nepali Art: Thoughts & Musings presents a mosaic of Nepali art including research articles on Nepali paintings, sculptures and architecture. He has traced the native cultural roots and myths in the artworks including the connection of traditionand modernity. Thematic undercurrents along with stylistic innovation have been presented in flowing language of the veteran art writer and critic. The work points out the different dimensions of Nepali aesthetics. The essays are representative of certain genres, forms and issues. To have the view of holistic picture of Nepal art, m
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Rajbhandari, Jasmine. "Female voice in Nepali Art." Journal of Fine Arts Campus 5, no. 2 (2023): 8–17. http://dx.doi.org/10.3126/jfac.v5i2.67284.

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The emergence of female voices in Nepali art noticeably began in 1989. The recent practices of female Nepali artists not only represent their personal emotional experiences but also convey strong messages. Their work talks about the various challenges faced by women in the patriarchal society of Nepal, and aims to bring positive changes such as equal space and freedom from social barriers. They not only address gender issues, but also question the right to give birth and abortion. Additionally, they address social disorders such as rape, Chhaupadi practices, untouchable issues during menstruat
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Subedi, Abhi. "Abstract Paintings and Nepali Context." SIRJANĀ – A Journal on Arts and Art Education 8, no. 1 (2022): 6–21. http://dx.doi.org/10.3126/sirjana.v8i1.46652.

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Abstract art as discussed in this essay covers a period of time that spans about sixty years. The introduction of the abstract art in Nepal marks a certain opening in both art education and practice among the artists. The initial challenge of the abstract art was to make it a familiar subject both among the art lovers as well as among those who respected art but were not able to appreciate it fully. A challenging period came when artists began to work towards making abstract art an acceptable and a very useful artistic practice. The tension between skill of the artists and the indifference of
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Sharma, Yam Prasad. "Contemporary Nepali Arts: Ambivalence and In-between-ness." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (2018): 64–73. http://dx.doi.org/10.3126/sirjana.v5i1.39745.

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Contemporary Nepali arts are connected among each other along with western arts and early Nepali artworks. These artworks share the subject matters, techniques and forms of earlier traditions. Inter-textuality is sometimes created through recycling and appropriation. Similar elements have been used for different purposes. Likewise, similar contents reappear in different forms. Contemporary Nepali arts are the mélange of various cross-currents. Ever-changing alien art influences in the present time have unsettled representational modes of arts. Some art techniques have been borrowed from the we
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Rajbhandari, Jasmine. "Aestheticism in Uttam Nepali’s Abstract Works." Journal of Fine Arts Campus 4, no. 1 (2022): 18–27. http://dx.doi.org/10.3126/jfac.v4i1.51758.

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The aim of this paper is to explore aesthetic beauty in abstract paintings of Uttam Nepali. The available researches had only found out that he was an abstract painter and painted his feelings and emotions. This article argues that forms and colors he created are for the sake of their beauty. The art forms provide aesthetic pleasure to the viewers. The abstract paintings are analyzed and interpreted in qualitative method. The article focuses that Nepali created the structure of colors and lines by proper arrangements which increases the aesthetic qualities of abstract works and has no any util
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Gautam, Uddhav. "Role of Nepali Army in Promotion and Preservation of Nepalese Art, Culture, and Traditions." Unity Journal 3, no. 01 (2022): 205–19. http://dx.doi.org/10.3126/unityj.v3i01.43326.

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The Nepali Army was founded initially as the Gorkha Army around 450 Years ago. Since its inception, the Nepali Army as the nation's largest organization has not only been ensuring our territorial integrity but has also been connecting multi-ethnic, multi-lingual, multi-religious, multi-cultural Nepalese society in a common thread by preserving its rich tangible and intangible cultural heritages along with the associated traditions. In this regard, this study predominantly illuminates the fact that modern-day Nepal has been shaped through the sacrifices of the Nepali Army and their histories ar
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Sharma, Yam Prasad. "Contemporary Nepali Arts: Some Shocking Trends." Journal of Fine Arts Campus 3, no. 1 (2021): 1–5. http://dx.doi.org/10.3126/jfac.v3i1.42488.

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In contemporary Nepali arts, there are some trends that shock any sensible viewer or any informed person in the area. Some artists repeat the same subject matter, figure and technique throughout their life or from the beginning of their profession till now. The presentation of the same thing all the time creates monotony and nausea in the viewers. The question arises: how can an artist do the same thing all the time? Some artists see the works of famous western artists in art history books, art magazines and the world wide web, and they copy their subject matters and techniques thinking that t
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Jasmin, Rajbhandari. "Phenomenology in Nepali Paintings." SIRJANĀ – A Journal Of Arts and Art Education 9, no. 1 (2023): 64–77. http://dx.doi.org/10.3126/sirjana.v9i1.56269.

