1 5 th Anniversary sirjanã A Journal on Arts and Art Education Vol. 3, 2016 The 15th Anniversary Special
Chief Editor | Krishna Manadhar Executive Editor | Navindra Man Rajbhandari Consultant Editors| Madan Chitrakar, Jitendra Man Rajbhandari Design | Bijaya Maharjan Production Support | Gautam Manandhar, Bandana Manandhar, Bhawana Sharma Photograph Contribution | Laxman Bhujel, Rabin Kaji Shakya Cover Image |Jerom Maharjan, BFA 2nd Year (Makar, Plaster of Paris, 2016) Printing | Prism Color Scanning and Press Support, Kuleshwor, Kathmandu, 01 428 2511
Published by Sirjana College of Fine Arts Utter Dhoka Sadak, Lazimpat, Kathmandu, Nepal 01 441 2634, 01 441 8455 www.sirjanacollege.edu.np [email protected]
Established in 2001 in affiliation to Tribhuvan University
The opinions and the interpretations expressed in the articles are the personal views of authors and do not necessarily reflect the views of the publisher and editors. 1 5 th Anniversary editorial
Art is the aesthetic tool for expressing human feelings, emotions and perceptions. Art brings beauty into our world. And beauty brings joy in our lives. Art immortalizes people, places and events. Art helps us to organize the world and serves as an important intellectual stimulant.
From the very first day of the inception of SIRJANA COLLEGE OF FINE ARTS, it has been the prime mission of the college to establish the value of art in the Nepali society. The college has dedicated itself in an effort of making people understand the society, the culture and the world through academic interactions among students, teachers and artists.
Today Sirjana College of Fine Arts is celebrating its 15th Anniversary. For an educational institution the period of fifteen years may not be too long time but when we look back to these years, we feel proud of our achievements and contribution as the sole art institution run by the community. This is perhaps the best example of what the art community can give back to its community.
The academic journey of the college during the last fifteen years has been quite eventful. We are glad that our graduates have been successfully displaying their talents in various fields related to arts and art education. The college proudly presents this journal on arts and arts education SIRJANĀ in commemoration of its 15th Anniversary. The objective behind this publication is to bring out some of the art issues for academic discourse. The present issue features a wide range of perceptions and research on visual arts by various scholars. The college intends to publish this journal as one of its annual academic pursuits.
Finally on behalf of the college fraternity and editorial team, I would like to extend my sincere gratitude to all the contributors who have been associated with this publication in one way or another.
Krishna Manandhar Chief Editor/Principal September 18, 2016 Roshani Maharjan (BFA 2nd year). Shardul. 19 cm x 16 cm. Plaster of Paris. 2016. contents
7 Sirjana College of Fine 84 tfn jfbgdf bzk|f0fsf] ljz]iftf Arts: in a Nutshell Pjd\ dxTTj Baikhuntha Man Shrestha gu]Gb|k|;fb Gof}kfg] 14 Art Education in Nepal: 89 Poetry on Visual Art Pedagogical Challenges Jitendra Man Rajbhandari Madan Chitrakar 96… Of Memories and 20 sf7df8f}F pkTosfsf] Ps dxTTjk"0f{ Realization … kf}ef M d~h'jh| / jh|wft]Zj/L Saroj Bajracharya nf]s lrqsf/ 103 g]kfnL snfdf Twilight Zones of gf/fo0faxfb'/ l;+xsf] of]ubfg 24 nId0f e'h]n Nepali Sculpture Dr. Abhi Subedi 111 ;ª\uLt Ps ljj]rgf 36 b]jgfu/L lnlk / o;sf] cfw'lgsLs/0f b'uf{k|;fb vltj8f czf]sdfg l;+ 114 Music Therapy 45 Mystical World of Dr. Niranjan Bhandari Caryāgīti and Caryānŗtya Arun Shrestha 116 New Media Art in Art Education 55 kfZrfTo snf M ;Gbe{ kf]6«]6 k]lG6ª Manish Lal Shrestha gjLGb|dfg /fhe08f/L 120 Experiences in Sirjana College of Fine Arts 80 Art and Heritage: An Bob Benjamin Ancient Image at Our Dooorstep 125 Hilariously yours, Dr. Poonam R. L. Rana Kuldip Jang Bahadur Gurung Hari Ram Adhikari (BFA 3rd year). Bust. Plaster of Paris. 2016 6 1 5 th Anniversary SIRJANA COLLEGE OF FINE ARTS: IN A NUTSHELL
Baikuntha Man Shrestha (Chairman, Sirjana College of Fine Arts)
A History of Fine Art Education in program was upgraded to the three Nepal: A Brief Outline years Bachelor’s program.
Formal Art Education in Nepal After a long period, other two started in AD 1935 with the inception additional art institutions came into of Nepal Art School by the initiation inception — Sirjana College of Fine of Master Chatur Ratna Udas. At that Arts in 2001, affiliated with Tribhuvan time the school was run in the ground University and Centre for Art and floor of Tri-Chandra College. The Design in 2003, under the aegis of the eminent and pioneer art teachers of Kathmandu University. the country like Kalidas Shrestha, Jiv Ratna Shakya and Chandra Bahadur Although the formal Art Education in Manandhar were the first products of Nepal carries a long history of about the Nepal Art School. eighty-one years, till fifteen years ago there was only an art institution In 1938 Nepal Art School was in existence. Many major changes renamed as Juddha Kala Pathsala. have taken place in most of the other At that time two levels of certificates sectors during these years, but art known as Kalā Kushal and Kalā Pravin education was taken as neglected used to be awarded from the school. sector. In course of time, education in Besides, students were provided many of other social or technical fields with the monthly stipends along have mushroomed and multiplied with art materials. In 1942 Juddha by leaps and bounds within a very Kala Pathsala was shifted to its own short period of time. However, building at Bhotahity. Art Education on the other hand is left languished in a most pathetic In 1968 Juddha Kala Pathsala condition. was renamed to Nepal Lalit Kala Mahavidhyalaya under the aegis The entire concerned stake-holders, of the Ministry of Education. Later, including the governing authorities during the implementation of the apparently have never felt a need to National Education System, Lalit adjust with the changing times. Kala Mahavidhyalaya was merged with the Institute of Humanities and Today, when we tend to think of Art Social Sciences, Tribhuvan University Education in a broader spectrum in 1974 renaming it as Lalit Kala in par with international standard Campus. a physically sound infrastructure becomes a major pre-requisite apart In the academic year 1977 the two from up to date curriculum, teaching years Bachelor’s level program was methods and materials. introduced at this campus. In 1995 the
7 The day when Sirjana College of Fine Arts came into inception with a number of seven students, August 24, 2001
Inception and Evolution of Sirjana career preparation combined with College of Fine Arts academic excellence for the +2 levels in Fine Arts (Painting, Sculpture, Sirjana College of Fine Arts was Applied Arts, Music and History of established in August 24, 2001 in Arts) and Bachelor’s Degree in Fine affiliation with Tribhuvan University. Arts (BFA) in Painting, Sculpture, The College is an outcome of a Graphic Communications, Music and common aspiration and vision shared Dance. by a group of prominent artists and art enthusiasts of Nepal. Above all, it Imparting a strong academic program holds the pride of being the first Fine to the students in the fields of Fine Arts college in Nepal established by Arts has been the main aim of the the community. college. We look forward to bringing out the best in each student, helping This is a non-profit and community the birth of talented and creative college, running under the course minds required for human resources outline and curriculum framework of in the field of Visual Arts and Tribhuvan University. Performing Arts.
Mission Initial Academic Program
Our mission is to provide aspiring For the two initial years artists, illustrators, designers, (2001-003) the College was granted sculptors, vocalists, instrumental a permission to run the Proficiency artists and performing artists with Certificate Level (PCL) in Fine Arts
8 1 5 th Anniversary under the Faculty of Humanities and addition, the integration of Traditional Social Sciences of TU. Moreover, the Nepali Painting and Traditional three years Bachelor’s program has Nepali Sculpture was made into been introduced since the academic the curriculum of BFA as the major session 2003-004 at the college. subjects. It can also be considered as a breakthrough in the history of Art The Later Developments Education in our country.
