Amar Chitra Katha in India
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Śāntiniketan and Modern Southeast Asian
Artl@s Bulletin Volume 5 Article 2 Issue 2 South - South Axes of Global Art 2016 Śāntiniketan and Modern Southeast Asian Art: From Rabindranath Tagore to Bagyi Aung Soe and Beyond YIN KER School of Art, Design & Media, Nanyang Technological University, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Art Education Commons, Art Practice Commons, Asian Art and Architecture Commons, Modern Art and Architecture Commons, Other History of Art, Architecture, and Archaeology Commons, Other International and Area Studies Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation KER, YIN. "Śāntiniketan and Modern Southeast Asian Art: From Rabindranath Tagore to Bagyi Aung Soe and Beyond." Artl@s Bulletin 5, no. 2 (2016): Article 2. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. South-South Śāntiniketan and Modern Southeast Asian Art: From Rabindranath Tagore to Bagyi Aung Soe and Beyond Yin Ker * Nanyang Technological University Abstract Through the example of Bagyi Aung Soe, Myanmar’s leader of modern art in the twentieth century, this essay examines the potential of Śāntiniketan’s pentatonic pedagogical program embodying Rabindranath Tagore’s universalist and humanist vision of an autonomous modernity in revitalizing the prevailing unilateral and nation- centric narrative of modern Southeast Asian art. -
Amar Chitra Katha and the Construction of Indian Identities
Karline McLain, Asian Studies The University of Texas at Austin AIIS Dissertation Proposal 2000 Whose Immortal Picture Stories?: Amar Chitra Katha and the Construction of Indian Identities Karline McLain Abstract: Amar Chitra Katha (“Immortal Picture Stories”), the leading Indian comic book series, enjoys a ubiquitous presence among the urban middle-class in India and the South Asian diaspora. These comic books provide a unique opportunity for the study of the definition and negotiation of a modern middle-class Indian identity, as the multiplicity of intended and received messages of the comics can be examined by studying both their creation and consumption in conjunction with a careful reading of the content. My project will challenge traditional approaches to public culture which typically focus on either creation or consumption, one at the expense of the other, by viewing both as active and contested processes which together act with text and image to continually recreate and transform identities. Furthermore, my project will engage identity formation – particularly the formation of religious identities – on both the national and transnational levels and examine the tensions between them. Background: Amar Chitra Katha has dominated the flourishing comic book market since its inception in 1967, selling over 436 titles and more than 78 million issues. Anant Pai, founder of the comics, conceived of them as a means of teaching “Indian themes and values” to western- educated Indian children who knew western history at the purported expense of Indian history and mythology. Hence the comics, which are first produced in English and then translated into Hindi and other languages according to demand, can be loosely grouped into two categories: mythologicals and historicals. -
Decisions Taken by BCCC
ACTION BY BCCC ON COMPLAINTS RECEIVED FROM 16 APRIL 2014 TO 31 AUGUST 2017 S.NO Programme Channel Total Nature of Complaints Telecast date of the Action By BCCC Number of programme reviwed Complaints by BCCC Received A : SPECIFIC CONTENT RELATED COMPLAINTS A-1 : Specific Content related complaints Disposed 1 Crime Patrol Sony 3 Episode 09-05-2017: It is shown that a girl Asha gets trapped with a gang 09-05-2017 Episode 09-05-2017: BCCC viewed the episode and found that this crime- of human smugglers. She is sold to Bina from Rajasthan and to please her 01-08-2017 based show did not denigrate the child. The show came out with a positive clientele, both Indian and foreign, she