DOCSLIB.ORG

St. Lawrence High School 27, Ballygunge Circular Road

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
St. Lawrence High School 27, Ballygunge Circular Road 3/23/2021 Entab - CampusCare®| School ERP Software ST. LAWRENCE HIGH SCHOOL 27, BALLYGUNGE CIRCULAR ROAD ________________________________________________________________________________________________________________ Class : 10 Subject : HISTORY Term : FIRST TERM Max Marks : 60 Q 1 : Father of History Marks : 1 1 . Herodotus ( This Answer is Correct ) 2 . Zeus 3 . Thucydides 4 . Apollo ________________________________________________________________________________________________________________ Q 2 : Gitagovinda was written by Marks : 1 1 . Vyasa 2 . Kalidas 3 . Jaideva ( This Answer is Correct ) 4 . Chaitanyadev ________________________________________________________________________________________________________________ Q 3 : In Rig Veda garments are mentioned as Marks : 1 1 . Pranayam 2 . Paridhan ( This Answer is Correct ) 3 . Prachya 4 . Bastra ________________________________________________________________________________________________________________ Q 4 : The Photographic Society in Bengal was established Marks : 1 1 . 1834 2 . 1856 ( This Answer is Correct ) 3 . 1865 4 . 1843 ________________________________________________________________________________________________________________ Q 5 : The 1st Indian I.C.S. Marks : 1 1 . Debendranath Tagore 2 . Rabindranath Tagore 3 . Satyendranath Tagore ( This Answer is Correct ) 4 . Gaganendranath Tagore ________________________________________________________________________________________________________________ https://www.slscampuscare.in/QuestionBank/QuestionBankReport?menuid=501 1/11 3/23/2021 Entab - CampusCare®| School ERP Software Q 6 : The 1st X-ray unit of diagnosing diseases was initiated by Marks : 1 1 . Dr. Nilratan Sarkar ( This Answer is Correct ) 2 . Dr. Devi Shetty 3 . Dr.Bidhan Chandra Ray 4 . Dr. Indira Hinduja ________________________________________________________________________________________________________________ Q 7 : Calcutta Medical College was founded in Marks : 1 1 . 1876 2 . 1835 ( This Answer is Correct ) 3 . 1843 4 . 1857 ________________________________________________________________________________________________________________ Q 8 : Father of Revolutionary Thought Marks : 1 1 . Bipin Chandra Pal ( This Answer is Correct ) 2 . Subhash Chandra Bose 3 . Swami Vivekananda 4 . David Hare ________________________________________________________________________________________________________________ Q 9 : Author of Jibansmriti Marks : 1 1 . Rabindranath Tagore ( This Answer is Correct ) 2 . Bankim Chandra Chatterjee 3 . Jawaharlal Nehru 4 . Vidyasagar ________________________________________________________________________________________________________________ Q 10 : Hindu Widow Remarriage Act was passed in the year Marks : 1 1 . 1856 ( This Answer is Correct ) 2 . 1854 3 . 1832 4 . 1853 ________________________________________________________________________________________________________________ Q 11 : Neel Darpan was authored by Marks : 1 1 . Kaliprasanna Sinha 2 . Dinabandhu Mitra ( This Answer is Correct ) 3 . Kangal Harinath 4 . Girish Chandra Ghosh ________________________________________________________________________________________________________________ https://www.slscampuscare.in/QuestionBank/QuestionBankReport?menuid=501 2/11 3/23/2021 Entab - CampusCare®| School ERP Software Q 12 : Leader of the conservatives of contemporary Bengal Marks : 1 1 . Raja Rammohan Roy 2 . Raja Radhakanta Deb ( This Answer is Correct ) 3 . Kangal Harinath 4 . Girish Chandra Ghosh ________________________________________________________________________________________________________________ Q 13 : School Society was founded by Marks : 1 1 . Henry Derozio 2 . David Hare ( This Answer is Correct ) 3 . Bethune 4 . Lord Minto ________________________________________________________________________________________________________________ Q 14 : Fakir Of Jhungeera was composed by Marks : 1 1 . Rabindranath Tagore 2 . Derozio ( This Answer is Correct ) 3 . David Hare 4 . Rammohan Roy ________________________________________________________________________________________________________________ Q 15 : Nababidhan was formed by Marks : 1 1 . Kesahab Chandra Sen ( This Answer is Correct ) 2 . Rammohan Roy 3 . Debendranath Tagore 4 . Gurudas