Implementation and dissemination of Most remarkable achievement has curriculum on new courses as per the been made in implementation and special decision made by Tribhuvan dissemination of the curriculums on University to phase out the PCL from the following new elective courses of the academic session 2010/011, the Fine Arts at the higher secondary college was entitled to commence level (Class 11 and 12) and the major the +2 level in affiliation with Higher subjects for 4 years Bachelor’s degree : Secondary Education Board (HSEB), Nepal. At present, the new courses +2 Level on +2 level in Fine Arts (Painting, • Painting Applied Arts, Sculpture, History of • Applied Arts Arts, Music and Dance) have been run • Sculpture by the college in full swing. However, • History of Arts with special reference to Music • Music course, the same curriculum has been offered at the +2 level in compliance Four Years BFA with the provision being made for the • Painting previous Proficiency Certificate level • Graphic Communications of TU. • Sculpture • Traditional Nepali Painting Moreover, as Tribhuvan University • Traditional Nepali Sculpture initiated the four years Bachelor’s • Music (Instrumental and Vocal) degree in Fine Arts with a new • Dance (Kathak and Bharat curriculum from the academic session Naatyam) 2012-013, Graphic Communications, Music and Dance were also Strength and Weaknesses introduced by the college at the BFA level since then. As a matter of fact, The average pass percentage at Sirjana Applied Arts is said to be an art that College of Fine Arts has been 95%. is basically applied to socio-economic Students from the college have topped needs of a modern society. However, the Faculty of Humanities and Social this very discipline was found to Sciences of Tribhuvan University at be significantly neglected and was the Bachelor’s level for seven times being kept in shadow and in a state of till date. A remarkable number of isolation for a long period of time in our +2 graduates have been able to our education system. Consequently, enroll themselves successfully in the Graphic Communications, as an Bachelor’s degree programs at the Applied Arts was introduced by various art institutions of India under TU as one of the core subjects in the the Indian Government’s scholarship four years Bachelor’s degree from program and abroad. the academic session 2012-013. In
9 Celebrating the 3rd Anniversary of the college - September 2004
Team Work: For effective that with each passing year more and implementation of the educational more students are being enrolled at activities under Sirjana College of Fine the college. The college feels proud to Arts, its team sprit has been found produce efficient human resources in to be significantly harmonious. The the field of Fine Arts in a remarkable College Management Committee size. operates and coordinates with the Principal, Program Coordinator and Positive Aspects: By and large, it is the Faculty Members as well as non- worthwhile to mention some of the teaching staff at the college. major achievements that have been made by the college in the process of Student Strength: The college had implementing academic activities: begun its academic journey with only ten students in 2001. Till date about 60 • Realization of need of creative students have completed successfully and innovative activities on Fine their BFA degree from our college. Arts and their related matters So far, a total number of 18 graduates are found to be high among the from our college have passed Master's faculty members. degree from TU. Presently, about • Appreciation and positive 240 students are pursuing their art attitudes towards innovative and education at this college at various creative processes are found to levels including class XI, XII and be significantly high among the Bachelor's level. It should be noted students.
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• Good communication between • No standardized monitoring teachers and students with system for the particular respect to imparting knowledge is educational programs. found. • No provision of sensitizing/ • Extra curricula activities, e.g. incentive programs (inter country art workshops, exhibitions, symposiums, events, advocacy exposure visits) for teaching campaigns are organized staff, focal person/heads of the frequently in collaboration Institution. with national and international communities. The Biggest Constraint: Lack of College's Own Building Issues and Problems: Looking back for the last fifteen years, • Lack of innovative programs for the journey of Sirjana College of Fine motivating and encouraging the Arts has not been without obstacles. faculty and the students at large. In absence of our own building, the college has to be run in rent premises, • Inadequate supply of teaching which makes the financial security of learning materials required for the college a difficult enterprise. Due Fine Arts. to the lack of college’s own building, we have not been able to offer a sound • Limited capacity of orientation infrastructure that exactly suits to a and advocacy materials/ Fine Arts institution. equipments.
• No provision of exhibition gallery for displaying artworks and auditorium for musical/dance performance.
• Lack of funds for inter-country skills exchange program of Fine Arts.
• No funds for translation of resource materials being developed by neighboring countries and leading international agencies/ communities.
• No provision of special funds for undertaking action researches, mini researches and impact studies on effectiveness of Fine Arts education curricula and Pranisha Gurung (BFA 3rd year, Painting). Life materials. Study, 2016. Oil on canvas, 122 cm x 100.5 cm.
11 Display of the works by BFA 4th year students, 2016
From the very beginning, the college as a full-fledged art institution has been running its operations in in the nation, we are planning to a rented building at Uttar Dhoka build our own building as earliest Sadak, Lazimpat, Kathmandu-2. But as possible. For this very purpose the devastating earthquakes that we have already purchased about struck Nepal in April and May, 2012, 1183.5 sq. m. area of land at Sita destroyed livelihoods, infrastructure Paila, Nagarjun Metropolitan, as well as educational institutions like Kathmandu. The college is quite ours. Our college has also been badly obliged to its members, well wishers, affected by the last earthquakes. The patrons, art lovers for their invaluable upper stories of the building have cooperation and generous support turned unsuitable for running classes. in purchasing its own land. We are Therefore, the classroom activities are now more enthusiastic to turn our being carried out in a temporary truss dream of running our college under built in the courtyard of the college our own premises. This would be building. definitely a most significant milestone of our academic evolution. This In spite of all the obstacles, we stand new building will be well equipped our ground as ever. No one can deny and furnished with all amenities the invaluable contributions that and the physical facilities required we have made as the only single for a modern college offering community art institution across the higher education in Painting, country. Sculpture, Graphic Communications (Applied Arts), Music and Dance. Proposed Building for the College Consequently, the college would be proved as a highly esteemed With a view to develop the college model institution of Fine Arts of its
12 1 5 th Anniversary own outstanding nature with this infrastructure in the country.
However, looking at the financial constraint of the college, we look forward to receiving every possible support from all the concerned authorities, well wishers and donor agencies to turn this project into reality. As Sirjana College of Fine Arts is, obviously, a non-profit making community college, the college itself cannot make available the required fund for construction of the aforesaid physical infrastructures. In this connection, the college avails itself of this opportunity to make a special request to the donor agencies the assurance of its highest consideration for their cooperation and generous support to this project of constructing a building for nation's one and only community Fine Arts college.