starts giving her injections which will 07-08-2017 messaging and the depiction was not considered to be outlandish or lead to her body’s growth. Asha will start looking like a 14-15 years old girl. grotesque. The complaint was DISPOSED OF. It is shown that Asha has her periods and her dress is blood-stained. This Episode 01/08/17: BCCC viewed the episode and found that the mother is objectionable and it denigrates children. wanted to discipline her son by inflicting torture on her. In the process the child Episode 01-08-2017: It shows a child talking about how he got gifts from gets detached from the family members and runs away from the house. In the everyone when he was born and even now he get presents from everyone second story a seven-year-old sister is shown to murder her sibling who is two in the form of beatings. -
National Gallery of Modern Art New Delhi Government of India Vol 1 Issue 1 Jan 2012 Enews NGMA’S Newsletter Editorial Team From
Newsletter JAN 2012 National Gallery of Modern Art New Delhi Government of India Vol 1 Issue 1 Jan 2012 enews NGMA’s Newsletter Editorial Team FroM Ella Datta the DIrector’s Tagore National Fellow for Cultural Research Desk Pranamita Borgohain Deputy Curator (Exhibition) Vintee Sain Update on the year’s activities Assistant Curator (Documentation) The NGMA, New Delhi has been awhirl with activities since the beginning of the year 2011. Kanika Kuthiala We decided to launch a quarterly newsletter to track the events for the friends of NGMA, Assistant Curator New Delhi, our well-wishers and patrons. The first issue however, will give an update of all the major events that took place over the year 2011. The year began with a bang with the th Monika Khanna Gulati, Sky Blue Design huge success of renowned sculptor Anish Kapoor’s exhibition. The 150 Birth Anniversary of Design Rabindranath Tagore, an outstanding creative genius, has acted as a trigger in accelerating our pace. NGMA is coordinating a major exhibition of close to hundred paintings and drawings Our very special thanks to Prof. Rajeev from the collection of NGMA as well as works from Kala Bhavana and Rabindra Bhavana of Lochan, Director NGMA without whose Visva Bharati in Santiniketan, West Bengal. The Exhibition ‘The Last Harvest: Rabindranath generous support this Newsletter would not Tagore’ is the first time that such a major exhibition of Rabindranath’s works is travelling to have been possible. Our Grateful thanks to all so many art centers in Europe and the USA as well as Seoul, Korea. -
Group Housing
LIST OF ALLOTED PROPERTIES DEPARTMENT NAME- GROUP HOUSING S# RID PROPERTY NO. APPLICANT NAME AREA 1 60244956 29/1013 SEEMA KAPUR 2,000 2 60191186 25/K-056 CAPT VINOD KUMAR, SAROJ KUMAR 128 3 60232381 61/E-12/3008/RG DINESH KUMAR GARG & SEEMA GARG 154 4 60117917 21/B-036 SUDESH SINGH 200 5 60036547 25/G-033 SUBHASH CH CHOPRA & SHWETA CHOPRA 124 6 60234038 33/146/RV GEETA RANI & ASHOK KUMAR GARG 200 7 60006053 37/1608 ATEET IMPEX PVT. LTD. 55 8 39000209 93A/1473 ATS VI MADHU BALA 163 9 60233999 93A/01/1983/ATS NAMRATA KAPOOR 163 10 39000200 93A/0672/ATS ASHOK SOOD SOOD 0 11 39000208 93A/1453 /14/AT AMIT CHIBBA 163 12 39000218 93A/2174/ATS ARUN YADAV YADAV YADAV 163 13 39000229 93A/P-251/P2/AT MAMTA SAHNI 260 14 39000203 93A/0781/ATS SHASHANK SINGH SINGH 139 15 39000210 93A/1622/ATS RAJEEV KUMAR 0 16 39000220 93A/6-GF-2/ATS SUNEEL GALGOTIA GALGOTIA 228 17 60232078 93A/P-381/ATS PURNIMA GANDHI & MS SHAFALI GA 200 18 60233531 93A/001-262/ATS ATUULL METHA 260 19 39000207 93A/0984/ATS GR RAVINDRA KUMAR TYAGI 163 20 39000212 93A/1834/ATS GR VIJAY AGARWAL 0 21 39000213 93A/2012/1 ATS KUNWAR ADITYA PRAKASH SINGH 139 22 39000211 93A/1652/01/ATS J R MALHOTRA, MRS TEJI MALHOTRA, ADITYA 139 MALHOTRA 23 39000214 93A/2051/ATS SHASHI MADAN VARTI MADAN 139 24 39000202 93A/0761/ATS GR PAWAN JOSHI 139 25 39000223 93A/F-104/ATS RAJESH CHATURVEDI 113 26 60237850 93A/1952/03 RAJIV TOMAR 139 27 39000215 93A/2074 ATS UMA JAITLY 163 28 60237921 93A/722/01 DINESH JOSHI 139 29 60237832 93A/1762/01 SURESH RAINA & RUHI RAINA 139 30 39000217 93A/2152/ATS CHANDER KANTA -
