Asian Art in Mumbai
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd. -
Part 05.Indd
PART MISCELLANEOUS 5 TOPICS Awards and Honours Y NATIONAL AWARDS NATIONAL COMMUNAL Mohd. Hanif Khan Shastri and the HARMONY AWARDS 2009 Center for Human Rights and Social (announced in January 2010) Welfare, Rajasthan MOORTI DEVI AWARD Union law Minister Verrappa Moily KOYA NATIONAL JOURNALISM A G Noorani and NDTV Group AWARD 2009 Editor Barkha Dutt. LAL BAHADUR SHASTRI Sunil Mittal AWARD 2009 KALINGA PRIZE (UNESCO’S) Renowned scientist Yash Pal jointly with Prof Trinh Xuan Thuan of Vietnam RAJIV GANDHI NATIONAL GAIL (India) for the large scale QUALITY AWARD manufacturing industries category OLOF PLAME PRIZE 2009 Carsten Jensen NAYUDAMMA AWARD 2009 V. K. Saraswat MALCOLM ADISESHIAH Dr C.P. Chandrasekhar of Centre AWARD 2009 for Economic Studies and Planning, School of Social Sciences, Jawaharlal Nehru University, New Delhi. INDU SHARMA KATHA SAMMAN Mr Mohan Rana and Mr Bhagwan AWARD 2009 Dass Morwal PHALKE RATAN AWARD 2009 Actor Manoj Kumar SHANTI SWARUP BHATNAGAR Charusita Chakravarti – IIT Delhi, AWARDS 2008-2009 Santosh G. Honavar – L.V. Prasad Eye Institute; S.K. Satheesh –Indian Institute of Science; Amitabh Joshi and Bhaskar Shah – Biological Science; Giridhar Madras and Jayant Ramaswamy Harsita – Eengineering Science; R. Gopakumar and A. Dhar- Physical Science; Narayanswamy Jayraman – Chemical Science, and Verapally Suresh – Mathematical Science. NATIONAL MINORITY RIGHTS MM Tirmizi, advocate – Gujarat AWARD 2009 High Court 55th Filmfare Awards Best Actor (Male) Amitabh Bachchan–Paa; (Female) Vidya Balan–Paa Best Film 3 Idiots; Best Director Rajkumar Hirani–3 Idiots; Best Story Abhijat Joshi, Rajkumar Hirani–3 Idiots Best Actor in a Supporting Role (Male) Boman Irani–3 Idiots; (Female) Kalki Koechlin–Dev D Best Screenplay Rajkumar Hirani, Vidhu Vinod Chopra, Abhijat Joshi–3 Idiots; Best Choreography Bosco-Caesar–Chor Bazaari Love Aaj Kal Best Dialogue Rajkumar Hirani, Vidhu Vinod Chopra–3 idiots Best Cinematography Rajeev Rai–Dev D Life- time Achievement Award Shashi Kapoor–Khayyam R D Burman Music Award Amit Tivedi. -
(Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
A Retrospective of Modern Indian Art — As Told by the Walls of Taj OVERLEAF
A Retrospective of Modern Indian Art — As Told by The Walls of Taj OVERLEAF V.S. Gaitonde b. 1924 - 2001 ‘Untitled’ (1977), Oil on Canvas Detail — Considered one of V.S Gaitonde’s greatest works, this painting represents the pinnacle of 20th Century abstract art. For over a century, Taj Hotels have enchanted and inspired the world’s most discerning travellers with one of the largest collections of modern Indian art. With a commitment to nurture, support and celebrate talented artists, our hotels provide the perfect backdrop to showcase their work to art connoisseurs and collectors alike. We invite you now to join us on an exclusive tour of some of the signature pieces from our collection. Whilst many grace the public areas of our hotels, some are presented only to our resident guests in the privacy of their accommodations, making this a unique opportunity to view these seminal works. Like the artists represented here, our associates practise their craft with passion and dedication. As proud custodians of tradition and creativity, everything we do is born from a unique combination of meticulous performance and artistry. We believe that when perfected, any form of human endeavour is elevated to an art form. The Practice of Perfect Hospitality is truly Performance.Art DECEMBER/14 JANUARY/15 FEBRUARY/15 S M T W T F S S M T W T F S S M T W T F S The Taj Mahal Palace — 01 02 03 04 05 06 01 02 03 01 02 03 04 05 06 07 Mumbai 07 08 09 10 11 12 13 04 05 06 07 08 09 10 08 09 10 11 12 13 14 14 15 16 17 18 19 20 11 12 13 14 15 16 17 15 16 17 18 19 20 21 21 22 23 24 25 26 27 18 19 20 21 22 23 24 22 23 24 25 26 27 28 28 29 30 31 25 26 27 28 29 30 31 Jehangir Sabavala S M T W T F S b. -
It Is Created and Conditioned by the Regional Theatre Which Has Newly Emerged in the 19Th Cent. the Presentation Of
FILM MUSIC: It is created and conditioned by the Perhaps, it would philosophically be more correct not regional theatre which has newly emerged in the 19 th to think of Structure and Function as two separate things cent. The presentation of this theatre were replete in the at all. They are two aspects, of the mode of existence of songs which are followed and imitated successfully by an object, of an event, of an act of communication, or of the film – music strategically. a work of art. Also Indian film music was a continuation of the LANGUAGE OF FILM tradition popularized and perfected by the musical folk A film consists of three physical elements: drama of various regions like Tamāsha, Jātrā, and 1. Visual shots : Fragments of visual ‘Pictures ’. Kīrtana . These folk dramas with theatrical music were 2. Sound Shots : Fragments of sound ‘Pictures’. not less than the carriers