sirjanā l;h{gf A Journal on Arts and Art Education snf / snf lzIff ;DaGwL k|sfzg Vol. VI, 2019 cª\s ^, @)&^ The 18th Anniversary Issue !* cf}“ jflif{sf]T;j cª\s
Chief Editor k|wfg ;Dkfbs Madan Chitrakar dbg lrqsf/ Executive Editor Navindra Man Rajbhandari sfo{sf/L ;Dkfbs gjLGb|dfg /fhe08f/L Consultant Editors Diwakar Dhungel ;Dkfbg ;Nnfxsf/x¿ Jitendra Man Rajbhandari lbjfs/ 9'ª\u]n Designer & Photo Editor lht]Gb|dfg /fhe08f/L Bijaya Maharjan l8hfOg/ tyf kmf]6f] ;Dkfbs Assitant Editor ljho dxh{g Sajeet M. Rajbhandari Cover Image ;Dkfbg ;xfos Mother Goddess Durga, c.18th century CE ;hLtdfg /fhe08f/L Printer cfj/0f lrq Colors Prints & Production Pvt. Ltd. b'uf{ ejfgL, sl/a O= ;+= !* cf}“ ztfAbL Kathmandu Publisher d'b|s Sirjana College of Fine Arts sn;{ lk|G6\; PG8 k|f]8S;g k|f= ln= Utter Dhoka Sadak, Lazimpat Kathmandu, Nepal sf7df8f}“ Tel. 01 443 0535, 01 441 8455 www.sirjanacollege.edu.np k|sfzs [email protected] l;h{gf sn]h ckm kmfOg cf6{;\ pQ/9f]sf ;8s, nflhDkf6 sf7df8f}“, g]kfn kmf]g g+= )! $$# )%#%, )! $$! *$%%
Established in 2001 in affiliation to Tribhuvan University ISSN 2565-5086
The opinions and the interpretations expressed in the articles are the personal views of authors and do not necessarily reflect the views of the publisher and editors.
sirjanĀ 1 Rinchhen Nurbu Sherpa (BFA 4th Year). Traditional Mask Dance. 2019. Acrylics on canvas, 122 cm x 95 cm. editorial
Where words fail art speaks.
At its simplest art is the outcome of the human need to express oneself. For humans to have humanity, there is a constant urgency for expression; a need to tell a tale to the world how you feel and what you feel. This is where art finds its true roots. It is the hunger for creation that the Homo Sapiens’ brain has hardwired into itself. This hunger in turn is where ‘SIRJANĀ’ manifests its essence. Literally being a translation for the word creation, SIRJANĀ is our attempt at creating something that is timeless and meaningful.
Sirjana College of Fine Arts, aims to use our annual publication ‘SIRJANĀ: A Journal on Arts and Art Education’ as a medium that expresses the collective creative spirit. This is because we at Sirjana, believe that art is everywhere. Therefore, we have chosen to use this journal as an instrument to lead the common eye through a journey of understanding and appreciations that art plays in our lives and society. For art is as simple as what Walter Gropius defines, “neither an intellectual nor a material affair, but simply an integral part of the stuff of life, necessary for everyone in a civilized society.”
On our 18th year of inception, we proudly bring to you the 6th volume of ‘SIRJANĀ’, a collective effort of academics, students and creatives who hold faith in the power that art holds. SIRJANĀ is simply a scholarly collection that was conceived as a way for us to present what it means to create. However, for us SIRJANĀ is also our way of narrating, the little stories we come across within art. SIRJANĀ is built around the idea that we need to define art not just on the basis of what others before us have, but to create a modern perception of what Nepal thinks of art as. We have made a conscious effort to include within SIRJANĀ writings and imagery that look at different styles, eras, and even domestic and foreign trends in art. We hope that the contents of SIRJANĀ will not only provide our readers a delightfully knowledgeable experience but also instill intellectual discourse amongst art scholars and art enthusiasts alike.
We would like to extend our sincere gratitude to everyone who has contributed to SIRJANĀ through articles, pictorials or informational materials that have made the publication of this journal a reality. The college would like to acknowledge our editorial team, designer, photograph contributors and staff for all their hard work and effort in bringing out this art publication.
Happy reading!
Madan Chitrakar Chief Editor/Principal September 18, 2019
sirjanĀ 3 contents 6 36 SKIB-71 in textual and Caryā of Guhyasamājatantra: visual memories A divine drama Dr. Abhi Subedi Arun Shrestha
20 46 The Spirit of Nepali Painting: Nepal’s Lumbini is more than What has hath Driven the a birth place of Gautama Art Buddha Madan Chitrakar Dr. Binod P. Bista
30 54 Art creations of Symbolism behind Art and Pramila Giri Colour denoted on the Buddhist Prayer Flags Banshi Shrestha Dr. Poonam R. L. Rana 62 88 Classical Music in the Shah clelnlvt lnR5ljsfnLg d"lt{ and Rana era:1768-1951 AD lji0f'ljj|mfGtM ljZn]if0ffTds ljdz{ Dr. ramesh pokharel cf]d vqL 72 100 Way of Being cfj/0f k[i7 l8hfOg Saroj Bajracharya czf]sdfg l;+
76 110 Dynamics of Contemporary sf/fefhf] M c;xh dflg; — Nepali Paintings c;fwf/0f lrqsf/ Dr. Yam Prasad Sharma gjLGb|dfg /fhe08f/L 122 bfa show - 2019 An exhibition catalogue of SKIB-71
sirjanĀ 6 SKIB-71 in textual and visual memories Dr. Abhi Subedi
Abstract 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 the sad demise of Indra Pradhan in 1994, three of them continued to work for which they chose to engage in art pedagogy or to work quietly on cultural motifs. Among the many reasons to consider them as part of art activities today is their impact on art education, accentuation of the subject of experimentation and participation in the art activities of present times.
Preview being more or less of the same age, it was very easy to communicate with A massive national exhibition of art was each other. My interest in paintings underway at the erstwhile NAFA gallery was already established. Meeting Lain in the huge hall of the Asian Baroque style Bangdel (1924-2002) and dramatist and building named Sita Bhawan in Naxal in painter Balakrishna Sama (1902-1981) Kathmandu in the winter of 1973. I had quite regularly had left a deep impact organised an informal meeting of writers, on my mind. My studies of the Western mostly poets with four painters Sashi art and literature had given me ample Shah (1942), Krishna Manandhar (1947), insight and methodology to enter the Indra Pradhan (1944) and Batsa Gopal realms of art and literature. My idea was Vaidya (1946). Sadly, Indra Pradhan's enthusiastically accepted by SKIB. The death occurred in 1994. The loss of this meeting went wonderfully well. All I very active artist with great propensity need to mention here is that the poets and for opening inter-art sharing is deeply felt artists were equally elated by this idea of by his colleagues and poets alike. Indra's seeing each other's works as related works help and interest had made it easier for of art. me to bring the poets closer to the artists. Most importantly, that meeting opened SKIB 71 as the name shows was formed up a modus operandi of the meetings of two years earlier. These artists all painters and poets. The onus lay on my
sirjanĀ 7 shoulders that I was happy to carry out of closeness and sympathy. His style of with great sense of inspiration and zeal. representing poetry in art was by directly We had limited access to the media. But writing short text along the conceptual I chose a method of writing articles or dimension of the painting. The title of the letters to the editors about the painters. exhibition was 'Poet, Poetry & Painting', For literature I had no problem. My first a straightforward title. He sought to book of western criticism was under combine these three forms in each production at the Academy the same painting through the medium of abstract year. I got a letter published about the art. He conceptualised the text and style meeting in the only English daily of that of the poet first, chose a line that struck time in reader's column. I could not find him as very eloquent about the poet's the paper cutting to cite here. Anyway, concepts and craftsmanship in writing SKIB chose an open path, a flexible way and included these lines on the body of of looking at arts, not least by accepting the abstract canvas. In other words, the other genres of art as their own. This line/lines form part of the sensa in trend continued for many years. the abstract painting. Sensa in abstract painting is what the voyeur sees on the I want to use this article written at the canvas, the colours, abstract forms and suggestion of artist and editor Navindra movements of lines that do not form any Man Rajbhandari for his annual art figurality." (Across. January—March 2003. magazine. So the modality of this article Vol 6. No. 4. Pp. 9-13). is to cite at length the texts I have written Though SKIB did not write, they were at different times about these painters in great friends of poets and writers. That groups or as individual in their exhibition is the reason why I worked so closely brochure, and make analyses. I feel very with them. Uttam Nepali kept up writing delighted to read them over again, and to poetry along with his art works. He realise how we continued to celebrate the continued that spirit of association by confluence of arts. executing portraits of poets and writers in Uttam Nepali made an exhibition of later years. paintings by bringing poets into his I have already written elsewhere. SKIB oeuvre itself two years after this inter-art however continued to foster that spirit, meeting of the SKIB. I wrote the following that sense of the confluence of art and about Uttam Nepali's exhibition of the literature. But they continued to be paintings and the inter-art spirit of that: painters or artists par excellence. To understand what kind of paintings they "Uttam Nepali made his first executed I want to cite my own texts major attempt to bring painting and written for catalogues or elsewhere. First poetry together in an exhibition of his I want to cite my text included in the abstract paintings at NAFA in September flier of an exhibition organised by Sirjana 1975. The 32 abstract paintings exhibited Contemporary Art Gallery under the title on the occasion covered the names of "A creative journey of 25 years, the major modernist poets of his times. SKIB-71" in the last week of December Uttam Nepali himself wrote/writes 1995 in Kathmandu. Baikuntha Man poems. So he recreated the spirit of the Shrestha, Chairman of the Gallery quotes works of these poets with a great sense me as below:
sirjanĀ 8 "It will be relevant to quote here of the SKIB group that occurred one year Dr. Abhi Subedi's views on SKIB-71. He after his death. In the following section writes —"SKIB-71, the acronym of Sashi, I want to cite texts I have written about Krishna, Indra and Batsa represents a the individual artists for which I have very significant phase in the movement reproduced texts from my earlier writings of modern Nepali paintings. These four in papers and catalogues. After presenting artists launched a movement in paintings my texts and my memoirs of the visuals a quarter of a century ago with a view — their paintings, I will try to review to inspiring young artists and opening briefly the times that the SKIB-71 saw and new vista of communications with artists responded in their works and how they using other media and methods. Their have remained active up until the present personal involvements in art activities times. I will write more about this aspect couples with their experimentations of their art towards the conclusion of this created a unique atmosphere in Nepali essay. paintings characterised by such features as the gatherings of artists, interactions, Indra Pradhan exhibitions and, above all the pedagogy of arts." In the following text, cited from my earlier article published under the rubric "SKIB "Sashi studies the unique and Art Education", I have attempted dramatic modes of culture in somewhat to show the picture of the artist and surrealistic style. There is vision of the his dedication to art education in the apocalypse in his paintings; Krishna has seventies and eighties. Today, it gives me created a changing pattern of experiences a sense of being even closer to the spirit in different modes of experimentation of this artist and his state of art. It goes in over the decades; the late Indra's this manner: paintings combine charm with the fragmentation of experience and the "He (Indra Pradhan) was waiting disintegration of values with creation of for me in the class studio where students new hopes in the pleasant combinations of learned paintings with him. Students' forms and media; Batsa views the occult freshly painted works were dripping and the sacramental subjects with the with water and acrylic colours. It was a openness and readiness for experiments spacious room at Budanilakantha High of a modern artist. In short, the School where the painting teacher Indra SKIB-71 have created impact on the Pradhan had just finished teaching his modern Nepali art scenario and all the students before sending them back to their three artists today are prolific, active and classes. It was some year in the seventies. receptive to new ideas and concepts". Among the students was crown prince Dipendra Shah, … the tragic young man Baikuntha Shrestha has quoted my whose story is cast on the canvas of the earlier catalogue introduction to the nation's history and people's memories group's paintings, which is missing in in visible and invisible lines made with my collection. But in these paragraphs bold brush strokes, as it were, and drawn I have tried to sum up the quality, style with all irregularities. Indra Pradhan, and nature of these three painters' works. sitting in front of the canvas just left by Indra Pradhan missed this Silver Jubilee the crown prince looked as though he was
sirjanĀ 9 contemplating a future for the nation, for Alluding to SKIB's contribution to art a simple unassuming royal house and the education I have written more in this very nonchalant atmosphere that he visualised article. I have further said this about Indra on the basis of the 'creative gusto and Pradhan: simplicity' seen in the works of the crown prince. He would make a great king with " To return to the late art guru a human heart, compassion and love for Indra Pradhan's dream, art education in a genuine life, the late Indra Pradhan said Nepal can be made a very productive to me revealing his inner feelings. and viable enterprise which can help create as well as perpetuate a tradition "This secret dreamer, this artist by combining the cultural and creative Indra Pradhan who painted in both huge energies inherent in Nepalese arts with and small, horizontal and mostly vertical free artistic education. The architects canvas handled motifs that were based of such education can be no other than on the artist's experience represented by the artists themselves, like the SKIB, the simple yet complex forms that filled who have dedicated their lives to the sometimes the entire field of action with promotion of art education in this the crowding and competing images that country." ("Space... 7 October 2001). gave the cult of horror but lay pleasantly along the eye paths of the viewer. I can Lain Singh Bangdel says this about Indra recall that clearly." ("Space Time Today", Pradhan's art: 7 October 2001). "Indra Pradhan's cityscapes Indra Pradhan's art works look charming. are very interesting, richly painted and The cult of violence, dissolution of sensuously appealing. The artist seems to forms on big scales, the uncanny looking be aware of his subconscious mind, which position of images that include the human reflects his love for a city where he spent figurality and other forms turned out so many years. The lyrical city-spaces to be lucid, not threatening. The painter have no echo of the mountains and the did not take any stake in creating figures blue valley of his native land, nevertheless that would speak either of occultism as they suggest a veiled allusion or poetic in Batsa Gopal Vaidya's paintings, or drama". (SKIB Exhibition Catalogue 1971). of radical challenges as in Sashi Shah's stallions. Instead, in the impressionist What is interesting about this text is that projections of bigger threats or changes, Bangdel's words echo the features of his he creates very charming pictures own paintings in expressions like 'lyrical achieved through a very pleasant and city-spaces', "echo of the mountains and inviting combination of colours. His the blue valley". Anyone familiar with paintings do not show strong movement Bangdel's paintings can recognise the of brush strokes but the smooth echo. delineation of the images. The overall impact of Indra Pradhan's paintings is I have always found SKIB as great one of delight and joy, of friendliness teachers. Sashi Shah and Krishna and warmth. Perhaps this comes from Manandhar have been instrumental in his long pedagogic associations with promoting art education at the tertiary school students and practices, a loving level in Nepal. Sashi Shah and Krishna engagement indeed. Manandhar became principals of Lalitkala
sirjanĀ 10 Shahi Shah. Ramayana. 1993. Acrylics on canvas.
sirjanĀ 11 Campus located in Bhotahity for 12 and I was asked to speak about Sashi Shah and 8 years respectively, and of Sirjana his painting on exhibition at Siddharth College of Fine Arts for over 8 years Gallery on 25 March 2007. I would like to each. That is a long period of serving as use some of the arguments I presented in leaders of Arts Colleges. Manandhar was that discourse: succeeded as principal of Sirjana College of Fine Arts by another senior artist Sashi Shah chose the stallion, a Madan Chitrakar in 2018. That means the form that he has used for a number of SKIB artists' contribution to art pedagogy purposes. We should see the subtlety in is very important and noteworthy in the his horse imagery. A first glance will not history of art education in Nepal. reveal much. The immanence of horses is the feature. Not our familiar reading Shashi Shah of a so called natural itch of the horse for a rider but the free movement that I would begin with observations about challenges being tamed are captured in Shashi Shah's art made by Kishore these figures. Shah gives moods to these Chatterji in a short review published in horses. The sombre, excited, terrified and The Statesman (May 25, 1993). He writes: anguished looks of these stallions show one dimension. Another dimension is "But perhaps the quintessential the kinetic quality. Shah captures the Nepalese artist is Shashi Shah whose temporal dimension — the livid times. section of canvases with their bemused We can see time by the leaps the stallions yogis and apocryphal horses show a take over space. We can measure time mind fully conscious of roots but alive through the figures fixed on canvases. and vibrating with the dance or the Shah creates the nuances of the time topmost leaf. Those who believe that through the manipulation of the kinetic art must emerge from the soil will find avatars of the horses. The space is another Shah an interesting artist". (Cited from very important element in his paintings. the catalogue entitled "A creative journey He is the visionary artist who knows of 25 years", Sirjana Contemporary Art the sense of space on a canvas. Space Gallery, December 1995). on a canvas is both physical as well as It is very interesting to read that this psychological creation. The positioning of art reviewer sees the origin of Shah's the central metaphor on the canvas creates art as the native soil. But that may not both kinds of spaces. Shah is very clever always be the case. Shah has made a at choosing the space for the horse on his unique combination of the Western canvas. If you stand in front of each of the style of painting, conspicuously seen in painting you become overwhelmed. The Picasso's stallions in his mural "Guernica", horse swamps you. The reasons are his foregrounding their sinewy twists and placing of the metaphor and the power of agility, with the Hindu concept of the the look and movement of the stallion that 10 incarnations of Vishnu; Shah takes the dominates your eye-path; it takes your last avatar in the form of Kalki that comes eyes with you. Viewer should allow time in the iron age, or our times, to set things to herself. Then one can see the mood. In in order. Shah's stallions are so flexible that sense each horse is different and each that he uses this figurality for diverse time you see his new painting it becomes motifs — cosmogonic and earthly. a mirror to you. The other use of the
sirjanĀ 12 Krishna Manadhar. Composition. 1975. Oil on canvas. 122 cm x 95 cm. stallion is in its mythologizing process. devastating. They are likely to destroy Time extends to a larger space and covers our world and our civilization. Some the world of myths. are good, some are evil, and some are as terrifying as nuclear weapons of these Sashi Shah says this about his horses: days. May they all look beautiful — it is my major goal". (From the catalogue of his "Horse and horses are here. painting exhibition entitled "Shashi Shah's Horse is not a new and strange thing. The the Kalki Avatar", January 1993). In this white horse is the symbol of the vehicle text written by the painter in his free style today by Kalki. The other horses here speaks volumes about his paintings with are also symbolic — some sorts of evil horse — he also likes to use the plural and horrifying. They are manic. They are form horses — as the dominant motifs.
sirjanĀ 13 Krishna Manandhar of colours and forms because in these canvases colour becomes both form and Krishna Manandhar's style is different subject. … from those of his fellow artists. His abstract landscapes sometimes remind "Krishna's paintings in musical of Bangdel's paintings that depict the series exhibited at that time create the subtlety and fluidity of the Nepal valley sonic and melodious affect through a and the Himalayas. Krishna's landscapes dynamic fusion geometric forms. He has are more abstract. His style retains some captured the tunes that emerge in them of the characteristics of the paintings he at the time of contemplation. The musical executed then. He made an important feeling emanates at a point where they exhibition of his paintings on 23 February dynamism of colours and forms meet by 1992 under the rubric "A Journey through emitting the waves of tremulous colours Forms and Colours" for which I wrote from the centre whatever that may be in a catalogue review. After reading that the canvas. The effectiveness of the colour review I have decided to produce several sensation can be enhanced through the paragraphs of that here for two reasons. combination of colours that produce so One, what is written about Krishna many different shades that our linguistic Manandhar is relevant today. Two, he perception fails to describe it in lexical had exhibited diverse paintings there, and terms and the colours simply represent the review has, captured that diversity. the atmosphere of the mind. Krishna says Here are some excerpts: that he was experimenting with these immense possibilities of creation in the "Krishna Manandhar has early phase of the SKIB spirit. The lyrical completed two decades of active contemplation of colours was thus a engagement in paintings the spectrum natural outcome of this attitude." of which can be seen in his continuous experiments in styles and in the In that catalogue writing I have attempted delineation of the motifs that range from to review the changing styles of Krishna the trivial to the lofty and grand. His Manandhar, which functions like a modern canvases present a panorama historical assessment of his paintings. The of his development, his tensions and changing styles of his paintings look like achievements as an artist. … this:
"Krishna Manandhar's canvases "Krishna's paintings in the second speak of his inner dynamism, a phase became coloured blotches which continuous search for form and modality. marked a spontaneous development of They speak through the figures that loom his earlier lyrical preoccupation with the in the twilight of the translucent colour dynamic fusion of forms and colours. The combination as it they represent the mind blotches present a mobile picture through itself that charges its shape and its colour the apparent close-ups and vanishing combination under different conditions dimensions of these points on the canvas. of individual inspiration. In his canvases, As the dynamism of he blotches merges apart from a set of those that present with the dynamism of the sensation the figures and landscapes in kaleidoscopic viewer's mind finds its way into the forms, there is a unique combination canvases. A certain pointillist surrealism
sirjanĀ 14 presents the evanescent forms that appear the paintings marking the culmination and die in the mind." of his creative life. Krishna says, "My environment, my world of the past chases About the third phase of Krishna me wherever I go. I achieve tremendous Manandhar's art, I have taken his satisfaction when I am able to transcend paintings not exhibited at that exhibition them, but the constant awareness of my but the ones I was familiar with. world and my efforts to overcome its Considering that Krishna has made the delimitations impel me to create my own architectonic forms as the feature of the world that is my paintings". style, the following observations I made then are still relevant. I write: Indeed, this world is tense and it pulsates with life. He is also engaged in executing "But his blotches gradually gave some, what he calls saleable abstract way to full-fledged architectural forms paintings, and seems to be occupied and to a perspective that is very natural with the mural blow-ups as well. I for a landscape. However, Krishna's have met him at the Studio sitting in preoccupation with the dimension of the middle of the mural narratives and the mind remains very strong in the extending his narration left and right paintings that followed the blotches and like the unobtrusive narrator in a story. architectural forms. The vertical shapes He is an active artist, and it is a matter produced with single brush strokes as of great satisfaction to him sit growing if cutting swaths through the canvas and experimentation with the spiritual represent the continuous progression dimension uses the world, its forms feelings that occur and develop with a and colours to merge with the ones that certain degree of suddenness." emanate from the mind and create a fusion of the two in these complex and yet I have mentioned the cultural and pleasant canvases". mythopoeic forms in his paintings. I have alluded to that element in the following Krishna shifted his focus on art pedagogy, manner: which also influenced his style of working and the selection of the motifs. It is so "These paintings make use of the very good to see him still working and sacramental value of colour especially active. in the Hindu culture. The tantric and mystic aura created by these paintings is Batsa Gopal Vaidya a matter of interest for the viewers. … The pancatattwa fire, water, earth, sky and Now I would like to turn to Batsa air, need a great deal of creative handling Gopal Vaidya. For that as in the case of in the paintings. His SKIB colleagues are Krishna Manandhar I would like to use fascinated by this subject, too. … a catalogue review that I wrote for his exhibition of paintings under the rubric "In fact, his later paintings "Ganesh Mandalas" in February 1993. combine almost all the major tenets of These paintings capture the essence of his earlier paintings—the points, vertical his style and choice of themes, which are forms, horizontal movement of colours little tantric, esoteric and calm at the same and the tense spaces between forms all time. Batsa brings out the world around merge to create what I would like to call
sirjanĀ 15 give Batsa a unique character as an artist. I would like to take excerpts from my review that appear equally relevant today. I write:
"It's indeed a Ganesh Mandala that he is creating. A hundred yards or so to the east of the monuments of consummate art and architecture in the stones, woods and metals, in the precincts of Mangal Bazar in the old part of Patan city. Batsa Gopal Vaidya was painting his Ganesh Mandalas on the fourth floor of the back wing of his house now attached to his old one. Most of these Ganesh mandalas are in exhibition at the Sirjana Contemporary Art Gallery…
"Batsa Gopal is a senior artist, who is an active member of the SKIB-71… They have developed their individual styles and have clearly left some impact on the contemporary artists. Batsa Gopal discovered his interest in the Hindu religious motifs principally in the Ganesh. Now he is the worshipper and lover of Ganesh. To him Ganesh is an icon, a motif and now a Mandala, a symbol of the expansion of consciousness. … But the most important questions are how does he treat this dominant image? How does this image influence the atmosphere of his mind? How does Ganesh fit into his modernistic art? …
"The Ganesh Mandalas have a rigid and studied order. Batsa has not allowed any randomness to appear in his paintings. Similarly his field of Batsa Gopal Vaidya. Buddhism. 1980. Oil on canvas. action is defined in terms of the canons of the painting of a modern classical him, the place where he was born and order. The enclosure of the canvas, the where he grew. The confidence, the gusto Ganesh's Mandala, is defined. But the and the sheer joy permeated through the most important point about these Ganesh yellow, light green and vermilion type Mandala is that he has transcended the pigment that we find in his paintings defined field of action. …
sirjanĀ 16 "The balance of these Mandalas important tension between rigidity and is carefully constructed, however, the fluidity in paintings that utilise motifs symmetrical balance is achieved through from myths and other iconic matters. the canonically defined position the trunk I have presented this tension in the and body and the head of the deity. But following manner: the artist has symmetrically balanced the painting by placing the conic shapes of "… Batsa does not allow the what he calls the Nepali Himalayas at the Ganeshes to radiate their energies freely. That is a disadvantage. But on the other bottom of the canvas, on either side of the hand, his successful balancing of the Ganesh. lines, figures, colour tinctures and the "The lines appear in the form of suggestion of the motions within the contours making up the three dimensional paintings create a psychological impact perception of Ganesh. But some lines on the viewer who begins to view each are invisible the paths of which should painting in terms of the aesthetic sense the be followed with Batsa's very balanced source of which is the combination of the and expressive brush strokes. Such brush primordial feelings and perception of the strokes mark the motion of the Ganesh. Ganesh image as an aesthetic construct." The gentle motion is suggested by the I have drawn this conclusion at the end of unbroken and defined lines. The diagonal the review: lines marked by the trunks show the Ganesh image in action. The colours, "Batsa's paintings create an mainly secondary and even tertiary, and energy of a different order. It is an energy some primary ones, and yellow merge that the viewer has to experience within smoothly. him or her. The consummate and mature canvas gives the viewer the experience of "Each Ganesh image is closer a detached yet intimate perception of the to the everyday experience of spiritual archetypal image of Ganesh". awareness. Such nearness is unmistakable because the colours are warm and there Kedar Mathema writes these comments is lightness and brightness in them. … A about Batsa Gopal Vaidya's art in general: certain sense of idealisation dominates the artist's sense of proportion in these "Batsa Gopal blended medieval paintings. The surface is smooth and fine tantric images with modernism. They with only the... textural structure. But in showed commercialism. They come a long way since the 70s. Although little the implied texture there is simplicity and poorer since they lost Indra, they are still charm. In fact, his Ganeshes are warm, today among the few in the forefront of lovely, comic, friendly and serene. Batsa contemporary art movement of Nepal". Gopal successfully combines these various moods in his Ganesh Mandalas." To art critic Bansi Shrestha — "Vaidya, appears as an occult painter." I have indicated a number of times about (Both extracts taken from the catalogue the canonical rigidity demanded by the entitled "A Creative Journey of 25 Years", Ganesh image, and the artist's treatment Sirjana Contemporary Art Gallery, of that. I have mentioned about an December 1995).
sirjanĀ 17 Retrospectively paintings but they do not represent gloom or darkness Mask is power achieved When SKIB-71 launched their easy and through love and lucidity, and at times free movement, it was clearly a embellishment to some degree in some of post-Bangdel period. Uttam Nepali had the paintings. been going strong at that time. Laxman Shrestha had exhibited his paintings at Essence and Conclusion NAFA in 1967 with brochure written by Balakrishna Sama. Creating a native SKIB-71 were not seeking to be fixed in scenario and taking that to the audience their different stylistic spheres. They had was the main need of the day. These common goals, which was to achieve SKIB artists did that. They saw school, fluidity. But as their search for metaphor training, and most importantly, joint covered many areas including poetry forum with the writers especially poets and sculpture and works with other as very important things to perform by contemporary artists like Sashikala Tiwari artists, cultural karmis and writers. That and others, their images were amorphous. is how we met them. Exuberance became They did not limit themselves to any their main thrust. Teaching became the fixed forms. Even Sashi Shah's recurrent main goal. Except for Batsa Gopal Vaidya stallions are metaphors of diversity. Batsa who retired from a government job, all Gopal's icons assume new meanings when formally became teachers of art colleges they are handled with the techniques of and school. modernist art.
SKIB were looking for icons and How do we view SKIB-71 today? The metaphors. They had in different ways answer is not easy. But to seek the created their styles and their own icons. answer we should look at two things Search for metaphors became their main — a common spirit and confidence of forte. Batsa kept on experimenting with launching something new in Nepali Ganesh and occult forms. He still does. art, and continuity. I have encountered Indra and Krisha’s search for icons was questions like what brought them fluid. They moved from one icon to together though their styles do not another. Movement, or kinaesthetics represent any closely shared styles of art in what may appear as a rigid form, like that of, let us say, Pablo Picasso and is the feature of Krishna Manandhar’s Georges Braque in France. SKIB worked paintings. Indra chose the transparent, with different ways and they had different subtle and natural forms with very world visions. But what is important is light and charming combination of their common recognition of the transition pigments. Krishna’s main metaphor was of times in Nepali art. At least, they found nature and abstract mountains. Indra’s a common motif to work on, and that was, metaphor was the pattern cast by the to repeat, the recognition of the changing mellow sun filtering through foliage to time in Nepali art. Their place is not the leaves at the lower level, patterns like relegated to history; they are still working. bird droppings, tendrils and stretches I strongly believe that SKIB-71 have of rainbow, cult of darkness which is successfully linked the fin de siècle, if I not that in reality. Masks appear in his may use the term mostly used for the end of the 19th century, to the 21st century
sirjanĀ 18 in terms of activism and sharing of art works. To me, the greatest contribution of SKIB-71 is their art pedagogy, which they fostered not as a routined programme but as a challenging yet motivating educational culture.
I would like to close by repeating that SKIB-71 has become an important landmark in the history of modern Nepali paintings.
Let us commemorate our inter-art meeting of NAFA gallery of that afternoon in 1973 at some other gallery because that gallery has collapsed in the big earthquake of Dr. Abhi Subedi April 2015. But such a meeting space should combine paintings, poetry and Born in Terathum of eastern Nepal, Dr. Abhi the neo-Baroque architectural spirit to Subedi received his higher education in Nepal reminisce that moment. That will also be a and Britain. He is an essayist, critic, linguist, playwright and poet. He has over two-dozen books fitting tribute to Indra Pradhan. on different subjects to his credit. Among his Cheers, friends! Your contributions to the over 10 plays, strong theatre groups in Nepal and abroad have performed several of theme. Nepali art of the modern times is unique and very original. The models that you Professor Subedi has taught 43 years at the Central have created for education, production Department of English. and dissemination of arts warrant more He has written extensively about Nepali arts careful studies and applications. and artists. He is involved in a number of interdisciplinary study groups and a prolific writer on issues of freedom, culture, literature, arts and social transformations. His essays and seminar papers are published in Nepal and outside.
sirjanĀ 19 The Musical Court of Lord Indra. Picture courtesy: Narottam Das and Indira Shrestha Guthi
sirjanĀ 20 The Spirit of Nepali Painting: What has hath Driven the Art
Madan Chitrakar
Abstract (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 myriad set of imageries – representing varied meanings or beliefs, expressed in diverse visual forms.
But little is explained and argued on or about the underlining reasons or the deeper human desire to envision so. To argue on it or explain it, it remains a challenge. To dwell on it, it also becomes imperative to go behind - look to the earlier times when chosen thoughts were appeared first or impressed upon the early people. This is necessary so as to understand the state of mind and their perception of life then. Only then, one can or may imagine or analyze what may have had led them to the chosen beliefs and to the visual forms that we call art today. This should be described as the driving spirit of the art.
Present essay therefore, is a brief and a modest attempt to unravel some of such driving spirits – based on the available references and also, personal observations.