Contextual Modernism’ in the Silk Paintings of Maniklal Banerjee
The Chitrolekha Journal on Art and Design (E-ISSN 2456-978X), Vol. 1, No. 2, 2017 DOI: https://dx.doi.org/10.21659/cjad.12.v1n205 PDF URL: www.chitrolekha.com/ns/v1n2/v1n205.pdf The ‘Contextual Modernism’ in the Silk Paintings of Maniklal Banerjee Ashmita Mukherjee Research Scholar, Jadavpur University. Email: [email protected] Abstract The paper tries to analyze the silk paintings of Maniklal Banerjee (1917-2002) who was greatly influenced by the artists of the so-called Bengal school of art. The school started by Abanindranath Tagore did not remain confined to its own time and space, but grew into dynamic new modernisms over a span of nearly a century. Art historian Sivakumar invoked a number of artists of Santiniketan and called it a “contextual modernism”. The paper tries to re-read the spirit of Santiniketan artists on the more recent and un- researched art of Maniklal Banerjee- who contextualized in his own way the Bengal ‘school’ that had by now turned into a ‘movement’. The spirit of freedom runs at the core of this movement and finds a new language in the late twentieth century artist’s renderings of daily life and Puranic narrations. Keywords: Bengal School, Maniklal Banerjee, Abanindranath Tagore, Nandalal Bose, Indian art, Puranic art, aesthetics Introduction: Maniklal Banerjee (1917-2002) Barely remembered beyond textbooks of art schools, Maniklal Banerjee was one of the first innovators of the technique of using water-color on silk in India. In order to engage in any critical discussion on his works, it is ironical that this painter- a recipient of the prestigious Abanindra Puraskar in 1999- needs an introduction (Plate 1 and 2). -
Annual Report 2019-2020
ANNUAL REPORT 2019-2020 ANNUAL Gandhi Smriti and Darshan Samiti ANNUAL REPORT 2019-2020 © Gandhi and People Gathering by Shri Upendra Maharathi Mahatma Gandhi by Shri K.V. Vaidyanath (Courtesy: http://ngmaindia.gov.in/virtual-tour-of-bapu.asp) (Courtesy: http://ngmaindia.gov.in/virtual-tour-of-bapu.asp) ANNUAL REPORT 2019-2020 Gandhi Smriti and Darshan Samiti ANNUAL REPORT - 2019-2020 Contents 1. Foreword ...................................................................................................................... 03 2. Introduction ................................................................................................................. 05 3. Structure of the Samiti.................................................................................................. 13 4. Time Line of Programmes............................................................................................. 14 5. Tributes to Mahatma Gandhi......................................................................................... 31 6. Significant Initiatives as part of Gandhi:150.................................................................. 36 7. International Programmes............................................................................................ 50 8. Cultural Exchange Programmes with Embassies as part of Gandhi:150......................... 60 9. Special Programmes..................................................................................................... 67 10. Programmes for Children............................................................................................. -
The Nandalal—Gandhi—Rabindranath Connection
