Volume 2, Issue 1, February 2014
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Banians in the Bengal Economy (18Th and 19Th Centuries): Historical Perspective
Banians in the Bengal Economy (18th and 19th Centuries): Historical Perspective Murshida Bintey Rahman Registration No: 45 Session: 2008-09 Academic Supervisor Dr. Sharif uddin Ahmed Supernumerary Professor Department of History University of Dhaka This Thesis Submitted to the Department of History University of Dhaka for the Degree of Master of Philosophy (M.Phil) December, 2013 Declaration This is to certify that Murshida Bintey Rahman has written the thesis titled ‘Banians in the Bengal Economy (18th & 19th Centuries): Historical Perspective’ under my supervision. She has written the thesis for the M.Phil degree in History. I further affirm that the work reported in this thesis is original and no part or the whole of the dissertation has been submitted to, any form in any other University or institution for any degree. Dr. Sharif uddin Ahmed Supernumerary Professor Department of History Dated: University of Dhaka 2 Declaration I do declare that, I have written the thesis titled ‘Banians in the Bengal Economy (18th & 19th Centuries): Historical Perspective’ for the M.Phil degree in History. I affirm that the work reported in this thesis is original and no part or the whole of the dissertation has been submitted to, any form in any other University or institution for any degree. Murshida Bintey Rahman Registration No: 45 Dated: Session: 2008-09 Department of History University of Dhaka 3 Banians in the Bengal Economy (18th and 19th Centuries): Historical Perspective Abstract Banians or merchants’ bankers were the first Bengali collaborators or cross cultural brokers for the foreign merchants from the seventeenth century until well into the mid-nineteenth century Bengal. -
THE POLYMATH VERSUS TRADITION ISWAR CHANDRA VIDYASAGAR and HIS TRYST with HUMANISM** Anjashi Sarkar*
Journal of the Asiatic Society of Bangladesh (Hum.), Vol. 65(2), 2020, pp. 151-177 THE POLYMATH VERSUS TRADITION ISWAR CHANDRA VIDYASAGAR AND HIS TRYST WITH HUMANISM** Anjashi Sarkar* Abstract Iswar Chandra Vidyasagar as a philanthropist and humanist has evoked interest in various research fields and conversations across generations. When it comes to the pathos of the Indian society during the nineteenth century it is inclusive of the efforts undertaken to deal or fight the same. In this context, a polymath stands as a primary factor and an exemplary figure for the much-needed awakening of young and new generations. Vidyasagar not only as a humanist but also as a human being has been at the forefront of the renaissance we are acquainted with as far as the Bengal chapter in the nineteenth century is concerned. His academic and philosophical endeavours have gathered attention of scholars, officer- administrators, etc. time and again. His adventures and experiences may be evaluated in various ways; in one aspect as a coming of age game changer in the Indian society, and, in the other as a humanist who brought in shades of life in every undertaking he was associated with or displayed immense passion about. This paper is meant to highlight the exceptionality of Iswar Chandra Vidyasagar, based on primary and secondary sources, and how his endeavours have left an impression in the minds of potential radicals. Introduction Whenever we have come across thinkers and scholars from all eras, we tend to analyze what made them unforgettable personalities. In addition to this, we attach various events that shaped up their notions and understandings about the immediate environment. -
Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850
