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Chief Editor k|wfg ;Dkfbs Madan Chitrakar dbg lrqsf/ Executive Editor sfo{sf/L ;Dkfbs Navindra Man Rajbhandari gjLGb|dfg /fhe08f/L Consultant Editors Diwakar Dhungel ;Dkfbg ;Nnfxsf/x¿ Jitendra Man Rajbhandari lbjfs/ 9'ª\u]n Designer lht]Gb|dfg /fhe08f/L Bijaya Maharjan l8hfOg/ Production Managers ljho dxh{g Iswar Shrestha Bandana Manandhar pTkfbg Joj:yfks Photographs Contributers O{Zj/ >]i7 Bijaya Maharjan aGbgf dfgGw/ Nipurna Bajracharya Prasanna Dangi kmf]6f]u|fkm ;xof]uL ljho dxh{g Cover Image Artist lgk"0f{ jh|frfo{ (BFA 4th Year) Bishal Sharoo Magar k|;Gg 8f“uL Printer Prism Color Scanning and Press Support cfj/0f lrq snfsf/ Kuleshwor, Kathmandu ljzfn zf¿ du/ -laPkmP, rf}yf] jif{_ Tel. 01 428 2511 Publisher d'b|s Sirjana College of Fine Arts lk|Hd sn/ :Soflgª PG8 k|]; ;kf]6{ Utter Dhoka Sadak, Lazimpat Kathmandu, Nepal s'n]Zj/, sf7df8f}“, kmf]g g+= )! $@* @%!! 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 editorial

“Ars longa, vita brevis (Life is short, art is long.)” — Hippocrates

This aphorism perhaps best defines the timelessness of art. Art is absolutely everywhere in everyday society yet it goes unnoticed and unappreciated by some. No matter whether it is television, movies, billboards, ads, stories, even clothes or jewelry, it is the art that is required most. In absence of art, the world would be a dull, colourless place. There would have been no Shakespeare, no Picasso, and no Beethoven. Art is, in fact, a source of all kinds of aesthetic joy. The actual enjoyment of art comes from experiencing or viewing it. Art liberates our mind if only for one moment. Moreover, it is the art that makes us see life from a different perspective.

Sirjana College of Fine Arts is a leading art institution dedicated on its mission to propagate the art philosophy in our society. Ever since its inception, the college has been contributing in producing professional artistic talents demanded by ever expanding job market. From the humble beginning with nine students, today the college has grown into a fraternity of over 300 students, 40 faculty members and 800 alumni. But we are still in a continual journey to explore and widen our scope and avenues in every way possible. A glaring example is the recent commencement of Traditional Nepali Painting Studies in our Bachelors level program. This modest effort should remain as a historic landmark in propogation and preservation of our rich heritage.

It is a matter of great pride and pleasure that we are celebrating 17th Anniversary now. For the past few years it has been our tradition to publish a scholarly art journal entitled SIRJANĀ to commemorate our college anniversary. We are really overwhelmed by the feedbacks of our readers on our past issues. This year too our college team has brought out the fifth volume of SIRJANĀ which, we presume, will make a delightful reading for all those interested in art and art education. We believe our effort will only be successful if these articles are able to ignite academic discourses among the art scholars and art lovers.

We extend our sincere gratitude to everyone who has contributed with the articles, pictorial or informational materials for the publication of this journal. The college would like to acknowledge our editorial team, designer, photograph contributors and staff for their wonderful job in bringing out this art journal in the present shape.

Happy Reading!

Madan Chitrakar Chief Editor/Principal September 24, 2018

sirjanĀ 3 contents

My Understanding of Manuj Babu and His Art Dr. Abhi Subedi 7

Purna Man Chitrakar (1864-1939 AD) a Pioneer – Least Celebrated Madan chitrakar 16

Paňcabuddha Perception of Caryā Arun Shrestha 29

Intangible Aspects Attached to the Mahākāla Worship in Hindu and Buddhist Text Dr. Poonam R. L. Rana 38

Graphic Communications in Nepali Context Jitendra man Rajbhandari 50

Memoir of light and dust (Things that enable one to see and things that one actually sees) Saroj Bajracharya 58

Contemporary Nepali Arts: Ambivalence and In-between-ness Dr. Yam Prasad Sharma 64 contents

Prithvi Narayan Shah’s Music Policy Shree K. C. 74

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bfa show-2018 134 Manuj Babu Mishra, 'Monalisa', 2009. Oil on canvas. (Photo courtesy: Roshan Mishra)

sirjanĀ 6 My Understanding of Manuj Babu and His Art

Dr. Abhi Subedi

Abstract Manuj Babu Mishra (1936-2018) was a modern artist who is mainly known for his paintings and his drawings. Nepali art critic Narayan Bahadur Singh as early as 1976 mentioned about his multiple skills in art. But Mishra was also one of those painters who ushered in an era of modern consciousness shared equally by painters and poets. His contemporaries some of whom are still painting though on a smaller scale, made experiments with their arts in modernist style. An era of distorting forms, breaking the fine figurality and using flatness by shunning the illusion of three dimensional shapes rather than representative forms was seen in Nepali modernist paintings too. Manuj Babu Mishra adopted a method of using figurality in paintings that used semi surrealistic and abstract paintings. Mishra was trained in Dhaka of the then East Pakistan in the late sixties of the last century. Despite his political statements occasionally, he was basically an artist. He was a peaceful man behind the hurricanes of hard times he created. He was also a portraitist who believed that the portrait of a person is also the portrait of the world outside him or her. He had said that to me when he was drawing my portrait.

Narayan Bahadur Singh (1930-1987), be important from a historical and probably the only serious and dynamic perspective of Nepali art authentic Nepali art historian and historicism. critic, in his most cited and loved book of Nepali art history Samasaamayik Singh says, Manuj Babu experiments Nepali Chitrakalako Itihas (1976) or 'the with diverse styles. One can still see history of the contemporary Nepali the impact of his training in his art art', has presented the first vignette (Singh 248). He works in both oil of the modern painter Manuj Babu and water mediums. His art ranges Mishra (1936-2018). I think it is very from realism to cubism. He works on appropriate to present the main various mediums like lithograph, dry observations of Singh about Mishra's point, etching, wood engraving and art because in a genre where there cut, apart from painting. He makes was/is scant mention, let alone review still life paintings, landscapes, and of Nepali artists and their works, to human portraits. Manuj Babu appears cite the views of this critic would realistic in such works, but he appears

sirjanĀ 7 to be shifting to modernist art. The on the eye path; the lines were forms of his modernism include creating discordant effects in the the distorted figurality such as the harmony and tonality of colours in elongation of human forms. But he the paintings and they dominated is basically drawn by the cubist style the spirit of the paintings. But the of Pablo Picasso. By using blue and main point of interest at this time in green, he creates the intense effect of Nepali modernism in both poetry and human misery. Such paintings look painting was that both painters like almost monochromatic when he uses Bangdel, Uttam Nepali and the SKIB, one of these predominantly. These an acronym for artists Sashi Shah, paintings perhaps reflect the hard life Krishna Manandhar, Indra Pradhan he had to live after his parents' death and Batsa Gopal Vaidya, and poets when he was young (249). whose lines did Uttam Nepali include in his paintings were going through Singh's observation written so many a similar experience in the realms years ago indicates at the evolution of creative arts. During that period of Manuj Babu's paintings. In a rare poets wrote abstract poems, painters review of the modernist Nepali produced abstract works, and singers paintings available at that time, included multi dimensional forms, Singh's observations put life and words and symphony in their music. objectivity or impersonality of the I am especially alluding to the works artist and art together. Impersonality of the doyen of Nepali music Ambar of the painter or of a poet was Gurung. Uttam Nepali's paintings beginning to emerge. I want to executed on the themes of the poets cite from one of my reviews here like Iswor Ballabh, Tulasi Diwasa, in the context of this debate. One Bairagi Kanhila, Madan Regmi, Banira historical exhibition of paintings by Giri, Bashu Shashi, Mohan Koirala, one modernist artist and poet Uttam Krishna Bhakta Shrestha, Dwarika Nepali in Kathmandu brought this Shrestha, Kali Prasad Rijal, Upendra matter in visual and tangible form. I Shrestha, Mohan Himanshu Thapa want to cite from my review of that and Bhupi Sherchan precisely mark exhibition published several years the mood of his period. (Subedi, back: "Writers' Portraits and..)

It was the very exhibition of paintings Though I have not mentioned Manuj in which an abstract artist chose to Babu Mishra, he was around. The transform the nature of reading into other point of interest is that he was a different medium. The lines in the a literary writer also who wrote canvas some viewers told me then creative essays, and in later times, did interrupt the sense of artistic wrote fiction. In a recent online perceptions by creating disturbances article about modernist Nepali

sirjanĀ 8 painters I have indicated at Manuj Babu's method of blending moods and techniques, and his sensitivity to the changes brought by times. This shows how Manuj Babu has gained maturity in his art since Singh wrote the above review. I closely knew Manuj Babu Mishra whose paintings as I will explain in my essay cited below, are experimental, and obtrusive in which apocalyptic vision dominates the works. I have written recently, "The forms that are visibly distorted, contorted and stylised show his modus operandi that clearly foregrounds the picture of the modern era, or of modernism, which Manuj Babu Mishra, A Portrait Study of Abhi Subedi, is haunted. But the scary figurality, 1990. Pen and ink on paper. (Photo Courtesy: In the human heads pierced by jets including Eye of the Storm: Drawings of Manuj Babu Mishra, his own, pythons rising to the sky and Published by Nepal Investment Bank, 2009.) the domination of blue and green, as There is one family house that looks well as dark, ironically represent a like Gandhi's Sabarmati Ashram, calm acquired after a catharsis. Mishra near the Bouddha Monastery. A is also a portraitist. He has drawn small house for the family to live, a one of mine, which is included in his few shades and a cottage of Nepali book of paintings. I feel immensely style with mud smeared walls and delighted by that, especially by the atmosphere created by that. That is fact that he has kept my figurality the space of Manuj Babu Mishra. He outside the surreal modus opernadi calls that small cottage "hermitage", (Subedi, "Modern Nepali"). the meaning of which is a place where The words 'seclusion', 'hermitage', you sit for meditation, a retreat where haunting image, are related to the he created a world that he imagined, evolution of Manuj Babu's art. I and a picture of the days to come. published an obituary under the These creations are paintings and title "Manuj Babu, turbulence and drawings. The motif of this quiet peace", in the Kantipur daily. To avoid man is hurricane. This peaceful repetition I would like to present the man created an aura of disquietude free rendering of that essay putting and loud noise around him. Sky is additional necessary notes in that crowded with speedy missiles. Huge process: ferocious pythons and snakes rise and

sirjanĀ 9 Studio of Manuj Babu Mishra - 'Hermitage', Bouddha. (Photo Courtesy: Roshan Mishra) fly in the sky. In the first view itself is that the artist is in the world and one understands the motifs are the lives a normal life like everyone human beings traumatised by snake else. In this manner Manuj Babu had bites, the penetrating missiles carrying used the turbulence and noise as the bombs, and the artilleries. Green, rhythm of his artist's life. But the yellow, blue and also some white turbulent moments and the grand and black colours or pigments used peace that he had found within this in the paintings depict the miseries did not go with him when he made experienced by the human beings in his final exit on 8 August 2018. They their world growing dismal. are scattered all over the Hermitage and the rest of the world, and in the Manuj Babu comfortably assumes a self-portraits of the artist. large than life avatar and takes all this creation with him without qualms. We cannot understand Manuj Babu However, Manuj Babu did not believe by using the ferocious motif of his that the creator of the ferocious paintings. We should also try to art and the life of the creator were understand the context and condition different. He created missiles passing of his education. Art curator and through the artist's head. The paradox art critic Sangeeta Thapa who has

sirjanĀ 10 that was of Zainul Abedin (1918- 78) who "was a founder of Dhaka Arts College". This guru "taught in Government School of Art in, where, incidentally, the late Lain Singh Bangdel was one of his students" (Thapa VIII). As Abedin belonged to the "Neo-Bengal School", it would be very interesting to see the tradition of art education in India that trained Nepali artists. This subject requires a Manuj Babu Mishra with his guru Zainul Abedin in Dhaka, c.1960s. long and carefully researched article that is not possible to do here. prepared a book of Manuj Babu's paintings with a brilliant long But I feel it important to recall an introduction entitled "Drawings of experience that I had when I visited Manuj Babu Mishra" (2009) believes Bangladesh, Dhaka in a couple that to properly appreciate the artist's of decades of the emergence of works we should understand the Bangladesh, another memory working place of his education and the impact strongly. At that stage artists and of his gurus and artists on his work. writers were recalling their horrid experience of the time of the killings Manuj Babu's art education in Dhaka and displacement of people during of the then East Pakistan from the freedom struggle. I was surprised 1963-68, plus another six months' to see the exaggerative use of the special training, shaped him as an expressionism of motifs, style and artist. The lingering memories of colours in their paintings. I also met the Great Bengal Famine that he some elderly teachers and artists. shared in literary writings there, When two professors of English at the difficulties of the quotidian life, Dhaka University and art critics Syed and the miseries of the people and Manjarul Islam and Kaiser Haq, their visual impressions that he saw introduced me to the senior artists, left deep impact on Mishra's mind. and explained the art works, I felt Sangeeta Thapa sees the influence of I was seeing another dimension of Ganesh Pyne's paintings in Manuj Manuj Babu's art apprenticeship in Babu. Pyne was one "proponent of the that country. Bengal School" in art. In Pyne's works, "Man is presented as a vanquished Manuj Babu's fierce looking paintings breed; they are killers, and areevil are his art works. Though he glibly personified" (Thapa IX). Thapa reveals entered the world of his art, and another important influence, and presented himself as a victim in the

sirjanĀ 11 The English painter Francis Bacon, similarly, makes terrifying visages of human beings. There are many examples. In all these, we can say that no Nepali painters were similar to Manuj Babu in the choice of themes and use of techniques.

It would be interesting to recall one experience here. One day Manuj Babu was making a painting on his veranda and I was watching him. Disproportionate and scary images were coming up there, while we could hear the sound of a masked dance of the famously known Lakhe ritual, loved by children and adults alike coming from the Bouddha side in the quietness that used to be the feature of the environment those days. Manuj Babu without raising his head from his work said, "Abhi, do you know? Children get frightened by the mask Manuj Babu Mishra, Untitled, 1982. Oil on canvas. (Photo Courtesy: Roshan Mishra) and the dance of this Lakhe; I don't boisterous world of his art, he kept let them go to see it." Manuj Babu was himself at a distance from that larger making a far more fearful painting than life experience in the same way than anything that the zero mask of as Picasso was detached from the a repeated festival could match. I theme of his painting of Guernica city realised that day, there was a great destroyed by German bombs, just as rare calm behind this artists' ferocious the sixteenth century Italian painter and intensely loud paintings. There Caravaggio kept himself detached was a moment of great calm as from his violent paintings, just as seen by the Buddha. I knew he was the Nepali painter Lain Bangdel was creating the self same power of calm detached from the paintings that behind the scary art, and the salvation he executed under the influence of of mankind behind a world where Picasso's blue period paintings. The missiles carrying atomic weapons nineteenth century Spanish painter were flying. Francis Goya's paintings give the Though Manuj Babu was quite senior violent image of human beings. to me in age, I never addressed him as

sirjanĀ 12 Manuj Babu Mishra in his studio - 'Hermitage', Bouddha, 2016. (Photo Courtesy: Bijaya Maharjan) dai or elder brother, which is a practice corner cluttered with canvases and among us, the literary writers. This paintings, Kiran Manandhar's small Hermitage was a place that I visited Atelier at the foot of Swoyambhu alone or with like minded friends so hill and his caves and sunny spaces many times, stayed for hours and in his house of Tahachal. Whenever returned. At such moments I heard the textures of lines, colours, sizes Manuj Babu speaking about his of finished and dripping canvases philosophy of life and the purpose of come to my mind, I feel a sense of his art. It is always a sense of joy and creative strength for my own work of liberation to see the working space of a different medium. Such spaces leave painters. I have experience of visiting impact on the minds of the visitors the working spaces of several artists, who are close to the artists. The like Lain Singh Bangdel's working working places of artists are like livid space upstairs, Bala Krishna Sama's dramatic stages made with forms and painting room adjacent to his drawing colours where the artists dialogued, room, Amar Chitrakar's naturally quarrelled and made peace with their created calm and inspiring working own lives. We can see their moments corner, Uttam Nepali's painting of crises and happiness in such mise

sirjanĀ 13 involved knowledge, science and art subjects. He was also an academic who has written a book about the history of art. Though he wrote stories and fictions, he preferred to be known as an artist. He was indeed an artist par excellence. But those of us who were close to him saw another side of his personality too. That was his political self. Manuj Babu never accepted the democratic change of 1990 in Nepal. In fact, he was so frustrated by that change that he wanted to retreat from the active world and spend his time with his own creative works in seclusion named Hermitage. He had said to me then, a friend had sent him a book from Germany the subject of which, he said, if I remember correctly, was promoting radical thoughts. I did not give any importance to this shift of Manuj Babu because I believed Manuj Babu Mishra, Self portrait, 2002. Oil on and still believe that these were canvas. (Photo Courtesy: Roshan Mishra) the expressions of the moments of on scene. I also saw several spaces of discontent of an artist immersed in Western and Japanese artists. But the his art, sometimes without 'objective one I saw in Marseilles of France has correlative.' His philosophy emanate struck me deeply. That is Cézanne's from his style and philosophy, not secluded working space, in a small from the engaged knowledge of active house overlooking the Mediterranean politics with clear goals to fulfil. Sea where he moved with a so- called lower class woman, to avoid Manuj Babu and I had topics the society's gossips. Like Manuj, of common interest like the Cezanne had moved to the seclusion interpretation of art, human condition, of his own choice. That was Cezanne's his moments of discoveries while Hermitage. executing people's portraits, the success achieved by his son Rabindra I also had literary connection with Manuj Babu. He was an essayist who Mishra, my very close erstwhile wrote mostly on big themes that student, at the BBC, and many more.

sirjanĀ 14 I must confess, I do not have more Subedi, Abhi. "Manuj Babu, kolahalra shanti". space to discuss about Manuj Babu Kantipur. August 11, 2018. Mishra's craft, which requires careful Thapa, Sangita. Ed. With Introduction. In the attention and appreciation. But in Eye of the Storm: Drawings of Manuj Babu conclusion what I can say is that Mishra. Kathmandu: Nepal Investment behind the fearsome forms of his art Bank, 2009. one can feel his ability to understand Singh, Narayan Bahadur. Samasaamayik human nature and various moments Nepali Chitrakalako Itihas. Kathmandu: of existence, and that ability is poetic. Nepal Rajakiya Pragya Pratishthan, 1976.

I have one very revealing moment to share. One day, in one of my visits to his house, he wanted to draw my portrait. I sat in front of him talking. After working for sometime, he rejected that and started to do another portrait. I asked him why he had cancelled the first. I felt deep down the power of his art when he said, "the face of a person, and that also of a writer, is a flow, a movement. It is not just the face, but the outer world also that the artist should be able to Dr. Abhi Subedi capture in that portrait". The 'world' Born in Terathum of eastern Nepal, Dr. Abhi reflected in my portrait that he has Subedi received his higher education in Nepal "included" in the book Drawings of and Britain. He is an essayist, critic, linguist, Manuj Babu Mishra, is a poem that I playwright and poet. He has over two-dozen books have not yet been able to decode fully. on different subjects to his credit. Among his over 10 plays, strong theatre groups in Nepal and I returned after paying my last tribute abroad have performed several of theme. to him at Pashupati carrying with me Professor Subedi has taught 43 years at the Central the perennial dialogic tension between Department of English. language and colours. He has written extensively about Nepali arts and artists. He is involved in a number of References interdisciplinary study groups and a prolific writer on issues of freedom, culture, literature, arts and Subedi, Abhi. "Writers' Portraits and Joys of social transformations. His essays and seminar Voyeurism" Across, January—March 2003. papers are published in Nepal and outside. Vol 6.No. 4.Pp 9-13.

Subedi, Abhi. "Modern Nepali Art: Bangdel and after as mirrored in my reviews" http://www.bikalpaartcenter.org/ modern-nepali-art-abhi-subedi/

sirjanĀ 15 Purna Man Chitrakar (1864 -1939 AD) a Pioneer – Least Celebrated

Madan Chitrakar

Abstract A frequent debate or an issue favorite amongst the art-history buffs is usually found around when and who first used oil paints as a medium of painting and introduced photography in Nepal. On many occasions, the credits were attributed to a legendary name – Bhaju Man Chitrakar or Bhaju-macha. But it appears now many of those narratives were made more based on the popular hearsays rather than actual study of his oeuvre of works or a credible analysis of the circumstances then. The essay here seeks to analyze the roles of the prominent artists then – spanning late 80s of the 19th century to the late 30s of the 20th century. It is found the role played by a least celebrated artist Purna Man Chitrakar, seemed more credible – in ushering a new era, described as ‘Pre-modern’, with the irrefutable accounts of his workings in oil colors and photography. Moreover, his mentorship of many of the junior artists later proved momentous – leading to create different new streams in the evolution of Nepali Art – later.

While making narratives on history, works. He stands tall as a prominent there are chances, certain links or artist cum photographer of the period. events often may remain forgotten; More so, many important clues and minimized or ignored knowingly. evidences on his crucial role have But and if such things happen for now come onto surface – of vital and whatsoever the reasons, it leads to immense importance, in the making misinformation: distortion of facts – to of a modern history. Serious papers persist longer, and with unforeseen as deserving of his tall standing are consequences. certainly overdue – on him and his meaningful exploits. In the modern history of Nepali Art too, albeit there’s a cursory mention1, Turning of a New Page there exists a mysterious silence, on But herein, before going to the details the deserving details of Purna Man on Purna Man and his consequential Chitrakar (1864-1939 AD), and his exploits, a cursory glance on bits of

sirjanĀ 16 Amazingly but, by early 1820s, Nepali Art had had witnessed the coming-up of a new name in Painting – Raj Man Singh Chitrakar. He had had emerged unexpectedly as an indirect off-shoot of the treaty said above: and was closely associated with the arrival of an English diplomat cum scholar, Brian Hodgson to Kathmandu in 1822 AD. And in retrospect today, unintentionally, he – Raj Man, has come to be regarded as a pioneer – credited with many notable ‘firsts’ in Nepali Art2. His pen and ink works and watercolor sketches – depicting architectural and zoological contents – undeniably today, well remain the earliest evidences of pioneering Juju Man Chitrakar (father of the artist), c.1890s. feats – notably introduction of One of the early oil color portraits by Purna Man fundamentals of Art like – notion of Chitrakar. (Photo courtesy: Anuj Chitrakar, Sydney) three dimension, proportion, sense of perspectives and above all, probably, history and the ongoing evolution the first use of watercolors in the then of Nepali Art may deem country. desirable. It should connect and help understand better – the roles of earlier Soon to follow him in the annals of artists before him. And it should then, Nepali Art, by 1850s, was a new and allow to help make a more judicious younger artist by few decades, artist judgment, on the subsequent impacts Bhaju Man Chitrakar. Historically, he of his art journey in the Art scene, and is best known for his close access to then after. the centre of power then – the court of all powerful Rana Prime Minister Jung To begin with, the times since the fall Bahadur. Surprisingly indeed as an of the Mallas, the onset of the 19th artist, he managed to include himself century and after, was still fluid. Even in the prestigious entourage of Jung after the conclusion of famous Bahadur’s famous visit to England Nepal-Anglo Sugauly Treaty of and France. Bhaju Man, also described 1816 AD, the State – the main insistently as Bhaju-macha by his patron of Art, had had continued to family and his descendants, gained demonstrate little time and taste for the high popularity in the court patronizing softer issues like Art. primarily because of his extraordinary

sirjanĀ 17 A rare group photo with historic personalities Purna Man Chitrakar in pink circle and Dirgha Man Chitrakar in blue circle. (Photo Courtesy: Changing faces of Nepal, 1997) skills as a painter – adept in exquisite him as making series of life portraits portrait paintings with meticulous of British royalty during his stay in details. London in 1850 AD, quoting a news clip from Paris – ‘a Nepali artist What resulted aftermath of his painting a portrait with enamels’. subsequent visit to Europe as an Writer Sama apparently interpreted artist, was a beginning of a new era it – the use of ‘Enamel,’ as oil colors. of multiple myths – woven around After his return, and subsequently, him as a pioneer with many credits the notion of him being the pioneer including – introducing oil colors and of western style and oil colors, spread western ways of human portrayal far and wide, and remained well in Nepali Painting. And the myth ingrained deep in the minds of Nepali rather than the fact-based evidences, society as an undisputed pioneer. continued to come down, until the very recent times: continually But it appears now the inferences parroted by writers on the subject. made by Sama were not actually based on plausible analysis or without Renowned poet and playwright a proper study of the oeuvre of his 3 Balkrishna Sama went on to describe works. And this explains, among

sirjanĀ 18 others, as one of the likely reasons, completed the drawings, all his works why later artist – Purna Man who instantly were dispatched abroad – actually propagated oil as a medium Calcutta, London and Paris – leaving to many of his pupils and himself little time for local artists to learn from who practiced in oil colors to the end, those new experiments. Raj Man’s remained long overshadowed. And works remained literally confined to it led to a long silence on him and his his atelier inside the British Legation role as the actual pioneer painter in oil – read embassy or then sent abroad medium or as a pioneer photographer. – thereby, before it could influence Nepali Art – locally in any way4. Again, before dwelling on how and what Purna Man practiced, let’s Moreover, artist Raj Man himself, left examine on the possible connections Kathmandu for good to Darjeeling or reflections from the past on Purna in early 1850s, following the trails Man and his works, if any – from of Hodgson. In fact, his pioneering works lay hidden for more than 150 1880s AD and after. years from the Nepali public glare. The points to consider here is a fact The entire corpus of his pioneering that paintings by Purna Man were all works came into light here in painted in outright European style – Nepal – only very recently, with the in canvas or over large publications of ‘Origins of Himalayan photo-enlargements in Bromide Studies’, London and ‘Raj Man Singh papers with light layer of oil colors. Chitrakar – the Pioneer Painter of Also, to consider is whether the Nepal’ by H. R. Joshi and Indu Joshi later development in oil and canvas in 2005 AD. whether were totally anew or were Now let’s also examine the possibility a natural continuation from the past. whether Purna Man merely emulated Only then, it would lead us to the Bhaju Man’s experiments – his actual origins of a new style and possible use of oil colors and human medium. portraits in Nepal. Firstly, there is no second opinion and the evidences also Extended Influences from the Past? prove – Bhaju Man indeed was a great Without a shred of doubt, when painter. A portrait painting of Jung Raj Man made colored drawings Bahadur, found recently in London for Brian Hodgson, it did remain testifies it – a portrait with meticulous epochal and monumental in every details with his regal robes. Until this respect. Regardless of many new recent discovery of the above stated concepts he introduced including portrait, it was rare to find his work – human portrayal and in making of – dated and with signature – leaving outdoor sketches, inclusive of human us always in confusion whether him elements, the truth remained that being an actual vanguard of western no sooner Raj Man Singh Chitrakar style portrait painting.

sirjanĀ 19 But it also betrays a fact that Bhaju Jeet Narsingh being an earlier to work Man essentially remained a painter in oil, remains irrelevant. Moreover, – adept in tempera and in earlier in absence of further accounts of Newar school of Painting – not with his continuity in oil and in view of the oil. This is contrary to the hyped the circumstances then, it’s highly belief of him being an artist of western unlikely Jeet Narsingh also remains a school of thoughts. In fact, there are credible pioneer; and thus there exists no credible works to substantiate very little ground to agree with writer the argument. So there is no way Narayan Bahadur Singh’s observation. to assume convincingly that Bhaju Man may had had also achieved A Natural Curiosity modern skills – being able to paint Then a next natural curiosity arises live from Royalty during his hectic at this point – when and in what stay in London, as has been described circumstances – modern tools like by Sama. The talk of him painting a camera and photo-enlargers did portraits of Prince Albert from life, it first arrive in Nepal; and also, when seems, may certainly appear as mere and how the first use of oil paints fancy conjectures. were made? And more importantly, what necessitated bringing in or And it all emphatically suggests there introducing oil colors. A plausible is no possibility that Purna Man could answer – is it not that there was an have learnt or drawn inspirations emerging need to acquire modern from none of the artists before him, oil colors – after the arrival of while working in oil and in portrait photography – so as to cater the paintings. But before we conclude increasing demand to color huge with certainty Purna Man indeed is photo-enlargements of ruling families an unsung pioneer, however for a then – a trend so popular within the moment, let’s also consider a relevant ruling elites. short observation made on another later artist, Jeet Narsingh Chitrakar. Therefore, in our context, the first According to art writer Narayan arrival of photography remains Bahadur Singh5, Jeet Narsingh – an the central and an important issue. artist associated with Hanuman This is for the simple reason that an Dhoka – the Royal Palace and a important phase of Nepali Painting distant descendant of Raj Man, is also had had remained inextricably said to have painted in oil, a portrait intertwined with the growth of of young king Tribhuvan Bikram Shah photography here. The period in 1911 AD before Purna Man did. between 1880s-1930s AD, herein described as ‘pre-modern’ phase But the fact is Purna Man had already in art-history here, the mainstream made impressive appearance by then Painting. It had had remained with oil paintings. So the question of

sirjanĀ 20 Bir Shumsher, he was almost inside an unfamiliar territory – vaguely familiar with recently introduced ‘photography and use of camera’ – but with little inkling that he was here – destined to create a new page in the history of Nepali Art. For sure, before he joined Lal Durbar, the residence of Maharaja Bir Shumsher, as coming from a family of ‘Chitrakars’ – the Com. Col. Faud Singh Khatri and his wife. Possibly one of the early photos taken by Purna Man traditional painters, his skills at the Chitrakar, c.1890s (Collection: Shankar B. Khatri) best, was confined to the workings of traditional Paubhas and rudimentary essentially based on photography – or skills to develop plate negatives. with the huge photo enlargements. Or during this period, Nepali The details on the circumstances of Painting was entirely defined and how and when he first arrived to the was dominated by or with the parallel services of Maharaja are very sketchy. growth of large life-sized photo But the evidences suggest Purna Man portraits – with or without color at the age of 18, was first summoned paints – in bromide papers. by Dambar Shumsher, younger brother of Bir Shumsher, at Thapathali Precisely, during this critical juncture, Durbar – residence of first Rana Prime art-history witnessed the arrival Minister Jung Bahadur – now the of Purna Man Chitrakar – a young home of his father Dhir Shumsher. painter familiar with local tradition. Who led him or who was instrumental But later, he was to emerge as an in taking him there is unclear. unexpected protagonist and a pioneer. Now let’s see how it all happened and But it appears he was there he helped shape a new era. Also, let’s summoned as an artist – still young see why he should not be described as enough with appetite to learn new – a pioneer of an era called notably European influences – the art ‘pre-modern’ era – who led to the of photography and new medium – earliest use of oil colors in close oil colors. This is said to be 1877 AD. association with photography. As has been said, Dambar Shumsher – a great enthusiast for Photography, Purna Man Arrives: with Oil Colors by then already set up a photo studio and Photography inside his Thapathali Durbar – fitted The rise of Purna Man in the annals with a camera, tripod and an enlarger. of Nepali Art is, for sure, near Purna Man initially, was here to assist incidental. For when he first arrived in developing plate negatives. No at the services of Rana Prime minister sooner, he learnt the rest of the tricks

sirjanĀ 21 An exquisite oil portrait of Maharaja Bir Shumsher JBR by Purna Man Chitrakar. (Collection: Sanjay Dass Shrestha, Narottam Dass and Indira Shrestha Guthi) of the trade. By 1881 AD, he was It appears he was moved to Lal sent to Calcutta for further training, Durbar – the residence of the in photography – making him thus Maharaja sometime after the bloody an earliest trained-photographer in coup that brought Bir Shumsher to Nepal.6 power: and now he could afford

sirjanĀ 22 A majestic view of the 'Baithak' of Seto Durbar, Jamal - well adorned with oil portraits in the wall. (Photo courtesy: Changing faces of Nepal, 1997) more attention for more luxuries like enlarged photos, but also mastered making grandiose and lavish palaces to paint huge Portraits in oil, photos and the suitable photos or paintings as references. Probably, the array to adorn the walls of his newly palace. of portraits made then, remains the This is what brought Purna Man here earliest oil portraits – ever painted and thus began a new era for him and in Nepal. Many of those historic eventually, to the Nepali Art. portraits were adorned in the majestic halls of newly built Seto Durbar – Precisely during this time and after, which unfortunately, went down in many available evidences corroborate flames – a devastating fire that totally the point, and it was the beginning destroyed the famed Seto Durbar and of momentous journey of Purna the pioneering oil portraits. Man. And by then, it appears, he had mastered not only how to apply One of the few available finest light layers of oil colors over the huge examples of oil portraits made by

sirjanĀ 23 military attendants of the Maharaja. The precious paintings are found at the residence of veteran elder freedom fighter Shankar Bahadur KC or Khatri. Fortunately to us – the enthusiasts of art history, the collections proved to be a treasure trove of immense importance – in view with the interests on the period and the role of Purna Man. It appears now, Col. Khatri also had had good rapport with Purna Man and subsequently commissioned his portrait – oil painted over enlarged photo. And subsequently later, Purna Man also painted portraits of his son Col. Jeet B. Khatri and his wife Dev Kumari Khatri – the parents of the veteran freedom fighter Shankar B. Khatri. Com. Col. Faud Shing Khatri - an earliest example of oil paint laid over a photograph by Purna Man All the historic works are relatively Chitrakar, c.1890s (Collection: Shankar B. Khatri) in good condition. It reveals many Purna Man Chitrakar is illustrated in important and useful findings for the collection of noted art collector the art students and the historians and artist, late Narottam Dass alike. First, his understanding of Shrestha and kindly availed to us by his son Sanjay Dass Shrestha. The portrait of Maharaja Bir Shumsher well narrates Purna Man’s thorough understanding of the art of portraiture – with reference to photographs. His accomplishments are more reconfirmed by the later findings of his works. Added to it, Purna Man’s close association with Maharaja Bir Shumsher is also well reconfirmed very recently – with the recent discovery of few family portraits of Commanding Colonel Faud Singh An early camera used by pioneer artist Tej Bahadur Chitrakar - a model as had been recommended by Khatri, one of the most trusted Purna Man Chitrakar.

sirjanĀ 24 An oil portrait of Col. Jeet B. Khatri, son of Com. Col. Faud Singh Khatri by Purna Man Chitrakar. (Collection: Shankar B. Khatri) facial contours, drapery and the skin Purna Man – a Mentor to the later color is complete and remain just Pioneers superb – and remain well ahead of his The importance of Purna Man in time. Secondly, more important is his the narratives of art is not only confidence to make oil portraiture so confined to being a great painter in early stage of the pre-modern era: and oil. It is also because, in addition to is highly praiseworthy. being a painter ahead of his time,

sirjanĀ 25 Dev Kumari Khatri, wife of Col. Jeet B. Khatri - an oil portrait by Purna Man Chitrakar c. 1890s (Collection: Shankar B. Khatri) he mentored a group of younger early non-Chitrakar artists, Samar artists – who eventually were to Shumsher and Bakhat Man Chitrakar. create and shape different streams More important, even Tej Bahadur in the Nepali Art later. The group of Chitrakar – an icon of a modern age his pupils includes later luminaries in Painting and a graduate from like Dirgha Man Chitrakar, Ananda Calcutta in Fine Arts, after his return, Muni Shakya – one of the few found himself mesmerized and highly

sirjanĀ 26 influenced by the works of Purna Man Chitrakar. Not surprisingly, it is found, Tej Bahadur also followed Purna Man in many occasions, in applying photography into his later works. Purna Man Chitrakar, indeed thus remains a pioneer – but least celebrated today.

References

1 Singh, Narayan Bahadur, Samsamyik Nepali Chitrakala ko Itihas, Royal Nepal Madan Chitrakar Academy, Kathmandu, 1976. Madan Chitrakar is a senior artist and an art writer 2 Joshi, Harihar Raj and Joshi Indu – Raj based in Kathmandu. Three well acclaimed books Man Singh Chitrakar, The Nepal Studies, "Tej Bahadur Chitrakar - Icon of Transition" Kathmandu, 2005. (2004), "Nepali Art - Issues Miscellany" (2012) and "Nepali Painting - Through the Ages" 3 Sama, Bal Krishna, Nepali Lalit Kala, HMG, (2017) remain to his credit, in addition to the Department of Publicity, Kathmandu. numerous writings on Art and Culture in English and Nepali. 4 Losty J. P., The Origins of Himalayan Studies, Presently, he is associated with Sirjana College of Routledge Curzon, London, 2005. Fine Arts as the Principal. 5 Singh, Narayan Bahadur, ibid (1)

6 Heide, Susanne von der, Changing Faces of Nepal, UNESCO and Himal Asia, Kathmandu, 1997.

sirjanĀ 27 Paňcabuddha Caryā performance by the Faculty of Dance, Sirjana College of Fine Arts, September, 2018.

sirjanĀ 28 Paňcabuddha Perception of Caryā Arun Shrestha

Abstract My study of ahorātrapadasādhavidhi is the study of caryā repertoire and in this repertoire of caryā of ‘performing ritual’, paňcabuddha is the store house of vajrayāna philosophical system from which emerges the bunch of deities who fill the kaleidoscopic scenario of visualization process in the religious practice of vajrayāna religion. The play of symbolism is swung to the extremes of space and beyond through the projection of akşobhya, vairocana, amitābha, ratnasambhava and amoghasiddhi as five divine forces or paňcabuddha representing paňcaskandha, driving all the sentient beings to their ‘non- existent existence’. On the basis of the reliance on the ‘visualization’ of paňcabuddha, a path to nirvāna is eased through the ‘realization’ of śunyatā and ultimate liberation of humanity a mass.