Expected Outcomes after Having Baikuntha Man Shrestha Accomplished the College Building Baikuntha Man Shrestha is the • A model art college of Founder Chairman of Sirjana international standard, well College of Fine Arts. He is a equipped with all the needed premier art activist with four amenities and the physical decades of experience. He began his facilities that is suitable for higher foray into art as a sculptor, and he learning in Fine Arts has been playing a pivotal role in (Painting, Sculpture, Applied mobilizing and encouraging young Arts, Music and Dance) artists. He has contributed greatly • Quality art education to the Nepali art scene, organizing comparatively at a low fees large scale art events. He has been • Increase in extra curricula awarded the Rastriya Pratibha activities, e.g. art workshops, Purashkar by the Government of exhibitions, symposiums, Nepal in 2003. events, etc. • An access to the art education for [email protected] big number of target audiences/ stakeholders • Sufficient space for undertaking various activities related to Visual Arts
13 Art Education in Nepal: Pedagogical Challenges
Madan Chitrakar
Background | Introduction however, to my great dismay, I found none of the qualities described While looking for a topic to write above in his work. He failed utterly on our ‘Art Education’, a chance to display even the rudimentary encounter with a young artist holding principles. He seemed totally a ‘Bachelor’s Degree in Fine Arts’ unaware of how perspectives worked offered an important eye-opener or the basic tenets of light and shades often ignored by all – the quality of so very essential in the art of painting. ‘the qualified artists’ we produce. He literally shocked my conscience It’s true the said artist proved to to the core as an art teacher. I found be an unpleasant example but he myself even ashamed, albeit I never reminded us all – mentors, planners, have had occasions to mentor him. educationists and all the stakeholders all alike that we have failed. Then So initially I consoled myself with a and there, I concluded we need to thought that he may be an exception. make immediate soul-searching His failings, maybe, only reflected ‘where did we go wrong and what his individual incompetence. In a p r o v e d u s i n e p t i n o u r d e l i v e r y . ’ second thought however, it occurred to me no: rather he reflected the It was during one of my casual walks entire teaching system we make. around the old part of Kathmandu I He made us visible the failings of spotted the familiar face - ‘the artist’- a the educational system we’ve had graduate, sitting in a corner of a busy chosen to ignore. He, it seemed, is street, painting a landscape scene. a living example of our collective The central content in his canvas was failure and negligence. His failings a pagoda temple flanked by rows openly questioned the very essence of medieval houses on both sides of of awarding the academic degrees the composition. The composition – in such a situation. Thus he not only rows of houses converging to more provided us reasons but also to forced than one vanishing point, asked for a to re-assess what really went wrong fair amount of skills and knowledge and what ails the system? of architectural drawing: and a reasonable familiarity to capture the Constraints moment and the mood of the spot in colors within a limited time. First and foremost, the structure and the system of ‘Art Education’ As the common wisdom dictated, it we’ve had been following, for sure, was but natural to expect from him – remained static in view with the a graduate artist, to be fully in verse changing times. Many of the earlier with all the fundamentals needed in practices and the efforts – regular or this work. As I watched him work pro-active, made so far has proven
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BFA 2 nd year painting class, 2016 to be grossly inadequate in multiple Attitude fronts; and is long overdue for a total re-evaluation. Honestly speaking, always perceived as a non-productive segment of A modern education as we see it is national economy, ‘Art education’ an activity evolved with a play of has never been a priority in the multiple factors like – timely up-dated state planning and this attitude has teaching methods, teaching materials obediently filtered or handed down and the curricula in par with any to university planners. A recent modern art education elsewhere. The government decision that students other primary requisites of course, with lowest grades are to be assigned remain the availability of minimum to the Studies of Fine Art has come physical facilities as needed in a as a stark reminder of continued multifaceted art institute – that is antiquated attitude towards Art. No creation of a right ambience for need to add that here lays the basic proper teaching and learning of Fine roots of all the woes which reflect Arts. Also, equally important is the in every segment of running an Art proper staffing - a pool of faculty education in Nepal. members manned based on merit alone – not entered through back A psychological embodiment and the doors as a perk; and is of proven track dilapidated condition of the present record and ability to teach or impart Fine Art Campus building – is the the assigned lessons with an honest visible reflection of state apathy; attitude. and it speaks volumes about Art education here. Historically too, from Unfortunately for sure, if one is to the very beginning, art education give a running look at the present here remained too confined to a state our facilities, one would note in narrow based single institution in all the counts stated above it’s not up Kathmandu – thus making it a to the desired mark or level. least known institution for higher
15 education. The authorities and the Emergence of Sirjana College of Fine concerned professionals alike failed Arts to propagate the merits and values of ‘Art Education’ nationally. For a long However, it was in this not so happy time, only a small segment of whole background and the setting, a group population knew about the possibility of concerned artists and art- lovers art education in Nepal. It meant we began to take note of it and began failed miserably to popularize the Art mulling of an alternative institution of Education. learning Art. Today, it has remained a matter of great pride and satisfaction As a result, aspiring artists from the that at such a critical juncture and nooks and corners of the country setting, Sirjana College of Fine were deprived of opportunities to Arts appeared in Nepal as a timely acquire art education. This is precisely alternative in 2001 AD. Undoubtedly, the reason while the higher education history has proven it was a timely in other social and technical fields like initiative made at a very right Engineering and Medicine reached to moment. new levels with multiple educational facilities, Art education confined and Initially, it was a modest beginning languished in a single campus with in 2000 AD., as stated in lines above rudimentary physical infrastructures a group of committed artists and and faculty with inadequate academic the art teachers’ collective idea to credentials and needed experience create an alternative platform for to deliver effective modern art higher learning at the private level. education. Sirjana College of Fine Arts thus came into existence and was formally Secondly, for a long time the established in 2001 AD beginning education planners and the with offering IFA initially then to authorities alike remained unaware Bachelors Degree (BFA). It indeed has of the needs to expand the scope of proven and remained a pioneering Art Education. It remained myopic vision in the annals of art history in in their views to remain stuck in long Nepal. As is natural, since its very held notion of art education. While inception the College sought to in neighboring countries, many new remain a premium college of learning facets of Art Education appeared and and accordingly striven every effort to prospered to international heights, achieve the stated lofty goals. Nepal on the other hand, chose to either ignore or failed to take note As time passed by, regardless of the of changing times. It never occurred initial hardships the College faced to them a need to introduce other however, the hard work began to bear important facets of art in our art fruits. The graduate students emerged education system. And it is only with flying colors and succeeded in recently that Studies on Applied achieving highest score amongst the Art and Traditional Art have been entire Humanities and Social Science featured in curriculum. category. The success story continued to repeat year after years and continues to do so till this date.
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A BFA 3rd year student of Graphic Communications explaining about his class works to the jury during the final display, 2015 Time for Self-Assessment consonance with the curriculum and thus worked in full earnest. Sirjana College of Fine Arts did -But the most important factor was remain proud of its achievement but the limited small number of students at the same time, also remained well enrolled then for a long time – thus aware of that the success achieved making it easier to tutor individually because many factors worked in our to each student and administer the favor during the period. The factors entire college management. And include: it resulted in excelling the overall
results. The Initial Advantages Changing Times and the Recent - The College has had a privilege of Developments a pool of small but highly dedicated faculty who were also the eminent Many factors including recent artists of the country then. Their political, social and economic changes esteem and reputation also worked as in the country led many drastic the motivating additional attraction of changes in the existing education the College then. sector at the national level – including the phasing out of Intermediate -The faculty and the staff then fully Studies within University curricula. understood the missionary zeal of the As is natural, it also affected the founders. The teachers in particular, regular academic programs of Sirjana have had a sound experience in College as well. To meet the new imparting the needed lessons in
17 developments, some of the major -Visible lack of understanding of the changes and additions the College core spirit of curriculum – resulting in introduced are listed below: deviating from the texts as described in the curricula or often going beyond - Introduction of 11 and 12 classes or totally out of the given guidelines. in Fine arts which offer Painting, Sculpture and Graphic - A constant need to remind the faculty to strictly adhere and lay strict - Introduction of Graphic emphasis in the basic fundamentals Communications (Applied Arts) as a of every respective subject. This specialized BFA program in addition tendency is mostly found in the to existing Painting Studies. faculty more fascinated or exposed Significant growth of number of to modern trends. They are found students enrolled in the College as a to opt more on experimentations result of additions stated above. e.g. courses on photography or creative compositions. In short a New Challenges general tendency is to ignore the fundamentals and has become a - Need of additional faculty - with common malaise. needed academic qualifications and teaching experiences in respective - Last but not the least, the present specialized subjects. set of new students in general, is found out to be less punctual, less - Need to understand and update disciplined and less interested serious teaching methods so as to impart manual exercise or practices. They lessons more effectively as per the are found more inclined to digital newly introduced subjects and the references and experimentations curriculum. Solution | Suggestion Constraints First and foremost, the College’s The changed situation and the new first need and prerequisite is its own challenges have also prompted spacious physical space. No need to Sirjana College of Fines Arts to make add that the envisioned space is a well an immediate self – assessment of equipped building with all the needed its strength and weaknesses. And amenities and the physical facilities as while making a quick and a short suitable to a modern space for higher assessment, in a nutshell the College learning in – Painting, Sculpture, found the present constraints as Graphic Communications (Applied follows and are listed below: Art) and Music & Dance. Only in such an ambience where all the - Absence of needed physical space prescribed courses and classes could so as to run /conduct all the classes be conducted smoothly. – including the newly introduced academic programs. - The code of conduct – with specific - Non-availability of qualified and mention of discipline and decorum experienced faculty. of the College should be formulated - Lack of enthusiasm to make timely with a strict mandate to the adjustments/improvements in the management to enforce it. teaching methods in the part of faculty.