Banerjee ________________________________________________________________________________________________________________ Q 16 : Sati was abolished by the Marks : 1 1 . Regulation Act XV 2 . Regulation Act XVII ( This Answer is Correct ) 3 . Regulating Act XVI 4 . Regulation Act XXI ________________________________________________________________________________________________________________ Q 17 : A famous missionary educationist Marks : 1 1 . David Hare 2 . Derozio 3 . Dr. Alexander Duff ( This Answer is Correct ) 4 . Bethune ________________________________________________________________________________________________________________ https://www.slscampuscare.in/QuestionBank/QuestionBankReport?menuid=501 3/11 3/23/2021 Entab - CampusCare®| School ERP Software Q 18 : Shifting cultivation is also known as Marks : 1 1 . Juhmur 2 . Jhuma 3 . Jhum ( This Answer is Correct ) 4 . Jumu ________________________________________________________________________________________________________________ Q 19 : The Permanent Settlement was introduced in the year Marks : 1 1 . 1783 2 . 1793 ( This Answer is Correct ) 3 . 1772 4 . 1789 ________________________________________________________________________________________________________________ Q 20 : Buddhu Bhagat was a leader of the Marks : 1 1 . Santhal Rebellion 2 . Munda Rebellion 3 . Kol Rebellion ( This Answer is Correct ) 4 . Indigo Revolt ________________________________________________________________________________________________________________ Q 21 : Hool in the Santhali language means Marks : 1 1 . Love 2 . Hatered 3 . Rebellion ( This Answer is Correct ) 4 . War ________________________________________________________________________________________________________________ Q 22 : The Rumpa Rebellion began in Marks : 1 1 . 1922 ( This Answer is Correct ) 2 . 1934 3 . 1976 4 . 1902 ________________________________________________________________________________________________________________ Q 23 : The British Missionary who championed the cause of the Indigo cultivators Marks : 1 1 . James Long ( This Answer is Correct ) 2 . Adam Smith 3 . Derozio 4 . Alexander Duff ________________________________________________________________________________________________________________ https://www.slscampuscare.in/QuestionBank/QuestionBankReport?menuid=501 4/11 3/23/2021 Entab - CampusCare®| School ERP Software Q 24 : The Indigo Rebellion began at Marks : 1 1 . Chotanagpur 2 . Chaugacha ( This Answer is Correct ) 3 . Malda 4 . Midnapur ________________________________________________________________________________________________________________ Q 25 : Ulghulan meant Marks : 1 1 . War 2 . Peace 3 . Love 4 . The great revolt ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 26 : Jatiya Mela was established by Marks : 1 1 . Abanindranath Tagore 2 . Nabagopal Mitra ( This Answer is Correct ) 3 . Rajnarayan Bose 4 . Rammohan Roy ________________________________________________________________________________________________________________ Q 27 : Grandfather of Indian Nationalism Marks : 1 1 . Raja Rammohan Roy 2 . Rajnarayan Bose ( This Answer is Correct ) 3 . RadhakantaDeb 4 . Keshab Chandra Sen ________________________________________________________________________________________________________________ Q 28 : Bartaman Bharat is a monograph by Marks : 1 1 . Swami Vivekananda ( This Answer is Correct ) 2 . Bankim Chandra Chatterjee 3 . Sarat Chandra 4 . Rabindranath Tagore ________________________________________________________________________________________________________________ Q 29 : Anandamath was written in the background of the Marks : 1 1 . Kol Rebellion 2 . Sanyasi Rebellion ( This Answer is Correct ) 3 . Indigo Revolt 4 . Santhal Revolt ________________________________________________________________________________________________________________ https://www.slscampuscare.in/QuestionBank/QuestionBankReport?menuid=501 5/11 3/23/2021 Entab - CampusCare®| School ERP Software Q 30 : Author of Abhijnana Shakuntala Marks : 1 1 . Panini 2 . Kautilya 3 . Kalidasa ( This Answer is Correct ) 4 . Uday Shankar ________________________________________________________________________________________________________________ Q 31 : Presidency College was founded in the year Marks : 1 1 . 1876 2 . 1834 3 . 1817 ( This Answer is Correct ) 4 . 