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I make an attempt to investigate the select eight paintings by Nepali artists through phenomenology. Nepali artists paint through their living experiences and convert forms into various metaphors in their artworks. Their creations connect with people of different professions in society and make them enter into a new consciousness. I further attempt to explore the relationship of Nepali art with the phenomena of the lives of Nepali artists. The select eight paintings by eight artists are explored here. The artworks are analyzed and interpreted in the qualitative method. In earlier times, Nepali
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Yates, Donna, and Simon Mackenzie. "Heritage, Crisis, and Community Crime Prevention in Nepal." International Journal of Cultural Property 25, no. 2 (2018): 203–21. http://dx.doi.org/10.1017/s0940739118000140.

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Abstract:Following Nepal’s 2015 earthquake, there was speculation that sacred art would be looted from the ruins of severely damaged temples due to a breakdown in formal security. Although pillage did not immediately occur, the months following the earthquake have seen the theft of sacred heritage items. As Nepali sacred art remains under threat of theft, we explore the processes by which government intervention can be destructive of the community dynamic that maintains local crime prevention on an informal and unofficial level. Based on fieldwork conducted in Nepal shortly before and after th
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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.

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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been foun
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Duwadi, Eak Prasad. "Fostering Public Army Relation in Nepal." Unity Journal 2 (February 2, 2021): 70–80. http://dx.doi.org/10.3126/unityj.v2i0.38784.

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Nepal maintained army strength even during the reigns of Lichchavi kings. Later, its operations began to generate income. The way in which King Prithvi Narayan Shah and his successors diligently mastered the art of warfare and strategy resulted in the success of the Gorkhali army. After the Kot Prava, the Rana family emerged and radically changed policies. This research studies on Nepali Army’s glorious history, transformation, and mainly its public relation. The Postmodern Military Model (PMMM) is the theoretical perspective that has guided this study. For this, a qualitative method that deal
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Darshandhari, Saur Ganga. "Appropriating the Mona Lisa in the Contemporary Nepali Painting." SIRJANĀ – A Journal Of Arts and Art Education 9, no. 1 (2023): 78–89. http://dx.doi.org/10.3126/sirjana.v9i1.56271.

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There is no boundary in creating, or recreating new work whether in art, literature, music, film, drama, or any medium. The practice of artists using original objects or images in their artworks with changes of the original ones is considered appropriation in art, or appropriate art. This paper focuses on the appropriation of the Mona Lisa in the contemporary Nepali paintings. The Mona Lisa, the most sought-after work of art, was created by Leonardo Da Vinci during c. 1503-1506 is presently housed in the Louvre Museum, Paris. There are several examples of Vinci’s art turned into appropriate ar
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Sharma, Yam Prasad. "Common Patterns in Contemporary Nepali Arts, Life and Society." Journal of Fine Arts Campus 3, no. 2 (2021): 11–22. http://dx.doi.org/10.3126/jfac.v3i2.48226.

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There are common trends and patterns in contemporary Nepal arts, politics, society, culture and education along with other dimensions of life. Such similarities suggest the interconnectedness of diverse dimensions of reality. One area mirrors the other one. Looking at art, we can infer the life and culture of the people. Superstructure is reflected in the base; and the base has been reflected in superstructure. Hypocrisy, pretention and imitation are the common patterns of Nepali art, culture and life in contemporary context. Due to such features, the foundation of the nation is shaking. The t
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Subedi, Abhi. "Nepali Paintings and Poetry: Reviews and Reflections." SIRJANĀ – A Journal on Arts and Art Education 4, no. 1 (2017): 6–20. http://dx.doi.org/10.3126/sirjana.v4i1.39840.

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This topic has been lodging with me for over three decades. During this period of time it has continued to pose me new challenges and new excitements of openings. I have written some essays on this topic. I am basically a literary person who writes poems, plays, essays, art criticism and theoretical aspects of both genres of art - paintings and poetry. As a teacher I have taught these subjects all my life. But saying final words does not worry me because despite efforts by art critics, historians and literary writers to draw common grounds for both literature and art, it has yielded mixed resu
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Sharma, Yam Prasad. "Dynamics of Contemporary Nepali Paintings." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (2019): 78–87. http://dx.doi.org/10.3126/sirjana.v6i1.39676.

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The article explores the multiplicity of contemporary Nepali paintings in terms of Nepali tradition and contemporary experiments. Globalization enhanced the creative flow of ideas and events in the domain of art. Th condition of cultural encounter and ambivalence appear in the context of Nepali art as the effects of globalization. We can trace the native images, symbols, icons and forms interacting with western techniques in the artworks. The paintings depict the representation of cultural self and cultural other. Using the techniques of irony and parody, the visual texts respond and accommoda
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Sharma, Yam Prasad. "Socio-Cultural Dynamics in K. K. Karmacharya’s Artworks." AMC Multidisciplinary Research Journal 3, no. 1 (2022): 24–38. http://dx.doi.org/10.3126/amrj.v3i1.55819.