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-A special attention should be paid to maintain a pool of faculty with needed academic qualifications and experiences. - It must be ensured that the faculty pays special emphasis on the respective fundamentals of the subject than what the teacher know or like it most. - While imparting the lessons, the teachers should be made aware that experimentations can wait till the Master’s program. - There is a constant need to allocate a sizeable amount of budget to make needed promotion and publicity of Madan Chitrakar the College. Madan Chitrakar is a senior - As there is a visible absence of artist and an art writer based updated teaching materials, the in Kathmandu. As a leading art College makes timely initiatives to writer of the country, on many create such. Or it may encourage occasions he has taken Nepali the potential authors to develop art beyond the borders - through the materials- remaining within the his writings in many prestigious prescribed curriculum. publications abroad - notably - The College must have an Japan, India and Bangladesh. information outlet as a medium to ventilate the timely news and views Two well acclaimed books "Tej of the College. Bahadur Chitrakar - Icon of Transition" 2004 and "Nepali Conclusions Art - Issues Miscellany" 2012 remain to his credit. In view with the present situation and the present man power and the [email protected] current financial health of the College, it may not be possible to implement all at a time or within a near foreseeable future. Therefore as a long term strategy, there should be a grand master plan where all the tasks are categorized as urgent or immediate, tasks which can be done sometime in near future and finally, a carried over long term tasks like a building of its own etc. Such a grand master plan would serve as the guiding principle so as to move to further success.
19 sf7df8f}F pkTosfsf] Ps dxTTjk"0f{ kf}ef M dh'jh| / jh|wft]Zj/L nf]s lrqsf/ g]kfnL df}lns snfsf k|d'v ljwfsf ¿kdf lyP xf]nf, s;/L cufl8 a9\of] xf]nf cflb /x]sf] kf}ef snfsf af/]df cr]n s]xL dfqfdf k|Zgx¿ cb\ofjlw cg'Ttl/t g} 5g\ . ;lhn} eP klg rrf{ kl/rrf{ x'g yfn]sf] kfOG5 . / zL3| o;sf] pTt/ kfpg] ck]Iff ug{ ;lsg] kf}efaf/] ?lr /fVg] :jb]zL Pjd\ ljb]zL cj:yf klg 5}g . tyflk h] hlt hfgsf/L lh1f;'x¿sf] ;ª\Vof klg a9\b} uO/x]sf] 5 . pknAw 5g\, To;af/] sd;]sd yfxf kfpg kfP o;nfO{ ;'vb g} dfGg ;lsG5 . k/Gt' kf}ef / klg x'GYof] . obfsbf ljb]zL ljåfg\x¿n] o;sf snfsf/sf af/]df s'/f ubf{ n]v]sf k':ts jf ljb]zdf x'g] k|bz{gLx¿sf] ljifoaf/] kof{Kt cWoog ;fdu|L, k|df0fx¿ Sof6nudf k|sflzt ePkZrft\ xfd|f] g]kfnL cflb ePgg\ eg] tL rrf{ / To; ljifosf kf}ef snf kmnfgf Do'lhoddf /x]5, kmnfgfsf] pkfb]otf bL3{sfn;Dd /xFb}g . ;xL JolStut ;ª\u|xdf /x]5, pSt lrqsf] ljZn]if0fsf nflu klg ;To / tYok/s ;+/rgf o:tf] /x]sf] eGg] Go"gtd cWoog ;fdu|Lx¿sf] cfjZostf k5{ . k|foM hfgsf/L;Dd kfOG5 . o;} k|;ª\udf oxf“ s'g} snf n]vsx¿n] kf}efaf/] cWoog cg';Gwfg a]nf ljb]zL k|sfzgaf6 k|sflzt, ljb]zL ug{sf nflu kof{Kt ;fdu|L pknAw gePsf] snfljb\åf/f lnlvt / ljb]zL ;ª\u|xstf{;“u eGg] u'gf;f] u/]sf klg ;'lgG5 . /x]sf] Pp6f dxTTjk"0f{ kf}efsf af/]df ;ª\If]kdf rrf{ ug]{ hdsf]{ ul/Psf] 5 . kf}efdf lrlqt kf}efsf af/]df s'/f ubf{ cWoflTds b:tfj]h, s]Gb|Lo ljifo j:t'sf cfwf/df kf}efsf] zLif{s P]ltxfl;s k|df0f, k'/ftflTTjs cg';Gwfg, ‘d~h'jh| / jh|wft]Zj/L’ /x]sf] 5 . ljifout tYox¿, k|fljlws ;fdu|L / tt\;DaGwL hfgsf/LÙ cleJolStsf] If]q, o; kf}efsf] s]Gb|df d~h'jh| / pgsL k|1f l;df / :jtGqtfÙ lzNk bIftfÙ af}b\w bz{g jh|wfTj]Zj/L /x]sf 5g\ . dWosfnLg g]kfnL cflbaf/] yf]/ax't hfgsf/L /fVg'kg]{ x'G5 . kf}ef z}nLdf k|foM ltg v08x¿ /x]sf lj8Dagf g} dfGgk5{, g]kfnL df}lns snfsf x'G5g\ . ;a}eGbf zLif{ v08df u'?, a'b\wx¿ af/]df hfgsf/L jf 1fg xfl;n ug{sf nflu cflbsf lrqx¿ x'G5g\ eg] ;a}eGbf d'lgsf] ljb]zL n]vsx¿åf/f lnlvt ;fdu|Lx¿ jf v08df hhdfgsf] kl/jf/, k"hf jf g[To ub}{ ljb]zL k|sfzgx¿sf] ;xof]u lng'kg]{ cj:yf u/]sf b[Zo cflb k|:t't ul/Psf] b]lvG5 . ljb\odfg 5 . lrqsf] s]Gb|Lo efu ;a}eGbf 7'nf] x'G5 / d'Vo ljifo j:t' klg 7'n} cfsf/df lrq0f ul/Psf] kf}efsf k|s/0fdf ;jf{lws k|frLg kf}ef s'g x'G5 . o; kf}efdf klg ;f]xL lgodnfO{ cg';/0f xf]nf, slxn] ;'? eof] xf]nf, s;n] ;'? u/]sf ul/Psf] kfOG5 .
20 1 5 th Anniversary
dgjh| / jh|wft]Zj/L . sl/a O= ;+= !$)( . &^ X ^@ ;]= ld= . ld;f O{= h's/sf] ;ª\u|x, nG8g .
