Modernisms in India
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Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd. -
11 Indian Painting
MODULE - V Indian Painting Painting, Performing Arts and Architecture Notes 11 INDIAN PAINTING hen you go to the market or to a museum you will find many paintings, wall hangings or work done on terracotta. Do you know that these paintings have Wtheir origin in ouir ancient past. They depict the life and customs followed by the people of those times. They also show how the kings and queens dressed or how the courtiers sat in the royal assembly. Literacy records which had a direct bearing on the art of painting show that from very early times painting both secular and religious were considered an important form of artistic expression and was practised. This need for expression is a very basic requirement for human survival and it has taken various forms since prehistoric times. Painting is one such form with which you may have been acquainted in some way or the other. Indian painting is the result of the synthesis of various traditions and its development is an ongoing process. However while adapting to new styles, Indian painting has maintained its distinct character. “Modern Indian painting in thus a reflection of the intermingling of a rich traditional inheritance with modern trends and ideas”. OBJECTIVES After reading this lesson you will be able to: trace the origin of painting from the prehistoric times; describe the development of painting during the medieval period; recognise the contribution of Mughal rulers to painting in India; trace the rise of distinct schools of painting like the Rajasthani and the Pahari schools; assess -
Directory 2017
DISTRICT DIRECTORY / PATHANAMTHITTA / 2017 INDEX Kerala RajBhavan……..........…………………………….7 Chief Minister & Ministers………………..........………7-9 Speaker &Deputy Speaker…………………….................9 M.P…………………………………………..............……….10 MLA……………………………………….....................10-11 District Panchayat………….........................................…11 Collectorate………………..........................................11-12 Devaswom Board…………….............................................12 Sabarimala………...............................................…......12-16 Agriculture………….....…...........................……….......16-17 Animal Husbandry……….......………………....................18 Audit……………………………………….............…..…….19 Banks (Commercial)……………..................………...19-21 Block Panchayat……………………………..........……….21 BSNL…………………………………………….........……..21 Civil Supplies……………………………...............……….22 Co-Operation…………………………………..............…..22 Courts………………………………….....................……….22 Culture………………………………........................………24 Dairy Development…………………………..........………24 Defence……………………………………….............…....24 Development Corporations………………………...……24 Drugs Control……………………………………..........…24 Economics&Statistics……………………....................….24 Education……………………………................………25-26 Electrical Inspectorate…………………………...........….26 Employment Exchange…………………………...............26 Excise…………………………………………….............….26 Fire&Rescue Services…………………………........……27 Fisheries………………………………………................….27 Food Safety………………………………............…………27 -
New Regn.Pdf
LIST OF NEWLY REGISTERED DEALERS FOR THE PERIOD FROM 01-DECEMBER-08 TO 16-DECEMBER-08 CHARGE NAME VAT NO. CST NO. TRADE NAME ADDRESS ALIPUR 19604024078 19604024272 BAHAR COMMODEAL PVT. LTD. 16 BELVEDRE ROAD KOLKATA 700027 19604028055 MAHAVIR LOGISTICS 541/B, BLOCK 'N NW ALIPORE KOLKATA 700053 19604027085 P. S. ENTERPRISE 100 DIAMOND HARBOUR ROAD KOLKATA 700023 19604031062 19604031256 PULKIT HOLDINGS PVT. LTD. 16F JUDGES COURT ROAD KOLKATA 700027 19604030092 19604030286 R. S. INDUSTRIES (INDIA) 26E, TURF ROAD KALIGHAT 700025 19604026018 19604026212 RAJ LAXMI JEWELLERS 49/1 CIRCULAR GARDEN ROAD KOLKATA 700023 19604025048 19604025242 