Caryā i is basically a sādhana ii of religious or religiously scientific. Very paňcabuddha iii who in essence is uncharacteristically, it does not rely paňcaskandha iv. on faith or moral lessons as preaching of the religions do. The study reveals To authenticate the statement the system to be followed to lead a pronounced here, let us begin chartered trail to enlightenment. It’s analysing the conceptual vajrayāna so called mystical thought process phenomenon like caryā, sādhana, is aesthetically spiritual and thus paňcabuddha and paňcaskandha in contradictory in character inciting sequence and establish a logical the human mind to solve the mystery relationship. of complex human life’s existence (bhāva) and non-existence (abhāva). Caryā in essence denotes a path for Apparently aesthetic Caryā or practice a human life leading to salvation. is inherently spiritual in content. It endeavours to explain the deeper meaning of the existence of the In caryā one dances away to nirvāņa, human life in body and mind. In this which is liberation from future process, for all practical purposes, rebirths realizing the extinction of practice of song, dance and the sufferings, in the ritual process or rituals are the means to enliven sādhana, whereby worshiper becomes the spirit in man. It is scientifically worshiped and achieves divinity.

sirjanĀ 29 becomes powerful himself. This process of the realization of the Infinite Spirit is what is called sādhana. The deity is the part of this psychic process.’ v

This caryā or practice of a sādhana or process is in fact a yoga or rather a şađaňga yoga adhered to in vajrayāna Buddhism which affiliates itself to the concept of paňcabuddha in execution of yoga practice.

This is how guhyasamājatantra explains the relationship of şađaňga yoga with paňcabuddha: vi

Caryā is a yoga and in vajrayāna yoga of six limbs, şađaňga yoga, are employed: pratyahāra, dhyāna, prāņāyāma, dhāraņa, anusmŗti and samādhi.

Vairocana Pratyahāra is the process by which the What then is the place of sādhana in ten sense-organs are controlled. caryā? Dhyāna is the conception of the five ‘The Sādhana is concerned with the desired objects through paňcabuddha. process (or a caryā) for worshiping a particular deity…This consists in Prāņāyāma is the control of the meditating in a quiet place and there breathing process by which breath is practicing Yoga till a state similar drawn from inside and is meditated to deep sleep is brought about. In upon. this state of deep sleep the ascetic communes with the Infinite Spirit Dhāraņa is the meditation of one’s or the inexhaustible store-house of own mantra. energy, which is supposed to be the Anusmŗti is the constant meditation highest creative principle behind the of the object for which the psychic world structure. By this communion exercise is undertaken. the ascetic draws forth energy from that inexhaustible store-house, and And finally, when by this process the

sirjanĀ 30 Conception (vitarka) is the secret triad, from the enjoyment of which comes Secondary Conception (vicāra). The vicinity of joy is the third, and the sum of pleasure is the fourth. One’s own consciousness with removal of the upsurge of knowledge and knowable, is known as the fifth, with a peace composed of all Buddha and abiding in all desires. Drawing forth the breath made of five knowledge and which is the self-existence of the five elements, one should imagine it in the form of a tiny ball on tip of the lotus nose. ix

In a caryāgīti of caryāgītikoşa, paňcabuddha is assigned a role of a karņadhāra or helmsman in the sādhana or process of caryā or religious practice: x

Akşobhya By using three, (kāya, vāka and citta) as a protection, kill (by) the group of transcendental knowledge is suddenly eight realized by the worshiper, it is known Honor compassion and void (in your) as samādhi. vii own innate body In a yoga process, dhyāna (meditation) Cross the worldly existence, as is the conception of the five desired the ocean of water, like a dream of objects through paňcabuddha, the five illusion Buddhas, which is again sub-divided Think of (worldly existence) in the into five kinds: vitarka (cogitation), middle of the confluence of the rivers vicāra (thinking), priti (pleasure), made of waves sukha (happiness), and ekāgratā By the means of Paňca Tathāgata as a viii (concentration). large oar used as rudder or helm The five desires are in condensation The outer body, Kŗşņā (says), is a web through the application to the five of illusion Buddhas. Meditation (dhyāna) is Smell, touch and taste are such, as said to be imagination. And that resembling a dream forsaken of (or Meditation is fivefold: Primary without) sleep

sirjanĀ 31 Ratnasambhava Amitābha

Perception (citta) is a helmsman for a vajra-āyatanānyeva path to void bodhisatvāgryamaņđalamiti ll 50 ll Kŗşņā (the composer) departs in guhyasamājatantra saptadasa paţalah addiction (or devotion) of the great p.111 pleasure or bliss (mahāsukha) The five skandha or paňcaskandha are After establishing a link between proclaimed in short to be the five caryā, sādhana and paňcabuddha, we are Buddha or paňcabuddha. led to a further link of these three to Guhyasamājatantra very In a dramatic turn of vajrayāna categorically specifies paňcabuddha to thought process, vajrayāna caryāgīti be nothing but paňcaskandha or basic incites us to destroy the basic elements elements human beings are composed of our constituent that is paňcaskandha, of: on a spiritual path to elevate and achieve nirvana: xii pancaskandhā samasena pancabuddhāh prakīrtitāh l The mind is full of the void by the grace of sahaja.

sirjanĀ 32 doctrine of existence and nirvāņa. The reality of the existence of the body and mind apart, it vies to perfect the mundane existence through the yogic exercise to reach the ultimate goal of śūnyatā passing the stage of sahaja. Identifying ‘the five mundane existence’ in paňcaskandha symbolized by paňcabuddha, it aims to perfect, control and ultimately destroy those panca skandhas, of which paňcabuddha is a manifestation, which signifies ‘so-called existence’ to attain nirvāņa conceptualized in the form of śūnyatā. Sahaja, in this process, is the state of the mind.

In this backdrop of the conceptual formation of the doctrine, leaning on belief, faith and soul is not called for. Pure reasoning is applied in explaining the emmundane existence’ Amoghasiddhi and final relief from it all, so the Do not be sorry for the loss of the need to fall back on faith is negated. skandhas.2 When the reality of the emmundane existence’ is denied the belief in the Tell, how Kāhna does not exist. existence of the soul takes a back seat, He is flourishing every day, entering and so the concept of re-birth. into the three worlds.4 The fool is sad to see the sense of In the kaleidoscopic formatting of destruction. vajrayāna Buddhism religious practice, Do the broken waves suck the ocean?6 a visual form given to paňcabuddha is a visualization part and the concept of The fool cannot see the existing man. paňcaskandha attached to it is a part of The butter seen contained in milk is the realization path. not seen.8 Nobody goes or comes in this world. Closing the statement we began with, In this style the yogin Kāhna makes we can assertively pronounce that sport.10 xiii ‘caryā is a sādhana of paňcabuddha who in essence is nothing but paňcaskandha’ Vajrayāna Buddhism accepts the basic destined to be won over in a spiritual

sirjanĀ 33 Paňcabuddha path of vajrayāna Buddhism so conceptualized.

On a parting note, let us praise the gains of caryā: xiv

One captures all the mystical powers and shines in the cosmos even when vanishing from sight. One sees with divine eyes when set on trivajra abode of kāya, vāka and citta. One hears all the sounds through magical psychic power. Through a drama or nāţaka one knows kāya, vāka and citta of all the sentient beings. One remembers the incidents of the eon of the former lives dwelt in samsāra as if only of three days.

sirjanĀ 34 References i Vajrayaāna religious practice ii the process of excessive concentration or focus for evocation iii akśobhya, amitābha, amoghasiddhi, vairocana and ratnasambhava iv rūpa, vedanā, saňgyā, saňskāra and vigyāna v Buddhist Iconography by Binoytosh Bhattacharya p. 24 vi aşānāmindriyāņāntu svavŗtisthānāntu sarvatah l pratyāhāramiti proktamāhāra pratipattaye ll 141 ll pancakāmāh samāsena pancabuddhaprayogatah l kalpanam dhyānamucyate taddhyānam pancaddhā bhavetall 142 ll vitarka ca vicāram ca prītiśaiva sukham tathā l cittasyaikāgratā caiva pancaite dhyānasangrahāh ll 143 ll guhyatantrşu sarveşu vividhāh parikīrtitāh l guhyam tarkodayam tarkam vicāram tat prayogatah ll 144 ll tŗtīyam prīisankāśam caturtham sukhasangeaham l svacittam pancam gyeyam gyānam gyeyo dayaksamam ll 145 ll sarvabuddhamayam śāntam sarvakāmapratişthitam l pancagyānamayam śvāsam vi pancabhūtasvabhāvakam ll 146 ll niśvārya pinđarupeņa nāsikāgre tu kalpaye l pancavarņam mahāratnam prāŋāyāmamiti smŗtam ll 147 ll svamantram hŗdaye ghyātvā prāņabindugatam nyaset l nirudhya cendriyam ratnam dhārayan dhāraņā smŗtam ll 148 ll nirodhavajragate cite nimittamupajāyate l pancaddhātu nimitm tat bodhivajreņa bhāşitamll 1 49 ll prathamam marīcikākāram dhūmrākāram dvitīyaam l tŗtīyam khaddhotākāram vi caturtham dīpavajjvlam ll 150 ll pancam tu sadālokam nirabhram vi gaganasannibhm l sthirantu vajramārgeņasphārayīta khadhātuşu ll 151 ll vibhāvya yadanuamŗtyām tadākārantu sansmaret l anusŗtiriti geyāpratibhāsohtra jāyate ll 152 l pragyopāyasamāpatyā sarvabhāvān samāstah l samhŗta piņđayogena bimbamadhye vibhāvaam ll 153 ll jhaţiti gyānanişpattih samādhiriti saggyitah l

sirjanĀ 35 pratyāhāram samāsāddha sarvamantrairadhişthyate ll 154 ll guhyasamājatantra aşţādasah paţalah p.132-133 vii Buddhist Iconography by Binoytosh Bhattacharyya p.25-27 viii Buddhist Iconography by Binoytosh Bhattacharyya p.25-27 ix Yoga of Guhyasamājatantra by Allex Wayman p.45 x sanskrta cāryā gīti of caryāgītikoşah 13 trisarananauka krtva astakam hatam l nijadeha karunasunyate mahile ll 1 ll tirnau bhavajaladhih yatha krtva mayasvapnam l madhyevenim tarango maya matah (=gyatah) ll pancatathagatam krtva kenipatam l vahya kayam krsna mayajalam ll 2 ll gandhasparsarasa yadrsastadrsah l nidravihine svapnasadrsah ll 3 ll cittam karnadharah sunyatamarge gatah krsno mahasukhaprasange ll 4 ll Caryāgītikoşa of Buddhist Siddhas by Prabodha Chandra Bagchi xi Yoga of Guhyasamājatantra by Alex Wayman p.229 xii ll 42 ll [ rāgakāmoda xii kānhapādānām l ] cia sahaje śūna sampunnā l kāndhavitoen mā hohi visannā ll [1] ll bhaņa kaise kānha nāhi l pharaha anidinam xii teloe pamāe ll dhruvapada ll mūďā ditha xii nātha dekhi kāara l bhānga taranga ki soşai sāara ll [2] dhru ll mūďā acchante loa na pekhai l dudha mājhe lađa xii ņacchante dekhai ll [3] dhru ll bhava jāi ņa āvai ņa ethu koha l aisa xi bhāve vilasai kānhila joi ll [4] dhrull ll DohāKośaCaryāGīti No. 42 by Nilratna Sen xiii Dohā Kośa Caryā Gīti No. 42 Translation by Nilratna Sen Appendix-A p.143 Caryāgītikośa

sirjanĀ 36 xiv Gains from caryā: antarddhāneşu saveşu sāhastraikāvabhāsakah l harate sarvasiddhīnām bhunkte kanyām surāgrajām ll 53 ll gangāvālukasamān buddhāmstrivajrālayasansthitān l paśyate cakşurvajreņa svahastaikamyathāmalam ll 54 ll gangāvālukasamaih kşetraih ye śabdāh samprakīrtitāh l śŗņotyabhigyāvaśatah śrotrasthabhiva sarvatah ll 55 ll gangāvālukasamaih kşetraih kāyavākcittalakşaņam l sa vetti sarvasatvānām cittākhyam nāţakodbhavam ll 56 ll gangāvākasamaih kalpaih sansārasthitisambhavam l purvanivāsasamayam dinatrayamiva smaret ll 57 ll guhyasamājatantra samaya sādhanāgranirdeśapaţalo dvādaśah p.45

Arun Shrestha Born April 24, 1947, with schooling and initial college years from Mumbai, Maharashtra Board and Bombay University, graduated from T.U. Kathmandu in Economics and English Literature. Career spanned as a management personnel (Director/GM/MD) in the private sector of handicraft house (Kathmandu Travels), airlines (Nepal Airways), ground water management (NEDRILL) and consultancy (USAID) with addition of a contribution as a training and assistance personnel to Election Commission and Ministry of Tourism. Two papers presented on Caryā and Caryānŗtya on the auspices of Department of Education and Sanskritik Sansthan, Kathmandu, Nepal. Caryā: Dancing Away to Nirvāņā, a book based on study of ‘Ahorātra Pada Sādhana Vidhi’ ready for publication.

sirjanĀ 37 Intangible Aspects Attached to the Mahākāla Worship in Hindu and Buddhist Text

Dr. Poonam R. L. Rana

Abstract Mahākāla is the God of Time, Maya, Creation, Destruction and Power. He is a form of a Brahman Mahākāla that is affiliated with Lord Shiva. His abode is the cremation grounds. He has four arms and three eyes, and is often depicted to be sitting on five corpses. In his arms he wields a trident, drum, sword and hammer. He rubs ashes, from the cremation ground, on himself. He is surrounded by vultures and jackals. His consort is Kāli. Mahākāla and Kāli are the personification of time and destruction.

Etymology of the name Mahākāla of Mahākāla is ‘Hum Hum Mahākāla praside praside Hrim Hrim Svaha’. The The word Mahākāla is a Sanskrit meaning of the mantra is that Kālikā, word. Mahā means ‘Great’ and is the Virāt meter, the bija of the Kāla refers to ‘Time or Death’ hence mantra is Hum, the shakti is Hrim and translating Mahākāla to mean the linchpin is Svaha. “Beyond time or Death” (Mookerjee, 1988. NY). The Tibetan Buddhist calls Mahākāla has four arms and three Mahākāla ‘Nagpo Chenpo’ which eyes, and is of the brilliance of translates into ‘Great Black One’ 10,000,000 black fires of dissolution, and also ‘Ganpo’ which means ‘The dwells in the midst of eight cremation Protector’. grounds, is adorned with eight skulls, seated on five corpses, holding a The iconographic features of trident, a damaru, a sword and a Mahākāla in Hindu text kharpa in his hands. Shaktisamgama Tantra: The male With a beautiful body adorned with spouse of Mahākāli is the outwardly ashes from the cremation ground, frightening Mahākāla (Great standing on various corpses he dallies Time), whose is often portrayed with Kālikā, fondling her and making by meditatative image (dhyāna) of love with her and fiercely kissing mantra, yantra and meditation. In the her, surrounded by numbers of Shaktisamgama tantra, the mantra

sirjanĀ 38 Mahākāla, 15th century, 97 cm x 66.5 cm.

sirjanĀ 39 loudly shrieking vultures and jackals, are also responsible for annihilating adorned with a heap of braided hair, great evils and great demons when in a deserted place. other Gods, Devas and even Trimurtis (trinity) fail to do so. Kālikā is void, ornamented with skulls, with a sweet and charming Mahākāla and Kāli annihilate men, face, in the midst of that five-fold women, children, animals, the world love-yantra. Her yoni is the wheel of and the entire universe without time (kālachakra). (Shaktisamgama mercy because they are Kāla or the Tantra) personification of Time, and Time is not bound by anything and Time does Description not show mercy, nor does it wait for Shaktisamgama Tantra: anything or anyone. Shaktisamgama Tantra, the spouse of Kāli is extremely frightening. Mahāpasupat Sastra: “Kāla” refers to Mahākāla has four arms, three eyes “Time” and also “death”. Usually kāla and is of the brilliance of ten million is used as a synonym for “mrityu”̥ black fires of dissolution. He dwells in (Yama) the god of death. Lord Ṣhiva the midst of eight cremation grounds. is the death of even death – we have He is adorned with eight skulls, a legendary example of Bhakta seated on five corpses, holds a trident, Mārkandēya who was born with a a drum, a sword and a scythe in his limited lifespan but because he was hands. devoted to Mahādēva when Yama tried to seize his life forces, Mahādēva He is adorned with ashes from the rescued him from Yama and even cremation ground and surrounded by killed Yama who paradoxically is numbers of loudly shrieking vultures hailed by the name of ‘kāla’. and jackals. Among his side is his consort Kāli and they both represent Therefore Bhagawān Ṣhiva is the kāla the flow of time. Both Mahākāla and of kāla hence the name “Mahākāla”. Kāli/Mahākāli represent the ultimate However, scriptures do not use the destructive power of Brahman and term, “Mahākāla” to always refer they are not bounded by any rules or to Shiva in his aspect of Time or regulations. Death, but mostly the term Kāla is used to describe him alone and only When Mahākāla and Mahākāli are selectively it is used to describe Yama. together they have the power to dissolve even time and space into Mahākāla is beyond the three themselves and exist as a void at the divisions of Time, and he is the creator dissolution of the universe. They are of Time and he is the withdrawer of responsible for the dissolution of the Time as well. Time (kāla) is again of universe at the end of Kalpa. They two types, viz. kṣhara and akṣhara;

sirjanĀ 40 the former one is withdrawn during In the Book Hindu Temple Vol. cosmic dissolution, the latter which II mentions of Shiva as Mahākāla represents ‘eternal-time’ is nothing but shares the name and features of another synonym to call “braḥman”. Kirtimukha (Kāla). The Lingayat Both kinds of Time are Mahādeva Legend views that Shiva, Sankara, alone. This second ‘time’ which is the Sarabbha seized Narashima who supreme and imperishable time is had become very proud after having Brahman (Mahākāla’s nirguṇa aspect, killed Hiranyakasyapa; the brother Shvetashvatara Upanishad). of Simhika, who is Rahu's mother; and out of Narashimas, severed head Veda: Mahākāla is regarded as Shiva made Kirtimukha. Bhagawan or self-originated, nothing generates it. It is without origin. In The legends in Puranas says contrast, kāla is always moving on Kirtimukha should be represented at (gatisheel), it can never be stopped. the entrances of Shiva temples and The name 'kāla' signifies both time should be worshipped on entering the and death. Kāla is responsible for the temple. life and death of each human being. Kāla is the destroyer of all existence, The image of Shiva in his terrific carrying all organisms towards or ugra form or aspect is termed as physical destruction. Qualities Aghora, Bhavava and Mahākāla are attached to time are responsible for all depicted with bulging eyes, inflated happiness and sorrow. These concerns cheeks and tusks etc. (Kramrisch, are the domain of Jyotish astrology. 1976, New Delhi) (Parashara M. Brihat: 1994, New Delhi Mahābharata and Haribansa Purana: Sagar.) Lord Krishna did not kill Bānāsura, Bhagavad Gita: In the Bhagavad Gita only defeated him and cut all of 11.32, Krishna takes on the form of his one thousand arms but four. kāla, the destroyer, announcing to It’s interesting what happened to Arjuna that all the warriors on both Bānāsura. After the battle, Nandi sides will be killed, apart from the suggested him to dance for Shiva. Pandavas: So in this amputated state he did Tāndava for Shiva. After that Lord …sfnf]˜l:dnf]sIfos[t k|j[4f] nf]sfg\ Shiva made him Mahākāla. It might ;dfxt{d\ Ox k|j[QM .Ú have been a test for him, to see if he could still perform in this condition. This verse means: "Time (kāla) I am The description of the dance is the Mahākāla, the great destroyer of wonderful. He danced his eyebrows, the worlds, and I have come here to produced different sounds, and all destroy all people." (Bhagavad Gita this while fully covered in blood. 11.32 )

sirjanĀ 41 Mahākāla in Sanatan Dharam of Jharkhand, Odisha, and Northern In the Hindu religious text Mahākāla Bengal they regard wild elephants as is regarded as the ultimate form Mahākāla and worship them. of Lord Shiva, the destroyer of all The Hindu legends on Mahākāla elements. It is believed that there is nothing beyond him, no elements, no In the Brahmā Purana on ‘Shiva dimensions not even time. That is why Mahākāla’ there is this myth: he is called ‘Mahā’ meaning greater “Once all the creatures were created than time or ‘Kāla’. Kāla is also known and their hunger satiated they began as time or death. to reproduce. Soon there were too There is another meaning of Mahākāla many of them. Brahmā could see that that emphasizes the destructive aspect the cosmos was choked with too much of time. Everything dies with time: life. He wondered where he had made “Time ripens the creatures, Time rots an error. them. “Time” (kāla) is thus another Saraswati pointed out to him that name for Yama, the god of death. The he had forgotten to create death. name is associated with Shiva in his For life to go on he realized death destructive aspect as Mahākāla and is was essential. He created Mrityu,̥ extended to his consort, the goddess and ordered her to go and kill all Kāli, or Mahākāli. (Mahabharata creatures. Mrityu̥ was horrified of the 1.1.188) formidable task and fled. In Kālatantra, Mahākāla(i) is the Shiva found Mrityu̥ crying in a patriarchal "God of Time". However, desolate place. He consoled her and originally "he" was the Universal assured her that all those who would Great Mother, ruling "birth and die would be reborn. So she would death" (which is the foundation of be mother even though she would be time). Here we have restored her taking life away. Thus, it came to be original power. Linguistically we that Death became not the end of life have to call Her "Mahākāli", which but a gateway to a new one. Mrityu̥ is the feminine version. In order to took the form of Mahākali, devoured remember the "coup" we keep calling all life and Shiva became Mahākāla, Her "Mahākāla", though. The same we the lord of time, the regenerator. Life did with the "Kāla". It deals with time became a wheel, rotated by Shiva an and death. eternal cycle of births and rebirths. Mahākāla is referred to as bringer The famous Mahākāla temple in of death. In many parts of India Kathmandu and Nepal followers of Sanātana Dharam worship Mahākāla to ward The three-storeyed temple of Mahākāl away untimely death. In the region lies West of Tundikhel in Kathmandu,

sirjanĀ 42 upon the two of them decided to build an idol so as to persuade Mahākāla to stay here permanently. However, Mahākāla refused the request but agreed to visit the temple every Saturday. Thus, thousands of people visit the temple on Saturdays as it is believed that the deity himself is present there then. Mahākāla in the Buddhist text In the Tibetan text: "Mahākāla namo" in the Tibetan text it is said that Mahākāla means literally "the great black one" Namo means "hail" or "homage". Mahākāla symbolizes the wrathful aspect of the compassionate mind, transforming energies such as

A form of Mahākāla anger into a powerful compassionate force. and houses a terrifying idol of the Mahākāla is a Dharmapāla, a deity. protector of religious law. He is always depicted as an extremely The idol is made of fine black stone fierce and terrifying deity. His and depicts the deity wearing a purpose is to help in overcoming garland of human skulls and standing negative obstacles on the path to on a dead body with his mouth open, enlightenment. A compassionate while the nose and ears are covered wrathful deity, he appears evil, with metal leaflets. The temple is said like a demon, but functions more to have been established by the King like a guard dog, or guardian angel Gunakamadeva. The date is under (Sergent). His aggression is necessary, contradiction. for it allows him to demolish obstacles The Legend: The legend goes and negativities one faces on the that the temple was founded by a path to enlightenment. Mahākāla is Tantric Guvaju. One day while he depicted in a variety of different ways, was rearing his goat at Tudhikhel sometimes with six arms, other times he witnessed the Mahākāla flying with two. He is often brown skinned across the sky towards China. He is and associated in tankas with Penden believed to have called upon the King Lhamo. Gunakamadeva of Kantipur, where

sirjanĀ 43 The Himalayan Resource what are considered the traditional The designation of 'Protector Deity' is Hindu Gods, often referred to in the common within the Buddhist and Bon Tantras as worldly gods, or protectors. religions of the Tibet and Himalayan Numerous mountain gods and regions. The term is one designation indigenous Tibetan and Himalayan in a rather fluid yet elaborate set of deities have been incorporated into religious hierarchies in the various the Tantric Buddhist pantheon as pantheons. worldly deities with the function of There are two types of Protector a protector. Their job is to safe-guard Deity: worldly and beyond worldly. Buddhism in general, regions, specific The latter is typically called wisdom monasteries or religious traditions or or enlightened protector, meaning that even a specific text as in the Nyingma they are beyond samsāra or worldly Tradition. existence. The Legend of the Origin of The Buddhist protector deity Mahākāla Mahākāla is a wrathful form of the The compassion of the red primordial Buddha Vajradhara. In Buddha Amitābha manifested as various other forms Mahākāla can be Avalokiteshvara who took a vow an emanation of Akshobhya Buddha to forgo his own enlightenment or any number of other Buddhas. until all the realms of samsāra had The three main Anuttarayoga Tantra been emptied. This vow required a deities of Hevajra, Chakrasamvara renewal of determination, and so with and Guhyasamāja each have a Amitābha's blessing, Avalokiteshvara specific Mahākāla associated with next assumed a form with eleven the particular tantra such as: Panjara heads and a thousand arms. Still he Mahākāla - Panjarnata Tantra had been unable to benefit even a few (Hevajra), Chaturmukha Mahākāla beings. - Guhyasamāja Tantra and the Therefore after reflecting for one Chaturbhuja Mahākāla associated whole week, he determined that by with the various Chakrasamvara assuming a wrathful form he would Tantras. be able "to subdue the degenerate Worldly protectors are not beings of this Age of Darkness." enlightened and not considered He also saw that even beings who completely trustworthy. There is a practiced Dharma were unable to bias in Buddhism to treat all or almost escape from the Bardo realms (time all protectors coming from India to between rebirths where beings may be wisdom protectors. The exception face great anxiety and terrifying here are the Four Guardian Kings and

sirjanĀ 44 experiences) and he thought that in wrathful form he could also protect them in that way. Lastly, he thought that the beings in this Dark Age were poor and needy, experiencing only suffering after suffering, and that in wrathful form he could provide them an antidote to that suffering so that by simply making the wish (for protection) their needs could be met. These three motives made his determination even greater than before and so from the heart of Noble Avalokiteshvara emerged a dark blue HUNG syllable that immediately became the Instantaneous Protector of Wisdom, Mahākāla. Chaturbhuja Mahākāla

The Different forms of Mahākāla Karpo (Pema Karpo). At the right In the Buddhist texts there are are Nāgarjuna, Tsangpa Gyare and 75 forms of Mahākāla in Tibetan Kunzang Jalu. Buddhism. Iconographically there Iconography: With one face and four may be fewer forms but textually hands, blue-black in color, Mahākāla there can be an infinite number. Some glares ferociously with three large are as follows: round eyes, bared fangs and orange Chaturbhuja Vajra Nata Mahākāla hair flowing upward. He has four (Tibetan: gon po chag shi pa, dor je hands. The first pair of hands hold nag po chen po. English The Great a fresh heart and the left a skull cup Black Vajra Lord with Four Hands) - held to the heart embracing the embracing the consort consort. The second right hand holds upraised a sword and in the left a From the Tradition of Arya katvanga staff with a trident point. Nāgarjuna. In Tibetan it is known Ferocious in appearance the consort as ‘Chag shi pa’ the chaturbhuja holds a skull cup in the left hand. Both Mahākāla has four hands. are adorned with a tiara of skulls, At the top center is the primordial bone and jewel ornaments, garlands Buddha Vajradhara. At the left are of heads and green silk scarves. The Vajrapāni, Ga Lotsawa and Padma Lord wears a tiger skin as a lower

sirjanĀ 45 garment and the consort a girdle of finely strung bone ornaments. In a relaxed posture they are seated above a multi-coloured lotus, sun and red corpse seat surrounded by the flames of pristine awareness interspersed with the emanations of black dogs, birds and Garudas. ( Jeff Watt 9-2000 ) Shadbhuja Mahākāla (Shangpa) Brought to Tibet by Khyungpo Naljor the founder of the Shangpa Kagyu School, this form of Mahākāla became popular in the Sakya, Kagyu and Jonang traditions and was later adopted into the Gelugpa School, becoming the principal protector. There are other six-armed forms Mahākāla that are unrelated to this particular six-armed Shadbhuja Mahākāla. Shadbhuja Mahākāla arises from the Eight-Chapter Mahākāla Tantra Shadbhuja Mahākāla belonging to the Kriya classification. In general Mahākāla forms are the different traditions principally the wrathful emanations of Vajradhara leg postures of Mahākāla, the Gelugpa Buddha. From among the different preferring the more wrathful posture forms of Mahākāla only this with the legs apart. The Tsarpa Shadbhuja form is an emanation of lineage of Sakya prefers Shri Devi Avalokiteshvara. with four hands so as not to confuse her with Magzor Gyalmo the younger Shadbhuja has a number of different sister or servant that has two hands. forms recognizable by a variation in The colours and hand objects of the body color, the addition of a consort, remaining retinue also vary according hand attributes and retinue figures. to individual traditions. (Eight-Chapter Mahākāla Tantra) The most popular being the wealth deity White Mahākāla practiced in Iconography: "The Lord of Pristine all traditions of Tibetan Buddhism. Awareness has six hands and a body Variations in appearance are found in dark blue in color. The first two hold

sirjanĀ 46 a curved knife and skull cup, the one face and two hands. He holds middle two a human skull mālā and upraised in the right a curved trident, the lowest two a damaru knife (kartāri). In the left he holds a drum and lasso. skullcup to the heart. Kartaridhara Shadbhuja Mahākāla is adorned with can be found in the Nartang Gyatsa a tiger skin, garland of heads, bones publication. There are several and snakes, and small bells on the traditions of practice. The famous is hands and feet. He has three eyes, that of Jowo Atisha. bared fangs, eyebrows, beard and hair According to the Panjarnata system of flowing upward with Akshobhya as a Mahākāla there are two forms of the crown. He is anointed with a sindhura deity that have the same appearance drop on the forehead. And behind as Kartāridhara. The first form is him is a sandalwood tree, dwelling in 'Copper Knife' Mahākāla associated the middle of a blazing mass of fire. with the Eight Deity practices of (Jonang Taranatha, 1575-1634). Panjarnata Mahākāla. The second is Danda Mahākāla (Tibetan: gon po associated with the Seventeen Deity beng leg den nag po sri me gyi bu): Panjarnata Mandala. (Jeff Watt 8-2017 ) a main wisdom protector of the Brahmarupa Mahākāla (Tibetan: Nyingma School gon po dram ze. English: the Wrathful, black in color, with one face Mahākāla who appears in the form and two hands, he holds upraised in of a Brahman). Sanskrit: Brahmarupa the right a sandalwood staff and a Tibetan: Dram ze skull cup held to the heart in the left. Appearing as an Indian Brahman, Wearing a long black cloak he stands dark brown in colour, he has one face atop a corpse seat, sun disc and lotus and two hands. With the right hand blossom, surrounded by the flames of he holds a human shin-bone trumpet wisdom. and in the left, upraised, a human At the top center is the Bodhisattva skull filled with blood. The hair, beard Avalokiteshvara accompanied and eyebrows are white. Wearing by various figures along with bone ornaments, intestines and a Padmasambhava. At the bottom left human skin he sits atop a human is the worldly protector Damchen body. Garwa'i Nagpo along with others in At the edges of the pristine awareness the middle and on the right. (Jeff Watt wisdom fire are four dakinis, ghoulish 9-2000) in appearance, dynamic in posture, Kartaridhara Mahākāla Dombini, Chandali, Rakshasi and Singhali Devi - black, red, yellow Kartaridhara is wrathful in and green. They are naked with appearance, dark in colour, with

sirjanĀ 47 monk, an appearance more conducive for travelling in Tibet. After the passing of Nyen Lotsawa the monk remained with Lama Nam Ka'upa and then later with Sachen Kunga Nyingpo. (Jeff Watt 8-2005) The objective of Mahākāla practice is to assist practitioners in removing any challenges that impedes their spiritual practice, as well as to encourage exertion and devotion and at the same time purify obscuration and defilements. With earnest prayer and diligent practices, blessings will be bestowed and obstacles will be pacified. The Buddhist claim that Mahākāla is the protector of Dharma and religious law

Reference

Brahmarupa Mahākāla Bhagavad Gita 11.32. disheveled orange hair, each holding Brahma Purana, section Shiva Mahākāla. a curved knife and a skull cup. Chaturvedi, B. K. (2006). Shiv Purana (First ed.), New Delhi: Diamond Pocket Books (P) Ltd, The Legend: When the great Tibetan ISBN 81-7182-721-7. Translator Nyen Lotsawa received Emi, Matsushita. Iconography of Mahākāla. the Manjuvajra Guhyasamaja (also MA Thesis, The Ohio State University, known as the Jnanapada Lineage) 2001. Link of full-length Thesis http:// empowerment from the dakini Risula, rave.ohiolink.edu/etdc/view?acc_ num=osu1141933891 she also bestowed the initiation of the Mahākāla (Chaturmukha) in Kalsang, Ladrang (1996). The Guardian Deities of Tibet, Delhi: Winsome Books. (Third the special form according to the Reprint 2003) ISBN 81-88043-04-4. Guhyasamāja Tantra. Kinsley, David R. (1997). Tantric visions of the At this time she gave him as a servant divine feminine: the ten mahāvidyās. a dark skinned Brahman. When University of California Press. ISBN 978-0- Nyen Lotsawa and the Brahman 520-20499-7. reached Nepal the servant changed Himalayan Art Resource, www.Mahākāla. appearance and took on the form of a com

sirjanĀ 48 Lorenz, Ekkehard (2007). The Harivamsa: The Dynasty of Krishna, in Edwin F. Bryant (ed.), Krishna, A Source Book, Oxford University Press.

Linrothe, Rob (1999). Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art, London: Serindia Publications. ISBN 0-906026-51-2.

Max Muller. Shvetashvatara Upanishad, The Upanishads, Part II, Oxford University Press, p 250 Dr. Poonam Rajya Laxmi Rana Maithily, Jagannathan. Published 2005, Dr. Poonam Rajya Laxmi Rana is an Associate Abhinav Publications, ISBN 81-7017-415-5. Professor in the Department of Nepalese History Culture and Archaeology, Tribhuvan University, Mookerjee, Ajit (1988). Kāli: The Feminine Force. Kirtipur, Kathmandu, Nepal. New York: Destin Parashara M. Brihat. She holds Masters Degree in Sociology and Environment and Ecology and Doctorate in Parasara, Hora Sastra. Guide to Hindu Astrology. Nepalese History Culture and Archaeology. In: Sharma GC, editor. New Delhi: Sagar; 1994. She has participated in various National and International Seminars and Conferences. Robert, Hume (1921). Shvetashvatara Upanishad, The Thirteen Principal Upanishads. Oxford University Press, pages 402-406.

Shaktisamgama Tantra, Kāli Khanda.

Sir John George, Woodroffe. Shakti and Shâkta: Essays and Addresses on the Shâkta Tantrashâstra. Ganesh, 1951, ISBN 160620145X, 9781606201459.

William, Stablein. The Mahākālatantra: A Theory of Ritural Blessings and Tantric Medicine. Ph.D. Dissertation, Columbia University, 1976. www.shivashakti.com Mahākāla.htm

sirjanĀ 49 Graphic Communications in the Context of Nepal

Jitendra man Rajbhandari

Abstract Graphic communication, a powerful tool for conveying information through visual aids has undergone a radical change since its early application by cave artists of Paleolithic age. With the development of print technology, both the scope and significance of graphic technology have been expanding. In the context of Nepal, graphic communication has received an attention since the advent of printing press. Several artists, illustrators and graphic designers have made great contributions on the development of this form of Applied Arts. Since the last few years the Fine Arts institutions in Nepal have been introducing Graphic Communications into their curriculum which is sure to uplift the quality of graphic design in promotion of the products and services in the Nepali market.