1872 ________________________________________________________________________________________________________________ Q 32 : Swami Vivekananda was the disciple of Marks : 1 1 . Ramkrishna Deb ( This Answer is Correct ) 2 . Rammohan Roy 3 . Girish Chandra Ghosh 4 . Vidyasagar ________________________________________________________________________________________________________________ Q 33 : Barnaparichay was written by Marks : 1 1 . Vivekananda 2 . Bankim Chandra Chatterjee 3 . Rabindranath Tagiore 4 . Ishwarchandra Vidyasagar ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 34 : Ijaradars were Marks : 1 1 . Speculators ( This Answer is Correct ) 2 . Traders 3 . Builders 4 . Teachers ________________________________________________________________________________________________________________
Load more

Recommended publications
  • Advances in Molecular Electronics: a Brief Review
    Open Access Global Journal of Arts and Social Sciences Volume 2 Issue 1 ISSN: 2694-3832 Review Article Twentieth Century Bengali Society through Gaganendranath Tagore’s Cartoons Mondal D* English Literature, Visva-Bharati University, Santiniketan, West-Bengal, India Article Info Abstract Article History: Gaganendranath Tagore is known as the first cartoonist in early twentieth century colonial India. His Received: 05 May, 2020 cartoons were markedly different from the ones that preceded him. He brought about a distinct Accepted: 07 May, 2020 modernity with his play of light and shade, depth and volume in his cartoons, something that is Published: 12 May, 2020 comparable with the trends that were popular in Europe then. This is not all. To give a professional edge *Corresponding author: Mondal D, to his cartoons, Gaganendranath started using the lithograph for printing them. Inspired by this trend of M.A., English Literature, Visva- printing them. This genre of drawing has not been highlighted enough, though they have been Bharati University, Santiniketan, instrumental in creating political rhetoric for long. However, the works by Gaganendranath were West-Bengal, India; DOI: neglected. May be for he was ahead of his time, his works were mostly experimental. He took up https://doi.org/10.36266/GJASS/120 caricature to satirize the westernized middle class of urban Bengal. The rise of nationalist sentiment and Swadeshi movement had also influenced his cartoons. This paper will try to look back and analyze the social condition of Bengal through Gaganendranath’s caricatures. Keywords: Caricature; Babu; Satire; Art Copyright: © 2020 Mondal D. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
    [Show full text]
  • Training Module History and Environment
    Training Module History and Environment Class X Planning and Development Expert Committee School Education Department West Bengal Board of School Education Department, Secondary Education Govt. of West Bengal Samagra Shiksha Abhiyan Printed at West Bengal Text Book Corporation Limited (Government of West Bengal Enterprise) Kolkata- 700 056 Training Module History and Environment Class X Planning and Development Expert Committee School Education Department West Bengal Board of School Education Department, Secondary Education Govt. of West Bengal Department of School Education, Government of West Bengal Bikash Bhavan, Kolkata- 700 091 West Bengal Board of Secondary Education 77/2, Park street, Kolkata- 700 016 Neither this book nor any keys, hints, comment, note, meaning, connotations, annotations, answers and solutions by way of questions and answers or otherwise should be printed, published or sold without the prior approval in writing of the Director of School Education, West Bengal. Any person infringing this condition shall be liable to penalty under the West Bengal Nationalised Text Books Act, 1977. July, 2020 The Teachers’ Training Programme under SSA will be conducted according to this module that has been developed by the Expert Committee on School Education and approved by the WBBSE. Printed at West Bengal Text Book Corporation Limited (Government of West Bengal Enterprise) Kolkata- 700 056 From the Board In 2011 the Honourable Chief Minister Smt. Mamata Banerjee constituted the Expert Committee on School Education of West Bengal. The Committee was entrusted upon to develop the curricula, syllabi and textbooks at the school level of West Bengal. The Committee therefore had developed school textbooks from Pre-Primary level, Class I to Class VIII based on the recommendations of National Curriculum Framework (NCF) 2005 and Right to Education (RTE) Act 2009.