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Contemporary Nepali artist K. K. Karmacharya's artworks present socio-cultural issues of the contemporary context of Nepal. The life of the people, their context and activities vividly appear on the canvas. The paintings explore spiritual themes, cultural rituals and social activities in the community. The compositions not only represent the external world but also respond to the situation in visual form. Nepali tradition and ordinary works get space on his canvas. Some art forms mirror the society as it is and some works take corrective measures. They criticize the people and society from dis
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Khattri, Om. "Art in nature: Shifting trends in Nepali sculpture." Journal of Fine Arts Campus 3, no. 1 (2021): 35–43. http://dx.doi.org/10.3126/jfac.v3i1.42494.

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Art has its environment and meaning, and it can exist free from a pedestal. Different approaches have sprung up with current environmental impacts, including other outdoor sculptures in Nepal as a modern movement. This form of activity has given new meaning to local indigenous values, art, and crafts. The transition started after some naturalistic sculptures, including equestrian statues, were brought from Europe and installed in the open environment. Environmental sculpture is a type of public art that creates or changes the spectators' surroundings. Nepalese sculptors have practiced a new ge
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Paudel, Rudra Prasad. "Mainali’s “A Blaze in the Straw” as a Fine Work of Art." Tribhuvan University Journal 27, no. 1-2 (2010): 143–48. http://dx.doi.org/10.3126/tuj.v27i1-2.26397.

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Art refers to the product of creative human activity in which concepts are shaped and selected to convey an idea or emotion. A short story is an art form, a particular type of artistic activity and a product of the author’s imagination. Unlike novels that usually depict conflicts among many characters, developed through a variety of episodes, stimulating a complexity of responses inreaders, a short story is a brief fictional narrative prose disclosing one character’s inner conflict with others having one thematic focus. It concisely presents events and stirs our imagination.
 Guru Prasad
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Subedi, Abhi. "Modes and Methods of Character Creation in Nepali Paintings." SIRJANĀ – A Journal Of Arts and Art Education 9, no. 1 (2023): 4–15. http://dx.doi.org/10.3126/sirjana.v9i1.56249.

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Character creation is probably the most important mode of paintings by artists and the most avowed practice and recognized ontology of the anthropomorphic predominance in art anywhere in the world. This phenomenon can be productively discussed in the context of the art traditions. Discussions about character creation in paintings sound tautological but such practices and styles of the painters of any culture and tradition can be a heuristically productive and viable topic. Though the subject is very broad, we can find some interesting creative developments by studying the traditions of art in
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Subedi, Abhi. "SKIB-71 in Textual and Visual Memories." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (2019): 6–19. http://dx.doi.org/10.3126/sirjana.v6i1.39357.

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SKIB-71, the acronym of Sashi, Krishna, Indra and Batsa represents a very significant phase in the movement of modern Nepali paintings. These four artists launched a movement in paintings a quarter of a century ago with a view to inspiring young artists and opening new vista of communications with artists using other media and methods. Their personal involvements in art activities couples with their experimentations created a unique atmosphere in Nepali paintings characterised by such features as the gatherings of artists, interactions, exhibitions and, above all the pedagogy of arts. After th
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Hamal, Koshal. "Inter-Art Dynamics of Kalapremi’s Artworks: A Critique of Contemporary Nepali Arts." Outlook: Journal of English Studies 15 (July 15, 2024): 127–36. http://dx.doi.org/10.3126/ojes.v15i1.67771.

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The 'inter-art' refers to an artwork that is composed of more than one art form of the visual arts, such as sculpture, painting, video art, photography, ceramics, installation, performance, etc., showing the relationship between them. This study reveals the idea of inter-art relationships in the works of Gopal Kalapremi Shrestha, widely known as ‘Kalapremi’. The main objective of this paper is to explore the inter-art dynamics of Kalapremi’s artworks. The paper also aims to identify the key art genres in the creations of Kalapremi and to discuss the underlying meaning of his style. The paper r
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Chitrakar, Madan. "The Spirit of Nepali Painting: What has hath Driven the Art." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (2019): 20–29. http://dx.doi.org/10.3126/sirjana.v6i1.39669.

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(Note: Herein the term, ‘Nepali Painting’ exclusively refers to the earlier art of Painting – rooted in religious faiths: and not the art that emerged after the arrival of western notion of painting.)
 For centuries, ‘The art of Painting in Nepal’ remained confined to the visual forms associated with spiritual beliefs: or as a description of imageries from Hindu and Buddhist pantheon. Occasionally, the visuals also narrated rise or decline of particular thoughts or a cult within a given time. The complexities found in the art also, have had intrigued many – by the impressive presence of m
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Sharma, Yam Prasad. "Contemporary Nepali Arts: Blurring the Boundaries among Art Genres." Curriculum Development Journal, no. 42 (December 4, 2020): 48–56. http://dx.doi.org/10.3126/cdj.v0i42.33212.