Graphics have been powerful tools Graphic Communications with special for visualizing and shaping our reference of Nepal. ideas. Graphics are images that The origin of Graphic appeal the human sense when they Communications dates back to pre- reach the brain through the eye. historic era of cavemen some 30,000 Graphic Communication, a mode years ago. Early men, particularly of communication through visual in Europe, began drawing on walls aids, has already redefined our of caves of Chauvet, Lascaux, and understanding of communication. Alta Mira. These cave paintings were Graphic Communication is, in fact, created with the use of minerals and a translation of ideas, stories and charcoal utilizing brushes, hands, concepts into a visual format. In and hollowed reeds in which the Italian designer Massimo Vignelli’s painter would spray color from their words, it is the “communication of mouth. Although it is still a matter of information in appropriate visual debate whether they were made for manner.” Graphic Communication is religious purposes or demonstrating all about sharing ideas both creatively hunting techniques, or recording and effectively. This short article of events, the one purpose of these intends to trace a brief history of certainly is a means of visual human

sirjanĀ 50 Technological advancements have opened up tons of possibilities in Graphic Communications. The desktop computers and digital software have made representation of ideas and information visually possible in many more ways. With the boom of media technology, Graphic Communications have become an inseparable part of mass media. In the context of Nepal too, graphic An early example of book illustration done by designing turned an essential Tej Bahadur Chitrakar for 'Nepali Prabeshika - 1', Published by McMillan and Co. Ltd, Calcutta. 1949. requirement with the entry of printing presses. Before that most of Nepali communication. Later Sumerians books used to be printed in Benaras. created one of the first written The value of Graphic Communications languages using symbols that was first manifested with the use of eventually developed into formal style illustrations in those books. Ratna writing as we know today. Pustak Bhandar was probably the first The invention of printing press was yet another turning point in Graphic Communications. In 1439 Johannes Gutenberg brought moveable type to Europe opening up literature (and literacy) to the masses and making it affordable. With the advent of the printing press humanity was able to recreate text, art and design on a massive scale, and for relatively cheap price. It is noteworthy that the Gutenberg press paved the way for more commercial uses of design, which ushered to the era of Graphic Design. People soon noticed how such visuals could affect shopping behaviors and increase profits. Thus modern graphic design really began after the invention of the printing An early example of book illustration done by press. Keshav Duwadi for 'Nepali Prabeshika - 1', Published by McMillan and Co. Ltd, Calcutta. 1949.

sirjanĀ 51 A cover design done by Dil Bahadur Chitrakar for A cover design with modern approach done 'Baalak' - a children magazine, published jointly by Madan Chitrakar for 'My English Book 4', by Janak Education Materials Center and Nepal published by Janak Education Materials Center, Children Organization, 1971. 1974. Nepali publisher to institutionalize textbooks, mostly printed at book publishing business. In those Janak Education Materials Center, early days, Keshav Duwadi appeared Sanothimi gave a new look to Nepali as the pioneer illustrator in Nepali textbooks with brand new layouts publications. A graduate from Sir J.J. and vivid illustrations. Madan School of Arts, Mumbai, Duwadi is Chitrakar, Dil Bahadur Chirakar, often credited for his contribution and Manuj Babu Mishra were the to introduce illustrations in Nepali most prolific illustrators in this era. books. His illustrations on popular Apart from that Tek Bir Mukhiya’s Nepali religious text of Swasthaani cover designs in the most of books Brata Kathaa can be regarded as one published by Sajha Prakashan and of best instances of early illustrations K.K. Karmachaya’s stamp designs are which visualize the Hindu gods and also the noteworthy works of Nepali goddesses in entirely Nepali attire. Graphic Communications. After the promulgation of New Coming to 80s decade, emergence of Education Plan in the year 1971, offset printing technology replaced a wave of new textbooks hit the the letter press and zinc blocks from education sector. Those school Nepal. Jor Ganesh Press, Sahayogi

sirjanĀ 52 A cover design done by Tek Bir Mukhiya for a book written by Bishwombhar Chanchal, published by Saajha Prakashan, 1973. An illustration done by Durga Baral for 'Nava Drishya' - a publication for neo-literates, published by unicef, 1987. Press, and Modern Press together with government owned Gorkhapatra Prominent artist Madan Chitrakar press opened up new vistas of graphic is the first Nepali artist to receive designing for Nepali artists. Multi formal degree in Applied Arts. The color art work designs saw a boom graduate from Sir J. J. School of Arts, with the political change of 1990. Mumbai, Chitrakar is also the pioneer The Ministry of Health, Ministry figure to start teaching Graphic of Education and Unicef brought Communications in the Nepali art out various materials with lots of colleges. Moreover, his illustrations graphic contents and development on the series of the textbook entitled illustrations. This period saw the rise My English Book are still considered a of the outstanding illustrators like milestone in Nepali school textbooks. Durga Baral, Madan Chitrakar, K. K. He says, “Graphic Communications Karmacharya, Ujjwol Kundan Jyapoo, is basically a form of Applied Arts Sharad Ranjit and others. They were meant for human consumption. Here followed by the professional graphic art is ‘applied’ with certain motive. communicators like Ashok Man It encompasses anything from logo Singh, Mohan Khadka and others. designing, press campaign, product

sirjanĀ 53 An illustration done by Sharad Ranjit for 'Nava An illustration done by Ujjwol Kundan Jyapoo Drishya' - a publication for neo-literates, published for 'Nava Drishya' - a publication for neo-literates, by unicef, 1987. published by unicef, 1987. Graphic Communications in promotion, branding to developing corporate identity.” Nepali Art Education Regardless of its importance and Another instructor Bijaya Maharjan, the relevance however, Graphic who represents the young generation Communications as a formal course of Graphic Communicators in Nepal, of studies, has proven a late comer opines that the field of Graphic in Nepali Art education system. Communications is diverse. He sees Speaking honestly, the arrival of this lots of distinctions between Fine Arts genre is a recent phenomenon – it and Applied Arts. “Fine Arts is a form is due to various reasons including of self expression where as applied the sheer ignorance of the part of art is a purposeful art. Within it, concerned stake holders. label, poster and brochure designing, photography and illustrations are all The formal beginning was made in the included,” Maharjan says. country as late as beginning of the 21st century by Kathmandu University,

sirjanĀ 54 Stamps designed by K. K. Karmacharya for the Department of Postal Service.

An illustration done by Mohan Khadka for 'Nepal Traveller' - a magazine on travel and tourism, introduced a four years studies of published by Ramashesh Pd. Shah, 1984. Bachelors Degree (BFA) in Graphic Center for Art and Design with a Communications. Accordingly, provision of Bachelors’ Degree in all the colleges under the aegis of Fine Arts as an independent course of TU commenced the formal studies Studies in Graphic Communications. under their academic programs. And The primary credit must be attributed lately, the achievements made by to the two individuals Aiden Warlow, the graduates of the Sirjana College an educationist from the Great of Fine Arts in the genre, continue Britain and Sujan Chitrakar, the to prove phenomenal – with each academic co-ordinator of the Center. successful graduates contributing In association with Madan Chitrakar, brilliantly from their respective a historic beginning was made with positions. designing the first ever curriculum of The TU course aims to impart the the subject and the first commencing knowledge and skills with particular of the first BFA Studies in Graphic focus in the following areas: Communications was made. The historic beginning was made initially • Understanding of space and the in a very modest class room with importance of space management spartan facilities needed in the studies. The rest is history. • Familiarity with the fundamentals of design Realizing the importance soon after, Tribhuvan University (TU), • Practice in print media, the Faculty of Humanities and e.g. corporate identity, press Social Sciences followed suit and advertisements and illustration

sirjanĀ 55 Some glimpes of the activities carried out by the students of BFA, Graphic Communications in Sirjana College of Fine Arts.

sirjanĀ 56 • Understanding digital tools, e.g. Onta, Pratyoush. Mass Media in Post-1990 computer software and Nepal. Martin Chautari, 2006. photography as means of graphic Tribhuvan University. Curriculum of design BFA Four Years Bachelor in Graphic Communications, 2014. From this short analysis of the university curriculum of Graphic Vignelli, Massimo. The Vignelli Cannon. Lars Muller, 2015. Communications, it is clear that this course is basically focused on the pragmatic application of arts for utilitarian purpose. Hence, the Graphic Communications studies are sure to yield much more beneficial outcomes in developing country like Nepal. To sum up, the area of Graphic Communications and Applied Arts is endless. They have been emerging as powerful domain of mainstream art and art education. The involvement of talented and creative young artists in this field heralds indeed an optimistic future of Nepali Applied Arts. The growing awareness of corporate and non corporate sectors about the importance of Graphic Communications in promotion, Jitendra Man Rajbhandari branding of their products and services is also sure to take Graphic Jitendra Man Rajbhandari is an Associate Communications to a new commercial Professor of English in Tribhuvan University. height in the days to come. He has been teaching English Literature and Business Communication for about 25 years. Works Cited Presently, he is associated with Saraswati Chitrakar, Madan. Personal interview. 10 Sep. Multiple Campus as the Head of the English 2018. Department.

Cramsie, Patrick. The Story of Graphic Design. British Library, 2010.

Ekilson, Stephen J. Graphic Design: A New History. Yale UP, 2012.

Maharjan, Bijaya. Personal interview. 12 Sep. 2018.

sirjanĀ 57 Memoir of light and dust (Things that enable one to see and things that one actually sees)

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.

Introduction Literature review This account focuses on both Two segments have been introduced traditional and the modern here to project the idea of the state developments in art and culture in of mind that the Nepali art bears; order to understand the collective i.e.- the ancient art and the art in the contemporary art scene in Nepal. modern context bridging them with However, more subjective approach the pre modern advancement in art. is persuaded because the idea of state The write-up has attempted to focus of mind itself is rather subjective than on and compares between these eras objective. This approach is undertaken in order to understand the overall art also to pass up unnecessary details psyche of Nepal. and length of the article.

sirjanĀ 58 The ancient continuity secondly which is rather hidden is In the 8th century A.D. the spiritual abundance that can be Padmasambhava came to Nepal from realized by experiencing peace and north-west India. A prince once but compassion in that territory. Both he forsook his position in search of these material and spiritual qualities surpassing the limited concept of were the salient features of Nepal. liberation of any kind; to truly be And both these exceptional qualities free. The predecessor of Vajrayana, a that brought human civilization tantric Buddhism to attain Nirwan, to its full bloom then were all the seeker meditated in various parts manifested through the arts here. of Nepal before journeying Tibet. Therefore, collective state of mind This sacred ground indeed reserves of the inhabitants here was shaped immense spiritual magnetism. by these two qualities. However, the Many a sages and wise have found very definition of art back then was unconditional solace here. Various much different than now. Averment religious doctrines and rituals were religious values were at its prime initiated in this land. Indeed Nepal and societies were more communal was a land to practice discipline, towards religion; making art a tool understand rational social system, for religion and a device for ritualistic and experience individual growth as objectives. Henceforth, the concept well as cultivate collective awareness. of god was significant than any Sages in the likes of Gautam Buddha, human emotions or values. This Machhendranath, Gorakhnath and particular characteristic of social Nagarjun made this land their sacred structure forbade artists to have claim haven to inhale internal peace and over their artworks, simply because exhale compassion. they were creating images of gods and deities and it was considered Unparallel for its spiritual vibes, unethical or even a sin to sign or this land was equally prominent for engrave human name on god. its trade route, as few centuries ago Because of this reason artists of the Nepal was the connecting route for ancient era remains unsung. Not that trade between India and China. This they were disrespected, rather the surely helped both the neighboring social conditions were different and countries to prosper. religiously collective than now. Arguably there are two significant In all this network of religion, art and components that refine the quality social beliefs, Araniko in the 12th of a nation; firstly the more evident century made a quest to launch the art one is the material prosperity which of Nepal to the neighboring countries. is generally measured by economical He was summoned to Tibet to create affluence and its circulation, and architectural monuments. Art brings

sirjanĀ 59 religion which was a prime human point of saturation then. In many cases, it was difficult to differentiate art from religion. This happened because rulers as well as the citizens knew the influence of art. Ancient art here were not only based on religious beliefs or the traditional values and visuals. The viewers did not only communicated with these attributions; rather at the same time such art also arouse a quality towards perceiving life, brought confidence and the concentration that channeled their thought process to flow in certain harmonious pattern allowing the viewers to express and shape their behavior in certain ways. From such situations was the state of mind White stupa at Miaoying Temple, Beijing. structured of the Nepali people. Constructed by order of Kublai Khan under the supervision of Nepali architect Araniko, 1271. From Kirants to Thakuri, Lichhavi significant incidents that occur in and the Mallas art was a tool for various time and space into a singular communal connectedness. It was plane so that humans can envision used to manifest religion, the one newer possibilities of their own component that sought out solidarity evolution as well as the growth of amongst the civilians. That is what the their surroundings. It would not be an leaders needed- connected collectivity exaggeration to state here that an art to maintain their stature. However, created with positive intention and a whatever the reasons behind their clear vision makes everything relative promotion of arts, the harmonious with everything else. Therefore, art state of mind surely flew unbound begins from individual abstraction, through it. Art manifested the revival proceeds towards the physical of prosperity. collective then merges with the unified conscious abstraction again. The begetting of the modern In order for the art to mature, humans After the descent of medieval era themselves have to mature. And and the ending of the Malla regime, in Nepal till the Malla monarchial Shah dynasty unified and ruled system, art gained such heights that Nepal. Until the Malla regime, art it had subtly begun to influence even

sirjanĀ 60 was one of the primary necessities of the rulers because the religious cultural association of the people was evidently very dominant. And in order to express this association, the rulers created magnificent arts in forms of pawua which is a traditional painting, sculptures of deities and kings and architectural monuments like temples, and palaces. However, with the beginning of the Shah regime, the kings began focusing more on politics and diplomacy and less on arts and culture. Then the Rana takeover of the kingdom of Nepal in the mid 19th century changed the direction of arts here. The idea of popular modernism was not carefully observed and analyzed while they are initially being used here. The introduction of the western technique Dirgha Man Chitrakar, A Life Size Portrait of and subjects in art created a shock to Jung Bahadur Rana, 1936. Oil on canvas. National the artists and the audiences alike. Museum, Chhauni, Kathmandu. It was a time when the British had newly introduced art from the west colonized this side of the subcontinent to assert their stature and relevancy and even though Nepal was not in the global community. All this colonized, the Rana aristocrats were had very less to do with the tranquil always in a pursuit to have positive state of mind that art of this side terms with the British. For this bore. Even though the introduction reason they began adapting to British of western art brought immense ways of arts and etiquettes. This is possibilities, in a way the unbound when more western styles portraits creative state of mind was sadly and figures in paintings began to breached. The continual harmonious appear which were done by local flow was broken. After the Rana and western artists. And in all this authority was dethroned in the mid whirlpool of happenings, the local 20th century, Nepal entered into a art of the region gradually began to democratic political phase. Until this mislay its mark. However, individual time the harmony of way of thinking artists were practicing such art but has subtly altered. In the later phases the state was more focused on the of the 20th century some considerable

sirjanĀ 61 Krishna Manandhar, Composition, 1975. Oil on canvas. steps were taken to promote the about transformation on the collective modern art by the government, but psyche is of grave importance. That negligible precaution was carried out is the primary source that cultivated to restore the harmony and the source harmony in minds of the inhabitants. that our ancient art carried. However, not merely the visuals and the skills to Conclusion and a little more execute the traditional art is suggested State of mind is very important in here nor just the religious content order for the artist to get in tuned it bore; rather how the work of art with nature. This comes with and its interactive quality brought immense preparation and time

sirjanĀ 62 tested experiences. From unrecorded References history to the recorded ancient Padmasambhava/www.rigpawiki.org phases of Nepal, the arts here have directed civilization into newer level Buddhist art and the trade routes/www. of understandings. Navigated by asiasocietymuseum.org religion, the ultimate message in art Revolution of 1951/www.en.wikipedia.org was harmony and connectedness with Singh, Narayan Bahadur. Samasamayik Nepali the surroundings. Chitrakala ko Ithihaas, Royal Nepal The pre modern art here was the Academy, 1976. British influenced art. Subsequently, after the abolition of the Rana supremacy during the Shah regime, Nepali art entered into modern era which was much influenced by modern art of India, particularly of the neo tantric movement. Most of the conceptual qualities of ancient art have had been lost up until now. However, the artists of the initial modern art phase did surely keep the Nepaliness alive via various motifs they were incorporating in their works; however, bringing back Saroj Bajracharya the harmonious state of mind that Saroj Bajracharya is an artist, a writer and a persisted from thousands years curator. He has been active in art for more than were indeed a challenge for the first two decades. He has been actively involved in many facets of art that include painting, writing, generations of artists here. Artists in teaching, curating, organizing and coordinating art the likes of Shahi Bikram Shah, Uttam events and exhibitions. Nepali, late Manujbabu Mishra, Various solo exhibitions, group shows and two late Ramananda Joshi, Batsa Gopal books titled Future of History and A Concise Vaidya to name a few did bring back Introduction to Nepali Modern Sculpture are to his credit. the lost glory. But since publications, documentations and interactions on art are negligible, these affluent works is yet to be connected with the timeless state of mind of Nepal.

sirjanĀ 63 Contemporary Nepali Arts: Ambivalence and In-between-ness

Dr. Yam Prasad Sharma

Abstract Contemporary Nepali arts are connected among each other along with western arts and early Nepali artworks. These artworks share the subject matters, techniques and forms of earlier traditions. Inter-textuality is sometimes created through recycling and appropriation. Similar elements have been used for different purposes. Likewise, similar contents reappear in different forms. Contemporary Nepali arts are the mélange of various cross-currents. Ever-changing alien art influences in the present time have unsettled representational modes of arts. Some art techniques have been borrowed from the western arts, the Hindu and the Buddhist myths and rituals, and native art traditions. The artworks present different elements that have been intertwined. The artworks neither assimilate nor reject the alien art forms but strike balance between them from ambivalent and in-between space. Through the plural art forms, contemporary Nepali arts not only express the feelings of the Nepali artists but also explore the socio-cultural issues of contemporary Nepal. Due the co-presence of diverse images, symbols and forms, the artworks speak of the cultural self and the cultural other. The identities of these art forms are constructed and reconstructed in ambivalent and in-between spaces of local and global influences. Such art forms are plural and open-ended, and their significances or meanings become multiple.

Contemporary Nepali arts break the together creating a visual conventional codes. These art forms inter-text with multiple meanings and question and subvert authority. significances. Cultural identities of contemporary Nepali painting are provisional, Globalization has brought cultural dynamic, ever shifting and always encounters in the contact zone. The on the process of becoming. They are people of various cultural background constantly transformed in relation to have come together. The cross-flow of context and existing power structures individuals ultimately has influenced of the society. In-between-ness and the socio-cultural activities in the ambivalence are the dynamisms of native land. contemporary Nepali painting where Cultural encounters and differences native and alien art forms come give way to dialogue and interaction

sirjanĀ 64 Chandra Man Singh Maskey, 'Bhaumacha'(welcoming of the bride), 1982, Watercolor on paper. Photo courtesy: 'Nepali Art: Issues Miscellany', written by Madan Chitrakar, 2012. between local and global cultures local and global images. These and arts. Reconstructing identity in heterogeneous artworks subvert contemporary arts is a process of homogeneity and authority. "making local sense of the collision" According to Pieterse (1995), these (Lechner et.al p.320). Remaining at artworks “unsettle the introverted the ambivalent and in-between space, concept of culture which underlies contemporary Nepali artists revise, romantic nationalism, racism, reread and re-interpret global and ethnicism, religious revivalism, local cultures, traditions and artworks. civilizational chauvinism, and culturalist essentialism” (p.64). Nepali artists recycle and reformulate native and alien images through Contemporary Nepali arts are not dialogue and interaction. These monolithic but heterogeneous and artworks integrate the images of the interconnected. Arts and cultures are Hindu and Buddhist myths with not found in fixed but constructed different significances. Such in ambivalent space through inter-textual art forms are appropriation of available different heterogeneous which merge native cultures and arts. According to and alien cultural images creating Bhabha (1995), cultures and arts are a mélange. They re-integrate the constructed in “ambivalent space

sirjanĀ 65 Heterogeneous art forms are inter-textual because they are interconnected with other works. Earlier art forms are revised and reintegrated. Such features are found even in contemporary Nepali paintings and sculptures. They go beyond own discipline to other disciplines. Some contemporary Nepali arts share the features of postmodernism. Postmodern artworks do not follow the codes of a particular genre of art. They share the techniques of other art genres. The artwork "blurs genres, transgresses them, or unfixes boundaries that conceal domination or authority" (Cohen 2000 p.293). Such artworks are "multi-generic" having Tej Bahadur Chitrakar, 'A Portrait Study from Life Model', 1926. Oil on canvas. inter-art relationship (Rowe 1992 (Collection: Madan Chitrakar.) p.186). They are not governed by the of enunciation, that we begin to pre-established rules. Such creative understand why hierarchical claims process attempts to formulate its own to the inherent originality or 'purity' rules in the artwork. of cultures are untenable. . . meaning The identity of contemporary Nepali and symbols of culture have no artists is not fixed but ever changing. primordial unity or fixity; that even Cultural identity in art is not found the same signs can be appropriated, in fixed form but constructed and translated, re-historicized, and read reconstructed from heterogeneous anew” (p.208). cultural images through No culture is pure. Similarly, appropriation. The reconstructed contemporary Nepali artworks also cultural identity is not certain and share the images of distant cultures. universal but plural and provisional. Culture is never just a matter of ownership, of borrowing and lending Western realistic style influenced the with absolute debtors and creditors, art of portrait painting during the but rather of appropriations, common Rana rule from the mid-nineteenth experiences and interdependencies century. Rana Prime ministers, Jung of all kinds among different cultures. Bahadur and Chandra Sumshere (pp.261-62) visited Europe, got their portrait

sirjanĀ 66 1976 p.40). Pratapaditya Pal (1985) comments on the paintings of the Rana rule, "After the mid-nineteenth century Nepali portraits were rendered entirely in the European tradition" (p.132). Breaking away from religious paintings, realistic style of painting and western media entered in the field of Nepali painting during the Rana rule. Landscapes, still-life paintings, and scenes of hunting of wild animals were painted exploiting western media and realistic style. These paintings break away from mythological motifs of religious arts. More western influences came to Nepal after the end of Rana autocracy in 1950. Many contemporary Nepali artists went to western and Indian Pramila Giri, 'Bhairav III', 1994. Brass, 23 cm x 42 cm x 17 cm. cities for art training. Lain Singh Bangdel, Laxman Shrestha and made in western style and brought Urmila Upadhyay took art education some western paintings home (Singh from Paris. Pramila Giri and Dipak 1976 pp.35-36). They took Nepali Simkhada went to America for art artist in their journey to Europe. The education. They learned western artists like Bhajuman Chitrakar and techniques of art. Later, they brought Dirghaman Chitrakar were exposed to home western techniques of painting. western art forms. These rulers made these artists execute the portraits of Some contemporary artists went to themselves and their family members Indian cities for art education. Uttam in realistic style. Chandra Sumshere Nepali, Ramananda Joshi, Shashi sent Tej Bahadur Chitrakar and Shah, Batsa Gopal Vaidya, Krishna Chandraman Maskey for art training Manandhar, Govinda Dangol, in Calcutta. The art school educated Madan Chitrakar, Pramila Giri, Kiran the artists in western styles of art. Manandhar, Vijay Thapa, Shankar These artists used canvas and western Raj Singh Suwal and Dipak Simkhada media like oil color, watercolor and are some of them. India remained pastels for their paintings. The Rana British colony until 1947, so, western rulers invited even western artists to art education was already in practice Nepal to paint their portraits. (Singh in India. These artists also brought western influences in the domain of

sirjanĀ 67 Shashi Shah, 'Chaos of War', 1979. Pen and ink on paper.

Nepali art. Western influence came to In the initial stage, the cultural Nepal directly and also through India. encounters created complexity in native place. Nepali artists have Nepali artists came in contact with been attracted toward these plural western art forms and techniques western art forms because they can through traveling possibilities and provide the opportunities to express media. These western art techniques their inner emotions. On the other helped Nepali artists to break away hand, they are interested on using from referential representations native contents. At this situation, providing the opportunity to remaining in the ambivalent space, express their imagination, inner contemporary Nepali arts appropriate emotions and personal feelings in the western forms and native contents process of creation. Simultaneously, through dialogue and interaction. traditional cultural encounters Cultural interplay and crossovers kept on taking place in the contact take place in in-between space. In zone. The referential native art the process of appropriation, various forms and subjective western art strategies are used like exploitation forms interacted, cooperated and of western techniques and the usage reintegrated in a single work of art. of Hindu and Buddhist mythologies and religious imagery. The traditional

sirjanĀ 68 Three dimensionality is the feature of sculpture. Photographs on the canvas blur the boundary between high art and low art. Remaining in the dynamism of ambivalent and in- between space, the artists appropriate heterogeneous images and art forms giving voice to the cultural self and the cultural other. Such reconciliation of diverse cultural elements has broadened the creative possibilities in the domain of contemporary art. The artworks present inter-textuality between western forms and contents of early Nepali arts. They also explore the theme of meditation and concentration. The Buddhist Batsa Gopal Vaidya, 'Ganesh', 2018. stupa, meditating sage in padmasana Acrylic on canvas. (lotus posture) with vitarkamudra native forms and western techniques (the gesture of debate), temples, are de-contextualized and shivalinga, vajra and mandala are re-contextualized. In the process of recurrent images of native contents appropriation, borrowed techniques treated with western forms. Contrary are used for different purpose in images are put in unexpected and different context. Contents and forms unusual way. The artworks are of traditional arts are reinterpreted, inter-textual because they are re-historicized and reorganized to connected to traditional Nepali arts explore the contemporary socio- and architecture, and at the same cultural issues. Established cultural time, interconnected to the western art icons are questioned, subverted and form. This is the ambivalent attitude menaced. The artworks challenge the of the artist. authority and homogeneity. The artworks also integrate native In this sense, contemporary socio-cultural images like typical Nepali arts present intercultural Nepali cottages and human figures appropriation. The works also in Nepali dresses. To present these depict the juxtaposition of visual elements, the western technique has images and verbal texts in the same been used from the in-between space. canvas. The artists create three The borrowed images have been re- dimensional images on the canvas. contextualized. Contemporary Nepali arts represent both the cultural self

sirjanĀ 69 works question, challenge and subvert the authority of early art forms. Contemporary Nepali painting thus does not totally break away from its traditional root but extends and widens its horizon to give expression to the social and geo-political issues of contemporary Nepal. Globalization has facilitated the creative flow of ideas and events in the domain of Nepali art. The artworks have depicted the concepts like cultural encounter, ambivalence, in-between-ness and appropriation due to the effects of globalization. Native images, symbols, icons and forms are interacting with western techniques and forms in the artworks. Saur Ganga Darshandhari, 'Flow of Truth', The works show cultural self and 2013. Installation Art, exhibited in the National cultural other. Nepali artists respond Art Exhibition, Nepal Academy of Fine Arts, Kathmandu, 2013. and accommodate the foreign forms and techniques in their own creations. and the cultural other by integrating different forms of art. Heterogeneous images and cultures are criss-crossed in the paintings and Contemporary Nepali paintings read sculptures. Nepali artists have created anew, reinterpret and reintegrate plural and subjective artworks by early Nepali paintings. The artists using western techniques. They have re-historicize and reorganize the forms recycled and reintegrated the contents and contents of these early works to of early Nepali arts. The structure of address the issues of contemporary mandala, themes of meditation and times. They revitalize conventional religious iconography reappear in subject matters, symbols and images unconventional forms. The artists exploiting new forms whereas they have assimilated their own ancient depict contemporary themes and arts with modern techniques. The issues using slightly distorted and structure of mandala, Shivalinga, altered traditional forms. Traditional trident, vajra, lotus and decorative symbols and images not only appear pattern of Mithila folk arts have with new strength but also the artists been presented using expressionist, recycle them using parody and irony. surrealist and cubist art forms. Sometimes, these contemporary Dance of Shiva-Shakti has been

sirjanĀ 70 reinterpreted in the contemporary such features of rituals. Despite the works. Traditional images and subject variation in the mode of presentation, matters have revived in renewed there is the continuity of early forms. Continuity and change are the traditions. Various art forms are significant features of contemporary brought together from in-between Nepali arts. space. Some artworks create social and Some artworks attempt to resolve political awareness in contemporary the dualities between Buddhism society. The artworks critique the and Hinduism, sacred concepts and society by depicting the existing profane elements, and cosmic being contradictions and ironies. These and individual self. There is the play works also function as a satire toward between worldliness and religiosity. authority and political leadership. Some artworks are objective and referential, for they represent objects The artworks also cross the and events of myths and external boundaries of various disciplines world. But most of the contemporary and art genres like music, sculpture, artworks are subjective, plural and painting, poetry, photography open-ended because of the use of and theatrical performance. The western art forms. These works are boundaries among various art forms ambivalent toward different beliefs have been blurred to give expression and myths. to the creative urge of the artists in relation to the time and space. Conclusion The individual artwork also looks Reconciliation of western techniques like a pastiche, for it assembles and of art and native subject matters integrates the heterogeneous art forms and forms are significant features within it. The artist's performance of contemporary Nepali arts. These has been accompanied with painting, works interact with early Nepali sculpture, photography and music. arts and contemporary western arts Visual arts and verbal arts have been from ambivalent space. External presented together. influences have come in the Contemporary Nepali arts depict formation of contemporary Nepali inter-art relationship among various arts. Globalization resulted in art genres like recitation of scriptures interconnection of various cultures and installation arts as in the Hindu and arts along with fashion and food. cultural phenomena. Art and religion Globalization has brought cultural have been intertwined along with art encounters between western forms and life. Creative process has spiritual and native art contents. It facilitated and pragmatic values. Contemporary the cross-flow of artists and art Nepali artists have been inspired from products of different socio-cultural

sirjanĀ 71 space. Due to this, Nepali artists came Reader. Eds. Bill Ashcroft, Gareth Griffiths in contact to the western art forms and and Helen Tiffin. London: Routledge. techniques. This played important Bloom, H. (1988). Poetic origins and final phases. role in the creation of inter-textual Modern Criticism and Theory. Ed. David artworks. Using western techniques as Lodge. London: Longman. tools, Nepali artists have reinterpreted Cohen, R. (2000). Do Postmodern Genres Exist? the early art forms and revitalized Postmodern Literary Theory: An Anthology. them in contemporary arts. Ed. Oxford: Blackwell. Delanty, G. (2000). Modernity and Postmodernity: Contemporary Nepali artworks Knowledge, Power and the Self. London: have the potentiality of multiple SAGE. interpretations. Ambivalence and Deleuze, G. et.al (1987). A Thousand Plateaus: in-between-ness are the dynamisms Capitalism and Schizophrenia. Trans. of the Nepali artworks. Despite B. Massumi. Minneapolis: University of such features and characteristics of Minnesota Press. contemporary Nepali artworks, some Eco, U. (1988). Casablanca: cult movies and questions always come in my mind: intertexual collage." Modern Criticism and Are there any distinct identities of Theory. Ed. David Lodge. London: contemporary Nepali arts? Should we Longman. follow western modernity to make Griffiths, G. (1995). The myth of authenticity. The us modern? Is there the possibility Post-Colonial Study Reader. Eds. Bill of Nepali modernity in art that are Ashcroft, Gareth Griffiths and Helen Tiffin. created in different socio-political London: Routledge. context? What is exclusive in Nepali Hall, S. (1997). Cultural identity and diaspora. art? Are we approaching toward Contemporary Postcolonial Theory: A Reader. our goal or moving in vicious circle? Ed. Padmini Mongia. Delhi: Oxford UP. These curiosities may lead us toward Harvey, D. (2000). Time-space compression and deeper research, interpretation and art the rise of modernism as a cultural force. The criticism. Globalization Reader. Ed. Frank J. Lechner and John Boli. Massachusetts: Blackwell. Works Cited Jairazbhoy, R. A. (1965). Oriental Influences in Appiach, K. A. (2001). African Identities. Western Art. Bomboy: Asia Publishing Postcolonial Discourses: An Anthology. Ed. House. Gregory Castle. Oxford: Blackwell. Jameson, F. (1988). The politics of theory: Axford, B. (1996). The Global System. ideological positions in postmodernism debate. Cambridge: Polity Press. Modern Criticism and Theory. Ed. David Lodge. London: Longman. Barthes, R. (1992). The death of the author. Kristeva, J. (1992). From one identity to another. Critical Theory since Plato. Ed. Hazard Critical Theory since Plato. Ed. Hazard Adams. New York: Harcourt Brace Adams. New York: Harcourt Brace Jovanovich College. Jovanovich College. Bhabha, H. K. (1995). Cultural Diversity and Lassaigne, J. (1959). Matisse: Biographical and Cultural Differences: The Post-Colonial Study Critical Study. Paris: Skira. sirjanĀ 72 Lechner, F. J. et.al (2000). The Globalization Reader. Massachusetts: Blackwell.

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sirjanĀ 73 Prithvi Narayan Shah’s Music Policy Shree K. C.

Abstract Most writers describe Prithvi Narayan Shah as someone who didn’t really appreciate music. However, his grooming in the palace with different rituals accompanied by musical chants of mantras and his attachment with his fellow friends in his childhood shows that he had adopted musical in a very cultural manner. In his ‘Divya Upadesh’, he has shown views of preserving and protecting Nepali culture by promoting Nepali music and Nepali artists. Bise Nagarchi, a musician helped Prithvi Narayan Shah in his unifying campaign by encouraging and refreshing the people at war through his music. This article will enlist points that showcase facts that show he was not against music and also review some of his ‘Dibya Upadesh’ through a more musical perspective. Both primary and secondary data have been used as the source of content in the making of this article.