of the heritage so thoroughly 3. Editing : A system by which the fragments i. e. systematized in ancient Sanskrit dramaturgy. Visual shots are combined to form a Whole i.e. the Anthropologically it is true that in all cultures music in continuous film. invariably employed to establish links with the 1. Visual Shots: The visual shot is a fragment. It is not supernatural, the element which enable mythology to a “whole” picture in the sense a still photograph or a have a firm base. So it was evident that the Indian painting is a “whole” picture. cinematic impulse was congenitally bound with music The film picture is a moving picture movie- .In addition to this, Indian music is itself charactarised photography can record and reproduce the physical by the primacy of vocal music. -
20Years of Sahmat.Pdf
SAHMAT – 20 Years 1 SAHMAT 20 YEARS 1989-2009 A Document of Activities and Statements 2 PUBLICATIONS SAHMAT – 20 YEARS, 1989-2009 A Document of Activities and Statements © SAHMAT, 2009 ISBN: 978-81-86219-90-4 Rs. 250 Cover design: Ram Rahman Printed by: Creative Advertisers & Printers New Delhi Ph: 98110 04852 Safdar Hashmi Memorial Trust 29 Ferozeshah Road New Delhi 110 001 Tel: (011) 2307 0787, 2338 1276 E-mail: [email protected] www.sahmat.org SAHMAT – 20 Years 3 4 PUBLICATIONS SAHMAT – 20 Years 5 Safdar Hashmi 1954–1989 Twenty years ago, on 1 January 1989, Safdar Hashmi was fatally attacked in broad daylight while performing a street play in Sahibabad, a working-class area just outside Delhi. Political activist, actor, playwright and poet, Safdar had been deeply committed, like so many young men and women of his generation, to the anti-imperialist, secular and egalitarian values that were woven into the rich fabric of the nation’s liberation struggle. Safdar moved closer to the Left, eventually joining the CPI(M), to pursue his goal of being part of a social order worthy of a free people. Tragically, it would be of the manner of his death at the hands of a politically patronised mafia that would single him out. The spontaneous, nationwide wave of revulsion, grief and resistance aroused by his brutal murder transformed him into a powerful symbol of the very values that had been sought to be crushed by his death. Such a death belongs to the revolutionary martyr. 6 PUBLICATIONS Safdar was thirty-four years old when he died. -
Modernisms in India
Modernisms in India Modernisms in India Supriya Chaudhuri The Oxford Handbook of Modernisms Edited by Peter Brooker, Andrzej Gąsiorek, Deborah Longworth, and Andrew Thacker Print Publication Date: Dec 2010 Subject: Literature, Literary Studies - 20th Century Onwards, Literary Studies - Postcolonial Literature Online Publication Date: Sep 2012 DOI: 10.1093/oxfordhb/9780199545445.013.0053 Abstract and Keywords This article examines the history of modernism in India. It suggests that though the dis tinctions between modernity, modernization, and modernism are particularly complicated in the case of India, they remain crucial to a historical understanding of the ‘modern’ in all its senses. The article argues that the characteristic feature of Indian modernism in In dia is that it is manifestly social and historical rather than a hypostasis of the new as in the West. It contends that modernisms in India are deeply implicated in the construction of a secular national identity at home in the world, and in this respect answer a historical need to fashion a style for the modern as it is locally experienced. Keywords: modernism, India, modernization, modernity, national identity, hypostasis THE distinctions between modernity, modernization, and modernism are particularly com plicated in the case of India, but remain crucial to a historical understanding of the ‘mod ern’ in all its senses. Modernity, as a social and intellectual project, and modernization, as its means, are associated with the influence in India of Europe and of Enlightenment ra tionality from the eighteenth century onwards. Modernism, as an aesthetic, is far more limited in period and scope. Nevertheless, just as recent cultural criticism has proposed the existence of ‘alternative modernities’1 not native to the West, so too our attention has been drawn to ‘alternative modernisms’, or ‘modernisms at large’.2 The question of peri odicity, as of location, is complicated by the historical fact that modernism as an aesthetic was simultaneously restricted and elitist, and international and democratic. -
Fezana Journal
PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF NORTH AMERICA Vol 23 No 4 Fall/September 2010, PAIZ 1379 AY 3748 ZRE President Bomi V Patel www.fezana.org Editor in Chief: Dolly Dastoor 2 Editorial [email protected] Technical Assistant: Coomi Gazdar Dolly Dastoor Consultant Editor: Lylah M. Alphonse, [email protected] Graphic & Layout: Shahrokh Khanizadeh, 3 Message from the President www.khanizadeh.info Cover design: Feroza Fitch, 5 FEZANA Update [email protected] Publications Chair: Behram Pastakia Columnists: 9 Financial Report Hoshang Shroff: [email protected] Shazneen Rabadi Gandhi : [email protected] 34 YLEP UPDATE Yezdi Godiwalla: [email protected] Behram Panthaki::[email protected] Behram Pastakia: [email protected] 37 Global Health Mahrukh Motafram: [email protected] Copy editors: R Mehta, V Canteenwalla 97 In The News Subscription Managers: Kershaw Khumbatta : [email protected] 112 Interfaith /Interalia Arnavaz Sethna: [email protected] WINTER 2010 115 North American Mobeds’ Council SHAHNAMEH: THE SOUL OF IRAN GUEST EDITOR TEENAZ JAVAT 120 Personal Profiles SPRING 2011 124 Letters to the editor ZARATHUSHTI PHILANTHROPY GUEST EDITOR DR MEHROO M. PATEL 129 Milestones Photo on cover: 141 Between the Covers 147 Business Mehr- Avan – Adar 1379 AY (Fasli) Ardebehesht – Khordad – Tir 1380 AY (Shenshai) Khordad - Tir – Amordad 1380 AY (Kadimi) Cover design Opinions expressed in the FEZANA Journal do not necessarily reflect the views of Feroza Fitch of FEZANA or members of this publications’s editorial board Lexicongraphics Please note that past issues of The Journal are available to the public, both in print and online through our archive at fezana.org. -
A Fragile Inheritance
Saloni Mathur A FrAgile inheritAnce RadicAl StAkeS in contemporAry indiAn Art Radical Stakes in Contemporary Indian Art ·· · 2019 © 2019 All rights reserved Printed in the United States o America on acid- free paper ♾ Designed by Matthew Tauch Typeset in Quadraat Pro by Tseng Information Systems, Inc. Library o Congress Cataloging- in- Publication Data Names: Mathur, Saloni, author. Title: A fragile inheritance : radical stakes in contemporary Indian art / Saloni Mathur. Description: Durham : Duke University Press, 2019. | Includes bibliographical references and index. Identi£ers: ¤¤ 2019006362 (print) | ¤¤ 2019009378 (ebook) « 9781478003380 (ebook) « 9781478001867 (hardcover : alk. paper) « 9781478003014 (pbk. : alk. paper) Subjects: ¤: Art, Indic—20th century. | Art, Indic—21st century. | Art—Political aspects—India. | Sundaram, Vivan— Criticism and interpretation. | Kapur, Geeta, 1943—Criticism and interpretation. Classi£cation: ¤¤ 7304 (ebook) | ¤¤ 7304 .384 2019 (print) | ¤ 709.54/0904—dc23 ¤ record available at https://lccn.loc.gov/2019006362 Cover art: Vivan Sundaram, Soldier o Babylon I, 1991, diptych made with engine oil and charcoal on paper. Courtesy o the artist. Duke University Press gratefully acknowledges the ¤ Academic Senate, the ¤ Center for the Study o Women, and the ¤ Dean o Humanities for providing funds toward the publication o this book. ¶is title is freely available in an open access edition thanks to the initiative and the generous support o Arcadia, a charitable fund o Lisbet Rausing and Peter Baldwin, and o the ¤ Library. vii 1 Introduction: Radical Stakes 40 1 Earthly Ecologies 72 2 The Edice Complex 96 3 The World, the Art, and the Critic 129 4 Urban Economies 160 Epilogue: Late Styles 185 211 225 I still recall my £rst encounter with the works o art and critical writing by Vivan Sundaram and Geeta Kapur that situate the central concerns o this study. -
The South Asian Art Market Report 2017
The South Asian Art Market Report 2017 ° Colombo The South Asian Art Market Report 2017 INTRODUCTION It’s 10 years ago since we published our first art market report Yes, the South Asian art market still lacks government support on the South Asian art market, predominantly focusing on India, compared to other Asian art markets (China’s for instance), but and I am very excited to see a market that is in a new, and I private foundations are gradually filling the vacuum. What the would argue, much healthier cycle. Samdani Art Foundation in Dhaka has managed to achieve with the Dhaka Art Summit is a great example. The South Asian art The South Asian art market boom between 2004 and 2008 market needs more champions like this, and with South Asian was exciting, because it made this regional art market gain economies being among the fastest growing in the world, the proper international attention for the first time, and laid the requisite private wealth would appear available to support it. foundation for much of the contemporary gallery, art fair and I am very excited to publish this report after 10 years of auction infrastructure we see today. However, there was also monitoring and following this market as, for the first time since a destructive side to these boom years, felt shortly after the 2008, I sense a different type of optimism. Unlike the sheer financial crisis in 2009, when the top 3 auction houses market euphoria of 2008, this is something more tangible; recorded a 66% drop in sales of modern and South Asian biennials and festivals are getting more contemporary art and the share of contemporary international attention; initiatives are being set art dropped from 41% in 2008 to 12% in 2009; up to support artists and artistic exchange; and the dangers of speculation were manifested.