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Some contemporary Nepali artworks have blurred the boundaries among different art genres like sculpture, painting, music, drama, photography and literature. In a single artwork, we can view the elements of two or more art forms. Three dimensional real objects are put on the two dimensional surface like canvas. Three dimensions are the special characteristics of sculpture whereas there are only two dimensions in painting. Three dimensions in the painting are illusions created by the use of light and shade, and gradation of colors. Artists use photographs and paintings simultaneously in the same
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Poudel, Kamal Kumar, Kushmila Acharya, and Netra Prasad Sharma. "Linguistic Aesthetics in the Market: Evidence from Oral Business Nepali." Advances in Social Sciences Research Journal 8, no. 2 (2021): 65–76. http://dx.doi.org/10.14738/assrj.82.9674.

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Communication in business is usually supposed to be precisely and directly targeted at the message. The present study was instigated to answer whether, as generally assumed, communication in business excludes the artistic or poetic use of language meant for entertainment. Using observation, recording and field notes as the study techniques, a corpus of 24000 words was collected in Nepali from the major open market sites and business hubs located within Nepal. The corpus was then translated into English. As a delimitation of the study, the aesthetic aspect of language use and usage was particul
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Sharma, Yam Prasad. "Didactic Visual Narrations in Nepali Manuscript Illuminations." SIRJANĀ – A Journal on Arts and Art Education 4, no. 1 (2017): 146–54. http://dx.doi.org/10.3126/sirjana.v4i1.44442.

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Manuscript illuminations are the early forms of traditional Nepali paintings. Manuscript illuminations are the miniature paintings found in the manuscripts, the handwritten religious texts and treaties on ethics. Such paintings tell the mythical stories in visual form. Some manuscript illuminations present the characters and events in such a way that they tell moral stories using visual medium. Sometimes, the contents appear in the form of fable. The animals are personified, for they act and behave like a human being. In some cases, the visual narration is allegorical in the sense that one set
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Sharma, Yam Prasad. "Some Emerging Nepali Abstract Painters of 1980s." SIRJANĀ – A Journal Of Arts and Art Education 9, no. 1 (2023): 48–63. http://dx.doi.org/10.3126/sirjana.v9i1.56256.

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Nepali artists of 1980s further developed the subjective, abstract and plural art trends with their individual identity in the paintings. The movement was from objective representation to subjective expression; concrete reality to abstract concept; from external world to the inner experience; and from visible appearance to the invisible existence. Some representative artists of this period are Kiran Manandhar, Sharad Ranjit, Navindra Man Rajbhandari, and Jeevan Rajopadhyay. Mananandhar's paintings emphasize the inner expression through altered art forms. Sharad Ranjit presents the dancing colo
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पहाडी Pahadi, ढुण्डिराज Dhundiraj. "‘नवपल्लव’ मा सङ्गृहीत गीतिरचनामा देशप्रेम {Patriotism in the lyric collection collected in 'Navapallava'}". Patan Pragya 8, № 01 (2021): 223–36. http://dx.doi.org/10.3126/pragya.v8i01.42449.

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‘नवपल्लव’ वासुदेव त्रिपाठीद्वारा रचित लघु आयामको गीतिसङ्ग्रह हो । साझा प्रकाशनले २०४६सालमा प्रकाशन गरेको विवेच्य गीतसङ्ग्रहमा ९ ओटा गीतहरू मात्र समेटिएका छन् । उच्च कवित्व र सघनगेयताको समागम भएका विश्लेष्य गीतिरचनाहरूको अन्तर्वस्तु देशप्रेम हो । गीतमा अभिव्यञ्जित देशप्रेमकोकथ्यलाई आस्वाद्य बनाउन के कस्तो गीतिकौशलको प्रयोग गरिएको छ भन्ने प्रमुख प्राज्ञिक जिज्ञासा र विमर्शमाप्रस्तुत आलेख केन्द्रित छ । रचनाकारको स्वानुभूतिमा प्रतिबिम्बित राष्ट्ररागको संवेग, भाषिक लालित्य रगीतिसौन्दर्यको वस्तुनिष्ठ मूल्याङ्कनका निम्ति विश्लेष्य गीतिरचनाबाटै साक्ष्य र तथ्य सङ्कलन गरिएको छ ।देशभक्तिका गीतको सैद्धान्
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Baumann, Sara E., Monica M. Merante, Marie-Ange Sylvain-Holmgren, and Jessica G. Burke. "Exploring Community Art and Its Role in Promoting Health, Social Cohesion, and Community Resilience in the Aftermath of the 2015 Nepal Earthquake." Health Promotion Practice 22, no. 1_suppl (2021): 111S—121S. http://dx.doi.org/10.1177/1524839921996083.