Background They had great love and affection Nepal, the Himalayan kingdom where towards music. Some of the Malla Lord Buddha was born, is a culturally kings even composed music which rich and profound country. From still exists today. So it only natural ancient times people with diverse that Prithvi Narayan was no different culture, religion, caste, ethnicity, than the other kings and he must have ideology and identity live together. been touched by the sweet melodies of Prithvi Narayan Shah, the founder traditional Nepali music. Besides that, of the Nepal kingdom addressed this during that particular era the entire diversity in his ‘Divya Upadesh’ by Indian subcontinent was engulfed describing Nepal as a common garden within a musical environment. There of four castes and thirty six creeds. was even a trend of patronizing musicians and composers, and Music is one of the most integral without doubt many of these parts of our culture. It is the identity musicians have visited the Gorkha of our nationality and culture. The Durbar while King Prithvi was still Kings of the past have always played young and hence he must’ve had been an important role in preserving and exposed to many musical elements protecting our rich traditional music. from a tender and malleable age.

sirjanĀ 74 K. K. Karmacharya, Prithvi Narayan Shah looking at the Kathmandu valley from the hill of Chandragiri, 2004. Oil on canvas, 101.6 cm x 152.4 cm. Gorkha Durbar Museum, Gorkha. Music is something that is important the Gorkhali conquest, was born to every human. From birth to on 27 December 1722AD as the first funeral, music plays an important child to King Narabhupal Shah and role in Nepalese life. Every festival the second queen Kaushalyawati and ritual are accompanied by music (Acharaya Baburam2024 BS). He in our culture. From the past all the ascended the throne to Gorkha after Kings have had a very active role the death of his father in 1799 BS at in following and preserving our the age of 20. He conquered most musically rooted traditional rituals. of the neighboring kingdoms and Certainly King Prithvi Narayan had developed friendship with the Shah was aware of and appreciated Kings of the three main cities that the musical tradition of our festival are Kathmandu, Lalitpur (Patan) and and rituals. .His Divya Upadesh Bhaktapur. He liked the beautiful shows that he had great concern to valley of Kathmandu so much that traditional roots within music. he desired to conquer it. He targeted Kathmandu and successfully attacked Prithvi Narayan Shah, the father it in 1825 on the occasion of Indrajatra, of modern Nepal and the leader of soon after came Patan and then

sirjanĀ 75 Bhaktapur. He was also responsible indulge in lust and entertainment. for developing the feeling of unity However this doesn’t mean that he amongst the people of Nepal as he was restricted in attending festivals considered Nepal as a garden of four and rituals which were musical. castes and 36 sub-castes. Hence, although unwilling, he was groomed musically. Prithvi Narayan Shah’s Childhood After the coronation King Prithvi Narayan Shah headed to Varanasi From a very early age Prithivi for taking a bath in Ganga according Narayan Shah was taught the vedic to the tradition (Acharaya, 2024 BS) mantras and Durga kawach alongside Varanasi during that time and even other activities such as education and today is a very musically rich city. athletics. A place was made where So in Varanasi too he might have he could interact with children of his observed different musical events age. (Acharaya, 2024 BS) According to although his purpose was different. historic data, our music is very much Given all the exposure he received associated with the vedas. Vedas towards music it is unlikely that were musically recited (Singh, 1995)) he was indifferent to our profound and because of that intentionally or musical culture. unintentionally he may have had inherited some music culture. We can Studying all these events we can also guess that during the course of assume that he never hated music his playing with his friends, he might instead, he followed all the musical have come across cultural music from cultures of our festivals, and rituals. different friends. Unification At the age of 11 during his The unification of more than bratabanda, Sabitra mantra was four score of petty kingdoms in chanted by Shreeharsha Mishra. And Greater Nepal stands as one of the at the age of 12 Mokchheshowar Joshi greatest challenges of eighteenth taught him the Saptrastri stotras and century Asia. There are five types the stutis for mediation. (Acharaya, of unification-military, political, 2024 BS) Because of all these strotras legal, administrative and cultural. and mantras he must have adopted a For the cultural unification there rich musical culture. needs to be the religious and cultural According to historian Acharaya assimilation. Had there not been the Baburam, Queen Chandra Prabha cultural unification the unification kept him away from the dance wouldn’t have been permanent. and music unlike other princes of (Ludwig F. Stiller, 2017) As mentioned neighboring state thinking that he will beforehand, music is one of the most

sirjanĀ 76 integral parts of culture and hence, Had there not been the musical we can assume that music must environment and the music tutors have played important role in the at the royal palace, Pratap Shah cultural unification of Nepal. His wouldn’t have been interested in respect towards Nepali culture can music. So we can assume that there be seen in his ‘Dibya Upadesh’.His was a musical environment at the Dibya Upadesh “Nepal chaar barna palace then. Along with this Pratap chhatish jaatko saja fulbari ho” clarifies Shah might have been influenced by his opinion of cultural unification of the traditional music of the valley. which music is an integral part. According to Triratna Manandher, King Prithvi Narayan Shah attacked Prithvi Narayan Shah was presented Kathmandu on 1768 when Jaya Prakas two dances by Ranjit Malla of Malla the king of Kathmandu and Bhaktapur as a gift while he was still the people were celebrating the Indra in Gorkha. This might have been done Jatra Festival, rejoicing in dance and because of his love for the music. music (Ludwig F. Stiller p121). Prithvi This all shows the very rich musical Narayan Shah was aware of the tradition of the Gorkha palace. effect of dance, music, so he planned to attack on that day when all were A great singer, composer, and Binkar submerged in entertainment but this Sadarang visited the Gorkha palace doesn’t prove that he was against during the time of Prithvipati. (Singh, music. This shows that he had musical 1995) Many other great musicians knowledge, otherwise he wouldn’t visited Nepal and some even served have known about the effect that as a court musician which shows the music could produce. rich musical environment of palace during that time and shows that the Bise Nagarchi, a musician also played Kings were a patronage of music. a very important role in his unification campaign by encouraging and It is said that Prithvi Narayan Shah boosting the morale of the warrior also composed a couple of spiritual by singing the war songs. Also songs (Bhajans) of Gorakhnath. He Raghunath Bhatt and Maniram Gaine was spiritual and had faith in religion. contributed in unifying Nepal through Having faith in religion definitely their music. (Acharaya, 2024 BS) means being attached with the devotional songs too. Court Environment The Divya Upadesh of Prithvi Pratap Shah, the elder son of Prithvi Narayan Shah Narayan Shah was not enamored of the military life. His tutors turned The Divya Upadesh explains Prithvi his attention to the study of poetry Narayan Shah’s accomplishment and music. (Ludwig F. Stiller, 2017) of the unification campaign and

sirjanĀ 77 his counsel to the successors of his it as the garden of different castes, he seats of power. These counsels dealt definitely also meant that the culture with the geo-political vulnerability and the different cultural music were of his newly unified country, and a very important part of our society. provided directions to the governing elite on how to pursue governance, Yo aasin Hindustan ho, aafno kul dharma nationalism, and foreign policy in nachod nu (Commission) order to sustain the country. In this divya upadesh related to The Divya Upadesh shows how a religion he advised the citizens of conqueror eventually changed himself Nepal to never leave the traditional into a unifier. The Kingdom that he dharma of the ancestors. He unified not only remains unified emphasized that his country, which till today, but also continuously he finds to be a real Hindustana, is a maintains independent existence and commonwealth of all castes and tribes, expresses the collective consciousness and he believed in a government by of its people. The rest has certainly the consent of the governed. He says become history. He tried to unify the his is the real Hindusthan (place of country in all aspects.. Hindus). “Do not give up your Kul- dharma (religions inherited by the The Divya Upadesh encompasses dynasty). Abide by the order of the most of the important issues for the Khwamit (King).” newly unified country. Mera sana dukhale aarjyako muluk hoina, sabai So when he quotes to stick to our jatako fulbari ho, sabailai chetasna own religion, he also means to stick bhaya. Yo fulbariko chota bada charai to our own culture associated with jat chhatis varnale yeslai samvar music. Following our own religion for garnu (Commision): I have suffered him meant following our own music a lot to build this Nation.This is associated with it. If we look back at a garden of all Castes, everybody history, we find that every music has should acknowledge it. Everybody evolved through religion. There are from all the four Jat (Castes) and spiritual songs throughout the world Thirty Six Barna (creeds) should in every religion. protect and promote this garden. Malai euta kurako sandeha lagirahanchha, If we observe this ‘divya upadesh’ ke kura bhane Muglan najikai chha, tyes we can see his vision of culturally jagama chokadas patriya rahanchhan, uniting the nation. Whenever we talk chitrakar bhanyako kothabhar dholak,sitar about culture, music comes along raag taanama bhullan, Raag taana ma with it. The traditional music of every thulo moha hunchha ra daksaya pani nation is closely associated with its pesinchha, deshko bheda oani tinle culture. Therefore when he described laijanchhan ra hariple daga garchha,

sirjanĀ 78 raagko abhyas pani kasaile nagarnu take away the secrets of your country (Commission) and deceive the poor.” Whereas, I have a serious doubt in Many writers have tried to interpret my mind. My doubt is that Muglana it differently and tried to show that (India/British Rule) is not far away he was against the music. It is true from Nepal; there are different that he was against the cultural and Chookada (youths involved in musical invasion of other countries. antisocial/delinquent behavior) and He was against the policy of foreign Patria (shameless person) within artists coming to Nepal because he Muglana. My worry is that our youths suspected they might be spies sent may visit those colorful and artistic to steal the wealth of the nation. But rooms (places) and engage themselves if we study this Divya Upadesh we in Dholak, Sitar, Raga and Tan can see his acknowledgement to the (musical environment and essence effect of music. He explains its power of music).People may have a lot of to lure. On the other hand he didn’t Moha (attachment) in Raga and Tana want his army and courtier to indulge (music) and they may spend a lot of in foreign raga and taana, which money on it. They (people engaged means he was already acquainted in such entertaining activities) may with the effect of melodies of ragas. reveal our state-secrets and our This was actually for the army for not enemy may attack us (with the help diverting their mind except war of that information). Do not try Raga. Prohibit the movement of those three Aafna sokh sayallai ta shastra kinds of people (Chhokada, Patria and bamojim ko tinai shahar newa haruko Gayak (singer)) in the mountainous naach jhikai herya pani hunchha, region. If you have to open their yinma ta diyako pani aafnai desma movements, allow them to move in rahanchha (Commission) small numbers (one or two together Here in this ‘dibya upadesh’ he shows with at a time) for Fagoo (a festival) his great concern for the traditional and then send them back as soon music. Moreover, he sought to turn as possible. If we could do so they the attention instead towards the will not give away the secrets of our Newar dancers of the three cities of country. (Commission) Nepal as a suitable alternative: “This He even advises people not to drain is quite all right. If anything is given out money on Hindustani singers and to these, it remains inside your own dancers. Whilst he acknowledged country: If this is done, your country that there was great pleasure in their will be well protected.” (Adhikari, melodies, he sought to highlight 2015) He quotes that instead of the possible misuse of local wealth listening to foreign music for pleasure drainage and espionage: “they also one can listen his own traditional

sirjanĀ 79 music of Newars which are very rich campaign. (Acharaya, 2024 BS) They and are based on strong theory. He acted as a catalyst and accelerated the also quotes that this music is based on unification campaign. They united the shastra, which means he was familiar people and encourage them. Along with this music based on profound with the war songs they also refreshed theory. He was always of the opinion the tired warriors through their that the Nepali culture and the enchanting melodies. Nepali artist should be preserved and protected. Taking the suggestion of musicians and participating them in the war goe Musicians who played important to show that he had great love and role in Unification respect for music and musicians. According to available evidences, Conclusion Bise Nagarchi a musician helped King Though historians and writers have PN Shah in his unification campaign tried to portray King Prithvi Narayan with two unique ways. First, when Shah as someone who was against ‘Gorkha kingdom’ faced financial music, if we study his history we problem to manage military and war find that he was never against the acts, Bise suggested King PN Shah to music and the musician. It is said that collect one rupee from each household he was kept away from music and of Gorkha kingdom to cover the dance but studying his childhood, we unification expenses Secondly, Bise find that from the childhood he was took part in the war of unification as a taught vedas which are considered singer. He used to sing war-songs that as the source of our music. After the were full of emotion, devotion and coronation he had been to spiritual commitment in front of the battlefield. journey to Banaras, the city of music, He used his songs to make the Gorkha where he might have observed the soldiers vigorous and motivated in musical events. the war course. (Wagle, 2017) From this evidence it is clear that Prithvi Taking the help of Bise Nagarchi, Narayan Shah was acquainted with Maniram Gaine, Raghunath Bhatta the power of music and he used this in the unification shows that he was power of Bise Nagarchi to encourage familiar with the power of music. as well as refresh the people at war. The historians even claim that Bise’s In his ‘dibya upadesh’ he has always father too was a musician in the expressed his concerns regarding the Gorkha Durbar. Nepali culture, caste, religion and music. Nepali music is associated with Beside Bise other musicians like its rich culture and religion, and the Raghunath Bhatt and Maniram Gaine people of different castes have their also participated in the unifying own traditional music. So he always

sirjanĀ 80 held the opinion that Nepali music August 14, 2018, from INCOMESCO: and musicians should be preserved https://jesiwagle.wordpress. com/2017/01/29/cast-system-nepal/ and protected. Wikipedia. (n.d.). Prithvi Narayan Shah. He always held the opinion that we Retrieved August 12, 2018, from https:// should stick to our values and culture, en.wikipedia.org/wiki/Prithvi_Narayan_ which proves that he was not against Shah: https://en.wikipedia.org/wiki/ the Nepali music but rather respected Prithvi_Narayan_Shah its place in our culture.

Bibliography

Acharaya, B. (2024 BS). A Short Biography of Shree 5 Prithvi Narayan Shah. Lalitpur: Sajha Prakasan.

Adhikari, D. B. (2015). The Divya Upades of King Prithvi Narayan Shah. Spot Light Vol: 08.

Commision, N. L. (n.d.). P. N. Shah Dibya Upades. Retrieved August 13, 2018, from www.lawcommission.gov.np/ documents/: http://www.lawcommission. gov.np/documents/2015/08/Commission, N. (n.d.).

Dibbaya-Upadesh of Prithivi Narayan Shah. Shree K. C. Retrieved August 14, 2018, from www. Shree K. C. did his Master's degree in lawcommission.gov.np/.../dibbaya-up...: Music (Vocal) from Banaras Hindu http://www.lawcommission.gov.np/en/ University, India. He represents Dagar documents/2015/08/dibbaya-upadesh-of- tradition of Dhrupad. prithivi-narayan-shah.pdf He has performed in many prestigious Ludwig F. Stiller, S. (2017). The Raise of the stage shows. Presently he is associated House of Gorkha. Jamal, Kathmandu: Education Publushing House. with the Central Department of Fine Arts, TU and Sirjana College of Fine Arts. Nepal, B. (n.d.). Prithvi Narayan Shah, Creator His articles on Music are published in of Greater Nepal. Retrieved August 12, different publications. 2018, from prithvi-narayan-shah-creator- greater-nepal: http://bossnepal.com/ prithvi-narayan-shah-creator-greater- nepal/

Singh, D. T. (1995). Indian Music. Varanasi: Sangeet Research Academy.

Wagle, T. C. (2017, January 29). Bise Nagarchi : A Hidden History. Retrieved

sirjanĀ 81 pTkfbsLo j:t'sf] l8hfOg

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kl/efiff l8hfOgsf dfWodaf6 hg;dIf k]; ug'{ Jofj;flos ¿kdf pTkfbg ul/g] xf] . s'g} klg pkef]Uo ;fdfg jf j:t'nfO{ Oltxf; pTkfbsLo j:t' dflgG5 . Tof] pTkfbsLo Kofs]lhª ug]{ k|yfsf] ;'/mcft sl/a ;fdfg jf j:t'nfO{ ahf/df k'¥ofpg, nfdf] !)#% O:jL ;+jt\k"j{ OlhK6sf] sfo/f]df ;do;Dd e08f/g u/L /fVg, ;'/lIft tyf ePsf] dflgG5 . To;tfsf kfgL hxfhaf6 l6sfp cj:yfdf /fVgsf nflu To;nfO{ kl;{ofsf] nfdf] ofqf ul//x]sf ofqLx?nfO{ df]8]/ a6\6fleq /fVg] k|ljlwnfO{ …Kofs]lhªÚ vfg] s'/f laj|mL ljt/0f ubf{ sfuhdf df]8]/ (packaging) eGg] ul/G5 . Kofs]lhª lbOPsf] lyof] . oxL“b]lv Kofs]lhª u/]/ ug]{ k|ljlwsf] lgdf{0f k|lj|mofb]lv lnP/ laj|mL ug]{ kl/kf6L cf/De ePsf] dflgG5. To; j:t'nfO{ cfsif{s Pjd\ snfTds 9ª\uaf6 tof/ kfl/g] l8hfOgnfO{ Kofs]lhª ug]{ k|yfsf] yfngL ePkZrft\ …Kofs]lhª l8hfOgÚ (packaging design) ;dfhdf o;n] dxÎj kfpg yfNof] . c7f/f}“ elgG5. ztfAbLb]lv o;n] Jofkstf kfpg yfn]sf] dflgG5 . ;g\ !&@% df l6gsf] l;4fGt ;fgf] afs;sf] Kofs]lhª aS; agfO{ Kofs]lhª l8hfOgsf] d"n l;4fGt eg]sf] la|:6n Rofgn (Bristol Channel) sf] s'g} klg pkef]Uo ;fdfg jf j:t'nfO{ aGb/ufxaf6 klxnf] k6s laj|mL ;'/lIft cj:yfdf /fVg'sf cltl/St ;f] ljt/0fsf nflu 9'jfgL ul/Psf] pTkfbsLo j:t'nfO{ k|of]u ul/g] k|ljlwnfO{ lyof] . l6g tyf wft'sf] Kofs]lhª aS;sf] l8hfOgsf] k|lj|mof;Fu ;Da4 /fVg' cyjf

sirjanĀ 82 k|of]u ug'{k"j{ ;f]x|f}“ ztfAbLdf sfuhåf/f Kofs]lhª ug]{ k|of]u eO;s]sf] lyof] . cfw'lgs k|ljlwaf6 sfuhnfO{ kmf]lN8ª ug]{ k|rng eg] ;g\ !*#( kl5dfq b]vfk/]sf] lyof] . sfuhsf] Kofs]lhª aS;df kmf]N8 ug]{ k4ltsf] ljsf; ;g\ !*!& b]lv Oª\UNofG8df ;'? ePsf] lyof] . la;f}“ ztfAbLb]lv pTkfbsLo ;fdfgsf] Kofs]lhª ug]{ / pSt Kofs]lhªsf nflu l8hfOg agfpg] k|rngn] tLj|tf kfPsf] lyof] . ;g\ !(%) sf bzssf] ;'?cftsf To;df k|o'St ;fdu|L, 5kfO :t/ cflb jif{b]lv pTkfbsLo j:t'sf nflu ;Dk"0f{ kIfnfO{ b[li6ut ul/G5 . Kofs]lhªnfO{ clgjfo{ cfjZostfsf ¿kdf Kofs]lhª l8hfOgdf g]kfnsf] Oltxf; lng yflnPsf] lyof] . o;sf] nuQ} ljZj g]kfndf Kofs]lhª l8hfOgsf] ;'?cft ahf/df Kofs]lhª Joj;fo b|'t ultdf slxn] ePsf] lyof] eGg]af/] s'g} k|dfl0ft df}nfpg yfNof] . sfuhsf cltl/St tYo pknAw 5}g . clkt' pTkfbsLo Knffl:6s, cNDo'lgod -l;n]e/_ cflb j:t' pTkfbg ug]{ Joj;fosf] yfngL ;g\ kbfy{x? klg Kofs]lhªsf nflu k|efjsf/L !(%) sf bzsb]lv dfq ePsf] a'lemG5 . ¿kaf6 k|of]u ug{ yflnP . ;g\ !(%@ To;tfsf pkef]Uo j:t'sf] pTkfbg kmf6\6 b]lv cd]l/sfsf] ldlrug :6]6 o'lgel;{6L km'6\6 ¿kdf eP tfklg Kofs]lhª ug]{ rng (Michigan State University) n] Kofs]lhª Tolt k|rngdf cfO;s]sf] lyPg . ;fa'g l8hfOgsf] l8u|L sf];{ g} ;'? u/]sf] h:tf pkef]Uo j:t'x¿ pTkfbg ul/Gy] t/ lyof] . o; cy{n] Kofs]lhª OlGhlgol/ªsf] ltgnfO{ laj|mL ljt/0fsf nflu Kofs]lhª k7gkf7gsf] yfngL ug]{ ljZjsf] klxnf] ug]{ k|rng eg] lyPg . ef/taf6 ¥oflkª ljZjljBfno ldlrug :6]6 o'lgel;{6L xf] . tyf Kofs]lhª ul/Psf ;fdfgx¿ cfpg cfhsf] PsfO;f}“ ztfAbLdf pBf]u Jofkf/ yfn]kl5 g]kfndf klg pTkflbt ;fdfgdf hut\df ljBdfg k|lt:kwf{, u'0f:t/k|ltsf] ¥oflkª ug]{ k|rng rNg yfn]sf] lyof] . ;r]tgf, pkef]Uo j:t'sf] ljZj;gLotf ;g\ !(%) df pTkflbt …ltnsÚ gfdsf] n'uf cflbsf kl/k|]Iodf l8hfOgsf] dxÎj ´g} w'g] ;fa'gnfO{ ¥oflkª u/L ahf/df NofOPsf] a9]sf] 5. pTkflbt j:t'sf] :t/ dfkg ug]{ lyof] . /fhf dx]Gb|n] To; ;fa'g sDkgLsf] j|mddf To;sf] Kofs]lhªsf] l8hfOg / :t/, pTkfbg k|lj|mofsf] cjnf]sg u/]sf

sirjanĀ 83 lyP . pSt ;fa'gn] lg/Gt/tf lng df :yflkt hgsk'/ r'/f]6 sf/vfgfnfO{ g;s]kl5 …lx/f ;fa'gÚ sf gfdn] csf]{ g]kfnsf] cf}Bf]lus Oltxf;df 7'nf] ;fa'g pBf]u b]vfk/]sf] lyof] . o; ;fa'gn] sf/vfgfsf ¿kdf lnOG5 . o; sf/vfgfn] lgs} ahf/ lnPsf] lyof] . s]xL ;dokl5 …cfzfÚ, …HjfnfÚ, …u}]“8fÚ, …ofsÚ h:tf lgs} cfPsf] …k"hf ;fa'gÚ lgs} nf]slk|o nf]slk|o r'/f]6x¿sf] pTkfbg /x]sf] lyof] . o; kª\lStsf/n] ;g\ !(&% ug]{ u/]sf lyP . tL ;a}sf] df lx/f ;fa'gsf] / ;g\ !(*! df k"hf Kofs]lhª l8hfOg / 5kfO klg ;fa'gsf] Kofs]6 l8hfOg agfPsf] lyof] . ef/td} x'Gy] . To;kl5sf] r'/f]6 pTkfbgdf ;"o{ g]kfn k|f= ln= sf] gfd n]6/k]|;df sf7 cyjf lhª\s Ansåf/f cfpF5 . of] sDkgL ;g\ !(*^ df 5flkg] To; a]nfsf ¥ofk/ clxn]sf :yfkgf ePsf] lyof] . o;n] …;"o{Ú, t'ngfdf pTs[i6 eg] b]lv“b}gy] . /fd|f] …v's'/LÚ, …lzv/Ú, …kfOn6Ú, …lah'nLÚ / 5kfOsf nflu ef/tdf k7fpg'kg]{ afWotf …rf}tf/LÚ gfdsf r'/f]6 pTkfbg u5{ . lyof] . 5kfO k|ljlwsf] ljsf; geO;s]sf] g]kfndf k|fljlws pTs[i6tfsf] cefjn] ubf{ To;a]nfsf] cj:yfdf l8hfOgsf] dxÎj tL r'/f]6sf Kofs]lhª aS; klg k|foM a'‰g]sf] ;ª\Vof klg lgs} yf]/} lyof] . ljb]zaf6 g} agfP/ Nofpg] ul/G5 . g]kfndf pkef]Uo j:t'sf] pTkfbgsf nflu w]/} ;ª\Vofdf \pBf]ux? :yfkgf ePsf sf7df8f}+ pkTosfsf] afnfh'df :yflkt lhNnfx¿ ;'g;/L / df]/ª x'g\ . ToxfF …afnfh' cf}Bf]lus If]qÚ ;g\ !(^# df rfln; cf]6feGbf a9L pBf]ux? :yfkgf :yfkgf ePsf] lyof] . To;} cf}Bf]lus ePsf lyP . tLdWo] xfn clwsf+z If]qleq ;g\ !(^^ df /fhf dx]Gb|åf/f pBf]ux? k|foM aGb cj:yfdf 5g\ . ;g\ :yflkt …g]lasf] la:s'6Ú g]kfnsf] klxnf] !(%$ df :yfkgf ePsf] lj/f6gu/ la:s'6 pBf]usf ¿kdf lrlgG5 . pSt cf}Bf]lus If]qdf \cg]s k|sfsf pBf]usf la:s'6x¿sf] ¥ofk/sf] 5kfO klg pkf]ef]Uo j:t'x¿ pTkfbg ef/taf6} u/]/ NofOGYof] . ;g\ !(*% df ulGy] . tL pTkflbt ;fdu|Lsf nflu rf}w/L u|'kn] …jfOjfO rfprfpÚ sf] pTkfbg k|foM ;a} Kofs]lhª, ¥ofk/ tyf n]an l8hfOg Pjd\ 5kfO ef/tdf x'Gy] . xfn;Dd lg/Gt/ ¿kdf ToxfF pTkfbg eO/x]sf clwsf+z la:s'6, bGtdGhg, ;fa'g h:tf j:t'x¿sf] Kofs]lhª / ¥oflkªsf] pTs[i6 5kfO eg] lj/f6gu/ / ;'g;/Ldf g} x'g] u/]sf 5g\ . ;g\ !((^$

sirjanĀ 84 :yflkt pSt a]s/L pBf]udf xfn cfw'lgs k|ljlwsf] k|of]u / pTkflbt ;'? u/]sf] lyof] . pSt rfprfpsf] klxnf] vfB j:t'df ;'Gb/ Kofsflhª / ¥oflkª ¥ofk/ l8hfOg o; kª\lStsf/n] u/]sf] x'g] ugf{n] To;sf] pTs[i6tf ´g} a9]sf] lyof] . kfOG5 . ;g\ !(*! df :yflkt gfª\nf] g]kfndf Ogfd]n /ªsf] pTkfbg ug]{ klxnf] a]s/L k|f= ln= n] pTs[i6 9fFrfdf ¥oflkª pBf]udf kz'klt k]G6;\sf] gfd cufl8 tyf Kofs]lhª ug]{ k4ltsf] yfngL u/]sf] cfpF5 . o; pBf]usf] :yfkgf ;g\ !(*$ lyof] . df ePsf] lyof] . To:t}, g]kfnsf] cf}Bf]lus ;g\ !(*! df :yflkt l/hfn 6f;L Oltxf;df g'xfpg] ;fa'g …dfofn'Ú, …Pe/]:6 OG8l:6«hsf] 8«s k|'m6 k|8S6\;af6 pTkflbt 6'yk]:6Ú, …a|fO6/ 6'yk]:6Ú, …:dfOn 6'yk]:6Ú vfB tyf k]o kbfy{sf pTkfbgx¿ cflb b}lgs pkef]Uo pTkfbgx¿ klg Kofs]lhª / n]an l8hfOg klxn]sf ahf/df b]vfk/] . a|fO6/ 6'yk]:6n] t'ngfdf xfn lgs} pTs[i6 b]lvG5g\ . ;g\ cfh;Dd lg/Gt/ ahf/ lnO/x]sf] 5 . xfn !(*# df sf7df8f}“df :yflkt g]kfn k'm8 pSt 6'yk]:6sf] Kofs]lhª l8hfOg / 5kfO OG8l:6«håf/f pTkflbt …6fs'/f… gfdsf ;j{t g]kfnd} ug]{ ul/G5. tyf h';x?sf] n]an l8hfOg o; xfdLsxf“ vfB pBf]u Joj;fonfO{ Jojl:yt kª\lStsf/n] u/]sf] lyof] . pBf]usf ¿kdf yfngL ug]{ >]o s[i0f g]kfnsf pBf]u Joj;fosf If]qdf kfp/f]6L pBf]u k|f= ln= nfO{ hfG5 . s]xL l8l:6n/L tyf a|'c/L sDkgLx?n] klg ;g\ !($( df …s[i0f kfp/f]6LÚ gfdaf6 Oltxf; af]s]sf 5g\ . Tof] a]nf :yflkt

sirjanĀ 85 sltko l8l:6n/Lx? aGb klg n]an tyf Kofsflhª l8hfOg cGt/f{li6«o eO;s]sf 5g\ . tLdWo] ;g\ !(^^ df :t/sf 5g\ . sf7df8f}“ pkTosf aflx/sf x]6f}“8fdf :yfkgf ePsf] l8l:6n/L pBf]ux?sf pTkfbgdWo] …dfpG6 g]kfn a|'c/L k|f= ln= g]kfnsf] klxnf] Pe/]:6 x\lj:sLsf] n]an l8hfOg / lao/ ofS6«Lsf ¿kdf lrlgG5 . To; Kofs]lhª l8hfOg o; kª\lStsf/n] sDkgLåf/f pTkflbt …:6f/ uf]N8 lao/Ú agfPsf lyP . sf] n]an l8hfOg ;lxt 5kfOsf] sfd klxnf ef/tdf x'g] ul/GYof] eg] xfn pTkfbsLo ;fdfg jf j:t'sf nflu :jb]zd} ;Dk"0f{ sfd x'g] u5{ . xfn l8hfOgsf] e"ldsf nf]slk|o /x]sf lao/x¿ …6'af]u{Ú, …;fgldu]nÚ s'g} klg pkef]Uo ;fdfg jf j:t'nfO{ cflb lao/x?df pTs[i6 n]an l8hfOg pkef]Stfx? ;dIf k'¥ofp“bf pTkflbt b]Vg ;lsG5 . ;fdfg jf j:t'sf] ljZj;gLotf, pTs[i6tf, g]kfndf pTkflbt dlb/fdWo] ;g\ !(&% df z'4tf cflbsf] ;jf]{kl/ dxÎj /xG5 g} . afnfh'df :yflkt g]kfn l8l:6n/L k|f= ln= o; cltl/St pTkflbt j:t'sf u'0f Pjd\ åf/f pTkflbt …v's'/L /dÚ g]kfnsf] k'/fgf] ljz]iftfaf/] hfgsf/L jf ;Gb]znfO{ dlb/fsf ¿kdf lrlgG5 . o;sf] l8hfOg pkef]Stf df´ k|;f/ ug{sf nflu pko'St tyf 5kfO g]kfnd} x'g] u5{ . To:t} lj1fkg, cfsif{s n]an l8hfOg, snfTds hfjnfv]n l8l:6n/Låf/f pTkflbt …?;nfg tyf ;'/lIft Kofs]lhª l8hfOg cTofjZos ef]8\sfÚ, lxdfnog l8l:6n/L k'm8 PG8 kIfx¿ x'g\ . cfhsf] k|lt:kwf{Tds ahf/df a]e/]h k|f= ln= åf/f pTkflbt …/f]on oL kIf sdhf]/ x'g] lalQs} tL j:t' :6\ofuÚ, …An]G8;{ k|fO8Ú cflb dlb/fx?sf] ahf/df laSg ufx|f] k5{ . t;y{ pkf]ef]Uo j:t'sf] n]an / Kofs]lhª l8hfOgdf lgDglnlvt d"ne"t l;4fGtx¿nfO{ dgg ug'{kg]{ x'G5 M – pTkflbt j:t'sf] agfj6 / To;sf] u'0f tÎjnfO{ ;'/lIft /fVg' – jftfj/0fLo tyf jfo'jLo ;'/Iff – ;Gb]z k|jfx ug'{ – ahf/ lng' – l6sfpsf nflu ;'/lIft kfg'{ – k|of]hgdf ;'ljwfhgs tyf ;lhnf], ;xh t'Nofpg'

sirjanĀ 86 http://tbinepal.com/article-Nepal%20 Breweries http://kabranepal.com/history.html http://bossnepal.com/nebico-private-limited/ http://www.blconglomerate.com/ companies/processed-food/pashupati- biscuits-industries/ http://bizznepal.com/index.php/Home/ aboutus http://www.hoovers.com/company- information/cs/company-profile.surya_ nepal_pvtltd.68bb143ebcb42b47.html http://kathmandupost.ekantipur.com/ news/2012-11-09/everest-toothpaste-re- launched.html https://www.structuralgraphics.com/blog/ a-brief-history-of-packaging/ https://en.wikipedia.org/wiki/Packaging_ and_labeling plNnlvt a'“bfx¿nfO{ d"t{ ¿k lbgdf l8hfOg/sf] cx+ e"ldsf /xG5 . jt{dfg k|lt:kwf{Tds ahf/df Kofs]lhª l8hfOg snfsf] dxÎjnfO{ b[li6ut ubf{ l8hfOg/x¿sf nflu Kofs]lhª l8hfOgsf] sfd /fd|f] Joj;fo x'g ;S5 .

References Production for graphic Designers- Alan pipes czf]sdfg l;+ A complete guide to advanced Illustration and Design- Consultant editor Simon Jenning's czf]sdfg l;+ ljut rf/ bzsb]lv lrqsnf, kmf]6f]u|fkmL, u|flkms l8hfOg, On:6«];g, d'b|0f tyf pTkfbg Pjd\ k|sfzg http://archive.nepalitimes.com/news. php?id=9060#.W6eckdcza70 If]qdf sfo{/t /xFb} cfPsf 5g\ . https://cheers.com.np/product/khukri- pgL ;flxTo ljwfdf klg snd rnfpF5g \. pgsf ‘/ªÚ coronation-375ml zLif{ssf] cToGt pkof]uL k':tssf cltl/St pkGof; Pjd\ http://bossnepal.com/top-group-companies- nepal/ afn syfx¿ k|sflzt 5g\ . g]kfn ;/sf/af6 k|bfg https://www.bloomberg.com/research/ ul/g] If]qLo /fli6«o k'/:sf/ / g]kfn nlntsnf k|1f stocks/private/snapshot. -n]vg_ k'/:sf/af6 ;d]t ;Ddflgt l;+n] cGo ljleGg asp?privcapid=106293462 k'/:sf/ k|fKt ul/;s]sf 5g\ . xfn pgL ;]G6/ km/ cf6{ PG8 http://www.nepaldispatch.com/2013/05/ l8hfOg, sf7df8f}F o'lgel;{6L / l;h{gf sn]h ckm kmfOg government-decides-not-to-revive-janakpur- cigarette-factory/ cf6{;\df cWofkg/t 5g\ .

sirjanĀ 87 kk cf6{ M la;f}“ ztfAbLsf] Ps dxTTjk"0f{ snf cfGbf]ng gjLGb|dfg /fhe08f/L n]v;f/ bf];|f] ljZjo'4kZrft\ kl/jlt{t cfly{s Pjd\ ;f+:s[lts kl/j]z;“u} cGt/f{li6«o snf hut\df ;+o'St /fHo cd]l/sfn] cfk\mgf] k|e'Tj hdfpg yfn]sf] lyof] . tb'k/fGt cfw'lgs snfsf ultljlwx¿sf] s]Gb| cd]l/sf aGg yfn]sf] lyof] . cfd ;~rf/ tyf cfd pTkfbgdf k|of]u x'g] cfs[lt tyf k4ltx¿nfO{ snfdf pkof]u ug]{ k|j[lQ;“u} ‘kk cf6{’ sf] cEo'bo ePsf] lyof] . jf:tjdf ljZjo'4kZrft\ csfl;Psf] cfly{s ;d'Gglt tyf To;af6 hlgt ‘kk ;+:s[lt’ g} kk cf6{sf] pb\ud lyof] . Oª\UNofG8af6 yfngL ePsf] kk cf6{ cd]l/sfdf df}nfPsf] lyof] . k|:t't n]vdf kk cf6{sf] k[i7e"ld, o;sf] k|j[lQ tyf o; z}nLsf dxŒjk"0f{ snfsf/x¿af/] rrf{ ul/Psf] 5 . k[i7e"ld cfly{s ;d'Gglt;“u} b|'t ultdf abln“b} bf];|f] ljZjo'4sf] ;dflKt;“u} o'/f]k, uO/x]sf] klZrdf hLjg z}nLdf hfkfgnufot o'4df ;+nUg k|foM ;a} pkef]StfjfbL ;+:s[ltn] h/f uf8\g d'n'ssf] cy{ Joj:yf w/fzfoL ePsf] yfn]sf] lyof] . kl/jlt{t ;f+:s[lts lyof] . clkt' klZrd o'/f]k / hfkfgn] kl/j]z;“u} cGt/f{li6«o snf hut\df ;+o'St s]xL jif{leq g} Psbd k|lts"n cj:yfnfO{ /fHo cd]l/sfn] cfgf] k|e'Tj hdfpg l5rf]Nb} csNkgLo ¿kdf cfly{s ;d[l4 yfn]sf] lyof] . Hofh ;ª\uLt / l;g]dfsf] xfl;n ug{ yfn]sf] lyof] . t of] d'n's dfp ynf] g} alg;s]sf] lyof] . o'4kZrft\ cd]l/sf ljZjs} ;jf{lws ;d[4 o'4 e8\lsg'cufl8 / o'4 sfndf gfhL Pjd\ zlStzfnL /fi6« aGg k'u]sf] lyof] . bdgaf6 hf]lug] j|mddf o'/f]kaf6 cgluGtL of] ljzfn /fi6« cfw'lgs k|ljlw tyf af}l4s JolStx¿ cd]l/sf efl;Psf pBf]u Jofkf/sf] pa{/ e"ldsf ¿kdf b|'t lyP . tL o'/f]k]nL ljrf/s, slj, ultdf :yflkt x'“b} lyof] . cd]l/sfnfO{ n]vs, ;ª\uLtsf/, rnlrqsdL{, snfsf/, o'4f]Q/ sfnsf] …cfzf / ;kgfsf] d'n'sÚ sf jf:t'sf/ Pjd\ j}1flgsx¿n] cd]l/sfsf] ¿kdf x]g{ yflnPsf] lyof] . ljZje/af6 af}l4s hghLjgdf dxÎjk"0f{ k|efj cf]Ol/Psf ljljw wd{, j0f{ Pjd\ hfthfltsf kf/]sf lyP . tb'k/fGt kfZrfTo ;+:s[ltsf] dflg;x¿sf nflu of] e"ld …d]lN6ª k6Ú aGg g]t[Tjsf] afu8f]/ cd]l/sfn] lng yfn]sf] yfln;s]sf] lyof] . lyof] -af]sf]nf, !(((, k[= #(!_ .

