A Critical Analysis of Narrative Art on Baranagar Temple Facades
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In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being. -
Hindu Music in Bangkok: the Om Uma Devi Shiva Band
Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok: The Om Uma Devi Shiva Band Kumkom Pornprasit+ (Thailand) Abstract This research focuses on the Om Uma Devi Shiva, a Hindu band in Bangkok, which was founded by a group of acquainted Hindu Indian musicians living in Thailand. The band of seven musicians earns a living by performing ritual music in Bangkok and other provinces. Ram Kumar acts as the band’s manager, instructor and song composer. The instruments utilized in the band are the dholak drum, tabla drum, harmonium and cymbals. The members of Om Uma Devi Shiva band learned their musical knowledge from their ancestors along with music gurus in India. In order to pass on this knowledge to future generations they have set up music courses for both Indian and Thai youths. The Om Uma Devi Shiva band is an example of how to maintain and present one’s original cultural identity in a new social context. Keywords: Hindu Music, Om Uma Devi Shiva Band, Hindu Indian, Bangkok Music + Kumkom Pornprasit, Professor, Faculty of Fine and Applied Arts, Chulalongkorn University, Thailand. email: [email protected]. Received 6/3/21 – Revised 6/5/21 – Accepted 6/6/21 Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok… | 218 Introduction Bangkok is a metropolitan area in which people of different ethnic groups live together, weaving together their diverse ways of life. Hindu Indians, considered an important ethnic minority in Bangkok, came to settle in Bangkok during the late 18 century A.D. to early 19 century A.D. -
Folk Dance: a Distinctive Performing Art Tradition of Odisha
FOLK DANCE: A DISTINCTIVE PERFORMING ART TRADITION OF ODISHA MANMATH PADHY Professor (Dr.) Vice Chancellor, Khallikote University, Berhampur, Ganjam, Odisha, India E-mail: [email protected] I. INTRODUCTION present day. The remnants of the past and continuity of the traditional culture which has been possible in The traditional focus in the study of folk dance has spite of the influx of cultures from the outside have been marked, more or less, on the equilibrium been the striking features of the Odisha history. analysis and configurations in societies characterized Odisha has been made substantial contributions to by its small sizes, isolated location and homogeneous enrich the folk culture with a special identity of its of the population. Folk culture has been generally folk tradition. considered to be the study of primitive societies. The Odisha society is a continuum of tribal and non-tribal cultural program the source of entertainment has been elements even to this day. Every aspects of its socio- performed in various forms all over the world since cultural life – be it religion, language, art, painting, the dawn of the civilization. Archaeological dance drama or literature, bears a stamp of their own evidences indicate that dancing was a common culture. Odisha has as many as folk dances and pastime in Harappan period in ancient India. The literature of which most of them are identified as literary sources are also replete with the cultural primitive and they form considerable percentage of phenomenon of the folk tradition. In Yajur Veda, a the State’s total population. Though the cultural pole dancer or acrobat has been mentioned. -
Music Industry Workshop
Third United Nations Conference on the Least Developed Countries Proceedings of the Youth Forum MUSIC INDUSTRY WORKSHOP European Parliament Brussels, Belgium 19 May 2001 UNITED NATIONS New York and Geneva, 2003 NOTE The opinions expressed in this publication are those of the authors and do not necessarily reflect the views of the United Nations. The designations employed and the presentation of the material in this publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the legal status of any country, territory, city or area, or of its authorities, or concerning the delimitation of its frontiers or boundaries. All data are provided without warranty of any kind and the United Nations does not make any representation or warranty as to their accuracy, timeliness, completeness or fitness for any particular purposes. UNCTAD/LDC/MISC.82 i ACKNOWLEDGEMENTS This publication is the outcome of the proceedings of the Youth Forum Music Industry Workshop, a parallel event organized on 19 May 2001 during the Third United Nations Conference on the Least Developed Countries, held in the European Parliament in Brussels. Ms. Zeljka Kozul-Wright, the Youth Forum Coordinator of the Office of the Special Coordinator for LDCs, prepared this publication. Lori Hakulinen-Reason and Sylvie Guy assisted with production and Diego Oyarzun-Reyes designed the cover. ii CONTENTS Pages OPENING STATEMENTS Statement by Mr. Rubens Ricupero ............................................................................ 