Open Research Online The Open University’s repository of research publications and other research outputs Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850 Thesis How to cite: Mcdermott, Siobhan Clare (2019). Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850. PhD thesis The Open University. For guidance on citations see FAQs. c 2018 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ed14 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850 Siobhan Claire McDermott, BA, MA, Open University, MB, BAO, BCh, Trinity College Dublin. Presented for the degree of Doctor of Philosophy in Art History, School of Arts and Culture, Faculty of Arts and Social Sciences, the Open University, September, 2018. Personal Statement No part of this thesis has previously been submitted for a degree or other qualification of the Open University or any other university or institution. It is entirely the work of the author. Abstract The aim of this thesis is to show that Irish art made in the period under discussion, the late-eighteenth to the mid-nineteenth century, should not be considered solely in terms of Ireland’s relationship with England as heretofore, but rather, within the framework of the wider British Empire. -
Estimates Committee, (1967-68)
E. C. No. 489 ESTIMATES COMMITTEE, (1967-68) FIFTH REPORT (FOURTH LOK SABRA) MINISTRY OF EDUCATION (i) Indian Museum, Calcutta (ii) Victoria Memorial Hall Museum, Calcutta. LOK SABHA SECRI!.TARIAT NEW DELHI Jun,! 1967/JyGistho. 1889 (5aka) Price: Rs. 1.35 Ll~T m' AUTHORISED AGENTS FOR THE SALE OF LOK SABIH SECRETARIAT PUBLICATIONS SI. Name of Agent Agency SI. Name of Agent Agency No, No. No. No. ANDHRA PRADESH t. Andhra University General 13. Deccan Book Stall, Fer- Cooperative Stores Ltd., guson College Road, Wa1tair (Visaidlaparnam). Poona-4· z. G. R. Labhmipatby Chetty 94 RAJASTHAN and SODS, General Mer- cbaaII and News Agents, 14. Information Centre, Newpet, Chandragiri, Government of Rajastlwt, Chittonr Distrlc:t. Tripoli., Jaipur City. ASSAM UTTAR PRADESH 3. Western Book Depot, Pan 7 IS. Swastik Industrial Works, Bazar. Gauhati. 59, Holi Street, Meerut City. BIHAR 16. Law Book Compan}. Sardar Patel Marg, 4. Amar Kitab Ghar, Post 37 Allahabad-I. Box 78, Diagonal Road, Jamalicdpur. WEST BENGAL GUJARAT 17. Granthaloka, 5/1, Ambica 10 Mookherjee Road, Belgha- 5. Vijay Stores, Station Road, 3S ria, 24 Parganas. AnaaJ. 18. W. Newman & Company 44 6. The New Order Book, Ltd., 3, Old Court House Company, Ellis Bridge, Street, Calcutta. Ahmedabad-6. 19. Firma K. L. Mukhopadhyay, 6/1A, Banchharam Akrur MADHYA PRADESH Lane, Calc:utta-u. ,. Modera Book House, Shiv 13 Vilas Palace, Indore City. DELHI MAHARASHTRA ~ JBin Book Agency, Con- naught Place, New Delhi. 8. Mis. Suaderdas Giaac:haad 6 5ol,Girgaum Road, near 21. Sat Narain & Sons, 3141, 3 Princess Street, Bombay-2. Mohd. Ali Bazar, Mori Gate, Delhi. -
Bengal Patachitra
ojasart.com BENGAL PATACHITRA Ojas is a Sanskrit word which is best transliterated as ‘the nectar of the third eye and an embodiment of the creative energy of the universe’. Ojas endeavours to bring forth the newest ideas in contemporary art. Cover: Swarna Chitrakar Santhal Wedding Ritual, 2018 Vegetable colour on brown paper 28x132 inch 1AQ, Near Qutab Minar Mehrauli, Delhi 110 030 Ph: 85100 44145, +91 11 2664 4145 [email protected] @/#ojasart Bengal Patachitra Works by Anwar Chitrakar 8 Dukhushyam Chitrakar 16 Moyna & Joydeb Chitrakar 24 Swarna Chitrakar 36 Uttam Chitrakar 50 CONTENTS Essays by Ojas Art Award Anubhav R Nath 4 The Mesmerizing Domains of Patta-chittra Prof Neeru Misra 6 Bengal Pata Chitra: Painitng, narrating and singing with twists and turns Prof Soumik Nandy Majumdar 14 Pattachitra of Bengal: An emotion of a community Urmila Banu 34 About the Artists 66 Ojas Art Award rt has a bigger social good is a firm belief and I have seen art at work in changing lives of communities through the economic independence and sustainability that it had Athe potential to provide. A few years ago, I met some accomplished Gond artists in Delhi and really liked their art and the history behind it. Subsequent reading and a visit to Bhopal revealed a lot. The legendary artist J. Swamintahan recognised the importance of the indigenous arts within the contemporary framework, which eventually lead to the establishment and development of institutions like Bharat Bhavan, IGRMS and Tribal Museum. Over the decades, may art forms have been lost to time and it is important to keep the surviving ones alive. -
Courses Taught at Both the Undergraduate and the Postgraduate Levels