sirjanĀ 88 kk cf6{sf] pbo ;+o'St /fHo cd]l/sfdf ;g\ !(^@ b]lv kk ;g\ !(%% b]lv !(^% sf cjlwdf cf6{n] Jofkstf lng yfn]sf] lyof] . tyflk s]xL snfsf/x¿n] o'4f]Q/ ;+:s[ltdf b|'t of] snf cleofgsf] ;'?cft eg] s]xL ultdf km:6fp“b} u/]sf] cfd;~rf/k|lt cf}wL jif{cufl8 g} Oª\UNofG8df eO;s]sf] ?lr lng yfn]sf lyP . kmntM pgLx¿n] lyof] . ljZjo'4kZrft\ csfl;Psf] cfly{s cfgf snfdf cfd pTkfbgdf k|of]u x'g] ;d'Gglt tyf To;af6 hlgt …kk ;+:s[ltÚ cfs[lt tyf k4ltx¿nfO{ pkof]u ug{ (pop culture) g} kk cf6{sf] pb\ud yfn]sf lyP . x'gt …c;]DAn]hÚ lyof] . of] snf cfGbf]ngnfO{ …kk cf6{Ú sf] (Assemblage) k4ltdf sfd ug]{ ;+1f la|l6; snf ;dLIfs n/]G; cnf]j] snfsf/x¿n] klg ljleGg j:t'x¿sf] (Laurence Alloway) n] lbPsf lyP . k|of]uåf/f snfs[lt /rgf uy]{ t/ ltgdf kk cf6{df sfd ug]{ snfsf/x¿ cfd cfd pTkfbgsf j:t'x¿sf] k|of]u ;Lldt hghLjgdf k|rlnt Pjd\ nf]slk|o j:t'x¿, dfqfdf x'g] uy]{ . of] gof“ snf h:t} M kfp/f]6L, r6gL, ;dfrf/kq, cfGbf]ngnfO{ …kk cf6{Ú (Pop Art) gfds/0f l;g]dfsf l6s6, n]an, ¥ofk/ cflb cfgf ul/Psf] lyof] . cfd pTkfbg;“u hf]l8Psf snfs[ltdf 6f“:y] . cfw'lgs ljZjdf cfs[ltx¿ Pjd\ k4ltx¿sf] Jofks k|of]usf nf]slk|o cfs[ltx¿ tyf Jofkf/ Pjd\ sf/0f ;dsfnLg snfsf cGo wf/x¿sf ;+:s[lt;“u hf]l8Psf lrqx¿sf] Jofks t'ngfdf kk cf6{sf] :j¿k a9L nflnTok"0f{ k|of]u g} kk cf6{sf] nf]slk|otf / /x]sf] 5 . ;+j]ufTds k|efjsf b[li6n] ;kmntfsf sf/0f lyP . …c;]DAn]hÚ tyf …x\ofk]lgª\;Ú (Hapenings) h:tf snf cfGbf]ngx¿df b]lvg] ckx]ngf, l/r8{ x\ofldN6g (Richard Hamilton) pkxf; / xf:o k|j[lQsf abnf kk cf6{ ;g\ !(%@ df nG8gdf o'jf snfsf/x¿sf] a9L nfIfl0fs Pjd\ lg/k]If b]lvG5 Ps hdftn] …:jtGq d08nÚ -:6f]s:6f8, @))*, k[= ***_ . (Independent Group) gfp“sf] ;d"x kk cf6{sf] cEo'bo tTsfnLg snf :yfkgf u/]sf lyP . To; ;d"xdf jf:t'sf/ hut\df k|e'Tj hdfP/ a;]sf] cd"t{ l/r8{ /a6{ l:dy;g (Richard Robert cleJo~hgfjfb (Abstract Expressionism) Smithson), d"lt{sf/ P8'cf8f]{ kfpnf]HhL sf] lj?4 ePsf] lyof] -kfOk/, (Eduardo Paolozzi), lrqsf/ l/r8{ k[= $*^_ . algagfp tyf pknAw j:t' x\ofldN6g (Richard Hamilton) cflbsf] Pjd\ cfs[ltx¿nfO{ pkof]u u/L snfs[lt ;+nUgtf /x]sf] lyof] . pgLx¿sf] 5nkmnsf /rgf ul/gfn] kk cf6{n] …bfbfÚ (Dada) ljifoj:t' oGq, lj1fkg, rnlrq cflbsf z}nL;“u s]xL ;fd~h:o /fV5 . sf/0f kl/jlt{t hghLjg, ;+:s[lt Pjd\

sirjanĀ 89 ;dfhaf/] l6Kk0fL ug'{ xf] eg] 6]lnlehgdf k|;f/0f x'g] ;dfrf/n] To;nfO{ emg\ tLj| ¿kdf ul//x]sf] 5 . olb k/Dk/fut snfdf s'g} kf}/v jf zf}o{sf cfVofgnfO{ oyfy{ hLjgeGbf a[xt\ cfs[ltdf k|:t't ul/GYof] eg] ca tL b[Zo rnlrqx¿df b]Vg ;lsG5 . cGttM olb s'g} klg snfsf z}nLn] cfgf] ;donfO{ k|ltlglwTj u5{ eg] jt{dfg ;dodf df]6/ uf8L tyf cGo gjLgtd pkef]Uo j:t'x¿n] ToxL sfd ul//x]sf 5g\ . -:6f]s:6f8, @))*, k[= **(_ . l/r8{ x\ofldN6g, kmut s] xf] Tof], h;n] = = =, !(%^, sf]nfh, @^ ;]= ld x @% ;]= ld=, s'G;yn], hd{gL ;g\ !(%^ df xfldN6gn] …kmut s] xf] Tof], h;n] cr]nsf 3/ Psbd k[ys / To;sf] kl/0ffddfly s]lGb|t /xg] uYof]{ . cfsif{s kf5{ <Ú (Just what is it that pgLx¿ tTsfnLg kl/j]zdf jr{:j sfod u/]sf snfsf cfw'lgs k|j[lQx¿nufot makes today's homes so different? So appealing?) zLif{ssf] sf]nfh s[lt snfk|ltsf] k/Dk/fut b[li6sf]0fsf k|v/ agfPsf lyP . of] nfdf] zLif{s pgn] lj/f]wL lyP . pgLx¿n] nG8g l:yt lj1fkgsf gf/faf6 lnPsf lyP . OlG:6Ro'6 ckm sG6]Dkf]//L cf6{;\ (Institute of Contemporary Arts) df k|bz{gLx¿sf] o; /rgfdf Ps hf]8L k'?if / dlxnf cfof]hgf uy]{ . To; ;d"xsf ;b:o cfs[lt /x]sf 5g\ . xfldN6gn] ltgnfO{ l/r8{ x\ofldN6gnfO{ kk cf6{ z}nLsf] …cf8dÚ (Adam) / …OeÚ (Eve) sf] ;+1f hgs dflgG5 . lbPsf 5g\ . lrq /rgfdf b[Zodfg sf]7fnfO{ cd]l/sL pTkfbgx¿af6 x\ofldN6gsf] dfGotfcg';f/ 6]lnlehg, l;“ufl/Psf 5g\ . sf]7fsf] ‰ofnaflx/ rnlrq tyf ;~rf/sf cGo dfWodx¿n] b]lvg] l;g]df lyo6/df ;g\ !(@& df cfw'lgs cfd;+:s[ltsf] ¿k lnO;s]sf 5g\ lgld{t klxnf] ;fpG8 6«ofs l;g]df …lb / k/Dk/fut snfn] ug]{ sfo{ ca ltgn] Hofh l;ª\u/Ú (The Jazz Singer) ul//x]sf 5g\ . ljutsf snfn] cfbz{ rln/x]sf] 5 . l6eL ;]6dflysf] leQfdf ;f}Gbo{nfO{ k|:t't uYof]{ eg] cfhsf k/Dk/fjfbL snf ;dLIfs hf]g /l:sg bz{sx¿ ToxL s'/f lj1fkg tyf lkg–ck (John Ruskin) sf] kf]6«]6 em'lG8Psf] 5 . kmf]6f]u|fkmx¿df b]V5g\ . olb snfsf] sfo{ s]Gb|Lo k'?if kfqn] af]s]sf] j:t'df cª\lst

sirjanĀ 90 hf:k]/ hf]G;, ltg cf]6f ´G8f (Three Flags), !(%^, SofGef;df d}g, &^ ;]= ld X !!$ ;]= ld=, lJx\6\g] Do'lhod ckm cd]l/sg cf6{, Go'of]s{ cIf/ …kkÚ (POP) af6 g} ;dLIfs n/]G; cnf]j]n] xfldN6gsf] of] sf]nfh /rgfnfO{ /a6{ /;]gau{, uN5L (Canyon) , !(%(, ldl>t dfWod, (Pop Art) …kk cf6{Ú sf] ;+1f lbPsf lyP . !*% ;]= ld X !^* ;]= ld= X ^# ;]= ld=, aflN6df]/ Do'lhod ;du|df xfldN6gsf] o; s[ltn] ckm cf6{, d]l/NofG8 cfd;~rf/sf cfs[ltx¿sf] k|of]uåf/f hf:k]/ hf]G; (Jasper Johns) / /a6{ cfw'lgs ;'ljwf, ;d'Gglt Pjd\ ;kmntfsf] /;]gau{ b[i6fGt k:s]sf] 5 -:6f]s:6f8, @))*, (Robert Rauschenberg) k[= **(_ . cd]l/sL cfw'lgs snfnfO{ ;j{yf gf}nf] lbzftk{m pGd'v u/fpgdf hf:k]/ cd]l/sL kk cf6{ hf]G; (Jasper Johns) / /a6{ /;]gau{ rngrNtLsf nf]slk|o ljifoj:t'nfO{ t6:y (Robert Rauschenberg) sf] pNn]vgLo efjaf6 ;Daf]wg ug'{ g} kk cf6{sf] of]ubfg /x]sf] 5 . To;tfsf o'jf rfl/lqs ljz]iftf dfGg ;lsG5 . oxL snfsf/x¿ ;x/L hLjg;“u ;Da4 k|j[lQsf sf/0f kk cf6{nfO{ oyfy{k/s cfs[ltx¿k|lt lgs} cfslif{t x'“b} lyP . snfsf] cfw'lgs :j¿ksf ¿kdf :yflkt pgLx¿ snf /rgfsf b[li6n] tL ul/lbPsf] 5 . of] k|j[lQ bfbf snf cfs[ltx¿sf] ;fdYo{ / ;DefJotf vf]Hb} (Dada art) sf ljjfbf:kb sf]nfhx¿ tyf lyP -af]sf]nf, !(((, k[= $@@_ . cltoyfy{jfb (Surrealism) sf /f]df~rs /;]gau{ lrq / d"lt{nfO{ Pp6} /rgfdf tyf /x:ofTds /rgfx¿b]lv ;j{yf k[ys ;+of]hg uy]{ . To;nfO{ pgn] …sDafOG;Ú /x]sf] 5 -af]sf]nf, !((, k[= $@@_ . (Combines) cyf{t\ …;+o'StÚ sf] ;+1f

sirjanĀ 91 PG8L jf/xf]n, hf]g n]gg (John Lenon), Sofgef;df l;Ns l:j|mg lbPsf lyP . pgL kmf]6f], ;dfrf/kqsf PG8L jf/xf]n (Andy Warhol) 6'j|mf cflb 6f“;]/ snfs[lt /rgf cd]l/sL snfsf/x¿n] kk cf6{nfO{ cem uy]{ . pgL cfgf /rgfx¿ dfk{mt kl/is[t Pjd\ ;/nLs[t :j¿k lbPsf ;dsfnLg d'2fx¿nfO{ ;Daf]wg uy]{ . lyP . cd]l/sL kk cf6{nfO{ lzv/df hf:k]/ hf]G; snf /rgfdf snfTds k'¥ofpgdf PG8L jf/xf]nsf] dxÎjk"0f{ u'0fnfO{ a9L dxÎj lbGy] . t'ngfTds of]ubfg /x]sf] 5 . vfB kbfy{sf a6\6f, b[li6n] pgsf sfdx¿ a9L lgolGqt, k]o kbfy{sf l;;L cflb Pjd\ ;ª\uLt, ;Gt'lnt Pjd\ af}l4s k|tLt x'G5g\ . rnlrq h:tf cd]l/sL cfd ;+:s[ltdf nf]slk|o kfqx¿ jf/xf]nsf ljifoj:t' /x]sf hf:k]/ hf]G; / /a6{ /;]gau{nfO{ ;+o'St 5g\ . /fHo cd]l/sfdf kk cf6{ cleofgnfO{ dfu{ bz{g lbPsf k|f/lDes snfsf/sf ¿kdf jf/xf]nsf k|ltlglw s[ltsf ¿kdf xlnp8 :d/0f ul/G5 . cleg]qL dl/lng d'g/f] (Marilyn Monroe)

sirjanĀ 92 PG8L jf/xf]n, dl/lng låkmns (Marilyn Diptych), Sofgef;df t]n /ª, Plj|mlns, Ogfd]n tyf l;Ns l:j|mg, @)% ;]= ld= X !$$ ;]= ld=, 6]6 Uofn/L, nG8g dfly cfwfl/t pgsf] låkmns lrq ;+j]bgfz"Go eOlbG5f}“ . cfd hgdfg;dfly (diptych) nfO{ lng ;lsG5 . o; ldl8ofsf] log} k|efjsf] csf6\o oyfy{nfO{ /rgfdf pgn] kmf]6f] cfs[ltnfO{ cfTd;ft\ u/]/ jf/xf]n cfgf /rgfx¿df l;Ns–l:j|mg k4ltåf/f Sofgef;df ptf/]sf efjljxLg cfs[ltx¿sf] cGwfw'Gw k'g/fj[lQ 5g\ . rnlrq ljwfsL k|Voft dl/lng u5{g\ -:6f]s:6f8, @))*, k[= *(!_ . dg/f]sf d'vfs[ltx¿nfO{ jf/xf]nn] cfgf] PG8L jf/xf]naf/] …lb cf6{ ckm df]8lg{HdÚ lrq /rgfdf klg lkmNd l:6«k h:t} j|mda4 sf n]vs ;fGb|f] af]sf]nf n]V5g\ — ¿kdf b]vfPsf 5g\ . lrqsf] låkmnsdWo] æcd]l/sg 8n/ gf]6, sf]sf–sf]nf Ps kmns /ª\uLg / csf]{ kmns af]tn, ;'k Sofg, lncf]gfbf]{ bf leGrLsf] ZofdZj]t /x]sf] 5 . df]gfln;f, dl/lng d'g/f], Plnhfa]y cfd;~rf/n] ;d:t ljZjnfO{ xfdLlar cem 6]n/, dfnf]{g a|fG8f], PlNe; lk|:n] h:tf lgs6 NofOlbG5, / ltgn] ljZjnfO{ lkmNd :6f/sf lrqx¿, ljB'tLo s';L{, sf/ x]g]{ xfd|f] b[li6sf]0fnfO{ t6:y agfOlbG5 . b'3{6gfaf/] 5flkPsf ;dfrf/ kmf]6f] cflb ;fgf] afs; -l6eL_ dfk{mt 6f9f jf glhs ;g\ !(^) sf bzssf] k"jf{4{sf PG8L 3l6t s'g} klg b'3{6gf jf k|sf]k;“u xfdL jf/xf]nsf s[ltx¿sf ;fdu|L /x]sf k|To]s lbg cfgf] a}7s sf]7fleq a;]/ 5g\ . ltgnfO{ k[ysLs/0f, k'gMpTkfbg, ;fIffTsf/ u5f}{“ . of] ;fgf] afs;nfO{ xfdL a[xtLs/0f, d'b|0f tyf j|mlds k'g/fj[lQsf cfgf] OR5fcg';f/ vf]N5f}“ / aGb u5f}{“ . dfWodåf/f pgL cfw'lgs cfd;~rf/sf xfd|f] e"ldsf …b[Zo/ltsÚ (voyeurs) sf] dfq s[lqd ;+;f/sf] lbuf] :df/s v8f x'G5 . ldl8ofn] af/Daf/ bf]xf]¥ofP/ b]vfpg] u5{g\ . ;fdfGo l;Ns–l:j|mg k4ltsf] ;dfrf/ jf 36gfsf k|efjk|lt xfdL k"0f{tM k|of]uåf/f pgL cfgf kfqnfx¿O{ Psn,

sirjanĀ 93 ¿kdf t/ a[xt\ cfsf/df ¿kfGt/ u5{g\ . To;af6 pgL bz{snfO{ k"/akl/lrt t/ ltgsf ;jyf{ gf}nf] :j¿k;“u ;fIffTsf/ u/fp“5g\ -af]sf]nf, !(((, k[= $@@_ .

Snf; cf]N8]gau{ (Claes Oldenburg) l:j8]gdf hGd]sf Snf; cf]N8]gau{sf sfdx¿ a9L cfnf]rgfTds Pjd\ xf:ok"0f{ /x]sf 5g\ . pgsf] xf:or]t cfk"m cWoog u/]sf] ;+:yf ofn o'lgel;{6L (Yale University) sf nflu pgn] agfPsf …lnlkl:6s :df/sÚ (Lipstick Monument) df /f]o ln:6]g:6fOg, cf], h]km === (Oh, Jeff...), Sofgef;df t]n /ª, !@@ ;]= ld= X !@@ ;]= ld= åo, bh{gf}“ jf ;of}“sf ;ª\Vofdf sf]/f jf c:t/ nufOPsf Sofgef;df k|To]s ljifosf cg]s k|sf/x¿df :yfgfGt/ ul//xG5g\ .Æ -af]sf]nf, !((, k[= $@^_

/f]o ln:6]g:6fOg (Roy Lichtenstein) cd]l/sL snfsf/dWo] …kk'n/ sNr/Ú nfO{ ljifoj:t' agfO{ lrq /rgf ug]{ klxnf] snfsf/sf] >]o /f]o ln:6]g:6fOgnfO{ hfG5 . ;g\ !(^! df pgn] lj1fkg, sf6'{g lrq tyf sldS;df cfwfl/t lrq /rgfx¿ agfpg yfn]sf lyP . ltgdf df]6f] sfnf] afx\o /]vfª\sg;lxt k|fylds /ªx¿ k|of]u ul/Psf 5g\ . o; cltl/St lk|lG6ª k4ltdf k|of]u x'g] laGb' /]vfx¿ klg ltgdf k|of]u ul/Psf x'G5g\ . Snf; cf]N8]au{, ln:6]g:6fOg lj1fkg tyf cGo 6\ofª\sdfly 7f8f] /flvPsf] lnlkl:6s (Lipstick Ascending on Caterpillar Tracks), /ªuLg l:6n, k|sfzgx¿df k|sflzt nf]slk|o lrq, syf, cNd'lgod tyf kmfOa/ Unf;, ^&) ;]= ld= X %($ ;]= ld= X sldS; jf b[i6fGt lrqx¿nfO{ ltgsf] d"n ### ;]= ld=, ofn o'lgel;{6L cf6{ Uofn/L

sirjanĀ 94 68\sf/f] b[li6uf]r/ x'G5 . of] /rgf pgn] j];]ndfg (Tom Wesselman), h]D; ;g\ !(^) sf bzsdf leotgfd o'4tfsf /f];]lGSj:6 (James Rosenquist), lhd 8fOg lj?4 cfof]lht ljBfyL{x¿sf] lj/f]w k|bz{g (Jim Dine), /a6{ OlG8ofgf (Robert tfsf jf:t'snfsf ljBfyL{x¿sf] cg'/f]wdf Indiana), P8j8{ xf]Kk/ (Edward Hopper), agfPsf lyP . cf]N8]gau{n] o; s[ltdf h]D; lun (James Gill) cflb snfsf/x¿sf] o'4 6\ofª\dfly If]Kof:q (missile) sf] klg dxÎjk"0f{ of]ubfg /x]sf] 5 . k|tLssf ¿kdf Pp6f ljzfn lnlkl:6s 78\ofPsf lyP . hfkfgdf kk cf6{ bf];|f] ljZjo'4sf] ;dflKtkl5 hfkfgn] cf]N8]ga'u{ n'ufkmf6f, h'Qf, 6f]kL, v]nf}gf cfk"mnfO{ cToGt ljsl;t Pjd\ cf}Bf]lus cflb b}lgs hLjgdf k|of]u x'g] ;fdu|Lsf /fi6«sf ¿kdf :yflkt ug{ yfn]sf] cltl/St s]s, lkHhf, :ofG8ljr, lyof] . b|'t cfly{s j[l4b/;“u} hfkfgsf] x\ofdau{/, ;;]h, kmnk"mn cflb vfB hghLjgdf kfZrfTo ;+:s[lt tyf hLjg j:t'nfO{ Knf:6/, k]k/d];] h:tf ;fdu|Ldf z}nLn] klg k|efj kfg{ yfn]sf lyP . agfO{ ltgdfly /ª\ufª\sg uy]{ . ltgnfO{ o;;“u} hfkfgL snfdf klg cfw'lgs pgL kf];]{n]g Kn]6, l;;fsf b/fh cflbdf snfsf ljljw wf/ tyf z}nLx¿sf] Jofks ;hfP/ k|:t't uy]{ . k|of]u x'g yfn]sf lyP . x'gt k"jf{4{sf cf]N8]gau{nfO{ cfw'lgs oyfy{jfbL cfw'lgs snf cfGbf]ngx¿sf ¿kdf snfsf/sf ¿kdf lng] jf glng] eGg]af/] lrlgg] k|efjjfb (Impressionism), pQ/ dte]b xf]nf, clkt' pgsf sfddf lglxt k|efjjfb (Post Impressionism), cf6{ gf]Jo' oyfy{jfbL rl/qnfO{ eg] gsfg{ (Art Nouveau) h:tf dxÎjk"0f{ z}nLsf ;ls“b}g . tL sfd cfbzL{s/0faf6 lglb{i6 k|0f]tfx¿sf] k|]/0ffsf] pb\ud hfkfgL 5}gg\ . ltgn] s'g} dgf]ut efjnfO{ klg k/Dk/fut p8Ans lk|G6x¿ (woodblock JoSt ub}{gg\ . clkt' ltgn] lg0ff{os jf prints) lyP . Pb\jf/ dfg] (Édouard cleJolStzLn e"ldsfsf abnf xf:o Manet), Snf]b df]g] (Claude Monet), efjnfO{ phfu/ u5{g\ -af]sf]nf, !(((, P8\uf b]uf (Edgar Degas), leG;]G6 Eofg k[= $#^_ . uf] (Vincent van Gogh), t'n'h n'q]s (Toulouse-Lautrec), u':tfe lSnD6 cGo kk snfsf/x¿ (Gustav Klimt) cflb pGgfO;f}“ ztfAbLsf cd]l/sL kk cf6{nfO{ :yflkt u/fpgdf ljZjk|l;4 snfsf/x¿sf sfddf hfkfgL hh{ ;]un (George Segal), dfl/;f]n lk|G6sf] ulx/f] k|efj k/]sf] b[li6uf]r/ P:sf]af/ (Marisol Escobar), 6d x'G5 .

sirjanĀ 95 tf8fgf]/L of]s", la6N; ;ª\uLt ;d"xsf] Do'lhs /]s8{sf] se/ l8hfOg, !(^$

pgn] la6N;, dln{g dg/f], Plnhfj]y 6]n/ ofof]O{ s';fdf, ¿vdf pmWj{d'vL kf]Nsf 86\;, l;ª\ufk'/ låjflif{s h:tf kk ;+:s[ltsf cfOsf]gx¿sf nflu snf d]nf, @))^, csf{8{ /f]8, l;ª\ufk'/ cg]sf}“ l;h{gfTds lj1fkg, kf]:6/ tyf lrqx¿ /rgf u/]sf lyP . s]OrL hfkfgL kk cf6{sf] k|s/0fdf xf?o sf]uf tfgfdL (Keiichi Tanaami) To; ;dosf (Harue Koga) sf sfdx¿ -;g\ !(@) sf] csf{ k|l;4 kk cfl6{:6sf ¿kdf lrlgG5g\ . bzssf pQ/f4{ / ;g\ !)#) sf] bzssf k"jf{4{_ nfO{ kk cf6{sf] ;ª\s]tsf ¿kdf pk;+xf/ lnOG5g\ . kk cf6{sf] ljsf;df ofof]O{ kk cf6{sf] ;'?cft Oª\UNofG8af6 eP/ s';fdf (Yayoi Kusama) sf] dxÎjk"0f{ ;+o'St /fHo cd]l/sfdf km:6fPsf] of]ubfg /x]sf] 5 . pgL kf]Nsf 86\; lyof] . ctM kk cf6{nfO{ …cd]l/sg (polka dots) k|of]u u/L lrq, d"lt{, lkmgf]ldggÚ eg]df cltzof]lSt OG;6n];g k/km/d]G;, k]m;g l8hfOg cflb gxf]nf . lgM;Gb]x of] snf cfGbf]ng ul5{g\ . ;g\ !(^) sf] bzssf] dWojtL{ klZrdf hghLjgsf] cfly{s ;d[l4;“u} sfnd} u|flkms l8hfOg/ tf8fgf]/L df}nfPsf] g"tg cfd ;+:s[ltsf] pkh of]s" (Tadanori Yokoo) hfkfgL kk cf6{sf lyof] . cd]l/sf / s]xL o'/f]k]nL d'n'sx¿ ;jf{lws ;kmn Pjd\ cGt/f{li6«o Vofltk|fKt afx]s Nofl6g cd]l/sf, clk|msf tyf snfsf/sf ¿kdf :yflkt eO;s]sf lyP . Pl;ofnL d'n'ssf snfsf/x¿ kk cf6{k|lt

sirjanĀ 96 Bocola, Sandro. The Art of Modernism: Art, Culture, and Society from Goya to the Present Day. Munich, London, New York: Prestel, 1999. Cunningham, Lawrence S. and Reich, John J. Culture and Values: A Survey of the Humanities. 6th ed. USA: Thomson Learning Inc, 2006. de la Croix, H.; Tansey, R., Gardner's Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980. 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. s]OrL tfgfdL, zLif{s/lxt, !(&!, sfuhdf sf]nfh ed. Oxfordshire, England: Andromeda Oxford Ltd. 1995. vf;} cfslif{t ePsf] b]lv“b}g . oL If]qsf Harrison, Sylvia. Pop Art and the Origins of Post-Modernism. Cambridge University Press. snfsf/x¿n] cfw'lgs snfsf cGo wf/x¿, 2001. h:t} M 3gjfb (Cubism), cltoyfy{jfb Livingstone, M., Pop Art: A Continuing History, New York: Harry N. Abrams, Inc., 1990. (Surrealsim) , cleJo~hgfjfb Piper, David. The Illustrated History of Art, (Expressionism), cd"t{ cleJo~hgfjfb ISBN 0-7537-0179-0, p486-487. (Abstract Expressionism) cflb snf Stokstad, Marilyn. Art History: A View of the West. Volume One and Volume Two. 3rd ed. New z}nLnfO{ cfTd;ft\ u/] tfklg kk Jersey: Pearson Education, Inc. 2008. cf6{nfO{ Tolt cg';/0f u/]sf] b]lv“b}g . o;f] x'g'k5fl8 ;DejtM kk cf6{sf] laulauL x'“bf tfsf t];|f] ljZjsf oL d'n'sx¿sf] df}lns Pjd\ k/Dk/fjfbL ;+:s[ltnfO{ kfZrfTo ljZjsf] …kk sNr/Ú n] 5'g kfPsf] lyPg . k/Gt' o; ;Gbe{df Pl;ofnL d'n's hfkfgnfO{ eg] ckjfbsf ¿kdf lng'kg]{ x'G5 . hfkfgL kk cf6{ klg gjLGb|dfg /fhe08f/L cd]l/sL kk cf6{s} xf/fxf/Ldf cufl8 gjLGb|dfg /fhe08f/L lrq l;h{gfsf cltl/St l;h{gf cfPsf] oyfy{nfO{ gsfg{ ;ls“b}g . sn]h ckm kmfOg cf6{;\df snf Oltxf; ljifo cWofkg ;Gbe{ ;"rL u5{g\ / snfaf/] n]V5g\ klg . pgLåf/f lnlvt ‘kfZrfTo snf M ;ª\lIfKt Oltxf; -klxnf] efu_’ k|sflzt Adams, Laurie Schneider. A History of Western Art. 3rd ed. New York: McGraw-Hill, 2001. eO;s]sf] 5 eg] o;} k':tssf] bf];|f] efu k|sfzf]Gd'v Arnason, H. History of Modern Art: Painting, 5 . l;h{gf sn]h ckm kmfOg cf6{;\åf/f k|sflzt …lrqsnfÚ Sculpture, Architecture, New York: Harry N. zLif{ssf] k':tssf] n]vg tyf ;Dkfbg sfo{df klg pgsf] Abrams, Inc. 1968. ;+nUgtf /x]sf] 5 .

sirjanĀ 97 kf}efMlrq — zlSt u0f]z, c7f/f}“ ztfAbL, &$ ;]= ld X %! ;]= ld=, /fli6«o snf ;ª\u|xfno, eStk'/

sirjanĀ 98 y/L y/Lsf k6lrq

8f= h'g' af;'snf /l~htsf/ n]v;f/ sk8fdf n]lvPsf] lrqnfO{ ;+:s[t / g]kfnL efiffdf ‘k6lrq’, g]kfnefiffdf ‘kf}efM’ / ltAatL efiffdf ‘yfGsf’ elgG5 . sk8fsf cfsf/ k|sf/ / lrq n]Vg] ljz]iftfsf cfwf/df k6lrqnfO{ ;ft k|sf/df ljefhg ug{ ;lsG5 — kf}efM lrq, k6d08n, lan+kf}, wls+lrq, xlnk6lrq, ufl5sf lrq / Onf+ lrq . kf}efM lrq eGgfn] rf/kf6] sk8fdfly b]jL b]jtf, wfld{s cg'i7fg, ;dfhdf 3l6t P]ltxfl;s 36gf ljz]ifsf] ;+:d/0f, ;fdflhs cj:yf / k|fs[lts tyf dfgjåf/f lgld{t b[Zo cflb ;DaGwL lrq0fnfO{ elgG5 . k6d08ndf sk8fdf d'Vo b]jtfnfO{ s]Gb|df /fv]/ HofldtLo cfsf/x¿df ;;fgf b]jtfx¿sf] lrq agfpg] jf HofldtLo cfsf/x¿df /ª dfq k|of]u ul/G5 . lan+kf} k|foM #–$ xftb]lv *–!) xft jf !@ xft;Dd nfdf] x'G5 / o; k4ltdf sk8fdf P]ltxfl;s 36gfj|md, kf}/fl0fs syf, cjbfg tyf hftssyfx¿nfO{ lrqsyfsf ¿kdf ptfl/G5 . wls+lrq eGgfn] lrq ;lxtsf] sk8fnfO{ cfudsf]7fsf] 9f]sfdf /flvg] lrq eGg] a'lemG5 . wls+lrqdf ;fª\s]lts lrx\g jf b]jLb]jtfsf lrq x'G5 . xlnk6 lrq eGgfn] lnª\uf]df em'G8\ofOg] lrq ;lxtsf] sk8f eGg] a'lemG5 . ufl5sf lrq eGgfn] b]jLb]jtfsf /ydf /fv]/ hfqf ug]{ a]nf /ysf] k5fl8tk{m /flvg] lrq ;lxtsf] sk8fnfO{ elgG5 . Onf+lrq eGgfn] /ydf /fv]/ b]jLb]jtfsf] hfqf ug]{ a]nf /yleq b]jtfsf] dfly /flvg] lrq ;lxtsf] sk8f eGg] a'lemG5 . ufl5sf lrq / Onf+ lrq b'j}df h'g b]jtfsf] hfqf ul/g]] xf], ;f] b]jtfnfO{ ;fª\s]lts cfsf/ jf dfgjLo :j¿kdf lrq0f ul/G5 . k6lrqsf] cy{ / kl/efiff -bf;, k[= %^*_ . ctM yfGsf eGgfn] …k6Ú zAbsf] cy{ ;+:s[t efiffdf sk8f ;dtn :yfgdf lrq n]Vg' eGg] a'lemG5 . xf] -cfK6], k[= %^$_ . sk8fdf n]lvPsf] o; cy{df ;dtn sk8f, sfuh, leQf, lrqnfO{ ;+:s[t efiffdf …k6lrqÚ elgG5 . e'FO cflb nufot cGo ;txdf agfOPsf] s'g} klg k"hgLo b]jLb]jtf / JolSt, j:t' lrqnfO{ …yfGsfÚ elgG5 . ltAatL jf :yfgnfO{ sk8fdf lrq ptfg'{ g} k6lrq zAbsf]zcg';f/ sk8f jf sfuhdf xf] . sk8fdf n]lvPsf] wfld{s lrqnfO{ n]lvPsf] b]jtfsf] lrqnfO{ …yfg\ s'Ú jf g]jf/x¿n] …kf}efMÚ / ltAatLx¿n] …s' yfgÚ elgG5 -pxL, k[= %^*_ . o;af6 …yfGsfÚ eG5g\ . ltAatL zAbsf]zdf sk8f jf sfuhdf dfq b]jtfsf] lrq yfGsfsf] cy{ …;Dd k/]sf]Ú jf …lrqÚ xf] n]Vg'nfO{ …yfGs'Ú elgG5 . ltAatL

sirjanĀ 99 zAbsf]zcg';f/ …yfg\Ú sf] cy{ …;Dd wfld{s cg'i7fg, ;dfhdf 3l6t P]ltxfl;s k/]sf] ;txÚ / …s'Ú sf] cy{ …/x:odoÚ jf 36gf ljz]ifsf] ;+:d/0f, ;fdflhs cj:yf …u'x\oÚ xf] -pxL, k[= %^*_ . o; cy{n] / k|fs[lts tyf dfgjåf/f lgld{t b[Zo ;Dd k/]sf sk8f, sfuh, leQf, e'OF cflb cflb ;DaGwL lrq0fnfO{ elgG5 . …kf}efMÚ nufot cGo ;txdf /x:odoL jf u'x\o jf zAbnfO{ ljleGg n]vsn] km/s km/s cy{ k|tLsfTds lrq /rgf ug'{nfO{ …yfGs'Ú eGg] nufPsf 5g\ . k|tfkflbTo kfnn] kf}efM a'emfpF5 . yfGs' cke|+z eO{ …yfGsfÚ ePsf] zAb b'O{ cf]6f ;+:s[t zAb …k|ltdfÚ / b]lvG5 . t/ leQf jf e'OFdf /x:odo jf …k|efÚ af6 ag]sf] cg'dfg u/]sf 5g\ . u'x\o b]jtf n]lvPsf]nfO{ yfGsf elgPsf] pgsf cg';f/ …k|ltefÚ sf] cy{ …lrqÚ / kfOFb}g . sk8fdf n]lvPsf] lrqnfO{ dfq …k|efÚ sf] cy{ …k|sfzÚ xf] . kf}efM wfld{s yfGsf elgPsf] kfOG5 . t/ klZrdfx¿n] lrq xf] / of] pHofnf] / 6lNsg] ;txdf sk8fdf wfld{s lrq n]lvPsf]nfO{ …6+sfÚ agfOG5 . kf}efM ljwfdf snfsf/x¿n] nfdf] eGg] u5{g\ -afª\ub]n, k[= #*_ . pgLx¿n] ;dob]lv k|ltdfnIf0f zf:qcg';f/ wfld{s yfGsf (Thanka) df …yÚ pRrf/0f gu/L lrqx¿ lrq0f ub}{ cfPsf 5g\ To;sf] cNk k|f0f …tÚ pRrf/0f u/]sfn] -kfn, k[= ^%_ . l8NnL/d0f /]UdLn] yfGsfsf] ;6\6f …6+sfÚ zAb k|of]u u/]sf] kf}efMnfO{ k|efd08n zAbsf] cke|+z ePsf] b]lvG5 . pNn]v u/]sf 5g\ -/]UdL, k[= (*%_ . s]xL ljåfg\n] …k6–e6\6f/sÚ af6 cke|+z eP/ sk8fsf] cfsf/ k|sf/ / lrq n]vgsf] kf}efM ePsf] dfg]sf 5g\ . …e6\6f/sÚ eGgfn] ljz]iftfsf cfwf/df k6lrqnfO{ ;ft k"hf ug{ of]Uo xf] -cfK6], k[= &@(_ . k"hf ug{ lsl;ddf ljefhg ug{ ;lsG5 . tL x'g\ — of]Uo JolSt jf j:t'nfO{ sk8fsf] kqdf != kf}efM lrq n]lvg] ePsfn] …kq–e6\6f/sÚ elgPsf] x'g @= k6d08n ;S5 . kq–e6\6f/saf6 …k|lte/f8Ú jf #= lan+kf} …klte/f8Ú zAbx¿ ePsf] cg'dfg $= wls+lrq ul/Psf] 5 . ;g\ !&)# -g]= ;+= *@$ %= xlnk6 lrq r}q z'Sn k~rdLsf] lbg_ df k|lti7f ul/Psf] k6lrqdf b'O 7fpFdf …k|lte/f8Ú / ^= ufl5sf lrq Ps 7fpFdf …k|lte/fÚ zAbx¿ k|of]u ePsf &= Onf+ lrq 5g\ -kGt, k[= @)!_ . ;g\ !&(& -g]= ;+= kf}efM lrq (!*_ sf] kf}efMdf …k|lte/f8Ú / …k|ltjfxf/ k|ltdfÚ zAbx¿ k|of]u ePsf] kfOPsf] 5 …kf}efM lrqÚ rf/kf6] sk8fdfly b]jLb]jtf, -lrQw/, k[= !$$_ . a]lNhod k'u]sf]

sirjanĀ 100 kf}efMlrq — g[ToZj/ -lzjzlSt_, !^%(, ($ ;]= ld X ^* ;]= ld=, /fli6«o snf ;ª\u|xfno, eStk'/

sirjanĀ 101 g]kfnL kf}efM lrqdf …klte/fbÚ zAb k|of]u …kf}Ú / …e/f8Ú ldn]/ ag]sf] b]lvG5 . oxL ePsf] 5 -pxL, k[= !$%_ . oL b'O{ kf}efMdf …klte/f8Ú / …kt–e/f8Ú zAbx¿df ePsf] k|of]u ePsf zAbx¿df …k|lte/f8Ú zAbeGbf …e/f8Ú zAb cke|+z eP/ …ef/Ú ePsf] x'g …klte/fbÚ zAb ldNg cfPsf] Oltxf;ljb\ ;S5 . …ktÚ sf] …kf}Ú / …e/f8Ú sf] …ef/Ú af6 dx]z/fh kGtn] atfPsf 5g\ …kf}–ef/Ú x'g] k|an ;Defjgf 5 . -cGt/jftf{ M dx]z/fh kGt_ . h'4/Tg …kf}–ef/Ú af6 klg cke|+z eP/ …kf}efMÚ zAb ah|frfo{ / ab|L/Tg ah|frfo{x¿n] klg ag]sf] x'g ;S5 . k|]ddfg lrqsf/sf kf}efMnfO{ …k|lte/f8Ú zAbsf] k|of]u u/]sf cg';f/ kqdf ljleGg ljlw ckgfO{ n]lvg] 5g\ -ah|frfo{, k[= !! / ah|frfo{, k[= @_ . lrqnfO{ …kf}efMÚ elgG5 . g]kfnefiffdf l;Uk|mb lngxf8{n] klg kf}efMsf] …kf}Ú sf] cy{ …kqÚ jf …kfMÚ -kq uGtL_ k'/fgf] zAb …klte/fbÚ g} eg]sf 5g\ xf] . …kqÚ jf …kfMÚ df ljlw k'¥ofP/ -lngxf8{, k[= #&_ . pgn] k6lrqnfO{ k"hf u/]/ ;fwgf u/L ljlwk"j{s lrqsf] …kf}jfxfÚ zAbsf] k|of]u u/]sf 5g\ -lngxf8{, dfWodaf6 ljleGg b]jLb]jtfsf lrq, cfsf/ k[= $%_ . pgn] …klte/f8Ú af6 …kf}jfxfÚ / tyf b[Zo v'nfpg'sf ;fy} zf:qcg';f/ …kf}jfxfÚ af6 …kf}efMÚ ePsf] cg'dfg u/]sf j0f{, cfo'w, d'b|f cf;g, cflbsf kljq z'4 5g\ -pxL, k[= $%_ . o;/L …klte/fbÚ zAb kq xf] . o;nfO{ …kf}Ú jf …kfMÚ klg eGg cke|+z eP/ …kf}efMÚ ePsf] cg'dfg ul/Psf] ;lsG5 . olt eJo kq, h;df b]jLb]jtfsf 5 . dfq} geO{ cEoGt/sf u'x\o lrq;d]t n]lvPsf] x'G5, Tof] s'g} wft' jf ;'gs} rf/kf6] cfsf/df n]lvPsf] k6lrqsf eGbf klg eJo lrqsnfsf] kq xf] nflu dfq …klte/f8Ú zAbsf] k|of]u geO{ -k+', k[= !*)_ . …kq e6\6f/sÚ nfO{ dNn sfndf hftssyf jf cjbfgsyfsf] nfdf] k6df g]jf/x¿n] …k6 e08f/sÚ eGg] uy]{ . lrqsyf n]lvPsf]nfO{ klg k|of]u ePsf] zflGt/Tg tfd|fsf/n] …kq e08f/sÚsf] kfOG5 . aln{g Do'lhod k'u]sf] ag]kfsf] cke|+z eP/ …kf}efMÚ ePsf] cg'dfg kf/fjt dxfljxf/sf] ;g\ !*#& -g]= ;+= (%*_ u/]sf 5g\ -tfd|fsf/, k[= @!_ . o;/L sf] ljZjGt/ hftssyfdf cfwfl/t k6df ljleGg JolSt, dNn sfnsf / zfx sfnsf n]lvPsf] lrqsyfsf] clGtd lrqsf] d'lGt/ kf}efMx¿df kf}efM zAbnfO{ km/s km/s …k|lte/f8Ú zAbsf] pNn]v 5 -lngxf8{, cy{ /x]sf] kfOG5 . t/ s'g zAb ;To k[= @@, lrq *%–*%_ . ;g\ !&(& xf] eGg] lglZrt ul/Psf] kfO“b}g . l;Uk|mb -g]= ;+= (!*_ d} k|of]u ePsf] …k|ltjfxf/ lngxf8{n] eg] h:tf] klte/f8af6 …kf}afxfÚ k|ltdfÚ zAbn] …ljxf/sf] lrqk6Ú eGg] / …kf}jfxfÚ af6 …kf}efMÚ zAb c¿ zAbsf] a'emfpF5 . g]kfnefiffdf kqnfO{ …kf}Ú eGg] t'ngfdf glhs klg b]lvG5 . lsgeg] ul/G5 . …klte/f8Ú, …kt–e/f8Ú zAbx¿

