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Racoon 04-05.3.Pub
1 Periodico di informazione, cultura e curiosità dell’I.S.I.S.S. “Marco Casagrande” Pieve di Soligo Anno 3, Numero 3, 10 marzo 2005 Salute, gente! IL MIO CANTO LIBERO E’ marzo, ormai. A marzo il sole tramonta dopo le sei del pomeriggio, e ciò dovrebbe spingermi ad andare a correre per tonificare il fondoschiena, ma il freschino che ancora persiste mi trattiene dal farlo (che peccato!?). A marzo, esposte nelle vetrine dei negozi, si vedono già le collezioni primavera-estate e guardando l’armadio si desidera con tutto il cuore di potersi liberare da pesanti maglioni e soffocanti sciarpone; sennonché la neve ci ricorda che siamo ancora (uffi puffi!) in inverno! E le temperature ribadiscono il In un mondo che non ci vuole più concetto! il mio canto libero sei tu E così, a marzo, nonostante mi fossi ripromessa di E l'immensità buttare giù con un bel footing per stradine tranquille i si apre intorno a noi chili che hanno nome frittelle, panettone, depressione al di là del limite degli occhi tuoi da ritorno a scuola, eccomi seduta sulla sedia di un Nasce il sentimento nasce in mezzo al pianto tranquillo bar ad ammirare i fiocchi bianchi che e s'innalza altissimo e va scendono a mulinelli, sorseggiando una fumante e vola sulle accuse della gente cioccolata calda ipercalorica (ho rifiutato quella light a tutti i suoi retaggi indifferente perché sarebbe stato ipocrita!!). sorretto da un anelito d'amore di vero amore In un mondo che - Pietre un giorno case Fortunatamente, così come ogni periodo non prigioniero è - ricoperte dalle rose selvatiche -
REQUEST for PROPOSAL : Selection of Museum Consultancy
KIM/CA/708/2018 Date - 02/06/2020 REQUEST FOR PROPOSAL Selection of Museum Consultancy Firm for Conservation of Paintings of Raja Ravi Varma and Others in SreeChithra Art Gallery, Thiruvananthapuram Request For Proposal is invited by Interactive Museum of Cultural History of Kerala (Keralam Museum of History and Heritage) from the Empanelled/Non Empanelled, reputed, experienced, and competent conservation Consultancy Firms and individual consultants for Conservation of Paintings of Raja Ravi Varma and Others in Sree Chithra Art Gallery, Thiruvananthapuram. The Non-Empanelled firms and individual consultants should furnish company details and other required data with in the prescribed date and should get pre-qualification before fixing the bid. The details relating to the nature and scope of the project, eligibility criteria, terms and conditions and other information relating to the Request For Proposal as detailed below. Executive Director Interactive Museum of Cultural History of Kerala (Keralam Museum of History and Heritage) Conservation of Paintings of Raja Ravi Varma and Others in Sree Chithra Art Gallery, Thiruvananthapuram Introduction Sree Chitra Art Gallery, located at the Soul of Thiruvananthapuram and near to Napier Museum consists of most popular Paintings of great artists. The greater number of paintings in the collection belongs to the Great Artist Raja Ravi Varma, the King of the World of Paintings. Jasmine wearing Nair lady, Damayanthi talking to the swan, and Sakunthala are some of the awesome magic by him. Unfortunately, some of the paintings in the collection are damaged due to some climatic problems and lack of space so that the government is planning to conserve the valuable contributions of the world famous artists properly and to find ample space by building a new gallery so as to display them in a world class manner in the support of most modern display techniques. -
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. -
The Chirakkal Dynasty: Readings Through History
THE CHIRAKKAL DYNASTY: READINGS THROUGH HISTORY Kolathunadu is regarded as one of the old political dynasties in India and was ruled by the Kolathiris. The Mushaka vamsam and the kings were regarded as the ancestors of the Kolathiris. It was mentioned in the Mooshika Vamsa (1980) that the boundary of Mooshaka kingdom was from the North of Mangalapuram – Puthupattanam to the Southern boundary of Korappuzha in Kerala. In the long Sanskrit historical poem Mooshaka Vamsam, the dynastic name of the chieftains of north Malabar (Puzhinad) used is Mooshaka (Aiyappan, 1982). In the beginning of the fifth Century A.D., the kingdom of Ezhimala had risen to political prominence in north Kerala under Nannan… With the death of Nannan ended the most glorious period in the history of the Ezhimala Kingdom… a separate line of rulers known as the Mooshaka kings held sway over this area 36 (Kolathunad) with their capital near Mount Eli. It is not clear whether this line of rulers who are celebrated in the Mooshaka vamsa were subordinate to the Chera rulers of Mahodayapuram or whether they ruled as an independent line of kings on their own right (in Menon, 1972). The narration of the Mooshaka Kingdom up to the 12th Century A.D. is mentioned in the Mooshaka vamsa. This is a kavya (poem) composed by Atula, who was the court poet of the King Srikantha of Mooshaka vamsa. By the 14th Century the old Mooshaka kingdom had come to be known as Kolathunad and a new line of rulers known as the Kolathiris (the ‘Colastri’ of European writers) had come into prominence in north Kerala. -