1 Statement by H.E. Mr. Mandisi B. Mpahlwa ............................................................... 5 Statement by Ms. Zeljka Kozul-Wright......................................................................... 7 INTRODUCTION Challenges and prospects in the music industry for developing countries by Zeljka Kozul-Wright................................................................................................. -
Bangladeshi Cultural Center: for the Bangladeshi Population Living in New York City
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2018 Bangladeshi Cultural Center: for the Bangladeshi Population Living in New York City Sabrina Afrin University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Architecture Commons Recommended Citation Afrin, Sabrina, "Bangladeshi Cultural Center: for the Bangladeshi Population Living in New York City" (2018). Masters Theses. 626. https://doi.org/10.7275/12051957 https://scholarworks.umass.edu/masters_theses_2/626 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. BANGLADESHI CULTURAL CENTER: FOR THE BANGLADESHI POPULATION LIVING IN NEW YORK CITY A Thesis Presented By SABRINA AFRIN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE May 2018 Department of Architecture © Copyright by Sabrina Afrin, 2018 All Rights Reserved ii BANGLADESHI CULTURAL CENTER: FOR THE BANGLADESHI POPULATION LIVING IN NEW YORK CITY A Thesis Presented By SABRINA AFRIN Approved as to style and content by: _________________________________ Erika Zekos, Chair _________________________________ Joseph Krupczynski, Member _____________________________________ Professor Stephen Schreiber Chair, Department of Architecture. iii ACKNOWLEDGEMENT I would like to express my deepest appreciation to my thesis advisors, Erika Zekos and Joseph Krupczynski for their guidance and continuous support throughout the process. My chair of the thesis, Erika Zekos has been available whenever I needed her and she continued to convince me towards a better progress with the project and this dissertation. -
Aesthetics of Dakhineswar Temple: an Empirical Study on the Temple Architecture Through the Lens of Contemporary Time
International Journal of Humanities and Social Science Research International Journal of Humanities and Social Science Research ISSN: 2455-2070; Impact Factor: RJIF 5.22 Received: 23-11-2019; Accepted: 25-12-2019 www.socialsciencejournal.in Volume 6; Issue 1; January 2020; Page No. 100-108 Aesthetics of dakhineswar temple: An empirical study on the temple architecture through the lens of contemporary time Animesh Manna1, Soumita Chatterjee2 1 Assistant Professor, Department of History, Shyampur Shiddheswari Mahavidyalaya Ajodhya, Howrah, West Bengal, India 2 Guest Lecturer, Department of Anthropology, Shyampur Shiddheswari Mahavidyalaya Ajodhya, Howrah, West Bengal, India Abstract The term temple is an oblivious expression of Hinduism which is most often unheeded. The temple architecture generally exhibits the social condition, material culture as well as the ideological paradigms of a particular community. Dakhineswar Kali temple has more than hundred year’s heritage records in West Bengal and India too. The present study is an attempt to understand how different cultural patterns and impact of various Indian historical time period embedded in an architectural style. For this paper, the data were collected through observation, interview methods. This research reveals the impact of Indo- Islamic style as a form of ‘ratna’ or towered structure, European influence as a presence of flat roof temple pattern and ‘aat- chala’ form expressing the Bengal Temple Terracotta style. Furthermore, the presence of skywalk, car parking area, specially designed security witnessing the touches of modernization through the shades of cultural heritage. Keywords: architecture, Dakhineswar, modernization, temple 1. Introduction Northern style, the ‘Dravida’ or the Southern style and the Every stone is sacred and everyone is devotee in Hinduism. -
Evolution and Assessment of South Asian Folk Music: a Study of Social and Religious Perspective