Jadavpur University Faculty of Arts Department of History SYLLABUS Preface The Department of History, Jadavpur University, was born in August 1956 because of the Special Importance Attached to History by the National Council of Education. The necessity for reconstructing the history of humankind with special reference to India‘s glorious past was highlighted by the National Council in keeping with the traditions of this organization. The subsequent history of the Department shows that this centre of historical studies has played an important role in many areas of historical knowledge and fundamental research. As one of the best centres of historical studies in the country, the Department updates and revises its syllabi at regular intervals. It was revised last in 2008 and is again being revised in 2011.The syllabi that feature in this booklet have been updated recently in keeping with the guidelines mentioned in the booklet circulated by the UGC on ‗Model Curriculum‘. The course contents of a number of papers at both the Undergraduate and Postgraduate levels have been restructured to incorporate recent developments - political and economic - of many regions or countries as well as the trends in recent historiography. To cite just a single instance, as part of this endeavour, the Department now offers new special papers like ‗Social History of Modern India‘ and ‗History of Science and Technology‘ at the Postgraduate level. The Department is the first in Eastern India and among the few in the country, to introduce a full-scale specialization on the ‗Social History of Science and Technology‘. The Department recently qualified for SAP. -
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. -
DANIELLS Artists and Travellers
,···.:.:.:::.::.;.:·::;'.:.:J<" .J THE DANIELLS Artists and Travellers by THOMAS SUTTON F.S.A. LONDON • THE BODLEY HEAD VIEW OF THE CASCADE Engr4vtil 1111J coloureil by William 'D4n1itll .from 4 pai11ti11g by Captain &btrt Smith •.=. THE DANIELLS IN NORTHERN INDIA: 1. CALCUTTA TO DELHI 27 been endowed with literary talents commensurate with his widoubted artistic ability, he could have been the creator of one of the most absorbing travel diaries ofall times. To the art historian the diaries are of the greatest interest, crowded as they are with Chapter Two references to the methods used by his wide and himself. We find, for example, that they used the camera obscura, and in this they were probably by no means alone. There are various types of this mechanical aid and the type used by the Daniells was probably The Daniells in Northern the one shaped like a box, with an open side over which a curtain is hwig. By means of optical refraction (as in a reflex camera) the object to be depicted is reflected on a India - I sheet of paper laid on the base of the box. The artist can then readily trace with a pencil over the outlines of the reflected surface. Holbein is reputed to have used a mechanical Calcutta to Delhi : 1788-1789 device for the recording ofhis portraits of the Court ofHenry VIII, and other kinds of artistic aids were widoubtedly known from the rime ofDiircr onwards. It must not be imagined, however, that the result of tracing in the camera produces a finished picture. accurate itinerary of the wanderings of the Dani ells in India between 1788 and It is one thing to make a tracing, and quite another to make a work of art. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
Download Book
"We do not to aspire be historians, we simply profess to our readers lay before some curious reminiscences illustrating the manners and customs of the people (both Britons and Indians) during the rule of the East India Company." @h£ iooi #ld Jap €f Being Curious Reminiscences During the Rule of the East India Company From 1600 to 1858 Compiled from newspapers and other publications By W. H. CAREY QUINS BOOK COMPANY 62A, Ahiritola Street, Calcutta-5 First Published : 1882 : 1964 New Quins abridged edition Copyright Reserved Edited by AmARENDRA NaTH MOOKERJI 113^tvS4 Price - Rs. 15.00 . 