If one is to make a comparative study period, while in other civilizations, the of growth and evolution of Nepali art art traversed divergent courses - to reveal – especially with the art of painting in varied changes in thoughts – mixed along other civilizations, Europe, China or even with the external influences; Nepali Art, India, within a common given timeline, on the other hand, comparably remained Nepali Art presents some very distinct rooted - essentially in the basic thoughts features. This is for number of reasons. of two religious practices – Hinduism and First, since its earliest appearance in 11th Buddhism. CE and right up to second half of 19th CE, it continually stuck to the ideas of Secondly, no other art is so replete with religious dictums, except a few occasional an amazing array of multitude of exotic examples of secular forms. During the anthropomorphic forms of deities, as is
sirjanĀ 21 A Kalash-top of the temple spire. Kalash-as the deity of Annapurna temple, Ason. found in the art of Nepal. And each is and the very purpose of their presence presented with the unique features of own in the local beliefs, and in the visuals. – complexions to emblems to unearthly Irrespective of the faiths, each deity has forms of multi-heads or multi arms. had a reason and so, accordingly, each Each hand or head represented diverse motif or detail found in the art, also have attributes one can imagine of. Nepali art had a reason and a meaning. Categorized thus, presented a panorama of a complex broadly into two, the deities usually, set of deities or images, resulted out of either remained of benign character or two competing religious thoughts, often in an angry or fierce mood. Apparently, co-existing or even with converging views there is no third option here, as is found in in many respects, at almost the same the aesthetics of Indian art – like ‘Navrasa’. time. The additional arrival of divinities So is the envisioning of attributes like in the art – adapted or derived from the emblems to vehicles to the ascribed the southern – Gangetic plains and the colors of complexions, as needed of a northern – Tibetan influences, led to create chosen deity. The divine beings thus, with an outstandingly a very rich feature. Also, benign looks are usually, considered to be added to it were the imageries of locally prayed or worshipped – to attain eternal evolved deities – mostly from the Shakta peace - after one’s death: and enjoy a state cult – that enjoyed a great respect in the of well being during the life time. But the Valley of Kathmandu, during one stretch presence of wrathful deities means they’re of time in Nepali history. It all helped add to be feared. So there’s a need to appease and enrich further, the art here. or worship – for seeking protection from all the potential evils and devils, during But the most important part in the present the bad times while living or after the contexts, in Nepali Art is the significance death.
sirjanĀ 22 Heaven and Hell, Picture courtesy: Rajendra Chitrakar, Bhaktapur
Human Instincts: Driving Spirit behind life. And only then, a man is usually the Art found concerned on the issues after death - rebirth, salvation or Mokshya. The argument above clearly suggests The thoughts of Nepali Art remained no that a rise and evolution of any spiritual different to these truths. thoughts, since the very beginning, were essentially depended on and are shaped So while dwelling in brief with certain by the space, time and the circumstances chosen examples, let’s begin with the the men or women lived. And it is the envisioning of Vedic gods. Vedic gods circumstances, the time and primarily, essentially represents an array of forces the basic human instincts that guides or of nature – like rain, fire, wind and so on. have guided or led to a particular chosen Men then being unable to understand religious thought. When we argue about the elements of nature, perceived it all as the basic human instincts, obviously, the the destructive forces bent on destroying primary concern of a man has had always the humans. They sought ways to protect remained to stay alive: or to remain safe from it. As they feared these forces, they and secured. And probably, the second envisioned them in anthropomorphic most important need or an instinct of forms, Surya as the sun god or Indra as man is to survive and lead a comfortable the god of rain (see page 21) and Agni as
sirjanĀ 23 Goddess Vasundhara Picture courtesy: Nepali Painting - through the ages, Patan Museum.
sirjanĀ 24 the god of fire and so on. And then began life in hell to those who committed sins. the ways to appease them and try to Soon man was made aware of possibility remain safe from these destructive forces. of punishment in hell and therefore, a By 900 BC, men had already composed need to earn virtues by doing noble things of Rig-Veda, along with iconographic during life time. At one stage of time, details and envisioned the elements of as a reflection in art, a notion of Heaven nature - as the deities one must not ignore and Hell became a very popular theme in but propitiate to appease, to stay alive. Nepali Painting as well (see page 23). But Then, the stage was set to be translated or essentially, it was a concern specifically imagined of visually as the Vedic gods, as focused to the life after death. Men described in the holy Vedas. This remains normally assumed them, the thoughts of a glaring example of how the man’s Hinduism are unequivocally meant to primary instinct worked – initially to earn enough virtues – Punya, so as to be stay alive or the question of fear from the able to attain heaven. unknown! And in absence of other better ways, sacrifice or the sacred fire – Yagya, The popular phase of Buddhism – known was chosen or conceived to be the best as Mahayan, also delivers an almost ways to appease those early divinities. similar a message to its adherents. It envisages a concept of Bodhisattvas or Often it’s argued that after the Vedic Lokeswor in popular art forms. They are times, the next primary concern of the sages – who have almost attained human beings then, thought to be enlightenment but have chosen to wait free from second birth or to be able to to redeem other humans in distress. In assimilate with the absolute. That is to Nepali Painting, thus this thought too seek final salvation or Mokshya, after has had dominated and was able to earn the death. This notion led to the age of a primary and an important space. It primacy of devotion. A gradual decline was because of the immense popularity of earlier deities led gradually to the rise the thoughts commanded amongst the of Trimurti, the Hindu trinity – mostly laity since its very advent. Accordingly, in benign postures. But men continued paintings based on the Mahayan thoughts to fear death and now; began to seek have led to impressively a large body refuge in devotion and arrived an era of of imageries depicting five celestial hymns or the devotional songs. And also, Buddhas, their spiritual consorts like Tara it led to the arrays of visuals of benign (see page 27), Lochani or Mamaki etc and deities appeared - as a visual medium to of course the series on Lokeswor – one of concentrate upon. Blessings were sought the most popular being ‘Padmapani’. from these deities with the unmistakable and eternal wish ‘to be able to reside in Instincts to Seek Prosperity heavenly abode – Swarga – the heaven. Contrary to a common notion that, men ‘Paap or Punya’, The concept of soon are thought to be more concerned of life dominated man’s instincts. after death, as the argument made above, And in the art of painting, it was followed in fact, human instincts to live happy and by the series of imagining of heavenly prosperous while alive, have had also beings, and the life in heaven or a hard remained equally strong and important. This human instinct is well evidenced
sirjanĀ 25 with riches are meant to be showered to her devotees. A different form of goddess Luxmi – known as Dhan-Dhanya Luxmi is also found conceived in Nepali Art – Painting.
And what’s more interesting is a fact that the notion of prosperity has had been equally popular in Nepali Buddhist practices: and is also, well reflected in Nepali Painting. A typical Buddhist Paubha – a religious vertical scroll, almost always feature an image of goddess Vasudha or Vasundhara as part of a composite composition. She is regarded as a spiritual consorts of one of the celestial Buddhas. In our contexts here, her relevance is on her abilities – to grant boon of prosperity and the blessings of Goddess Laxmi as seen in a ritual art. well being or an ability to sustain life with – much needed food grains. In visual and reflected in the spiritual thoughts, form, in addition to other emblems, she and of course in the visuals of Art. This is seen holding a Kalasha – an auspicious is found in both the religious thoughts vase and also strands of grains – as a - Buddhism and Hinduism. Imagining symbol of life sustainability. of divine beings – with attributes to bless prosperity and riches, provides Here, few more words may be need to a glaring example. Goddess Luxmi is dwell on ‘Kalasha’ – as mentioned above. a very popular deity – she is regarded Since the early times, ‘Kalasha’ has had as the one who showers her followers remained a very important symbol in with riches and prosperity. In Nepali the religious life of Buddhists as well as Art – in painting and in sculpture, she to the Hindu followers. To begin with, occupies a very important art space. In an observer would note that in Newar Nepali Painting form, she is depicted architecture, every religious shrine or different than as found described in the any holy architectural form is topped by holy Vedas. In Nepali Art, she has many a Kalasha: the practice has had remained unique features as a deity of good-luck in practice since the time immemorial. In and prosperity both. In visual forms, a normal visual form, a 'Kalash' is a jar in addition to paintings seen with her filled with holy water. But symbolically, spouse Lord Vishnu, she is also well it suggests an embodiment of the full featured in ritual art – celebrated during prosperity: and even a glimpse of a a special event or a festival – dedicated Kalasha would lead to bring good luck as to her worship. Here, her visual form is well. Accordingly, Nepali society, Newar seen flanked by her attendants – carrying society in particular, this emblem has had sacks of precious jewels. One of them is a long history as an unmistakable symbol the demi - gods – Kubera. All the sacks of prosperity. In a very popular ritual art
sirjanĀ 26 Goddess Tara - note the presence of 'Vasudhara' in bottom center. Picture courtesy: the author.
sirjanĀ 27 Moreover, the timeless popularity of notion of prosperity is glaringly narrated by the presence of many popular shrines in the city of Kathmandu – with some huge stone-sculpted forms of 'Kalash' in open. But some are located inside the sanctum-sanctorum - with ‘Kalasha’ alone as the central deity. The temple of famous Annapurna at Asan – a core area of the city, stands as a most visible example. Everyday hundreds of devotees throng to and pay obeisance to the shrine – seeking blessings of prosperity and for well being. Many localities in the Valley are also named after the auspicious jars of a particular locality.
Wrathful Deities: Protection from the Evils
Few words are also needed on the presence of wrathful or angry deities in Nepali art. Angry deities are found in both the beliefs – Hinduism and Buddhism. But in the both the beliefs and Mother Goddess Durga - as an example from Shakta the wish for blessings remain the same. cult. Protection from the probable doomsday form known as ‘Asta-Mangal’ or eight – diseases, evil spirits, demons, ghosts auspicious symbols, Kalasha remains one so on. The concept of Asta-Matrika (Eight of them but has a special place. Often, Great Mothers), Bhairavas and other when there’s a need to combine all in similar emanations remain interesting one, this form remains the very basis – examples in this regard. All the visuals on which are added other symbols. No of wrathful- angry Hindu deities lead festival or rite and ritual are initiated or directly to this direction. Even in esoteric are considered sacred without a visual Buddhism, many wrathful deities are or physical form of Kalasha in Newar found with similar message. Outside society. Most amazing is its growing any medieval Buddhist Vihar, the popularity in its use and application in main entrance is unfailingly flanked in the present modern day Nepali modern the either sides by the images of Lord society. Kalasha – a symbol of prosperity Ganesha – the elephant headed god is often found as a logo of financial and Mahankal – an angry god but an institutions and so are its depictions – emanation from one of the five celestial in graphic forms in the main entrances Buddhas, – here as the guardians of the and in the main gates of many modern Vihar or the monastery. buildings.
sirjanĀ 28 'Mahankal' - an angry deity from Buddhist faith. Picture courtesy: National Gallery of Painting, Bhaktapur.
In short, the concluding lines remain that human instincts and the desire is continually looking for ways to stay alive, prosperous and also, is seeking to attain salvation after death. And through the religious thoughts, men longed to see it all in visual forms – in painted form or as a work of sculpture. The presence of amazing array of gods and goddesses found in Nepali Art – Painting, strongly drives the point – either in anthropomorphic or in symbolic forms. Madan Chitrakar Madan Chitrakar is an eminent artist and an art writer. Three well acclaimed books References "Tej Bahadur Chitrakar - Icon of Transition" (2004), "Nepali Burns, Edward M. World Civilizations, Vol. II, Art - Issues Miscellany" (2012) and "Nepali New York, 1941. Painting - Through the Ages" (2017) remain to his credit, in addition to the numerous writings on Basham, A. L. Aspects of Ancient Indian Culture, Art and Culture in English and Nepali. Bombay, 1966. Presently, he is associated with Sirjana College of Fine Arts as the Principal.
sirjanĀ 29 Pramila Giri. Togetherness. 1980. Bronze.
sirjanĀ 30 Art creations of Pramila Giri Banshi Shrestha
Abstract 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 oppeared on the art stage with new ideas and concepts of modernity. Artist Giri in her early stage, was also following the conventional approaches, but later she began to experiment and present her new art forms with mythical figures and themes.
Her analytical thoughts and search led her to use the various forms, images and symbols of religious and mythical figures of BHAIRAV in her art creations. Thus, she started in presenting the figures and forms plus sculptures on her large size canvas. It was completely a noble approach and presentation.
BHAIRAV, a gigantic demonic figure but with all the divine powers is regarded as the incarnation of Lord Shiva. Red, white, blue, black colors are used to represent a chosen incarnation of the Lord.
Thus, if the viewers are familiar with the mythical figures of Lord BHAIRAV, it will be easier to conderstand the use of colours and the presentations of the figures in her art creations.
The decade of 1960s in Nepal was very in Siraha district, left her native soil to join significant in the political, cultural and the Tagore Kala Bhawan, Shantiniketan of artistic history of the country. Many West Bengal, India for her art education new changes and developments were in 1963. She returned to her native land happening and passing fast. Similarly, in 1976 after the completion of her degree the traditional mass psychology was at in Masters of Fine arts from California the threshold of the changes, moreover state University and exhibited her solo the educated, elite, literate and conscious art show in the capital city. At that time, persons/citizens were crossing the we as teachers were also deeply and threshold for new and better aspirations enthusiastically involved in the literary in social life. and artistic circles and movements. With friends, we used to visit the art exhibitions A simple girl grewup and educated in a and enjoy the nobility and innovative village called Bastipur of southern Nepal figures, forms, colours including the
sirjanĀ 31 sculptures. Again, in 2016 AD she exhibited her art works under various titles such as — (i) Sculptures and Paintings, (ii) Bhairav series paintings, (iii) Birds are flying, (iv) Bhairav series sculptures, (v) Other sculptures, (v) Tibet series paintings, (vi) Impression series paintings, (viii) Images of earthquake and family painting. We began to talk about her new artworks. She answered her new series is entitled - 'Different Aspects of Lord Shiva'. Here, I realized that she was highly interested in the incarnated figures of Bhairav, the supreme figure of Shiva. She went on to explain that long before, she happened to meet a tantric named Dhana Shamsher. He had explained to her that the purpose and function of the incarnation of Bhairav. That it means Bhishan Naad or terrific sound. Acording to the myth, she described, "Once Brahma, the creator and incarnated figure of Bishnu argued about their supremacy." To settle their claims Lord Pramila Giri with Pandit Jawaharlal Nehru during her Shiva incarnated himself in the figure of convocation in Santiniketan, India, 1963. Bhairav, and settled the issue by saying that none is supreme except Lord Shiva. paintings of Pramila. The art lovers with God Bhairav punishes the evil or wrong their knowledge of native and western art doers but protects the rightful devotees. used to exchange and share the opinions; The myths or the old scriptures also and appreciated the new trends in Nepali describe God Bhairav has an ability to art. change the forms to suit the purposes and functions. It is said, there are generally Then, in 1982 Pramila as an emerging eight various forms or images of Bhairava. artist of the country, exhibited her huge And they are represented in red, yellow, sized paintings with sculptures in the City black, blue, etc. They are used for different Hall. There I met her again and talked occasions to suit a desired function. As for about her paintings and sculptures. example, black is used for Kaal Bhairav meaning that the God could punish or By then she had exhibited on various destroy the evil doers. Blue is used as the occasions in the City Hall and also at the symbol of infinity as the lord of the whole Patan Museum with her own new concept universe. of the Bhairav series in paintings and sculptures. According to Pramila, her guru Keshav Malik described her artworks on Bhairav Now, after the lapses of three decades I series as not abstract. But the artist can vagely recollect my bygone memories disagreed and said that her works are of her unconventional paintings and indeed abstract. To her, the works remain
sirjanĀ 32 Pramila Giri. Blue Series I. 2010. Oil on canvas. 195 cm x 195 cm. abstract, and evoke aesthetic feelings is philosophic and symbolic because of and compel the viewers to think. This is total infinity or divinity. That is beyond regarded as the success of the Bhairav the descriptions. series. In this regard, her love, reverence, devotion to native culture, traditions, As a creative artist she has taken the religion remain appreciable. She seemed mythical Bhairav quite differently to express her feelings of absolute totality from the traditional appearances. She in representative forms and symbols. penetrates beyond the sensory natural She is found to visualize her dreamy forms and figures and tries to paint meditation or meditative trance. Here she the invisible and divinely aspects. She
sirjanĀ 33 Pramila Giri. Tibet Series I. 1991. Oil on canvas. 190 cm x 192 cm. visualizes in deep thoughtful meditation. appreciation and wonder. The art She added she was trying to express her creations exhibited at Nepal Art Council inner emotions and the feelings. So she hall reflect that she is expressing her is not interested in the natural forms. feelings of inner senses with suitable Some viewers may find male and female harmonious colours. All the works are forms but they do not represent as serious reflective and representative. We know expression. Our scriptures also describe that the infinite universe, the unseen there are no difference of male or female reality, spiritual feelings and human figure in absolute totality or Sampurnata. values can never be described in words. Only the visible natural objects and forms The colours, forms, figures of paintings can be described in words and colours - harmoniously attract the feelings of not the divinity or an infinity. art visitors and arouse the sense of
sirjanĀ 34 In the present series, her art creations show to her widowed grandmother. She remain dreamily meditative. The artist is considers her as her roots who supported, seen going beyond the myth and religion. encouraged and inspired her. Her series of 'Sound of Silence', 'Birds are Flying', 'Bhairav' and 'Tibet Impression' As a keen art lover and visitor I found are more reflective, representative and the art creations of Pramila philosophic symbolic. and symbolic. The colours, forms and figures give us the meaning and feeling It seems, she also enjoy in creating that surpass our literaly descriptions. One sculptues. She is said to have been cannot normally express the impressions impressed by Jean Arp (1888-1966), Henry and feelings completely. Moore (1898-1986) and Barbara Hepworth (1903-75). Thus, she has philosophically displayed the interest and love as the roots. So, her During her visit to Tibet she found the search and devotion in religion has led Buddhist devotees practising meditation her to the symbols of Bhairav. Her roots from the childhood. Then she had no can be interpreted as the invisible spiritual language to exchange the ideas and power of Bhairav. She has expressed it feelings with the Lamas or the Tibetans all in her varied paintings in harmonious but through her observations and learning colours. The symbolic forms and shapes she easily understood the simplicity and draw the deep interest of viewers, and the devotion of the people. colours attract senses and feelings. During the show as stated above, we also exchanged views and ideas about the monasteries in Tibet such as Gyantse, Salu, where the visitors can clearly see the influence of Newar artists.
Sculpture and painting are seen integrated in her series of 'Birds are Flying'. She has painted the bird in symbolic form. Here, she could recollect migrating birds from Siberia to Nepal in winter. They fly very high over the Himalayas. Their sounds could be heard. Figures are faint. But one could recall a philosophic description or palpable vision. One could also smell Banshi Shrestha the scent of the unseen flowers. Her art works remain highly symbolic. The Poet and a literary critic with two volumes understanding of meaning of Pramila's of Poems and other publications and some artworks depends on the religious, translated and edited books. cultural, philosophic knowledge of the viewers, Books on art – "R.N. Joshi", 2006 and "Fifty Years of Nepal art Council", 2nd in English. The title of her exhibition held in 2018 He often enjoys Painting with other artists in was 'My Roots'. She is said to dedicate the the field.
sirjanĀ 35 cy jh|w/M >Ldfg\ ;j{tTjfy{b]zsM . ;j{rof{u|;De"tf] efift] u'x\od'Qdd ..!(.. sirjanĀ 36 Caryā of Guhyasamājatantra A divine drama Arun Shrestha
Abstract A very common understand of the word caryā brings to our mind often heard of the vajrayāna religious song known to us as caryāgīti accompanied by caryānŗtya. An apparently outward symbolic representation of the word in song and dance finds a deeper meaning when dwelt in depth. A thorough investigation into caryā opens up vast insight of vajrayāna philosophy and doctrines amalgamated in rituals of vajrayāna religious practice composed of sādhana, maņđala, mantra and mudrā with ultimate aim of emancipation in the present life itself. In essence a yoga practice with intricate procedures leads sentient beings to the world of spiritualism composed of esoteric ritual practices with a touch of aesthetical experience inherent in caryāgīti and caryānŗtya.
Caryā of Guhyasamājatantra reputation of being a prescription of a shortest path to emancipation. According A divine drama to guhyasamājatantra, the yogi who has grasped the real truth, who has realized Guhyasamājatantra is considered to be the śūnya, to him the whole world appears earliest Buddhist Tantra literature written as a drama without a real substratum; in the third century coinciding with the before him the duality in the world time of Asaňga. The other name given to disappears and all things are to him mere guhyasamājatantra is tathāgataguhyaka. It appearances.1 composes of vajrayāna religious practices and propounds the vajrayāna doctrines Assuming guhyasamājatantra practices to with explanation of the terms used to be a caryā of divine drama, some of the propagate the vajrayāna philosophy. terms occurring in guhyasamājatantra are Guhyasamājatantra being basically a picked up to describe the kind of caryā practice of yoga, introduces the element guhyasamājatantra propounds and adheres of pragyā in different forms of yoga to. The terms are sarvacaryā, bodhicaryā, practice which is a yoga of six limbs or gyānacaryā, caryāpada and mantracaryā. şađaňgayoga. All these practices have been named as caryā. The main objective To begin with, on sarvacaryā, of the practice is to develop the hidden guhyasamājatantra narrates thus: power of the mind. The composition of guhyasamājatantra is in the form of saňgīti atha vajradharah śrīmān or chanting together which are believed sarvatatvārthadeśakah l to be buddhavacana or the words spoken by Buddha. Guhyasamājatantra has a sarvacaryāgrasambhūto bhāşate guhyamuttamam ll stanza 19 ll
sirjanĀ 37 şaşŧhah paŧalah Here ends ‘sarvacarya’16 (ref. stanza 19).
This passage in guhyasamājatantra has Relationship of some of the words relevance in adhering to the view that that occur in sixth chapter of the word caryā denotes primarily the guhyasāmajatantra, besides caryā and ritual, or the practice of yoga propounded kāya, vāk & citta, has a relevance of in vajrayāna Buddhism, besides the gīti utmost importance in the study of and the nŗtya contained in the ritual. In ahorātrapadasādhanavidhi. To begin with, stanza eight to stanza nineteen of chapter kāya,vāk & citta has been called ‘trividha’ six of guhyasamājatantra, a detailed steps and ‘trivajra’. There is a reference to of visualization (or contemplation or vajrapada, suddhapada, padavibhāvanam & padam besides buddhapadam, bodhipadam bhavana) is described, credited to be & dharmapadam in the category of proclaimed by vajradhara2, which is named ‘pada’ which is the basis of explanation as ‘sarvacaryā’ 3. in ahorātrapadasādhanavidhi. For the To begin with, it prescribes imagining understanding of Panca Buddha, a ‘candramanđala’ or moon disk in the words derived from ‘panca’ has a middle of ‘ākāśadhātu’ or the sky major significance and words like and on it, an image of the Buddha. pancakāmaguņa, pancopahārapūjā and pancaśūla can be traced in this chapter of This preliminary exercise is named guhyasamājatantra, besides akśhobhya etc. ‘śukśhmayoga’ 4 (ref. stanza 8). As a Reference to candramaņđala, suryamaņđala, second step, it puts forward imagining ratnamaņđala, padmamaņđala and a ‘sarşapam’ or tiny mustard seed with 5 rasmimaņđala in the set of five shows a ‘sacarācaram’ or moving and non- close connection with Panca Buddha. As moving world at the tip of the nose for of the yoga is concerned, sukśhmayoga contemplation. Third step, like the first and ādiyoga finds being referred to. In a 6 step, calls for imagining ‘suryamaņđala’ caryā adjudged as a ritual, pujā or worship or solar disk in the middle of ‘ākāśadhātu’ has its undeniable place and here we or the sky and an image of the Buddha come across pancopahārapūjā, mahāpūjā, on it. In a similar manner, following mantrapūjā and pujāyedvidhi. Buddha is steps are adhered to with imagining referred in varied ways like laghubuddha, of ‘cakramaņđala’ 7 or bright disk & buddhabimba, sarvabuddha and buddhabodhi. ‘vajrapadma’, ‘ratnamaņđala’ 8 & ‘ādiyoga’, Vajradhara is the only deity named in ‘padmamaņđala’ 9 & ‘rāgavajriņa’ and the pantheon of vajrayāna. Samādhis ‘raśmimaņđala’ 10 & ‘buddhapadam’. are enjoined to paňca Buddha. In this This is followed by imagining of scenario, bhāvanā or contemplation plays ‘nilotpaladalākāram pancaśūlam’ 11 or a central role of cementing the process five-pronged thunderbolt appearing like a of unification of various elements of the blue lotus petal and ‘astapatram’ 12or eight ritual. petal lotus at the tip of the nose. What is On a final analysis, in the ritual or caryā, to be achieved by all this is being called the doctrine of kāya,vāk & citta is the 13 ‘bodhipadam’ and what is drawn out of realization part, paňca Buddha and pada 14 it is named ‘dharmapadam’ marked with are visualization part whereas bhāvanā 15 kāya, vāk, citta (body, speech and mind). is the tool in the visualization process,
sirjanĀ 38 yoga is the system of the path and pūjā or The second chapter of guhyasamājatantra worship is the process of the ritual. is named bodhicittapaŧala and in the word ‘bodhicarya’, we are being introduced to The sixth chapter of guhyasamājatantra the word carya (or caryā) for the first time is known by the name of in guhyasamājatantra. ‘kāyavākcittaadhiŝŧhānapaŧalah’. From the point of view of dance or nŗtya, Moving on to bodhicaryā terminology put the third chapter plays a significant into use in guhyasamājatantra, the scripture role in defining different mudrā and dwells deeper into doctrine of vajrayāna and leads the sādhaka to a higher path. So, hasta (hands) vis-à-vis paňca Buddha it says thus: (paňcaraśmī, paňcakāmaguņa and paňcavarņa). Mudrā and mahāmudrā along samantabhadra satvārtha bodhicittapravartaka l with vajrahasta, cakrahasta, ratnahasta, padmahasta and khadgahasta are mentioned. bodhicarya mahāvajra bodhicitta namostu te ll As a buddhamaņđala or yogamaņđala, stanza 10 ll five maņđalas are named – vajramaņđala, dvitīyoh paŧalah svacchamaņđala, cakramaņđala, padmamaņđala and ratnamaņđala vis-à-vis Bodhicarya (or bodhicaryā) is the word paňca Buddha. which relates itself to nisprapanca caryā or caryā of realization as explained in To further the practice of the religion, the the presentation of ‘Essence of Caryā tools used in the process is introduced to Nŗtya 17’. Some of the caryā gīti under the sādhaka in the form of maņđala, mantra ahorātrapadasādhanavidhi harp only on the and mudra and we come across a word doctrinal aspect of vajrayāna Buddhism gyānacaryā . and some of the gītis are indulgent on the description of the deities, which is being śāntadharmāgrasambhūtam named prapanca caryā, to be visualized in gyānacaryāviśodhakam l the process of the ritual amalgamating samantabhadravācāgrayam the song and the dance. This kind of 20 ‘bodhicaryā’ or nisprapance caryā or caryā bhāŝāmaņđalamuttamam ll 3 ll of realization is found in both caryā gīti caturthah paŧalah and caryā nŗtya gīta, as categorized in the presentation of ‘Essence of Caryā Nŗtya’. As was explained in ‘Additional Passage to Essence of Caryā Nŗtya’, With reference to what is being basic practice of Vajrayāna Buddhist elaborated above, the second chapter of guhyasamājatantra puts forward an Tantra is based on maņđala, mantra and explanation of the conceptual words mudrā. A reference here to gyānacaryā like trio of kāya,vāk,citta 18; explanation is indicative of formation of a maņđala of the term bodhicitta 19 with reference to of kāyavākcitta for the practice of what bhāva, abhāva, bhāvanā, skandha, nairatmya, is propounded in vajrayāna Buddhism śūnyatā, dharma, pada & prakŗtiprabhāsvara; and therefore this fourth chapter of and buddhabodhi. The whole exercise being guhyasamājatantra takes the name of named as bodhicaryā and it is indicative of ‘guhyakāyavākcittamaņđalapaŧala’(refer ‘nisprapanca caryā’ or caryā of realization. sarvacaryā for ‘kāyavākcitta’ in sixth chapter of guhyasamājatantra).
sirjanĀ 39 The word gyānacaryā is indicative of the 34 and caryāpada 35- the first of the chapter formation of maņđala of ‘dvādaśahasta being given the name enjoined with the 21’ and ‘abhyantara mudrānyāsa 22’, with word caryā- ‘samantacaryāpaŧala’. In a placements of the different elements similar manner, the only other chapter in on four corners23 - east (purva), south guhyasamājatantra which carries the word (dakśhina), west (paścima) and north ‘caryā’ is the seventh chapter which is (uttara). The deities’ refered to are named ‘mantracaryāpaŧala’. vajradhara 24 (and ‘pancaśūla 25’ pointing at Panca Buddha) and māmakī 26 along The word carya or caryā carry the same with ‘şođaśābdikām 27’ (ŝođaalāsyadevi) meaning and connotation which we or yoŝita. What is created after the encountered in the word ‘bodhicarya’, the exercise followed is named ‘buddhapada first of the carya word. 28’ (srjedabuddhapadam). The offerings 29 to As the characteristic of the practice the divine are prescribed in a p 30 or ūjā (caryālakśhaņam) and knowledge of worship. the religion or dharma is contained in It will be appropriate at this juncture dharmacaryā of mahayāna, which is also 36 to relate to the backward and forward being called buddhayāna , it is also being connection of the subjects dealt, and given the name of ‘bodhicaripadam’, which the words coined, in guhyasamājatantra, generally is to be known as ‘caryāpada’ full to understand the broader concept of of reverence. the vajrayāna Text. As was seen earlier, Carya, caryā or cari, in these terms caryā second chapter deals with the concept of is referred to in guhyasamājatantra. bodhicitta, the third chapter is on samādhī Caripada or caryāpada are the terms used (vajravyuho nāma samādhīpaŧala), the fourth to denote what can be equivalent to chapter, dealt here, is on maņđala, the fifth caryāgīti. To be specific,bodhicaripada is on sādhana and the sixth is on adhisŧhāna and ākāśacittadharmācaryāpada are the of kāyavākcitta. names given to those passages on caryā or The word caryā finds its significance as practice of mahāyāna Buddhism. Vajradhara a gīti or a poem in the word caryāpada. is metioned as ‘cittavajrodhararājā’ and Guhyasamājatantra is all praise for ‘nairātmyavajrarāja’. ‘Kāyavākcitta’ finds caryāpada and narrates thus: reference in verse eleven. As has been referred to ‘Essence of Caryā Nŗtya’, ākaaśakāyasambhūta ākāśavākpravartaka l here too we find an indication of Panca ākāśacittadharmāgra caryāpada namoastu te Buddha in the form of ‘rāgadveŝamahākula’ ll 13 ll enjoined with the expression like ‘caņđāla’, ‘māraņārtha’ and ‘mahāpāpa’ in verse two pancamah paţalah and three 37. ‘Ākāśasamatādvayavajram’ is the name given to samādhi contained The fifth chapter of guhyasamājatantra is of the caryā prescribed in this chapter. the chapter in which reference to sādhana Nirvikalpa, nirākāra and nirābhāsa are the appears, along with introduction to words to be noted along with ācārya. mahayāna 31 and its adherents (sādhaka), and the word carya 32 or caryā, in varied In conclusion, the word mantracaryā of form like dharmacaryā 33, bodhicaripadam mantracaryāpaŧala of guhyasamājatantra,
sirjanĀ 40 helps classify the word caryā Thus the divine drama of as of prapaňca, nişprapaňca and guhyasamājastantra in the form of caryā atyantanişprapaňcacaryā kind. or a ritual practice gets explained and ultimately classified into prapaňca, buddhaaśca bodhistvaaśca nişprapaňca and atyantanişprapaňca caryā. mantracaryāgracāriņah l Endnotes prāptā dharmāsanam śreştha sarvakāmopasevanaih ll 6 ll 1. Introduction to guhyasamājatantra by Benoytosh Bhattacharyya p. ix – saptamah paţalah xxxviii Guhyasamājatantra edited by Swami Dvarikadas Shastri In seventh chapter, besides vajradhara, vajrasattva along with paňca skandha of 2. atha vajradharah srīmān paňca Buddha, rupa, śabda, gandha, rasa sarvatāthāgatānvitah l and śparŝa are declared to be paňcagyāna. sarvabuddhāgrasarvagyo bhāşate Mantracaryā being focal point of this bhāvanottamam ll 7 ll chapter, jāpa as a method is put forward for practice of spell rendering. The 3. atha vjradharah srīmān concept of worshiping one’s own body is sarvatatvārthadeśakah l introduced in verse two. In conformity of sarvacaryāgrasambhuto bhāşate what was said in Essence of Caryā Nŗtya, guhyamuttamam ll 19 ll verse thirty three reiterates the concept 4. āakāśadhātumadhyastham of killing ‘tathāgata vyūha’. Tathāgatas are bhāśayeccandramaņđalam l indicative of paňcabuddha 38. Gods and goddesses do not exist and are unified in buddhabimbam vibhāvitvā the concept of vajradhara 39. ŝūkśhmayogam samārabhet ll 8 ll
Hūňkara, omkāra and paňkāra, these are 5. nāsāgre sarşapam cintet sarşape sacarācaram l the three mantra recommended. As a part of the ritual, pujā is referred to, bhāvayet gyānadam ramyam rahasyam especially ‘pujāmadhisţhānapadasmŗti’ is gyānakalpitam ll 9 ll to be noted which combines pujā and smŗti. ‘Smŗtibhāvanā’ is the method of 6. āakāśadhātumadhyastham bhāvayet contemplation or bhāvanā repeated in suryamaņđalam l different form with the name assigned buddhabimbam vibāvitvaa padam to each of them. This process is of tasyoparinyaset ll 10 ll significance as play of body (verse 2) 7. āakāśadhātumadhyastham and mind (bhāvanā) is adhered to, to bhāvayeccakramaņđalam l achieve what is aimed at in the ritual of ‘mantracaryā’, including a pujā – locanākārasanyogam vajrapadme ‘dveşakulapujānusmŗtibhāvanā’ (verse 35) vibhāvayet ll 11 ll and ‘maņđala’. 8. āakāśadhātumadhyastham bhāvayed ratnamaņđalam l This chapter deals with three kinds of caryā- prapaňca, nişprapaňca and ādiyogam prayatnen tasyopari atyantanişprapaňcacaryā 40. vibhāvayet ll 12 ll
sirjanĀ 41 9. ākāśadhātumadhyastham bhāvayet 17. Paper presented by Arun Shrestha, padmamaņđalam l 2018
padmākārasusanyogam bhāvayed 18. ‘utpādayantu bhavantah cittam rāgavajriņam ll 13 ll kāyākāreņa kāyam cittakāreņa cittam 10. ākāśadhātumadhyastham bhāayed vākpravyāhāreņeti’ (guhyasamājatantra raśmimaņđalam l p. 8) sŗjedbudhapadam saumyam parivāram Translated it means: Originate viśeşatah ll 14 ll the citta in the form of kāya, kāya 11. nilotpaldalākāram pancaśūlam viśeşatah l in the form of citta, and the citta by the transformation of vāk. yavamātram prayatnen nāsikāgre (guhyasamājatantra Intro by BB XX) vicintayet ll15 ll In an attempt to clarify the concept 12. caņakāsthipramāņam tu aşŧapatram further, it is said: sakeśaram l aho hi samantabhadrasya nāsikāgra idam spaŝŧam bhāvayed bodhitatparah ll 16 ll kāyavākcittavajriņah l 13. cakrādīnām viśeŝeņa bhāvanām tatra anutpādaprayogeņa utpādoayam kalpayet l pragīyate ll 2 ll (guhyasamājatantra p. 8) siddhyedbodhipadam ramyam Translated: How wonderful it is mantrasiddhiguņālayam ll 17 ll that though the auspicious and adamantine combination of kāya, vāk 14. sŗjettatra samāsena buddhabodhipratişŧhitam l and citta ‘never originate’ (anutpāda), it is known to have origin (utpāda). niścārayeddharmapadam (guhyasamājatantra Intro BB XX) kāyvākcittalakśhitam ll 18 ll 19. The Lord himself explains: 15. Refer to Additional passage to ‘Essence of Caryā Nŗtya’ in Caryā abhāve bhāvanābhāvo bhāvanā naiva Nŗtya Paper presentation for bhāvanā l relationship of Caryā Nŗtya with the doctrine of ‘kāya, vāk & citta’ iti bhāvo na bhāvah syād bhāvanā propounded in Vajrayāna Buddhism. nopalabhyate ll 3 ll (guhyasamājatantra For detailed elaboration of Sixth p. 8) Chapter of guhyasamājatantra see Translated: Neither the perception Yoga of the guhyasamājatantra by Alex (bhāvanā) of the absence of existence Wayman p.25-28 & related pages. (bhava) in non-existence (abhāva) 16. atha vjradharah srīmān can be called perception, nor can sarvatatvārthadeśakah l the perception of non-existence in existence be discovered. sarvacaryāgrasambhuto bhāşate guhyamuttamam ll 19 ll (guhyasamājatantra Intro BB XX)
sirjanĀ 42 Now, last of the panca Buddha, and citta (kāyavākcittavajradhŗk) amoghasiddhi, ends the discourse on and the bestowal of perfection bodhicitta by the remarks: (buddhabodhipradātā). (guhyasamājatantra Intro BB XXI) prakŗtiprabhāsvarā dharmāh suvisuddhā nabhah samāh l 20. Translation: Pray explain the supreme maņđala having the best na bodhirnābhisamayamidam speech of Samantabhadra, arising bodhinayam dŗđam ll 7 ll from the summit of quiescent dharma (guhyasamājatantra p. 9) (=parmārthasatya) and purifying (the 80 prakŗtis) by the praxis of the gnoses Translated: The existing objects are (= the three lights). (Yoga of the naturally resplendent (prabhāsvara) guhyasamājatantra p.193-194) and they are pure in essence like the sky. The citta where there is neither 21. dvādaśahastam prakurvita enlightenment nor comprehension cittamaņđalamuttamam l (abhisamaya) is called bodhicitta. (guhyasamājatantra Intro BB XXI) caturastram caturdvāram catuşkoņam prakalpayet ll 9 ll (guhyasamājatantra As a closing account of the p.13) narration in the second chapter of 22. tasyābhyantarataścakramālikhetpari- guhyasamājatantra, it says: maņđalam l On the conclusion of all these mudrānyāsam tatah kuryāt definitions the bodhisattvas assembled vidhidŗşŧena karmaņā ll 10 ll were delighted, they recited gāthās (guhyasamājatantra p.13) (deśanā of Buddha, dharma & sangha) extolling the bodhicitta which was 23. Chapter four/Verse 12-17/ characterized as of the nature of guhyasamājatantra p.14 pure truth (śuddhatatvārtha), purity (śuddhārtha), originating from the 24 atha vajradharah śāstā trilokastu voidness of all worldly phenomena tridhātukah l (dharmanairātmyasambhutā), trilokavaravajrāgrastrilokāgrānuśāsakah the giver of Buddhahood ll 5 ll (guhyasamājatantra p.13) (buddhabodhiprapuraka), absence of thought-construction (nirvikalpa), 25. tasya madhye likhed vajrami(man) without any basis (nirālamba), ndranīlasamaprabham l good all round (samantrabhadra), beneficial to all beings (sattvārtha), pancaśūlam mahājvālam bhayasyāpi originator of bodhi mind (bodhocitta bhayankaram ll 11 ll (guhyasamājatantra pravartaka), embodiment of bodhi p.14) practices (bodhocaryā), great 26. purvakoņe likhennetram meghamadhya thunderbolt (mahāvajra), as pure samaprabham l as the mind of the tathāgatas (cittam tathāgatah śuddham), the dakśhiņena tato vajram holder of the thunderbolt which māmakīkulasambhavam ll 14 ll is the combination of the kāya, vāk (guhyasamājatantra p.14)
sirjanĀ 43 27. şđaśābdikām samprāpya yoŝitam 31. mātŗbhaginīputrimśca kāmayeddhastu kāntisuprabhām l sādhakah l
gandhapuŝpākulām kŗtvā tasya madhye sa siddhim vipulām gacchet tu kāmayet ll 19 ll (guhyasamājatantra mahāyānāgradharmatām ll 7 ll p.14) (guhyasamājatantra p. 15) mātaram buddhasya vibhoh kāmayanna 28. adhiveşŧya ca tām pragyā māmakīm ca lipyate l guņamekhalām l siddhyate tasya bddhatvam nirvikalpasya sŗjedbuddhapadam dhīmatah ll 8 ll (guhyasamājatantra saumyamākāśadhātvalankŗtam ll 20 ll p.15) (guhyasamājatantra p.14) Translated: The performer who loves 29. viņmūtraśukraraktādīn devatānām the ‘mother’, ‘sister’, and ‘daughter’ nivedayet l – achieves the extensive siddhi at the true nature of the Mahayāna summit. evam tuŝyanti sambuddhāh bodhisatvā Loving the Mother of the Buddha, mahāśayāh ll 21 ll (guhyasamājatantra who is the pervading lord, one is not p.14) adhered to (by sin). Buddhahood is accomplished for that wise man, Translation of verse 19,20 &21, devoid of discursive thought. (Yoga referred above, combined: of the guhyasamājatantra p. 305)
Having obtained a lady, 16-yeared, 32. Refer to the word bodhicaryā. Caryā lovely in appearance, having (caryalakśhaņam) or caryā carry the prepared a fragrant flower, one same meaning and connotation. should love (her) in its center. The 33. cittavajradharorājā sarvīāgrayo wise man, empowering that Māmakī bhuvaneśvrahl girdled with merits, goes out to the calm Buddha plane adorned with dharmacaryāgrayadharmārtham the realm of space. He should offer bhāşate caryalakśhaņam ll 1 ll to the gods excrement, urine, semen, (guhyasamājatantra p.15) and blood. In that way, the Complete 34. iyam sā dhamratā suddhā buddhānām Buddhas and the renowned sāragyāninām l Bodhisattvas are pleased. (Yoga of sāradharmārthasambhūtā the guhyasamājatantra p.303-304) esa bodhicaripadam ll 9 ll (guhyasamājatantra p.16) 30. parisphuŧam tu vigyāya maņđalam cittamuttamam l Translated: This is the pure true nature of the Buddhas who know pūjām kurvīta yagyena the essential (the nirvāņa of no fixed kāyavākcittapūjanaih ll 18 ll abode). That, having arisen from the nature of the essential (supreme (guhyasamājatantra p.14) truth) and the entity (conventional
sirjanĀ 44 truth), is the plane of enlightenment- coursing (bodhicaripadam) (Mahāvajradhara). (Yoga of the guhyasamājatantra p.307) This passage has a relevance to verse 7& 8, referred above, as Bodhisattvas portrayed astonishment by what was meant in those verses, and therefore The Lord pronounced the verse 9 to subdue their astonishment. 35. ākāśakāyasambhūta Arun Shrestha ākāśavākpravartaka l Born April 24, 1947, with schooling and initial ākāśacittadharmāgra college years from Mumbai, Maharashtra Board caryāpada and Bombay University, graduated from T.U. namoastu te ll 13 ll (guhyasamājatantra Kathmandu in Economics and English Literature. p.16) Career spanned as a management personnel 36. canđālaveņukārādmā (Director/GM/MD) in the private sector of māraņārthārthacintakāh l handicraft house (Kathmandu Travels), airlines (Nepal Airways), ground water management siddhyantyagrayayāneasmin mhāyāne (NEDRILL) and consultancy (USAID) with hyanuttare ll 3 ll (guhyasamājatantra addition of a contribution as a training and p.15) assistance personnel to Election Commission and Ministry of Tourism. ānantaryaprabhŗtayah mahāpāpkŗtoapi ca l Two papers presented on Caryā and Caryānŗtya on the auspices of Department of Education and siddhyante buddhayāneasmin Sanskritik Sansthan, Kathmandu, Nepal. mahayānamahodadhau ll 4 ll Caryā: Dancing Away to Nirvāņā, a book based on (guhyasamājatantra p.15) study of ‘Ahorātra Pada Sādhana Vidhi’ ready for publication. 37. Refer notes on ‘buddhayāna’. 38. Yoga of the guhyasamājatantra by Alex Wayman p. 244 39. Yoga of the guhyasamājatantra by Alex Wayman p. 246 40. Yoga of the Guhyasamājatantra by Alex Wayman p. 154
sirjanĀ 45 Nativity of Buddha. 9th century CE. Stone. National Museum, Chhauni, Kathmandu.