SAPNA HERBALS & COSMETICS PVT. LTD. 12/5 MOMINPUR ROAD KOLKATA 700023 19604029025 19604029219 SOOKERATING TEA ESTATE PVT. LTD. P-115, BLOCK-F NEW ALIPORE KOLKATA 700053 19604023011 SURFRAJ & CO. F-79 GARDENREACH ROAD KOLKATA 700024 ARMENIAN STREET 19521285018 19521285212 M/S. TEXPERTS INDIA PRIVATE LIMITED, 21, ROOPCHAND ROY STREET, 3RD FLOOR, KOLKATA 700007 19521286085 19521286279 TIRUPATI ENTERPRISES IST FLOOR, 153, RABINDRA SARANI, KOLKATA 700007 ASANSOL 19747189094 ARCHANA PEARLS 8, ELITE PLAZA G.C. MITRA ROAD ASANSOL 713301 19747194041 ASANSOL REFRIGERATOR MART 46 G.T. ROAD, DURGA MARKET, GIRIJA MOR ASANSOL 713301 19747182013 AUTO GARAGE FARI ROAD BARAKAR, ASANSOL 713324 19747178036 BADAL RUIDAS VIA- ASANSOL KALLA VILLAGE, RUIDAS PAR KALLA (C.H) 713340 19747175029 19747175223 BALBIR ENTERPRISES STATION ROAD BARAKAR 713324 19747179006 19747179297 BAZAR 24 24 G.T. ROAD (WEST) RANIGANJ SEARSOL RAJBARI 713358 -
Pathanamthitta
Census of India 2011 KERALA PART XII-A SERIES-33 DISTRICT CENSUS HANDBOOK PATHANAMTHITTA VILLAGE AND TOWN DIRECTORY DIRECTORATE OF CENSUS OPERATIONS KERALA 2 CENSUS OF INDIA 2011 KERALA SERIES-33 PART XII-A DISTRICT CENSUS HANDBOOK Village and Town Directory PATHANAMTHITTA Directorate of Census Operations, Kerala 3 MOTIF Sabarimala Sree Dharma Sastha Temple A well known pilgrim centre of Kerala, Sabarimala lies in this district at a distance of 191 km. from Thiruvananthapuram and 210 km. away from Cochin. The holy shrine dedicated to Lord Ayyappa is situated 914 metres above sea level amidst dense forests in the rugged terrains of the Western Ghats. Lord Ayyappa is looked upon as the guardian of mountains and there are several shrines dedicated to him all along the Western Ghats. The festivals here are the Mandala Pooja, Makara Vilakku (December/January) and Vishu Kani (April). The temple is also open for pooja on the first 5 days of every Malayalam month. The vehicles go only up to Pampa and the temple, which is situated 5 km away from Pampa, can be reached only by trekking. During the festival period there are frequent buses to this place from Kochi, Thiruvananthapuram and Kottayam. 4 CONTENTS Pages 1. Foreword 7 2. Preface 9 3. Acknowledgements 11 4. History and scope of the District Census Handbook 13 5. Brief history of the district 15 6. Analytical Note 17 Village and Town Directory 105 Brief Note on Village and Town Directory 7. Section I - Village Directory (a) List of Villages merged in towns and outgrowths at 2011 Census (b) -
Navjot Altaf: Holding the Ground, Critics on Art, Lalit Kala Akademi, New Delhi, 19Th July 2010
This text is an unedited draft on the basis of which the speaker delivered a seminar, talk or lecture at the venue(s) and event(s) cited below. The title and content of each presentation varied in response to the context. There is a slide-show below that accompanies this document. If the text has been worked upon and published in the form of an essay, details about the version(s) and publication(s) are included in the section pertaining to Geeta Kapur’s published texts. Venue Lecture: Navjot Altaf: Holding the Ground, Critics on Art, Lalit Kala Akademi, New Delhi, 19th July 2010 NAVJOT ALTAF: HOLDING THE GROUND Her exhibitions: With Altaf in schools aetc. Links, Modes of Parallel Practice, Sculptures, BASTAR Three Halves, Dis-placed Self, Between Memory and History, Lacuna, Mumbai Meri Jaan, Water Weaving, Jagar , Various pedagogic workshops all over the world Catch Mumbai- New York photo project, Khoj: Modinagar, Khirkee scooter rickshaws, Public art Barkhamba Rd 2008 Touch, Gandhi Contents 1 Introduction (art history, projects, pedagogy, praxis. 2. On Representation ‘People’: in lieu of the (Indian) nation; displaced representation. 3. Anthropology/Locality: dialogic models 1 4. Feminist art practice: notation/abstraction 5. Metropolitan ‘communities’ /communal violence 6. Speech, Silence, Erasure 7. Global Nomadism Introduction Navjot is one of the very few artists in India who insists on the particapatory aspect of her work. This is an ideological choice that inscribes her in a distinct stream of art discourse and practice played out worldwide. Navjot’s trajectory links with precedents in Indian art in that several generations of artists have privileged locality, community, and an art-language based on material processes. -
(Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr. -
Jamini Roy & Somnath Hore
Jamini Roy & Somnath Hore: Figuration in the Bengal School November 1 – December 1, 2012 Press Preview & Reception: Thursday, November 1, 6:00pm – 8:00pm 35 Great Jones St., New York NY 10012 AICON GALLERY is pleased to present Jamini Roy & Somnath Hore: Figuration in the Bengal School, an exhibition exploring the extremes of representation and artistic vision within India’s Bengal School of Art. Based primarily in Kolkata and Santiniketan, the Bengal School was an artistic movement and painting tradition founded at the turn of the 19th century, which spread throughout India during the British Raj of the early 20th century. Originally an avant-garde and nationalist movement in reaction to previous academic styles, the Bengal School was led by Abanindranath Tagore (Indian, 1871- 1951) and sought to modernize Moghul and Rajput styles, to counter the influence of Western art traditions. Along with his brother Gaganendranath Tagore (Indian, 1867-1938) and pupil Nandalal Jamini Roy, Untitled (Three Figures), Tempera and cloth on board, Bose (India, 1882-1966), these artists represented the early 17.5 x 33 in. modernists of India. The Bengal School was often associated with Indian nationalism (swadeshi) as an official Indian art style, but also found support from British art institutions under the epithet of the Indian Society of Oriental Art (founded in 1907 by the Tagore brothers). From the 1920s onward, prominent Bengal School artists embarked on widely divergent, often aesthetically polarized paths. However, figuration remained the central focus for those at the forefront of the movement’s modernist evolution. Some embraced images of tranquility and nature, of myth and mysticism, depicting playful folk scenes during turbulent sociopolitical times, while others portrayed the darker forces of humanity, exploring famine, spiritual torment and violent conflict. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Kasauli Art Centre (Working Chronology) Founded in 1976
Kasauli Art Centre (working chronology) Founded in 1976 President: Prof. K.G. Subramanyan Vice President: Prof. B.N. Goswamy Treasurer: K.V.K. Sundaram Secretary: Vivan Sundaram Founding Members: Prof. Gulammohammed Sheikh, Romi Khosla, Geeta Kapur, Dr. Anuradha Kapur From 1976 until 1984, the Punjab University Museum gave a small grant in exchange of artworks that were produced in Kasauli as well as from artwork donations from artists’ own collection. The remaining funds were contributed by the family of Vivan Sundaram. Majority of the works produced at Kasauli are in the Museum of Punjab University. Timeline: 1976 Artist Workshop (3 week workshop, May-June) Participating artists: Paramjit Singh, Vinod Dave, Gieve Patel, Manu Parekh, Madhvi Parekh, Srilekha Sikander, Archana Shastri, Arpita Singh, Nalini Malani 1977 Artist Workshop (4 week workshop, May-June) Participating artists: Nagji Patel , Bhupen Khakhar, D.L.N. Reddy , Chandrakant Bhatt, Mrinalini Mukherjee, Amitava Das, Jogen Choudhury, A. Ramachandran, Ghazanfar Zaidi Weaving Workshop: Conducted by Kinhari Lakhia (textile designer) and Om Prakash (weaver) “In 1977, the Weavers Service Centre, sent a weaver to set up a pit-loom at the camp site, so that artists interested in weaving or designing could directly work with the professional weaver. The other aim was to encourage local persons to take the craft (no weaving exists in the area). Since then the WSC has regularly deputed a weaver to the workshop”- Vivan Sundaram, 1985. 1978 Artist Workshop (3 week workshop, May-June) Participating artists: Anil Karanjai, Meera Mukherjee, Ranbir Singh Kaleka, P. Gopinath, Gogi Saroj Pal, Latika Katt, Shail Choyal, Juliet Reynolds (critic) 1979 Artist Workshop (3 week workshop, May-June) Participating artists: John Davies (Great Britain), Pranabranjan Ray (critic), Dhruva Mistry, Nilima Sheikh, Nagji Patel, Valsan Kolleri, Gulammohammed Sheikh, K.G. -