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A magnitude 7.8 earthquake struck Nepal in 2015, followed by hundreds of aftershocks that led to physical destruction, loss, and negative mental health outcomes. Yet, in the days, months, and years following the disaster, numerous forms of community art rose from the rubble, such as urban murals, spoken word poetry, public dance performances, and sacred art. This study explored the relationship between community art and health, social cohesion, and community resilience in postearthquake Nepal. We utilized photography and audio recorders to capture 19 unique artworks/projects created in the aft
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Subedi, Abhi. "My Understanding of Manuj Babu and his Art." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (2018): 6–15. http://dx.doi.org/10.3126/sirjana.v5i1.39737.

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Manuj Babu Mishra (1936-2018) was a modern artist who is mainly known for his paintings and his drawings. Nepali art critic Narayan Bahadur Singh as early as 1976 mentioned about his multiple skills in art. But Mishra was also one of those painters who ushered in an era of modern consciousness shared equally by painters and poets. His contemporaries some of whom are still painting though on a smaller scale, made experiments with their arts in modernist style. An era of distorting forms, breaking the fine figurality and using flatness by shunning the illusion of three dimensional shapes rather
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Subedi, Abhi. "Widening Sphere of Modern Art and Literature in Nepal: A study of the interface between them." SIRJANĀ – A Journal on Arts and Art Education 7, no. 1 (2021): 6–27. http://dx.doi.org/10.3126/sirjana.v7i1.39340.

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I see modernism in painting in this region as an evolutionary process that should trigger discussions about its constituent features. This argument harps on the two questions. Is modernism only an emulation of the Western style and methods in paintings and literature, or is it also the evolution of native cultural consciousness that is reflected in the experiments made by painters in art and by writers in creative literary works? To answer these questions, this article includes discussions about evolutions of modernism in paintings and culture in meta-artistic and literary discourses. Examples
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Budhathoki, Mahendra Kumar. "Karuna Rasa- Aestheticized Pathos as Tragedy in Parashu Pradhan's The Telegram on the Table and A Relationship." Pursuits: A Journal of English Studies 8, no. 1 (2024): 110–18. http://dx.doi.org/10.3126/pursuits.v8i1.65342.

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Art and literature essentially depict a life and its emotions; the portrayed emotions in works of art touch the readers’ heart. The readers feel both pain and pleasure in tragedy. The study aims to expose karuna rasa, pathetic, tragic emotions in Parashu Pradhan's The Telegram on the Table and A Relationship from the perspective of the rasa theory. This paper discusses the tragic feelings and pathetic emotions of Nepali people depicted and inferred in Pradhan’s stories; it also analyzes the formation of karuna rasa, pathetic relish in reading his stories. This study is a library research and q
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Khanal, Hota Raj. "Critical Art of Teaching Writing: Nepali Educators' Insights into Crafting Young Minds." Education and Development 33, no. 1 (2024): 1–16. http://dx.doi.org/10.3126/ed.v33i1.66565.

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This study is based on the perception and understanding of preprimary level teachers of Nepal. The study was based on the narrative inquiry of the qualitative paradigm. The objective of this study was to explore the freedom in teaching writing to enhance writing skill in preprimary level learners. Based on the objective as well as through the eyes of participants, the collected information was interpreted and concluded that innovative techniques are lacking at preprimary level for effective learning. The study also used social literacy as a lens for the interpretation and description of inform
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Chitrakar, Madan. "Purna Man Chitrakar (1864 - 1939 AD): A Pioneer - Least Celebrated." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (2018): 16–27. http://dx.doi.org/10.3126/sirjana.v5i1.39738.

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A frequent debate or an issue favorite amongst the art-history buffs is usually found around when and who first used oil paints as a medium of painting and introduced photography in Nepal. On many occasions, the credits were attributed to a legendary name – Bhaju Man Chitrakar or Bhaju-macha. But it appears now many of those narratives were made more based on the popular hearsays rather than actual study of his oeuvre of works or a credible analysis of the circumstances then.
 The essay here seeks to analyze the roles of the prominent artists then – spanning late 80s of the 19th century t
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ज्ञवाली Gyawali, वेदराज Vedraj. "अन्तर्राष्ट्रिय सम्बन्ध र बौद्ध संस्कृति {International relations and Buddhist culture}". Tribhuvan University Journal 36, № 02 (2021): 128–40. http://dx.doi.org/10.3126/tuj.v36i02.46648.

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अन्तर्राष्ट्रिय सम्बन्ध अथवा देशहरूका बिचको सम्बन्धमा विदेश नीति र त्यसकोव्यवहारिक पक्ष कुटनीतिको महत्वपूर्ण महत्वपूर्ण भूमिका रहेको हुन्छ । कुटनीतिका दुई आयाम कडाशक्ति र नरमशक्ति मध्ये यो लेख मूलतः नरमशक्ति कुटनीति तथा त्यसको नेपाली सन्दर्भमा केन्द्रित छ । धर्म, संस्कृति, कला, शिक्षा आदि नरमशक्ति अन्तर्गत पर्ने हुनाले नेपालको विदेश सम्बन्धमा बौद्ध धर्मसंस्कृतिको उपादेशयता, महत्वबारे बौद्ध साहित्यको विश्लेषणका आधारमा यो तयार पारिएको हो । नेपालको कुटनीतिमा कडाशक्ति भन्दा नरम शक्तिको महत्व धेरै रहेको हुनाले नेपालको नरमशक्ति मध्ये बौद्धधर्मदर्शन, बौद्धसंस्कृति र सर्बोपरी रूपमा बुद्ध तथा बुद्धको ज
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Rai, Bidur. "Performance Art of the Rituals in Ethnic Film Numafung." Dristikon: A Multidisciplinary Journal 12, no. 1 (2022): 25–33. http://dx.doi.org/10.3126/dristikon.v12i1.46122.