    [Show full text]
  • IP Tagore Issue
    Vol 24 No. 2/2010 ISSN 0970 5074 IndiaVOL 24 NO. 2/2010 Perspectives Six zoomorphic forms in a line, exhibited in Paris, 1930 Editor Navdeep Suri Guest Editor Udaya Narayana Singh Director, Rabindra Bhavana, Visva-Bharati Assistant Editor Neelu Rohra India Perspectives is published in Arabic, Bahasa Indonesia, Bengali, English, French, German, Hindi, Italian, Pashto, Persian, Portuguese, Russian, Sinhala, Spanish, Tamil and Urdu. Views expressed in the articles are those of the contributors and not necessarily of India Perspectives. All original articles, other than reprints published in India Perspectives, may be freely reproduced with acknowledgement. Editorial contributions and letters should be addressed to the Editor, India Perspectives, 140 ‘A’ Wing, Shastri Bhawan, New Delhi-110001. Telephones: +91-11-23389471, 23388873, Fax: +91-11-23385549 E-mail: [email protected], Website: http://www.meaindia.nic.in For obtaining a copy of India Perspectives, please contact the Indian Diplomatic Mission in your country. This edition is published for the Ministry of External Affairs, New Delhi by Navdeep Suri, Joint Secretary, Public Diplomacy Division. Designed and printed by Ajanta Offset & Packagings Ltd., Delhi-110052. (1861-1941) Editorial In this Special Issue we pay tribute to one of India’s greatest sons As a philosopher, Tagore sought to balance his passion for – Rabindranath Tagore. As the world gets ready to celebrate India’s freedom struggle with his belief in universal humanism the 150th year of Tagore, India Perspectives takes the lead in and his apprehensions about the excesses of nationalism. He putting together a collection of essays that will give our readers could relinquish his knighthood to protest against the barbarism a unique insight into the myriad facets of this truly remarkable of the Jallianwala Bagh massacre in Amritsar in 1919.