Raja Ravi Varma Raja Ravi Varma (29 April 1848 – 2 October 1906) Was a Celebrated Indian Painter and Artist
VIDYA BHAWAN BALIKA VIDYAPITH Subject : Fine Art (painting) class : 12th science/com Date : 27/05/20 RADHAKISHOR MONDAL INDIAN ART OF HISTORY Raja Ravi Varma Raja Ravi Varma (29 April 1848 – 2 October 1906) was a celebrated Indian painter and artist. He is considered among the greatest painters in the history of Indian art for a number of aesthetic and broader social reasons. Firstly, his works are held to be among the best examples of the fusion of European techniques with a purely Indian sensibility. While continuing the tradition and aesthetics of Indian art, his paintings employed the latest European academic art techniques of the day. Secondly, he was notable for making affordable lithographs of his paintings available to the public, which greatly enhanced his reach and influence as a painter and public figure. Indeed, his lithographs increased the involvement of common people with fine arts and defined artistic tastes among common people for several decades. In particular, his depictions of Hindu deities and episodes from the epics and Puranas have received profound acceptance from the public and are found, often as objects of worship, across the length and breadth of India.[citation needed] Raja Ravi Varma was closely related to the royal family of Travancore of present-day Kerala state in India. Later in his life, two of his granddaughters were adopted into that royal family, and their descendants comprise the totality of the present royal family of Travancore, including the latest three Maharajas (Balarama Varma III, Marthanda Varma III and Rama Varma VII).[citation needed] Varma was patronised by Ayilyam Thirunal, the next Maharaja of Travancore and began formal training thereafter. -
An Exposition of the Book of Ecclesiastes
^f^^ ^^^^ LIBRARY OF THE UNIVERSITY OF CALIFORNIA LIBRARY OF 1 LIBRARY OF THE UNIVERSITY OF CALIFORNIA LIBRARY OF T /v /v r^ (V (V fv TTTTTrjrTmi "7r?^nprrc7 LIBRARY OF THE UNIVERSITY OF CALIFORNIA ^^ zS^ '-^ F CALIFORNIA LIBRARY OF THE UNIVERSITY OF CALIFORNIA % ryrTTTrTrj^E 7r-^i-K~j~nrj: C3 ^i ^i Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/expositionofbookOObridrich AN EXPOSITION OF THE BOOK OF ECCLESIASTES. BY THS REV. CHARLES^IiroGES, M.A., RECTOR OF IlINTON MARTELL, DORSET. AUIBOR OF AN " EXPOSITION OF I-SALM CXDC ;" " COiDIENTARY OX PROVERBS " CTBISnAN MDOSTRY ;" " MEMOffi OF 31ART JANE GRAHAM," ETC. LI P!OF THB UNIVERSITY, NEW YORK: ROBERT CARTER & BROTHERS, No. 580 BROADWAY. 1860. -^^ ^-"i-^d. EDWAED 0, JENKINS, Printer and Stereotyper, No. 26 Feankfobt Stebet. PREFACE. The Book of Ecclesiastes has exercised the Church of God in no common degree. Many learned men have not hesitated to number it among the most diffi- cult Books in the Sacred Canon. ^ Luther doubts Avhether any Exposition up to his time has fully mas- tered it.' The Patristic Commentaries, from Jerome downwards, abound in the wildest fancies ; so that, as one of the old interpreters observes, ' the trifles of their allegories it loathetli and wearieth me to set down." Expositors of a different and later school have too often/' darkened counsel bywords without knowledge" (Job, xxxviii. 2) ; perplexing the reader's mind with doubtful theories, widely diverging from each other. The more difficult the book, the greater the need of Divine Teaching to open its contents. -
January 2018.Cdr
WE WISH OUR SUBSCRIBERS A VERY HAPPY NEW YEAR Discovery of India Building Dr. Annie Besant Road, Worli, Mumbai - 400 018. Phone : 2496 4676-80 Fax : 2497 3827 E-Mail: [email protected] Newsletter Website: www.nehru-centre.org Vol. 19 Issue 1 JANUARY 2018 Price Rs. 10/- Per Copy Annual Subscription Rs. 100 Events At a Glance... National Symbols On the 68th anniversary of the Indian strength and signifies the sovereignty Art Gallery republic, let us recall how our national of the state. Four lions surveying four emblems were selected and adopted directions with their mouths open, not Indian Master’s Retrospective nearly seven decades ago. With the in a roar but in an alert repose, indicate Celebrating Glorious 25th Year end of the British rule in India all many things: constant all-round s y m b o l s o f t h e E m p i r e a l s o vigilance, equality and justice in all An exhibition showcasing the disappeared. It was necessary that spheres of life and the spreading of works of an Indian Art Icon - Raja independent India should have its dharma through word of mouth in all own emblems in which quintessential directions. Ravi Varma India would manifest. Three symbols were approved and adopted by the The Chakra having 24 spokes which is Till Saturday, 6th January 2018 Constituent Assembly. at the centre of the national flag is also Nehru Centre Art Gallery a part of the Lion Capital. It is on the 1. Lion Capital of Ashoka from abacus of the Sarnath pillar along with Sarnath, which became India's state four animals viz. -
Who Was Lord Basaveshwara?