sirjanĀ 102 klte/f8 eGgfn] kqdf u'x\o b]jtf, h'g kf}efM lrqsf] prfO a9L x'G5 . kf}efM lrq axfndf k|bz{g ul/g] eGg] a'lemG5 . rf}8fO nfdf] ePsf] clxn];Dd kfOPsf] klte/f8nfO{ g]jf/x¿n] 5f]6\ofP/ kf}, 5}g\ -lrqsf/, k[= #_ . af}4 Kff}efM lrqsf axfnsf] kf} ePsf]n] af]nLrfnLdf kf}jfxf ljifoj:t'x¿ ljleGg lsl;dsf /x]sf ePsf] b]lvG5 . kf}afxfsf] klg cke|+z g} 5g\ . tL ljifoj:t'nfO{ dLgaxfb'/ zfSon] kf}efM ePsf] b]lvG5 . ;g\ !*## ;ft efudf ljefhg u/]sf 5g\ — -g]= ;+= (%$_ cyf{t\ eLd;]g yfkfsf] != a'4sf] hLjgL / pgsf k"j{hGdx¿ ;do;Dd klg k6df n]lvPsf] lrqnfO{ @= a'4x¿ / af]lw;Îjx¿ …k|lte/f8Ú zAbsf] k|of]u ePsf]n] …kf}efMÚ #= Oi6b]jtf jf WofgL b]jtfx¿ zAb slxn] b]lv k|rngdf cfPsf] xf], olsg ¿kdf eGg ufx|f] 5 . $= 8fs / 8flsgLx¿ %= wd{kfnx¿ kf}efMdf k|foM af}4 tyf lxGb' b]jLb]jtf a9L ^= d08nx¿ dfqfdf lrq0f ul/Psf] kfOG5 . oL lrqx¿ cfWoflTds 1fgsf cfwf/df lrq0f &= wd{rj|m lrq -zfSo, k[= %%_ ul/G5g\ . kf}efM lrq dlGb/, ljxf/, alxn, kf}efMdf d'Vo b]jtfnfO{ lar efudf 7'nf] d7, k"hf sf]7f cflb :yfgx¿df wfld{s cfsf/df / ;xfos b]jtfx¿ ;;fgf cg'i7fg jf k"hf ug{ / wd{b]zgf jf cfsf/df jl/kl/ /fv]/ lrq ;+of]hg b]jLb]jtfsf cfWoflTds 1fg lbg, cfgf ul/Psf] x'G5 . kf}efM lrq lglZrt zf:qLo s'nk'qx¿nfO{ bLIff lbg / ;f+;fl/s lgodleq a;]/ agfOg] wfld{s lrq x'gfn] b'Mvaf6 d'lSt kfpg jf lgjf{0fdf k'Ug o;df s'g b]jtf sxfF, s'g cj:yfdf, sqf] agfOG5 . kf}efM lrq ljxf/sf] cfudsf]7f, cfsf/df /fVg], s:tf] ¿k /ªsf] agfpg] ljxf/, dlGb/ tyf 3/ 3/df em'G8\ofOPsf] eGg] s'/f klxn] g} lgwf{/0f ul/Psf] x'G5 . kf}efM lrqdf wfld{s syf lrq0f x'G5 . To;kl5 dfq lrq sf]g]{ sfo{ x'G5 . gu/L b]jLb]jtfsf nIf0f, d'b|f / efjnfO{ kl5Nnf] sfnsf kf}efMdf lrqsf] ;tx b'O{ dfq lrq0f ul/G5 . efudf ljefhg ul/Psf] kfOG5 . dflyNnf] k|ltdfnIf0f zf:q / ;f}Gbo{ zf:qcg';f/ efudf d'Vo b]jtf / ;xfos b]jtfx¿sf] af}4 tyf lxGb' b]jLb]jtfsf lrqx¿ lrq0f lrq0f ul/G5 . tNnf] efu ;fgf] gfkdf ul/G5g\ . lxGb' kf}efM lrqsf t'ngfdf bftfx¿sf] lrq0f ul/G5 . kf}efM lrqdf d"n af}4 kf}efM lrq a9L kfOPsf 5g\ . kf}efM b]jtfnfO{ k"0f{ cg'xf/df b]vfOP klg cGo lrqsf] rf}8fOeGbf prfO a9L x'G5 -x6, b]jtf / dfgj ¿kx¿nfO{ cw{ d'xf/df k[= ^^_ . lxGb' kf}efM lrqsf t'ngfdf af}4 b]vfOPsf] kfOG5 . ax' lz/wf/L

sirjanĀ 103 cg'kHof]lt lrqsf/, gjb'uf{ d08n, @))%

sirjanĀ 104 b]jLb]jtfsf] lrqfª\sg ubf{ d'Vo lz/ k"0f{ /rgf ul/Psf] xf] -pxL, k[= %_ . kf}efM d'xf/df / cGo lz/ cw{ d'xf/df lrlqt lrqdf gf/L / k'?ifx¿sf] lrq0f ul/;s]kl5 kfOG5 . b]jLb]jtfsf lrq k|foM l;wf d'xf/ lrqsf] k'5f/df ltg kª\lSt hltdf h'g / ltg rf]}yfO d'v x'G5 . p2]Zo lnP/ lrq agfpg nufOPsf] xf], To; ljifodf / kl/jf/sf ljifodf tyf lrq kf}efM lrqdf cw{d'xf/ ePsf b]jLb]jtfsf n]vfpg] bDktLaf/] n]lvPsf] kfOG5 . lrq sd dfqfdf k|of]u ePsf] kfOG5 . To;df ltlyldlt ;d]t lnlka4 x'G5 . s'g} kf}efM lrqdf b]jLb]jtfsf cfFvf Ps dfq s'g} kf}efMdf /fhfsf] gfpF klg n]lvPsf] b]vfpg' lsl~rt\ cz'e 7flgG5 . tyflk x'G5 . o; k|sf/sf] k/Dk/f g]kfnL kf}efM s]xL lrqdf Pp6f dfq cfFvf b]vfOPsf] lrqdf kGw|f}F ztfAbLb]lv ;'¿ ePsf] cg'dfg klg kfOG5 . b]jLb]jtfsf d'xf/b]lv lnP/ ul/G5 . lsgeg] rf}wf}F ztfAbLsf kf}efM k|To]s cª\u, h:t} M xft, v'6\6f, sDd/ lrqdf kf}efM lrqsf] tNnf] efudf bftfx¿ cflb gfua]nL cfsf/sf x'G5g\ -lrqsf/, / lnlka4 u/]sf] kfOFb}gg\ . hlt cfh;Dd k[= $+_ . kf}efM lrq agfpg nufpg] e]l6Psf 5g\, ltgdf o:tf] k/Dk/f ;j{;fwf/0f, ohdfg cyjf bftfx¿, ltgsf rn]sf] b]lv“b}g afª\ub]n, k[= $(_ . k'¿if kl/jf/ / tfTsflns /fhf /fgL / kl/jf/sf / gf/Lsf d'xf/, zf/Ll/s agf]6, j:q / cGo ;b:onfO{ kf}efMsf] ;a}eGbf tn cnª\sf/ Tolta]nf ;dfhdf k'5f/df ;fgf] cfsf/df nx/} agfOPsf rn]sf] h:t} agfpg] k|of; u/]sf] h:tf] x'G5g\ . o:tf lrqsf] nflu 5'6\ofOPsf b]lvG5 . lrq lgdf{0fsf] ;docg';f/ v08sf] lardf o1s'08df xf]d ug{ nfu]sf], ltgsf] ¿k klg km/s x'Fb} uPsf] b]lvG5 . lardf b]jtfsf] k|ltdf /fv]/ k"hf ug{ nfu] sltko lrqx¿ ;dsfnLg eP klg km/s sf], lardf snz / cGo j:t' klg snfsf/n] agfPsf lrqsf] snfsfl/tf / /flvPsf x'G5g\ . Psftkm{ nx/} k'?if / k|:t'tLs/0fsf] leGgtf ePsf] klg b]Vg csf]{tk{m nx/} gf/Lsf lrqx¿ agfOPsf ;lsG5 . x'G5g\ eg] s'g}df gf/L / k'¿ifx¿nfO{ ldnfP/ Pp6} nx/df klg /flvPsf] kf}efM lrqx¿df d"ntM af}4 wd{ / lxGb' kfOG5 . b'j}tk{msf dflg;x¿ leqk6\l6 wd{sf] lrqfª\sg eP klg sltko kf}efM lrq lartk{m kms]{/ k|foM xft hf]8]/ gd:sf/ nf]s Jojxf/;Fu klg ;Da4 5g\ . ;g\ d'b|fdf b'j} 3'F8f 6]s]/ / s'g}df Pp6f 3'F8f !%^% df lrqfª\g ul/Psf] :joDe" tn k;f/]/ csf]{ 3'F8f dfly p7fP/ a;] hL0ff]{4f/ ;DaGwL lrqnfO{ lng ;lsG5 . sf] agfOPsf x'G5g\ . oL lrqdf cw{d'xf/ To; kf}efM lrqsf] lar efudf :joDe"sf] g} agfOPsf 5g\ . dflg;sf] d'v lrqdf :t"k v8f u/]/ To;sf] rf/}tkm{ b'?:t lgsfNg sl7g kg]{ ePsfn] g} o:tf] jf:t'sdL{x¿n] sfd ub}{ u/]sf, 7fpF 7fpFdf

sirjanĀ 105 lan+kf} — s[i0fnLnf, pGgfO;f}“ ztfAbL, @% ;]= ld X @) ;]= ld= -lrq ;f}hGo M dbg lrqsf/_

uf]/]6fx¿ / st} ;;fgf af}4 :t"k lgdf{0f k/dfy{;Tod\ . t+ nflt u[0xftLlt x'Fb} u/]sf b[Zo cª\lst 5g\ -cof{n_ . d08nd\_ . u'x\o;dfhtGqcg';f/ lrQjh|;dfg sfojfs\lrQd08n x'G5 k6d08nlrq -u'x\o;dfhtGq $.& lrQjh|k|tLsfz+ ;+:s[t zAbsf]zcg';f/ …d08nÚ eGgfn] sfojfs\lrQd08nd\_ . u'x\o;dfhtGqsf uf]n jf j[Qfsf/ xf] -cfK6], k[= &^#_ . 6Lsfsf/ rGb|sLlt{sf cg';f/ u'x\o;dfhtGqsf 6Lsfsf/ rGb|sLlt{n] df/ sfojfs\lrQsf] ;f/ ePsf]n] …d08Ú cyf{t\ cyf{t\ df/n] nflt cyf{t\ u|x0f u5{ eGg] …;f/Ú elgPsf] xf] . To;}n] d08 nflt u|x0f cy{df …d08nÚ zAb 5 egL JofVof u5{ eGg] sfojfs\lrQd08n elgPsf] xf] u/]sf 5g\ -rGb|sLlt{, k[= *(, d08M df/M -sfojflSrQfgf+ d08M ;f/+ u'XØ+ tntLlt t+ nflt u[X0fftLlt d08n+_ . …d08Úsf] sfojflSrQd08n+ tT;Dos\ k|jIofdLlt cy{ ;f/ cyf{t\ k/dfy{;To / To;nfO{ of]uM_ . o; lx;fan] …d08Ú sf] cy{ …1fgÚ nflt cyf{t\ u|x0f u5{ eGg] cy{df …d08nÚ / …nÚ sf] cy{ u|x0f ug'{ xf] . o;af6 elgPsf] 5 -pxL, k[= (^, d08+ ;f/+ d08nsf] cy{ af]lw1fg k|fKt ug'{ x'G5 .

sirjanĀ 106 xf], Tof] g} d08nrj|m xf], k~r1fg:j¿k g} ToxL xf] -x]jh|tGq, @.$.$$–$% ¿k+ zAb:tyf uGwf] /;M :kz{:ty}j r . wd{wft':jefjZr k|1o}jf]ke'Hot] .. ;}j ;xh¿kf t' dxf;'vf lbJoof]lugL . ;}j d08nrqm+ t' k~r1fg:j¿lk0fL .._ . d08n Ps 3]/fsf] ;ª\s]t xf] . d08nsf] kof{ojfrL zAb …rj|mÚ klg xf] . rj|mnfO{ uGg] lx;fan] Ps rj|m, b'O rj|m / ltg rj|m eGg ;lsG5 . ljz]if u/L :yfgnfO{ klg …rj|mÚ zAbsf] k|of]u ul/Psf] x'G5, h:t} M sforj|m, jfs\rj|m, lrQrj|m cflb . To:t} lgjf{0frj|m, wd{rj|m, ;Def]urj|m, dxf;'vrj|m cflb . o;/L x]bf{ rj|msf] cy{ ;d'Rro jf ;ª\u|x jf ;d"x xf] . d08nn] Jofkstfsf] ;ª\s]t lbG5 eg] rj|mn] ;ª\sL0f{tfsf] ;ª\s]t lbG5 . d08ndf ljleGg bfz{lgs 1fg / b]jLb]jtf 5g\ eg] rj|msf] leq s'g} j:t' jf b]jLb]jtf dfq x'G5 . …rj|mÚ eg]kl5 uf]nfsf/ dfq eGg] a'lemG5 . t/ d08nn] uf]nfsf/, cw{uf]nfsf/, lqsf]0ffTds, rt'isf]0ffTds wls+lrq cflb klg x'G5g\ -ah|frfo{, k[= !)%_ . x]jh|tGqcg';f/ ;f/ g} d08n xf] . oL ljleGg cy{sf cfwf/df d08n af]lwlrQ g} dxf;'v xf] . p;sf] cfbfg eg]sf] s'g} klg cfsf/leq ljleGg u|x0f ug'{ g} d08n xf] . Tof] g} b]jtf xf] k|tLsåf/f cfWoflTds 1fg lng] Ps -x]jh|tGq @.#.@& d08n+ ;f/ldTo'St+ dfWod xf] . af]lwlrQ+ dxT;'vd\ . cfbfg+= tt\ s/f]tLlt k6d08n b'O lsl;dsf 5g\ . klxnf] d08n+ dng+= dtd\ .._ . x]jh|tGqcg';f/ g} lsl;ddf d'Vo b]jtfnfO{ s]Gb|df /fv]/ ¿k, zAb, uGw, /;, :kz{, wd{ wft' :jefj HofldtLo cfsf/df ;;fgf b]jtfx¿ lrq0f cflb ;a} k|1fåf/f g} pkef]u ul/G5 . Tof] ul/Psf x'G5g\ . juf{sf/leqsf] ;a}eGbf g} ;xh :j¿k xf], dxf;'v xf], lbJoof]lugL leqsf] 3]/fdf d'Vo b]jtfnfO{ lrq0f

sirjanĀ 107 wls+lrq — gf;Mwls+ ul/G5 . bf];|f] lsl;ddf ljleGg HofdLlto ¿kdf lnOG5 . o;nfO{ …jh|fk'/Ú elgG5 . cfsf/x¿df /ªåf/f dfq lrq0f d08ndf tnsf] efunfO{ k"j{ dflgG5 . rf/ ul/G5 . d08ndf Pp6f juf{sf/leq ljleGg lbzfnfO{ cnu cnu rf/ /ª j[Qfsf/x¿ x'G5g\ . d08ndf aflx/L lbOG5g\ . s]Gb| efuaf6 rf/ s'gfdf rf/ /]vfb]lv lar efu;Dd ljleGg efu lbzfsf] rf/ /ªsf] l;dfgf 5'6\ofOPsf] x'G5g\ . aflx/L 3]/fx¿ ltg cf]6f clUg, x'G5 . rf/ /ªdWo] k"j{df ;]tf] jf lgnf], jh| / kb\d x'G5g\ . tL kfFr cf]6f /ªaf6 blIf0fdf kx]Fnf], klZrddf /ftf], pQ/df lrq0f ul/Psf x'G5g\ . ;a}eGbf aflx/sf] xl/of] /ª x'G5g\ . s]Gb|sf] d"n b]jtf uf]nf] 3]/fnfO{ …HjfnfjnLÚ elgG5 . o; ;]tf] jf lgnf] /ªsf] x'G5 . juf{sf/ 3]/fdf ;w}“ clUgHjfnfsf a'6\6f nofTds åf/x¿leqsf] 3]/f eg] b]jtfcg';f/ km/s tl/sfn] lrq0f ul/G5 . To;eGbf leqsf] km/s x'G5g\ . s'g}df uf]nfsf/, uf]nf] 3]/fnfO{ …jh|fjnLÚ elgG5 . o; s'g}df lqsf]0f, s'g}df rt'isf]0f, s'g}df 3]/fdf ;w}F jh|x¿ Ps} ;dfg gfkdf nx/} if6\sf]0f, s'g}df ci6sf]0f tyf s'g}df /flvPsf x'G5g\ . To;eGbf leqsf] uf]nfsf/ k"mna'6\6fsf] k|of]u u/]/ km/s uf]nf] 3]/fnfO{ …kb\dfjnLÚ elgG5 . o; km/s ¿kn] ;hfj6 / cfsf/df klg km/s 3]/fdf klg ;w}F kb\d Ps} gfkdf j|mdzM km/s ;ª\Vofdf 3]/fx¿ agfOG5g\ . /flvPsf x'G5g\ . tL ltg cf]6f 3]/fleq ;a}eGbf leqsf] 3]/fleq d'Vo b]jtfsf] lrq juf{sf/ 3]/fsf rf/ cf]6f e'hfdf rf/ agfOG5 . d'Vo b]jtf c¿ ;xfos b]jtf cf]6f åf/ x'G5g\ . ltgnfO{ rf/ lbzfsf eGbf cln 7'nf] cfsf/df ljz]if lsl;dn]

sirjanĀ 108 agfOG5 . ;a}eGbf aflx/L uf]nfsf/ 3]/fsf] ePsf]n] t'nfkf} elgPsf] xf] . of] lrq leq plrt ;Gt'ng sfod u/]/ ;xfos ljz]if kj{sf cj;/df dfq ljxf/ jf b]jtfx¿sf lrqx¿ agfOPsf x'G5g\ . aflx/ alxnsf lgbfndf s]xL lbgsf nflu uf]nfsf/ 3]/feGbf aflx/ afFsL k|bz{gLdf /flvg] ePsfn] …lan+kf}Ú klg /xg] rf/ s'gfdf klg b]jtfx¿ agfOG5g\ . elgG5 . g]kfnefiffdf lgbfnnfO{ lan+ sltko d08nlrqdf cem ;a}eGbf tn yf]/} -lgbfn_ elgG5 . s]xL ljz]if lbgdf dfq 7fpFdf d08nlrq agfpg nufpg], bfg lgbfndf k|bz{g ul/g] ePsfn] lan+kf} / ug]{ ohdfgx¿sf] k"hf kf7 ul//x]sf] To;kl5 To; lrq sk8fnfO{ a]/]/ ;fd"lxs lrq klg nx/} afofFb]lv bfofF;Dd ;'/lIft 7fpFdf /flvg] ePsfn] t'nfkf} agfpg] rng 5 . d08nlrqdf d'Vo elgPsf] xf] . o;nfO{ …tfxfkf}Ú klg b]jtf;lxt c¿ w]/} b]jLb]jtfsf ;;fgf elgG5 -cof{n_ . …tfxfÚ -nfdf]_ / cfs[ltnfO{ cfcfg} 7fpFdf lrq0f ul/Psf] …kf}}Ú ldn]/ tfxfkf} x'G5 . …tfxfÚsf] cy{ x'G5 . tL b]jtfx¿nfO{ k|ltdfnIf0fcg';f/ g]jf/ efiffdf nfdf] / …kf}Ú sf] cy{ kq cf;g, d'b|f, /ª / :yfg lrq0f ul/G5 . xf] . nfdf] kq ePsfn] tfxfkf} elgPsf] xf] . dlGb/df klg 6fFlug] ePsfn] ;a} b]jtfsf plrt :yfg u|x0fsf nflu …tf]n+kf}Ú -6'F8fndf /flvg] kq_ klg eGg] HofdLlto cfsf/sf] k|of]u ul/Psf] x'G5 . ul/G5 -lrqsf/, k[= #_ . cd[tfgGbsf] j|mf]wL b]jtf 5 eg] cf7 cf]6f Zdzfgsf wd{sf]z ;ª\u|xdf t'nf+kf} plNnlvt 5 b[Zo ylkG5g\ . cf7 Zdzfgsf k|tLssf -kGt, k[= **_ . l;Uk|mb lngxf8{n] nfdf] / ¿kdf :t"k, kxf8, gbL, d[t z/L/, ¿v, ;fFu'/f] rf}8fO sk8fdf n]lvPsf] lrqnfO{ hgfj/, r/f / b]jtfx¿, h:t} M gfu lan+kf} eg]sf 5g\ . pgn] lan+kf}sf] b]jtf, cf7 e}/j, cf7 of]uL, ci6dft[sf k'/fgf] zAb lan+kltaf6 cfPsf] dfg]sf 5g\ b]jL / cf7 lbSkfn x'G5g\ . o; -lngxf8{, k[= $%_ . kf6g ;ª\u|xfnodf uf]nf]nfO{ …ZdzfgfjnLÚ elgG5 . /x]sf] /fhf l;l4g/l;+x dNnn] n]vfpg d08nlrqdf HofldtLo cfsf/sf] dxÎjk"0f{ nufPsf] lan+kf}df …t'nf+kltÚ plNnlvt :yfg x'G5 . d08nlrqsf vfnL :yfgx¿ 5 -lngxf8{, k[= $!_ . aln{g Do'lhoddf klg £ofFrf -3fF;_ sf a'6\6fx¿af6 el/k"0f{ k'u]sf] alGbsfk'/ -ag]kf_ dxfgu/sf x'G5g\ . kf/fjt{dxfljxf/sf] ;g\ !*#& -g]= ;+= (%*_ t'nfkf} sf] lan+kf}df clGtd lrqsf] d'lGt/ …t''nfkf}Ú zAb …t'nfÚ -a]/]/_ / …kf}Ú -kq_ …k|lte/f8Ú zAbsf] pNn]v 5 -lngxf8{, ldn]/ ag]sf] xf] . …t'nfÚ sf] cy{ …a]g'{Ú / lrq *$–*%_ . o;/L hftssyf jf …kf}Ú sf] cy{ …kqÚ xf] . kq a]/]/ /flvg] cjbfgsyfnfO{ nfdf] k6df lrqsyf

sirjanĀ 109 n]lvPsf]nfO{ lan+kf}, t'nfkf}, t'nf+kf}, wls+nfO{ …wls+lrqÚ elgG5 . wls+lrqdf lan+klt, tfxfkf}, tf]n+kf}, t'nf+klt / ;fª\s]lts jf b]jLb]jtfsf] lrq k|lte/f8 cflb k|of]u ePsf] kfOG5 . x'G5 . wls+lrq sf]7fsf] 9f]sfsf] gfk / lnlb|of Pl/Pg / n}gl;+x afª\b]nn] lrq} b]jtfcg';f/ km/s km/s x'G5g\ . wls+lrq lrqn] syf ptfl/Psf] t'nfkf}nfO{ k6lrq bLIff lnPsf lrqsf/x¿n] dfq agfpg eg]sf 5g\ -afª\ub]n, k[= %^ / Pl/og, kfOG5 . of] lrq agfpFbf bLIff glnPsf k[= @!*_ . k6lrqn] t'nfkf} afx]s cGo JolStx¿nfO{ x]g{ lgif]w x'G5 . of] lrq sk8fdf wfld{s lrq n]lvPsf]nfO{ klg agfpFbf lg/fxf/ jf s'g} k"hf ljlw hgfOG5 . To;sf/0f lnlb|of Pl/Pg / ckgfpg gkg]{ s'/f To; sfo{df ;+nUg n}gl;+x afª\b]nn] eg] h:tf] t'nfkf}nfO{ sf7df8f}F df;+uNnLsf g/]Gb| lrqsf/n] dfq k6lrq eGg' o'lSt;ª\ut x'“b}g . atfPsf 5g\ -cGt/jftf{ M g/]Gb| lrqsf/_ . wls+lrq :yfgcg';f/ klg km/s t'nfkf} #–$ xft nfdf]b]lv *–!) jf km/s x'G5g\ . !@ xft;Dd nfdf] sk8fdf P]ltxfl;s 36gfj|md, kf}/fl0fs syf, cjbfg / ljxf/, alxn, dlGb/ / 3/sf cfu+sf]7fdf hftssyfx¿nfO{ lrq} lrqn] syfdf ptf/]/ ;ª\3 jf 3/sf dflg; afx]s cGo a]l/Psf] x'G5 . of] !@ b]lv !* OGr;Ddsf JolStsf nflu lgif]w ul/Psf] x'G5 . To; rf}8fO / nDafO syfcg';f/ x'G5 -zfSo, sf]7fdf :yfkgf ul/Psf b]jtfnfO{ k[= @)_ . aflx/af6 gb]lvg] u/L k|j]zåf/df lrq s]xL t'nfkf} #) lkm6 nDafO;Ddsf] 5 t/ n]lvPsf] wls+ ´'G8\ofOPsf] x'G5 . rf}8fO eg] @ lkm6eGbf a9L x'G5 -kfn, cfudsf]7fdf klg k6lrqsf] k|of]u k[= !%_ . t'nfkf}df dflytk{m lrqx¿ x'G5g\ ul/G5 . o;nfO{ …cfu+wls+Ú elgG5 . eg] lrqsf] l7s d'lg lrqaf/] n]lvPsf] cfu+wls+ sf7df8f}F, kf6g / eStk'/df dfq x'G5 . t'nfkf} kf}efM lrq h:tf] 7f8f] / km/s km/s geO{ sf7df8f}Fd} dflyNnf] d'Vo b]jtfnfO{ dfq s]Gb|df geO{ lelQlrq 6f]n / tNnf] 6f]ndf klg km/s km/s h:tf] lrqx¿ z[ª\vnfa4 tl/sfn] /x]sf 5g\ . sf7df8f}Fdf k|of]u ul/g] /flvPsf x'G5g\ . lrq / lnlka4 cfu+wls+sf] ;a}eGbf dfly e}/jsf] k|tLs ul/Psfn] bz{sx¿sf nflu of] w]/} g} ltg cf]6f 6fpsf] / tL e}/jsf 6fpsf]sf k|efjsf/L x'G5 . lardf b'O{ cf]6f sj+rfM -sª\sfn_ x'G5 . wls+lrq oL kfFr} cf]6f 6fpsfdf uf -k5\of}/f_ x'G5 . tL 6fpsf d'lg /ftf] / lgnf] /ªsf b'O{ b'O{ ‰ofn jf 9f]sfdf /flvg] kbf{nfO{ cf]6f sdnsf k"mnx¿ tyf lardf 5q g]jf/ efiffdf …wls+Ú elgG5 . lrq;lxtsf] x'G5 . tL k"mnx¿sf tn kbf{ x'G5 . oL

sirjanĀ 110 x'G5 . oL b'O{ hgfj/sf lar Wjh ;lxtsf] af} -cf};fgL_ /flvPsf] x'G5 . af}sf] b'j} lt/ uf]hf -lehfOPsf] lrp/fsf] r}To h:tf] cfsf/_ x'G5 . cfu+wls+df lxGb'x¿n] jh|sf] ;6\6f v8\u n]V5g\ . cfu+wls+sf] lrq rf/} lt/ sj+ / e}/jsf 6fpsfx¿ n]lvPsf x'G5g\ . cfu+wls+ n]lv;s]kl5 h;n] agfpg nufPsf] xf], To; kl/jf/n] snMk"hf -efsn u/]sf] k"hf_ lnP/ lrqsf/sf] 3/ cfpF5g\ . To; snMk"hfn] cfu+wls+df k"hf ul/G5 . k"hf ;DkGg ePkl5 lrqsf/n] cfu+wls+df b[li6 lbOG5 . of] k"hf ;DkGg u/L b[li6 /flv;s]kl5 cfu+wls+ s;}n] klg x]g'{ x'Fb}g eGg] hgljZjf; /x]sf] 5 . klxnf wls+lrq n]Vg nufpFbf wls+lrq n]Vg nufpg]n] ;aeGbf klxnf cfu+BMnfO{ Ps efu xlnk6 lrq 5'6\ofP/ lrqsf/ / cfk"mx¿n] klg lrqsf d'lg bfofF afofF rGb| / ;"o{, ;do\alh vfg] ul/GYof] . cfhsn of] /ftf] / lgnf] sdnsf] k"mn lardf x'G5g\ . rng x/fO;s]sf] 5 . oL lrqsf d'lg bfofF afofF HjnfGxfo\s+ / wls+lrq cfudsf]7fdf dfq geO{ gf;MBM l;Gxd", lardf b'O{ hgf dxf/fh h:tf -g[ToZj/nfO{ dfgjLo ¿ksf] ;6\6f /xG5g\ . oL lrqsf tn gf;BM ;fª\s]lts lrx\gdf ltg g]qsf k|tLs ltg -g[To]Zj/sf] k|tLs_ sf] ltg g]q, g]qsf] cf]6f Kjfnx¿ x'G5g\ . o;nfO{ g]jf/x¿ tn lardf uf -k5\of}/f_, ufsf] d'lg jh|, …gf;MBMÚ elgG5 . g]jf/x¿sf] a:tL ePsf o;sf] d'lg bfofF afofF kfq x/]s 6f]ndf of] :yfkgf ul/Psf] x'G5 . ;dfO/fv]sf] xft, o;sf] tn lardf sf7df8f}Fleq alQ; 6f]nsf Hofk"x¿n] snzdfly st[kfq, snzsf] bfofF afofF x/]s jif{ gf;MBMsf] k"hf ug{ wls+lrq sfsfl5 cyf{t\ sfsf:of -sfu_ / pNsfl5 agfpg nufpg] u5{g\ . o;nfO{ cyf{t\ pNsf:of -;'uf_ d'v ePsf] x'G5 . g]jf/x¿ …gf;Mwls+Ú elgG5 . gf;Mwls+df sfsf:ofsf] d'lg :ofnn] v'6\6f vfO/x]sf] ;a}eGbf dfly sj+rf kfFr cf]6f, lgnf] / / pNsf:ofsf] d'lg s's'/n] xft vfO/x]sf] /ftf] sdnsf k"mnx¿ rf/ cf]6f

sirjanĀ 111 ufl5sf lrq Onf+lrq n]lvPsf x'G5g\ . oL lrqx¿sf d'lg bfofF / vKk/, ktfM, bfofF afofF lgnf] / /ftf] afofF rGb| ;"o{, g[To]Zj/sf] k|tLs ltg k"mn, To;sf] tn ltg g]q, To;sf] tn g]q ;lxtsf] ltg 7fpFdf, lardf /ftf] / lardf v8\u, bfofF afofF laGb' d'b|f / kfq lgnf] sdnsf k"mnx¿ n]lvPsf x'G5g\ . oL ;dfPsf] xftsf] hf]8L x'G5 . o;sf] bfofF lrqsf tn ltg g]qsf] d'lg ufrf] ;lxtsf] afofF uf]hf x'G5 . ltg cf]6f lqz"n, sdnsf] k"mnd'lg ceo d'b|f, ;aeGbf tn ;;fgf uf]hf x'G5g\ . xlnk6 lrq gf;MBMdf wls+lrq aln lbgsf nflu ljz]iftM lnª\uf]df em'G8\ofOg] k6nfO{ k|of]u ul/G5 . gf;MBMsf] cufl8 aln …xlnk6Ú elgG5 . lnª\uf] p7fpg] rng r9fpg gx'g] ePsfn] gf;MBMnfO{ ePsf] g]jf/ a:tLx¿df lnª\uf] p7fpg] wls+lrqn] 5f]k]/ dfq aln lbg] hfqfsf] cjlwdf dfq lnª\uf]d} xlnk6 ul/G5 . o;/L gf;MBMdf aln lbgsf nflu lrq klg kmx/fOG5 . of] s]xL ;dosf] wls+lrqsf] k|of]u ul/g] :ki6 x'G5 . nflu -Ps lbg / sf7df8f}Fdf OGb|hfqfsf] x/]s jif{ aln lbgsf nflu gofF wls+lrq cjlwe/ jf cf7 lbg_ dfq lnª\uf] clgjfo{ ¿kdf agfpg'k5{ . p7fp~h]n;Dd dfq k|bz{g ul/G5 . 5f]6f] cjlwsf nflu dfq kmx/fOg] x'gfn] xlnk6 afx| jif{df Ps k6s d[0dod"lt{ agfpg] lrqaf/] c¿ lrqsf] h:tf] cWoog ug{ j|mddf ljZjsdf{sf] k|tLssf ¿kdf ;lhnf] 5}g . xlnk6df rGb| ;"o{ jf wls+lrq agfOG5 . afx| jif{df k|of]u ul/g] u0f]z / s'df/;lxt b]jtfsf k|tLs ljZjsdf{sf] wls+lrq dfly sdnsf k"mnx¿

sirjanĀ 112 lrx\gx¿ jf ci6dª\un lrx\gx¿, st} st} dfGotfn] ubf{ tL xlnnk6 lrq £ofDkf]leq ci6lbUkfn cyjf b; lbUkfnsf k|tLs g} s'lxP/ w'nf] eP/ hfG5g\ . To;}n] ubf{ lrx\gx? agfOg] s'/f g/]Gb| lrqsf/n] xlnk6 lrqsf] P]ltxfl;stf / o;af/] uxg atfPsf 5g\ -cGt/jftf{ M g/]Gb| cWoog ug{ d'l:sn 5 . tyflk xlnk6 lrqsf/_ . clkt' :yfgcg';f/ lrqx? klg lrqn] xfn;Dd klg lg/Gt/tf g} kfO/x]sf] km/s km/s x'G5g\ . x/]s jif{ eStk'/sf] 5 . la:s]6 hfqfdf kmx/fOg] xlnk6 lrqdf ;a}eGbf dfly l;+xsf] lrq, l;+xn] Wjhf xlnk6 lrq rf}8fO sk8f a'Gg]x¿df e/ af]s]sf], o;sf] tn j|mdzM e}/j, u0f]z, k5{ . o;sf] nDafO eg] sl/a @$ lkm6 rj|m, >LjT;, sdnsf] k"mn, Wjhf, snz, hlt x'g] g/]Gb| lrqsf/n] atfPsf 5g\ . rfd/, df5f, 5q, zª\v, a]tfn -e}/jsf] eStk'/sf] la:s]6 hfqfdf lnª\uf]df jfxg_ / dn -;k{ jf 8«fOug h:tf]_ sf kmx/fOg] b'O{ cf]6f xlnk6 lrqdWo] Pp6f lrq /x]sf 5g\ -hª\ud, k[= !&–!*_ . $* lkm6 nDafO / csf]{ $% lkm6 nDafO x/]s jif{ sf7df8f}Fdf OGb|hfqfsf] cjlwdf tyf rf}8fO eg] @! OGrsf] x'G5 -pxL, 78\ofOg] lnª\uf]df eg] ;a}eGbf dfly k[= !&–!*_ . k6df nufOPsf] c:t/ s'df/, To;kl5 j|mdzM >LjT;, sdnsf] -k|fOd/ x\jfO6_ ;'s]kl5 s'g lrq agfpg] k"mn, Wjhf, snz, rfd/, df5f, 5q, xf], ;f]xLcg';f/sf] /]vfª\sg u/]/ /ªx¿ zª\v, ;'uf, rj|m, jh|, ;"o{, v8\u, 306f, el/G5g\ . cGTodf afx\o /]vfx¿ u|Gy, cflb :ki6 b]lvG5g\ . To;kl5sf sf]l/G5g\ . xlnk6 lrqdf klg c¿ lrqdf lrqk6 a]l/Psf] x'gfn] ToxfF s] s] cª\lst h:t} kfFr cf]6f /ª g} k|of]u x'G5 . 5g\, eGg ;lsGg . lnª\uf] 9fln;s]kl5 xlnk6 lrq klg u'l7of/x¿n] nfg] ufl5sf lrq ul/G5 . xlnk6 lrq lnª\uf] p7fpg] a]nf sf7df8f}F pkTosfdf x/]s jif{ s'g} lglZrt afx]s cGo a]nf k|b{zg gul/g] / a]l/Psf] lbg jf s]xL lbg b]jL b]jtfsf] hfqf xlnk6 lrq vf]Ng gx'g] lgodn] ubf{ klg ug]{ k/Dk/f /x]sf] 5 . hfqf ug]{ a]nf o;af/] uxg cWoog ug{ d'l:sn 5 . s'g} b]jtfnfO{ v6df /flvG5 / v6nfO{ bftfn] gofF xlnk6 lrq kmx/fpg] OR5f af]s]/ lglZrt :yfgx?df 3'dfpg] rng ePdf ;f]xL xlnk6 lrq g} kmx/fOG5 . /lxcfPsf] 5 . o;/L b]jtf v6df /fv]/ k'/fgf xlnk6 lrq / gofF xlnk6 lrq ;a} hfqf ug]{ a]nf v6sf] k5fl8tk{m sk8fdf u'7Lsf] £ofDkf]df ;'/lIft /flvPsf x'G5g\ . h'g b]jtfsf] hfqf ul/Psf] xf] ;f] b]jtfsf] ;a}eGbf kl5sf] xlnk6 lrqnfO{ dfq lrq jf k|tLsfTds lrx\g n]lvPsf] x'G5 . lnª\uf]df kmx/fOG5 . £ofDkf]df ePsf] pSt lrq;lxtsf] sk8fnfO{ …ufl5sf lrqÚ xlnk6 lrqnfO{ aflx/ lgsfNg' x'Fb}g eGg] elgG5 . of] lrq sk8fdf l;w} n]lvG5 .