sirjanĀ 46 Nepal’s Lumbini is more than a birth place of Gautama Buddha Dr. Binod P. Bista
Abstract Lumbini is so far unrecognized for its importance and significance by placing all attention to it as Siddhartha Gautam’s (Buddha) birth place. It is this very place where all three schools of Buddhism — Theravada, Mahayana, and Vajrayana come together. Buddha’s message of peace and harmony is practiced in daily life by the local inhabitants professing different religions such as Buddhism, Hinduism, and Islam. Ancient Kapilvastu covers such a wide area that it has become a goldmine for archaeologists for far and wide to have an opportunity to study civilizations and cultures which date back the pre Christian Era. United Nations Secretary General U Thant spearheaded the development of present Lumbini with help from an International Committee for the Development of Lumbini which he formed and saw that the task of a Master Plan for Lumbini was given to one uniquely qualified architect Kenzo Tange, a person with a vision. With many changes and adjustments from the original Master Plan, Lumbini is fast losing its luster by the construction of physical structures that hardly conform to the bylaws written during the approval of the Master Plan. Yet by the sheer strength of Buddha himself Lumbini retains its un-parallel beauty, serenity, tranquility, and universality. Lumbini has reached this stage of development amidst several unwarranted controversies and mismanagement, but not all is lost. Lumbini can offer three distinct services to humanity as Buddha would have wanted: Guide those who believe in Buddha as God as they can find the almighty in every inch of the Sacred Garden; Lessen the pains and sufferings of others who seek to have a beeter life through meditation and prayers; and create a congregation of peace lovers who are in search of peace for themselves, their communities, their countries and the whole world.
Background other religious groups and even those non-believers of religion. No other place Lumbini of Nepal has become so on earth emits such serenity, harmony, popular in recent days that some and peace than Lumbini, especially in scholars have started equating this place today’s world engulfed in conflicts, with Vatican (for Christianity), Mecca miseries, pains and sufferings mostly Medina (for Islam) and it is increasing caused by manmade misadventures. In day by day. Lumbini, the birth place Lumbini, all the vehicles of Buddhism— of Siddhartha Gautama—the principal Theravada, Mahayana, and Vajrayana, Buddha among many Buddhas, is famous come together to give this special place for followers of Buddhism as well as an added importance and immense
sirjanĀ 47 value as stated by Rinpoche of Bhutan, project, and they are: the first scientific Dzongsar Jamyang Khyentse (Dixit, 2019). and archaeological evidence to contribute Besides, within a very short distance from to the debate surrounding the dates of Lumbini, Buddha’s natal towns such as the Buddha’s life, the Identification of Kapilvastu, Tilaurakot, Kudan, Goihawa a Tree Shrine, and the identification of are located. A full understanding of pre-Ashokan monumental Buddhist Gautama Buddha’s early life would not be architecture. complete without a visit to these places. Additionally, other Buddhas, namely, The surrounding areas, some of which Krakuchhanda Buddha, Kanakamuni are directly associated with Buddha’s Buddha belong to these very places. life, are called ‘Greater Lumbini Area’ comprise Lumbini (where Buddha was The recent UNESCO publication born), Tilaurakot-Kapilvastu (where (2019) entitled ‘The Sacred Garden Buddha spent 29 years of his life) and of Lumbini’ traces its origins to Late Ramagrama (where Buddha’s ashes Chalcolithic Lumbini (c.1300 to sixth are kept—nirvana). Besides, Dohani, century BCE)—investigations carried Karma, Chatradehi, Niglihawa, out by the Lumbini Development Trust, Araurakot, Sagrahawa, Kudan, Gotihawa, Durham University and Department of Sisaniya are within the three districts Archeology (Nepal government) between of Rupandehi, Parasi and Kapilvastu 2011-2013. Yet Early Historic Lumbini of Western Terai of Nepal (Robin (6th-3rd Century BCE) as is known today, Cunningham, 2019). provided evidence that a tree grew at the center of the mound where Mayadevi While Ramagrama is about 32 km east temple occurred during the middle of of Lumbini proper, the rest including Sixth Century BCE (Robin Cunningham, Tilaurakot lay on the western side of 2019). Lumbini sacred garden. Hari D. Rai of Lumbini Development Trust (LDT) states These researchers, after careful and that the ancient Kapilvastu extended to thorough scientific study, have the Himalayas in the North, Pava and provided a velar picture of Lumbini Kushinagar in the South, Rohini river in through the ages in nine parts (periods): the East and Rapti river to the West. Of (i) Late Chalcolithic Lumbini the two sites first indicated in Tilaurakot (c.1300-6th century BCE); (ii) Early Historic (Nepal) and Piprahawa (Inida) and Lumbini (6th—3rd century BCE); following one hundred years of intense (iii) Mauryan Lumbini (3rd—2nd century discussions and archaeological works BCE); (iv) Sunga Lumbini (2nd-1st century it was finally confirmed that Tilaurakot BCE); (v) Kushan Lumbini (1st-2nd century indeed is the ancient Kapilvastu where CE); (vi) Gupta Lumbini (3rd-9th century Siddhartha spent 29 years of his princely CE); (vii) Medieval Lumbini 9th-14th life (Rai, 2019). century CE); (viii) Early Modern Lumbini 15th-19th century CE); and (ix) Modern Chinese pilgrim Huien Tsiang, during his Lumbini 19th -20th century CE). visit in 629 AD described Buddhist sites in the following manner: Kapilvastu an They concluded that three major area covering about 4 km (14-15 li) has discoveries were made during that ten deserted cities; Kudan (south of the
sirjanĀ 48 city), about 1.5 km area where Buddha and Mayadevi (parents of Siddhartha after enlightenment (Sakya Tathagata) Gautam); Araurakot, about 1.5 km on the met his father Shuddodana; Gotihawa south-east of Nihalisagar and about 8 km (south east of the city) where Tathagata’s from Tailihawa bazar, is supposed to be relics are placed in a stupa with a 30 the natal site of Kanakamuni Buddha; feet high stone pillar with a carved lion Jahadi, about 1.5 km from Nigali sagar atop; Niglihawa (north east of the city) of and 5 km northeast of Taulihawa bazar, Krakuchhanda Buddha (about 8.64 km) this site being very important to locate houses a stupa where in the Bhadrakalpa the original place for Nigalisagar Asokan era (when men lived for 40,000 years) pillar; Sisnahaniyakot, about Kanakmuni Buddha was born; Sagarhawa 12 km south east of Tilaurakot—between (north of Niglihawa), several hundreds Piprahawa (India) and Taulihawa, an and thousands of stupas indicating the ancient town of the region dating back to spot where members of Sakya clan were Sunga period immediately following the slaughtered by Virudhaka-raja; Sarakupa Christian Era (Giri, 2017). (8 km south east of Sagarhawa) where arrow fountain (Sarakupa) exists where Development of modern Lumbini took people’s health is restored simply by place with the visit of United Nations drinking this water; Lumbini (north east Secretary General U Thant of Myanmar of Arrow Well and about 24 km) Lavani (formerly Burma) in April 14, 1967. (lumbini) garden where Bodhisattva was True to the principles and purposes of the born (Tsiang, 629 A.D.). United Nations—a global organization A slightly expanded version of ancient set up for securing international peace Kapilvastu and Devadaha is described and security for succeeding generations in a publication named “Nepal-China and founded after the devastating World Relation LUMBINI” by Prof. Gitu Giri War II, several missions to Lumbini whereby Prof. Giri has covered Chetradei were carried out from UNESCO and UN (2 km north-east of Tilaurakot— resident representative in Kathmandu Vajracharya, VS 2029:39) a flat rectangular prior to Secretary General U Thant site has yielded potsherds, human and commissioning a team of experts for animal figurines of terracotta, bangles Lumbini. Through the auspices of United fragments; Rehara mound, about 160 m to Nations Development Program (UNDP) the south-west of Tilaurakot, is supposed Frank Raymond Allchin (lecturer on to be the Royal precinct of Kapilvastu Indian studies at Cambridge University, involved in metalworks; Sivagadha, west England) and Kazuyuki Matsushita to the western gateway of Tilaurakot, is (an architect and planner with firm a habitational site; Lohasaudia Mound, Tange and URTEC, Tokyo) were selected about 250 m south-west from eastern to begin work on Lumbini (1969). The gateway of Tilaurakot complex, indicates conceptual framework worked out that this site might have been used for by Allchin-Matsushita report formed iron smelting and casting; Dhamnihawa, the initial basis of the Master Plan that around 377 m. to the north of incorporated much of the elements Tilaurakot, having two stupas known as and features outlined therein (Yukio ‘commemoration stupas of Suddhodhan Nishimura, 2019).
sirjanĀ 49 Allchin and Matsushita report clearly stated that “the essence of Sacred Garden must be to create tranquility, universality and extreme clarity consistent with the idea of the birth of Buddhism” and therefore of the ‘highest quality of design, reflecting as it were the whole spirit of man, rather than any sectarian or national bias’ (Frank Raymond Allchin, 1969). In 1970, Secretary General U Thant formed an International Committee for the Development of Lumbini (ICDL) under Kenzo Tange Master Plan development over the years. the chairmanship of Nepal’s Permanent (source: UNESCO record/presentation of key concepts by Representative to UN with initial Yukio Nishimura) 13 members (Afghanistan, Myanmar, Cambodia, India, Indonesia, Japan, Laos, Malaysia, Nepal, Pakistan, Singapore, Sri Lanka, and Thailand) later joined by Bangladesh, Bhutan and Republic of Korea making it to a 16-nation body.
A brochure named “Lumbini. The Birthplace of Buddha” was prepared by ICDL which not only reiterated the 1 mile x 3 mile project area essence of Lumbini development but also (from UNESCO website) outlined the necessity of maintaining The Green Areas, The Pilgrim Village, The Monastic Enclave, and The Sacred Lumbini is for peace, peace and Garden. Following the conceptual peace Master Plan Design prepared by Kenzo Tange and his study team in 1971 and Lumbini, Nepal itself is a sacred place subsequent comments and review of the where Buddhists, Hindus and Muslims Plan, final outline design for Lumbini was live side by side in harmony and look adopted in 1972. forward to its timely development. Excuses galore, and even after 38 years The geometric interpretation of the Master of preparation of detailed architectural Plan is based on religious symbolism with drawings, the site lacks the ambience, 5x5 miles taken as a Mandala and Sacred serenity, and tranquility from the Garden at focal point at the center. Kenzo man-made structures. If not for the Tange recommended integrating Master blessed one, the Buddha, and his moral Plan into the wider economic context to strength and invisible presence, Lumbini have a positive impact not just through might have been shelved in the annals of tourism but also service facilities such as history. high school, medical center and cultural facilities. Much remains to be done even Nepalese are fortunate to have found today. U Thant, Secretary General of the
sirjanĀ 50 Lumbini Today in pictures
Maya Devi Temple with Asoka Pillar and the pond Lumbini Cultural Center (from LDT website) (from Government of Nepal website)
Lumbini West Monastic Zone (from LDT website Lumbini East Monastic Zone (from LDT website)
have distinguished architect Kenzo Tange who not only was available at the time to prepare a Master Plan for Lumbini but he went many steps ahead by offering his farsighted vision as a token of his deep reverence to Tathagata—the Buddha.
Although Nepal as well as others around are rushing to turn this place of peace, wisdom and tranquility into a tourist Mayadevi Temple at Night (from LDT files) hub, whether pilgrimage or otherwise, it would not be appropriate to disturb UN, at the right time who not only the tranquility and serenity of the sacred floated the idea of a modern Lumbini garden and Mayadevi temple. but also put it into motion by forming the International Committee for the Earlier, policy makers and visionaries Development of Lumbini under Nepal’s including U Thant referred to also adopt own stewardship. What else could he tourism not for the sake of making this have done. It was another good fortune to place a resort or something of that sort for
sirjanĀ 51 promoting tourism but for its and sufferings through meditation and self-sustainability. It was seen clearly prayers would find the right environment by all involved in the development of in Lumbini; and yet others who search Lumbini that Nepal, an impoverished for peace in themselves, their societies, nation still struggling to make ends countries and globally would find scores meet of its people, would have hardly of like-minded persons from all over the any surplus resources to develop and world. maintain the sanctity of Lumbini thus the element of tourism. What it needs now is to develop the right institutions, facilities and trained Architect Kenzo Tange wanted the manpower to support the needs of the government of Nepal to integrate needy. Lumbini Buddhist University Lumbini Master Plan into wider economic can be developed, besides the present context and regional development plan teaching, into a place for peace discourses of Gandaki-Lumbini area. He wanted hosting regular seminars and conferences development of educational, health for peace at all levels; National, regional and cultural facilities, having good and global. The United Nations, with access from regional artery, the its present Secretary General Antonio Taulihawa-Bhairahawa Highway. It is Guterres, can set up a peace center at never too late to start a good thing for the Lumbini in collaboration with Lumbini welfare of the people, and obviously by Buddhist University and Lumbini serving the people you serve the great Development Trust. Nepal’s and other Buddha. research centers around Lumbini (India, Sri Lanka, Japan, Thailand, Korea etc.) For all that counts, Lumbini is destined can join in a new endeavor of better to serve the entire humanity and without understanding of Buddha’s message any bias. It is a unique place that can of lessening sufferings and pains from satisfy the needs of three distinct human beings through various means categories: Those who believe in Buddha including meditation. as god are welcome to have a face to face with the Tathagata in every inch of the Nepal’s 'Lumbini Research Center for lumbini garden; Others who come to learn Understanding and Peace' is hosting an Buddha’s ways of getting rid of life pains international conference in December 2019
sirjanĀ 52 for an extensive discussion on peace as a humble start for creating awareness of the worth of Lumbini’s Third Eye.
References
Allchin, Frank Raymond. 1969
Cunningham, Robin. 2019
Dixit. 2019
Giri. 2017
Nishimura, Yukio. 2019 Dr. Binod P. Bista
Rai. 2019 Of about 46 years of professional experience in Tsiang. 629 AD the fields of development, education, corporate governance and international relations, https://lumbinidevtrust.gov.np/en/home/album/ Dr. Binod P. Bista has given focus on gallery/all bilateral, regional and international affairs http://www.doa.gov.np/downloads.php?id=20# in past 29 years. In addition to serving in the capacity of Deputy Permanent Representative of Nepal to the United Nations (NY) in the latter part of 1990, he spent five years in China as Director of Research and Chief Economist of Boao Forum for Asia (BFA/2002-2007). Earlier, Dr. Bista served in the office of Nepal’s Prime Minister as foreign policy specialist (1995). Currently, he is a convener of ‘Immediate Neighborhood and Neighborhood Relations Committee’ of Nepal Council of World Affairs, and a visiting faculty of Institute of Crisis Management Studies (Tribhuvan University, Nepal). He serves as Secretary General to Nepal based Lumbini Research Center for Understanding and Peace. He is also a Vice Chairperson of Clean Perspectives, a Nepal based think tank engaged in advancing Nepal’s relations with its closest neighbors, India and China. Dr. Bista is a regular participant of Education Forum for Asia. Dr. Bista has obtained a Bachelor of Architecture degree (Mumbai, India), Masters of Business Administration (Atlanta, US), and a Ph.D. (Management with Peace Research Study from BHU, India).
sirjanĀ 53 sirjanĀ 54 Symbolism behind Art and Colour denoted on the Buddhist Prayer Flags Dr. Poonam R. L. Rana
Abstract Sacred Prayer Flags of different colours and symbols are not just decorative pieces. Symbols have more deeper meaning and the attached intangible beliefs than their mere outer creativity. Each and every colour and objects symbolizes good fortune, health, happiness, protection. The prayer flags are very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. Hence the painted or printed objects and colours are of great values to humanity.
Key words : Sacred prayer Flags, Symbols, Colours
Introduction common purpose, they probably began to use some objects as a symbol denoting Merriam Webster Dictionary defines common sentiments as a medium of symbolism as an art of practice of using common force." symbols that expresses the intangible aspects. Art is a part of life an activity History of the intangible beliefs that has meaning and can be expressed in associated with the prayer flags various ways. All aspects of religion have An interview with Vikshu Ugesen symbolic values. Buddhist religion is no (White Monastery, Baudha) was of the exception. opinion that the history of the prayer Buddhist prayers flags flags dates back to thousands of year. Its origin started during the pre-Buddhist The sacred prayer flags are not just era. The intangible beliefs exist that a pretty coloured piece of cloths that the Shamanistic Bonpo priests during have strange writings. Prayer flags are pre-Buddhist era, used either plain or considered auspicious device that is coloured cloth flags with symbols for said to mingle with the energy of the the purpose of healing while conducting wind, and harmonize the surrounding ritual oriented ceremonies. environment. It is believed to bring about The Buddhist religions of Tibet were oral happiness and good fortune among all traditions; writing was apparently limited living beings. to government bookkeeping. On the other Encyclopedia Britannia views, "When hand the very word “Bonpo” means — people settled and gathered together for “one who recites magical formulas.” Even
sirjanĀ 55 if no writing was added to the plain strips of cloth it is likely that the Bonpos painted sacred symbols on them. (Dian 2003 ) Some symbols seen on Buddhist prayer flags today undoubtedly have Bonpo origins, their meaning now enhanced with the deep significance of Vajrayana Buddhist philosophy.
Local belief exists that the Nepali sutras were written on cloth termed as banners and were spread to other areas as ' prayer flags' ( Baker, Prayer Flags, p 13)
There are stories now termed as myths relate that Lord Gautam Buddha's teachings were written on the banners and then carried to different regions, and it reached Tibet and developed as flags by 1040 CE ( Common Era) and its printing on cloths began by Atisha 1054 and spread to Tibet and Nepal.
There are tales that the monks carried banners of Buddha's teachings while they travelled, to show that they believed in 'ahimsa'. can affect the cosmos while Sutras are directly obtained from Buddha in course Another interesting legend is that in order of discourse. One short form of Sutra is to pacify the free flowing aggressive Dharani (powerful magical formulas). spirits the King of Tibet invited Guru Example praises to the twenty-one Taras. Padmasmbava who was able to control The long life flag and the white umbrella majority spirits but few still remained are based on sutra. While prayers semi-controlled. It is said some of the comprises of all other texts written on the mantras on these flags were composed by flags. Guru Padmasmbava himself to pacify the spirits form doing evil. (Wise, 2002) Symbolic art on Buddhist prayer Text on the Buddhist prayer flags flags Symbols have deeper meaning and In the 7th century King Stron Tsen Gampo attached intangible beliefs, than their mere sent his ministers to learn Sanskrit and outer creativity. Buddhist religion and the the Tibetan script. The text inscribed associated prayer flags are no exception. or written on it are of three categories: The painted or printed flags are not only Mantra, Sutras and Prayers. pretty piece of coloured cloths. It has Mantras are power laden syllabus that interesting intangible beliefs attached to it.
sirjanĀ 56 Dhvaja: symbolizes victory of Buddha's teachings
Deer: symbolizes the first preaching of Buddha held in the deer park at Saranath.
Naga: symbolizes pre-Buddhist fertility rituals and it is regarded as the protector of Buddha and Dharma.
Triratna: denotes Buddha, Dharma and Samgha.
Stupa: symbolizes the universe, and grave where the relics of the holy one are placed, and therefore, from 'Chita' emerged the Chaitya. (Clark) The eight auspicious artistic symbols and others portrayed on The other symbols painted or printed the flags on the flags and the Intangible aspects attached are : Umbrella/Parasol/Chattra: made on the p r a y e r fl a g s a n d i t s y m b o l i z e s a s t h e – The Wind Horse (Lung-ta) protector from all evils. – The Eight Auspicious Symbols (Tashi Targye) Treasure Vase: symbolizes the fulfillment of spiritual and material wishes. – The Vajra (Dorje) – The Four Dignities Golden Fish: brings about happiness and being saved from the sea of suffering. – The Union of Opposites (Mithun Gyulgyal) Lotus: denotes symbol of purity and – Deities and Enlightened Beings spiritual enfoldments. The Wind Horse (Lung-ta) Conch Shell: depicts or symbolizes enlightened teachings of Lord Buddha. The wind horse is a mythical creature, from pre-Buddhist era, that could fly Endless Knot: symbolizes meditative faster than the wind. Lung-ta is uplifting mind and knowledge. life force (energy). The wind horse is Victory Banner: denotes victory of painted or printed on the centre of the wisdom over ignorance and overcoming flag. The outside corners of the flag of obstacles. are guarded by four animals Garuda, Dragon, Tiger and Snow Lion. This is Dharma wheels/Dharma Chakra: denotes the most favorite of the prayer flags. the eight fold paths of Buddha. This flag denotes 'wish fulfilling jewel of enlightenment'. It symbolizes good Beside the eight auspicious symbols one fortune. The intangible belief exists can see other symbols such as: that if the Lung-ta is good then good
sirjanĀ 57 opportunities comes one's way, but if Lung-ta is low then one has to face many obstacles. The belief persists that the wind Horse carries away the obstacles and brings good fortune no-wonder it is regarded as the 'Wish-Fulfilling Jewel. It is further believed that the speed of the wind and the strength of the mythical horse helps to carry the prayers from earth to heaven. The eight auspicious symbols (Tashi Targye) to it as the 'true reality'. It is believed to be The eight auspicious symbols comprise of the essence of everything. that exists. The umbrella/parasol/chattra, treasure vase, Buddhists believe that this pure emptiness golden fish, conch shell,endless knot, is imperishable. lotus, victory banner, and dharma chakra. The four dignities: The four dignities These eight symbols are of great value on the four corners of the prayer flags to the Buddhists and Tibetans. These are Garudas, Tiger, Dragon and the eight symbols have been mentioned in Snow Lion.with the Wind Horse on the ancient Pali sutra and other religious the center. The Buddhist sutra view Buddhist texts. These eight symbols that these dignities signify qualities signify good fortune and protect us from like awarness, vision, confidence, joy, evil. humality and power that are necessary for The Vajra (Dorje): Vajra is another enlightenment. auspicious symbol of the Buddhism that Garuda represents the elements of fire is painted or printed on the prayer flags. and it symbolizes strength and it is a In the Buddhist religious sutra Vajra protector against negative forces of the symbolizes indestructibility. Sutras refer Naga spirits that may cause disease.
sirjanĀ 58 Dragon on the flag save-guards people from slander and helps to improve their reputation.
Snow Lion is painted or printed towards the East corner of the flag,It is said to represent joy and happiness and free mind.
Tiger is depicted on the southern corner of the flag and it symbolizes, confidence , discipline and modesty. The union of opposites (Mithun Gyulgyal) The union of two opposite's shows Garuda and Snow Lion who were mortal enemies were joined with Snow Lions just pretty adornments but are of great body and Garuda's head and wings. symbolic values. This was a symbol to harmonize the The five colours are associated with environment. These unions of opposites five elements earth, sky, fire, water and are depicted on the victory banner to air. The red colour denotes fire, blue remove disharmony and disagreement. represents sky and space, green water , Deities and enlightened beings yellow earth and white symbolizes air, wind and cloud. In the Buddhist religious texts it has been mentioned that in Vajrayani Buddhism Blue signifies loving kindness, peace and deities are not gods but are represented universal kindness. Yellow denotes the as aspects of enlightened mind. The middle path, avoiding the extremes, and enlightened mind is based on the three emptiness. Red represents blessings of aspects compassion, wisdom and power practices, achievements, fortune, wisdom basically represented by Avaloketshwor, and dignity. White denotes dharma Vajrapani and Manjushree. Beside these and purity and orange colour signifies the sacred Buddhist flags may have teachings of Buddha and wisdom. paintings or prints denoting Gautama. The Buddhist texts also associates these Buddha, Padmasambava and Milerpa. colours with "Pancha Dhyani Buddha" The enlightened beings on the flags — Vairochana, Akshobhaya, Amitabha, spread good feelings, peace and harmony. Ratnasambhava, Amoghasiddhi. (Wise, 20020) Virochana denotes space and is depicted Symbolic colours on Buddhist in white colour and occupies the center prayer flags place The coloured Buddhist Prayer flags of Amoghashiddhi represents air and is red, blue, yellow, green and white are not shown in green colour and occupies the
sirjanĀ 59 northern niche of the stupa. Spontaneous accomplishment for quick wish fulfillment. Amitabha symbolizes fire and is depicted in red colour and has placement on the Green with yellow border prayer flag: western niche of the stupa. Green and yellow border prayer flag is praise to the twenty-one Taras — Ratnasambahva denotes earth and is Compassion, with Green Tara, in the depicted in gold or yellow colour and center that represents the active energy of occupies the southern niche of the stupa. compassion she is considered as a mother Akshoybhaya represents water and is who offers aid and protection. The texts depicted in blue colour and occupies the are the invocation to the twenty-one Taras eastern niche of the stupa. (Clark, 2008) - each portraying a different aspect of compassion. Blue with red border prayer flag: The blue and red border prayer flag has its Yellow with green border Prayer Flag: own symbolic value. It denotes good The yellow with green border prayer health and long life (Tsa La Nam Sum). flag denotes Gyaltsan Semo ~ Victory This prayer flag portrays the deities of over Obstacles. The texts on the flags are long life: Amitayus (Buddha of limitless associated with mantra or invocations life), White Tara (peaceful health), and for Victory. There are also mantras for Vijaya (victorious protection). The text Padmasambhava, and Tara - ending with on it has many prayers and mantras for 12 year symbols (a complete cycle), so as health. This appears on the blue vertical to make the Victorious energy cyclic. In print flags the center flies the Wind Horse of good fortune with the corners protected by the White with blue border prayer flag: uplifting energy of the 'Four Dignities'. White with blue border prayer flag raises good fortune by purifying negative Beside all this there are pole flags also karma. It has Vajrasattva and consort in termed as 'tall flags' (Dar-Cho). The flags the center with the Four Dignities in the come in the traditional five colors with corners. borders and "tongues" (streamers). All the pole flags and their tongues are hemmed There are prayers dedicated to the five for durability. Buddha Families, Vajrasattva, Manjushri, Avalokiteshvara, Vajrapani, Tara, and In conclusion it can be said that when Guru Rinpoche. It also has repetitions of raising prayer flags one must have pure, Vajrasattva's hundred syllable mantra. good feelings and proper motivation. If This is dedicated to Vajrasattva and is an individual tries to put up the flag with said to purify one's karma. an ego-centered attitude such as “I will benefit from doing this” then the benefits Red with yellow border prayer flag: obtained will be small . If the attitude Sampa Lhundrup — Wish Fulfillment is “May all beings everywhere receive Flag. In the center sits Guru Rinpoche benefit and find happiness,” the virtue showing the gesture that subdues generated will increases the power of the negative forces. The text is the short prayers. version of Padmasambhava's Prayer of
sirjanĀ 60 Both Buddhist including Tibetan considers prayer flags to be very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. The prayer flags should not be placed on the ground or thrown away as trash. An interview with Vikshu Ugensen said that while disposing of old a prayer flag, it must be burnt; so that the smoke may carry their blessings to the heaven. Thus it can be Dr. Poonam Rajya Laxmi Rana concluded that there is symbolism of art and colour within the painted and printed Dr. Poonam Rajya Laxmi Rana is an Associate sacred flag. Professor in the Department of Nepalese History, Culture and Archaeology, Tribhuvan University, Kirtipur, Kathmandu, Nepal. References She holds Masters Degree in Sociology and Bernard, Theos, 1939/2007, Penthouse of Gods, a Environment and Ecology and Doctorate in Pilgramage into the Heart of Tibet & Sacred Nepalese History Culture and Archaeology. City of Lhasa, NY Publishing House. She has participated in various National and Barker, Dian (2003). Tibetan Prayer Flags.London, International Seminars and Conferences. Connections Book Publishing House
Timothy, Clark, 2008, Radient Heart, The Prayer Flag Tradition, NY, Prayer flag.com.