    [Show full text]
  • Visva-Bharati, Santiniketan Title Accno Language Author / Script Folios DVD Remarks
    www.ignca.gov.in Visva-Bharati, Santiniketan Title AccNo Language Author / Script Folios DVD Remarks CF, All letters to A 1 Bengali Many Others 75 RBVB_042 Rabindranath Tagore Vol-A, Corrected, English tr. A Flight of Wild Geese 66 English Typed 112 RBVB_006 By K.C. Sen A Flight of Wild Geese 338 English Typed 107 RBVB_024 Vol-A A poems by Dwijendranath to Satyendranath and Dwijendranath Jyotirindranath while 431(B) Bengali Tagore and 118 RBVB_033 Vol-A, presenting a copy of Printed Swapnaprayana to them A poems in English ('This 397(xiv Rabindranath English 1 RBVB_029 Vol-A, great utterance...') ) Tagore A song from Tapati and Rabindranath 397(ix) Bengali 1.5 RBVB_029 Vol-A, stage directions Tagore A. Perumal Collection 214 English A. Perumal ? 102 RBVB_101 CF, All letters to AA 83 Bengali Many others 14 RBVB_043 Rabindranath Tagore Aakas Pradeep 466 Bengali Rabindranath 61 RBVB_036 Vol-A, Tagore and 1 www.ignca.gov.in Visva-Bharati, Santiniketan Title AccNo Language Author / Script Folios DVD Remarks Sudhir Chandra Kar Aakas Pradeep, Chitra- Bichitra, Nabajatak, Sudhir Vol-A, corrected by 263 Bengali 40 RBVB_018 Parisesh, Prahasinee, Chandra Kar Rabindranath Tagore Sanai, and others Indira Devi Bengali & Choudhurani, Aamar Katha 409 73 RBVB_029 Vol-A, English Unknown, & printed Indira Devi Aanarkali 401(A) Bengali Choudhurani 37 RBVB_029 Vol-A, & Unknown Indira Devi Aanarkali 401(B) Bengali Choudhurani 72 RBVB_029 Vol-A, & Unknown Aarogya, Geetabitan, 262 Bengali Sudhir 72 RBVB_018 Vol-A, corrected by Chhelebele-fef. Rabindra- Chandra
    [Show full text]
  • Talking Tempera
    presents TALKING TEMPERA in association with E-CATALOGUE OF TEMPERA STYLED ART BY BENGAL ARTISTS AND SCULPTURES BY SUVAJIT SAMANTA TEMPERA TALES empera paintings were first found on early Egyptian sarcophagi decorations. Many of the Fayum mummy portraits used tempera, sometimes in combination with encaustic. A related technique has also been used in ancient and early Tmedieval paintings, found in several caves and rock-cut temples of India. High- quality art with the help of tempera was created in Bagh Caves between the late 4th and 10th centuries AD and in the 7th century AD in Ravan Chhaya rock shelter ABOUT in Orissa. TEMPERA TAGORES & TEMPERA In the early part of the 20th century, a large number of Indian artists, notably of the Bengal School took up Tempera as one of their primary media of expression. Artists such as Gaganendranath Tagore, Asit Kumar Haldar, Abanindranath Tagore, Nandalal Bose, Kalipada Ghoshal and Sughra Rababi were foremost. After the 1950s, artists such as Jamini Roy and Ganesh Pyne established tempera as a medium for the new age artists of India. TALKING TEMPERA he most common form of classical tempera painting is “egg tempera”. For this form most often only the contents of the egg yolk is used. The white of the Tegg and the membrane of the yolk are discarded. Egg yolk is rarely used by itself with pigment; it dries almost immediately and can crack when it is dry. Some agent is always added, in variable proportions. » One recipe calls for vinegar (1:1 proportion to egg yolk by volume) » Other recipes suggest white wine (1 part yolk, 2 parts wine) WHAT IS TEMPERA » Some schools of egg tempera use various mixtures of egg yolk and water.
    [Show full text]
  • 8 Pioneers of Contemporary Indian
    Pioneers of Contemporary Indian Art MODULE - 3 Introduction Contemporary Indian Art 8 Notes PIONEERS OF CONTEMPORARY INDIAN ART At the beginning of 19th century under the influence of the British Raj, Indian art displayed a general decline. The craft and techniques of fresco and miniature paintings which were unique in the history of art, were nearly lost. Miniatures were ousted by European oil painting. Towards the turn of the century, traditional Indian painting faded out and it was the time for Indian artists to look at their heritage with positive approach and advance from the earlier European Colonial Art. Raja Ravi Varma of Kerala was famous for his paintings of mythological subjects and portraiture. His works showed western influence in his oil paintings. On the other hand, Abanindranath Tagore tried to recreate a new style in painting. Nandalal Bose, Benode Behari, and few others followed this newly awakened sense of nationalism. Thus emerged the Bengal School in the first half of 20th cen- tury. For subjects, they found their inspiration from Indian classics and mythology. They rejected the western realism and preferred to use idealism of Indian Art. Jamini Roy gave a modern form to folk art and Rabindranath Tagore intro- duced expression in his painting. These artists experimented with traditional water colour techniques using Indian and Chinese styles and also sought inspiration from miniatures, frescoes and folk art. Later, artists like Amrita Shergil drew on both Western and Indian traditions. Her contribution in the field of art retains her unique position as the first lady of the modern Indian art.