21 o;sf] cfsf/ &^ X ^@ ;]ld /x]sf] 5 / x'G5 . tf]/0fnfO{ k"0f{snz ;lxtsf] vDafn] lrqsf snfsf/sf] gfpF / hhdfgsf] gfd klg yfd]sf] 5 . jh|wfTj]Zj/L / d~h'jh| sdn plNnlvt 5g\ . O:jL ;+jt\ !$)( -g]kfn k'mnsf] snfTds l;+xf;gsf] cf;gdfly ;+jt\ %@(_ df /rlot o; kf}efnfO{ snfsf/ lj/fhdfg 5g\ . l;+xf;gdf l;+xsf] cltl/St sf] gfd pNn]v ul/Psf] xfn;Dd k|fKo Ps hf]8L xfTtL klg lrq0f ul/Psf] 5 . ;jf{lws k'/fgf] kf}ef dfGg'kg]{ x'G5 . s]xL bzs cufl8;Dd snfsf/sf] gfd pNn]v ePsf] o;} v08sf] ;aeGbf zLif{ efudf bfofF afofF kf}efsf ¿kdf ‘lji0f' d08n’nfO{ dflgPsf]df Ps Ps hgf wd{kfn b]jtfx¿ clUgsf] clxn] cfP/ s]xL jif{n] eP klg of] kf}ef k[i7e"ld;lxt /x]sf 5g\ . afofF s'gfdf /x]sf k'/fgf] b]lvPsf] 5 . rGb|dxf/f]if0fnfO{ eLif0f 8/nfUbf] k|tLssf ¿kdf k|:t't ul/Psf] 5 . logL crn jf kf}efsf] s]Gb|df 5 cf]6f e'hf ;lxtsf ;ª\s6fsf gfpFaf6 klg k'lhG5 . /St j0f{sf d~h'jh| /x]sf 5g\ . rGb|dxf/f]if0fsf] afofF v'6\6fsf] 3'F8fn] ;fdfGotof d~h'jh|nfO{ kx]Fnf] /ªdf lrq0f df/nfO{ bdg u/]sf] 5 . bfofF xftdf rGb|xf; ul/G5 t/ o;df /ftf] /ªsf] k|wfGo /x]sf] 5 . v8\u / afofF xftn] 8f]/L ;dfPsf] 5 . bfofF of] lrq /rgf s'g} ljz]if k"hf jf pT;jsf] s'gfdf dxfsfnsf] cfs[lt plePsf] 5 . pgsf] k|of]hgsf nflu lrq0f ul/Psf] lyof] eGg] bfofF xftn] slt{s -s/f}FtL_ / skfn kfq cg'dfg ug{ ;lsG5 . d~h'jh| lqeª\u / ;dfPsf] 5 . lgnf] k[i7 e"lddf 3fFo a'6\6f jh|f;gdf lj/fhdfg 5g\ . pgsf ltg cf]6f el/Psf] 5 / k'ik j[li6 eO/x]sf] k|tLt x'G5 . d'xf/dWo] bfofF lgnj0f{ / afofF :j]t j0f{sf] ;a}eGbf tNnf] v08df hhdfgsf kl/jf/, cg'xf/ /x]sf] 5 . 5 cf]6f xftdWo] k|d'v b'O{ k'hf/L / g[To d08nL b]lvG5g\ . ;Kt/TgnfO{ xftn] j/bd'b|f -bfofF_ / afofF xft 5ftLdf rqmjtL{gsf ¿kdf k|:t't ul/Psf] 5 . oLdWo] /fvL k':ts ;dfPsf] 5 . ;aeGbf dflysf] xfTtL / 3f]8f dfq} :ki6 b]Vg ;lsG5 . b'O{ xftdWo] bfofF xftn] rGb|xf; v8\u / afofF xftn] gLnf]Tkn ;dfPsf] 5 . b'O{ xftn] ;/wg' g]jf/ kf}ef lrqsf] ljz]iftf dflgg] /ªsf Go"g cyf{t\ jf0f / wg'if ;dfPsf] 5 . k|sf/x¿, clt ;':ki6 / nok"0f{ /]vf, Go"g 5fofsf] k|of]u, a'6\6fsf] afx'No, clUg Hjfnf, d~h'jh|sL k|1f jh|wft]Zj/LnfO{ Zj]t j0f{df sdnsf] k'mn h:tf k|fs[lts ljifonfO{ dxTTj b]vfOPsf] 5 . pgL nlntf;gdf a;]sL l5g\ . cflb o; kf}efdf b[Zodfg x'G5g\ . d~h'jh| ceo j/;lxt b'j} xftdf lgnf]Tkn ;dfPsL / jh|wfTj]Zj/Ln] wf/0f u/]sf cfe/0fx¿df l5g\ . o;sf] /rgf z}nLnfO{ dWosfnLg g]jf/ clt ;"Id sfd ul/Psf] b]lvG5 . k/Dk/fut lzNk ljwfsf] pRrtd z}nL dfGg'k5{ . tf]/0fdf ds/ hf]8L -lx6Ld+u_ sf g]kfn ;+jt\ %@( -O= ;+= !$)(_, ;fpg a'6\6]bf/ k'R5/df gfusf] k'R5/ cª\sg ul/Psf] dlxgf, s[i0f kIf, qof]bzL, k|sfZo gIfq 5 . s]Gb|df /x]sf] u?8sf] v'6\6fn] Ps hf]8L jl/oz of]udf l;lh{t of] kf}ef s]z/fhf gfu / gfusGofnfO{ aGwgdf kf/]sf] efg lrqsf/n] /rgf u/]sf x'g\ . cfrfo{ s'neb|
22 1 5 th Anniversary k"hf/L x'g\ eg] xif{/fd lrqsf/ o; kf}ef / kGw|f}F ztfAbLdf g]kfnL lrqsnf slt pTsif{df wfld{s cg'i7fgsf hhdfg x'g\ . k'u]sf] lyof] eGg] a'‰gsf nflu of] d~h'jh|sf] kf}efn] xfdLnfO{ ;3fPsf] 5 . l;b\w d~h'>L / s]zgL tf/f eg]/ clen]vdf pNn]v ePtf klg d~h'jh| / jh|wfTj]Zj/L Work cited: Kreijger, Hugo E. Kathmandu Valley egL gfds/0f ug'{df cfk;df d]n vfFb}g . Painting. Serindia Publications, 1999. ctM k|frLg g]jf/ efiffsf 1ftf jf ljz]if1n] o;df cª\lst clen]v k"0f{ kf7 ug'{kg]{ b]lvG5 . /ftf], ;]tf], sfnf] / lgnf] d'Vo /ªsf] k|wfGo /x]sf] o; kf}efdf /ftf]sf nflu lx+u'n, kx]Fnf]sf nflu xl/tfn, lgnf]sf nflu gL/, sfnf]sf nflu WjfF;f] / ;]tf]sf nflu r"gsf] k|of]u ePsf] b]lvG5 . uf9f / lkmsf xl/of] gL/ / kx]Fnf]sf] ld>0f xf] eg] u'nfkmL ;]tf] / /ftf]sf] ld>0f xf] . lrqdf k|o'St /ftf], kx]Fnf] / ;]tf] vlgh /ª x'g\ eg] gL/ / sfnf] jg:klthGo /ª x'g\ . o; lrq /rgfdf ;'gsf] k|of]u ePsf] b]lvFb}g . kf}ef snfsf af/]df vf]hL ug{ s]xL sl7g nf]s lrqsf/ xf]nf, lsGt' c;Dej eg] 5}g . h] hlt nf]s lrqsf/ ;dsfnLg kf}ef lrqsnfsf e]6\6fOG5g\, tL ;a} lj:tf/} cWoog ub}{ If]qdf l;b\wx:t / cGt/f{li6«o Vofltk|fKt hfg'kg]{ x'G5 . o;} d~h'jh|sf] kf}efdf ;h{ssf ¿kdf ;'kl/lrt 5g\ . hfkfg, lkmgNofG8, ;+o'St /fHo cd]l/sfsf plNnlvt snfsf/ s]z/fhfsf af/]df k"0f{ ljleGg lzIf0f ;+:yfx¿df cltly ¿kdf hfgsf/L pknAw gePtf klg pgnfO{ k|fWofks /x]sf lrqsf/ sf7df8f}F dWosfnLg kf}ef z}nLsf k|ltlglw snfsf/sf ljZjljb\ofn;Fu cfab\w 5g\ . ¿kdf lrGg ;lsG5 . rfdn bfg ul//x]sf :jb]z tyf ljb]zsf ljleGg snf xif{/fd lrqsf/n] ;DejtM k~rbfgsf] ;ª\u|xfno / JolStut ;ª\u|xdf pgsf cg'i7fg ubf{ of] kf}ef n]Vg nufPsf lyP . lrq /rgfx¿ /x]sf lrqsf/n] xfn;fn} sf7df8f}Fdf cfof]lht P]lR5s k~rbfg ubf{ kf}ef n]vfP/ P]ltxfl;s cGt/f{li6«o snf dxf]T;jdf a[xt\ clen]v /fVg] rng 5 . cfrfo{ s'neb| cfsf/df lrq /rgf u/]sf 5g\ . /fli6«o ;DejtM jh|frfo{ x'g'k5{ . o; lrqdf k|ltef k'/:sf/ -;g\ @)!#_ / kf6g Do'lhod k'/:sf/ -;g\ @)!@_ h:tf cª\lst hhdfgsf kl/jf/hsf lrqsf k|ltli7t k'/:sf/af6 ;Ddflgt eO;s]sf dfWodåf/f tTsfnLg ;fdflhs kl/j]zaf/] klg lrqsf/ k/Dk/fut kf}ef snfsf] pTyfgsf nflu :yfgLo Pjd\\ cGt/f{li6«o :t/df lgs} s]xL emns kfpg ;lsG5 . ;lj|mo /lxcfPsf 5g\ .