Tad Wise, 2002, Blessings on the Winds, Mystery & Meaning of Tibetan Prayers Flag, San Francisco, CA. www.sacred flags.com
sirjanĀ 61 King Rana Bahadur Shah listening attentively the music - presented by musicians from Mugal emperor Akbar's court. Picture courtesy: Narottam Das Indira Shrestha Guthi, Kathmandu.
sirjanĀ 62 Classical Music in the Shah and Rana era: 1768 - 1951 A.D. Dr. ramesh pokharel
Abstract The tradition of classical music was more justified during the Shah and Rana Dynasty’s ruling. During the time the cultural import from neighboring India and the wide appreciation of music by kings and the Royal Palace of Nepal show the influence of Classical music among the Shah and Rana families. Some Rana Prime Ministers wanted to promote classical music but in practice most music was limited to the Royal palace and Rana family. Music Education, as well as all kinds of formal education were banned for the citizens of Nepal during the Rana regime. Those who were close to the Rana family and the palace were supposed to learn classical music from the patronized Ustaad /Pundit of the Palace and private teachers as well. This paper attempts to discuss the overall developing trends of classical music during Shah and Rana periods of Nepal in relation to development, extension and its practices in Nepalese society. All evidences have been taken from several documentaries. Whatever we practice as classical music today has taken the step of development in those periods. The evidence shows that especially raga based different Music genres were practiced and flourished in those periods.
Key Words Khyal: Imagination; elaboration of a raaga with lyrical composition consisting of two Gawaiya: Singer of Hindustani classical stanzas. music at the court of Shahs and Ranas Patar: A clan whose profession is music Gharana: Gharanas are also called styles. and prostitution as well These schools or Gharanas have their basis in the traditional mode of musical Raaga: Modal scale, a musical structure training and education. of five or more notes with an identity and mood. Guthi: A house where musicians play instruments. A kind of ‘trust’ founded for Ustaad: Guru, honorary title given to a musical activities. learned musician. An expert of classical music addressed to both Hindu and Kaswi: Female dancer or musician of folk Muslim Musicians in Nepal. or semi classical music. Introduction Kathak: A story teller. A caste of professional musician and dancers in Being the universal language of emotion eastern Uttar Pradesh; also, the main form of artistic souls’ music can’t be confined of north Indian Classical Dance. in a limited geographical boundary,
sirjanĀ 63 however, it varies from place to place, played in temples and shrines and the culture to culture and generation to commencement of Bhajan mandali generation. For centuries the people of the (hymn singers) were originated in the South Asia have always studied for truth, Malla period. The tradition of classical mysteries and nature. music was more justified during the Shah Dynasty’s ruling. Cultural exchange Music in this sub-continent is said to be from the neighboring nations like India one of the oldest unbroken traditions. were widely appreciated by kings and The origin of this system goes back to the Royal Palace and goes to show the the Vedas. Many popular legends have influence of classical music amongst the grown up concerning the origins and Shah families. The tradition of classical development classical music in the music and oral education system started continent though specific reference of from the Royal Palace of Shah Dynasty music has been given in Vedic Scriptures. (1769-1950 A.D).
Nepal has a history since the time of North Indian Classical Music began to the Lichhavi period. The classical music flourish in Nepal around 1800s, when was able to grow, develop and improve the ruling Rana family imported Indian during the Lichchavi, Malla and Shah musicians to perform in their court. eras as well as Rana Period. The Lichhavi Kathmandu was known as an important (185A.D.-733A.D.) kings placed education center for classical Music cultivating as “optional” not “requisite” and so as frequent exchange with similar centers in with the musical education. General the Indian subcontinent (Moisala, 2000, education and music were limited to p. 697). some aristocratic people at the “gurukul” or with the private tutors (Sharma, 1990, After the rise of Rana rulers in Nepal p. 1). During the Malla period (1382- some of them like Bir Shamsher, Chandra 1769A.D.) the kings were more liberal Shamsher, Bhim Shamsher, Juddha than the Lichhavi time. the education Shamsher wanted to promote classical system followed the same as the Lichhavi music but in practice, all sorts of music period. The system was managed by the was allocated in the Royal palace and private and public institutions like Guthi, Rana family. Music as well as all kinds Vihaar, Math, Gurukul and some of them of formal education was banned for the were supported by the King. This was citizens of Nepal during the Rana regime the golden period of music and arts and (1846-1951A.D.). Those who were close music was widely accepted by the kings to the Rana families and the palace were and upper class of people. allowed to learn classical music from the private teachers of the palace. History shows that despite abundance of reports relating to the Hindu classical Shah Period (1768AD-1951AD) music found in Malla period Nepalese music was said to have reached its The tradition of classical music was height of development. Numerous more justified during Shah Dynasty’s Jatras (festivals), dramas observed in rule. Cultural exchange from the Kathmandu valley, colourful dances, neighboring countries like India, and varities of musical instruments a wide appreciation of music and its
sirjanĀ 64 professionals by kings and the Royal Prithivi Narayan Shah had the vision of Palace show the influence of classical a nation builder who wanted to unite all music. the races and fractions scattered in the Himalayan region. Therefore, his first The tradition of classical music and act after settling himself in the splendid oral education system started from the Malla palace in Kathmandu was to assure Royal Palace of Shah Dynasty. The Year safety to the important administrators 1769 marks the beginning of modern and traders of the valley. He engaged Nepalese history, ending the Malla rule in master craftsmen for three principal cities Kathmandu valley and installing the Shah (Kathmandu, Bhaktapur, Lalitpur) and Dynasty with the invasion of Kathmandu also of Kirtipur to build separate blocks valley by Gorkha King Prithivi Narayan of building attached to the Nasal Chowk Shah. The Shah Dynasty initially ruled the Durbar of the Malla kings. Similarly he kingdom of Gorkha. invited dancers and musicians to the palace and encouraged Nepalese arts and To begin with the reign of the king Ram crafts (Rana, 1995, p.81). Shah, Gorkha state flourished in art and culture. It is said that, the great Indian The Gorkha Kings at Kathmandu engaged Musician Niyamat Khan (around 1750 themselves in building some scattered A.D.) had come to Gorkha and spent time temples, bringing Tibetan bronze images spanning over one and half years. At of considerable size in to the valley, that time he used to perform there. Once, patronizing Newari dances and dramas, he also presented a composition “Raga folk dances from the hills and performing kaushi ki kanhada” in the Gorkha palace elaborate religious rituals in their Durbar and impressed the king and the courtiers by incorporating practices prevalent with his arts (Regmi, 2003, p.186). among different sects and tribes in Nepal for the growth and development of This evidence suggests that the foreign cultural activities. scholars and classical musicians had already been in the Gorkha Palace King Pratap Singh Shah, son of Prithivi before the unification of Nepal. In a Narayan Shah was also a great music divine sermon, King Prithvi Narayan lover and himself a good singer. He Shah advised the people if they sought initiated a custom of installing the entertainment, they might enjoy music wooden pole at Hanumandhoka palace and dance of the Newars (an ethnic for Indrajatra instead of Nuwakot Palace. community) of the Kathmandu valley. All the courtiers had to be present for According to Babu Ram Acharya, an a week to celebrate the festival amid eminent historian, there used to be Indian fireworks and other ceremonies and dancers and singers in the palaces of the shows. A special type of singing and Malla kings. On the contrary, Prithivi dancing marked the ceremony. It is said Narayan Shah gave priority to Nepali that the festive tradition continued till songs and dances because he feared that 1951 and even till today it is exist in some the presence of foreign musicians in the forms. Royal court heighten the possibility of leakage of state secrets (Acharya, 1965, King Rana Bahadur Shah, son of Pratap p.139). Singh Shah was a good musician and
sirjanĀ 65 Goddess Saraswoti singing in the royal court - a painting during king Rana Bahadur Shah's time. Note the artist's effort to depict and imagine the ambience inside the famed Hanuman Dhoka Palace Courtyard.
Picture courtesy: Narottam Das Indira Shrestha Guthi, Kathmandu. music lover too. He enjoyed music by the superintendents for musical activities bringing foreign musicians and dancers. like Kathaks named Prabhu Dayal, Shiva He also became expert in playing sitar. It Patar and singer Panjabi Saraudi on a is also said that Rana Bahadur Shah learnt monthly salary of Rs. 25 and Rs.125 to music from Indian artist Nirmal Khan and singer respectively (Regmi, 2003, p.194). Jafar Khan. Even at the time of King Surendra Bir Scholar Dilip Kumar Mukhopadhyaya Bikram Shah, a group of Muslim singers has mentioned that Karim Sen, the and dancers from India used to come descendent of Tansen, also lived in Nepal in the palace for entertaining the king. in his later days and King Rana Bahadur Laxmandas, the son of Harihar Mishra appointed him as a court musician. He was born in Nepal and lived in Kaski was in Nepal for about six years before but he stayed in India for a long time. his retirement. He had presented a special He was called for by king Surendra and Tanpura known as Tansen’s Tanpura to employed as an entertainer and tutor Rana Bahadur Shah (Regmi, 2003, p.192). for the trainees. It is said that a drama After Rana Bahadur Shah, the period of Named ‘Lalhira’ in Hindi was played to King Girvana Yuddha Bir Bikram Shah entertain Queen Rajya Laxmi Devi. And and Rajendra Bir Bikram Shah, many this drama is still famous as a ‘lalhira’ musicians were appointed at the palace as dance in Patan which was copy of the
sirjanĀ 66 Indian drama (Upadhyaya, 1998, p.363). religious occasions during Shah Period Similarly in the period of King Prithvi Bir can be drawn from various religious Bikram Shah, many musicians and artists performances conducted by the Shah from neighbouring country India like Kings. The kings used to appoint Nanak Mishra, Kunj Bihari, Nuruddin instrument players and offered musical and Manikman lived with king’s palace in instruments on special occasions. Narayanhiti (Thapa, 1997, p. 47). Rana Period (1846–1951) The first Mishra musician from Banaras to stay in the palace was Ayodhya Prasad Rana period is the time when the control Mishra. His son Nanak Prasad, grandson of the government was laid in the hands Jhumak Prasad and great grandson have of the Rana family. Jung Bahadur (born in hugely contributed to the Nepal’s history 1817 A.D.) came into power in 1846 and of music. The special feature of this appointed himself as the permanent prime gharana is that they were well known for minister. He was given the hereditary all kinds of music, dance, vocal and tabala title of Rana. Under the Ranas, Nepal playing (Regmi, 2003, p.192). maintained good relation with the British. When the British withdrew from India in It is said that music as well as classical 1947, the Rana family was exposed to new music were appreciated during the period dangers. They faced a revolution in 1950, of Shah Regime. The musical environment and in 1951, under the pressure from was created in Shah King’s palaces and India, Nepal’s King Tribhuvan took the courts. Most musicians came from India throne with restored sovereignty. and they were fully patronized by the then kings. Even some kings were also After the rise of Rana ruler in Nepal musicians and they loved music very some of them like Bir Shamsher, Chandra much. Shamsher, Bhim Shamsher, Juddha Shamsher wanted to promote classical On the basis of the available documents music. The primary purpose of music in it is understood that Nepali traditional Jung Bahadur’s life was entertainment. music was greatly supported and He enriched the musical climate greatly in promoted by the Shah Kings. In their Nepal by not only supporting indigenous palaces, the maids were trained for Nepalese music, but by bringing in many singing traditional mangal dhun. The musicians from India. Guthi (trust) system supported music in temples and ensured that the religious As these Indian musicians were aspects of music flourished in a similar predominantly classical and semi- way of Malla period. classical musicians, a flourishing classical music community began to The Shah Kings encouraged music in form during Janga Bahadur’s rule. There traditional festivals such as Holi and are various expositions that show that in the temple’s daily pooja and aarati. with the political emergence of Jung This traditional music, played as it was Bahadur, Indian music instructors in temples and other public places, (Ustaad) melodist (gawaiya), dancers was accessible to all, not just those (nartaki) began to pour in to Nepal and inside the Palace. The use of music in until 1868 A.D. he even hired music
sirjanĀ 67 and dance troupes. With the advent of himself was also a good music lover. Jung Bahadur’s regime, Indian Ustaad, After the assassination of Prime Minister Gawaiya, dancers, Kaswi, Bai, Najari etc. Rannodip Singh, Bir Shamsher became began sheltering in Nepal. Jung Bahadur the Prime Minister of Nepal. He followed also employed performing artists like the footsteps of Jung Bahadur as a music Gawaiya, Sarangi player, Tawalchi lover and seems to have been even more (Tabla player) until around 1868 AD. It interested in classical music. is believed that with the fall of Nawab of Lucknow, the artists were brought in to It was Bir Shamsher who organized the Kathmandu by Jung Bahadur who offered historical Bagedi musical conference them Patronage. In his time period many (Vasant, 1999, page 480) that continued classical musicians were appointed in a till 1900 and brought many musicians monthly salary basis. from all over the Indian subcontinent into Nepal. In his time, Lucknow’s Nawab On his return from England in 1851 Jung Wajid Ali Shah, Dunde Khan were Bahadur brought English instruments. renowned Tappa and Khayal singers, who The use of piano, silvered instruments, sought refuge in Nepal in 1857. Likewise, and orchestral instruments were Tansen’s descendant Taj Khan, a Dhrupad introduced in Nepal after his famous visit. and Dhamar singer lived under the care A dance and music training centre had and support of Bir Shamsher. already been opened in Jung Bahadur’s Thapathali palace by 1848. A record of Bir Shamsher allowed a mosque to be 1851, says that Jung Bahadur had made built near his Palace and also allowed to necessary provisions for a training make a graveyard near Swayabhunath institute at his palace. The record has a area. In this graveyard, Taj khan and mention of names of 22 women and their Dunde Khan were buried (Jabara, 1989, respective remuneration (ranging from p.282). During this time, Inayat hussain Rs. 27 to 37). Khan, a khyal singer from Bareli, Dhrupad and khyal singer Ram Sebak Similarly, the names of 23 women from Manohar family of Varanasi, Veena receiving singing training and their and Pakhawaj Player Binakar Bhatta wages (Rs.26) are also mentioned there from Dakshinatya, Kanthe Maharaj of (Bhattarai, 1987, p. 214). After the death Ram Sahaya family from Varanasi, Khyal of Jung Bahadur, his brother Rannodip singer Haider Khan, Classical singer Singh (1877-1885) became the Prime and Kathak dancer Jagdeep Mishra from Minister of Nepal. Varanasi, Veena player Bande Ali khan, Dhrupad singer Gulam Hussain, Nepali During this time, the renowned musician ustad Nandalal, were also employed in Laxmandas, a descendant in Tansen’s the Bir Shamsher’s palace. maternal lineage was a music expert in Nepal. His disciples of stature were Apart from these renowned Indian experts of Dhrupad, Khayal, and artists, some Nepalese musicians like Prabandha. Thuli Hasina and Sangramsur Laxmandas, Pt. Birendra Keshari Bista, both good singers were also Pokharel, Pt. Dev Chandra Regmi were appointed in the court of Rannodip also employed in his Palace. (Regmi, 2003, (Mukhopadhyaya, 1970). Rannodip p.219). After Bir Shamsher, Dev Shamsher
sirjanĀ 68 became the Prime Minister of Nepal but Chandra Regmi. After Bhim Shumsher, he could not sustain himself in Power. Juddha Shamsher (1932-1945) became the Prime minister of Nepal. He also started During the Rana Prime Minister Chandra to promote the Nepalese musicians in his Shamsher (1901-1929) Melwa Devi, a Palace and other music activities. famous artist of Nepal and Bala Prasad, an Indian artist were employed in the During this time, the number of Nepalese Royal Palace. In 1927, an eminent Indian musicians and ustaad was seen to have Musician Omkarnath Thakur and his increased and were being venerated elder brother Ram Chandra also visited and rewarded in the place of foreign Nepal with a letter of recommendation musicians and ustaad. While visiting from Baroda’s Deewan Sir Manubhai India Juddha Shumsher donated 20- Mehta. 25 thousand Rupees to Rabindra Nath Tagore at Biswa Bharati foundation It is said that Prime Minister Chandra (Regmi, 2003, p. 234). Shamsher had welcomed them like Royal guests and also offered handsome After his renunciation of premiership in amount as a reward at the end of their 1945, his successors Padma Shumsher exceptional musical presentation (Thakur, Rana(1945-1948A.D.) and Mohan 1995, p.427). After Chandra Shamsher, Shumsher (1948-1950A.D.) could not do Bhim Shamsher (1929-1932) became the much substantial things for music during Prime Minister of Nepal. It is known their short and unstable rule. that Pt. Bishnu Digamber Paluskar also visited Nepal during this period Some Indian notable Ustaads and pundits with the purpose of getting donation who were patronized by the Shah and for promoting institutionalized music Ranas were Bala Prasad, Ayodhya education in India. Pt. Omkarnath Thakur Prasad Mishra, Nanak Prasad Mishra, was again invited in Nepal in 1930-31 to Jhummak Lal Mishra, Bade Ram Das, perform classical music at the wedding Mustaq Hussain Khan, Goolam Rasool ceremony of the daughter of Mohan Khan, Kanthe Maharaj, Bal Krishna Shumsher with Charkari Maharaja of Buwa Ichalakaranjikar, Pratap Maharaj, India (Regmi, 2003). Prasiddhu Manohar, Baladev Sahaya, Raja Bali Khaan, Alladiya Khan, Ram Krishna It is also said that Pt. Thakur received the Buwa Baje, Shiva Pashupati, Fida Hussain title of “Sangeet Mahamahopadhyaya” by Khan, Khem Chandra Prakash, Bindadin Prime Minister Bhim Shumsher during Maharaj, Mohan Prasad Shivadhar, Ali the reign of King Tribhuvan Bir Bikram Mohammad Khan, Nanku Miyan, Beeru Shah (Thakur, 1995, p.436). It is said that mishra, Inayat Hussain Khan, Goolam Bhim Shamsher didn’t have much interest Mohammad Hussain Khan, Dunde Khan, for music but most of family members Taj Khan etc. like sons and grandsons were deeply interested in classical music especially Some notable Nepalese classical musicians in Sitar. Most of them used to take Sitar who also got the height by learning lessons from Nepali renowned musician and doing musical accompaniment Pt. Krishna Chandra Regmi, Dev Chandra with Indian ustaad and Pandits are, Regmi, Purna Chandra Regmi and Satish Ustaad Nandalal, Bikram Raj Panday,
sirjanĀ 69 Ustaad Bhagat Krishna, Ustaad Badri Prime Ministers which also developed Shrestha, pt. Ganga Dutta Parajuli, the classical music tradition of Nepal. Ek Raj Shumsher,Yajya Raj Sharma, Between 18th and 20th century massive Dwarika Bhakta Mathema, Ram Bahadur political changes were taking place in Tandukar, Laxman Shumsher Ja. Ba. India when and new rulers were coming Ra., Melva Devi, Ram Nath Tandukar, from Europe. Rana Hari Babu, Ram Prasad Raya Tharu, Master Mitra Sen, Master Ratna Most of the Indian states fell under the Das Prakash, pt. Dev Chandra Regmi, British rule. The British rulers had no taste Suchet singh Kanchha Ustad, Ustaad for classical music. The adverse situation Govinda Nepali, Ustaad Suchet Man worsened the status of Indian classical Amatya, Tirtha Raj Manandhar, Bakhat musicians. Due to that they desperately Bir Budhapirthi, Manpriya Ditthini, sought safe kingdoms where their talent Debendra Shumsher, Trailokya Shumsher could be honored and appreciated. It Rana etc. (Regmi, 2003). was in pursuit of honor and security that Indian musicians poured into Nepal. Some more renowned artists were Indra They not only performed and entertained Gurung, Dr. A. M. Pathan, Karna Jung in the Rana and Royal Palaces but also Sijapati, Kali Prasad Sharma, Kali Bhakta taught music to the kings and Rana family Panta, Kanchha Buddha Bajracharya, members as well as some interested Krishna Chandra Regmi, Khaje Dura, Nepalese music lovers who were closed to Khushbu and Sulabha, Keshar Man Shah and Rana family. Tuladhar, Gangi Kaswi, Gunna Kaji, Chet Nath Sharma, Jaya Dev Ditiya, References Jaya Prithibi Bahadur Singh, Jhangal Acharya, B. R. (1965). Brief Descriptions of Nepal Gurung, T.N. Rana, Dev Chandra Regmi, Part-I. Kathmandu: Pramod Shamsher and Dharmananda Rajopadhyaya, Narayan Nirbikram pyasi. Prasad Shrestha, Pushpa Shumsher Bhattarai, S. C. S. (1987). Some Contexts Depicting Rana, Bakhat Bir Budha pirti, Bajir Man, the Situation of Music and Dance During Jung Bahadur Singh Baral, Buddhi Man Bahadur’s period. Nepali Literature. Chaudhari, Bekha Maharjan, Bej Lal Kathmandu: Royal Nepal Academy. Chaudhari, Bhedi Kharke Sahila, Bhairab JBR, P. S. (1989). The Descriptive Facts of Rana Prime Bahadur Thapa, Manju Bajra Bajracharya, Minister. Kathmandu: Parambir Shamsher. Moti Ram Bhatta, Ram Bahadur Tandukar Moisala, P. (2000). Nepal, South Asia: The Indian etc. (Mukarung, 2014). Subcontinent, The Garland Encyclopedia of World Music (Vol. 5). New York and London: Conclusion Garland Publishing, Inc. During the Shah and Rana periods Mukarung, B. (2014). Nepali sangeet ko abhilekh. of Nepal Classical music climbed the Kathmandu: Palpa Books. ultimate height of progress strengthening Mukhopadhyaya, D. (1970). Musician in the its root very strong. Many top most Nepalese Palaces. Sangeet Sarita-1 (Translater ustaads and pundits from neighboring Haribhakta Katuwal). Kathmandu country India visited Nepal and some Rana, J. (1995). Nepal: a Concise History of the of them lived permanently in Nepal Cultural Scenario of the Himalayan kingdom. patronized by Shah Kings and Rana New Delhi: Nirala Publications.
sirjanĀ 70 Regmi, D. C. (2003). The History of Music in Nepal with Special Reference to Classical Music during the Rana Period (1846-1950 A.D.). (Ph.D. unpublished thesis), Delhi University.
Sharma, Gopi Nath (1990). The Impact of Education during the Rana Period in Nepal: Himalaya, the Journal of the association for Nepal and Himalayan Studies: Vol-10, issue-2, Article 6. 3-7 Retrieved on September 6, 2015, from http://digitalcommons.macalester.edu/ himalaya
Upadhyaya, K. (1998). Drama Dictionary of Nepalese Literature. Kathmandu: Royal Nepal Academy. Dr. Ramesh Pokharel
Thapa, H. (1997). Nepali Natya Parampara. Prajna. Dr. Ramesh Pokharel is an Associate Professor Kathmandu: Royal Nepal Academy. of Tribhuvan University. He has completed his Bachelor of Law from Tribhuvan University, Nepal Thakur, J. D. S. (1995). Indian Music. Culcatta: and B.Mus. M.Mus. & Ph. D. in Vocal Music from Research Academy Banaras Hindu University, India. He is a good performer of classical, semi-classical and light vocal Vasant, (1999). Sangeet Visharad. India: Sangeet music. At present he is Campus-Chief of Lalitkala Karyalaya, Hatras Camus, Ttibhuvan University. www.britannica.com
sirjanĀ 71 Manuj Babu Mishra. Self portrait. Pen & ink.
sirjanĀ 72 Way of Being Saroj Bajracharya
Abstract This write up aims to understand the relationship between the ancient and the modern art in relation to the foundation of the unbound state of mind that has been flowing from primitive time in Nepal. State of mind is generally defined as the mental state or mood of a person at a particular time. But in this context, time is an extended and stretched playground for artists where they have sometimes connected and at times disconnected from their primitive native continuity of individual aesthetics and collective social beliefs. And this connection and disconnection from what appears as the ancient state of mind is rather the elementary characteristics of our society that has merged with western propagated modernity in terms of arts as well as science; we have local modern art façade which got fueled around the mid 19th century in Nepal and combusted in the mid 20th century here. When one enters into this creative façade, one can still feel the unbound state of mind that emanates mystic, relaxed and harmonious qualities in some of the artworks by local artists. When these qualities unify with popular styles of expressions in Nepal, we coincide with the Nepaliness in a work of art of recent times.
“I think I’ve had a permanent affair with though he was depicting landscape, the the art of the past and it goes hot and emotion and the intellect he scattered cold… The truth is, the art of the past is in projecting the image and colors were living; the art of the past that has died is derived from his internalization of the not around.” external reality. Thus, this piece by the artist was riveting and captivating. — David Hockney, (1976 A.D.) Landscape paintings in abstract approach The date is some day of 1995 A.D. when I have been depicted by various artists was in front of a Krishna Manandhar; at in the past. In that sense, Manandhar’s Sirjana Contemporary Art Gallery; these concept in art cannot be considered pieces of vivid canvases that dated 1970s original. But it sure is genuine because A.D. were catalysts in introducing and the visual is not only a combination of encouraging the modern art in Nepal. colors and forms; it is his emotion, the The paintings by Manandhar depicted intellectualization of his experiences a landscape of the green earth from an blending with his mature creative senses aerial view with daubs of yellows, reds and bit of browns as well. David Hockney mentions in the opening of this text that nothing can completely His style was genuinely authentic as he disassociate from the past. Hence, no art painted though the accumulated personal can be considered original in its content experiences that none other could have as there are always several components brought together in a way he did. Even influencing and inspiring it.
sirjanĀ 73 Krishna Manadhar. Rocks. 1975. Oil on canvas. Therefore, art can be a great example to genuine or authentic when you are true make us understand that things including to yourself and your experiences when art can be genuine but not original in its you engage in some activities. And these content or concept. definitions fit in a work of art and artists also. According to the Longman dictionary, Originality is when something is The date is 2002 A.D. Manuj Babu Mishra completely new and different from is seated on the floor surrounded with anything that anyone has thought of his paintings, sketch pads and books. A before. However, the same dictionary scholar in his own right, his passion for says genuine is an authentic feeling, art is matched by a will to interact with desire etc. is one that you really feel, not the visitors at Hermitage, his studio. The one you pretend to feel. Setting in mind artist, disassociated from the world yet these definitions, nothing is original aware of his own connectedness with as everything, in one way or the other his surroundings, emphasizes the clarity relates to the past. However, things can be before and after he engages in a work of
sirjanĀ 74 Madan Chitrakar. Origin of species. 2008. Acrylics on canvas. 99 cm x 91 cm.
sirjanĀ 75 “Painting is the intermediate somewhat between a thought and a thing.” — Samuel Taylor Coleridge, Table Talk, 1827 A.D. Perhaps it is the intermediate that makes the thing and these thoughts genuine. It is 2008 A.D. and I am amidst silent yet very much expressive paintings by Madan Chitrakar at Siddhartha Art Gallery. The title of the exhibition by this veteran artist was The Unspoken where the artist depicted the friction between the past and the present. In relaying across his theme, he chose the traditional practices of Nepal and how they are transforming in today’s time and age. The artist comes from a great lineage of Chitrakars who were associated with a task of painting in the medieval times in Nepal. Besides being a painter, Madan Chitrakar is a researcher and a writer, passionate about excavating the past art of Nepal. Manuj Babu Mishra. Self portrait. Oil on canvas. And when he says that instead of searching for originality in a work of art, one should try to seek and see the art. He believes that nothing is original; authenticity in it; this very much affirms everything is a sequential outcome that art is a special expression that of something: be it living things, the happens due to the integration of various nonliving or emotions, situations etc. human experiences. Amongst some specific subjects, he also This was evident at one incident when usually painted anthropomorphic figures he was explaining how the Chitrakar or animal human hybrids to express his caste system came into being. According friction with the world situations. Many to him, Chitrakars were monks who artists from ancient times till modern were skilled in making illustration in the have painted such figures; yet the way ancient religious scriptures. Mishra dealt with these animal-human hybrid visuals had a very personal story After years of practicing this art for to it. He always appealed not to seek for the scriptures, the then authoritarian originality but understand the uniqueness figures recognized them as skilled in which the art and humans in general painters or Chitrakars. Even this clip of have born and brought up. He further history suggests that the evolution of clarified that in order to live the present, the Chitrakars is connected with various one has to understand the past; there is no incidents in the past and thus cannot sound without an echo.
sirjanĀ 76 be considered original. However, this historical information and the task they carried from centuries are undoubtedly genuine and authentic. Once an artist reaches to the understanding of the self through rigorous practicing of art s/he will know the connectedness of the self with the surroundings. When that happens, art becomes the process of emptying the self Saroj Bajracharya from the conditioning of the world. This is a moment when one feels rejuvenated, Saroj Bajracharya is an artist, writer and curator. unbothered of originality or imitativeness. He has been active in art for more than two decades. One is inspired by everything and vice He has been actively involved in many facets of art that include painting, writing, teaching, curating, versa. An artist simply realizes the self. organizing and coordinating art events and exhibitions. “Painting is a way of being.” - Jackson Pollock, interview with Selden Rodman, Various solo exhibitions, group shows and two 1956 A.D. books titled Future of History and A Concise Introduction to Nepali Modern Sculpture are to References his credit.
Dictionary of Art Quotations, Ian Crofton
Art Evolves: Nepali Modern Art, Saroj Bajracharya
Interviews with Mr. Krishna Manandhar, Mr. Manuj Babu Mishra and Mr. Madan Chitrakar
sirjanĀ 77 Chandra Man Singh Maskey. A Newar lady. c.1940. Oil on canvas. Picture courtesy: Prof. Dr. Santosh Man Maskey, Kathmandu. sirjanĀ 78 Dynamics of Contemporary Nepali Paintings Dr. Yam Prasad Sharma
Abstract 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 accommodate the alien forms. We can see how heterogeneous images, genres and cultures are criss-crossed within the paintings in the context of pervasive semiotic flow. The artworks present the dialogue of vision and textuality, tradition and modernity along with continuity and change making the work open-ended and plural having multiple significances.