sirjanĀ 113 Onf+ lrq lrqsf/, cd/, k/Dk/fut / cfw'lgs lrqsnfsf] Ps ´ns, sf7df8f}“ M g]kfn /fhsLo ufl5sf lrq v6sf] k5fl8 /flvG5 eg] k|1f–k|lti7fg, lj=;+= @)#$ b]jtfsf] k|ltdf /flvg] v6sf] leqk6\l6 lrQw/ …x[boÚ, g]kfn efiff ;flxToof hftM, dflylt/ /xg] lrq;lxtsf] sk8fnfO{ …Onf+ sflGtk'/M g]kfn efiff kl/ifb\, g]= ;+= !)(! lrqÚ elgG5 . o;df klg sk8fdf b]jtfsf] lrq jf ;fª\s]lts lrq n]lvG5 . o;df hª\ud, e/tdl0f, …xlnk6 lzjWjhf xf], gfugflugL xf]Og, k[= !&–!*,Ú vf]k[ª, lj=;+= @)^^, klg ufl5sf lrqdf h:t} sk8fdf l;w} jif{ !*, cª\s !^ lrq n]lvG5 . o; lrqdf kfFr cf]6f dfq /ªsf] k|of]u ug'{k5{ eGg] 5}g . tfd|fsf/, zflGt/Tg, eStk'/ /fli6«o ;ª\u|xfnosf] kf}efMlrq Ps cWoog, :gftsf]Q/ zf]wu|Gy lgisif{ ck|sflzt, sLlt{k'/ M g]kfnL Oltxf;, ;+:s[lt / k'/ftTTj s]Gb|Lo ljefu, lj= ;+= @)%^ …k6Ú zAbsf] cy{ ;+:s[t / g]kfnL efiffdf sk8f xf] . sk8fdf n]lvPsf] lrqnfO{ kGt, dx]z/fh, …O6'+axfnsf] k|1fkf/ldtfÚ, k[= *&–#%$, k"l0f{df, !#$ k"0ff{ª\s, #$ jif{, @ cª\s ;+:s[t efiffdf …k6lrqÚ elgG5 . g]jf/x¿n] sk8fdf wfld{s lrq n]lvPsf]nfO{ …kf}efMÚ, +k'+ -lrqsf/_, k|]ddfg, k/Dk/fo\ RjHof ljlw, lsk"M ltAatLx¿n] …yfGsfÚ / klZrdfx¿n] …6+sfÚ g]kfnefiff cfsfb]ld, g]= ;+= !!@& elgG5 . sk8fsf] cfsf/ k|sf/ / lrq ah|frfo{, h'4/Tg, t'+Vof]of dxfsfnofu' ;+lIfKt n]Vg] ljz]iftfsf cfwf/df k6lrqnfO{ ;ft kl/ro, o]F M ;'gs]z/L ah|frfo{, g]= ;+= !!!* lsl;ddf ljefhg ug{ ;lsG5 — kf}efM ah|frfo{, ab|L/Tg, t'+ Vof]of dxfsfn, o]F M sfZok/Tg lrq, k6d08n, lan+kf}, wls+lrq, xlnk6 ah|frfo{, g]= ;+= !)(# lrq, ufl5sf lrq tyf Onf+ lrq . afª\ub]n, n}gl;+x, k|frLg g]kfnL lrqsnf, sf7df8f}“ M ;Gbe{ u|Gy ;"rL g]kfn /fhsLo k|1f–k|lti7fg, lj= ;++= @)#$ Arian, Lydria, The Art of Nepal, Kathmandu: cfK6], jfdg lzj/fd, ;+:s[t–lxGbL sf]z, -;g\ !(^^, Sahayogi Prakashan, 1997

k|yd ;+:s/0f / ;g\ !(^( bf];|f] ;+:s/0f_ k"gM d"lb|t, Bajracharya, Rajendra, 'Symbolic Meaning of the jf/f0f;L M df]tLnfn agf/;Lbf;, ;g\ @))& Mandala and its Significance',@%$( cf}“ a'4 hoGtL :j0f{ dxf]T;j :dfl/sf u'x\o;dfhtGq Das, Sarat Chandra, (Edi. Graham Sandberg and cfo{>Lu'x\o;dfhtGqd\ tyf cfrfo{rGb|sLlt{ A. William Heyde), A Tibetan English s[t u'x\o;dfhtGqk|bLkf] Bf]tg6Lsf if6\sf]6L Dictionary with Sanskrit Synonyms, Delhi: Motilal Banarsidass, 1983. JofVof;lxt, -cg'= lbJojh| jh|frfo{, nlntk'/ M nf]6; l/;r{ ;]G6/, g]= ;+= !!@! Hutt, Micheal, Nepal, A Guide to the Art and Architecture of the Kathmandu Valley, Gardmore: Paul Strachan-Kiscadale Ltd. 1994.

sirjanĀ 114 Lienhard, Sigfried, Die Absenteuver Des Kaufrnannns Simhala, Berlin: Museums Fur Indische Kunst, 1985.

Lienhard, Siegfried, Die Legende Vom Prinzen Visvantara, Berlin: Museum Fur Indische Kunst, 1980.

Lienhard, Siefried, The Divine Play of Lord Krishna: a Krishnalila painting from Nepal, with thirty-one poems in Newari, Bonn: VGH-Wiss.-Verl., 1995

Pal, Pratapaditya, Art of Nepal, Calfornia : The Los Angeless County Museum of Art, 1985.

Pal, Pratapaditya, The Arts of Nepal, part II, Leiden: E. J. Brill, 1978. 8f= h'g' af;'snf /l~htsf/

Regmi, Dilli Raman, Medieval Nepal, Vol. II, New 8f= h'g' af;'snf /l~htsf/ snf tyf af}4 cWoogsf Delhi: Rupa Co., 2007( 1965), Reprint. lj1sf ¿kdf kl/lrt l5g\ . Oltxf; tyf af}4 cWoog Shakya, Min Bahadur, Sacred Art of Nepal, ljefu, kf6g ;+o'St SofDk;df pkk|fWofks kbdf sfo{/t Kathmandu : Handicraft Association of Nepal, 2000. 8f= /l~htsf/ ;]G6/ km/ cf6{ PG8 l8hfOg, sf7df8f}“ ljZjljBfnodf lelhl6ª k\mofsN6L klg x'g\ . pgsf] Shakya, Min Bahadur, Paubha Painting Nepal, Fukuoka Asian Art Museum Catalouge, …rf?dlt :t"kÚ, …wDdb"tÚ / …eStk'/sf] k~rbfgÚ zLif{ssf 2nd Jan-22nd March, 2011. cg';Gwfgd"ns k':tsx¿ k|sflzt 5g\ . o; cltl/St pgsf n]v /rgfx¿ ljljw /fli6«o Pjd\ cGt/f{li6«o hg{n sfo{kq tyf kq klqsfx¿df k|sflzt 5g\ . d's'Gb/fh cof{nåf/f …g]kfnL lrqsnfsf] k[i7e"ldÚ zLif{sdf g]kfn k|1f–k|lti7fgdf k|:t't sfo{kq

sirjanĀ 115 tanf jfbg M snf, z}nL tyf k/Dk/f gu]Gb|k|;fb Gof}kfg] n]v;f/ tanf jfbgsf] k/Dk/f O:jL ;+jt\ ;qf}“–c7f/f}“ ztfAbLb]lv ;'? ePsf] dflgG5 . ljleGg sfnv08sf cg]sf}“ snfsf/sf] lg/Gt/ ;fwgfsf tyf lk“9Lkl5 lk“9Lsf u'?–lzio k/Dk/fsf] kmn:j¿k g} cfh tanfdf ljleGg 5 cf]6f ‘3/fgf’ cyf{t\ ‘afh z}nL’ :yflkt x'g ;s]sf] 5 . tanf jfbgsf] Oltxf;sf ;Gbe{df ljleGg ljåfg\x¿n] cfcfk\mg} ts{ / ljrf/ k|:t't u/]sf 5g\ . o;sf] Oltxf;sf] cWoogsf j|mddf k|frLg lrq, clen]v tyf u|Gyx¿nfO{ klg cfwf/ dfGg ;lsG5 . tanfdf ljleGg afh cyjf z}nLsf cfcfk\mg} ljz]iftfx¿ 5g\ / ltgnfO{ cg';/0f ub}{ km/s km/s z}nL / 3/fgfsf tanfjfbsx¿n] cEof; ub}{ cfPsf 5g\ . tbg'¿k g} pgLx¿n] cfk\mgf 1fg / l;knfO{ lj:tf/ ub}{ cfPsf 5g\ . ;dosf] j|md;“u} tanf jfbgsf] If]q kl/is[t Pjd\ kl/dflh{t x'“b} uO/x]sf] 5 . kl/ro tanf jfbg snfdf lbNnL, nvgp, snfsf k|fof]lus kIf Ps lk“9Laf6 csf]{ km?Vvfjfb, agf/;, ch/f8f / lk“9Ldf x:tfGt/0f x'“b} uP/ g} kl/is[t kGhfa cflb :yfgsf If]qLo k|efjnufot Pjd\ ljlzi6 z}nLsf] lgdf{0f x'G5 . oxL hg cle?lr tyf kvfjh, 9f]ns, gu8f k|lj|mofcg';f/ g} ufog, jfbg / g[To cflb jfBoGqx¿sf] k|efj /x]sf] kfOG5 . ljwfsf ljljw z}nLx¿ ljsl;t x'“b} uPsf] d"ntM tanf eg]sf] ;ª\ut jfBoGq ePsf dflgG5 . sf/0f klg tL :yfgsf ufos, uflosf, tGqsf/ tyf g[Tosf/x¿sf z}nLsf] klg z}nLsf] lgdf{0f / ljsf; k|efj o;df k/]sf] kfOG5 . snfsf s'g} klg ljwfsf z}nL lgdf{0fdf pbfx/0fsf ¿kdf tanf ;ª\utsf sf/0f snf ;fwssf] lg/Gt/sf] nug, pgsf] nvgpdf sTys g[Tosf], agf/;df 7'd/L sNkgfzLntf, pgsf] k|jt{gfTds k|j[lQ / ufogsf] k|efjsf sf/0f :jtGq tanf k|ltefsf] ;jf]{kl/ e"ldsf /x]sf] x'G5 . o; jfbgdf ltgsf] k|efj k/]sf] dfGg cltl/St :yfgLo Pjd\ If]qLo ;+:s[ltsf] ;lsG5 . k|efj, hg cle?lr tyf ;dsfnLg snfsf/sf] ;+;u{sf] k|efj klg z}nLsf] O:jL ;+jt\ ;f]x|f}“ ztfAbLsf lrqx¿df ljsf;df 7'nf] ;xfos /xG5 . oxL oyfy{ g[Tosf] ;fydf tanf jfbg ub}{ u/]sf tanf jfbgsf] z}nLsf] ljsf;df klg nfu' b[Zox¿ cª\lst 5g\ . sK6fg ljn8{sf] x'G5 . pNn]vcg';f/ pGgfO;f}“ ztfAbLdf g[Tosf

sirjanĀ 116 l;h{gf sn]h ckm kmfOg cf6{;\sf ljBfyL{x¿nfO{ tanf jfbgsf] k|lzIf0f lb“b} n]vs ;fy tanf jfbgsf] ;ª\utsf] k/Dk/f z}nLsf] ;d]t ljz]if of]ubfg /x]sf] lyof] . lyof] -ljn8{, k[= ^#_ . gjfa cf;k'm2f}nfsf] pbfx/0fsf ¿kdf lbNnLsf] tanf jfbg o''u -c7f/f}“ ztfAbLsf] pQ/f4{df aVz" / k/Dk/fnfO{ kl/is[t ug{df l;4f/ vf“ ;nf/Lsf] tanf jfbg z}nLsf] ljz]iftfaf/] kvfjhL tyf lztfa vf“ kvfjhLsf] pNn]v kfOG5 . To;} ;dosf pGgfjsf of]ubfg /x]sf] dflgG5 . kGhfasf 3'/g vf“ gSsf/rLsf] lziosf ;fy aVz' tanfjfbgsf] lzIff k/Dk/fnfO{ nfn vf“sf] tanf jfbgsf] k|lt:kwf{sf] pNn]v ejfgLbf; kvfjhL, s'bpm l;+x tyf klg kfOG5 . oL pNn]vx¿af6 To; ;do gfyåf/]sf] kvfjhL;“u hf]8]sf] kfOG5 . tanf jfbgsf] z}nL :jtGq ¿kdf ljsl;t o; ;Gbe{df xlsd d'xDdb s/d xdfdsf] eO;s]sf] lyof] eGg] 1ft x'g cfp“5 -s/d pNn]vgLo e"ldsf /x]sf] dflgG5 . tanfsf] Odfd, O= ;+= !(@%, k[= $*_ . k||f/lDes jfbg z}nL kvfjh jfbgsf] z}nLb]lv k|efljt lyof] . ljleGg ljleGg k|efj …cjg4 jfBÚ cyf{t\ 5fnfaf6 df]l8Psf tanf jfbg k|ltli7t x'g'eGbf klxn] afhfsf ljz]iftf / k|efjåf/f g} tanf kvfjh / 9f]ns jfbg ljlzi6 jfbg jfbgsf] snfdf ;f}Gbo{ j[l4 x'“b} uPsf] snfsf ¿kdf km:6fO;s]sf lyP . dfGg ;lsG5 . jfBoGqsf ¿kdf tanfsf] nf]slk|otf la:tf/ x'g'df kvfjh jfbssf] jfbg tanf xftåf/f cf3ft u/]/ ahfOg] cjg4

sirjanĀ 117 jfB xf] . o;sf] d"n ;DaGw k|frLg ¿kdf ljrf/ ug]{ xf] eg] kfl0fk|xt cyf{t\ xftsf] …lqk':s/Ú jfB;“u hf]l8Psf] 5 . ctM of] k|of]udf lgDglnlvt b'O{ d'Vo ljlw /x]sf jfbg snfsf] ljsf;nfO{ a'‰gsf nflu 5g\ M e/t jl0f{t lqk':s/sf] jfbg ljlw cWoog xftsf] k|of]u M o;cGtu{t ;dkfl0f, ;xfos l;4 x'G5 . cw{;dkfl0f, cwf{w{;dkfl0f / kfZj{kfl0fsf] k|frLg k|:t/ d"lt{df lrlqt cjg4 jfBsf k|of]u x'G5 . b'O{ ¿k pmWj{s tyf cflnª\Uo alh/x]sf] cf}“nfsf] k|of]u M o;cGtu{t k|b]lzgLsf] h:tf] x:td'b|faf6 o; jfBsf] jfbgdf b'O{ k|of]u x'G5 . k|sf/sf] x:tf3ft d'Vo /x]sf] l;4 x'G5 . tLdWo] Pp6fdf xTs]nfsf] k|of]u / csf]{df dWosfndf cfP/ cjg4 jfBdf oxL cf}“nfsf] k|of]u x'G5 . e/td'lgåf/f jl0f{t kfl0fsf] k|of]usf b'O{ d"n e]båf/f g} yfk lqk':s/ jfbgdf k~rkfl0fk|xtsf] ljlwsf / rf“6Lsf] k|of]usf] ljlw ljsl;t ePsf] af/]df ljrf/ ug]{ xf] eg] tanf jfbgsf] lyof] . cfh klg d[bª\u / tanf jfbgdf ljlwdf of] k|lj|mof d"n ¿kdf ljBdfg kfl0f k|of]usf] oxL b'O{ d'Vo ljlw /x]sf 5 . e/tn] k~rkfl0fk|xtsf gfd o; k|sf/ 5g\ . o; jfBcGtu{t yfksf] k|of]udf atfPsf 5g\ — ;dkfl0f, cw{;dkfl0f, e/tåf/f jl0f{t kfZj{kfl0fnfO{ 5f]8]/ af“sL cwf{w{;dkfl0f, kfZj{kfl0f, k|b]lzgL -e/t, rf/ kfl0fsf] k|of]u cfh klg b]Vg !(^$, Znf]= ;= $)_ . 8f= nfndl0f ld>n] ;lsG5 . o;sf] JofVof o; k|sf/ u/]sf 5g\ — e/tn] lqk':s/ jfbgsf] Jofjxfl/s ¿knfO{ ;dkfl0f M ;dtn xy]nfåf/f k|xf/ ug'{ -lqk|xf/_ ltg k|xf/sf] gfdåf/f o; k|sf/ cw{;dkfl0f M cfwL ;dtn xy]nfåf/f k|xf/ atfPsf 5g\ — lgu[xLt, cw{u[xLt, d'St ug'{ -e/t, !(^$, Znf]= ;= $)_ . cwf{w{;dkfl0f M rf}yfO ;dtn xy]nfåf/f lqk|xf/ -ltg k|xf/_ sf] JofVof ub}{ k|xf/ ug'{ 8f= nfndl0f ldqåf/f …lgu[xLtÚ sf] cy{df kfZj{kfl0f M xy]nfsf] k5fl8 åf/f k|xf/ …lgolGqt…, …cw{u[xLtÚ sf] cy{df ug'{ …cw{lgolGqtÚ / …d'StÚ sf] cy{df …v'nf… zAbsf ¿kdf Jojxf/df NofPsf k|b]lzgL M cf}“nfsf] cu|efuåf/f k|xf/ ug'{ lyP . 8f= ld>sf cg';f/ lqk|xf/sf] -ld>, !(&#, k[= (@_ . :ki6Ls/0f o;k|sf/ 5 — e/tåf/f jl0f{t k~rkfl0fk|xtdf ;"Id ¿kdf lgu[xLt -lgolGqt_ M o;df aGb Wjlg;“u}

sirjanĀ 118 u'~hg klg xf];\, h:t} M tanfsf] af]n lyof] . o; ztfAbLsf ;'k|l;4 kvfjhL s, ls6, ts, lt6, lt/ls6, st\ cflb nfn e[u'gfy jdf{sf] sygcg';f/ k/Dk/fut k6fIf/nfO{ lng ;lsG5 -ld>, !(&#, k[= ¿kdf d[bª\usf] afh b'O{ k|sf/sf 5g\ — (@_ . yfk / rf“6L -jdf{, !((%, k[= (_ . Jofks b[li6åf/f cjg4 jfBsf] oL b'O{ k|d'v cw{lgu[xLt -cw{lgolGqt_ M o;df Wjlg jfbg ljlwsf] k|of]u :ki6 ¿kdf k|frLg cw{u'l~ht xf];\, h:t} M tanfsf] af]n k|:t/ snfdf / dWosfnLg lrqx¿df cª\ gf, tf cflb k6fIf/nfO{ lng ;lsG5 . lst tanf jfbssf] x:td'b|fsf b[Zo b]Vg d'St M o;df Wjlg k"0f{ u'~ho'St / v'nf ;lsG5 . af]n xf];\, h:t} M tanfsf] af]n u, lb, wf, oBlk lqk':s/, låk':s/ of cfª\lss wL+, lbg, lb+u, tf -yfk_ cflb k6fIf/nfO{ jfB jfbgsf cg]s k|sf/ k|:t/ snf jf lng ;lsG5 . lelQlrqx¿df klg eUgfjz]ifsf ¿kdf b]Vg e/tåf/f jl0f{t lqk|xf/df ljrf/ ubf{ ;lsG5 . dWosfnLg cjg4 jfBsf] jfbg df ahfOg] o; k|sf/ k|frLg / dWosfnLg cjg4 …aGb af]nÚ / …v'nf af]nÚ e/tåf/f jl0f{t jfB ljz]iftM cfª\lss / To;af6 ljsl;t j|mdzM lgu[xLt, cw{lgu[xLt / d'St kvfjh tyf pmWj{d'vL låk':s/ / To;af6 k|xf/åf/f ljsl;t ePsf] lyof] eGg] 1ft ljsl;t tanfsf k/Dk/fut jfbg ljl- x'G5 . o;dWo] lgu[xLt / cw{lgu[xLt wdf yfk / rf“6Lsf] k|of]uåf/f b'O{ afhsf] k6fIf/ kvfjh, 9f]ns / tanf cflb ljsl;t k/Dk/f b]vfk/]sf] kfOG5 . ljleGg cjg4 jfB sf] aGb cyjf cw{u'l~ht If]qdf oxL b'O{ d"n jfbg ljlwåf/f cjg4 af]nsf ¿kdf / d'St k6fIf/ v'nf af]nsf] jfBsf] ljljw jfbg z}nLx¿ ljsl;t ePsf] ¿kdf ljsl;t ePsf lyP . a'lemG5 . :jfefljs ¿kdf xTs]nfåf/f k|of]u x'g] d'St tanf jfBsf] jfbg z}nLsf] cy{df k|xf/sf] v'nf af]ndf u'~h w]/} lyof] . ToxL nf]sefiffsf ¿kdf …afhÚ eGg] zAb kl5 uP/ yfk afh, v'nf afhsf] kof{osf ;ª\uLt If]qdf k|rlnt 5 . o;sf] Jo'TklQ ¿kdf :yflkt ePsf] lyof] . :jefjtM …jfBÚ zAbaf6 ePsf] xf] . ahfpg ldNg] / rd{d'vsf] lsgf/lt/ cyjf rf“6Lk6\l6 aHg] pks/0fsf cltl/St ahfpg] cf}“nfsf] k|of]u lgu[xLt cyjf cw{lgu[xLt k|lj|mofnfO{ klg ;+:s[t efiffdf …jfBÚ k|xf/sf] af]ndf u'~h aGb jf cfwf ePsf elgG5 . ctM …jfBÚ zAbaf6 …afhÚ zAbsf] sf/0fn] kl5 uP/ rf“6L jf lsgf/ afh, Jo'TklQ ePsf] xf] . o;k|sf/ jfbgdf aGb afhsf] kof{osf ¿kdf :yflkt ePsf] ljlzi6 x:tk|If]ko'St jfbg ljlwnfO{ …afhÚ

sirjanĀ 119 elgPsf] 5 . g} kl5 uP/ tanf jfbgsf] cg]sf}“ ljlzi6 z}nLx¿ ljsl;t ePsf] kfOG5 . sfnfGt/df x:tk|If]kåf/f pTkGg k6fIf/sf] lgsf; / klZrd afhsf] ¿kdf lbNnL / ch/f8f To;sf] ;+of]hgaf6 ljlzi6 z}nL lgdf{0f 3/fgf ljsl;t ePsf lyP eg] k"/a afhsf ePsf] lyof] . of] jfbg z}nLsf] e]b ljlzi6 ¿kdf nvgp, km?Vvfjfb, agf/; 3/fgf 3/fgfdf ?9sf] ¿kdf /x]sf] lyof] . ljsl;t ePsf lyP . o; cltl/St sfnfGt/df ToxL 3/fgf afhsf] gfdn] kGhfadf tanf jfbgsf] Ps csf]{ afh k|l;4 ePsf] xf], h:t} M lbNnL afh, :jtGq ¿kdf ljsl;t ePsf] kfOG5 . of] nvgp afh, agf/; afh, kGhfa afh kl5 uP/ kGhfa 3/fgfsf] afhsf] gfdn] cflb . k|l;4 eof] . oL ljleGg 5 3/fgfsf afh o; k|sf/ tanf jfbgsf] ;Gbe{df …afhÚ -z}nL_ sf] j0f{g o;k|sf/ /x]sf] 5 M zAb k|foM b'O{ cf]6f cy{n] Jojxf/df k|of]u lbNnL afh M tanf jfbgsf] of] jfbg ePsf] kfOG5 — yfk k|wfg / rf“6L÷lsgf/ z}nL lbNnLdf ljsl;t ePsf] lyof] . k|wfg -jfbgsf] Jofks cy{df / k|To]s To;}n] o;nfO{ lbNnL afh elgPsf] xf] . 3/fgfsf] ljlzi6 z}nLsf] cy{df_ . o; afhdf bfof“ tanfdf th{gL / dWodf tanfsf ;Gbe{df afh k/Dk/fcg';f/ yfk cf}“nfsf] k|of]u w]/} dfqfdf ul/G5 . b'O{ / rf“6Lsf ¿kdf ljsl;t ePsf] lyof] . cf}“nfsf] k|of]usf cltl/St o; afhdf oxL b'O{ cf]6f d'Vo z}nLnfO{ tanf d'vrd{df lsgf/ cyjf rf“6Lsf] af]nsf] jfbgsf b'O{ k|d'v c+z dflgG5 . ltgnfO{ k|of]u k|r'/ dfqfdf ul/G5 . To;}n] o;nfO{ …k"/a afhÚ / ÚklZrd afhÚ elgG5 . kl5 lsgf/sf] afh jf b'O{ cf}“nfsf] afh klg uP/ k"/a afhnfO{ v'nf af]nsf] afh / elgG5 . Wjlgsf] ¿kdf o;df k|foM aGb / klZrd afhnfO{ rf“6L cyjf lsgf/sf] afh cfwf v'nf af]nsf] k|of]u /xG5 cyf{t\ o; eg]/ lrlgg yflnof] . k"/a afhcGtu{t afhdf lgu[xLt / cw{lgu[xLt k|sf/sf agf/;, nvgp, km?vfjfb k5{g\ eg] af]nsf] k|of]u ljz]if ¿kdf ul/G5 . klZrd afhcGtu{t lbNnL, ch/f8f, kGhfa lbNnL afhdf lw6, lt6, lt/ls6, wftL, k5{g\ . wfu]gwf, lwg lug, ltg lsg cflb af]nsf] :y'n ¿kdf oL afhcGtu{t ljleGg k|wfGo /x]sf] 5 . k]zsf/sf] jfbg o; 3/fgfsf tanfjfbsx¿n] cfgf] k|ltef, afhsf] dxÎjk"0f{ ljz]iftf xf] . o; afhdf af]n ;+/rgf tyf jfbg tÎjsf] ut, 6's8f, 5f]6f] 5f]6f] nosf/L o'St cfwf/sf ¿kdf ;"Id snfTds ljz]iftf df]x/f, d'v8f / ltxfO{sf] k|of]u w]/} v8f u/]sf lyP . tL 3/fg]bf/ jfbsåf/f ul/G5 . lbNnL afhdf aHg] sfobf k|foM

sirjanĀ 120 rt:q hftLdf /rgf ul/Psf] x'G5 . snfsf/n] sfobfsf] ut÷tf]8fsf] cª\u ;dGjo u/]/ cfgf] tanf jfbg ;d[4 o;sf] sfobf /rgfsf] Pp6f pbfx/0f — agfPsf lyP . lqtfn sfobf -lbNnL afh_ M ch/f8f afhdf afof“sf] k|of]u 3'dfp/f] wflt 6wf lt6 wfwf . lt6 wfu] ltgf lsgf . kf/fdf k|of]u ul/G5 . To;}n] ch/f8f x @ afhnfO{ afof“ k|wfg dflgPsf] 5 . tflt 6tf lt6 tftf . lt6 wfu] lwgf lugf . ch/f8f afhdf k|foM lgDglnlvt af]nsf] ) # k|of]u k|wfgtfsf ;fy ul/G5 M 3]gs, ch/f8f afh M pQ/ k|b]zsf] d]/7 ltGg, 3]ts, sts, 3]3]]gs, lwg lwgflug lhNnfdf ch/f8f eGg] ufp“ 5 . Toxf“ a:g] cflb . tanfjfbsåf/f o; afhsf] ljsf; ePsf] o;sf] sfobf /rgfsf] Pp6f pbfx/0f — dflgG5 . To;}n] tanf jfbg sf] of] afh kl5 uP/ ch/f8f afhsf] gfdaf6 k|l;4 v'nf efu — eof] . lw˜Gg wfu]g wf˜˜ wfu]g . wfts 3]ts lwglw gflug . x @ ch/f8f 3/fgfsf] ;+:yfks sNn' vf“ wfu]lt /ls6 lw˜Gg wfu]g . wfts w]ts lt+glt+ gflsg / ld? vf“ b'O{ efO lbNnLdf tanf jfbg ) # l;Sy] . To;}n] ch/f8f afhdf lbNnL aGb efu — afhsf] ;Dk"0f{ ljz]iftf kfOG5 . ch/f8f lt+˜Gg tfs]g tf˜˜ tfs]g . tfts s]ts lt+glt gflsg . afhdf af]nsf] lgsf;df cf}“nfsf] k|of]u x @ lbNnL afhsf] h:t} ul/G5 / sfobfsf] wfu]lt /ls6 lw˜Gg wfu]g . wfts 3]ts lwglw gflug af]nsf] ;+of]hg sl7g / k|foM cf8L ) # -8]9u'g÷ltu'g no_ df ul/G5 . tanf nvgp afh M tanf jfbgsf] k"/a afhdf jfbgsf ;a} afhdf sfobfsf] b'O{ efu nvgp jfhnfO{ k|d'vtfsf] ¿kdf dflgPsf] x'G5 . ltgnfO{ v'nf / aGb efu 5 . o; afhdf d'St k|xf/åf/f aHg] v'nf elgG5 . ch/f8f afhsf] sfobfsf] k|To]s af]n ;d"xsf] k|wfGo /x]sf] 5 . ctM o; efusf] cGTodf k|foM Ps ljlzi6 cltl/St afhdf ahfOg] af]n /rgfx¿ hf]8\bf/ / af]n ;d"xnfO{ hf]8\g] ul/G5 . u'~hbf/ x'G5 . o; afhsf] afbg z}nLdf c/+ljGb d"nuf“js/n] cfgf] u|Gy …tanfÚ bfof“ tanfdf th{gL / dWodf cf}“nfsf df ch/f8f afhsf] ;Gbe{df eg]sf 5g\ cltl/St cgfldsf cf}“nfsf] klg k|of]u — ch/f8fsf] tanf jfbgdf yf]/ax't k"/a ul/G5 . afhsf] ut÷tf]8fsf] k|efj kgf{n] Toxf“sf

sirjanĀ 121 nvgp afhdf kvfjh jfbgsf] jfbg ljnfot cnL 9f9LnfO{ afx| ;o ljlzi6 ut z}nL, h:t} M ut, k/g, 6's8f, utk/g, bx]hdf lbPsf lyP . kl5 uP/ ToxL afx| rj|mbf/, km/dfO;L cflb /rgf ahfOg] ;o utsf cfwf/df km?Vvfjfb afhsf] x'gfn] g} of] afh v'nf / hf]8bf/ afhsf ljsf; ePsf] lyof] . ¿kdf :yflkt ePsf] xf] . km?Vvfjfb afh k"/asf] ljz]iftfåf/f o'St nvgpsf] tanf jfbg z}nLdf g[Tosf] eP/ g} af]nsf] lgsf; / /rgf e]bdf k|efj w]/} 5 eGg] dfGotf /lxcfPsf] nvgp afheGbf k[ys aGg k'u]sf] lyof] . kfOG5 . j:t'tM tanf jfbg k|f/Dedf km?Vvfjfb afhdf lw/lw/, lt/lt/, g[Todf ahfpg] jfB g} lyof] . ctM o; l38gu lb+ugu, lt+ugu, lbgts, bL+u, afhdf sys g[Tosf] ;fy ahfOg] /rgfsf] lbu+ lbgflug, tf“u8, bLu+8, S8fg, W8fg, k|efj klg :jfefljs ¿kdf kg{ uof] . lwglug, tls6 cflb af]nsf] k|of]u w]/} nvgp afhdf lw/ lw/, ts S8fg, S8fg, dfqfdf x'G5 . ls6ts lb+u8, tf“u8, S8w], t]6], lw6 lw6, km?Vvfjfb afhdf d'St k|xf/ o'St af]nsf] ulbug, lwglug, t"gf sQf OToflb af]nsf] ;fy;fy} bfof“ tanfdf lbNnL afhsf] ef“tL k|of]u ljz]if ¿kdf ul/G5 . lgu[xLt / cw{ lgu[xLt k|xf/o'St af]nsf] o;sf] sfobf /rgfsf] Pp6f pbfx/0f — klg ;dfj]z ePsf] b]Vg ;lsG5 . To;}n] o;df k"/a afhsf] k|wfGo x'g'sf lqtfn sfobf -nvgp afh_ cltl/St lbNnL afhsf] klg s]xL k|efj v'nf efu — /x]sf] kfOG5 . wflu˜ gf˜g wfu]lt /ls6 . wfu]g wfqs lwglw gflug . km?Vvfjfb afhsf] jfbg z}nL nvgp;“u x @ ts3 8f˜g wfu]lt /ls6 . wfu]lt 6wfu] qst" gfsQf ldNbf] h'Nbf] 5 t/ o; cltl/St rfnf, ) # /f}“, ut cflb ljz]if ¿kaf6 k|:t't ul/G5 . aGb efu — o; jfbg z}nLsf af]nx¿ v'nf / hf]8bf/ x'G5g\ . ljz]iftM o; afhdf utsf] tfls˜ gf˜g tfs]lt /ls6 . tfs]g tfqs ltglt gflsg . k|of]u ljleGg no / nosf/Låf/f ;'Gb/ x @ ts3 8f˜g wfu]lt /ls6 . wfu]lt 6wfu] qst"“ gfsQf . ¿kdf k|:t't ul/G5 . ) # o;sf] sfobf /rgfsf] Pp6f pbfx/0f — km?Vvfjfb afh M o; afhsf] ljsf; nvgpdf ePsf] dflgG5 . ls+jbGtLcg';f/ lqtfn, sfobf -km?Vvfjfb afh_ nvgpsf aVz" vf“n] cfgf HjfO“ xfhL v'nf efu —

sirjanĀ 122 lw/ lw/ lt/ lt/ l38 gu lt8 gu . b]lvG5 . o; afhsf] z}nLdf g[Tosf] ;fy x @ wf lt/ ls6 wf l38 gu lt8 gu . ;fy kvfjh jfbgsf] klg k|efj /x]sfn] ) # k]zsf/ / sfobfsf] :yfgdf p7fg, 5Gb, l38 gu wf lt/ l38 gu lt8 gu . nosf/L, af6, ut, k/g, utk/g, kmb{, x @ wf lt/ ls6 wf l38 gu lt8 gu . rj|m/bf/ 6's8f, :t'tL k/gsf ;fy;fy} ) # nUuL / n8Lsf] klg ljz]if ¿kdf jfbg aGb efu — ug]{ ul/G5 . tanf jfbgsf] If]qdf agf/;L nUuL dxÎjk"0f{ pknlAw dflgG5 . lt/ lt/ lt/ lt/ ls8 gs lt8 gs . x @ agf/; afhdf k"/a afhsf] ;a} af]nsf] tf lt/ ls6 tf ls8 gs lt8 gs . ) # k|of]u ub}{ gf8f, wf8f, wf8flug, tf8flug, l38 gu wf lt/ l38 gu lt8 gu . wfltgf8, w]/]w]/ tLs\ tLgf8 cflb x @ wf lt/ ls6 wf l38 gu lt8 gu . af]nsf] k|of]u Jofjxfl/s ¿kdf b]Vg ) # ;lsG5 . agf/; afh M agf/; afhsf] ljsf; o;sf] sfobf /rgfsf] Pp6f pbfx/0f — df]b" vf“sf lzio agf/; lgjf;L kl08t v'nf efu — /fd ;xfoåf/f ePsf] xf] . tyflk agf/;sf ;'k|l;4 tanf afbs kl08t lszg wf 8 wf w] . t] 6] wf 8 . x @ dxf/fhn] o; 3/fgfsf] hGdsf] >]o kGhfa 3f 8 wf tL . s tL gf 8 . 3/fgfnfO{ lbPsf 5g\ . pgsf] egfOcg';f/ ) # kl08t /fd ;xfosf lktf kl08t k|sfz aGb efu — dxf/fh d"ntM g[Tosf] ;fy ;ª\ut tf 8 tf t] . t] 6] tf 8 . ug]{ tanf jfbs lyP . pgn] nvgpdf x @ cf gf k'q kl08t /fd ;xfonfO{ dfb' wf 8 wf tL . u wL gf 8 . vf“sf] lzio agfPsf lyP . ) # tanf jfbg lzIffsf j|mddf kl08t /fd kGhfa afh M kGhfasf k'/fgf tanf ;xfonfO{ pgsf u'? kTgLaf6 kf“r ;o jfbsn] kvfjhsf] af]nnfO{ aGb u/]/ kGhfaL ut k|fKt ePsf] lyof] . tL ut tanf jfbgdf k[ys z}nLsf] lgdf{0f u/]sf d"ntM kvfjhsf] ut lyof] . To;}n] agf/; lyP . Tof] z}nL cfh kGhfa afhsf] gfdn] afhsf] jfbg z}nLdf kvfjhsf] d'St k|xf/ k|l;4 /x]sf] 5 . kvfjh jfbgsf] ePsf] v'nf af]nsf] k|wfGo ljz]iftfsf s]xL emns kGhfa afhdf :ki6