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This paper examines the performance art of the rituals in the Nabin Subba-directed Numafung, which shares some features of artworks, and rituals in the indigenous community. The film presents the fluid lives and ways of the Limbu people in rural eastern Nepal. It depicts a young girl’s struggle with cultural traditions, and the impact of her actions on her community. Numa‘s struggles characterize the lives of other young Nepali women, and are in a dilemma. In spite of hardship and complexity, they must continue fulfilling their desires and cultural traditions. Thus, the paper analyzes the perf
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Karki Kshetri, Dibendra Bahadur. "Seeking Stanislavski Techniques of Actor Training in Nepalese Context from His Book An Actor Prepares." Journal of Development and Social Engineering 8, no. 01 (2022): 29–38. http://dx.doi.org/10.3126/jdse.v8i01.54265.

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This paper aims at searching for techniques of actor training in Nepal associating similarities (or differences if any) theorized by Constantin Stanislavski (1863-1938), a Russian theatre director in his book An Actor Prepares. The acting ‘system’ also known as ‘method’ is an approach to acting, developed in the 1920s to support actors in the process of embodying and enacting a role. Although acting may not be an exact science, there is a method to the madness as the package of three-month actor training in Nepali Acting Schools (Gurukul, Actor’s Studio, Mandala, and Sarwanam) like Stanislavsk
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Sitaula, Chiranjibi, Anish Basnet, and Sunil Aryal. "Vector representation based on a supervised codebook for Nepali documents classification." PeerJ Computer Science 7 (March 3, 2021): e412. http://dx.doi.org/10.7717/peerj-cs.412.

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Document representation with outlier tokens exacerbates the classification performance due to the uncertain orientation of such tokens. Most existing document representation methods in different languages including Nepali mostly ignore the strategies to filter them out from documents before learning their representations. In this article, we propose a novel document representation method based on a supervised codebook to represent the Nepali documents, where our codebook contains only semantic tokens without outliers. Our codebook is domain-specific as it is based on tokens in a given corpus t
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चित्रकार Chitrakar, लोक Lok. "परम्परागत चित्रकला र यसको रचना प्रक्रिया {Traditional painting and its composition process}". SIRJANĀ – A Journal on Arts and Art Education 4, № 1 (2017): 45–49. http://dx.doi.org/10.3126/sirjana.v4i1.44508.

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नेपाली मौलिक कलाका क्षेत्रमा परम्परागत चित्रकला विधा प्रमुख विधाका रूपमा रहिआएको छ । यसकोप्राचीनता, मौलिकता र महत्त्वबारे सर्वसाधारणदेखि लिएर प्रबुद्ध वर्ग भनाउदाहरू समेत कम जानकारीराख्छन् वा यसप्रति उदासीन छन् । यस विषयमा अध्ययन गर्ने र छलफल गर्ने अवसर नपाएर पनि यस्तोभएको हुन सक्छ । नेपाली परम्परागत चित्रकलाको अपेक्षित रूपमा प्रचार हुन नसक्नु पछाडि यसबारेपढ्ने, लेख्ने, हेर्ने अवसरको कमीले गर्दा पनि हो । नेपाली परम्परागत चित्रकला के हो, यसलाई कसरीबुझ्ने र यसको सिर्जनात्मक प्रक्रिया र प्राविधिक पक्ष के हुन्, यसमा प्रयोग हुने सामग्रीहरू के हुन्, यसकोसिर्जनात्मक बन्देज तथा स्वतन्त्रता आदि सम्बन्ध
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Dhungana, Jivan. "Film as Mass Communication and its Responsibility to Social Change." Interdisciplinary Journal of Management and Social Sciences 5, no. 1 (2024): 58–66. http://dx.doi.org/10.3126/ijmss.v5i1.62663.

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This paper considers movies as means of mass communication and attempts to highlight the challenges faced by Nepali movies while communicating with people. It believes that the movies are key artistic presentations by which movie-mediatization is possible and a significant positive change can be brought. Movies are made as effectively to socialize people as to provide entertain to them. It means that the movies are highly responsible for bringing positive vibes in society. In order look at the manner in which films are giving a message to the audience, this paper makes a review of key literatu
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Shrestha, Banshi. "Art Creations of Pramila Giri." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (2019): 30–35. http://dx.doi.org/10.3126/sirjana.v6i1.39670.