Keywords: cultural encounter, created mainly for religious purpose like ambivalence, appropriation, plurality, worshipping, praying and meditating. alienation, inter-art The artworks are found in the form of manuscript illumination, paubha, pata Background and mural. The artists were guided by the religious iconography. Next types A tentative borderline of of early paintings attempt to represent contemporaneousness of Nepali arts the object and events of the world in can be considered from post-1950s. realistic mode. They are found in the Nepali paintings until the mid-twentieth form of portrait, landscape and still life. century are referential in religio-realistic Both types of paintings are referential mode and also everyday worldly ideas and representational although there are and events. They represent the objects, differences in subject matters and their characters and events of the Hindu presentation. and Buddhist mythologies. These referential artworks can be classified After the mid-twentieth century, we can in two types: religious paintings and see changes in Nepali art in terms of the paintings of worldly objects and contents and forms ((Singh 211). Nepali events. Religious paintings represent the artists have been exposed to various characters and events of the religious western art forms and techniques due texts. They are narrative, mystical and to the crossflow of people. The western didactic. These paintings have been influence can be found intense after
sirjanĀ 79 the end of Rana rule in 1950s. Nepali writes about this situation: In some artists directly encountered western art cases, the forms of western modernity forms because of traveling possibilities were imitated or copied, in some other and mass communication. The artists instances they were rejected as the non- have been exposed to various western western societies sought to protect the art techniques like impressionism’s forms of their own indigenous traditions. fragmented colors, lines, and rough In addition to these two cultural texture, cubism’s geometric shapes, responses of mimicry and indigenization, expressionism’s distorted images and a third alternative was also possible. This colors, abstractionism’s plural forms, consisted in a selective appropriation surrealism’s dreamlike images, abstract of the forms of both western modernity expressionism’s spontaneity and stress and native traditions in a production of on the process of creation, and installation what might be called hybrid forms in the and performance art’s intermingling of areas of music, economy, painting and painting with other genres of arts like literature. (22) sculpture, photography and literature (Malla 16-17). Contemporary Nepali artists created their own mode of expression exploiting Native Contents and Western Art Forms native motifs and western techniques. They used western techniques to respond Western art forms facilitated Nepali native subject matters. Contemporary artists to break away from referential Nepali artists are attracted toward plural representations providing the opportunity western art forms. But they are aware not to express their personal feelings and to lose their own native tradition. Abhi imagination in the process of creation. Subedi writes about contemporary Nepali Traditional Nepali artworks also paintings: Modern Nepali paintings influenced the contemporary artists. As do not necessarily depict the event and a result, referential native artworks and times of the transitional Nepali society. plural western art forms have interacted But they are certainly the expressions of and coexisted in contemporary Nepali the modern Nepali artists' response to paintings. The artists like Lain Singh the changing times, the changing values Bangdel, Ramandana Joshi, Uttam Nepali, and norms. The imagery is drowned into Manuj Babu Mishra, Shashi Shah, Batsa the abstract form. . . . The colored shapes Gopal Vaidya, Krishna Manandhar, and the brush strokes give the painting Pramila Giri, Shyam Lal Shrestha, Madan a pattern. The colors themselves, not the Chitrakar, Govinda Dangol, Shashi Kala images, spring to the eyes of the viewers Tiwari and K K Karmacharya along with and influence the mind (124-125). other contemporary Nepali artists have The distorted images, symbols and colors assimilated native themes and modern are more significant than mimetic figures. techniques in their paintings. Manuj Babu They express the artist's feeling and Mishra points out the changes in the art experiences. The forms and techniques scenario of Nepal after 1950: The political become more important than subject environment for the development of matters. The artworks are subjective art gradually turned out gNepali artists expressions of artist themselves rather appropriated the western techniques with than objective representations of the their own native art forms. Sanjeev Uprety
sirjanĀ 80 Tej Bahadur Chitrakar. Portrait study. 1927. Oil on canvas. Picture courtesy: Madan Chitrakar, Kathmandu.
sirjanĀ 81 Batsa Gopal Vaidya. Ganesh. 1989. Oil on canvas. external world. Some paintings present are successful in evolving their styles by only colors, lines and abstract shapes. The a selection of symbols and abstract forms. art form stands for its own sake. . . As such very few artists influenced by Nepali artists did not copy western forms western styles and colours are successful and techniques blindly but selected them in giving Nepalese touch and identity in to suit their purpose for their personal their works while most of artists share the expression. They have attempted to carve same features. (41) native identity in contemporary Nepali paintings. Art critic Ram Kumar Pandey The influence of western art techniques remarks: Some of the contemporary artists brought confusion in Nepali artists in
sirjanĀ 82 Krishna Manandhar. Mountain series. 2018. Acrylics on canvas. the beginning. But gradually, the artists they are subjective and non-referential. used western techniques appropriately to They are not objective representations present native themes. Nepali artists not of the culture, myths and objects of the only used the western art techniques but external world. However, they attempted also "sought the representation of their to present their own culture, nature and own culture, society and life " society in distorted and expressive mode. (Shrestha 29). About contemporary Nepali paintings, The artworks are different from the Manuj Babu Mishra again remarks: traditional Nepali paintings because "Contemporary art of Nepal today is
sirjanĀ 83 Uttam Nepali. The vision. 2003. Acrylics on canvas. proceeding with various trends. Some combine native contents with western artists are akin to reflect national identity art techniques and forms to express their in art, whereas others look interested inner emotions and feelings. to assimilate some prevailing trends from outside world to give out a unique Integration of Tradition creation" (22). Images of the Himalayan The structure of mandala, themes of mountains and culture come together meditation and concentration, two in the canvas. This situation in painting dimensional colours, decorative patterns contributes for creating native identity and religious iconography, the features of in art. Contemporary Nepali paintings
sirjanĀ 84 manuscript illuminations and paubhas, Exploiting modern techniques, the artists reappear in unconventional and altered present the images and symbols of forms. Contemporary Nepali artists read manuscript illuminations and paubhas anew the tradition of Nepali art forms in in altered forms. They recreate the their artworks. They learned from the past traditional mandala in abstract form. and they are trying to develop Nepali art Intertextuality in art gives a sense of with the use of western forms of art. Julia sharedness and coexistence among Hegewald comments on contemporary heterogeneous cultures. Nepali artists: They consider tradition not as something static, but as a continuously The visual arts explore the religio-cultural changing and progressing movement, out rituals and renew the art forms and of which they have emerged, and on the viewer's perceptions. Some of the core basis of which they are trying to elaborate. ideas of Nepali culture can be perceived They are working on improving and through the images, icons, and symbols progressively developing their ancient in the artworks. The iconography brings artistic heritage into 21st century, their up the discourse of the religious rituals main criterion for judging whether their related to the process of meditation. art deserves to be called "Nepali" being The artists incorporate the icons of gods that it be good. Only good art, influenced and goddesses, and images of temples by new and foreign ideas but allegedly (Bibas, "Nepalese Contemporary" 134). coming out of their own tradition, as they Native culture is intertwined with would have it, is considered to be true western techniques through intercultural modern Nepali art. (100) interaction. Such paintings represent cooperation and cultural harmony. Due to On the process of creativity, the influence the coexistence of heterogeneous images, of the other in the formation of the the paintings speak of the self and the self- creativity is an important other. phenomenon. To be more specific, the structure of mandala, Shivalinga as icon, Inter-art Relationship trident as symbol, and decorative pattern Inter-art relation is another important of Mithila folk art have been presented feature contemporary Nepali paintings. with expressionist and surrealist forms. Intergeneric art forms integrate not only Likewise, some artworks reinterpret the painting but also sculpture, photography paubha of Nritesvara, the early Nepali and poetry blurring the boundaries art form depicting the union of Shiva between various art genres (Sharma and Shakti, Prakriti and Purusa, the 4). The artworks break and redraw the male and the female principles, the self boundaries among various art forms and the other, the individual self and to give expression to the creative urge the universal spirit. The age- old images of the artists. They create a pastiche by revitalized forms. assembling the heterogeneous art forms. Transgressing the boundary, one genre The artworks also explore the issues of art interpenetrates the other. About of intertextuality presenting the inter-art activities, Gallery Nine states interconnectedness of native visual in its prospectus: "Mixing high and and verbal texts with western forms. low art forms, merging the traditional
sirjanĀ 85 and modern with the postmodern and economical inefficiencies, religious experimental, .. . It aims to enable artists prejudices and political incompetence, and art lovers to open up to new ideas modern human is pressurized in such and new media, cross-pollinating their a way that his/her natural growth is fields with others." unknowingly obstructed. Therefore, this exposure to mental and physical disorder The artists cross the traditional rules has made human beings unnatural of creating painting. As a result, such animals in many ways. And delving deep paintings are experimental. The creation into the human psyche, the many symbols of inter-art relationship is not the that we have created for various reasons contemporary phenomena but as old also bear unnatural forms. ("Bonsai") as Nepali culture. Cultural rituals in The issues of fragmentation and Nepal integrate various art forms like degeneration are expressed exploiting painting, sculpture, music, recitation of western techniques of painting. The mantras, installation and performance artworks create socio-political critical art creating inter-art relationships. In awareness in contemporary time such rituals, one can see the painted depicting the existing contradictions and mandalas on the floor, installation of ironies in Nepali society. The authorities the images of divinities, prayer and having responsibility to serve people turn devotional songs accompanied by dance out to be agents of darkness and brutality. and worshipping. Contemporary Nepali The paintings present humor and satire artists share the features of such rituals in toward political leadership through different forms with different purposes. parody, pastiche and analogy. Presenting poems and paintings together, contemporary artworks give continuity Conclusion to the early art traditions of manuscript Contemporary Nepali paintings go illuminations despite the difference in the back to their cultural roots depicting the mode of expression. The artists juxtapose features of various early art forms, myths words and visual images on the canvas and rituals. The presented images, icons, simultaneously. They go beyond defined symbols, colours, lines, textures and rules and principals of art. forms in contemporary Nepali paintings create the atmosphere and ambience of Exploration of Alienation Nepali socio-cultural context. The artists Some contemporary Nepali paintings respond contemporary complexities of present melancholy and mental horror the society using western techniques of contemporary Nepali youths through as tools to explore the native subject distorted images and colors. Lack of matters. The artworks also present the opportunities has brought complexities interconnectedness among other art in Nepali society. The young people are genres and heterogeneous images that suffering from mental torture. They lose represent the cultural self and the cultural. the hope of bright future and become The artworks show the potentiality of the victim of alienation. Sunil Sigdel multiple interpretations since they are the comments on contemporary Nepali creative plays of realism and abstractions, paintings: In such divided realities of and deviations and distortions. Plurality,
sirjanĀ 86 ambivalence, appropriation and inter- art are the dynamisms of contemporary Nepali paintings. The art of contemporary Nepal is the story of its culture in metaphoric mode.
Works Cited Bhattarai, Surendra. "Samasamaik Nepali Kala." Akriti. 1.2 (2000): 77-78. Bibas, Gyanendra. "Nepalese Contemporary Art." Akriti. 5.5 (2004): 134-136. Gallery Nine: A prospectus, Kathmandu, 2007. Malla, Mukesh. "Samasamaik Nepali Kalama Dekhieka Attyadhunik Prabriti." Sirjana. Dr. Yam Prasad Sharma Ed. Navindra Man Rajbhandari Dr. Yam Prasad Sharma earned his Ph.D. in Kathmandu: Sirjana College English from Tribhuvan University (TU), of Fine Arts, 2006. 13-18. Kathmandu, Nepal. He has been doing research Mishra, Manuj Babu. "Contemporary Art in in contemporary Nepali arts and critiquing the Nepal." Kalakriti Asar 2045: 19-23. artworks. He has been teaching English, Art History and Aesthetics at Lilitkala Campus, TU. Pandey, Ram Kumar. "Identification of the His articles on art have been published in various Nepalese Art." Kalakriti 25.14 journals, magazines, exhibition catalogues and (2046): 29-41. newspapers. Dr. Sharma is the author of the Sharma, Yam Prasad. Nepali Painting: A Critical books, 'Nepali Painting: A Critical Analysis' Analysis. Kathmandu: Nepal and 'Contemporary Nepali Paintings: A Distinct Academy of Fine Arts (NAFA), 2014. Cluster'. He is also the co-author of the book, 'Alternative Art: Shifting Trends in Aesthetics'. Shrestha, Banshi. "In Praise of Creative Artists." Sirjana. Ed. Navindra Man Rajbhandari. Kathmandu: Sirjana College of Fine Arts, 2006. 27-30. Sigdel, Sunil. "The Human Bonsai." Exhibition catalogue. The Art Shop, Kathmandu, 2007. Singh, Narayan Bahadur. Samasamaik Nepali Chitrakalako Itihas. Kathmandu: Royal Nepal Academy, 1976. Subedi, Abhi. "Nepali Art: Nepali Utopia." Contributions to Nepalese Studies 22.2 (1992): 113-130. Uprety, Sanjeev. "Non-Western Studies: Some Ideas and Implications." The Himalayan Herald 3.2 (2007).
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sirjanĀ 88 clelnlvt lnR5ljsfnLg d"lt{ lji0f'ljj|mfGt M ljZn]if0ffTds ljd{z cf]d vqL n]v;f/ lji0f'ljj|mfGt d"lt{x¿ j}i0fj bz{gdf cfwfl/t ljej cyf{t\ cjtf/sf pb\e[t -l/lnkm_ d"lt{x¿ x'g\ . oL d"lt{ lnR5ljsfnLg clen]vdf pTsLl0f{t :df/sLo ljz]iftf ePsf d"lt{ /rgfdWo] xfn;Dd k|fKo ;jf{lws k|frLg d"lt{sf ¿kdf lrlgG5g\ . o; n]vdf Pp6} sfndf /lrt b'O{ cf]6f d"lt{ /rgflar b[Zodfg snf kIf / cfVofgsf] ;+of]hgnfO{ ljZn]if0ffTds ljdz{ ug]{ k|of; ul/Psf] 5 . >Ldb\efujt dxfk'/f0f, lji0f'wdf]{Q/ k'/f0f / dT:o k'/f0fnufotsf wfld{s u|Gyx¿df plNnlvt alnx/0f syfsf cfwf/df oL d"lt{x¿ /rgf ul/Psf 5g\. oL d"lt{ nf]s sNof0fx]t' lji0f'n] wf/0f u/]sf ljleGg cjtf/sf k|s/0fdWo] jfdg cjtf/sf] k|;ª\udf cfwfl/t /x]sf 5g\. ;+jt\ #*( sf] /fhf dfgb]jsf] clen]v;lxtsf oL d"lt{n] P]ltxfl;s Pjd\ wfld{s dxŒj af]s]sf 5g\. Pp6f d"lt{ ltnuª\uf kz'kltdf /x]sf] 5 eg] csf]{ nflhDkf6 wf]aLrf}/df :yfkgf ul/Psf] / xfn /fli6«o ;ª\u|xfnosf] ;ª\sngdf /x]sf] 5. Pp6} ltlyldltsf / Pp6} ljifoj:t'df cfwfl/t /x] tfklg lzNkut kIfsf b[li6n] plNnlvt d"lt{x¿df s]xL k[ystf b[li6uf]r/ x'G5 . k[i7e"ld clek|fon] lji0f'ljj|mfGtsf b'O{ cf]6f d"lt{x¿ agfpg nufO{ :yfkgf u/]sf lyP . snfljb\ k|tfklbTo kfnsf cg';f/ xfn;Dd pknAw k|df0fx¿sf cfwf/df dgg ubf{ g]kfnL P]ltxfl;s Pjd\ wfld{s b'j} b[li6n] dxÎjk"0f{ d"lt{snfsf] k|dfl0fs ;do O:jL ;+jt\ klxnf] oL d"lt{x¿ ;+jt\ #*(, j}zfvz'Snsf lbg ztfAbL jf ;f]eGbf cln cufl8nfO{ dfGg /flvPsf d"lt{x¿ x'g\ -jh|frfo{, @)#)_ . ;lsG5 . ltgnfO{ Wffld{s ljifout ;+/rgfsf cfwf/df g]kfnsf] snf Oltxf; ;+jt\ !)& -O= ;+= !*%_ Pp6} ljlw, z}nL Pjd\ dfWoddf agfOPsf sf] /fhf ho jdf{sf] k|ltdf / kf“rf}“ ztfAbLsf] :df/sLo (monumental) ljz]iftfo'St pb\e[t csf]{ wfld{s d"lt{b]lv dfq :ki6 ePsf] 5 . -l/lnkm_ d"lt{sf ¿kdf lng ;lsG5 . eujfg\ g]kfnL snfsf] Oltxf;df lnR5lj sfnnfO{ lji0f'n] ltg kfOnfdf ltg} nf]snfO{ gfk]sf …;'j0f{ o'uÚ eG5g\ -afª\ub]n, @)#$_ . sf/0f pgnfO{ lqljj|md lji0f' elgPsf] dxfef/ tsf] cg'zf;g kj{df plNnlvt Znf]s — ;+jt\ #*^ df /fhf dfgb]jn] rfFu'gf/fo0fdf …cfgGbf] gGbgf] gGbM ;Towd{ lqljj|mdMÚ nfO{ :tDe clen]v :yfkgf u/]sf] ltg jif{kl5 OGb'dtL ld> -k[= @)^_ / ;GWof vgfnn] -;+jt\ #*(_ cfgL cfdfsf] k'0o a9f];\ eGg] pNn]v u/]sf 5g\ -k[= !#(–$)_ .
sirjanĀ 89 ltlyldlt;d]t plNnlvt j}i0fj d"lt{sf] lgdf{0fsf] k/Dk/f O:jL ;+jt\ kfFrf}+ ztfAbLb]lv dfq k|f/De ePsf] b]lvG5 -afª\ub]n, @)#(, k[= !!)_ . t'ngfTds b[li6n] lqljj|md jfdg cyf{t\ lji0f'ljj|mfGtsf d"lt{x¿sf] /rgfsf] Oltxf; ef/tdf eGbf g]kfndf k|frLg / kl/is[t /x]sf] 1ft x'G5 . xfn;Dd k|fKo clelnlvt k|frLg wfld{s syfgs oL d"lt{x¿ nf]s sNof0fsf nflu eujfg\ lji0f'n] ;do ;dodf lnPsf cjtf/dWo] kf“rf}“ jfdg cjtf/;Fu ;lDalGwt /x]sf 5g\ . Pp6f d"lt{ kz'klt ltnuª\uf rj|mky glhs} ;'/Iffsf] kvf{Odf /x]sf] 5 . rj|mky lgdf{0fsf j|mddf o; d"lt{nfO{ xfnsf] :yfgdf nu]/ /flvPsf] s'/f d's'Gb cof{nn] cGtjf{tf{sf lji0fljj|mfGt, rfFu'gf/fo0f, O:jL ;+jt\ cf7f}“ ztfAbL j|mddf atfPsf lyP . alnn] b]j/fh OGb|nfO{ k/f:t u/L pgsf] csf]{ d"lt{ nflhDkf6sf] wf]aLrf}/ l:yt sdn /fHo lhT5g\ . cfgf k'qn] /fHo u'dfPsfdf :j¿ksf] dlGb/ agfO{ :yfkgf ul/Psf] lyof] OGb|sL cfdf clblt lgs} b'MvL x'lG5g\ . pgn] eGg] pNn]v ePsf] eP tfklg Tof] dlGb/ xfn lji0f'sf] cf/fwgf u/L cfgf] k'qsf ¿kdf hGd cl:tTjdf /x]sf] kfO“b}g\ . xfn of]] d"lt{ /fli6«o lnP/ OGb|sf] u'd]sf /fHo lkmtf{ u/fpg ;ª\u|xfnosf] ;ª\sngdf /x]sf] 5 . u/]sf] cg'gosf sf/0f clbltsf ue{af6 o;} k|s/0fdf rfFu'gf/fo0f dlGb/ kl/;/df lqljj|md jfdgn] hGd lnG5g\ . o'jf jfdgn] /x]sf] cf7f}“ ztfAbLsf] lji0f'ljj|mfGt d"lt{ klg alnsf] b/af/df uO{ bfg:j¿k clUg :yfkgfsf dxÎjk"0f{ /x]sf] 5 . rfFu'gf/fo0f dlGb/sf] nflu ltg kfp hldgsf] dfu u5{g\ . sfi7 6'F8fndf lji0f'ljj|mfGtsf] ltg lz/ / alnn] tL j6's cyf{t\ afna|x\drf/L jfdg ltg kfpx¿ ePsf] d"lt{ agfOPsf] kfOG5 . leIf'snfO{ ;Tsf/df s] pkxf/ 6S|ofp“ egL To:t}, kmlk{ªsf] lzv/gf/fo0f dlGb/sf] rf}wf}“ ljGtL ubf{ u'? z'j|mrfo{n] tL leIf's kSs} ztfAbLsf] k|:t/ kmnsdf lgld{t lji0f'ljj|mfGtsf] lji0f' g} x'g\ eGg] a'´L /fhf alnnfO{ d"lt{df ljifoj:t'sf] ;dfgtf b]lvG5 eg] z}nL ;r]t u/fp“5g\ . k/Gt' alnn] To;sf] s'g} / k|:t'ltdf eg] lgtfGt leGgtf kfOG5 . lrGtf glnO{sg xftdf hn lnO{ ;ª\sNk ug{ kf}/fl0fs cVofgcg';f/ eujfg\ lji0f'sf cgGo tof/ x'G5g\ . tt\If0f jfdg ¿kwf/L lji0f'n] eSt k|x\nfbsf gflt lj/f]rgsf k'q b}To/fh cfgf] ljj|mfGt cyf{t\ k/fj|mdL :j¿k wf/0f
sirjanĀ 90 lji0fljj|mfGt, rfFu'gf/fo0f, 6F'8fn jfdg cjtf/, ef/t u5{g\ . pgsf] Pp6f kfpn] ;Dk"0f{ e"nf]s hDdf %@ cª\u'n x'g] u5{ . jfdgsf b'O{ lnG5 eg] csf]{ kfpn] k[YjL / :ju{sf] larsf] xftdWo] Pp6fdf sd08n' / csf]{df 5ftf cGtl/If nf]s lnG5 . lnPsf] b]vfOG5 . lz/df d's'6, r'N7f] agfOPsf] skfn, sfgdf s'08n, d[u j0f{, alnsf] jrga4tfcg';f/ afFsL t];|f] kfpnfO{ o1f]kljt -hg}_, sf}lkg -n'“uL_, sf“wdf dfkg jf /fVg s]xL afFsL /x“b}g . ta lji0f'n] pkljtf, ;flx“nL cf}“nfdf s'zaf6 lgld{t kljq csf]{ kfpaf6 alnnfO{ kftfn k'¥ofp“5g\ . wf/0f u/]sf] b]vfOG5 . pgnfO{ k':ts af]s]sf cGttM clbltsf] OR5f k"0f{ ub}{ alnåf/f a|fXd0f j6's -ljBfyL{_ sf] :j¿kdf b]vfOPsf] zfl;t b]j/fh OGb|sf] ltg cf]6} /fHo lkmtf{ x'G5 . lng ;kmn x'G5g\ . o;} k|s/0fnfO{ d"lt{df ;fsf/ kfg'{ g} lqljj|md lji0f' jf jfdg s'g} s'g} d"lt{df jfdgsf] :j¿knfO{ lj¿k0f cjtf/sf] o; d"lt{sf d"lt{sf/sf] k|d'v p2]Zo klg ul/Psf] kfOG5 . To;df pgnfO{ /f]uL, j[4, b'Anf], k]6 7'nf] ePsf] xf8 / 5fnfn] /x]sf] b]lvG5 (Rao, 1914, pp. 162-63) . o'St cflb ¿kdf b]vfOPsf] kfOG5 . ;GWof lji0f'ljj|mfGt -jfdg_ d"lt{ / k|ltdf nIf0f vgfnsf cg';f/ clUgk'/f0fdf jfdgsf] d"lt{ 5q tyf b08n] ;'zf]let tyf rf/ k|ltdf lj1fgcg';f/ jfdgsf] cfs[ltnfO{ kfFr e'hfo'St agfpg'kg]{ j0f{g ul/Psf] 5 tfndf b]vfOG5 . cyf{t\ lz/b]lv kfp;Dd -clUgk'/f0f, @)^)M (&_ .
sirjanĀ 91 5q b08L jfdgM:ofRrt'e{'hM ..%.. wf]Psf] b]vfOG5 . lqljj|mdsf] kfpaf6 -clUgLk'/f0f c= $( Znf]= %_ ´l//x]sf] kfgLnfO{ lxp“ h:tf] ;]tf] /ªdf b]vfOG5 . lqljj|md d"lt{df ljz]iftM ltg cf]6f ljleGg tj/n] afofF kfpsf] cjl:yltnfO{ k|:t't s'g} d"lt{df /fx'sf] lz/ klg b]vfOPsf] ul/Psf] kfOG5 — bfofF 3'F8f ;Ddsf], kfOG5 . eujfg\ lzjnfO{ lqljj|mdsf] gflesf] gfO6f];Dd / lz/;Dd nu]sf] cj:yfdf . prfOdf c~hnL d'b|fdf cfsfzdf a;]sf] b] d"lt{df oL ltg cf]6} cf;gdf lqljj|mdnfO{ vfOG5 . lqljj|mdsf] kfp glhs} gfd'lr gfdsf k[YjLdfly plePsf] cj:yfdf k|:t't ul/G5 . /fhf alnsf cg'r/nfO{ ´'s]sf] -kfp k/]sf]_ d'b|fdf b]vfOG5 . lqljj|mdsf] d"lt{ b; tfndf dfkg ul/Psf] x'G5 . o;cg';f/ !@! cª\u'n x'g'k5{ . afofFk6\l6 b}Tox¿sf u'? z'j|mfrfo{nfO{ lqljj|mdsf rf/ jf cf7 e'hfx¿ -xft_ yfd]sf] u?8 /x]sf] x'G5 . z'j|mfrfo{n] alnnfO{ x'g'k5{ . tLdWo] afofF Ps xftdf zª\v, ;hu u/fpFb} u/]sf, jfdgn] 5ftf cf]l9/x]sf bfofF Ps xftdf rj|m, csf]{ bfof“ xft dfly / alnn] :j0f{ kfqaf6 hn ck{0f ub}{ ;ª\sNk p7fOPsf], / csf]{ afofF xft dfly p7fOPsf] ul//x]sf] b[Zo b]lvG5 . aln;Fu} pgsL /fgL kfp;Fu} ;dfgfGt/ x'G5 . o;n] d"lt{sf] ljGBfaln /x]sL l5g\ . ;Gt'ng sfod u/]sf] x'G5 . of] bfofF xftnfO{ lzNk/Tgcg';f/ lqljj|mdn] afofF kfpdf ceo jf j/b d'b|fsf ¿kdf lng] ul/G5 . plePsf] / bfofF kfp dfkg d'b|fdf dfly d"lt{df cf7 xft /x]sf x'G5g\ . tLdWo] kfFr nu]sf] x'g'k5{ . lji0f'wdf]{Q/ k'/f0fdf JofVof xftdf zª\v, rj|m, ubf, ;f/ª\u–wg'if, xnf] ePcg';f/ lqljj|mdnfO{ 808f, kf;, zª\v, /x]sf x'G5g\ . To:t}, c¿ ltg xftx¿ klxn] rj|m, ubf / kb\d cflb cfo'wx¿af6 ;';lHht h:t} -j/b jf ceo, ;dfgfGt/_ / bfofF ;'Gb/ :j¿kdf agfpg'k5{ . kfpn] k[YjLdf dha't;“u 6]s]sf] x'G5 . afofF lqljj|mdsf] dflyNnf] kfpsf] ;dfgfGt/ xftsf] v'6\6f ljZj dfkg d'b|fdf dfly nluPsf] x'G5 . lbzf;Fu} 7'nf v'n]sf cfFvf / d'v;lxtsf] cfs[ltsf] /ª jiff{sf] afbn h:tf] sfnf] lj¿k cg'xf/sf cfs[lt agfOPsf] x'G5 . o; b]vfOPsf] x'G5 . /ftf] sk8f / cfe"if0faf6 d'vfs[ltsf af/]df ;Gtf]ifhgs JofVof ePsf] ;hfOPsf x'G5g\ . lqljj|mdsf] lz/df 5q kfO“b}g (Rao, 1914, p. 167) . cf]9fO/x]sf sNkj[If / OGb|sf cfs[lt a|x\df08k'/f0fdf pNn]v ePadf]lhd jfdgn] b]vfOG5 . csf]{tkm{ j?0f / jfo'n] rd/ lqljj|mdsf] ¿k wf/0f ubf{ s]xL b}Tox¿ xNnfO/x]sf / ltgsf dfly bfofF afofF j|mdzM cfsfzdf pl56\l6Psf lyP . ;DejtM of] ;"o{ / rGb|sf cfs[ltx¿ /x]sf x'G5g\ . ltgsf d'vfs[lt ToxL pl56\l6Psf b}Tosf] x'g ;S5 . ;dLkdf ;Gof;L / ;gts'df/ /xG5g\ . dfly prflnPsf] kfpnfO{ a|x\dfn] Ps xftn] csf]{ k|;ª\ucg';f/ lji0f'ljj|mfGtsf] cfsfzsf] c8\ofO{ csf]{ xftn] sd08n'sf] kfgLn] kfp kfp;Fu}sf] ljs[t d'vfs[ltnfO{ cfsfzsf] k|tLs
sirjanĀ 92 cfsfze}/j dfg]sf] kfOG5 -jh|frfo{ @)#), k[= ^%_ . d"lt{df >LnIdL nufotsf cGo b]j, bfgj, gfu cflb klg b]vfOPsf] x'G5 . d"lt{sf] ljZn]0ffTds ljdz{ dfgb]jsf] clen]v;lxtsf b'O{ cf]6f lji0f'ljqmfGt d"lt{x¿ cnu cnu :yfgdf kfOPsf x'g\ . tLdWo] ltnuª\ufsf] lji0f'ljj|mfGtsf] d"lt{df 3f]8f;lxt rf}w cf]6f cfs[lt /x]sf 5g\ eg] nflhDkf6sf] d"lt{df 3f]8f, hDjfjg -efn'_ ;lxt kGw|||| cf]6f cfs[ltx¿sf] ;+/rgf kfOG5 . ;fgf] cfsf/sf kz'klt ltnuª\uf, lji0f'ljqmGt, ;+jt\ #*( d"lt{df klg lqljj|md lji0f'sf] s]Gb|Lo cfs[ltnfO{ ;dfgfGt/ th{gL d'b|fdf nluPsf] 5 . xftsf] a[xt\ :j¿kdf / cGo cfs[ltx¿nfO{ n3' rf]/cf}“nfn] b'i6 tÎjk|lt cf}“NofO{ ;fjwfg cfsf/df k|:t't ul/g'nfO{ oL d"lt{sf ljz]iftf u/]sf] 5, / c? cf}“nfx¿ xNsf ¿kn] d'7Lleq dfGg ;lsG5 . 3'd]sf 5g\ . b'O{ d"lt{lar t'ngfTds ¿kn] cWoog ubf{ ltnuª\uf l:yt /fx'sf] cfs[ltn] lqljj|mdsf] ltnuª\ufsf] d"lt{ kmnsdf cfs[ltx¿ cln kfp 5f]P/ ;Tsf/ u/]sf] b[Zo b]vfOPsf] 5f]6f b]lvG5g\ . oL d"lt{sf 9'ª\ufsf] 5 . o;df cfs[ltnfO{ k[ys 9ª\un] /rgf u'0f:t/df ;d]t km/s kfOG5 . ltnuª\ufsf] ul/Psf] 5 . 7'N7'nf cfFvf / vf]lnPsf] d"lt{ /rgf ul/Psf] k|:t/ s8f, sfnf], rds d'vnfO{ ;du|df lqsf]0ffsf/ kf/]/ k|:t't cfpg] vfnsf] /x]sf] 5 . nflhDkf6sf] d"lt{sf] ul/Psf] 5 . kfpsf] tnk6\l6af6 /fx'sf]] afofF k|:t/ v}/f] ldl>t v/fgL /ªsf] sd rdlsnf] xft ;f}Do ¿kdf b]vfOPsf] 5 . anf}6] vfnsf] /x]sf] kfOG5 . dxfanLk'/dsf] lqljj|md d"lt{df a|x\dfn] bfof“ /fhf dfgb]jn] :yfkgf u/]sf oL b'j} d"lt{dWo] xftn] kfgL /fv]sf] elgP klg bfofF xft ltnuª\ufsf] d"lt{df sk8fdf s'FlbPsf a'6\6fx¿, / a|Xdfsf] cfs[lt b]lv“b}g . ;f] cfs[lt To;df /x]sf /]vfx¿ n'ufsf] tGsfOcg'¿k cfsfze}/j x'g;S5 eGg] wgjh| jh|frfo{sf] k|:6 b]lvPsf 5g\ . clkt' nflhDkf6sf] ts{sf lj?4 lj0ff kf}8\ofnn] e}/jsf] d"lt{ lji0f'ljj|mfGtsf] d"lt{sf sk8fdf s'FlbPsf k/Dk/f kl5 dfq ;'? ePsf] eGg] ts{ cufl8 a'6\6fx¿ k|:6 /x]sf 5}gg\ . wf]tLsf lsgf/fdf ;f/]sf] b]lvG5 . ag]sf a'6\6fx¿ klg dw'/ vfnsf b]lvG5g\ . d"lt{df afofF v'6\6f dfly p7fOPsf] 5, / bf];|f] g]kfns} kmlk{ªsf] lzv/gf/fo0f dlGb/sf] xftnfO{ clnslt c3{nDa -v'DrfP/_ v'6\6f;Fu lqljj|md d"lt{df xft, sfgdf s'08nL, afbn
sirjanĀ 93 b]vfOPsf] kfOG5 . t/ Pp6} ltlyldltsf] dflgPsf] ltnuª\ufsf] d"lt{ / nflhDkf6sf] d"lt{ lgs} xb;Dd ldNbf] b]lvG5 . Eff/tsf] dxfanLk'/dsf] u0f]z /ydf pQ/tk{msf] kxf8sf] leQf sf6]/ lqljj|mdsf] d"lt{ agfOPsf] 5 . o; d"lt{df ax\dfn] lji0f'sf] kfpdf k"hf ug{ nfu]sf] b]vfOPsf] 5 (Rao, 1914, p. 170) . k|tfklbTo kfnsf cg';f/ ef/tsf] abfdLdf kl5 ag]sf pb\e[t d"lt{nfO{ /fx'sf] cfs[lt egL k'li6 ug{ vf]lhPsf] b]lvG5 t/ g]kfnL snfsf/x¿n] kf“rf}“ ztfAbLdf g} efujt\k'/f0f cyf{t\ jfdgk'/f0fdf jl0f{t cfVofgdf cfwfl/t d"lt{snf /rgf ul/;s]sf lyP -k[= #&_ . o;}u/L nflhDkf6sf] d"lt{df klg cfsfz tÎj /fx'sf] cfs[ltn] lqljj|mdsf] kfp 5f]P/ ;Tsf/ lqljj|md, cf7f}“ ztfAbL, Pnf]/f, ef/t u/]sf] b[Zo b]vfOPsf] 5 . ltnuª\ufsf] cfs[ltdf skfn lgp/f] h:tf] 3'ld|Psf], d'v s'g} s'g} d"lt{ kmnsdf bfFt lªRofPsf] / sd p3fl/Psf] c:jfefljs tj/n] 7'nf cfFvf, fx'sf] d'vfs[lt lji0f'ljj|mfGtsf] dfly p7fOPsf] gfs lvOPsfn] c:ki6 nfUg] cfs[lt v'6\6f;Fu} b]vfOPsf] kfOG5 . ;d'b| dGygaf6 ltnuª\ufsf] d"lt{sf t'ngfdf a9L sf]dn lg:s]sf] cd[t lkPsfn] b]lvG5 . o; d'vfs[ltnfO{ wgjh| jh|frfo{n] /fx'sf] 6fpsf] sfl6Pkl5 z/L/ d[t eP cfsfzsf] k|tLs cfsfze}/j dfg]sf 5g\ klg 6fpsf] eg] hLljt g} /x]sf] k|;ª\unfO{ -jh|frfo{, @)#), k[= ^%_ . uf]laGb e6\6/fO{sf dgg ubf{ of] cfs[lt /fx'sf] x'g ;S5 . cg';f/ ;f] cfs[lt lji0f'sf eSt k|x\nfbsf] kfrf}“ ztfAbLsf oL b'j} d"lt{df /fx'sf] 6fpsf] x'g ;S5 -kf}8\ofn, k[= ^%_ . d's'Gb cof{nsf cg'kflts lx;fan] 7'nf] cg';f/ eg] of] a|x\dfsf] j|mf]w¿k xf] -cGtjf{tf, b]vfOg'sf] tfTko p;sf] cf;'/L zlStnfO{ @)&%_ . k|bz{g ug{' /x]sf] b]lvG5 . Eff/tsf sltko d"lt{df a|x\dfsf] cfs[ltnfO{ ltnuª\ufsf] lqljj|md d"lt{df hDjfjgsf] cfs[lt k"/f b]vfOPsf] kfOG5 . ;GWof vgfnsf gePsfn] o;df rf}w cf]6f dfq cfs[ltx¿ cg';f/ ;f] cfs[lt /fx'sf] xf] . k|tfklbTo /x]sf 5g\ . d"lt{ kmnsdf u?8sf] unfdf kfnsf cg';f/ lji0f'ljj|mfGtsf]] th{gL d'b|fdf agfOPsf] ;k{ cg'kflts ¿kdf cln 7'nf] /x]sf] t];|f] xftn] b'i6 tÎjnfO{ ;ts{ / kv]6fsf Kjf“vx¿ xNsf / 6'Kkf dflytk{m u/fPsf] xf] -k[= ##_ . ;dfgfGt/ afª\luP/ uPsf 5g\ .