23 Twilight zones of Nepali sculpture
Dr. Abhi Subedi
Preview about the current and past activities, I felt that I have always been a lover I wrote this essay as part of a review of stone sculptures, though as a of stone sculptures executed by artists critic I had only been writing about from Nepal and abroad as mentioned paintings. I remember the late Lain below. As it remained unpublished Bangdel's observation in one of my up until now, I at one point had felt many meetings with him that the a desire to put these ideas in other subtlety of art that a painter feels in forms in Nepali because I wanted this the fluidity of paintings can be the experience of reading, conversations same for a stone sculptor who creates and observations about sculptural fluidity on stone. The late Balakrishna works to be read widely. Before Sama told me a few times, how writing this I observed the artists difficult the work of a stone sculptor working at Harnamadi amidst a would be inasmuch as a single flint if kind of celebration, as it were. After it flies away while working requires that I kept thinking about the final the artist to work all over again. He shape of these works until I got a was of course referring to the tools chance to visit the hill little over a that they used. Today's sculptors year later with English teachers, my who use easy sawing and smoothing erstwhile students, of Makwanpur machines to create mouldings, and college. I was very impressed to see even three-dimensional techniques these works that were half-drowned may not have to experience the in spear grass. But now I guess it has same problems. But what Sama and been restored to a good shape. Bangdel said, I realised later, spoke volumes about this genre of art and The other point that I see now is the sculptors' challenges. a kind of historicity about stone sculptures. Before writing this, I Without much ado, I want to submit had never realised that stone works this essay for publication here at hold such a great place in Nepali the advice of sculptor Om Khatri artistic imaginaire. Our artists in the as well as the painter Navindra past millennia handled this form Rajbhandari, by putting one piece with great confidence and sense of of information which is, sections of communication with the world—the this essay are included in my article universe that included the earth ‘speaking stones’ published in The and sky or the mundane and astral Kathmandu Post (June 1, 2014), which planes. They created replica, icons to was written as part of disseminating represent these responses with the the information. The following essay human and ecological world. When is a modest attempt to introduce the I met a young sculptor of young dynamics of this great genre of art. I generation Om Khatri and found out would also like to express my deep
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The green hill at Harnamadi is now full of the stone sculptures. seated interest to do more study and 2012. I was struck by the sheer energy write in this area. that these people had gathered over this hill. Laxman Bhujel had worked Rolling question most relentlessly for this activity. The stone narrative was more exciting A modern Nepali sculptor of the than the project itself. Om Khatri young generation and an erstwhile told me about their stone odyssey. member of Nepal Academy of Fine They had hunted quarries looking Arts, Om Khatri made me pensive for suitable stones for sculpture; with this question—what differences and stones, in return, had haunted do I see between traditional and them, by the failures and frustrations modern Nepali sculptures? Though while locating and retrieving them. the repertoire of my art reviews Sculptors, some of whom are world- is pretty big, I have written little renowned, had come to work on about Nepali sculptures despite my these stones for weeks. Very eager great interest in this genre of art. to see the finished works, I made The meeting was in connection with it to the hill about a year later and the review of sculptures executed found the greens full of these lovely by Nepali and foreign sculptors; it stone sculptures executed by both happened like this. I received an the native and foreign sculptors. That invitation from two sculptors Om hill reminded me of Hakone park Khatri and Laxman Bhujel, and one in Japan, a hillside full of tangible academic and literary writer and my art works, where I was lost in the erstwhile student Dr.Taralal Shrestha, sculptural jungle a number of times. to attend an opening of a sculptural No comparison there, but it gave workshop over a non-descript but me occasion to wish—if only Nepal lovely inner hill of Makawanpur had turned one of these hills into called Harnamadi, on 25 November sculptural open museums, which is
25 not an impossible thing to do. But always been the very motif of Nepali state support is essential for that. As sculpture. Equally powerful was the long as those in power do not realise Nepali sculptors’ perception and stone sculptural forms can open up creation of space in this genre of art international partnership and inspire done in metal, stone, wood and clay native sculptors, nothing can be mediums for millennia. I have always achieved. liked Nepali sculpture of the last two millennia and have read whatever Om Khatri who rolled the above struck me as important to understand question towards me on the flat roof this genre of art. I see, in other words, of Sita Bhawan of the Academy, sculpture as the chiselled history gave me forthwith several brilliant of Nepali soul; it captures spiritual brochures of the workshops he longings, erotic manifestations and had organised with friends as an the most complex textures of our apprentice in 2005, and several others emotions. It also captures the history as an art academician for four years, of power and projection of ego and and a loosely written glossy book domination. Images showing unique written by others, full of names and blend of power and Eros, religion history. and egocentric statist projections, lie scattered in the open, in temples, Khatri’s own introductory notes in courtyards, palatial buildings of the brochures chronicle the modern Nepali and occidental styles, private time sculptural activities. Rich in worshipping places, reliquaries, lofts experience and global connectivity, and attics, roofs and struts, water this young sculptor impressed me conduits, temples and monastic one more time. Meeting him and precincts. others convinces me, stones are becoming eloquent; they are speaking Stone sculpture strikes a chord in modern idioms under the chisels directly with the ecology, originary of these sculptors of the young and human sense of time and space. generation. But unlike several areas of The corporeality that dominates cultural studies, it is difficult to create the Western stone sculptures, as awareness about this genre of art on discussed by writers and philosophers a wider scale. Sculpture is the most in the West, Nepali stone sculptures practised but least discussed visual too do pose a challenge to onlookers, and tangible form of art. A brief believers and art lovers by their description of the character of this sheer beauty and the finish, very genre’s history is in order. importantly, by the location where they stand. Stone sculptures in Nepal Chiselled history of soul have been the meeting loci of history, religion and arts. Some of these Nepali sculpture can evoke the most forms also appear semi-abstract in exciting discussions in the domain of the artists’ bid to put these different Nepali art of both the traditional and strands together. modern orders. Eastern and Western philosophers see the value of space Questions always come up in art and sculpture by linking that to discussions whether the classical human body. Body or the corporeality forms do represent that combination in various stylistic manifestations has or not. But as in other forms of art