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During the 60s and 70s, various new concepts and trends of European modern arts were slowly and nobly emerging in Nepali Art. Traditional Paubha artists and some senior artists such as Chandraman Singh Maskey, Tej Bahadur Chitrakar were following the conventional grammar, characteristics and themes in their art creations.
 There were virtually no women artists in the creative art scene. Later Pramila Giri and Shilu Payri along with some other female artists appeared on the art stage with new ideas and concepts of modernity. Artist Giri in her early stage, was also following the convention
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Dirnstorfer, Anne, and Nar Bahadur Saud. "A Stage for the Unknown? Reconciling Postwar Communities through Theatre-Facilitated Dialogue." International Journal of Transitional Justice 14, no. 1 (2020): 122–41. http://dx.doi.org/10.1093/ijtj/ijz038.

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Abstract The article explores the potential of theatre art in transitional justice, particularly in the field of reconciliation and healing. Presenting the context of reconciliation in Nepal 10 years after the end of the armed conflict, the authors argue for complementary processes of top-down and community-based, bottom-up approaches by introducing the concept of ‘theatre-facilitated dialogue’ as a way to strategically integrate Playback Theatre in peacebuilding. Analyzing the project ‘EnActing Dialogue,’ the article elaborates on the learnings from theatre-facilitated dialogue work in commun
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Sharma, Yam Prasad. "Nepali Paintings: A Departure From Religious Contents to Secular Subject Matters." Tribhuvan University Journal 36, no. 01 (2021): 85–95. http://dx.doi.org/10.3126/tuj.v36i01.43582.

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Traditional Nepali paintings are religious since they are based on Hindu and Buddhist myths. Manuscript illuminations and paubhas, the examples of religious paintings, have magical and mystical contents. Characters of myths have been portrayed and mythical stories have been narrated in visual form. There are a series of changes from traditional Nepali paintings to contemporary works. In painting, secular elements are introduced through didactic visual narratives from Hitopadesha manuscript. The moral lessons are taught through animal fables. Early paubhas are fully religious but later paubhas
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Chitrakar, Madan. "The Dividing Line: Academic Forms and Experimentations." SIRJANĀ – A Journal on Arts and Art Education 4, no. 1 (2017): 50–59. http://dx.doi.org/10.3126/sirjana.v4i1.39846.

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The perception of ‘Art’ has had changed phenomenally since the earliest appearance of art like Painting or Sculpture on the surface of earth. The numerous shifts to new forms and manifestations since then are attributed to the basic human instincts - like desire for continual change and explore for new. But all the changes are always being determined by the motives of the involved artists.
 Like elsewhere, Nepali Art too has had witnessed multiple forms and phases as time moved on. In the recent times, Art here too, is defined as experimental – an end result of creative experiments. And a
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Shahi, T. B., C. Sitaula, and N. Paudel. "A Hybrid Feature Extraction Method for Nepali COVID-19-Related Tweets Classification." Computational Intelligence and Neuroscience 2022 (March 9, 2022): 1–11. http://dx.doi.org/10.1155/2022/5681574.

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COVID-19 is one of the deadliest viruses, which has killed millions of people around the world to this date. The reason for peoples’ death is not only linked to its infection but also to peoples’ mental states and sentiments triggered by the fear of the virus. People’s sentiments, which are predominantly available in the form of posts/tweets on social media, can be interpreted using two kinds of information: syntactical and semantic. Herein, we propose to analyze peoples’ sentiment using both kinds of information (syntactical and semantic) on the COVID-19-related twitter dataset available in t
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Pulla, Venkat Rao, Sadikshya Bhattarai, Binay Jung Thapa, and Sukrita Rai. "The Pandemic in the Himalayan Country: Nepal." Space and Culture, India 10, no. 3 (2022): 110–24. http://dx.doi.org/10.20896/saci.v10i3.1191.

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The COVID-19 pandemic has had a devastating economic impact globally and Nepal is no exception. Tourism and migration abroad to work— two of the important sectors that have significantly contributed to the Nepali economy — have suffered tremendously in the face of lockdown and other restrictions related to the COVID-19 pandemic. In this context, this paper aims to understand how COVID-19 impacted Nepalis while focusing on Nepal’s tourism and migration sector. The paper is based on the review of secondary resources, including newspaper articles available in the public sphere. Data in this paper
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Shrestha, Tara Lal. "Echoes of Historicity in Bhim Birag’s Sworsamratako Samjhana." International Research Journal of MMC 3, no. 5 (2022): 53–58. http://dx.doi.org/10.3126/irjmmc.v3i5.50738.