sirjanĀ 94 nflhDkf6sf] d"lt{df eg] hDjfjgsf] cfs[ltnfO{ lz/sf] k5f8L k|efd08nsf] lsgf/fdf dw'/ ljgLt d'b|fdf cfsfzdf lqljj|mdsf] a'6\6f b]vfk5{g\ . bfFofk6\l6 3fF6Lsf] txdf ubf lnPsf] xft;Fu} ltnuª\ufsf] lqljj|mdsf] cfs[ltsf] cu| bfofF kg]{] u/L b]vfOPsf] 5 . nflhDkf6sf] d"lt{df xft j/b d'b|fdf afFof v'6\6fdf ;d]t 5'jfP/ eg] u?8sf] unfsf] ;k{ Tolt 7'nf] b]lv“b}g, / c8\ofOPsf] 5 . afofF cu|efusf] xftsf] cfo'w u?8sf kv]6fsf Kjf“vx¿sf 6'Kkf dflytk{m uO{ k|:6 geP klg clwsf+z d"lt{df wg'if lnPsf] nobf/ 9ª\un] 3'ld|Psf] e]8fsf] l;ª h:tf] kfOG5 . xftsf] cf;g klg ToxL d'b|fdf efg x'G5 . /x]sf] eP klg nfdf] wg' geP/ k|tLssf ¿kdf ltnuª\ufsf] lqljj|md d"lt{sf] lz/sf k5fl8 xf] h:tf] nfUg] u/L ;dfPsf] cj:yfdf /x]sf] k|efd08ndf km/s ¿kn] lz/sf] b'j} sfg 5 . sd/aGbLsf] k'msf{sf] k|To]s c+zsf lardf k5fl8 nDa a'6\6fx¿df k'mnh:tf s]xL /]vfx¿ cjtn /]vfdfkm{t k'msf{nfO{ Go"g pb[e[t /x]sf 5g\ . o:tf a'6\6]bf/ agf]6 cGo d"lt{df kfl/Psf] 5 . lqzª\s'sf] cfs[ltdf n'uf / ag]sf] kfO“b}g . nflhDkf6sf] lqljj|md d"lt{df n'ufsf a'6\6fx¿ k|:6 b]lvg] dfq geP/ o;sf] 6fpsf] / v'6\6f tn kg{] u/L sd/eGbf tn lt3|fsf] efu dfly k/]sf] 5 . nflhDkf6 lqljj|mdsf] cu| bfofF xft j/b d'b|fdf bfofF v'6\6fdf /flvPsf] efg x'G5 . 6'6]sf] xFbf cGo d"lt{sf] cfwf/df cg'dfg ug{ ;lsG5 . afofF cu|efusf] xftsf] cfo'w k|:6 geP klg sf“wdf wg'if af]s]sf] d'b|fdf /x]sf] 5 . clwsf+z d"lt{df o; xftn] wg'if af]s]sf] kfOg' / k|ltdf lj1fgsf] JofVofn] klg To;tkm{ ;ª\s]t u/]sf] b]lvG5 . o; xftsf] d'b|f ltnuª\ufsf] lji0f'ljj|mfGtsf] d"lt{;Fu ;dfg /x]sf] 5 . sDd/aGbLnfO{ 5 cf]6f d'hfdf k'msf{ kfl/Psf] b]lvG5 . lqzª\s'sf] cfs[ltdf s'g} sk8fsf] cfefif ePsf] h:tf] / lt3|fsf] tNnf] efudf xNsf 7f8f] ;dfgfGt/ /]vfn] dfq sk8f xf] h:tf] nfU5 . ltnuª\ufsf] lqljj|md d"lt{sf bfofF b'O{ xft 6'6]sfn] To;df /x]sf cfo'wx¿ b]Vg ;ls“b}g . ;DejtM ;aeGbf dflyNnf] xft lqljj|md, 5}6f}“ ztfAbL, ef/t dflytk{maf6 ceo d'b|fdf / bf];|f]df rj|m
sirjanĀ 95 nflhDkf6sf] d"lt{df ;a} xftsf cfo'wx¿ ltnuª\ufsf] d"lt{df h:t} /x]sf] / bfofF cl3Nnf] xft j/b d'b|fdf /x]sf] 5 . 9fndf eg] ltnuª\ufsf] d"lt{df h:tf] b'O{ txdf b]vfOPsf] 5}g . d"lt{sf] afofF t];|f] xftn] /fx'nfO{ 5f]Psf] / cf}“nf dfly 7f8f] th{gL d'b|fdf /x]sf] b]lvG5 . b'j} d"lt{x¿ lqljj|mdn] cfo'wx¿ ;dfg ¿kn] g} wf/0f u/]sf] kfOG5 . ltnuª\uf lji0f'ljj|mfGt d"lt{df 3f]8fsf] k5fl8k6\l6 o1sf k|tLs o'k -df}nf]_ pEofOPsf] 5 . o;df 8f]/L h:tf] nfUg] 3'dfp/f /]vfTds a'6\6f sfl6Psf] 5 . of] d"lt{ 6'6]sf] / bfofFk6\l6 dflyNnf] efudf cfo'w Pjd\ hfDjfjg;d]t b]Vg g;lsg] ePsfn] o;sf] af/]df olsg ug{ sl7g k5{ . t];|f] xftsf] ubfsf] tnsf] 6'Kkf] dfq b]lvPsf] 5 eg] bf];|f] lji0f'ljj|mfGt, ltnuª\uf — afofF sfg k5fl8sf] efu xftdf x'g] rj|m eg] xft;Fu} 6'6]sf] cj:yfdf 5 . /fx'sf] a9L g} v'n]sf] d'v dfq b]Vg ;lsG5 . bfofF cfFvf 7'nf] v'n]sf] b]lvG5 /x]sf] s'/f ;xh cg'dfg ug{ ;lsG5 . To:t} eg] afofF gfs km'6]sf] cj:yfdf /x]sf] 5 . t];|f] xftn] ubf ;dfPsf] cg'dfg ug{ laGBfanLsf] cfs[ltk5fl8 afofF xftn] ubf ;lsG5 . rf}yf] xft j/b d'b|fdf /x]sf] 5 . lnPsf] / bfofF xft lz/b]lv dfly zl//;Fu} afofF xftx¿dWo] dflyNnf]df a'6\6]bf/ 9fn / k5fl8 ´'s]sf] cln c:jfefljs 9ª\un] klN6“b} 9fndf kl5af6 ;dfgfGt/ /]vfTds ult u/]sf] cfs[lt /x]sf] 5 . 3f]8f / 3'“8f b]vfOPsf] 5 . bf];|f] xftdf zª\vsf] cfs[lt 6]s]sf] cfs[ltsf lardf xft p7fP/ /f]Sg lyof] eGg] cg'dfg ug{ ;lsG5 . d"lt{ lj1fgdf vf]h]sf] cfs[lt b}To u'? z'j|mfrfo{sf] x'g'k5{ klg o; xftdf zª\v ePsf] j0f{g eGg] cg'dfg ug{ ;lsG5 . kfOG5 . xftsf] gf8Ldf afnf / s]o"/ nufPsf] b]lvG5 . t];|f] xft dfly p7fPsf] v'6\6f;Fu nflhDkf6sf] d"lt{sf] t'ngfdf o; cfs[ltsf] ;dfgfGt/ ¿kdf rf]/cf}“nf p7fPsf] / cGo 5ftLsf] efunfO{ sd b]vfOPsf] 5 . afofF cf}“nf v'DrfPsf] cj:yfdf /fx'sf] 6fpsf]tk{m jf kfv'/f klg 5f]lkPsf] 5, / 6fpsf] klg 7'nf] :ju{tk{m cf}“NofOPsf] h:tf] k|tLt x'G5 . rf}yf] ag]sf] 5 . cZd]3 o1sf] k|tLs 3f]8f rgfvf] xft 5ftLtk{m wg'if af]s]sf] h:tf] b]lvG5 t/ cj:yfdf b]lvG5 . 3f]8fsf] 3fF6Ldf cln wg'ifsf] cfsf/ k|:6 5}g, / ;fgf] 5 . tnk6\l6 sk8f afFlwPsf] 5 . NfflhDkf6sf]
sirjanĀ 96 d"lt{df cln km/s tj/n] unfsf] dfly afFlwPsf] b]lvG5 . sdndf plePsL afFlwPsf] 5 . >LnIdLsf] cfs[ltsf sk8fsf] d'hf k|:6 b]lv“b}g . lz/ lvOPsfn]] cg'xf/sf] efj ltnuª\ufsf] lqljj|md d"lt{df sdndf plePsL k|:6 a'l´“b}g . 3'“8faf6 cln ´'s]sf] >LnIdLsf] cfs[ltsf sk8fsf] d'hf a'6\6f cflb b]lvG5 . nIdLsf]] v'6\6fdf 7'nf afnf k|:6 b]lvG5g\ t/ lz/sf] efu 6'6]sfn] k|:6 nufPsf] ;d]t b]lvG5 . a'l´“b}g . sd/b]lv k5fl8 ´'s]sf] b]lvG5 . oL b'O{ dlt{x¿sf] t'ngfTds cWoog ubf{ nflhDkf6sf] ljii0f'ljj|mfGt d"lt{df klg 3f]8fsf nflhDkf6sf] d"lt{ a9L nflnTok"0f{ / :jfefljs kl5Nnf]k6\l6 o1sf] k|tLs df}nf]] /x]sf] 5 . b]lvG5 . of] clnslt afª\uf] k/]sf] / o;}df /fx'sf] xftn] hn ck{0f u/]sf] h:tf] b]lvG5 . o; d"lt{ /rgf z}nLsf] ljZn]if0f d"lt{df hfDjfjg, ubf ;a} zs'zn /x]sfn] Pp6} sfnsf ltnuª\ufsf] lqljj|md d"lt{df klg d"lt{ /rgfsf b[li6n] ;fdfGotof ;dfg ;dfg cfo'wx¿ x'g;Sg] cg'dfgnfO{ ;3fp b]lvG5g\ . tyflk b'O{ d"lt{ /rgflar z}nLut k'¥ofp“5 . /fx'sf] lz/sf] dflyNnf] skfnsf] leGgtfsf] l´gf] /]vf tfGg ;lsG5 . efu k"0f{ geP klg 7'nf] Iflt eg] ePsf] oL d"lt{sf cltl/St cf7f}“ ztfAbLsf] 5}g . o;df xNsf cf]7 v'n]sf] cfFvf 7'N7nf rfFu'gf/fo0fsf] / rf}wf}“ ztfAbLsf] kmlk{ªsf] t/ c:ki6, gfs k'/} lvOP/ ljnLg ePsfn] lji0f'ljj|mfGt d"lt{ klg pb\e[t d"lt{x¿ x'g\ . ;a} efjsf] hfgsf/L x'Fb}g eg] skfn 3'ld|Psf] To:t} ef/tsf abfdLsf] 5}6f}“ ztfAbLdf ag]sf] a'6\6]bf/ 9f“rfdf agfOPsf] 5 . ltnuª\ufsf] / cf7f}“ ztfAbLsf] Pnf]/fsf lji0f'ljj|mfGt klg t'ngfdf o;df laGBfanLsf] cfs[ltk5fl8 3F'8f pb\e[t z}nLdf ag]sf 5g\ . 6]s]sf] afofF xftn] t/jf/ lnPsf] / bfofF xft lz/eGbf dfly p7fOPsf] :jfefljs nflhDkf6 / ltnuª\ufsf b'j} d"lt{nfO{ pb\e[t tyf ;Gt'lnt nfU5 . 3f]8f / 3'“8f z}nLdf agfOg' k5fl8 syfgs j0f{g klg k|d'v 6]s]sf cfs[ltsf lardf xft p7fP/ /f]Sg sf/0f /x]sf] x'g ;S5 . k|fljlws b[li6n] vf]h]sf cfs[lt b}To u'? z'j|mfrfo{sf] x'g'k5{ 8f]nf] cfsf/sf d"lt{df o:tf] hl6n eGg] cg'dfg ug{ ;lsG5 . of] cfs[lt ljifoj:t'nfO{ cleJoSt ug'{ sl7g x'g' ltnuª\ufsf] d"lt{sf t'ngfdf a9L cg'kflts :jfefljs g} lyof] . dfgb]jn] :yfkgf u/]sf b]lvG5 . cZjd]3 o1sf] k|tLs 3f]8fsf] oL b'O{ d"lt{x¿sf s'FbfOdf dfq clnstf cGt/ lz/df cfFvf c:ki6 vfN6f] h:tf] dfq 5 . d"lt{sf kfblk7df n]lvPsf clen]v pxL b]lvG5 . lz/ p7fPsf] 3f]8f rgfvf] Pp6} xf] -jh|frfo{, @)#), k[= #%_ . b]lvG5 . o;df z'j|mfrfo{ / 3f]8fsf] lz/ oL b'O{ d"lt{df b[Zodfg z}nLut leGgtfsf d"lt{df ;dfgfGt/ prfOdf k|:t't lx;fan] b'j} d"lt{sf d"lt{sf/ Pp6} gePsf] ul/Psf] b]lvG5 . 3f]8fsf] unfdf sk8fsf] :ki6 cf“sng ug{ ;lsG5 . d"lt{ /rgfsf Wjhf afFlwPsf] 5, / tntk{m ´'lG8Psf] nflu pkof]u ul/Psf k|:t/sf] u'0f:t/df klg 5 . ltnuª\ufsf] d"lt{df cln km/s ¿kdf tn leGgtf kfpg ;lsG5 .
sirjanĀ 97 clen]vcg';f/ b'j} d"lt{ Pp6} ;dodf lgisif{ agfOPsf / ltgnfO{ dfgb]jn] g} :yfkgf clelnlvt lji0f'ljj|mfGt d"lt{x¿ /fhf u/fPsfdf s'g} zª\sf /x]sf] 5}g\ . jh|frfo{n] dfgb]jåf/f :yflkt j}i0fj wd{ bz{gdf cfwfl/t kz'klt ltnuª\uf l:yt lji0f'ljj|mfGtsf] lji0f' ljejsf pb\e[t k|:t/ d"lt{x¿ x'g\ . Pp6} d"nkf7sf] l6kf]6df ;+jt\ #*( rfFlx 5'6fPsf] ljifoj:t' Pjd\ ltlyldltdf /lrt plNnlvt b]lvG5 . jh|frfo{sf] clen]vdf ltly, dlxgf d"lt{sf sf}zndf eg] s]xL k[ystf eP klg ;+jt\ gkg{'n] ;f] d"nkf7s} e/df x]bf{ b]lvG5 . >Ldb\efujt dxfk'/f0f, km/s ;fndf ;f]xL ltly dlxgf kf/]/ t d"lt{ lji0f'wdf]{Q/k'/f0f, dT:ok'/f0f cflb wfld{s /flvPg eGg] lh1f;fn] yk cg';Gwfgsf] ljifo u|Gyx¿df plNnlvt alnx/0f syf Pjd\ agfPsf] b]lvG5 . cfVofgsf cfwf/df d"lt{x¿ /rgf ePsf 5g\ . cfVofgcg';f/ nf]sNof0fsf nflu lji0f' k|tfklbTo kfnn] oL b'j} d"lt{ Pp6} ldltdf ljejsf k|s/0fdf jfdg cjtf/sf] k|;ª\u;Fu gag]sf] zª\sf k|s6 u/]sf 5g\ -kf}8\ofn, ;DalGwt /x]sf] kfOG5 . lj0f'ljj|mfGtsf d"lt{x¿ @)^@, k[= ^^_ . clkt' kfnsf] k':tsdf Pp6} lnR5ljsflng clen]v;lxt k|fKt ePsfn] ldltdf ag]sf] k'li6 x'g] u/L ljZn]if0f ul/Psf] ltgn] P]ltxfl;s Pjd\ wfld{s dxÎj b]lvG5 (Vaisnava Iconology in Nepal, Fig. 7 af]s]sf 5g\ . and Fig. 8) . wfld{s ljifosf ltlyldlt / p2]Zo;lxtsf df]xg vgfnsf cg';f/ kz'klt ltnuª\ufsf] d"lt{x¿df Pp6f d"lt{ kz'kltsf] ltnuª\ufdf d"lt{ nflhDkf6sf] d"lt{sf bfFhf]df sd pDbf plrt ;+/If0fsf] kvf{Odf /x]sf] 5 eg] 5}g . z}nL, k|:t'lt / efjeª\ludfsf b[li6n] csf]{ nflhDkf6df :yfkgf ul/Psf] d"lt{ xfn of] d"lt{ klg plQs} pTs[i6 /x]sf] 5 . o;df /fli6«o ;ª\u|xfnosf] ;ª\sngdf /x]sf] 5 . k|of]u ePsf cfe"if0f, cfo'w lnPsf] l:ylt rfFu'gf/fo0f dlGb/ kl/;/df /x]sf] cf7f}“ / j:qnfO{ x]bf{ nflhDkf6df k|fKt ztfAbLsf] lji0f'ljj|mfGt d"lt{ / dlGb/sf] sfi7 lji0f'ljj|mfGtsf] d"lt{;Fu laNs'n} d]n vfG5 6'F8fndf sF'lbPsf] lji0f'ljj|mfGtsf] ltg kfpdf -@)%@, k[= !!!_ . vgfnn] ;fdfGo ljifoj:t' lqnf]s gfKg nfu]sf] d"lt{ km/s dfWod / / k|:t'ltdf dfq Wofg s]lGb|t u/]sf] b]lvG5 . z}nLdf agfOPsf] kfOG5 . To;}u/L rf}wf}“ ;+/rgf / cfs[ltsf cg'kftsf] agf]6af/] pgn] ztfAbLsf] kmlk{ªsf] lzv/gf/fo0f dlGb/sf] rrf{ u/]sf] kfO“b}g . oyfy{df oL b'O{ d"lt{sf k|:t/df pb\e[t lji0f'ljj|mfGt d"lt{df ljifoj:t'sf] cfs[ltx¿df lgs} 7"nf] cGt/ b]Vg ;lsG5 . ;dfgtf b]lvG5 eg] z}nL eg] lgtfGt km/s /x]sf] 5 . To;}u/L ef/tsf ljleGg :yfgdf lji0f'ljj|mfGt d"lt{df b[Zodfg z}nL, efj, u'0f, k|fKt d"lt{x¿sf ljifoj:t'df ;dfgtf Pjd\ /rgf k|:t[lt Pjd\ ;+of]hgsf sf/0fn] ubf{ o; z}nLdf k[ystfsf cfwf/df snfsf/sf] efjgf /rgfnfO{ :df/sLo u'0fn] el/k"0f{ k|frLg / ;dsfnLg dgf]lj1fgsf] cg'dfg ug{ ;d]t snfs[ltsf ¿kdf lng ;lsG5 . ;lsG5 .
sirjanĀ 98 lnR5ljsflng clelnlvt lji0f'ljj|mfGt cyf{t\ lji0f'ljj|mfGt -@)&$ kmfu'g #_ . sf7df8f}“ M /fli6«o lqljj|md jfdg d"lt{x¿ Pp6} ljifoj:t'df ;ª\u|xfno . cfwfl/t 5g\, tyflk z}nLut b[li6n] tL Aryan, L. (1974). The art of Nepal. Kathmandu: Sahayogi Prakashan. s]xL k[ys b]lvG5g\ . lji0f'ljej d"lt{ Banerjea, J. N. (1985). The Development of Hindu P]ltxfl;s wfld{s Pjd\ :df/sLo d"lt{ x'g\ . Iconography (4th ed.). New Delhi: Muns d"lt{df lji0f'nfO{ :df/sLo :j¿kdf lrq0f Hiram Manoharalal Publishers Pvt.ltd. ul/Psf] kfOG5 . Pal, P. (1974). The Art of Nepal. Leiden: E. J. Brill, Leiden, Netherlands. lji0f's} jfdg :j¿ksf] l7s ljk/Lt oL d"lt{df Pal, P. (n.d.). Vaisnava Iconology in Nepal. Calcutta: kf}/fl0fs 36gfnfO{ s]Gb|df /fvL ltg cf]6} The Asiatic society. nf]s gfKg] lqljj|md lji0f'sf] ljzfn :j¿ksf]] Rao, T. G. (1914). Element of Hindu Iconography (Vol. I). Madras: Government of His Highness lrq0f ul/Psf] 5 . syfcg';f/ lji0f'sf] the Maharaja of Travancore. k/fj|md / b}To/fhsf] lg/Lxtfsf] cleJolSt oL Sharma, B. N. (1968, September-December). d"lt{sf ljz]iftf x'g\ . xfn /fli6«o Visnu-Triviram in Literature, Art and Epigraphs. Istituto Italino per l'Africa e ;ª\u|xfnosf] ;ª\sngdf /x]sf] lqljj|md l'Oriente (IsIAO), 18(3/4), 323-334. Retrieved jfdgsf] d"lt{ snfTds b[li6n] ltnuª\uf l:yt 03 04, 2019, from https://www.jstor.org/ stsble/297555341 lqljj|md d"lt{eGbf pTs[i6 ag]sf] b]lvG5 . ;Gbe{ ;fdu|L vgfn, df]xg k|;fb -@)%@_ . g]kfnL snf, nlntk'/ M ;femf k|sfzg . vgfn k/fh'nL, ;GWof -@)&%_ . k|ltdf nIf0f, sf7df8f}“ M /Tg k':ts e08f/ . afª\ub]n, n}gl;+x -@)#(_ . k|frLg g]kfnL d"lt{snfsf] Oltxf;, sf7df8f}“ M g]kfn /fhsLo k|1f–k|lti7fg . afª\ub]n, n}gl;+x -@)#$_ . k|frLg g]kfnL lrqsnf, sf7df8f}“ M g]kfn /fhsLo k|1f–k|lti7fg .
Kff}8\ofn, jL0ff -@)^@_ . sf7df8f} pkTosfsf lji0f'ljej d"lt{ cf]d vqL / lrqx¿ ;ª\lIfKt cWoog, sf7df8f}“ M g]kfn / ;g\ !(^( df afun'ªdf hGd]sf cf]d vqL cGt/f{li6«o Pl;ofnL cg';Gwfg s]Gb| lqe'jg ljZjljBfno . :t/df :yflkt cfw'lgs g]kfnL d"lt{sf/sf ¿kdf ;'kl/lrt ld>, OGb'dlt -!(*&_ . k|ltdf lj1fg, ef]kfn M dWok|b]z 5g\ . /fli6«o Pjd\ cGt/f{li6«o :t/df cfof]lht cg]sf} “ d"lt{ lxGbL csfbdL . sfo{zfnf / uf]i7Lx¿df efu lnO;s]sf vqL ;d;fdlos g]kfnL d"lt{sf/x¿sf] ;+:yf …cf/DeÚ sf ;+:yfks cWoIf jh|frfo{, wgjh| -@)#)_ . lnR5ljsfnsf clen]v, sf7df8f}“ M g]kfn / Pl;ofnL cg';Gwfg s]Gb|, x'g\ . g]kfn nlntsnf k|1f–k|lti7fgsf] k|f1 kl/ifb\sf] lqe'jg ljZjljBfno . ;b:o /lx;s]sf pgL xfn nlntsnf SofDk;, lq= lj= df pkk|fWofkssf ¿kdf sfo{/t 5g\ .
sirjanĀ 99 dbg lrqsf/, ;flxlTos k|sfzg ‘dw'ks{’ sf] cfj/0fk[i7, O= ;+= !(&# sirjanĀ 100 cfj/0f k[i7 l8hfOg czf]sdfg l;+ n]v;f/ s'g} k':ts x]bf{ ;fdfGo h:tf] k|tLt x'G5, clkt' Pp6f k':ts kf7ssf] xft;Dd k'Ug'cufl8 To;n] n]vg, ;Dkfbg, l8hfOg, 5kfO, afOlG8ª cflbsf] nfdf] l;h{gfTds Pjd\ k|fljlw k|lj|mofsf] rj|m k"/f ug'{kg]{ x'G5 . k':tsk|lt kf7ssf] cfsif{0f, df]x / k7g pT;'stf hufpg] ;Gbe{df cfj/0f k[i7sf] ;jf]{kl/ dxŒj /x]sf] x'G5 . u|flkms l8hfOg/sf nflu ;'Gb/ / cfsif{s cfj/0f l8hfOg ug]{ sfo{ ;bf r'gf}tLk"0f{ /xG5 . Jofjxfl/s snf ljwfcGtu{t u|flkms l8hfOg ljifo cWoog/t ljBfyL{x¿sf nflu cfj/0f k[i7 l8hfOgsf af/]df oxfF k|:t't ug]{ k|of; ul/Psf] 5 . a's l8hfOgsf] kl/efiff cfj/0f l8hfOg
…a's l8hfOgÚ (book design) eGgfn] k':tssf] …se/ l8hfOgÚ (cover design) cyf{t\ k':tssf] ¿kljGof; jf ;fh;Hhf eGg] a'l´G5 . cfj/0f l8hfOg eGgfn] s'g} klg k':tssf] k|sfzg tyf d'b|0f x]t' tof/ kfl/g] k':tssf d'vk[i7nfO{ ;hfP/ k|:t't ul/g] snf eGg] ljifoj:t' tyf ;DalGwt kmf]6f], lrq, gS;f, a'l´G5 . k|:6 ¿kdf eGg'kbf{ k':tssf] rf6{ cflbnfO{ Pslqt kfb}{ cfsif{s :j¿k lbg] sfo{nfO{ a's l8hfOg elgG5 . c´ ljifoj:t';“u ldNg] u/L To;sf] ;f/ tÎjnfO{ a'l´g] efiffdf eGg] xf] eg] a's l8hfOg lnP/ l8hfOgsf d"n cª\ux? — lrq cyjf eg]sf] kf7\o ;fdu|Lsf] ;du| clGtd ¿k xf] . kmf]6f] / cIf/ -k':tssf] d"n zLif{s, o; cy{df k':tssf] z}nL, kmDof{6, n]vssf] gfd, k|sfzg ;+:yfsf] gfd_ nfO{ l8hfOg / To;leqsf kl9g] ljifosf] snfTds 9ª\un] ;+of]hg u/L k|:t't cg'j|mlds ¿k cflb tÎjnfO{ 7f]; ¿kdf Pp6} ug]{ snfnfO{ g} cfj/0f l8hfOg dflgG5. 7 f p Fd f P s L s [t u / /] k |l j |m o f T d s 9 ª \u n ] k |: t t' clkt' cfj/0f l8hfOgsf] sfd eg]sf] s'g} ul/g] sfo{ g} a's l8hfOg xf] . lgrf]8df k':tssf] cufl8sf] k[i7sf] l8hfOg dfq xf] eGg'kbf{ of] l;h{gfTds k|lj|mof / k|fljlws eg]/ a'‰g' x'Fb}g . cyf{t\ k':tssf] d'vk[i7 / k|lj|mofsf] ;+o'St Pjd\ 7f]; kl/0ffd xf] . kfZj{k[i7 jf clGtd k[i7sf] ;+o'St l8hfOgnfO{ s'g} k':tssf] l8hfOg ug]{ ;Gbe{df To;df g} k':ts cfj/0f l8hfOgsf ¿kdf lnOG5 . ljljw k|lj|mofut kIfx? k5{g\. tLdWo] Pp6f u|flkms l8hfOgsf ;Gbe{df k':ts cfj/0f dxÎjk"0f{ cªu xf] — …a's se/ l8hfOgÚ l8hfOg clt dxÎjk"0f{ Pjd\ r'gf}tLk"0f{ ljifo (book cover design) cyf{t\ …k':tssf] cfj/0f xf] . k[i7 ljGof;Ú .