sirjanĀ 123 b]Vg ;lsG5 . wfu] glt gwf u]g . wfu] ltgf S8wf stf . x @ kGhfa afhsf] sfobf k|foM lbNnL afhsf] u]g wfu] glw gfwf . u]g wfu] lt+gf lsgf . ) # sfobfsf ck]Iff nfdf] / leGg x'G5 . o;df k|foM kvfjhsf] af]nsf] k|wfGo /x]sf] aGb efu — kfOG5 . o; cltl/St nfdf] nfdf] ut tfs] glt gtf s]g . tfs] ltgf S8wf stf . k/g, rj|m/bf/ ut cyjf rj|m/bf/ k/g x @ tyf cg]s nosf/L o'St ltxfO cflb o; u]g wfu] glw gfwf . u]g wfu] lw+gf lugf . afhdf ;'Gb/tfk"j{s cTolws ¿kdf ahfOg] ) # ul/G5 . lgisif{ j:t'tM kGhfa afhdf kvfjhsf] rf“6L / tanf jfbgsf] ljleGg afhsf] yfk, b'j} ljlwsf] ;dGjo b]lvG5 . lsgls ljz]iftfnfO{ ljrf/ ubf{ x:tk|If]k, Toxf“sf cg]s tanf jfbsn] gfyåf/sf k6fIf/sf] ljsf; / af]nsf] ;+of]hgåf/f kvfjh afbsåf/f lzIff kfPsf lyP, lbNnL, k'/a cyjf kGhfa If]qdf ljsl;t h:t} M efO d]xtfa l;+x . gfyåf/sf tanf jfbgsf ljlzi6 k4lt kvfjhjfbssf] k/Dk/f d"ntM a|h;“u Pscsf{;“u leGg 5g\ . Ps k4ltaf6 l;s] ;DalGwt lyof] . a|hdf rf“6L / yfk b'j} sf tanf jfbsn] csf]{ k4ltsf] sf] k|of]u d[bª\udf ahfOg] ul/GYof] -jdf{, ;+/rgfnfO{ ;xhtfsf ;fy ahfpg ;Sb} !(&%, k[= (_ . To:t} kGhfasf s]xL gg\ . clkt' s'g} klg jfbsn] s'g} tanfjfbsn] yfkk|wfg afhsf nfn ejfgL /rgfnfO{ To;sf] ljlzi6 k4ltcg';f/ bf; /s'bpm l;+xsf] kvfjh z}nL, ljlw / gl;Sg] xf] eg] l7s;“u k|:t'lt lbg k/Dk/f l;s]sf lyP . ;Sb}gg\ . oxL sf/0fn] ubf{ k|To]s afh ljlzi6 jfbg k4ltcg';f/ ;Lldt lbzfdf kGhfa afhdf k|foM lgDglnlvt af]nsf] g} ljsl;t ePsf] x'G5 . k|wfGo b]Vg ;lsG5, h:t} M jt{dfg ;dodf Pscsf{sf] k|:t'lt x]g]{, B]6t, lbu+ lbu+, S8\tfg, l38t, l38gf, ;'Gg], a'‰g], l;Sg] / 5'6\ofpg ;Sg] ;'ljwf t8Gg, wf8wf cflb . pknAw ePsf sf/0f dflg;sf] pbf/ / o;sf] sfobf /rgfsf] Pp6f pbfx/0f — ;dGjojfbL b[li6sf]0f j[l4 x'“b} uPsf] 5 . snfsf If]qdf klg of] ;dGjo k|j[lQ lqtfn sfobf -kGhfa afh_ ljsl;t eO/x]sf] 5 . To;}n] tanf v'nf efu — jfbgsf] If]qdf klg cfh cg]s tanf

sirjanĀ 124 jfbs cfgf] jfbgdf ljleGg afhsf] ;+/rgf / ljz]iftfnfO{ ;dGjotfsf cfwf/ df lgofNg] u5{g\ . ljleGg afhdf ljBdfg ;dfg tÎjlar ;dGjo x'g ;S5 / ToxL eO/x]sf] xfdL kfp“5f}“ . Tof] ;Dej klg 5 . ;Gbe{ u|Gy;"rL zdf{, eujtz/0f, tfn zf:q, k= /ljz+s/ zdf{, %@, lji0f'k'/L, cnLu9, !(&& zdf{, eujtz/0f, tfn k|sfz, ;ª\uLt sfof{no, xfy/;, gu]Gb|k|;fb Gof}kfg] ;ftf}“ ;+:s/0f, !(*! gu]Gb|k|;fb Gof}kfg] s'zn tanf jfbssf cltl/St ufossf jdf{, e[u'gfy, tfn d~h/L -k|yd v08_, nfnf ¿kdf klg ;'kl/lrt 5g\ . ;ª\uLt ljifodf :gftsf]Q/ u/]sf 3'/x'gf/fo0f jdf{, ad{g k|];, #&! ck/ lrtk'/ /f]8, Gof}kfg]n] g]kfnnufot ef/tdf cfof]lht ljljw snsQf, t[tLo ;+:s/0f, !(&% ;fª\uLlts sfo{j|mdx¿df cfˆgf] k|:t'lt lbO;s]sf 5g\ . ljleGg ;fª\uLlts ;ª\3 ;+:yfx¿;Fu cfa4 /x]sf bf; /fdz+s/ -8f=_, …kfun bf;Ú Pjd\ uf]kfn z+s/ Gof}kfg] xfn kb\dsGof SofDk; , l;h{gf sn]h ckm kmfOg uf]njns/, tanf sf}d'bL, >LdtL sdn uf]njns/, cf6{;\ / g]kfn Do'lhs ;]G6/df cWofkg/t 5g\ . /fdrGb| ;ª\uLtfno, Ujflno/, k|yd ;+:s/0f, !((% jlzi7, ;Togf/fo0f, tfn dft{08, ;ª\uLt sfof{no, xfy/;, b;f}“ ;+:s/0f, @))( d/f7], dgf]x/ efnrGb|/fj -8f=_, tfn–jfB zf:q, zdf{ k':ts ;bg, kf6gs/ ahf/, nZs/ Ujflno/ -d= k|=_, låtLo ;+:s/0f, !((! dfO{0fs/, ;'wL/, tanf jfbg M snf cf}/ zf:q, clvn ef/tLo uf+wj{ dxfljBfno d+8n, @))) d'nuf“js/, c/lj+Gb, tanf, dxf/fi6« u|+ylgld{tL d+8n, gfuk'/ – !) d"lg, e/t, gf6\o zf:q, cf]l/+o6n Oli6Ro'6, a8f}bf, k|yd ;+:s/0f, !(^$

Willard, Augustus N. (Captain), The Music of India.

sirjanĀ 125 x]g/L d'/sf] d"lt{ /rgf æ/fhf / /fgLÆ M Ps ljdz{ cf]d vqL

n]v;f/

la;f}“ ztfAbLsf ljZjljVoft d"lt{sf/ x]g/L d'/ (Henry Moore) sf] cflbdtfk/s d"lt{ /rgf ‘/fhf / /fgL’ (King and Queen) ljlzi6 z}nL / cg'e"lthGo k|efjsf nflu k|l;4 /x]sf] 5 . o; d"lt{df ‘cflbdjfb’ cyf{t\ ‘lk|ldl6leHd’ (Primitivism) sf] wf/nfO{ k5\ofPsf] 5 . d"lt{df r}tGo / caf]wkgnfO{ s'zntfk"/ as ;+of]hg ul/g'nfO{ snfsf/sf] df}lnstf / j}lzi6\o dfGg ;lsG5 . of] d"lt{ /rgfsf] cflbdtfk/s (archetypal) kIfsf ;DaGwdf cg]sf}“ lj1x¿sf n]v /rgfx¿ k|sflzt 5g\ . o; d"lt{sf cg]sf}“ cg's[ltx¿ ljZjel/ s}of}“ ;ª\u|xfnox¿sf] cfsif{0fsf ¿kdf /x]sf 5g\ . o; s[ltsf ;DaGwdf ljleGg y/L cg'dfg Pjd\ rrf{ kl/rrf{ ePsf 5g\ . d'/sf] of] rlr{t d"lt{ /rgfsf ;DaGwdf vf]tNg' n]vsf] p2]Zo /x]sf]] 5 .

ljifo k|j]z ;d;fdlos b[li6sf]0faf6 x]l/g'k5{ . o; x]g/L d'/sf] dxÎjk"0f{ d"lt{ /rgf …/fhf / d"lt{sf] Pp6f ;+:s/0fnfO{ :s6NofG8sf] /fgLÚ df Ps hf]8L dlxnf / k'?if 8dlk|m; (Dumfries) l:yt kfs{sf] Pp6f cfs[ltnfO{ ;+of]hg ul/Psf] 5 . pgsf] of] 9'ª\fdfly :yfkgf ul/Psf] 5 . /rgf cflbdtfk/s d"lt{sf ?kdf lrlgG5 . /fhf / /fgL o; d"lt{df ljz]if k|sf/sf] z}nLnfO{ cjnDag ul/Psf] 5 . a]Grdf al;/x]sf o'un 8lDk|m; kfs{df /x]sf] /fhf / /fgLsf o'un hf]8Lsf] o; d"lt{sf cg]sf}“ ;+:s/0fx¿ cfs[lt v'nf cfsfzd'lg a]Grdf a;]sf ljleGg b]zsf ;ª\u|xfno tyf pBfgx¿df 5g\ . pgLx¿n] cufl8sf] tnfptk{m b]Vg ;lsG5 . b[Zofjnf]sg ul//x]sf h:tf] efg x'G5 . v'nf jftfj/0fdf 6xNg uPsf j[4 j[4f of] d"lt{ lgtfGt cfw'lgs /rgf xf], clkt' Psl5g cf/fdsf nflu a;]sf x'g\ ls d"lt{df cflbdjfbnfO{ cª\uLsf/ ul/Psf] 5 . h:tf] klg k|tLt x'G5 . d"lt{sf/n] d"lt{ /rgfsf ljljw cfofdx¿nfO{ ;d]6\b} dfgjLo caf]wkg / dfgjOt/ …/fhfÚ cyf{t\ k'?if cfs[ltsf] lz/nfO{ tn cfs[ltnfO{ ;dfof]hg ug]{ k|of; u/]sf] lrp“8f]b]lv lgwf/;Dd kftnf] kftf h:tf] a'lemG5 . u/L agfOPsf] 5 . o;} cfsf/nfO{ cfFvfsf] :yfgdf 5]bg u/L cfFvfsf] kf/bzL{ u'0fnfO{ snfljb\x¿sf cg';f/ of] k|frLg /fhsLo sfod ul/Psf] 5 . lgwf/sf] l7s dfly d"lt{sf] clGtd ;+:s/0f xf], tyflk o;nfO{

sirjanĀ 126 x]g/L d'/, /fhf / /fgL (King and Queen), !(%@, wft', 8lDk|m;, :s6NofG8 rGb|fsf/ j:t' -;DejtM ku/L, cfe"if0f jf v'6\6fdf :ki6 b[li6uf]r/ x'G5 . kfv'/f / skfnsf] n6\6f_ /x]sf] 5 . csf]{ xftsf cf}Fnfx¿ dl;gf / af6'nf /x]sf 5g\ . 5]paf6 lz/nfO{ x]bf{ afv|fsf] 6fpsf] bfofF xft k5fl8 s'lxgf]af6 s]xL v'lDrPsf] sf] l;ª h:tf] cg'e"lt x'G5 . cg'xf/nfO{ cj:yfdf /x]sf] 5 . xftsf cjtn (cocave) cfsf/df b]vfOPsf] 5 . cf}Fnfx? k|:6;Fu b]vfOPsf 5g\ . xftn] /fhfsf] cg'xf/ s'g} clk|msL dv'G8f] h:tf] ;dtn a]Grdfly bfofF v'6\6flg/ 6]s]sf] nfU5 . 5 . /fhfsf] d]?b08 l;wf /x]sf] 5 . sd/ xNsf em's]sf] 5 . cfs[ltnfO{ cfs[ltdf sfFwsf] agf]6 pQn (convex) bfofF afofF 5]paf6 x]bf{ kftnf] cfsf/ cfsf/df agfOPsf] 5 . 5ftLsf] efu klg b[li6uf]r/ x'G5 . cf}Fnfx? :jfefljs / sfFw h:t} pQnfsf/ /x]sf] 5 . nofTds b]lvG5g\ . kfv'/f / xft z/L/df jIfsf] d'G6f / gfO6f] cflb ;'8f]n tyf kftnf] b]lvG5g\ . d"lt{sf] gb]lvgfn] cfs[ltn] j:q wf/0f u/]sf] ;txdf cf}hf/sf 3ftåf/f j|m;x\oflrª a'lemG5 . sd/b]lv d'lgsf] sk8f eg] (crosshatching) ul/Psf] 5 .

sirjanĀ 127 …/fgLÚ cyf{t\ dlxnf cfs[lt k'?ifsf] dlxnfsf] cfs[ltnfO{ klg bfofF afofF afofFk6\l6 ;Fu} /x]sf] 5 . lz/nfO{ kftnf] 5]paf6 x]bf{ kftnf] k|tLt x'G5 . k|frLg kfl/Psf] 5 . af6'nf] l5b|åf/f cfFvfsf] OlhK6l;og d"lt{ k/Dk/fdf h:t} /fhfsf] kf/bzL{kgnfO{ ;ª\s]t ul/Psf] 5 . gfssf] cfs[ltnfO{ 7'nf] / /fgLsf] cfs[ltnfO{ ;fgf] emNsf] x'g]u/L sf]0f k/]sf] cg'xf/df cGo agfOPsf] 5 . cª\ux¿ ljno ul/Psf 5g\ . lz/sf] d'/sf d"lt{df hgfj/sf] h:tf] k|tLt x'g] k5fl8 kftnf] lz/aGbL h:tf] b]vfOPsf] lz/df d's'6, ;f“u'l/Psf] cg'xf/, bfx|L 5 . lgwf/dfly cw{rGb|fsf/ d's'6 /x]sf] cflbdf k|frLg OlhlK6l;og, ;'d]/ tyf 5 . lz/df k5fl8k6\l6 skfnsf] 8Nnf] lgu|f] snfsf k|efj b]Vg ;lsG5 . pgsf h:tf] b]vfPsf] 5 . cg'xf/sf b'j} ufnfnfO{ cfw'lgs d"lt{ /rgfdf cflbdtfk/s cjtn cfsf/df agfOPsf 5g\ . a;fO j}lzi6\onfO{ cg'e"t ug{ ;lsG5 . clkt' klg k'?ifs} h:tf] /x]sf] 5 . pgn] OlhK6l;og d"lt{df b]lvg] h8kgfnfO{ 3'F8fb]lv hldg;Dd l;wf 6]s]sf] 5 . eª\u ul/lbPsf 5g\ . sd/b]lv dflysf] efu klg l;wf /x]sf] 5 . cf}Fnfx? nfdf 5g\ . cfs[ltsf] kfZj{ d'/n] ;g\ !(%! Dff lu|; e|d0f u/]sf efu cjtn cfsf/df leqk6\l6 wl;Psf] lyP . To; cltl/St ljutdf OlhK6, 5 . sfFw eg] k'?if cfs[ltdf h:t} ;'d]l/of cflb k|frLg ;Eotfsf ynf]x¿df wg'iffsf/df /x]sf] 5 / t'ngfTds b[li6n] ul/Psf e|d0fx¿sf] cg'ej klg pgL;“u ;fgf] 5 . dlxnfsf] ;du| cfs[lt k'?if lyof] . cfs[ltsf] bfFhf]df ;fgf] /x]sf] 5 . la|l6; snfljb\ xa{6{ l/8 (Herbert k'?if cfs[ltdf h:t} dlxnf cfs[ltn] klg Read) sf cg';f/ d'/sf …/fhf / /fgLÚ nfdf] / v's'nf] j:q wf/0f u/]sf] h:tf sfdx?df b[Zodfg tÎjx? cGo 5 . 5ftLdf p/f]hnfO{ ;fª\s]lts ¿kdf d"lt{sf/x?, h:t} M sG;6\oflG6g a|fª\s';L b]vfOPsf] 5 . cfs[ltsf] cu|efunfO{ pQn (Constantin Brâncuşi), HofF cfk{ (Jean cfsf/df b]vfOPsf] 5 . Arp), af/a/f x]kjy{ (Barbara Hepworth) cflb snfsf/sf sfd;Fu d]n vfFb}gg\ b'j} cfs[ltdf v'6\6fsf] agf]6 emG8} p:t} (Read H. , 1964, p. 204) . p:t} b]lvG5 . k'?ifsf] t'ngfdf dlxnfsf] j:q clnslt dfly ePsfn] v'6\6fsf] ;g\ !(%# tfsf l;lh{t d'/sf s]xL efu a9L b]lvG5 . dlxnf cfs[ltsf xft dxÎjk"0f{ d"lt{x?sf ljifoj:t'df 3'F8fdfly /x]sf] 5 . xft / kfv'/f dl;gf …cfdf / lzz'Ú sf] k|wfGo /x]sf] kfOG5 . tL / ;'8f]n /x]sf 5g\ . k'?ifsf] cfs[lt h:t} cfs[ltdf z/L/sf] ck]Iff xft, v'6\6fnfO{

sirjanĀ 128 pgn] laNs'n k[ys z}nLdf k|:t't u/]sf cg'e"t x'G5 . d"lt{ /rgfdf klxnf] kN6 5g\ . l5b|x¿sf] k|of]u ug]{ >]o d'/nfO{ g} hfG5 . d'/n] ljz]iftM h}ljs ljifo j:t'nfO{ cfgf o; d"lt{sf cg]sf}“ ;+:s/0f /x]sf 5g\ / /rgfsf] cfwf/ agfPsf 5g\ . pgn] cfgf] tL ljleGg :yfg tyf jftfj/0fdf :yfkgf k|]/0ffsf ;|f]tsf ?kdf k|s[ltnfO{ lnPsf] ul/Psf 5g\ . :yfgsf lx;fan] tL d"lt{n] b]lvG5 . o;}df cfwfl/t /x]/ pgn] …ltg Ps} vfnsf] cg'e"lt jf k[ys cg'e"lt cf]6f cfs[ltx?Ú (Three Forms), …9lNs/x] u/fp“5g\ eGg] k|Zg klg l;h{gf x'g sf] cfs[ltÚ (Reclining Figure) nufotsf ;S5 . o;nfO{ agfpg] j|mddf d"lt{sf/n] ljifoj:t'df d"lt{ /rgf u/]sf 5g\ . pgsf o;af/] ljrf/ u/]sf lyP jf lyPgg\ eGg] sfdx?df clwsf+z dfgj cfs[ltsf] afx'No csf]{ lh1f;f pTkGg x'G5 . d"lt{–kfqx¿ /x]sf] b]lvG5 . log} ljifodWo] ;d"x jf:tljs /fhf /fgL x'g\ jf s'g} sfNklgs d"lt{cGtu{t …/fhf / /fgLÚ /rgfnfO{ lng x'g\ eGg] sf}t'xn klg hfU5 . d"lt{ :yfkgf ;lsG5 . o; d"lt{df klg cGo d"lt{x¿df ul/Psf :yfgcg';f/ d"lt{sf] cfGtl/s h:t} pgn] ckgfPsf] z}nL k|:6 ?kn] efjdf kl/jt{g x'G5 jf x'Fb}g / To;

x]g/L d'/, 9lNs/x]sL dlxnf (Reclining Figure), !(@(, k|:t/, of]s{;fo/, Oª\UNofG8

sirjanĀ 129 x]g/L d'/, e"ldut /]ndfu{df af; a;]sfx¿ (Sheltters in the Tube), !($!, l;;fsnd, d;L, hn/ª tyf d}g/ª, #* ;]= ld X %^ ;]= ld=, 6]6 Uofn/L, nG8g

:yfgsf jftfj/0fsf nflu d"lt{ lgdf{0f (Frank Dobson) sfd b]v]/ pgL d"lt{ ul/Psf] xf] jf d"lt{sf nflu tL :yn rog /rgfdf l;wf s'“bfO (direct carving) ul/Psf x'g\ eGg] lh1f;f klg pTkGg k4ltk|lt cfslif{t ePsf lyP . x'G5 . bf];|f] ljZjo'4 tfsf ;g\ !($) df x]g/L d'/ -O= ;+= !*(*–!(*^_ nG8gsf] xfDkl:68 (Hampstead) l:yt pgsf] :6'l8of] ad la:kmf]6af6 Ifltu|:t a]nfotdf hGd]sf x]g/L :k]g;/ d'/ ePsf] lyof] . To;kl5 pgL x6{kmf]8{;fo/sf] (Henry Spencer Moore) la;f}“ ztfAbLsf dr x9fd (Much Hadham, Hertfordshire) ljVoft d"lt{sf/sf ?kdf lrlgG5g\ . ;/]sf lyP . To;kl5 hLjge/ oxL pgsf] cflbdjfb tyf cGo d"lt{sf/x¿ sd{ynf] /x]sf] lyof] . sG;6\oflG6g a|fª\s';L (Constantin Brâncuşi), Hofsa OK;6]g (Jacob d'/ ;zSt 8«f6\;Dofg lyP . ;g\ Epstein), x]g/L uf}l8o/–a|h]:sf (Henri !($)–$@ df o'4 tfsf adaf/Laf6 aRgsf Gaudier-Brzeska) tyf k|mfª\s 8f]A;g nflu nG8gsf] e"ldut :yndf cf>o lnP/

sirjanĀ 130 a;]sf gful/sx¿sf] pgn] cg]sf}“ /]vflrqx¿ n]v]sf lyP . ltgdf /]vfª\sgdf pgsf] Ifdtf 68\sf/f] b]Vg ;lsG5 . pgnfO{ tL 8«Oªx? tof/ ug{sf nflu …o'4 snfsf/x¿sf] k/fdz{ ;ldltÚ (The War Artists' Advisory Committee) n] cg'aGw u/]sf] lyof] . pSt ;ldltsf cWoIf To; ;dosf k|efjzfnL snfljb\ s]g]y Snfs{ (Kenneth Clark) lyP . ;g\ !($* df e]lg;df x'g] låjflif{s k|bz{gL (Venice Biennale) df d'/ k'/:s[t ePsf lyP . o; k'/:sf/n] pgnfO{ cGt/f{li6«o :t/sf] d"lt{sf/sf ¿kdf :yflkt ul/lbPsf] lyof] . pgn] ;fj{hlgs ejg, kfs{, xd{x]a / cd]lgof (Statue of Hermheb and Amenia), sl/a rf]s cflbdf /fVgsf nflu cg]sf}“ dxÎjk"0f{ !#)) O= k"=, k|:t/, la|l6; Do'lhod, nG8g d"lt{ /rgfx¿ lgdf{0f ug]{ cg'aGwx¿ kfPsf Design) k|sflzt ePsf] lyof] . o; lyP . pgn] 9nf]6 / k|:t/ b'j} dfWoddf k':tssf] Pp6f cWofo lgu|f] d"lt{snf;Fu pTs[i6 s[ltx¿ l;h{gf u/]sf lyP . pgn] ;DalGwt /x]sf] 5 . of] k':ts k9]kZrft\ ;d"x d"lt{x? klg y'k|} agfPsf lyP . d'/sf] snfk|ltsf] b[li6sf]0fdf kl/jt{g pgnfO{ ;/n / af]wuDo efiffdf cfgf cfPsf] lyof] . la|l6; Do'lhoddf ;ª\slnt egfO /fVg ;Sg] JolStsf ?kdf klg dfofg tyf OlhK6l;og ;Eotf sfnsf :d/0f ul/G5 . d"lt{x?n] klg pgnfO{ lgs} cfslif{t d'/n] k/Dk/fut dfGotfsf ljk/Lt d"lt{ kf/]sf lyP . /rgfdf l5b|x¿ /fVg] k|of]u u/]sf x]g/L d'/sf] …/fhf / /fgLÚ d"lt{sf] k|]/0ff lyP . pgsf] snf z}nL lgu|f] snf tyf ;|f]t sl/a !#)) O:jL ;+jt\k"j{sf] 6f]n6]s–dfofg (Toltec-Mayan) cfs[ltx?, OlhK6l;og d"lt{ …xf]/]dx]a / cd]lgofÚ nfO{ cflbdjfb (Primitivism) Pjd cltoyfy{jfb dflgG5 . x]g/L d'/ zf:qLo snfaf6 eGbf (Surrealism) af6 k|efljt 5g\ . ;g\ !(@) klg k|frLg d]lS;sg d"lt{snfaf6 k|efljt df /f]h/ k|mfO{ (Roger Fry) åf/f lnlvt b]lvG5g\ . k':ts …lehg PG8 l8hfOgÚ (Vison and

sirjanĀ 131 l:j; dgf]ljZn]ifs sfn{ u':tfe hª (Carl x]g/L d'/sf cflbdtfk/s d"lt{nfO{ Gustav Jung) åf/f k|ltkflbt …ljZn]if0ffTds …lk|ldl6lehd\ Og df]8lg{6LÚ cyf{t\ dgf]lj1fgÚ (analytical psychology) cg';f/ cfw'lgstfdf cflbdtfsf ¿kdf lng JolStdf ;fd"lxs cr]tg k|j[lQ klg x'G5 / ;lsG5 . pgsf snfdf b]lvg] of] k|j[lQ k|tLs, ;ª\s]t, Jojxf/sf kf/f, cltoyfy{jfbL k|j[lQsf sf/0f To;nfO{ ;f]r / cg'ejåf/f lgld{t k|]/0ff / cfbz{x¿ dgf]ljZn]if0fsf b[li6n] cWoog ubf{ ltgdf x'g\ . x]g/L d'/sf] d"lt{nfO{ sfn{ hªsf] ;fd"lxs cr]tgsf] cg'e"lt k|l:6G5 . l;4fGtsf cfwf/df klg ljj]rgf ug{ lgisif{ ;lsG5 . /fhf / /fgLsf] d"lt{nfO{ o;sf] ;'if'Kt ¿kdf /x]sf cg'e"ltx¿nfO{ ;zSt pbfx/0fsf ¿kdf lng ;lsG5 . x]g/L d'/n] cfgf] cflbdtfk/s /rgf … x]g/L d'/sf cg';f/ /fhf / /fgLsf] d"lt{ /fhf / /fgLÚ df ptf/]sf 5g\ . o; d"lt{df /rgf ug]{ ljrf/ k5fl8 la|l6; Do'lhoddf cfw'lgstfdf cflbdkgfnfO{ cª\uLsf/ ul/Psf] k|:6 ¿kdf b]Vg ;lsG5 . r}tGo /x]sf] k|frLg OlhK6sf] k|:t/ d"lt{ / cjr]tg larsf] ;+of]hgnfO{ /x]sf] lyof] . pgL cfgL 5f]/LnfO{ k/L s'zntfk"j{s k|:t't ug'{nfO{ x]g/L d'/sf] syf ;'gfpg] uy]{ / of] klg d"lt{ /rgfsf] df}lnstf dfGg ;lsG5 . o; d"lt{ /rgf;“u ;|f]t aGg uPsf] lyof] . sltkosf egfOdf ljljw k|;ª\ux¿ hf]l8Psf eP klg j:t'tM d'/ / cfgL kTgLsf] Pp6f kmf]6f] tyf of] k|frLg OlhK6l;og d"lt{ …xd{x]a / dxf/fgL Plnhj]y låtLosf] /fHoleif]saf6 cd]lgofÚ d"lt{af6 k|efljt eP/ agfOPsf] k|]l/t ePsf x'g ;Sg] eGg] klg ul/G5 . b]lvG5 . o; k|j[lQsf /rgfnfO{ t/ s]xL cfnf]rsx? of] ts{ dfGg tof/ dgf]ljZn]ifsx¿n] cflbdtfk/s l;4fGt;Fu 5}gg\ . lsgeg] :jfefljstf / sfNklgstf hf]8]/ ljZn]if0f u/]sf 5g\ . oxL l;4fGtsf] larsf] c;dfgh:o ;+of]hg ;dLIfsx?sf kl/j]zdf /fhf / /fgLsf] Ps o'un d"[lt{ nflu plrt nfu]g (Cocrreian, 2015) . /rgf ul/Psf]] kfOG5 . k/Gt' d"lt{sf/ d'/ o; ljifodf df}g /xg rfx]sf] pgsf] Pp6f of] d"lt{ OlhK6l;og d"lt{ k/Dk/fsf] lgs6 cGt/jftf{af6 :ki6 x'G5 . /x]sf] 5, clkt' sltko s'/fnfO{ ;j{yf k[ys 9ª\un] b]vfpg ;Sg'nfO{ snfsf/sf] o; d"lt{sf cg]sf}“ cg's[ltx¿ ljleGg k|ltefsf] k|df0f dfGg ;lsG5 . d'/n] cfgf] b]zsf ;ª\u|xfno tyf pBfgx¿df :yfkgf 3f]if0ff kq dfk{mt dfWodsf] ;Totf, ul/Psf 5g\ . d"lt{sf ljleGg cfofdx¿nfO{ ;d]6\b} dfgjLo caf]wkg Pjd dfgjOt/ cjnf]sg, pRrt/ dfgl;s u'0f h:tf :jefjnfO{ rfl/q / cfbz{sf ¿kdf k|:t't tÎjx¿sf] dxÎjnfO{ k|fyldstf lbPsf 5g\ ul/gfn] of] s[lt c;fdfGo b]Vg k'u]sf] 5 . (Read H. , Unit 1, 1934) .

sirjanĀ 132 ;Gbe{ ;fdu|L Read, H. (1949). The Meaning of Art. Great Britain: Pelican Books. Adamski, A. (2011, September). Archetypes and the Read, H. (1964). Modern Sculpture: A Concise History. Collective Unconscious of Carl G. Jung in the London: themes & Hudson Ltd. Ligth of Quantrum Psychology. (s. Adamski, Ed.) Neuro Quantology, 563 -571. Read, H. (1964). The Philosophy of Modern Art. London: Faber and Faber Limited. Causey, A. (1998). Sculpture Since 1945. New York: Oxford University Press.

Chilvers, I. (1996). The Concise Oxford Dictionary of Art and Artists (2 nd ed.). New York: Oxford University Press.

Clarke, M. (Ed.). (2001). The Concise Oxford Dictionary of Art Terms. New York: Oxford University Press Ink.

Cocrreian, A. (2015). 'King and Queen', Henry Moore: Sculptural Process and Public Identity. Retrieved August 10, 2018, from https://www.tate.org. uk/art/research-publications/henry-moore/ henry-moore -om-ch-king-and-queen-r1172098 cf]d vqL Feldman, E. (1992). Vareities of Visual Experience (4th ed.). New York: Harry N. Abrams, ;g\ !(^( df afun'ªdf hGd]sf cf]d vqL cGt/f{li6«o Incorporated. :t/df :yflkt cfw'lgs g]kfnL d"lt{sf/sf ¿kdf ;'kl/lrt Fezzi, E. (1972). Henry Moore. London: The Hamlyn 5g\ . /fli6«o Pjd\ cGt/f{li6«o :t/df cfof]lht cg]sf} “ d"lt{ Publishing group Limited. sfo{zfnf / uf]i7Lx¿df efu lnO;s]sf vqL ;d;fdlos Finn, D. (1989). How to Look at Sculpture. (B.Fazio, Ed.) g]kfnL d"lt{sf/x¿sf] ;+:yf …cf/DeÚ sf ;+:yfks cWoIf New York: Harry N. Abrams, Incorporated. x'g\ . g]kfn nlntsnf k|1f–k|lti7fgsf] k|f1 kl/ifb\sf] Fry, R. (1920). Vision and Design. London: Chattok ;b:o /lx;s]sf pgL xfn nlntsnf SofDk;, lq= lj= df Windus. pkk|fWofkssf ¿kdf sfo{/t 5g\ . Gombrich, E. H. (1977). Art & Illusion: A study in the Psychology of Pictorial Representation. London: Phidon Press Limited.

James, P. (Ed.). (1966). Henry Moore on Sculpture. Macdonal: London.

Janson, H.W.& Janson A.F. (1964). History of Art (6th ed.). London: Thames & Hudson Ltd.

Read, H. (1934). Unit 1 The Modern Movement in Engilsh Architecture,Painting and Sculpture. (H. Read, Ed.) London: Casselland Company LTD.

Read, H. (1946). The Grass Roots of Art. London: Faber and Faber Limited.

sirjanĀ 133 BFA SHOW - 2018 a Window to the Future

Graduation Show 2018 proved once again, to be a window to unveil our achievements - made within past one academic year: and to our students, the first occasion to make a public appearance. The Paintings and Sculptures remained a microcosm of academic skills mixed with the ability to transcend into a creative world - to narrate personal feelings, then to respond artistically in art. Moreover, it also displayed their ability to recreate works based on the the centuries’ old traditional forms and the motifs. In the Graphic Communications section, our young graduates could assert they are competent and capable to cope with any professional challenges – as needed in any industrial and a modern society.

sirjanĀ 134 sirjanĀ 135 sirjanĀ 136 sirjanĀ 137 IN MemORIUM

uttam prasad kharel (December 22, 1959 – January 15, 2018) (Artist/Art Teacher and Founder Member of Sirjana College of Fine Arts and Sirjana Contemporary Art Gallery)

May your soul ascend to the heavenly abode and always rest in peace. gfd pQd Yof] ltd|f] sfddf klg pQd lrqdf d"lt{df v'NYof} lzIf0f klg pQd .. c;fWo /f]un] ufFHof] ar]gf} ltdL pQd snfkf/vL e} afFr :ju{df ltdL pQd ..

Established in 2001 in affiliation to Tribhuvan University IN MemORIUM

sammridhi paudel (June 16, 1989 – April 29, 2018) (Founder Member of Sirjana College of Fine Arts)

May your soul ascend to the heavenly abode and always rest in peace.

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Established in 2001 in affiliation to Tribhuvan University Acknowledgements

Anjali Shrestha Pramila Giri (Eminent Artist) (BFA 3rd year, Dance, SCoFA) Pratap Khatri, Kamalpokhari Anuj Chitrakar (Sydney) Prakash Ratna Shakya Anup Jyoti Chitrakar (Artist) (Member, Management Committee, SCoFA) Baikuntha Man Shrestha Purna Ratna Bajracharya (Founder Chairman, Sirjana College of Fine Arts - (Treasurer, Management Committee, SCoFA) SCoFA) Purnima Shrestha Basu Dev Guragain (Poet/Satirist) (BFA 3rd year, Dance, SCoFA) Batsa Gopal Vaidya (Chairman, SCoFA) Prof. Dr. Rajesh Gautam (Member, Management Committee, SCoFA) Bhawana Sharma (Librarian, SCoFA) Rabindra Man Joshi Chandra Bhattachan (Member, Management Committee, SCoFA) (Member, Management Committee, SCoFA) Ravindra Jyapoo Chandra Shyam Dongol (Member, Management Committee, SCoFA) (Member, Management Committee, SCoFA) Roshan Bhandari Chiranjivi Dhakal (Member, Management Committee, SCoFA) (Office Assistant, SCoFA) Roshan Mishra Dawa Lama (Director, Taragaon Museum) (BFA 4th year, Graphic Communications, SCoFA) Sailesh Ghalan (Exam Assistant, SCoFA) Devina Malla (Member, Management Committee, SCoFA) Sajeet Rajbhandari (Student, Media Studies, School of Arts, KU) Dinesh Paudel (PMCC, Lions Clubs International Multiple District 325) Sanjay Dass Shrestha, Narottam Dass Indira Guthi Dipen Limbu (BFA 4th year, Graphic Communications, SCoFA) Saur Ganga Darshandhari (Faculty Member, SCoFA) Dipendra Bajracharya (Photographer) Shankar Bahadur Khatri, Kamalpokhari Durga Baral (Eminent Artist) Sharada Man Shrestha (Founder Member, SCoFA) Gautam Manandhar Sharad Ranjit (Program Coordinator, SCoFA) (Member, Management Committee SCoFA) Prof. Honey Shrestha Shashi Shah (Faculty Member, Department of Dance, SCoFA) (Eminent Artist and the Founder Principal, SCoFA) K. K. Karmacharya Shyam Lal Shrestha (Eminent Artist and the Faculty Member, SCoFA) (Member, Management Committee, SCoFA) Krishna Manandhar Sulochana Gopali (Former Principal, SCoFA) (Faculty Member, Department of Dance, SCoFA) Laxman Bhujel Sushma Koirala (Assistant Principal, SCoFA) (Faculty Member, Department of Dance, SCoFA) Laxman Chaulagain Sunil Ranjit (Office Helper, SCoFA) (Member, Management Committee, SCoFA) Mahen Mohan Shrestha Tara Manandhar (Member, Management Committee, SCoFA) (Faculty Member, Department of Dance, SCoFA) Meenakshi Sharma Tekbir Mukhiya (Eminent Artist) (Member, Management Committee, SCoFA)

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