The Nandalal—Gandhi—Rabindranath Connection Nandalal Bose’s ideas on art and art education were influenced to a large extent by the ideas of two of his distinguished contemporaries—Mohandas Karamchand Gandhi and Rabindranath Tagore. Gandhi is known in India today as the father of the nation as he managed to awaken almost single-handedly, the aspirations of the Indian people on a wide scale and organize them into a formidable political force. He had captured their attention even before he entered the country’s political scene by his successful use of satyagraha (non-violent political action) in South Africa to secure for its coloured people some measure of social justice from its white rulers. This was so unprecedented that it became the talk of the whole world. Gandhi moved to India in 1915; and in the next three decades used the same agitational strategy to emancipate the country from colonial rule. Nandalal was an involved witness of this process and soon became one of his great admirers. He became particularly so when Gandhi’s action programme widened its purview to include the economic independence of India and the strengthening of its wide-spread artisan traditions to achieve this. This focus on the artisan traditions had a special appeal for Nandalal. Even in his childhood years the artisan’s workshops in his home town had a great attraction for him; he often went there to watch the workers—potters, woodworkers, metal smiths, scroll-painters—ply their trades with seemingly effortless skill with open-eyed fascination. It was this fascination that fed his desire to become an artist when he grew up. -
Download Excerpt
the art of the art of CONTENTS January – March 2012 Director’s Note 5 © 2012 Delhi Art Gallery Pvt. Ltd., New Delhi Editor’s Note 7 White, Black And Grey: 10 The Colonial Interface Paula Sengupta ‘Revivalism’ And The 32 11 Hauz Khas Village, New Delhi 110016, India ‘Bengal School’ Tel: 91 11 46005300 Sanjoy Mallik DLF Emporio, Second Floor, Vasant Kunj New Delhi 110070, India History And Utopia 44 Tel: 91 11 41004150 Ina Puri Email: [email protected] www.delhiartgallery.com Late 18th Century -1910 62 PROJECT EDITOR: Kishore Singh 1911-1920 103 EXECUTIVE EDITOR: Shruti Parthasarathy PROJECT COORDINATOR: Nishant and Neha Berlia 1921-1930 120 RESEARCH: Aditya Jha, Puja Kaushik, Poonam Baid, Sukriti Datt 1931-1940 140 PHOTOGRAPHY OF ARTWORKS: Durga Pada Chowdhury 1941-1950 164 RESTORATION: Priya Khanna 1951-1960 208 DESIGN: Madhav Tankha, Vivek Sahni – Vivek Sahni Design 1961-1970 252 PRINT: Archana Printers Pvt. Ltd., New Delhi 1971-1980 298 All rights are reserved under international copyright conventions. No part of this catalogue may be reproduced or utilised in any form or by any means, 1981-1990 340 electronic and mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing 1991-2010 368 from the publisher. 2000-2010 400 ISBN: 978-93-81217-23-8 Artist Profiles 415 Front cover: Author Profiles 452 Back cover: Artist Groups in Bengal 453 Bibliography 454 Artist Index 461 DIRECTOR’S NOTE engal – the association with its art (and literature, and cinema, and food) is instinctive, almost as if it’s DNA-coded into its people. -
Download PDF « Kapila Vatsyayan : a Cognitive Biography: a Float A
Q1FFTQGILORF # Kindle // Kapila Vatsyayan : A Cognitive Biography: A Float a Lotus Leaf Kapila Vatsyayan : A Cognitive Biography: A Float a Lotus Leaf Filesize: 5.23 MB Reviews These sorts of book is the greatest book offered. This can be for all those who statte that there had not been a really worth reading. I am just quickly could get a pleasure of reading a written ebook. (Verner Goyette DDS) DISCLAIMER | DMCA GILPORKS6UEM « Kindle ~ Kapila Vatsyayan : A Cognitive Biography: A Float a Lotus Leaf KAPILA VATSYAYAN : A COGNITIVE BIOGRAPHY: A FLOAT A LOTUS LEAF Stellar Publishers, 2015. Hardcover. Book Condition: New. Dust Jacket Condition: New. 1st Edition. Contents: 1. Rock salt of character. 2. An era of eclectic minds. 3. Not a generation of midnights children. 4. Intellectual validity came from foreign shores. 5. Southern sojourn and other paradoxical journeys. 6. Dance became her Talisman. 7. Banaras a boat ride of relearning. 8. In the corridors of bureaucracy. 9. Maulana Sahabs Deep commitment to heritage. 10. The arts as pedagogical tool. 11. Almora was a primordial call. 12. Intra-cultural dialogues. 13. Maiden oriental discourse in the orient. 14. Gita Govinda-a fathomless discovery. 15. Revival of Buddhist and Sanskrit studies. 16. Institutions outlast the individuals. A life beyond categories perhaps thats the quintessence of Dr. Kapila Vatsyayans trajectory both as a sensitive artist and profound scholar. She has not only questioned, but also defied the mindsets that create those categories, with her multidisciplinary approach. Given her proximity to the stalwarts of the intellectual and cultural arena, i.e. Aruna Asaf Ali, Kamaladevi Chattopadhyay, Rukmini Devi Arundale, Dr. -