sirjanĀ 101 Oltxf; k':ts l8hfOgsf] ;'/mcft #,))) O:jL ;+jt\k"j{ OlhK6af6 ePsf] dflgG5 . ´G8} To;} tfsf d];f]kf]6fldof -jt{dfg O/fs_ df k9\g] ljifoj:t'nfO{ nfdf] cjlw;Ddsf nflu clen]vsf Vkdf ;'/lIft u/L /fVgsf nflu Ps lsl;dsf] kftnf] xn'sf] / ;lhnf] tl/sfn] agfOPsf] r]K6f] km/flsnf] vfnsf] df6f]df n]Vg] k|rng lyof] . ToxL p2]Zosf nflu k|frLg OlhK6df gfOn gbLsf] lsgf/df pld|g] kkfO/; -papyrus) elgg] 7'N7nf ;'s]sf] af]6sf kftx?nfO{ sfuh agfpgsf nflu k|of]u ul/GYof] . sfnfGt/df O:jL ;+jt\ bf];|f] ztfAbLdf kkfO/;sf kftnfO{ s'6]/ ;;fgf ;fOhdf k6\ofpg ldng] u/L xft] sfuh agfO{ k':tssf] ljsf; ul/Psf] lyof]. /fd|f] u'0f:t/sf] sfuh lgdf{0fsf] cfljisf/ cfw'lgs k|ljlwsf] k|of]uåf/f k':ts eg] rLgaf6 ePsf] lyof] . sfuh pTkfbgsf] d'b|0fsf] ljsf; eg] o'/f]kdf ePsf] cflwsfl/s 3f]if0ff tTsfnLg rLgsf ;d|f6\ dflgG5 . O= ;+= !$#( df hd{gLsf ;'gf/ ;fO n'g -Ts'ai Lun) n] O= ;+= !)% df u/]sf of]xfG; u'6g]au{ (Johannes Gutenberg) n] lyP. dfgj ;Eotfsf] ljsf;;Fu} nfdf] wft'sf] cIf/ 9fn]/ 5fKg ;lsg] cGt/fnkl5 cf7f}“ ztfAbLdf cfP/ rLgdf n]6/k|]; -letterpress) sf] cfljisf/ u/]sf cfw'lgs 5kfO k|ljlwsf] ljsf; ePsf] lyP . pgn] ltg ;o cf]6f ljleGg 9f“rfsf lyof] . ljZjdf sf7sf] Ans agfP/ 5fKg] cIf/ -kmG6_ x? klg l;h{gf u/]sf k|ljlwsf] yfngL klg rLgaf6 g} ePsf] lyP . O= ;+= !$%% df u'6]gau{n] …$@–nfOg lyof] . O= ;+= *^* df rLgdf Ú8fodG8 afOanÚ -42-Line Bible) gfp“sf] k':ts 5fk]/ ;'qÚ - Diamond Sutra) gfdsf] k':ts k|sflzt u/]sf lyP . …u'6]gau{ afOanÚ k|sflzt ePsf] lyof] . o;nfO{ ljZj (Gutenberg Bible) gfp“af6 lrlgg] o; k':tssf] Oltxf;df klxnf] k':tssf ¿kdf lng] pgn] o;sf] !*) cf]6f k|lt d'b|0f u/]sf ul/G5 . jfª–rLc -Wang–Chieh) åf/f k|sflzt lyP . pgsf] o; s[ltnfO{ o'/f]kdf k|sflzt pSt k':ts sf7sf] Ansåf/f cfsif{s klxnf] k':tssf ¿kdf lnOG5 . tl/sfn] 5kfO ul/Psf] lyof] . o; cy{n] ljZj Oltxf;df k':ts l8hfOgsf] ;'?cft O= ;+= !$&# df nG8gdf n]vs ljlnod Pl;of dxfåLkaf6 g} ePsf] dflgG5. SofS;g (William Caxtion) n] cª\u|]hL efiffdf
sirjanĀ 102 cg'jfb u/]sf] Úl/So'on ckm lb lxl:6«h ckm lgs} Jofkstf lnO;s]sf] lyof] . cfhsf] 6«f]oÚ -Recuyell of the Histories of Troye) zLif{ssf] PsfO;f}“ ztfAbLsf] k"jf{4{ sfn;Dd cfOk'Ubf k':ts k|sflzt ePsf] lyof] . o; k':tsnfO{ k':ts l8hfOg tyf k|sfzg Joj;fon] lgs} cª\u|]hL efiffsf] klxnf] k':ts dflgG5 . 7'nf] km8\sf] dfl/;s]sf] 5. To:t}, O= ;+= !^$) :6]kmg 8] -Stephen Daye) gfdsf d'b|sn] pQ/ cd]l/sfdf Úa] ;fd a'sÚ g]kfndf k':ts k|sfzg / k':ts l8hfOgsf] -Bay Psalm Book) zLif{ssf] k':ts k|sflzt yfngL u/]sf lyP . pQ/ cd]l/sfsf] Oltxf;df g]kfnsf ;Gbe{df k':ts k|sfzgsf] Oltxf;n] o;nfO{ klxnf] k':ts dflgG5 . o;/L k':ts nueu Ps ;o jif{dfq sf6]sf] 5 . O= ;+= k|sfzgsf] ljsf;;“u} a's l8hfOgsf] ljsf; !()( df lgi7fgGb jh|frfo{ cfk"m :jod\ cf/De ePsf] lyof]. snsQf k'uL Toxf“af6 5kfO ug]{ 6fOk NofP/ O:jL ;+jt\ ;qf}“÷c7f/f}“ ztfAbL;Dd cfOk'Ubf cfkm}“n] 6fOk sDkf]h g]kfn efiffsf] k':ts ÚPs n]6/k|]; k|ljlwn] /fd|f] ult lnO;s]sf] lyof], ljgzlt k|1fkf/ldtfÚ zLif{ssf] k':ts k|sflzt / ;f]xLcg'¿k u'0f:t/Lo k':tsx¿sf] pTkfbgn] u/]sf lyP . ;DejtM ;f]xL k':ts g} g]kfnsf]
sirjanĀ 103 k':ts Oltxf;df klxnf] k':ts xf] . O= ;+= l8hfOg ug]{ cj;/ kfpg yfn]sf lyP . !(!$ df pg} lgi7fgGb jh|frfo{n] eujfg\ To;tfsf u|flkms l8hfOg ;DaGwL dfq sfd a'4sf] hLjgLdf cfwfl/t Únlntlj:tf/Ú / ug]{ snfsf/x¿ lyPgg\, / To:tf] cj:yf Ú:joDe"k'/f0fÚ klg k|sflzg u/]sf lyP. klg lyPg . ctM lrqsf/Lsf If]qdf ;dlk{t O+= ;+= !(!# df ;f´f k|sfzgsf] :yfkgf ePsf] snfsf/x¿n] g} cfj/0f k[i7 l8hfOg ;DaGwL lyof] . of] ;+:yf klxnf uf]vf{ efiff k|sflzgL sfd uy]{ . cfw'lgs g]kfnL snfsf If]qsf ;ldltsf] gfddf :yfkgf ePsf] lyof] . cu|h snfsf/x¿ t]haxfb'/ lrqsf/, rGb|dfg km]l/ O= ;+= !(#@ df g]kfn efiff k|sflzgL l;+x df:s], s]zj bjf8L, n}gl;+x ;ldltsf] gfp“nfO{ kl/jt{g ulPsf] lyof] . afª\b]n cflbnfO{ g} g]kfnsf ;'?sf …a's se/ O= ;+= !(^$ b]lv of] ;+:yf k'gM ;femf l8hfOg/Ú dfGg'kg]{ x'G5 . k|sfzgsf] gfp“df ;~rfng x'g yfn]sf] lyof] . plNnlvt cu|h snfsf/x¿ kl5 cfPsf k|foM ctM g]kfndf k':ts k|sfzg ug]{ h]7f] k|sfzg ;a} snfsfx¿n] w]/yf]/ dfqfdf o; If]qdf xft ;+:yfsf ¿kdf ;femf k|sfzgnfO{ dflgG5 . xfn]sf] b]lvG5 . ltgdf zzL zfx, dg'hafa' O= ;+= !(#( df sf7df8f}“ l:yt ef]6flx6Ldf ld>, dbg lrqsf/, ljho yfkf, s'ndfg l;+x /fdbf; >]i7n] Ú/fdbf; PG8 ;G;Ú gfdaf6 e08f/L, lbnaxfb'/ lrqsf/, 6]sjL/ d'lvof, k':ts k;n :yfkgf u/]sf lyP . b'uf{ a/fn, s]= s]= sdf{rfo{, /fw]Zofd d'NdL O= ;+= !($^ b]lv pSt k;nnfO{ pgsf 5f]/f cflb pNn]vgLo 5g\ . /Tgk|;fb >]i7n] …/Tg k':ts e08f/Ú sf] g]kfnL k':tssf nflu cfj/0f tyf gfdaf6 k|sfzg ;+:yfsf] ¿k lbPsf d'vk[i7sf] l8hfOg agfpg] snfsf/dWo] lyP . O= ;+= !($)–$^ cjlwdf k|sflzt s'ndfg l;+x e08f/L / 6]sjL/ d'lvofsf] …g]kfnL j0f{dfnfÚ, …efujt:tf]qÚ / Úk~r:tf]qÚ gfd cu| kª\lStdf cfpF5 . s'ndfg l;+xn] o; k|sfzg ;+:yfsf k|f/lDes k':tssf ¿kdf O= ;+= !)%( b]lv k':tssf] cfj/0f l8hfOg lrlgG5g\ . ´G8} cf7 bzssf] Oltxf; af]s]sf] agfpg yfn]sf lyP . pgsf] klxnf] cfj/0f /Tg k':ts e08f/ g} g]kfnsf] Oltxf;df lghL l8hfOg ÚhLjgsf] y'Dsf]Ú -O= ;+= !(%(_ If]qaf6 :yflkt klxnf] / ;a}eGbf k'/fgf] k':ts lyof] . pgn] ´G8} Ps ;o cf]6feGbf k;n xf] eg]df s'g} cltzof]lSt gxf]nf . a9L k':tssf] cfj/0f agfPsf xfdLsxf“ la;f}“ ztfAbLsf] dWosfn sfnb]lv lyP . csf{ snfsf/ 6]sjL/ d'lvofn] dfq k':ts k|sfzg Joj;fon] s]xL dfqfdf ´G8} Ps xhf/ cf]6feGbf a9L ;ª\Vofdf ult lnPsf] a'l´G5 . To;cufl8;Dd clwsf+z k':tsx?sf] cfj/0f l8hfOg agfO;s]sf g]kfnL k':tsx¿ ef/tdf d'b|0f ul/GYof] . 5g\ . pgn] O= ;+= !(^% b]lv o; If]qdf xft ;f´f k|sfzg, /Tg k':ts e08f/ h:tf xfn]sf lyP . pgL ;f´f k|sfzgaf6 k|sflzt :jb]zL k|sfzg ;+:yfx¿sf] ;lj|motf a9];“u} x'g] clwsf+z k':tsx?sf] cfj/0f l8hfOg/ g]kfnL snfsf/x¿n] klg k':tssf cfj/0f sf ¿kdf lrlgG5g\ . g]kfnsf] k|sfzgsf]
sirjanĀ 104 Oltxf;df ;a}eGbf a9L k':tssf cfj/0f – aL l;l/hsf] aL–l;S;\ (B-6) ;fOh — agfpg] snfsf/ d'lvof g} x'g\ eg]df cltzof] -$=%ÆX^=%Æ÷%ÆX&Æ_ — ljz]iftM ;flxlTos lSt gxf]nf . k|sfzgx¿sf nflu pko'St . k':tssf cfsf/ k|sf/ / ltgsf k|fljlws plNnlvt rf/ y/Lsf] k':tssf ;fOhx? kIf k|];af6 pTkfbg ul/g] kmfOgn cyf{t\ tof/L ;fOh x'g\ . tL ;fOhsf nflu k':ts hut\df k':tsx? d'b|0f ul/g] ahf/df b'O y/Lsf] ;fOhsf sfuh d]l;gsf] lglZrt ;fOh / To;df ldNg] kfOG5g\ . P l;l/hsf] ;fOh – @$ÆX#^Æ pko'St sfuhsf] ;fOhcg';f/ 5flkg] / aL l;l/hsf] ;fOh – @)ÆX#)Æ cnfjf ul/G5 . ljZjel/ g} 5kfOsf nflu @*ÆX$)Æ ;fOh . k|of]u ul/g] d]l;g ljz]iftM b'O{ cf]6f k|foM log} b'O{ ;fOhdf sfuh v]/ ghfg] :6\ofG88{ ;fOhdf lgdf{0f ul/Psf] x'G5 — lx;fan] plNnlvt ljleGg ;fOhsf k':tsx? …P–l;l/h d]l;gÚ (A-series machine) / …aL– d'b|0f ul/G5g\ . l;l/h d]l;gÚ (B-series machine) d]l;g . ltg} :6\ofG88{ d]l;gsf] ;fOhsf cfwf/df sfuhsf] k':ts cfj/0f l8hfOgsf] ;+/rgf / agfj6 pTkfbg klg d"ntM b'O ;fOhdf ul/sf x'G5g\ — …P–l;l/h sfuhÚ (A-series paper) k':tssf] cfj/0f l8hfOg eGgfn] s'g} klg / …aL– l;l/h sfuhÚ (B-series paper) . ltg} k':tssf] cufl8 / k5fl8sf ;du| efusf] b'O{ ;fOhsf d]l;g / sfuhsf ;fOhcg';f/ l8hfOgsf] ¿k xf] eGg] a'‰g'k5{ . ljleGg cfsf/ k|sf/sf k':tsx? k|sflzg ul/G5g\ . s'g} klg a's se/ l8hfOg ubf{ k':tssf] cufl8sf] d'vk[i7, k5fl8sf] clGtd k[i7 cGt/f{li6«o :t/df k|rlnt k':tssf ;fOhx? / cufl8 k5fl8 larsf] efu ;d]t /fvL o; k|sf/ 5g\ — l8hfOgsf] kmDof{6 agfpg'kg]{ x'G5 . ;du| k':tssf] cfj/0fsf] cfsf/nfO{ d"ntM ltg – P l;l/hsf] …P–kmf]Ú (A-4) ;fOh -*ÆX!)Æ÷*=%ÆX!!=%Æ_ — ljz]iftM afn v08df ljeflht u/L ;+/rgf ug]{ ul/G5 — ;flxTo, ljBfno :t/Lo kf7\ok':ts – klxnf] v08 — cu| cfj/0f cyjf cflbsf nflu pko'St_ d'vk[i7 (front cover) – P l;l/hsf] …P–kmfOeÚ (A-5) ;fOh – bf];|f] v08 — kfZj{ cfj/0f (back cover) -%=%ÆX*=%Æ÷%ÆX*Æ_ — -ljz]iftM lkmS;gsf nflu pko'St_ – t];|f] v08 — d'vk[i7 / clGtd k[i7sf] dWoefu cyf{t\ d]/mb08 (spine) – aL l;l/hsf] …aL–kmfOeÚ (B-5) ;fOh — -^ÆX(Æ÷&ÆX(=%Æ_ — ljz]iftM kf7\ok':tssf cu| cfj/0f cyjf d'vk[i7 M k':tssf] ;a}eGbf nflu pko'St_ cufl8sf] cfj/0f k[i7nfO{ …k|mG6 se/Ú cyf{t\
sirjanĀ 105 cu| cfj/0f elgG5 . o;df k':tssf] zLif{s, nf]uf] tyf d"No ;d]t /G5g\ . o; pko'St tyf ;fGble{s kmf]6f] cyjf lrq / v08sf] df]6fO k':tssf] k[i7 ;ª\Vofsf n]vssf] gfd /xG5g\ . cfwf/df x'g] u5{ . k':ts /fVg] b/fh tyf ¥ofsx?df k|foM :kfOg kfZj{ cfj/0f M …Aofs se/Ú cyf{t\ kfZj{ b]lvg] u/L k':tsnfO{ 7f8f] u/]/ cfj/0f eGgfn] s'g} klg k':tssf] clGtd /fVg] ul/G5 . ;fdfGotof k':tssf] cfj/0f k[i7nfO{ a'´fp“5 . o; v08df k|foM cfj/0f agfpFbf k|foM dfly n]vssf] kmf]6f];lxt ;ª\lIfKt kl/rofTds plNnlvt ltg v08df ljefhg u/]/ ljj/0f /xG5 . o; cltl/St k':ts leqsf l8hfOgsf] 9fFrf tof/ kfg]{ ul/G5 . clkt' s]xL ;fGble{s Pjd\ dxÎjk"0f{ jfSof+zx¿ k':tssf] dxÎj, :t/Lotf, cfsif{0f tyf klg p4[t u/L k|:t't ug]{ ul/G5 . s'g} s'g} ;'/If0fnfO{ b[li6ut ub}{ k':tssf] cfj/0fnfO{ k':tsdf ;f] k':tssf af/] s'g} ljlzi6 kf7s 5f]lkg] jf 9flsg] u/L yk csf]{ se/ agfP/ jf ;dLIfsn] eg]sf÷n]v]sf s'/f klg /fVg] k|rng klg kfOG5 . o;/L 5'6\6} cfj/0f /fVg] ul/G5 . o; k[i7df k|sfzg ;+:yfsf] l8hfOg agfP/ /fVg] sfdnfO{ k|sfzgsf] nf]uf], cfOP;laPg (ISBN) / k':tssf] d"No efiffdf …a's se/ Hofs]6Ú (book cover klg cª\lst ul/Psf x'G5g\ . jacket) cyjf …8:6–Hofs]6Ú (dust-Jacket) eGg] d]?b08 M cu|cfj/0fsf] afof“ 5]p / ul/G5 . kfZj{cfj/0fsf] bfof“ 5]psf] dflyb]lv 8:6–Hofs]6 cln vlr{nf] x'G5, tyflk km]b;Ddsf] 7f8f] efunfO{ …:kfOgÚ cyf{t\ kf7sdf k':tssf] dxÎj / :t/Lotfsf] k|efj d]?b08 elgG5 . o; v08df k':tssf] hdfpgdf o;n] /fd|f] e"ldsf v]N5 . o; gfd, n]vssf] gfd, k|sfzg ;+:yfsf] cltl/St k':tsnfO{ kmf]xf]/ / d}nf] x'gaf6
8:6–Hofs]6sf] pbfx/0f
sirjanĀ 106 hf]ufpg' tyf ;'/lIft kfg'{ klg 8:6–Hofs]6 clGtd jf tof/L ¿k tyf cfsf/nfO{ k"0f{ ¿k l8hfOgsf] p2]Zo xf] . 8:6–Hofs]6df k':ts lbgsf nflu lkmlgl;ª–sl6ª dfs{ k|of]u tyf n]vs;“u ;DalGwt yk hfgsf/L klg ul/G5 . To:t}, :kfOg v08nfO{ bfofF afofF ;dfj]z ul/Psf x'G5g\ . k6\ofpgsf nflu kmf]lN8ª nfOg k|of]u ul/G5 . plNnlvt ;a} s'/fx? se/ l8hfOg k':ts l8hfOgsf k|lj|mofTds l;4fGtx¿ n]cfp6sf dxÎjk"0f{ cª\u dflgG5g\ . s'g} klg l8hfOg agfpFbf To;sf s]xL cfwf/ l8hfOgsf ;}4flGts kIf¿ M cfj/0f e"t l;4fGtsf] kfngf ug'{ ckl/xfo{ l8hfOgnfO{ ;'Gb/, cfsif{s Pjd\ hLjGt x'G5 . ctM k':tssf] cfj/0f l8hfOg agfpFbf agfpgdf l8hfOgsf nflu lgwf{l/t ;}4flGts klg To;sf nflu lgDglnlvt ;}4flGts kIfx¿dWo] oL s]xL l;4fGtx¿sf] cx+ e"ldsf kIfx¿nfO{ dgg ug'{kg]{ x'G5 M /x]sf] x'G5 — ;+of]hg (composition), cg'kft – n]cfp6 l8hfOgsf ;+/rgfTds kIfx¿ (proportion), P]Sotf (unity), ;Gt'ng (Structural Elements of Layout design) (balance), ljlzi6tf (emphasis), cGt/e]b (contrast) / kª\lSta4tf (alignment) . – l8hfOgsf ;}4flGts kIfx¿ (Principles of Design) ;+of]hg (Composition): k':tssf] d"n zLif{s, lrq jf kmf]6f], n]vssf] gfd cflbnfO{ pko'St – l8hfOgsf tÎjx¿ (Elements of Design) tl/sfn] ;xL 7fpFdf Jojl:yt ¿kaf6 :yflkt n]cfp6 l8hfOgsf ;+/rgfTds kIf¿ M ug'{ . k':tssf] cfj/0f l8hfOgsf nflu cg'kft k|f/lDes of]hgf tof/ ul/G5 . pSt (Proportion): PseGbf a9L lrq cyjf of]hgfsf nflu ;j{k|yd k':tssf] cfsf/ kmf]6f], d"n zLif{s, cGo pkzLif{s, n]vssf] k|sf/ cyjf ;fOh lgwf{/0f u/L kmDof{6 tof/ gfd cflblar 7'nf] / ;fgf], uf9f / lkmsf kfl/G5 . pSt kmDof{6df n]cfp6sf] ;+/rgf cflb tÎjx?nfO{ ;dGjo ug'{ . ul/G5 . n]cfp6df lu|8–nfOg (grid-line), P]Sotf (Unity): b'O{ jf b'O{eGbf a9L /ªnfO{ sf]nd (column), :kfOg (spine), j|mlds 9ª\un] PsLs[t ub}{ ;Gt'lnt tl/sfn] lkmlgl;ª–sl6ª dfs{ (finishing-cutting mark), /ª ;+of]hg ug'{ . kmf]lN8ª dfs{ dflh{g (folding mark margin) cflb tÎjx? k|of]u ul/G5g\ . oL tTjx? g} ;Gt'ng (Balance): l8hfOgdf k|o'St ljljw l8hfOgsf ;+/rgfTds kIfx? x'g\ . cª\ux?nfO{ lgof]lht jf clgof]lht, ;dfg'kflts jf c;dfg'kflts ¿kdf ;+of]hg k':tssf] k|f/lDes ¿k/]vfsf nflu lu|8 aS; u/]/ ;du| l8hfOgdf ;Gt'ng sfod ug'{ . tyf nfOgsf] k|of]u ul/G5 . lrq (picture) ljlzi6tf (Emphasis): l8hfOgdf k|of]u ul/g] tyf k7gLo ljifoj:t' (texts) nfO{ ;ª\ul7t ug{sf nflu sf]ndsf] k|of]u ul/G5 . k':tssf] cª\ux?df ljlzi6 k|efj jf k|antf k}bf ug'{ .
sirjanĀ 107 cGt/e]b (Contrast): uf9f /ªsf] k[i7e"lddf jt{dfg o'u;Dd cfOk'Ubf k':ts k|sfzgsf] lkmsf /ª, pHofnf] cfs[ltsf] kfZj{df c“Wof/f] Joj;fon] Psbd Jofkstf lnO;s]sf] 5 . cfs[lt cflb ;+of]hg u/]/ l8hfOgdf lje]bsf] kmntM k':tssf] 5kfO, afOlG8ª, cfj/0f k[i7 k|efj k}bf ug'{ . l8hfOg cflb k|fljlws kIfx¿df gjLgtd Pjd\ pTs[i6 k|ljlwx¿sf] ljsf;sf] j|md hf/L g} kª\lSta4tf (Alignment): l8hfOgdf k|o'St 5g\ . cIf/x¿ jf cfs[ltx¿nfO{ bfof“ jf afof“, t];f]{ jf 7f8f] jf lrq ;txsf] lar efudf k':ts ahf/sf] la:tf/;“u} u|flkms kg]{u/L ;+of]hg ug'{ . l8hfOg/x¿sf nflu cfj/0f k[i7 l8hfOgsf nflu k|z:t cj;/x? k|fKt eO/x]sf 5g\ . l8hfOgsf tŒjx¿ M laGb' (point), pgLx¿sf nflu of] Joj;fo k|lt:kwf{Tds Pjd\ /]vf (line), /mk / cfsf/ (shape and size), r'gf}tLk"0f{ klg aGb} uPsf 5g\ . l;h{gfTds /ª (color), k|sfz / 5fof (light and shade), ;f]r / l;k lagf cfj/0f l8hfOgsf] If]qdf ;tx k|efj (texture) / v'nf 7fpF (space) oL l6ls/xg jt{dfg o'usf l8hfOg/x¿sf nflu ;a} l8hfOgsf tÎjx¿ x'g\ . ;xh x'g ;Sb}g . plNnlvt l8hfOgsf tÎjx¿dWo] cfj/0f o; k|s/0fdf k':ts cfj/0f l8hfOgsf l8hfOgsf ;Gbe{df /ª / vfnL :yfg cyf{t\ nflu Pshgf l8hfOg/n] Wofg lbg'kg]{ s]xL :k];n] ljz]if dxÎj af]s]sf x'G5g\ . cfwf/e"t a'Fbfx¿af/] …l8hfOglxnÚ (Designhill) /ª (Color): pko'St jf ;xL /ªsf] rog x'g' gfdsf] k|l;4 l8hfOg xfp;;“u ;Da4 c]l/sL Psbd clgjfo{ x'G5 . nflnTosf b[li6n] e8\ n]vs, l8hfOg/ tyf dfs]{l6ª sG;N6\ofG6 lsnf tyf ax' /ªsf] k|of]ueGbf ;fbuLk"0f{ /ª Pg sf6f]{gÚ (Anne Carton) sf] egfOnfO{ oxfF ljGof; Pjd\ ;Lldt /ªåf/f ;+of]lht cfj/0f ;fef/ ul/Psf] 5 M k[i7nfO{ ;'Gb/ dflgG5. – klxnf] dxÎjk"0f{ s'/f] — a's se/ v'nf 7fp“ (Space): l8hfOgdf k|of]u ul/g] l8hfOgsf nflu k':tssf] ljifoj:t'sf cfs[lt tyf cIf/ h:tf cª\u k"/sx? n] ;du| ;f/tÎjnfO{ u|x0f u/]/ jf a'´]/ cf]u6]sf 7fpF jf :k];nfO{ …kf]lhl6e :k];Ú cfj/0f l8hfOgsf] kl/sNkgf ug'{k5{. (positive space) / cª\u k"/sx?n] gcf]u6] – bf];|f] dxÎjk"0f{ s'/f] — nlIft kf7s sf v'nf jf vfnL 7fpFnfO{ g]u]l6e :k]; ju{sf nflu ljz]if s]lGb|t eP/ cyjf (negative space) eGg] ul/G5 . l8hfOgdf oL Wofg lbP/ l8hfOg k|:t't ug'{k5{ b'j} :k];sf] plQs} dxÎj /x]sf] x'G5 . – t];|f] dxÎjk"0f{ s'/f] — k':tssf] pk;+xf/ cfj/0fnfO{ x]bf{ ;fwf/0f t/ cfsif{s k':ts k|sfzgsf] nfdf] Oltxf; / k/Dk/f agfpg'k5{ . /lxcfPsf] 5 . PsfO;f}“ ztfAbLsf] k"jf{4{sf]
sirjanĀ 108 ;|f]t ;fdu|L
Book Cover Design. DESIGNHILL
Jennings, Simon. The Complete Guide to Advanced Illustration and Design. Chartwell Books, Inc, London
Pipes, Alan. Production For Graphic Designers. Laurence King
Simmons, Jason. The Designer's Desktop Manual. Canada czf]sdfg l;+ Vajracharya, Nishthananda. Ekavimshati czf]sdfg l;+ ljut rf/ bzsb]lv lrqsnf, kmf]6f]u|fkmL, Pragyaparamaita u|flkms l8hfOg, On:6«];g, d'b|0f tyf pTkfbg Pjd\ k|sfzg https://archive.org/details/ If]qdf sfo{/t /xFb} cfPsf 5g\ . https://en.wikipedia.org/wiki/The_Unlikely_ Pilgrimage_of_Harold_Fry pgL ;flxTo ljwfdf klg snd rnfpF5g \. pgsf ‘/ªÚ zLif{ssf] cToGt pkof]uL k':tssf cltl/St pkGof; Pjd\ https://www.designhill.com/design-blog/famous- book-cover-designs- afn syfx¿ k|sflzt 5g\ . g]kfn ;/sf/af6 k|bfg https://www.goodreads.com/book/show/6791785- ul/g] If]qLo /fli6«o k'/:sf/ / g]kfn nlntsnf k|1f rooms -n]vg_ k'/:sf/af6 ;d]t ;Ddflgt l;+n] cGo ljleGg wickipedia, Free Encychlopedia k'/:sf/ k|fKt ul/;s]sf 5g\ . xfn pgL ;]G6/ km/ cf6{ PG8 l8hfOg, sf7df8f}F o'lgel;{6L / l;h{gf sn]h ckm kmfOg www. ratnabooks. com > ysearchsubject cf6{;\df cWofkg/t 5g\ .
sirjanĀ 109 sf/fefhf], uf]lnofysf] lz/ / 8]le8, O= ;+= !^!), Sofgef;df t]n/ª, !@% ;]= ld= X !)! ;]= ld=, Uofn]l/of af]u]{;, /f]d
sirjanĀ 110 k':ts c+z sf/fefhf] M c;xh dflg; — c;fwf/0f lrqsf/ gjLGb|dfg /fhe08f/L n]v;f/ ;f+:s[lts ;Gbe{df ;qf}“ ztfAbLsf] o'/f]knfO{ ‘a/f]s o'u’ elgG5 . wfld{s pynk'yn, cfly{s ;d'Gglt, cf}klgj]lzs lj:tf/jfb, /fhgLlts ptf/r9fj tyf 1fg lj1fgsf If]qdf xfl;n ce"tk"j{ pknlAwx¿n] o; ztfAbLdf o'/f]ksf] ;fdflhs Pjd\ ;f+:s[lts hghLjgdf Jofks k|efj kf/]sf] lyof] . o;} kl/b[Zodf ‘a/f]s’ snf jf z}nLsf] pTyfg ePsf] lyof] . a/f]s z}nLsf] pTyfg ;f]¥xf}“ ztfAbLsf] pQ/f4{df eO{ ´G8} ;g\ !&%) ;Dd sfod /x]sf] dflgG5 . a/f]s z}nLsf] hu xfNg] >]o O6nLsf snfsf/ sf/fefhf]nfO{ hfG5 . ;Dk"0f{ a/f]s snfsf/x¿n] pgs} kblrx\gnfO{ k5\ofPsf lyP . log} sf/fefhf] / pgsf sfdaf/]sf k|:t't kª\lStx¿ n]vssf] k|sfzf]Gd'v k':ts ‘kfZrfTo snf M ;ª\lIfKt Oltxf; -bf];|f] efu_ af6 p4[t ul/Psf] xf] . k[i7e"ld wfld{s tyf /fhgLlts ljv08gsf sf/0f Psn] csf]{ kIfk|lt b'/fu|x /fVg] / O{Zj/sf ;qf}“ ztfAbLdf O;fO{ wd{sf b'O{ ;Dk|bfo cltl/St snfnfO{ klg cfcfgf kIf cg's"n /f]dg Sofyf]lns (Catholic) tyf JofVof Pjd\ pkof]u ug{ yflnPsf] lyof] . eJo k|f]6]:6\ofG6 (Protestant) sf ¿kdf o'/f]ksf] dxn Pjd\ luhf{3/x¿, a[xt\ cfsf/sf lrqx¿ :yfoL ljefhgn] snf hut\nfO{ klg k|efljt tyf /fhsLo kf]6«]6x¿df rr{ / /fHosf] zlSt kf/]sf] lyof] . rr{n] snfnfO{ cfgf] ceLi6 Pjd\ dxÎjfsfª\IffnfO{ cleJoSt ug]{ xf]8afhL k|flKtsf nflu k|f]T;flxt ug{ yfn]sf] lyof] . rNg yfn]sf] lyof] . a9\bf] cfly{s ;d'Gglt;“u} Sofyf]lns tyf k|f]6]:6\ofG6 d'n'sx¿df snfnfO{ ;+/If0f lbg] kf]k cwLg:y /f]ddf alg{gL (Bernini), ;Gbe{df Jofks kl/jt{g cfpg yfn]sf] lyof] . af]/\/f]ldgL (Borromini) / uf}nL (Gaulli) n] jf:t', d"lt{ tyf lrqsnfsf If]qdf lj:dosf/L ;dfhsf clehft ju{df dfq ;Lldt snf snfs[ltx¿ /rgf u/]sf lyP eg] sf/fefhf] ;ª\u|xsf] ;f]v ;DkGg dWod ju{df klg ;g{ (Caravaggio) n] cfgf] g"tg k|s[ltjfbaf6 yfn]sf] lyof] . eJo Pjd\ snfTds lrqsnfdf j|mflGtsf/L k|jt{g u/]sf lyP . lul/hf3/, dxn, gfr3/x¿ lgdf{0fsf cltl/St ;fdfGo ejg tyf 3/nfO{ ;d]t :k]g, k|mfG; / Oª\uNofG8df l/ufp (Rigaud) / snfTds 9ª\un] l;“ufg]{ k|rngn] Jofkstf efg 8fOs (Van Dyck) n] /fhsLo kfpg yfn]sf] lyof] . k|rf/sf nflu ;xfos x'g] kf]6«]6 /rgfx¿
sirjanĀ 111 agfPsf lyP eg] e]nf:s]; (Velásquez) / z}nLsf ¿kdf lnOG5 . …lb :6f]/L ckm cf6{Ú ?a]G;n] (Rubens) /fhgLlts Pjd\ ;}Go (The Story of Art) sf n]vs O= Pr= uf]lDa|r ljhosf ufyfnfO{ uf}/jflGjt ug]{ cg]sf}“ (E. H. Gombrich) sf] dtcg';f/ a/f]s z}nLsf] s[ltx¿ l;h{gf u/]sf lyP . pTyfg /]g];f“ (Renaissance) snfnfO{ k5\ofp“b} ePsf] lyof] . nf]/]G;, e]lg; / c“6jk{ h:tf gu/Ln] ;f+:s[lts Pjd\ cfly{s cflwkTo u'dfp“b} o; z}nLsf] pTyfg ;f]¥xf}“ ztfAbLsf] pQ/f{4{df uO/x]sf lyP eg] kf]k cwLg:y /f]d, n'O{ rf}wf}“ eO{ ´G8} ;g\ !&%) ;Dd sfod /x]sf] (Louis XIV) sf] k]l/; / xNofG8sf] dflgG5 . sltko Oltxf;ljb\x¿sf cg';f/ Pd:6/8\ofd gu/Lx¿ snfs[ltx¿ sf/f]af/sf] …a/f]sÚ (baroque) zAb kf]r'{luh efiffsf] k|d'v ynf]sf ¿kdf :yflkt eO/x]sf lyP . …a/\/f]sf]Ú (barroco) zAbaf6 ag]sf] lyof], / o;n] …clgoldt cfsf/sf] df]tLÚ eGg] cy{ v'nf snf ahf/sf] ljsf;;“u} k|f]6]:6\ofG6 d'n'sx¿df wfld{s snfnfO{ lj:yfkg ub}{ a'‰ffp“Yof] . ;zSt oyfy{jfbL z}nLaf6 cf]tk|f]t wd{ lg/k]If af}l4s ts{o'St dWosfnLg z}nLnfO{ JofVof snfn] gof“ cfly{s cfwf/ :yflkt ub}{ lyof] . ug]{ ;Gbe{df …a/\/f]sf]Ú zAbnfO{ O6flnogx¿n] k|of]u u/]sf lyP . zf:qLo ljifoj:t'k|lt snf eld{/ (Vermeer) / ?:8]n (Ruisdael) h:tf snfsf/n] tTsfnLg ;dLIfsx¿af6 uf}0f ;+/Ifs tyf snfsf/x¿df cfsif{0f sfod g} /x] tfklg t'ngfTds ¿kdf a/f]s z}nL a9L 7flgPsf l:y/–j:t' lrq (still-life paintings), :jR5Gb, ;+j]uk"0f{, cf]hbf/ Pjd\ pQ]hs /x]sf] e"–b[Zo lrq (landscape paintings) tyf b}lgs hLjgsf b[Zox¿ cª\sg ul/Psf ljwf lrqx¿ lyof] . ;du|df a/f]s snfsf] ljz]iftfsf ¿kdf (genre paintings) /rgf u/]sf lyP . ltgdf b[Zodfg pQ]hs, cf]hk"0f{ Pjd\ e8\lsnf kIfnfO{ lng] ul/G5 . 5fof k|sfzsf] log} wfld{s, /fhgLlts Pjd\ ;fdflhs gf6sLo k|of]u, ;+j]uk"0f{ cfs[ltx¿, wfld{s kl/j]zdf a/f]s snfsf/x¿n] cfgf ;+/Ifsx¿ pu|tfn] el/Psf lrq /rgfx¿ Pjd\ lrq tyf snf ahf/sf nflu ?lrk|b snfs[lt ;txdf afSnf 6]S;r/sf] k|of]u a/f]s snfsf l;h{gf ug{ ;Sg] k|fjlws pTs[i6tf Pjd\ lzNk ljz]iftf dflgG5g\ . bIftf xfl;n u/]sf lyP . ltg} k|ltefzfnL snfsf/x¿sf clåtLo l;h{gfx¿sf sf/0f a/f]s snfsf/x¿n] Dofgl/Hd snfdf b]lvg] kfZrfTo snfsf] Oltxf;df a/f]s snfn] cltzof]lStk"0f{ lzNknfO{ c:jLs[t ul/lbPsf ljlzi6 :yfg cf]u6]sf] 5 . lyP, k/Gt' ltgsf s]xL tÎjnfO{ eg] pgLx¿n] cjnDag u/]sf lyP . Dofgl/:6x¿n] ckgfPsf a/f]s snf …lr/f];So'/f]Ú (chiaroscuro) elgg] Psbd kfZrfTo snfsf] Oltxf;df a/f]s z}nLnfO{ ljk/Lt 5fof k|sfzsf] k|of]u tyf lrq cfr/0fjfb cyf{t\ Dofgl/Hd (Mannerism) nfO{ ;+of]hgdf /ª\ud~rsf] h:tf] gf6sLo lj:yfkg ub}{ cufl8 cfPsf] snf k|efjnfO{ a/f]s lrqsf/x¿n] klg lgs}