HISTORY- IMPORTANT PLACES, PERSONS IN NEWS • Basavanna rejected gender or social discrimination, superstitions and rituals but Who was Lord Basaveshwara? introduced Ishtalinga necklace, with an image of the Shiva Linga to every person regardless Science Tech Art Culture | GS1: Arts & Culture of his or her birth. • As the chief minister of his kingdom, he Note4Students | From UPSC perspective, the following things are important : introduced new public institutions such Prelims level : Lord Basaveshwara and his philosophy as the Anubhava Mantapa (or, the “hall Mains level : Six schools of Indian Philosophy of spiritual experience”) which welcomed men and women from all socio-economic Prime Minister has offered his homage to the Founder of Lingayat cult backgrounds. 12th-century social reformer Basaveshwara on • The traditional legends and hagiographic his birth anniversary. texts state Basava to be the founder of Back2Basics: Bhakti Movement the Lingayats. • The Bhakti movement refers to the theistic Vaishnavism and Shaivism are the two most • However, modern scholarship relying on devotional trend that emerged in medieval profound strands of Bhakti Movement in Indian historical evidence such as the Kalachuri Hinduism. history. Enlist all the Bhakti Saints and their inscriptions state that Basava was the • It originated in eighth-century south India theistic philosophy and teachings. Try to spot poet-philosopher who revived, refined and and spread northwards. the minute differences between them. energized an already existing tradition. • -
Shreekumar Varma - Poems
Classic Poetry Series Shreekumar Varma - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Shreekumar Varma(1955 -) Shreekumar Varma is an Indian author, playwright, newspaper columnist and poet, known for the novels Lament of Mohini (Penguin, 2000), Maria's Room (Harper Collins, 2010), Devil's Garden: Tales Of Pappudom (Puffin, 2006), The Magic Store of Nu-Cham-Vu (Puffin, 2009) and the historical book for children, Pazhassi Raja: The Royal Rebel (Macmillan, 1997). He is the great great grandson of the artist Raja Ravi Varma and grandson of Regent Maharani Sethu Lakshmi Bayi, the last ruling Maharani of Travancore. <b>Biography</b> Varma was born in 1955 in Satelmond Palace, Poojapura, Thiruvananthapuram. His parents left Kerala and settled down in Madras when he was four. He studied in the Good Shepherd Convent, the Madras Christian College High School and the Madras Christian College, from where he completed his MA and in English Literature. He also did a course in Journalism from the Bhavan's College of Journalism and Mass Communication. He took part in plays in school and college, and also participated in and devised programmes for All India Radio. He worked for the Indian Express and the Film Industry Journal (renamed Cinema Today) in Bombay. Back in Madras, he was associated with a printing press, as well as a publishing and creative training unit. He taught English Literature and Journalism at the Madras Christian College. He was a charter member and President of the Rotary Club of Madras Southwest. His mother is the Matriarch of the Travancore Royal Family. -
The Parable of the Sower, Part 4—The Rocky Ground Hearer” Matthew 13 Dr
L. Matthew in Biblical Perspective The Kingdom of God and the Word of God “The Parable of the Sower, Part 4—The Rocky Ground Hearer” Matthew 13 Dr. Harry L. Reeder III May 24, 2015 – Morning Sermon We will start by looking at Matthew 13. This is the parable of the sower. This is our fourth study of six in this series. Let’s look at Matthew 13. It’s God’s Word and it’s the truth. Matthew 13:1–9, 18–23 says [1] That same day Jesus went out of the house and sat beside the sea. [2] And great crowds gathered about him, so that he got into a boat and sat down. And the whole crowd stood on the beach. [3] And he told them many things in parables, saying: “A sower went out to sow. [4] And as he sowed, some seeds fell along the path, and the birds came and devoured them. [5] Other seeds fell on rocky ground, where they did not have much soil, and immediately they sprang up, since they had no depth of soil, [6] but when the sun rose they were scorched. And since they had no root, they withered away. [7] Other seeds fell among thorns, and the thorns grew up and choked them. [8] Other seeds fell on good soil and produced grain, some a hundredfold, some sixty, some thirty. [9] He who has ears, let him hear.” [18] “Hear then the parable of the sower: [19] When anyone hears the word of the kingdom and does not understand it, the evil one comes and snatches away what has been sown in his heart. -