PR Chandra Nandini.Pdf
Balaji Telefilms Limited C-13, Balaji House, Dalia Industrial Estate, Opp. Laxmi Industries, New Link Road, Andheri (West), Mumbai 400 053 Tel: 40698000 Fax: 40698181/82/83 Website: www.balajitelefilms.com Balaji Telefilms to launch historical drama Chandra Nandini on Star Plus MUMBAI, India, October 10, 2016–India’s leading television and film production Company, Balaji Telefilms Limited (BTL) is set to launch its grandest show yet Chandra Nandini on Star Plus. Chandra Nandini is an epic historical story on Chandragupta Maurya’s love for the daughter of his sworn enemy. The world is aware of Chandragupta Maurya’s feats and accomplishments, however very little is known about his love life. This series offers an insight of his love life amongst the various feats he achieved during his journey from early beginning with his training and knowledge imparted by Chanakya to success and fame he achieved in establishing a legendary Empire. The cast includes Rajat Tokas, Shweta Basu Prasad, Papiya Sengupta, Manoj Kolkatkar, Arpit Ranka to name a few. The show will be aired from October 10, 2016 on Star Plus from 8.30 pm to 9.00 pm from Monday to Friday. Commenting on this new show, Ms.Ekta Kapoor–Joint Managing Director said, “Post the successful airing of Jodha Akbar, I am delighted to produce another epic story of the legendary Chandragupta Maurya. Through this series we have endeavoured to capture several nuances of life of the Emperor, which has not been seen earlier. A lot of effort has been invested to bring this exciting series and I hope the audience will like it.” Mr. -
Daśāvatāra in Indian Culture - It’S Continuity in the Daśāvatārῑ Nāṭaka of Maharashtra
DAŚĀVATĀRA IN INDIAN CULTURE - IT’S CONTINUITY IN THE DAŚĀVATĀRῙ NĀṬAKA OF MAHARASHTRA A thesis submitted by Gauri Subhash Kale For the Degree of Vidyāvācaspati (Ph.D.) In Classical Dance (Bharatanāṭyam) Guide Dr. Jayashree Rajagopalan Shri Balmukund Lohia Centre of Sanskrit and Indological Studies, Tilak Maharashtra Vidyapeeth, Pune June 2014 TILAK MAHARASHTRA VIDYAPEETH, PUNE SHRI BALMUKUND LOHIA CENTRE OF SANSKRIT AND INDOLOGICAL STUDIES CERTIFICATE This is to certify that the thesis entitled “DAŚĀVATĀRA IN INDIAN CULTURE - ITS CONTINUITY IN THE DAŚĀVATĀRῙ NĀṬAKA OF MAHARASHTRA” which is being submitted herewith for the award of the Degree of Vidyāvācaspati (Ph.D.) in Dance (Bharatanāṭyam), at Shri. Balmukund Lohiya Centre of Sanskrit and Indological Studies of Tilak Maharashtra Vidyapeeth, Pune is the result of original research work completed by Smt. Gauri Subhash Kale under my supervision and guidance. To the best of my knowledge and belief the work incorporated in this thesis has not formed the basis for the award of any Degree or similar title of this or any other University or examining body upon her. Research Guide Dr. Jayashree Rajagopalan Place: Date: DECLARATION I hear by declare that thesis entitled “DAŚĀVATĀRA IN INDIAN CULTURE – IT’S CONTINUITY IN THE DAŚĀVATĀRῙ NĀṬAKA OF MAHARASHTRA” completed and written by me has not previously formed the basis for the award of any Degree or other similar title upon me of this or any other University or examining body. Research Student Gauri Kale Place: Date: ACKNOWLEDGEMENTS Being an active dancer, I had always enjoyed experiencing different thematic productions. My thrill and joy were indeed superlative when I realised that one could experience the flavour of the age old concept of Daśāvatāra through the Daśāvatārī Nāṭaka of Maharashtra.