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Now Harnamadi hill has turned into a favourite destinaton for visiters. sculptural art too assumed abstract latter form has become a subject of form in the West. The sculptor’s discussion especially after the 2003 question resonates in my mind- UNESCO definition of intangible -where do we stand in modern and tangible cultural heritage. sculpture especially of stone? I Attention has shifted from sculpture would only like to write about one to the preservation and study problematic--the identification of the of architectural entities, namely twilight zones of Nepali sculptures houses and temples, courtyards and in the context of the shift from the musical and performative traditions. traditional form to the modern one. However, sculpture is the subject I would also like to indicate how of discussion. The most repeated I see the value and significance of text about Nepali sculpture is about the works of Nepali sculptors and their theft—their dislodgements their international partnership. After and disappearances. More is said discussing this briefly, I will evaluate about the lost sculptural items than the stone sculptures executed on about their preservations and their Harnamadi hill, which is indeed the features and power as art forms. subject of this essay. Very importantly, tributes are paid by art scholars to these bereft works; Nepali sculptures: fuzzy borders calls have been made by artists and scholars for their retrieval. Nepali sculpture, the term itself is Lain Singh Bangdel writes these better known than Nepali paintings words in his very useful and well- or architecture even though the documented book, ‘We are more
27 concerned now about the safety of Nevertheless, the Nepali sculptural the remaining images in Nepal, in tradition has remained vital and creative view of the increasing art theft of for more than a millennium, and even stone sculptures’. This is the story though it began to decline by the Late of stone sculptures, some of which Malla period, talented artists continued have returned to Nepal ever since, to produce beautiful bronzes. Certainly but a large body of them remain the technical dexterity of the Newari unaccounted for. Bangdel’s other craftsman remained undiminished as major work about the stone sculptures testified by the impressive bronzes… . of the Kathmandu valley makes a historico-stylistic study of the stone Briefly speaking, the major motifs images of the valley. In this book of the sculptural forms are divine Bangdel traces the history of stone images like Yaksha, Laxmis, sculpture from the sixth century power goddesses, naga or serpent BC, beginning with the birth site of deities, mother images, Vaisnava Shakyamini Buddha at Lumbini. or Bishnu icons, Kubera and other Interested readers can find a detailed manifestations. But images carved and illustrated history of Nepali out on struts, attached stone and stone sculptures in this book that metal imageries, as well as standing divides the style with the historical ones, movable figurines filling the times. Very importantly, he traces antique shops, exquisite images of the the history of the connectivity of Buddhas and Avalokiteshwaras, and Nepali sculpture with the Indic other manifestations, waiting for the sculptural traditions. The dynastic, metropolitan visitors in Kathmandu millennial signposts like the Kiranta, valley towns, also form a major bulk Lichchhavis, Mallas, Shahs is a of Nepali sculptural figures. heuristic device, if not anything else. However, the dynastic periods Though a distinction made by the saw some modes of promotions and noted Chinese sculptor and scholar occasions of neglect of the sculptural Wu Weisham may not be directly art. applicable here, I have the temptation to cite him here for one important Bangdel’s third major book about the reason. He states, ‘Since ancient traditional Nepali sculpture covers China, Chinese sculpture has existed a visual analytical history of early in two most notable forms: indoor sculptures beginning from the first Buddha sculptures, and outdoor century AD up until the second half stone sculptures of human figures of the fifth century. The book features and animals in front of mausoleum sculptural art executed from monastic paths. The former mostly conforms locations like vihara and stupa to to standards as it is strictly restricted other human locations represented by by methods of sculpting and religious water-spouts, courtyards, and shrines fervour, unlike the latter, which is and roofs that are crumbling. We can transcendent, bold and free spirited. find similar treatment of the subject Perhaps, due to them being placed in the study of Pratapaditya Pal. outdoors, many ancient tomb Paying tribute to the sole power of the sculptures would lose the power of Newar artists, as far as continuity is competing with nature for space if concerned, Pal says, they were depicted too realistically.”
28 1 5 th Anniversary
In Nepal conversely, most of the find it difficult sometimes to draw a shrines and sculptural images of line between old and new or classical deities are stones. The theory of and modern forms of sculpture in leaving stone sculptural works to face Nepal. That the Western modern nature, and metal images as canonical artists like Braque and Picasso turned indoor forms, somehow does not to the traditional African sculptural seem to have guided the makers images to develop modern perception and worshippers of stone images in could be a good reminder here. Nepal. The inventory of Bangdel’s stone sculptural images therefore The one problematic I am introducing speaks volumes about the freehand here in connection with the modern sculptural works of Nepali artists. Nepali sculptor’s modus operandi Therefore, when I was confronted is that when we discuss about the with the question of traditional and modern Nepali sculptures, we need modern sculptures of Nepal, I took not entirely use the Western modern recourse to some scholarly analyses mode of seeing the forms; we can and histories to find some answer. But bring perceptions and techniques the answer did not come by so easily from our own traditions as well. to me. But I want to quote Burnham here especially in the context of the Some of the outstanding discussions unresolved questions about modern about sculptural works open up a sculptural art: few interesting debates. According to Burnham, the base ‘the twilight In trying to uncover the foundations of zone both physically and psychically’ modern sculptural form, several questions that a sculptor creates is indeed a have dominated my concerns, namely: “convention for rooting his art to What are the intellectual and psychical surrounding reality while permitting origins of modern abstraction? What it to stand apart.” forces precipitate the rapid stylistic changes of modern sculpture? Where Western artists and critics see in the have these forces shifted and why? What decline of the base a phenomenon of are the formal foundations of modern the placing of the sculptural figure. sculpture? Does sculpture conform to a The modern sculpture does see pattern which can give us intimations the sculptural figure, image, as an of its future? These questions, among important entity that neither stands others, have become important in the apart nor mingles in the crowd; it last few years as sculpture has risen in has become a plural theme. One prominence and painting continues to phenomenon of Nepali sculptures show signs of failing vitality. Sculpture of the classical or traditional order is is, however, far from being a monolithic that they were created in the twilight set of interests. Thus, much of the most zones of faith and poetry, power and contemporary and provocative three- submission and joy and pain. Another dimensional art is only generically factor about them is that the sculptors related to the figurative sculpture of the used classical methods but judging past. Recent modes, particularly Kinetic, by the nuances, the free play of Luminous, and Environmental Art, are imagination, the choice of the location all stuffed uneasily under the category of the ground or base that were of sculpture, but as yet they are too created for the sculptural works, we problematic to be classified.