The Primitive, the Tribal, and the Modern
Art of India BY MARC LOMBARDO AND DASHIELL DAVIS http://www.worldheritagesite.org/sites/bhim betka.html •Executed on quartzite walls of the rock shelters •Used minerals for pigments. •From approx. 9000 years ago •Seven different periods Period 1 : UPPER PALAEOLITHIC y Very Linear y Used earthy colors of red and green y Subjects of Animals and Stick like humans Period II: MESOLITHIC • Smaller in size •Linear detail •Shows scenes of 1. Hunting 2. Drinking 3. Weddings 4. Specific use of weapons 5. Family Period III: Chalcolithic •Shows influence of Malwa agricultural communities •Depicted agricultural activities like trade •Similar design to Chalcolithic Pottery www.rediff.com/travel/1998/nov/30bhim1.htm Period IV&V: EARLY HISTORIC y Figures are decorative y Red,white,and yellow Were the main colors used y Depictions of religious Symbols y Figures of Yakshas, tree gods and magical sky chariots. www.bradshawfoundation.com Period VI&VII: MEDIEVAL y Geometric and linear y Introduce Bramanichal Gods like Ganesh and Natraja y Degeneration in artistic style This image is in the public domain because its copyright has expired in the United States and those countries with a copyright term of no more than the life of the author plus 100 years. Warli Paintings y Indian Folk Painting y From a small tribe living in Maharashtra, India. y Executed in white on austere mud walls onehotstove.blogspot.com/2006_05_01_archive.html image: Chat Week Warli Painting by Ramesh, click to enlarge www.hat.mmu.ac.uk/.../profile.php?artist=80 Warli Con… y Expresses folk life, customs and beliefs y Stories of Gods and morals y Seemingly simplistic but very y specific designs. -
The Lives of the Hindu Gods in Popular Prints: the Ownership of Imagery Michelle Cheripka Yousuf Saeed
The Lives of the Hindu Gods in Popular Prints: The Ownership of Imagery Michelle Cheripka Yousuf Saeed Dr. Mary Storm India: National Identity and the Arts Program, New Delhi Spring 2015 TABLE OF CONTENTS ABSTRACT 2 ACKNOWLEDGEMENTS 3 INTRODUCTION 4 THE GODS IN (ART) HISTORY: The Historical Context of Hinduism, Art, and Ravi Varma 7 Hinduism in the Nineteenth Century 8 Power and Patronage as the Catalyst for and Keeper of Art 10 Ravi Varma’s Legacy: Lithographic Prints as a Fulcrum of Fine Art and Hinduism 11 Ownership of the Art of the Gods 13 THE SACRED: Images of the Gods in Modern Temples 14 Modern Temples: A Survey of ISKCON Temple and Chhatarpur Mandir 15 Shri Hanuman Mandir: The Sanctification of a Roadside Shrine 18 THE SECULAR: The Museum and Collector’s Perception of Art and Religious History 20 Out of the Picture: A Look at the National Gallery of Modern Art 21 On Collecting Ravi Varma 24 THE SACRED IS SECULAR: The Mass Production of Religious Images 26 Brijbasi Art Press, Ltd.: The Modern Day Printing Press 27 The Plurality of Mass Produced Images and their Interpretations 29 The Politics of Interpretation: Hindutva Appropriations of a Universal Message 31 CONCLUSIONS 34 Fluidity of Space 35 Analogues as Analogous 36 Delhi 36 BIBLIOGRAPHY 38 RECOMMENDATIONS FOR FURTHER STUDY 40 APPENDICES 42 GLOSSARY 48 1 ABSTRACT When Ravi Varma first began his printing press in 1892, he created a series of chromolithographic prints that depicted the Hindu gods and other Indian mythological figures.1 These images, some of which were based on his original oil paintings and commissioned work, made both the gods and fine art accessible to the masses, thereby challenging distinctions between sacred and secular spaces.