    [Show full text]
  • A Nineteenth-Century Bengali Housewife and Her Robinson Crusoe Days: Travel and Intimacy in Kailashbashini Debi’S the Diary of a Certain Housewife
    Feminismo/s 36, December 2020, 49-76 ISSN: 1989-9998 A NINETEENTH-CENTURY BENGALI HOUSEWIFE AND HER ROBINSON CRUSOE DAYS: TRAVEL AND INTIMACY IN KAILASHBASHINI DEBI’S THE DIARY OF A CERTAIN HOUSEWIFE UN AMA DE CASA BENGALÍ DEL SIGLO DIECINUEVE Y SUS DÍAS COMO ROBINSON CRUSOE: VIAJES E INTIMIDAD EN THE DIARY OF A CERTAIN HOUSEWIFE DE KAILASHBASHINI DEBI Swati MOITRA Author / Autora: Abstract primera Swati Moitra Gurudas College, University of Calcutta Kailashbashini Debi’s Janaika Grihabadhu’r Calcutta, India [email protected] Diary (The Diary of a Certain Housewife; writ- https://orcid.org/0000-0003-3448-4915 ten between 1847 and 1873, serialised almost a century later in the monthly Basumati in Submitted / Recibido: 02/03/2020 Accepted / Aceptado: 02/05/2020 1952) chronicles her travels along the water- ways of eastern Bengal. Her travels are firmly To cite this article / Para citar este artículo: Moitra, Swati. «A nineteenth-century bengali centred around her husband’s work; in his housewife and her Robinson Crusoe days: absence, she is Robinson Crusoe, marooned Travel and intimacy in Kailashbashini in the hinterlands of Bengal with only her Debi’s The diary of a certain housewife». In Feminismo/s, 36 (December 2020): daughter. 49-76. Monographic dossier / Dosier Bearing in mind the gendered limitations monográfico: Departures and Arrivals: Women, on travel in the nineteenth century for upper- Mobility and Travel Writing / Salidas y llegadas: mujeres, movilidad y escritura de viajes, Raquel caste Bengali women, this essay investigates García-Cuevas García y Sara Prieto García- Kailashbashini Debi’s narration of her travels Cañedo (coords.), https://doi.org/10.14198/ fem.2020.36.03 and the utopic vision of the modern housewife that Kailashbashini constructs for herself.
    [Show full text]
  • Office for Contemporary Art Norway
    4 Foreword by Katya García-Antón 7 Science fiction as postcolonial visioning in ‘The Missing One’ by Uzma Z. Rizvi 11 The Missing One by Nada Raza 19 The Log Book by Jhanavi Phalkey and Himali Singh Soin 30 The Story of The Missing One by Jagadish Chandra Bose 37 Bastards of Utopia by Mehreen Murtaza 45 Biographies 57 Exhibition checklist 61 Acknowledgements Exhibition Dates: Thursday, 27 October–Sunday, 15 January Opening Hours: Wednesdays to Sundays from 11:00 to 17:00 Office for Contemporary Art Norway Nedre gate 7 0551 Oslo The Office for Contemporary Art Norway is a non-profit foundation created by the Norwegian Ministries of Culture and of Foreign Affairs in autumn 2001. Its principle aim is to foster dialogue between art practitioners in Norway and the international arts scene, and support Norwegian artists in their activities around the world. As a result OCA’s discursive, exhibition, publication, residency and visitor programmes focus on bringing to Norway the plurality of practices and histories at the forefront of international artistic debates, as much as they are concerned with actively participating in such debates nationally and internationally. OCA has been responsible for Norway’s contribution to the Venice Biennale for the visual arts since 2001. OCA, Oslo office and project space Nedre gate 7 0551 Oslo, Norway OCA, Tromso office c/o The Cultural Business Development Foundation SpareBank 1 Nord-Norge Storgata 69 / 9008 Tromso , Norway tel: +47 23 23 31 50 www.oca.no / [email protected] A respected leader of an imaginary land is about to die, but his panic Foreword stricken followers request that he stay on after his death to instruct them on how to live.