sirjanĀ 112 pkof]u u/]sf lyP . pgLx¿n] k|s[ltnfO{ c´ sfnhoL s[ltx¿åf/f O6nLnfO{ uf}/jsf] lgs6;“u cWoog u/]sf lyP . a/f]s snfdf lzv/df k'¥ofO;s]sf lyP . ljnIf0f k|ltefsf gf6sLo lj|mofsnfk tyf lx+;s 36gfsf wgL oL snfsf/x¿åf/f k|ltkflbt dfgj z/L/, j0f{gnfO{ lgs} ;+j]uk"0f{ 9ª\un] cª\sg ug{df cg'kft, b"/fGt/, b[li6eª\u, 5fof k|sfz h:tf hf]8 lbOGYof] . snfsf k|fs[lts lgodx¿ cfh ko{Gt csf6\o /x]sf 5g\ . a[xt\ cfsf/sf wfld{s tyf P]ltxfl;s lrqsf cltl/St ;f]¥xf}“ ztfAbLb]lv k|rngdf cfPsf ;f]¥xf}“ ztfAbLs} pQ/f4{df kf]“6f]df]{ (Pontormo), t/ Go"g dxÎj kfPsf e"–b[Zo lrq, l:y/–j:t' kld{lhoflggf] (Parmigianino), a|f]lGhgf] lrq / b}lgs hghLjgsf b[Zox¿n] ;qf}“ (Bronzino), l6G6f]/]6\6f] (Tintoretto), ztfAbLdf a9L dxÎj kfpg yfn]sf lyP . e]/f]lgh (Veroronese) cflb snfsf/x¿n] kf]6«]6 snfdf klg snfsf/x¿n] lrq–kfqsf] l/g];f“ snfnfO{ clt/l~ht :j¿k lbg] j|mddf Dofgl/Hd z}nLsf] k|jt{g u/]sf lyP . ef}lts :j¿ksf cltl/St ltgsf rl/q tyf dgf]bzfnfO{ ;d]t ptfg{ yfn]sf lyP . ;qf}“ ztfAbL;Dd cfOk'Ubf klg Oltxf;, efiff tTsfnLg o'/f]k]nL ;dfhdf kf]6«]6 k]lG6ªnfO{ / e"uf]nsf b[li6n] Pp6} /x] tfklg O6nLsf] kb / k|lti7fsf] clen]vsf ¿kdf lng e"efu ljeflht cj:yfdf g} /x]sf] lyof] . yflnPsf] lyof] . To; tfsf b/af/Lof / g]kN; clw/fHo / l;;nL :k]g cwLg:y lyP clehft JolStx¿df e8\lsnf j:qfe"if0fåf/f eg] dWo If]q kf]ksf] /fHodf kYof]{ . e]lg;n] ;';lHht eP/ kf]6«]6 /rgf ug{ nufpg] :jtGq u0f/fHosf ¿kdf cfgf] cl:tTj sfod kl/kf6L g} a;]sf] lyof] . /fv]sf] lyof] eg] pQ/L e"efu ;;fgf k|b]zx¿df ljeflht lyof] . O6nL hd{gL / k|mfG;df wfld{s åGå rln/x]sf] lyof], cl3Nnf] ;f]¥xf}“ ztfAbLdf pRr k'ghf{u/0f oBlk rr{df a:g] wdf{lwsf/Lx¿ g} zlStzfnL sfnsf dfOs]nfGh]nf] (Michelangelo), snf ;+/Ifssf ¿kdf /x]sf lyP lsgeg] lncf]gfbf]{ bf leGrL (Leonardo da Vinci), wd{ k|rfy{sf] cleofgdf b[Zosnfsf] dxÎj / /fkmfon (Raphael), l6l;og (Titian), pkfb]otfaf/] pgLx¿ ;r]t lyP . hf]hf]{g] (Giorgione), bf]gf6f] a|dfG6] (Donato kf]knufot cGo pRr kb:y wdf{lwsf/Lx¿ Bramante) h:tf dxfg\ snfsf/x¿n] lrq, tyf ltgsf kl/jf/hgn] Psftk{m d"lt{ tyf jf:t'snfsf If]qdf o;cufl8 snfsf/x¿nfO{ k"/f dfg k|lti7f lbP/ gb]lvPsf …cfbdsf] ;[li6Ú (The Creation /fv]sf lyP eg] csf]{tk{m snfdf Dofgl/Hd of Adam), …8]le8Ú (David), …df]gfln;fÚ z}nL hlgt 7flgPsf hl6n, u"9, nf}lss Pjd\ (Monalisa), …clGtd /flqef]hÚ (The Last Jolerf/L kIfx¿ dfly cª\s'z nufpgsf nflu Super), …Py]G;sf] kf7zfnfÚ (The School of rr{n] s8f lgodx¿ klg lgwf{/0f u/]sf] Athens), …;]G6 lk6/sf] afol;lnsfÚ lyof] . o;sf nflu Pp6f kl/ifb\sf] g} Joj:yf (St. Peter's Basilica) h:tf clåtLo Pjd\ ul/Psf] lyof] . wdf{lwsf/Lx¿af6 nfl8Psf
sirjanĀ 113 o:tf cª\s'zsf sf/0f gjLg ljifoj:t' Pjd\ ;dLIfsx¿n] …k|s[ltk/:tÚ eGb} cfnf]rgf z}nLsf k|ltkfbs snfsf/x¿sf] gof“ lk“9L u/]sf lyP . cufl8 cfPsf] lyof] . ;qf}“ ztfAbLsf] O6nLsf] lrqsnfn] sf/\/frLsf] lrqsnf zf:qLotfjfb jf sf/fefhf]sf] k|s[ltjfbdWo] PsnfO{ cjnDag u/]sf] lyof] . oL b'O{ ;f]¥xf}“ ztfAbLsf] pQ/f{4;Dd cfOk'Ubf O6nLsf] snfsf/sf sfdx¿ O6nLsf cltl/St k|mfG;, snfdf Dofgl/Hd z}nL cj;fgsf] r/0fdf :k]g tyf pQ/L o'/f]k;Dd lj:t[t ¿kdf k'lu;s]sf] lyof] . To; tfsf /f]dsf snf k}mlnPsf] a/f]s z}nLsf pQ/jtL{ snfsf/x¿sf kf/vLx¿sf] af}l4s j[Qdf ;dsfnLg nflu dfu{bz{s ag]sf] lyof] . snfsf/x¿ tyf k'/fgf df:6/x¿sf sfdlar t'ngfTds b[li6sf]0faf6 ax; x'g] uYof]{ . sf/fefhf] -O= ;+= !%&#–!^!)_ pgLx¿sf] rrf{sf] ljifo pQ/L O6nLaf6 /f]d cfOa;]sf b'O{ hgf snfsf/x¿ Plgan] o'jf snfsf/ sf/fefhf]n] ;j{yf gjLg Pjd\ ;zSt k|sf/sf] k|s[ltk/s lrqsnf k|ltkfbg sf/\/frL (Annibale Carracci) tyf sf/fefhf] u/]sf lyP . pgn] hLjg / d[To'sf c“Wof/f (Caravaggio) dfly s]lGb|t /xGYof] . jf:tjdf /f]ddf a/f]s z}nLsf] hu xfNg] >]o oL b'O{ kIfdf cfwfl/t Psbd k|fs[lts tyf gf6sLo k|ltefzfnL snfsf/nfO{ hfG5, / a/f]s lrqx¿ /rgf u/]sf lyP . o; cufl8 o:tf z}nLsf] ;'?cft /f]ddf ePsf] dflgG5 . lrqx¿ lj/n} ag]sf lyP . pgn] dfgjLo cfbz{ Pj\d k|lti7fnfO{ pRrtd dxÎj sf/\/frL / sf/fefhf] b'j} hgf Dofgl/Hdb]lv lbP/ lrq /rgf u/]sf lyP . ;qf}“ ztfAbLsf] c3fO;s]sf lyP, clkt' pgLx¿n] o; k"jf{4{ sfnsf k|foM ;a} dxÎjk"0f{ snfsf/x¿df z}nLsf j}lzi6\o dflgg] k|sfz / /ªk|ltsf] pgsf] lrqfª\sg k4ltsf] ;3g k|efj k/]sf] hf]8, ;dfg'kflts ;Gt'ngk|ltsf] pk]Iff, hl6n lyof] . ;+/rgfk|ltsf] df]xnfO{ cfgf sfddf ´g\ uha;“u ;lDd>0f u/]sf lyP . d]l/hL bf sf/fefhf] (Merisi da Caravaggio) sf] jf:tljs gfd dfOs]nfGh]nf] d]l/hL sf/\/frL / sf/fefhf] b'j} hgf pQ/L O6flnog (Michelangelo Merisi) lyof] . ;g\ !%*$ b]lv l/g];f“ oyfy{jfbaf6 bLlIft snfsf/ lyP . oL !%** ;Dd pgn] Dofgl/:6 snfsf/ l;df]g] lrqsf/x¿ hLljt df]8]n (live model) lk6/hfgf] (Simone Peterzano) ;“u lrqsnfsf] /fv]/ lrqfª\sg uy]{ . sf/\/frL k'/fgf k|f/lDes lzIff lnPsf lyP . df:6/x¿ ljz]iftM /fkmfonb]lv lgs} k|efljt lyP . ctM pgsf sfdx¿ zf:qLotfk/s ;g\ !%(@ sf] cGTolt/ sf/fefhf] ldnfgaf6 /x]sf 5g\ . o; ljk/Lt sf/fefhf] …cfbz{ /f]d cfOk'u]sf lyP . xftd'v hf]g{sf nflu ;f}Gbo{Ú nfO{ dfGb}gy] . pgL wfld{s s]xL ;do Toxf“ pgn] c¿ lrqsf/x¿sf] ljifoj:t'nfO{ klg ;d;fdlos :j¿kdf :6'l8of]df kmnk"mn / ;fukft n]Vg] lrqsf/sf k|:t't uy]{ . pgsf] o; k|j[lQnfO{ tTsfnLg ¿kdf sfd u/]sf lyP . Pskl5 csf]{
sirjanĀ 114 :6'l8of]df sfd ub}{ / 5f8\b} cGttM pgn] :jtGq ¿kdf sfd ug{ yfn]sf lyP . o;lar pgn] l:y/–j:t' lrqsf cltl/St cw{sbsf dfgj cfs[ltx¿ klg /rgf ug{ yfn]sf lyP . ;g\ !%(% b]lv pgn] cf6{ l8n/dfk{mt cfgf lrqx¿ a]Rg yfn]sf lyP . o;} tfsf sfl8{gn k|mfGr]:sf] 8]n df]G6] (Francesco del Monte) sf] gh/ sf/fefhf]dfly k/]sf] lyof] . sfl8{gnn] pgnfO{ uf“;, af;, b|Jo cflb ;a} ;'ljwf pknAw u/fOlbPsf lyP . sf/fefhf] lgs} b|'t ultdf sfd ug{ ;Sy] . pgL b'O{ xKtfeGbf sd ;dodf Pp6f lrq sf/fefhf], kmnk"mnsf] 6f]s/L lnPsf l76f], sl/a O= ;+= !%(#, ;sfp“y] . hLjgsf] o; df]8;Dd cfOk'Ubf Sofgef;df t]n/ª, &) ;]= ld= X ^& ;]= ld=, Uofn]l/of af]u]{;, /f]d pgn] rfln; cf]6feGbf a9L lrq l;h{gf ul/;s]sf lyP . pgsf] k|f/lDes sfnsf ;g\ !%(& df sf/fefhf]nfO{ /f]dl:yt lrqdf …afr'Ú (The Bacchus), …kmnk"mnsf] sf]G6f/]nL Rofknsf (Contarelli Chapel) nflu 6f]s/L lnPsf l76f]Ú (The Boy with a Basket), ltg cf]6f lrq agfpg] sfdsf nflu cg'aGwg …;ª\uLt pT;jÚ (The Music Party) cflb ul/Psf] lyof] . tbg'¿k ;g\ !^)! df pgsf pNn]vgLo 5g\ . o; cjlwdf /f]dsf] snf s'rLaf6 …;]G6 dfYo' / b]jb"tÚ (St. Matthew hut\df b]v]sf s'/fnfO{ dfq lrqdf and the Angel), …;]G6 dfYo'sf] cfx\jfgÚ (The ptfg]{ oyfy{k/:t lrqsf/sf ¿kdf pgsf] Calling of St. Matthew) tyf …;]G6 dfYo'sf] sb/ x'g yfln;s]sf] lyof] . ;xfbtÚ (The Martyrdom of St. Matthew) k|f/Dedf pgsf ;ª\u|xstf{x¿df /f]dsf ;'?lr h:tf pNn]vgLo s[ltx¿sf] l;h{gf ePsf] ;DkGg snf cg'/fuLx¿sf] ;fgf] ;d"x lyof] . lyof] . k|f/Desf] o; cjlwdf pgn] l:y/–j:t' lrqsf To; tfsf tL lrqnfO{ rr{ / hg;fwf/0fn] cltl/St ;x/sf cfjf/f s]6fx¿nfO{ df]8]n lgGbf ug'{;Dd u/]sf lyP . tL /rgfdf /fvL ;fdflhs hLjg / wfld{s cfVofgsf sf/fefhf]n] ;Gtx¿nfO{ k/Dk/fut cf/fWo kfqx¿nfO{ cfgf] lrqsf ljifo agfPsf cfs[ltsf ¿kdf cª\sg ug'{sf abnf ltgnfO{ lyP . oL lrqdf cfs[ltx¿ 7'nf, rlDsnf / oyfy{ :j¿kdf b]vfPsf lyP . pgsf ;zSt lrq ;txsf] glhs ;+of]hg ul/Psf 5g\ . / s]xL xb;Dd lgd{d k|s[ltjfbnfO{ pgL Sofgef;df k|f/lDes /]vfª\sg ;ª\u|xstf{x¿n] ljifoj:t'sf] ul/df Pjd\ gu/Lsg ;Lwf a'?;af6 sfd uy]{ . k|lti7fsf k|lts"n egL c:jLs[t ul/lbPsf
sirjanĀ 115 sf/fefhf], ;]G6 dfYo'sf] cfx\jfg, O= ;+= !^)), Sofgef;df t]n/ª, #@@ ;]= ld= X #$) ;]= ld=, ;fg n'OuL 8]O{ k|mfGr];L, /f]d sf/0f …;]G6 dfYo' / b]jb"tÚ sf] klxnf] agfPsf lyPgg\ . pgsf lrqsf] p2]Zo ;+:s/0fnfO{ pgn] k'gMn]vg ug'{k/]sf] ;De|fGt ;dfhnfO{ cfslif{t ug{sf nflu geO{ lyof] . tyflk oL ltg cf]6f sfdb]lv hg;fwf/0fn] x]¿g\ eGg] lyof] . k|lt;'wf/jfbL sf/fefhf]sf] lrq z}nLn] ;j{yf gof“ lbzf l;4fGtcg'¿k cfgf lrqdf cfs[ltx¿nfO{ eJo lnPsf] lyof] . Pjd\ ´ndNn b]vfpg'sf] abnf pgn] ltgnfO{ ;d;fdlos e]ife'iff / kl/j]zdf 5fofaf6 k/Dk/fut wfld{s b[ZonfO{ pgn] k"j{jtL{ 3]l/Psf bLgxLg cj:yfdf gf6sLo k|antf snfsf/x¿n] h:tf] zf:qLo cfbz{n] o'St lbO{ cª\sg u/]sf lyP .
sirjanĀ 116 sf/fefhf], ;]G6 dfYo'sf] ;xfbt, O= ;+= !^)), Sofgef;df t]n/ª, #@@ ;]= ld= X #$) ;]= ld=, ;fg n'OuL 8]O{ k|mfGr];L, /f]d pgn] cfgf lrq /rgfdf …lr/f];So'/f]Ú cfgf lrqdf :jfefljs gf6sLo k|efj Nofpg k4ltnfO{ ;jf{lws dxÎj lbO{ sfd ;kmn ePsf 5g\ . u/]sf lyP . o;sf] k|efj a/f]s z}nLsf pgsf kfZrfTo snfljb\x¿sf cg';f/ sf/fefhf]sf k/jtL{ snfsf/x¿df ulx/f];“u k/]sf] :ki6 lrq /rgfx¿ dfgjLo zf/Ll/s Pjd\ ;+j]ufTds b]Vg ;lsG5 . o; k4ltdf sfd ubf{ cj:yfsf oyfy{jfbL cjnf]sgdf cfwfl/t 5g\, pHofnf cfs[ltsf jl/kl/ 3gLe"t 5fofsf / ltgdf k|o'St gf6sLo /ª\ufª\sg k4ltn] sf/0f lrq a9L s[lqd tyf cgfjZos ¿kn] a/f]s lrqsnfsf] pTyfgdf ;an k|efj gf6sLo b]lvg] 8/ /xG5 . clkt' sf/fefhf] kf/]sf] lyof] .
sirjanĀ 117 sf]G6f/]nL Rofknsf] sfdsf] nuQ} lyof] . o; h3Go 36gfk5fl8 s] sf/0f lyof] sf/fefhf]n] gfd / bfd b'j} sdfpg yfn]sf eGg]af/] Oltxf;sf/x¿sf] km/s km/s dt lyP . o; kl5sf s]xL jif{df pgsf s'rLaf6 /x]sf 5g\ . s;}n] o; 36gfsf] sf/0f k};f …;]G6 lk6/sf] j|'ml;lkmS;gÚ (The Crucifixion n]gb]gsf] ´u8f lyof] eg]sf 5g\ eg] of St. Peter), …;]G6 kf}nsf] ¿kfGt/0fÚ (The s;}sf cg';f/ 6]lg; v]ndf ePsf] ljjfb Conversion of St. Paul), …j|mfO:6sf] lj:yfkgÚ lyof] . PG8«o' u|fxd–l8S;g (Andrew Graham- (The Deposition of Christ), …elh{gsf] b]xfj;fgÚ Dixon) n] ;g\ @)!! df k|sflzt cfgf] (The Death of Virgin) h:tf dxÎjk"0f{ lrqx¿ k':ts …sf/fefhf] M c nfOkm ;]j|]m8 PG8 lg:s]sf lyP . k|f]k]mgÚ (Caravaggio: A Life Sacred and Profane) df 6f]df;f]gLsL kTgL nflelgof sf/fefhf] lgs} pu| Pjd\ ljb|f]xL :jefjsf (Lavinia) k|lt sf/fefhf]sf] cfzlSt g} o; JolSt lyP . cfgf] clt cfj|mfds Pjd\ xTofsf08sf] sf/s lyof] eGg] pNn]v u/]sf c/fhs k|j[lQsf sf/0f pgsf] ;f/f hLjg 5g\ . lx+;f, åGå / efubf}8d} lat]sf] lyof] . pgL t/af/afhLdf lgk'0f lyP . dlb/fkfg / h'jfsf 6f]df;f]gLsf] xTofkZrft\ ;hfo ef]Ug'kg]{ 8/n] cf}wL ;f]lvg lyP . /f]dsf dbzfnfdf ;“u} pgL /f]daf6 g]kN; / To;kl5 dfN6f efu]sf lkpg a;]sf bf}“t/Lx¿;“u pgsf] cgk]lIft / lyP . ;g\ !^)* df dfN6fdf klg Ps hgf cfsl:ds le8Gt kl//xGYof] . kmntM pgL ;/sf/L clwsf/LnfO{ cfj|md0f u/]sf] k|foM k|x/Lsf] lgoGq0fdf kl//xGy] . cleof]udf pgnfO{ sf/fjf; k7fOPsf] lyof] . Ps dlxgfkl5 g} sf/fuf/af6 efu]/ ;g\ !^)# df Ps hgf ;dsfnLg pgL l;;nL / To;kl5 k]ml/ g]kN; k'u]sf lrqsf/nfO{ cfj|md0f u/]sf] cleof]udf pgL lyP . s]xL lbg y'gfdf ;d]t k/]sf lyP . o:tf] x'“bf klg r]t]sf lyPgg\ . pgsf] pu| Pjd\ c/fhs PG8«o' u|fxd–l8S;gsf] cg';Gwfgcg';f/ ltg} Jojxf/ /f]lsPsf] lyPg . slxn] /]:6'/f“sf clwsf/Ln] cfk"mdfly ePsf] cfj|md0fsf] abnf j]6/dfly Kn]6 of“s]/ xf];\ jf slxn] lng] p2]Zon] sf/fefhf]nfO{ g]kN;;Dd lk5f ;'/IffsdL{x¿ dfly 9'ª\uf xfg]/ xf];\, pgL s'g} u/]sf lyP . Toxf“ Pp6f abgfd e6\6Laflx/ g s'g} av]8f v8f ul//xGy] . s]xL xKtf pgL pgn] sf/fefhf]dfly cfj|md0f u/]sf lyP . lrq /rgfsf] sfddf dUg /xGy], / To;af6 ;f] cfj|md0fdf sf/fefhf]sf] cg'xf/ g/fd|f];“u lgj[Q ePkl5 sd/df t/af/ le/]/ bDe;fy sfl6Psf] lyof] . To; xdnfn] pgsf] dfgl;s cfgf cg'r/nfO{ kl5 nufP/ otfplt / zf/Ll/s cj:yfnfO{ g/fd|f] cf3ft kf/]sf] rxfb}{ lx“8\y] . lyof] .
;g\ !^)^ df /g'lrof] 6f]df;f]gL (Ranuccio ;g\ !^!) df kf]kåf/f cfk"mnfO{ Ifdfbfg Tomassoni) gfdsf JolSt / sf/fefhf]lar lbOg] va/ yfxf kfPkl5 sf/fefhf] g]kN;af6 ePsf] t/af/ o'4df 6f]df;f]gLsf] d[To' ePsf] ;d'b|sf] af6f] /f]dtk{m nfu]sf lyP t/ lar
sirjanĀ 118 s]xL ;dLIfsx¿n] pgnfO{ …snfdf gjLg Pjd\ gf6sLo k|sfzsf] k|efjåf/f oyfy{jfbnfO{ k'gM:yflkt ug]{ dxfg\ k|jt{sÚ sf] ;+1f lbPsf lyP . O6flnog snf Oltxf;ljb\ lhof]efgL a]Nnf]/L (Giovanni Bellori) n] ;g\ !^&@ df k|sflzt cfgf] k':ts …nfOE; ckm lb k]G6;{Ú (Lives of the Painters) df cfs[ltx¿sf] z/L/sf] d'Vo efudf dfq k|sfz b]vfO{ z]if efunfO{ 3gf 5fofdf b]vfpg] sf/fefhf]sf] cb\e"t lzNk z}nLnfO{ d'St s07af6 k|z+;f u/L n]v]sf lyP . O= Pr= uf]lDa|r n]V5g\ — æsf/fefhf]sf] …k|s[ltjfbÚ sf] ceLi6 k|s[ltnfO{ k"0f{ lgi7f;fy cg's/0f ug'{ /x]sf] 5 . pgn] afOansf] uxg cWoog u/]sf lyP, / To;df jl0f{t 36gfx¿nfO{ cfg} cf“vfcufl8 l5d]sdf 3l6/x]sf s'g} 36gf ´}“ b]vfpg rfxGy] . ltgnfO{ oyfy{ Pjd\ 7f]; b]vfpgsf nflu pgL x/;Dej k|of; uy]{ . cfgf] p2]Zo k"lt{sf sf/fefhf], elh{gsf] b]xfj;fg, O= ;+= !^)^, Sofgef;df t]n/ª, nflu pgL 5fof k|sfzsf] ;~rfngdf lgs} #^( ;]= ld= @$% ;]= ld=, n'e|, k]l/; X hf]8 lbGy] . To;} k|sfzsf sf/0f pgsf cfs[ltx¿ dgf]/d / sf]dn b]lv“b}gg\ . tL af6f]df hxfh /f]ls“bf k]ml/ ;dfltPsf lyP . ;Vt 5g, / ;3g 5foflar rds;lxt cGttM Toxf“af6 5'6]/ /f]d gk'Ub} pgsf] lgwg p7]sf 5g\ . tTsfnLg kl/j]zdf pgsf] o; ePsf] lyof] . d[To' x'“bf pgL s]jn ;}“lt; z}nLsf k|z+;sx¿ ;Lldt lyP, tyflk pQ/jtL{ jif{sf lyP . elgG5, hxfhdf c¿ ofq';“u snfsf/x¿df o;sf] lg0ff{os k|efj k/]sf] ´u8fs} sf/0f sf/fefhf]sf] d[To' ePsf] lyof] . k/]sf] lyof] .Æ sf/fefhf]sf sfdk|lt tTsfnLg ;dLIfsx¿sf] ;]G6 dfYo'sf] cfx\jfg (The Calling of Saint k|ltlj|mof klg leGg leGg /x]sf lyP . Matthew): …;]G6 dfYo'sf] cfx\jfgÚ sf/fefhf]sf] ;g\ !^## df k|sflzt …8fonu cg k]lG6ªÚ df:6/lk; s[ltsf ¿kdf k|l;4 /x]sf] 5 . (Dialogue on Painting) df leG;]G6] sf8'{rf] /f]dl:yt k|mfG;]nL ;d'bfosf] luhf{3/ sf]G6f/]nL (Vincente Carducho) gfdsf :k]lg; ;dLIfsn] Rofknsf nflu agfOPsf] of] lrq sf/fefhf]n] sf/fefhf]sf sfdnfO{ …Wj+;sf] eljiojf0fL / ;g\ !%((–!^)) df n]v]sf lyP . o; lrqdf lrqsnfsf] d[To'Ú egL cfnf]rgf u/]sf lyP . O;f dl;xåf/f dfYo' (Matthew) nfO{ cfk"maf6
sirjanĀ 119 k|ltkflbt dfu{ k5\ofpgsf nflu pTk|]l/t ub}{ d'xf/ / z/L/sf s]xL ljlzi6 efudf dfq u/]sf If0fnfO{ cª\sg ul/Psf] 5 . kg]{ u/L :k6nfO6af6 b]vfOPsf] h:tf] k|sfz b]vfOPsf] 5, / af“sL v08 c“Wof/f]af6 afOandf jl0f{t o; 36gfnfO{ sf/fefhf]n] cfR5flbt 5 . zfGt t/ gf6sLo j0f{gsf ¿kdf k|:t't u/]sf 5g\ . n]eL (Levi) gfp“ u/]sf s/ ;]G6 dfYo'sf] ;xfbt (The Martyrdom of Saint ;ª\sns cfgf rf/ hgf ;xfosx¿;“u a;]/ Matthew): …;]G6 dfYo'sf] ;xfbtÚ sf/fefhf]n] 6]a'ndf /flvPsf ;'gsf l;Ssfx¿ -To; sf]G6f/]nL Rofknsf nflu agfPsf ltg cf]6f lbgsf] cfDbfgL_ uGb} 5g\ . lrqsf] bf“of lrqdWo] k5{ . ls+jbGtLcg';f/ wd{ k|rf/s 5]p b'Anf] cg'xf/sf j|mfO:6n] s/ dfYo'nfO{ Olyof]lkofsf] s'g} luhf{3/df Ps ;ª\snstk{m xftaf6 cf}“Nofp“b} pgnfO{ wd{ hgf :yfgLo /fhfn] xTof u/fPsf lyP . o; k|rf/s (apostle) aGgsf nflu cfdGq0f lrqdf ;]G6 dfYo'sf] xTofsf] If0fnfO{ cª\sg ub}{ 5g\ . ul/Psf] 5 . pgsf] xftsf] l:yltn] dfOs]nfGh]nf]sf] … s'g} /ª\ud~rsf] b[Zo h:tf] k|tLt x'g] o; cfbdsf] ;[li6Ú sf] :d/0f u/fp“5 . j|mfO:6sf] lrq /rgfdf xftdf t/af/ lnP/ dfYo'sf] aw cufl8 wd{ k|rf/s lk6/ (Peter) sf] c:ki6 ug{ pb\wt JolSt / dfYo'sf] ;+/rgf, cfs[lt /x]sf] 5 . j|mfO:6sf] cfdGq0fsf] k|ltlj|mof:j¿k n]eLn] cfZro{rlst x'“b} jl/kl/sf cfs[ltx¿sf] l:ylt, 5fof k|sfzsf] …sf] < dnfO{ <Ú eGg] efjdf cfk"mnfO{ cfg} v]n tyf ;du| j[Qfsf/ ;+of]hgsf sf/0f cf}“nf t]:of{p“b} 5g\ . jf:tjdf g} of] s[lt cb\e"t aGg k'u]sf] 5 . lrq /rgfnfO{ b'O{ v08df ljefhg ul/Psf] uf]lnofysf] lz/ / 8]le8 (David with the 5 . bfof“tk{m plePsf cfs[ltx¿nfO{ 7f8f] Head of Goliath): …uf]lnofysf] lz/ / cfoftsf/df / afof“tk{m 6]a'n jl/kl/ a;]sf 8]le8Ú df Ps xftdf t/af/ / csf]{ xftdf cfs[ltx¿nfO{ t];f]{ ;+/rgfdf cª\sg ul/Psf] cfk"mn] lz/f]R5]bg u/]sf uf]lnofysf] 6fpsf] 5 . n]eL / pgsf ;xfosx¿n] tTsfnLg lnPsf o'jf 8]le8 o; lrqsf] ljifoj:t' /f]dg hghLjgdf k|rlnt sNsLbf/ 6f]k / /x]sf] 5 . uf]lnofysf ¿kdf sf/fefhf]n] cfg} /]zdL sldhdfly sl;nf] j:q wf/0f u/]sf cfTdlrq cª\sg u/]sf 5g\ . 8]le8sf] 5g\ eg] j|mfO:6 / lk6/n] gfª\uf] v'6\6f;lxt lrq–kfqsf ¿kdf ;]Ssf] (Cecco) gfd cf]9\g] h:tf] j:q nufPsf 5g\ . n]eLsf u/]sf pgsf ;xfos /x]sf 5g\ . sf/fefhf]sf ;xfosdWo] b'O{ hgf j|mfO:6 / lk6/sf] hLjgL n]vsx¿sf cg';f/ ;DejtM ;]Ssf] / lbzftk{m cfZro{rlst d'b|fdf kms]{sf 5g\ eg] pgLlar ;dn}ª\lus ;DaGw lyof] . b'O{ hgf oL ;a} lj|mofsnfkb]lv cgle1 6]a'ndf /flvPsf l;Ssf uGgdf nLg 5g\ . o; lrqdf 8]le8nfO{ cfgf] ljhok|lt uf}/jflGjt b]vfpg'sf] abnf uf]lnofysf] ;Dk"0f{ lrq /rgfdf Psbd gf6sLo 5fof kl/0ffdk|lt Jofs'n / ddf{lxt b]vfOPsf] 5 . k|sfz b[li6uf]r/ x'G5 . cfs[ltx¿sf]
sirjanĀ 120 pk;+xf/ ef}lts ¿kdf sf/fefhf]sf] cfo' s]jn ;}“lt; jif{sf] /x]sf] lyof] . cfgf] c;xh Pjd\ cfj|mfds :jefjsf sf/0f pgsf] hLjgsf] clwsf+z ;do lx+;f, df/lk6 / efubf}8d} lat]sf] lyof] . To:tf] ljifd kl/l:yltdf klg pgn] c;fwf/0f lrqx¿ /rgf u/]sf lyP . tL /rgfx¿ a/f]s snf z}nLsf cg'kd gjLGb|dfg /fhe08f/L w/f]x/sf ¿kdf /x]sf 5g\ . gjLGb|dfg /fhe08f/L lrq l;h{gfsf cltl/St l;h{gf sn]h ckm kmfOg cf6{;\df snf Oltxf; ljifo cWofkg ;Gbe{ ;"rL u5{g\ , / snfaf/] n]V5g\ klg . pgLåf/f lnlvt ‘kfZrfTo Adams, Laurie Schneider. A History of Western Art. snf M ;ª\lIfKt Oltxf; -klxnf] efu_’ k|sflzt 3rd ed. New York: McGraw-Hill, 2001. eO;s]sf] 5 eg] o;} k':tssf] bf];|f] efu k|sfzf]Gd'v Clarke, M. (Ed.). The Concise Oxford Dictionary of Art 5 . l;h{gf sn]h ckm kmfOg cf6{;\åf/f k|sflzt …lrqsnfÚ Terms. New York: Oxford University press Ink., zLif{ssf] k':tssf] n]vg tyf ;Dkfbg sfo{df klg pgsf] 2001. ;+nUgtf /x]sf] 5 . Cunningham, Lawrence S. and Reich, John J. Culture and Values: A Survey of the Humanities. 6th ed. USA: Thomson Learning Inc, 2006. Fried, Michael. The Moment of Caravaggio.Yale, 2010.
Giorgi, Rosa. Caravaggio: Master of Light and Dark – His Life in Paintings. Dorling Kindersley University Press. 1999.
Gombrich, E. H. The Story of Art. London: Phaidon Press Ltd., rev. ed. 2000. Gowing, Sir Lawrence (Ed.). A Biographical Dictionary of Artists. Revised ed. Oxfordshire, England: Andromeda Oxford Ltd. 2002. Gowing, Sir Lawrence (Ed.). A History of Art. Rev. ed. Oxfordshire, England: Andromeda Oxford Ltd. 1995. Graham-Dixon, Andrew. Caravaggio: A Life Sacred and Profane. Penguin, 2011.
Koch, Pietro. The Painter of Blood and Darkness. Gunther Edition, Rome, 2004.
Stokstad, Marilyn. Art History: A View of the West. Volume One and Volume Two. 3rd ed. New Jersey: Pearson Education, Inc. 2008. Wittkower, Rudolf. Art and Architecture in Italy, 1600–1750. Penguin/Yale History of Art, 3rd edition, 1973.
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BIROCHAN MALLA DAWA LAMA DIPEN LIMBU LITISH SHAKYA MANJILA RIJAL MRIGENDRA NARAYAN SHRESTHA NIPURNA BAJRACHARYA show PARMESHWOR KHADKA PRASAMSHA KUNWAR RINCHEN NORBU SAMIP SHAKYA SANJAY DANGI SHARMILA DEVI TAMANG SUJIT MAHARJAN SUJITA CHAUDHARY SUSHAN MAHARJAN YUGAL SHAKYA
PAINTINGS | PRINTS | SCULPTURES | INSTALLATION ARTS 2GRAPHIC COMMUNICATION0 WORKS | PHOTOGRAPHS19
29 August - 4 September, 2019 Nepal Art Council Baber Mahal, Kathmandu, Nepal Gallery hours: 11 am to 6 pm
01 441 8455 , 01 443 0535 www.sirjanacollege.edu.np [email protected]
sirjanĀ 122 BFA SHOW - 2019 continually striving forward
In keeping with our promise, BFA SHOW-2019, a graduatoin exhibition, remained a moment of great joy and pride. On August 29, 2019, the show was inaugurated by Shri Sarbendra Khanal, Inspector General of Nepal Police amidst a gala ceremony. As usual, the show showcased an impressive of works created by our out-going graduate students. it represented all the courses of studies, we offer in our college and the works remained a composite collection, accumulated over one academic years. In additon to being a grand reflection of the creative strength of our students, present show also, sought to portray a new up and coming dimension of their education they recieved in our college.
sirjanĀ 123 sirjanĀ 124 sirjanĀ 125 IN MemORIUM
Rabin lal shrestha (November 16, 1969 – August 27, 2019) (Tabala Maestro/Music Guru and Faculty Member of Sirjana College of Fine Arts)
May your soul ascend to the heavenly abode and always rest in peace.
;ª\uLtsf u'? ltdL ;ª\uLtsf vfgL ltd|f] snf b]vL ;a} x'Gy] kfgL kfgL h:tf] ltd|f] ;ª\uLt Yof] p:t} af]nLrfnL ?jfP/ uof} l56\6} kf/L ;a} vfnL vfnL
Established in 2001 in affiliation to Tribhuvan University Acknowledgements
Baikuntha Man Shrestha Nipurna Bajracharya (Founder Chairman, Sirjana College of Fine Arts - (Technical Assistant, SCoFA) SCoFA) Pramila Giri (Eminent Artist) Bandana Manandhar Prakash Ratna Shakya (Finance Officer, SCoFA) (HoD, Department of Sculpture, SCoFA) Basu Dev Guragain (Poet/Satirist) Purna Ratna Bajracharya Batsa Gopal Vaidya (Chairman, SCoFA) (Treasurer, Management Committee, SCoFA) Bhawana Sharma (Librarian, SCoFA) Purnima Shrestha (Dance Artist) Chandra Bhattachan (Member, Management Committee, SCoFA) Prof. Dr. Rajesh Gautam (Member, Management Committee, SCoFA) Chandra Shyam Dongol (Member, Management Committee, SCoFA) Rabindra Man Joshi (Member, Management Committee, SCoFA) Chiranjivi Dhakal (Office Assistant, SCoFA) Raju Shakya, (Caryagitinrtya Guru) Devina Malla (Member, Management Rashik Shrestha (BFA, 2nd Year, SCoFA) Committee, SCoFA) Ravindra Jyapoo (Member, Management Committee, Gautam Manandhar SCoFA) (Program Coordinator, SCoFA) Rinchhen Nurbu Shrestha (BFA, 4th Year, SCoFA) Prof. Honey Shrestha Roshan Bhandari (HoD, Department of Music & Dance, SCoFA) (Member, Management Committee, SCoFA) Iswar Shrestha Sabin Shrestha (BFA, 1st Year, SCoFA) (Admin. Officer, SCoFA) Prof. Dr. Santosh Man Maskey Krishna Manandhar (Former Principal, SCoFA) Sailesh Ghalan (Exam Assistant, SCoFA) Laxman Bhujel Salil Subedi (Artist) (Assistant Principal, SCoFA) Sanjay Das Shrestha, Laxman Chaulagain Narottam Das Indira Shrestha Guthi, Kathmandu (Office Helper, SCoFA) Sharada Man Shrestha (Founder Member, SCoFA) Mahen Mohan Shrestha Sharad Ranjit (Member, Management Committee, SCoFA) (Member, Management Committee SCoFA) Meenakshi Sharma Shashi Shah (Member, Management Committee, SCoFA) (Eminent Artist and the Founder Principal, SCoFA) Mukesh Shrestha Shyam Lal Shrestha (HoD, Department of Painting, SCoFA) (Member, Management Committee, SCoFA) Nagendra Prasad Neupane Sunil Ranjit (Member, Management Committee, SCoFA) (Member, Management Committee, SCoFA)
sirjanĀ 127 sirjanĀ 127 www.sirjanacollege.edu.np
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