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A piece of art or a literary piece is an important source of politico-cultural context where/when an artist or author exists. One of the instances is Bhim Birag’s memoir Sworsamratako Samjhana (The Reminiscence of the Vocal King of Nepal). This paper firstly discusses how Bhim Birag turned to be an artist, shifting from Birgunj to Hetauda, and how not only the place and people associated with him determined his personality but power within a politico-cultural atmosphere also shaped his personal association and artistic activities. It primarily discusses the contexts associated to the text Swor
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Charmakar, Rudra Bahadur. "Dalit Aesthetics and Consciousness in Sharad Poudel's Likhe." Pursuits: A Journal of English Studies 6, no. 1 (2022): 91–101. http://dx.doi.org/10.3126/pursuits.v6i1.46883.

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Dalit art and literature has been an inseparable part of Dalit movements in Nepal. It has its own aesthetic characteristics, literary features, paradigms and missions for Dalits’ rights, equality, dignity, and social transformation. However, there is no remarkable qualitative research focusing on Dalit aesthetic perspectives. This research article aims to explore the caste system, social context and consciousness in Dalit literature. It examines the literary paradigms and Dalit aesthetics characteristics and values in literature. For this purpose, the study has employed the emerging concept of
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सिं Sing, अशोकमान Ashokman. "फोटोग्राफी प्रविधि : सङ्क्षिप्त इतिहास {Photography Techniques: A Brief History}". SIRJANĀ – A Journal on Arts and Art Education 4, № 1 (2017): 28–39. http://dx.doi.org/10.3126/sirjana.v4i1.44507.

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निकै लामो यात्रा तय गर्दै फोटोग्राफी प्रविधि वर्तमान अवस्थासम्म आइपुगेको हो । क्यामेरा अब्स्क्युराबाटसुरु भएको यो यात्रा हेलियोग्राफी क्यामेरा, डेगुएरिओ टाइप क्यामेरा, क्यालोटाइप क्यामेरा,वेटकोलोडियन पद्धति, ड्राइप्लेट नेगेटिभ पद्धति, कोडाक क्यामेरा आदि हुँदै आज डिजिटलफोटोग्राफीसम्म आइपुगेको अवस्था छ । समाजका समस्त क्षेत्रमा फोटोग्राफीको उपयोग झन् झन्बढ्दो छ । मनोरञ्जन र सोखका रूपमा मात्रै होइन, अपितु कला र आमसञ्चारका सशक्त माध्यमकारूपमा फोटोग्राफी विधा स्थापित भइसकेको छ । प्रस्तुत लेखमा क्यामेराको अवधारणा र यसकोविकासक्रम, अन्तर्राष्ट्रिय स्तरमा प्रसिद्ध फोटोग्राफरहरू तथा नेपालका सन्दर्भमा फोट
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थापा Thapa, पकबहादुर Pakabahadur. "नेपाली समसामयिक कलाक्षेत्रमा प्रवेश पाएका उत्तर–आधुनिकवादका उपजहरु {Products of Post-Modernism that Entered Nepali Contemporary art Field}". AMC Multidisciplinary Research Journal 3, № 1 (2022): 60–68. http://dx.doi.org/10.3126/amrj.v3i1.55888.

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नेपाली समसामयिक कला क्षेत्रमा देखिएका अनौठो, चंचलता, खुल्लापन, बहुलवाद, अन्तर–सम्बन्धहरु, उत्तर–आधुनिकवादका उपजहरु हुन । यसले सामाजिक मुल्य मान्यताका साथसाथै कलाकारको नैतिकतामा समेत प्रश्न चिन्ह खडा गरेको छ । कला समयको परिसूचक भएकोले नेपालको वर्तमान परिवेशमा विश्वव्यापिकिकरणको प्रभाव, परिवर्तित समाज र व्यक्तिगत स्वतन्त्रतामा हुने उत्सवले बहुलवादी सोचलाई प्रतिबिम्बित गरेको छ । समसामयिक रुपमा देखिएका पृथक, अप्रत्यासित रुप, व्यक्तिगत स्वतन्त्रता, विरोधाभाषी तथा द्विविधात्मक शैली, सामग्री, प्रक्रिया र विषयवस्तुको अनन्तता र पर्यावरणीय चिन्तन जसले ग्यालरी भन्दा बाहिर, काठमाण्डौमा परीसिमित कलाको सिमा
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Jaiswal, Pramod, and Bundit Aroman. "Commentary: Nepal's Balancing Act in the Middle East." Journal of Governance, Security & Development 4, no. 1 (2023): 1–17. http://dx.doi.org/10.52823/xkro3671.

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Nepal was the first South Asian country to establish diplomatic relations with Israel in 1960, and other Middle Eastern countries followed suit in the late 1970s and early 1980s. Although Nepal and Israel have excellent bilateral relations, Nepal has yet to support Israel in multilateral forums, owing to a dilemma in maintaining balanced relations with other Middle Eastern countries. Because Middle Eastern countries are commonly identified by their reliance on labor imports, they have also become a labor destination for Nepal. With a high concentration of Nepali workers (77%), countries such a
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