    [Show full text]
  • IP Tagore Issue
    Vol. 24 nº 2/2010 ISSN 0970 5074 índiaVOL. 24 Nº 2/2010 Perspectivas Seis formas zoomórfi cas numa linha, expostas em Paris, 1930 Editor Navdeep Suri Editor convidado Udaya Narayana Singh Director, Rabindra Bhavana, Visva Bharati Sub-Editora Neelu Rohra A Índia Perspectivas é publicada em árabe, língua indonésia, língua bengali, inglês, francês, alemão, hindi, italiano, língua pachto, persa, português, russo, cingalês, espanhol, língua tâmil, turco e urdu. As ideias exprimidas nos artigos pertencem aos contribuidores e não necessáriamente à Índia Perspectivas. Todos os artigos originais e re-impressões podem ser livremente reproduzidos com reconhecimentos. As contribuições editoriais e cartas devem ser enviadas para o Editor da Índia Perspectivas, 140 ‘A’ Wing, Shastri Bhawan, New Delhi-110001. Telefones: +91-11-2338 9471, 2338 8873, Fax: +91-11-2338 5549 E-mail: [email protected], Sítio: http://www.meaindia.nic.in Para obter um exemplar de Índia Perspectivas por favor entre em contacto com a embaixada indiana no seu país. Este número foi publicado para o Ministério dos Negócios Estrangeiros, Nova Deli, por Navdeep Suri, Secretário-Adjunto, Departamento de Diplomacia Pública. Desenho e impressão por Ajanta Offset & Packagings Ltd., Delhi-110052. (1861-1941) Editorial Neste número especial prestamos homenagem a um dos maiores Podemos ver uma outra febre na China agora com a celebração fi lhos da Índia – Rabindranath Tagore. No momento em que o universal do seu 150º aniversário…” mundo está a preparar-se para comemorar o 150º aniversário Como um fi lósofo, Tagore tentou equilibrar a sua paixão pela de Tagore, Índia Perspectivas decidiu compilar uma colecção luta da independência da Índia com a sua fé num humanismo de ensaios que vão oferecer aos nossos leitores vislumbres universal e os seus receios sobre um excesso de nacionalismo.
    [Show full text]
  • Impact of Japanese Artist's Wash Technique in the Expansion Of
    P: ISSN No. 0976-8602 RNI No.UPENG/2012/42622 VOL.-6, ISSUE-1, January-2017 E: ISSN No. 2349 - 9443 A Asian…..A…. Resonance Impact of Japanese Artist’s Wash Technique in the Expansion of Modern Bengal School Abstract China and Japan traditionally consider for calligraphy and painting. In East Asia the term 'Ink and wash painting' referred as 'brush painting'. The Chinese denote it as mo-shui, while the Japanese call it suibokuga or sumi-e. Brush strokes in both are same.Painting medium for ink and wash is black ink, typically applied with long haired brushes on paper or silk cloth. The Japanese influence of wash technique is seeming from the soft misty quality seen in the paintings which became a characteristic of Bengal School in India. At Santiniketan artists developed a new style of water colour called the Wash-technique.Wash is one of the most important techniques in watercolour painting. It is also known as wetting technique.This research is about how, the Japanese art reached India and become an integral part of Indian Artist. Keywords: Ink, Wash technique, Painting, Calligraphy, Bengal School Introduction Twentieth- century art history of both countries- India & Japan has been elaborated within the framework of nation-building. While Japan was an independent state in the first half of the century, India was under Colonial rule. In spite of stark differences in the political setup of both countries, intellectuals from both nations were involved in intensive interactions In1902, a new technique of art was introduced by Yokoyama Amita Raj Goyal Taikan and Hisbida Sbunso during their stay in India where they came in contact with the Tagore‟s in Calcutta.