25=^. DISTRIBUTORS DAS GUPTA & CO. PRIVATE LTD. 54-3, College Street, Calcutta-12. Published by Sri A. K. Dey for Quins Book Co., 62A, Ahiritola at Express Street, Calcutta-5 and Printed by Sri J. N. Dey the Printers Private Ltd., 20-A, Gour Laha Street, Calcutta-6. /n Memory of The Departed Jawans PREFACE The contents of the following pages are the result of files of old researches of sexeral years, through newspapers and hundreds of volumes of scarce works on India. Some of the authorities we have acknowledged in the progress of to we have been indebted for in- the work ; others, which to such as formation we shall here enumerate ; apologizing : — we may have unintentionally omitted Selections from the Calcutta Gazettes ; Calcutta Review ; Travels Selec- Orlich's Jacquemont's ; Mackintosh's ; Long's other Calcutta ; tions ; Calcutta Gazettes and papers Kaye's Malleson's Civil Administration ; Wheeler's Early Records ; Recreations; East India United Service Journal; Asiatic Lewis's Researches and Asiatic Journal ; Knight's Calcutta; India. -
101 Chapter-Ii Early Phase of Satirical Art in Bengal
CHAPTER-II EARLY PHASE OF SATIRICAL ART IN BENGAL 2.1 INTRODUCTION In this chapter, the research deals with some essential quarries of origin of satirical impulse in art and activities in the 19th century Calcutta, as the market for art started expanding, thanks to the processes of urbanization, the rural folk traditions of pat painting transformed in the hands of the migrant artists to produce water-colours (they used gouache and tempera) of Hindu gods and goddesses as well as to address the unprecedented diversity of urban life. As a result, many of these Kalighat paintings (as the art-practice came to be known) described, using their signature bold lines and colorations, some of the city‟s most popular scandals. Most importantly, they took satirical pot-shots at the sanctimoniousness of the city‟s middle-classes. One can, in fact, trace the obsession with the dandyish and dissolute Babu figure in the early 20th century art to many of the searing images produced by these patuas. The Bat-tala prints and wood-cuts also explored the same themes, targeting the lascivious courtesan and the effeminate Babu with equal ardour. (Sardesai:2003) The historical study of the evolution of satirical images cannot be done without including the patachitras, an art that had an exclusive position in the world of art in Bengal. While speaking of patachitras what instantly comes to our mind is the school of kalighat patachitras. Satire has been a part of traditional culture in Bengal since a long time. The various traditional practises like bolan in rahr Bengal, gombhira of north Bengal, jhumur incorporated in their performances an element of satire. -
Curriculum Vitae of Milinda Banerjee Assistant Professor, Department Of
Curriculum Vitae of Milinda Banerjee Assistant Professor, Department of History, Presidency University, Kolkata November 2014: Defended PhD in Heidelberg University; graded Summa cum Laude for the written dissertation as well as the oral exam. Since 2013: Research Fellow in Junior Research Group „Transcultural Justice: Legal Flows and the Emergence of International Justice within the East Asian War Crimes Trials, 1946-1954‟, Cluster of Excellence “Asia and Europe in a Global Context”, Karl Jaspers Centre for Advanced Transcultural Studies, Heidelberg University, Germany. Working Title of Project: „An Intellectual History of the Tokyo Trial: Judge Radhabinod Pal and Debates on International Justice‟ Since July 2012: Assistant Professor, Department of History, Presidency University, Kolkata Since April 2010: Ph.D. candidate at the Cluster of Excellence “Asia and Europe in a Global Context: Shifting Asymmetries in Cultural Flows”, Karl Jaspers Centre for Advanced Transcultural Studies, Heidelberg University, Germany; member of research project A5: Nationising the Dynasty 2010-2011 (Winter Semester): Gave courses at South Asia Institute, Heidelberg University 2010: Assistant Professor at Surendranath College, Kolkata 2008-2010: Fellow, Centre for Advanced Studies, Department of History, University of Calcutta 2008-2010: Guest lecturer at Presidency College, Kolkata 2008: Part-time guest lecturer at Vidyasagar College, Evening Section, Kolkata 2007: Qualified in the National Eligibility Test (NET) examinations, University Grants