PRESS RELEASE Homeward ARPITA SINGH 18 March
D-40 Defence Colony, New Delhi 110024 | T +91-11-24622545/24615368 D-53 Defence Colony, New Delhi - 110024 | T +91-11-46103550/46103551 E [email protected] | W www.vadehraart.com PRESS RELEASE Homeward ARPITA SINGH 18 March – 16 April 2021 D-40 Defence Colony, New Delhi Vadehra Art Gallery is pleased to announce a continuation of our presentation titled Homeward, featuring a recent body of worK by Arpita Singh, which was recently presented as part of On Site, a collaborative exhibition by four leading galleries held at BiKaner House, New Delhi, earlier this month, and is now on view at our modern gallery. Described as a figurative artist and a modernist, Arpita Singh still maKes it a point to stay tuned in to traditional Indian art forms and aesthetics, like miniaturist painting and different forms of folk art, employing them regularly in her work. Afflicted by the problems that are faced each and every day by women in her country and the world in general, Singh paints the range of emotions that she exchanges with these subjects – from sorrow to joy and from suffering to hope – providing a view of the ongoing communication she maintains with them. In this latest body of watercolours on paper and oil paintings, Singh’s cartographical autobiographies assume new dimensions through an intensification of colour, accenting her imagined landscapes with the flourish of expressionist emotion. With compositions foregrounded in movement, Singh tends to emphasize the potential of individual agency operating within collective constraints, though her mapping doesn’t seem to prioritize any one aspect – whether the fictional, mythical, personal, public fact or dream. -
Masculinity and the Structuring of the Public Domain in Kerala: a History of the Contemporary
MASCULINITY AND THE STRUCTURING OF THE PUBLIC DOMAIN IN KERALA: A HISTORY OF THE CONTEMPORARY Ph. D. Thesis submitted to MANIPAL ACADEMY OF HIGHER EDUCATION (MAHE – Deemed University) RATHEESH RADHAKRISHNAN CENTRE FOR THE STUDY OF CULTURE AND SOCIETY (Affiliated to MAHE- Deemed University) BANGALORE- 560011 JULY 2006 To my parents KM Rajalakshmy and M Radhakrishnan For the spirit of reason and freedom I was introduced to… This work is dedicated…. The object was to learn to what extent the effort to think one’s own history can free thought from what it silently thinks, so enable it to think differently. Michel Foucault. 1985/1990. The Use of Pleasure: The History of Sexuality Vol. II, trans. Robert Hurley. New York: Vintage: 9. … in order to problematise our inherited categories and perspectives on gender meanings, might not men’s experiences of gender – in relation to themselves, their bodies, to socially constructed representations, and to others (men and women) – be a potentially subversive way to begin? […]. Of course the risks are very high, namely, of being misunderstood both by the common sense of the dominant order and by a politically correct feminism. But, then, welcome to the margins! Mary E. John. 2002. “Responses”. From the Margins (February 2002): 247. The peacock has his plumes The cock his comb The lion his mane And the man his moustache. Tell me O Evolution! Is masculinity Only clothes and ornaments That in time becomes the body? PN Gopikrishnan. 2003. “Parayu Parinaamame!” (Tell me O Evolution!). Reprinted in Madiyanmarude Manifesto (Manifesto of the Lazy, 2006). Thrissur: Current Books: 78.