    [Show full text]
  • UNIT-3 the Bengal School of Painting
    UNIT-3 The Bengal School of Painting Origin, Development and Main Features of the Bengal School of Painting: Indian art stood at the crossroad after the decline of Mughal Empire, and the beginning of the British colonial rule after the mutiny of 1857. By the end of the century, the smaller feudal states where art survived for sometime were annexed one by the British rulers. Indian painting reached almost a dead end. The British ruler in the mean time had set-up art schools at Bombay, Madras (1850) and Calcutta (1854), and by systematic propaganda successfully persuaded the educated Indians to believe that Indians had no cultural heritage of their own. At this point of our identity crisis, there came some highly gifted artists who tried in their own way to give a sense of direction to the art movement of the country and created confidence in the traditional values and rich heritage of Indian Art and made the Indians conscious of the fact. Their efforts included Raja Ravi Varma, Abanindranath Tagore, Gaganendranath Tagore, Rabindranath Tagore, Nandlal Bose and Jamini Roy and ably supported by E.B. Havell, the principal of Government Art School at Calcutta. This Enthused the Indian artists to turn for inspiration to true native tradition. A group of Bengal artists gave birth to a new painting style based on old Indian traditional paintings of Ajanta, Bagh, Rajput and Mughal art. They created a sort of new renaissance under the guidance and leadership of Abanindranath Tagore. Thus under the influence of Principal E.B. Havell and Abanindranath, Indian artists looked back the traditional painting of Indian with respect and got themselves separated from the blind copying of the lifeless western realism.
    [Show full text]
  • James Cummins Bookseller Booth
    james cummins bookseller 699 Madison Ave, New York, 10065 | tel: (212) 688-6441 | fax: (212) 688-6192 | www.jamescumminsbookseller.com 52nd Annual New York Antiquarian Book Fair April 12-15, 2012 booth e01 Signed, with an Original Print soiling. Tipped into a twentieth century album of half brown morocco and brown cloth, gilt spine. Bookplate of Robin Stephen Benson. Cf. Tooley 1. ADAMS, Ansel. Images. Oblong folio, Boston: New York Graphic 66-67; E. W. Bovill, The England of Nimrod and Surtees 1815-1854 (1959). Society, 1974. Deluxe issue, one of 1000 copies signed by Ansel Adams $5,000 and with additional silver print signed by Adams. Black shelfback and slate cloth, original photographic dust jacket, very fine copy, housed in original A lengthy and fascinating letter from Apperley to his publisher on a variety silver-stamped clamshell box (front hinge of box cracked). $10,000 of subjects relating to the second edition of “Memoirs of the Life of the The deluxe issue of this elegantly produced volume presenting some of the Late John Mytton”: Reading in part: “At length I have come to a conclusion as regards affording you all the assistance possible towards the 2d. edition best known photographs by Adams. With an original signed print, “Fern of the Life of Mytton — I now send you three views which are the last and Spring, Dusk, Yosemite Valley, California ” I hope will consider as good as any that you have received at my hands. The series you have complete (12 s. a vignette) I have spared no expense I can Author’s Own Copy assure you to have them got up in a style worthy of the patronage of the Sporting World, moreover what enhances their value is their being faithful 2.
    [Show full text]