British Journal of Arts and Humanities, 2(3), 60-72, 2020 Publisher homepage: www.universepg.com, ISSN: 2663-7782 (Online) & 2663-7774 (Print) https://doi.org/10.34104/bjah.020060072 British Journal of Arts and Humanities Journal homepage: www.universepg.com/journal/bjah Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective Ruksana Karim* Department of Music, Faculty of Arts, Jagannath University, Dhaka, Bangladesh. *Correspondence: [email protected] (Ruksana Karim, Lecturer, Department of Music, Jagannath University, Dhaka, Bangladesh) ABSTRACT This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia. -
Jagannath Kuanr the Traditions of Instrumental Music in Odisha, Is As Rich As the Cultural Traditions of Odisha
PARIPEX - INDIAN JOURNAL OF RESEARCH | Volume - 10 | Issue - 03 |March - 2021 | PRINT ISSN No. 2250 - 1991 | DOI : 10.36106/paripex ORIGINAL RESEARCH PAPER Arts CONTRIBUTIONS OF MUSICAL INSTRUMENTS KEY WORDS: Musical, TO TRADITIONAL MUSIC OF ODISHA Tradition, Instrument, Odisha Prof.(Dr.) P.G.department Of Odissi Mardal, Utkal University Of Culture, Bhubaneswar Jagannath Kuanr The traditions of instrumental music in Odisha, is as rich as the cultural traditions of Odisha. Music of Odisha is considered more entertaining than that of the other regions of India. It has been mentioned in king Kharavela's Hatigumpha cave inscriptions that music and dance were performed then for the entertainment of the people. The CT imprints of Odisha's dance and music are found in the caves of Khandagiri and Udayagiri. Various informations about music are found described in the mythological books, like:- Swarnadri Mahodaya, Sarala Mahabharat, Kabi Kalpadrooma, Rasa Kalpadrooma, Vishnu Dharmotar Purana , Sangeeta Narayan , Sangeeta Muktabali, Abhinaya Darpan , Sangeeta Kaumudi, Sangeeta Kalpalata, Geetaprakash, Sangeetaratna etc. On the basis of facts found from the ancient ABSTRA stone- inscriptions, ancient literature of Odisha, architecture and sculptures of Odisha's ancient temples, we come to know a few things regarding the tradition of musical- instruments in Odisha. Instrumental music has much importance in the traditional Purana recitals are the evidences of Odissi music tradition. musical performance in Odisha since ancient period. The The culture of Odisha is lord sri Jagannath's culture which traditional musical instruments of Odisha have been reflects in the people of Odisha. Use of various musical contributed so as to enhance the melody of music. -
Online Request for Proposal (RFP)
Online Request for Proposal (RFP) To organise Museum, Belvedere House, National Library, Kolkata & Old Currency Building, Kolkata which include conceptualizing, designing, layout, material supply, setting up and execution and submission on turnkey basis. 1 CONTENTS Section Particulars Page No. Section 1 Notice Inviting Request for Proposals 3 Section 2 Critical Date Sheet 4 Section 3 Instructions to Bidders 5-11 Section 4 Technical Proposal (Annexure - I to Annexure - IV) 12-16 Section 5 Performance Bank Guarantee (Annexure - V) 17-18 Section 6 Financial Proposal (Annexure A) 19-24 Section 7 Terms of Reference [Scope of Work] 25-28 Section 8 General Terms of Contract (GTC) 29-38 Section 9 Special Terms of Contract (SCC) 39 Section 10 Form of Agreement (Annexure B) 40 Section 11 Technical Evaluation proposals (Annexure C) 41-42 Section 12 Eligibility Criteria for the Bidder (Annexure D) 43 Section 13 BOQ Format (Annexure E) 44 Section 16 Plan/ Elevation (Annexure F) 45-46 2 3 Critical Date Sheet 1. Name of work To organise Museum, Belvedere House, National Library, Kolkata & Old Currency Building, Kolkata which include conceptualizing, designing, layout, material supply, setting up and execution and submission on turnkey basis. 2. Approximate Estimated Cost Rs. 4,00,00,000/- (inclusive of taxes) 3. EMD Rs.12,00,000/- 4. Cost of RFP NIL 5. Probable time of Completion 120 days from the date of award of work 6. Date of Issue of RFP 03.06.2019 7. Bid Document Download Start Date 03.06.2019 8. Start date for submission of filled in RFP 04.06.2019 from 2:00 PM document 9. -
Government of India National Gallery of Modern Art Jaipur House, India Gate, New Delhi – 110003
Government of India National Gallery of Modern Art Jaipur House, India Gate, New Delhi – 110003 Expression of Interest for Engagement as Professional Advisor cum Architect National Gallery of Modern Art (NGMA), Ministry of Culture, Government of India invites applications from qualified and experienced professionals for engagement as a Professional Advisor cum Architect (PACA) for the establishment of a regional unit of the NGMA in Kolkata, West Bengal. The proposal envisages the adaptive reuse of the Currency Building located at B.B.D. Bagh, Kolkata and currently under the custody and maintenance of the Archaeological Survey of India (ASI). The proposal envisages the establishment of the regional unit of NGMA in the frontal section of the Currency Building with the main entry from B B D Bag (Dalhousie Square) East Road while the Archaeological Survey of India will retain the rear section of the building with an exclusive entry from R N Mukherjee Road. The site plan indicating the division and the entry is appended with this EOI document as Appendix – I (Dwg No. A-1.1). The background, scope of works and other requirements are as follows: The Gallery is a premier institution of its kind in India. It is run and administered as a subordinate office under the Department of Culture, Government of India. The NGMA has two branches one at Mumbai and the other at Bengaluru. The gallery is a repository of the cultural ethos of the country and showcases the changing art forms through the passage of the last hundred and fifty years starting from about 1857 in the field of Visual and Plastic arts. -
Terracotta Temples of Birbhum: an Ethno-Archaeological Prospect
Terracotta Temples of Birbhum: An Ethno‐archaeological Prospect Arunima Sinha1 1. Department of Ancient Indian History, Culture and Archaeology, Deccan College Post Graduate and Research Institute, Deemed to be University, Pune – 411 006, Maharashtra, India (Email: [email protected]) Received: 16 August 2017; Revised: 20 September 2017; Accepted: 26 October 2017 Heritage: Journal of Multidisciplinary Studies in Archaeology 5 (2017): 676‐697 Abstract: The terracotta temples of Birbhum are one of the unparalleled cultural heritages of the country. Present paper speaks about the aesthetic values of these monuments. In addition, present work has tried to bridge a temporal gap between past and present social cognition as reflected in the making of these monuments of Birbhum. The paper shows past life‐ways carried remarkable influence and inspiration to the artists and architects of studied monuments. Ethno‐archaeological parallels can be witnessed in modern day rural Birbhum as discussed in present paper. Keywords: Art, Architecture, Cultural Heritage, Analogy, Ethno‐archaeology, Terracotta Temple, Birbhum Introduction The art of terracotta dates back to the Indus Valley civilisation. It was about 3,000 years before the birth of Christ when Indians mastered the magic of this craft. Astonishingly, yet, it is only in Bengal and a few places in Jharkhand that this craft was used to decorate temples, mosques and other places of worship. In Bengal, artisans opted for terracotta tiles or plaques mainly due to the non‐availability of stone and for its easy usage. Bengal province (modern Bangladesh and the Indian state of West Bengal) saw a remarkable surge in patronage and experimentation in art and architecture in the form of terracotta brick temple, from the mid‐17th to the mid‐19th century. -
The Silver Series - 3
DAG : THE SILVER SERIES - 3 THE SILVER SERIES EDITION 3 6 - 10 JULY 2020 10% SALE PROCEEDS TO 1 DAG : THE SILVER SERIES - 3 THE SILVER SERIES EDITION 3 100 ARTISTS ² 100 WORKS Modern and Contemporary Indian Art 6 - 10 JULY 2020 FIXED-PRICE ONLINE SALE The Silver Series is DAG’s initiative towards raising funds for charity through its fixed-price online sales For further information please contact us at [email protected] 1 DAG : THE SILVER SERIES - 3 FROM ASHISH ANAND’S DESK Hundreds of great artists have marked every decade of the twentieth century, which is why I have always been surprised at the invisibility of so many of our masters. Painters, sculptors, printmakers, teachers, they have made a name for themselves, but in the absence of their work being shown nationally—rather than regionally, as has been the norm—many have remained outside mainstream discourse. At DAG, it has been our effort to ensure their rediscovery and recognition, something we continue to do with our Silver Series, fixed-price online sales. The outstanding success of the first two editions is an indicator that art-lovers also have an appreciation for lesser-known names, as well as those whose works do not appear frequently in the market. Our endeavour with every edition will be to continue to surprise you with the mix of artists and the quality of their work. I hope the additions in this edition will bring you joy. If you miss any favourites, I assure you that you will find them in subsequent editions.