29 A sculptor at work - "Stone Sculpture Symposium-2012"
Interestingly, Burnham sees the phallic forms, and some appear in continuity of the three-dimensional somewhat vainglorious forms made art as the generic continuation of by western sculptors bestriding what the figurative sculpture of the past looks like a stallion, stretching bodies, order. Space does not permit me some can be seen half-broken in their to discuss the subject in detail. But exquisite forms sitting in the corners there are some other challenges in and reliquaries. But in our sculptures modern sculptural art in the context the bodies are lost into some kind of almost everything passing for of ecstatic, cosmogonic moods. That modern sculpture, from ecologically is expressed by extreme ecstasy meaningful constellations to visual of sexuality, divine awe, power and aural forms and geographical and theatricality. So if any modern and natural structures. But the main sculptors draw a line between the stylistic features like proportion, abstract and the classical in absolute structure, texture, scale, contexts terms in Nepal they may hazard the and colours and shapes remain risk of simplification. The question of valid. But one important feature base and the location of the sculptural of modern Nepali sculpture is the bodies remains as a valid mode of challenge to make the figures move, discussion in sculptural genre of art to acknowledge the biological today. configuration of sculptures. Bodily contours, painful positions of Modernist turn: brief story sculptures, the serene, suave moods, make up the variety of this versatile Though the history of modern genre of art. Nepali sculptures stand sculpture in Nepal is short, some on base, rise from under the ground, limited sculptors have made fly in air, latch on to human body and important innovations in this
30 1 5 th Anniversary regard. I want to discuss briefly the people in society. That certainly history of this modern sculpture did involve some tension caused by before talking about the sculptural the shift, and exposed sculptors to works of Harnamadi. I would only new forms of dialogue between art like to allude to the story of the and power. I would call it another apprenticeship of the Nepali artists twilight zone of Nepali sculpture. We in the modern school of sculpture. should not forget theses shifts, these Some names of modern pioneering ‘moulding’--if I may use the sculptors’ Indian gurus in modern sculpture term--moments while discussing the are mentioned by the Nepali modern history of Nepali sculpture. Various sculptors. Modern Nepali sculptors periods of shifts have occurred in use the name of Ram Kinkar Baji the millennial history of Nepali most prominently. Baji visited Nepal sculpture. But the history of modern with his student Sankho Chaudharito Nepali sculpture, that works with execute sculptural figures for Sainik the distortion of figurality and the Manch in 1945. Sankho Chaudhari dismantling of the solid base, is pretty also learnt the traditional method of short. I want to end my discourse of metal casting from Nepali sculptor historicity here and write about the Jagman Shakya of Patan. A network Harnamadi experience mentioned of apprenticeship is mentioned by earlier. historians. Sankkho Chaudhari taught Thakur Prasad Mainali who is Harnamadi experience considered the first modern sculptor, and another sculptor Pramila Giri was The sculptural works scattered over taught by Baji at Shanti Niketan. Baji’s the green cover a good range of students Balbir Sing Katt, Latika Katt subjects. A constellation of works and Sankho Chaudhari taught other executed by native and foreign sculptors of the first phase of modern sculptors of various degrees of Nepali sculptural apprenticeship. experience, training and talent present The modernsculptors of the young an interesting exhibition of sculptural generation appreciate Mainali for arts in this non-descript place. Some boldly introducing modern sculptural traditional sculptors have gone to forms in Nepal. The repertoire of sculpt modern figures on good stone names of the pioneering generation pieces. All Nepali sculptors, some of sculptors who received their of whom have executed their first education from the above gurus is abstract or modern works, appear small. But the great legacy of Nepali to have shown a good sense of sculptors in this land should be participation in this exhibition. Each viewed from dual perspectives of work cannot be called a consummate continuity and change. They have piece of sculpture. Some are rough seen different periods of change in and perfunctory. Participation of their works. Like traditional Nepali Purnakaji Shakya, son of the great painters of the nineteenth and early sculptor of traditional and pre- twentieth centuries who had to shift modern order Ratnakaji Shakya, for their art from the traditional mode to example, is an interesting matter. the mode of portrait making, Nepali His figure with the back of a bird is sculptors too,in later times, were significant from the point of view commissioned to create sculptural of an idea of shift if not anything figures of kings and important else. A similar form is sculpted by
31 Gangadhar Saru. This is a woman’s dramatic manner. Sudarshan Bikram visage with eyes closed, and twisted Rana has created a rhythmic texture head. It is an incomplete work, by playing with the natural surface. but expressive. Chandra Shyam’s Govinda Chaudhari’s basket figurality sculpture is a fusion work with the and Baikunthaman Shrestha’s bull juxtaposition of concave and convex are quite tangible figures. These two forms. A protrusion of Ganesh works of sculptures could do with figure and the overall shyly executed more works. Bishnu Prasad Shrestha’s abstract form is a half-hearted attempt piece shows minimum sculptural towards the creation of modern work. The moulding path in the sculpture. middle of the mass is foregrounded as pattern creating a smooth intervention A seed image made by Nagendra in the natural shape. Similarly, Om Rajbhandari, who teaches sculpture Bhakta Bhandari’s piece of sculpture in Baroda arts college, is a good is a simple experiment with tortoise but incomplete piece of sculpture. figurality. Textures are created to This organic seed, an abstract form, represent scale. It is a basic attempt. with textured feature, is reminiscent Sharadaman Shrestha’s stone is very of the fertility of ecology that fine in which he has sculpted elephant surrounds the vicinity. Raju Pithakote tusk and muzzle,showing buffalo hassculptedsome fine contours on head in the middle. This piece is a a very fine piece of stone; it is an good attempt but an unfinished work. unfinished endeavour, too. Narendra On the whole, all the above sculptures Prasad Bhandari’s shape of a cauldron manifest certain degree of creative with bubbles rising quite smoothly experiments. They are half-hearted is an interesting piece of sculpture. efforts, except some. I guess they Babulal Waiba’s figure wearing a constitute index of new sculptural cloak is quite a good work. He has art and artists in Nepal. I would given the semblance of a finished not call them consummate piece of piece of work by creating a dark works, but they manifest a great deal visage and the rest of the natural of experimental thrust. I liked that surface functioning as cloak, which is especially in the context of the works a clever device to escape detail work. that they had done in a limited time. Similarly, Buddha Chaudhari has The spirit is important. created Buddh’s serene figurality at one side of the stone leaving the rest Om Khatri’s sculpture work is as the open space, a natural stony excellent. His delineation of mass, expansion. Prakash Ratna Shakya has volume, texture, line and plain shows created a chair with a hole for shoes. consummation. A bull gives the It is a clever but unfinished work. impression of solidity, and it is not Laxman Bhujel’s stone, I guess with a mounted on base. He has created the thinner surface, becomes a good piece semblance of the fortes and humped of sculpture with a hole in the middle, summits of the Makawanpur valley which breaks a barrier of the solidity. in the bull’s humps. The very smooth I found this sculpture like a theatre and finished lines and surface, the where people participate by going finely cut out surface reminiscent of though the hole into the open sky. He the valley, and the texture acquired has devised a subtle way of merging in the process of moulding make up sky, nature, space and solidity in a a very good combination of skills.
32 1 5 th Anniversary
A sculptor at work - "Stone Sculpture Symposium-2012"
This is a very good piece of work. Nepal. The pod fat with the mature Rajan Kafle’s sculptural work is beans inside comes out so brilliantly. a quite fine piece of art. Layers of This is an excellent piece of sculpture. rough mandalic circles and triangular Forms, line, rhythm are maintained shapes contrast with the smooth with the natural shape; and it is very upper and bottom linear form. It well balanced structure. Chinese shows a certain biological mobility. sculptor Liu Yang has created a veiled A tiny replica adds to its meaning. woman. I like the stony transparency Consummate are the other works of of the cloak. The effect is subtle; the foreign sculptors. The Korean artist’s frontality is foregrounded in this natural lines, smoothness, the sudden work. The French sculptor Laeititia de breaks representing clouds and rivers Bazelaire has created a human figure for a geo-space, draw the viewers. sleeping with year glued to mother The terraced back which comes from earth to hear her sound. She has the quarry adds to this geo-surface left the texture of the moulding and formation. Bettino Francini, president has retained what she thinks as the of the International Sculptors’ naturalness of the field of action. This Organisation, has made an excellent is a very moving and lyrical piece of mother figure wearing a nose-ring. sculptural work. He has created this with minimum carving works. The stone shape Conclusion that dominates the view, brings the mother image down to earth with all I have focussed on each work as its naturalness and expressionism. far as possible. The final word that The Japanese Sugimoto Juni-chiro I want to say about this exhibition has created the pod of a bean, which and this write up is that, I have used is consumed famously in Japan and the occasion not only to review
33 A sculptor at work - "Stone Sculpture Symposium-2012" the works on Harnamadi greens, awareness of sculptures’ mobility is but also to review the features of represented in works that vary in the Nepali sculpture. Quite a number degree of standard. And the main of these sculptural pieces have section of this review is an attempt to addressed the question raised in answer the question—how do I see modern sculptural art, which is the differences between the traditional the biophysical phenomenon, the and modern Nepali sculptures. I have dynamics, and the propensity for made some attempts towards that. movement in sculpture. This new I believe, we can create new energy thrust has created some installation in artistic creation by promoting this works with overt aims, in the world genre of art—the modern sculpture today. But good sculptors put that without losing sight of the great biophysical dynamism with great tradition and heritage of that in subtlety in their works. We see that this land, and of the twilight zones in the Harmanri sculptural works not of Nepali sculptural art as seen in only of the foreign artists but alsoof various modes of transitions. some native sculptors. The biological
34 1 5 th Anniversary
End notes:
Mukesh Malla and Saroj Bajracharya, A Concise Introduction to Nepali Modern Sculpture (Kathmandu: Nepal Academy of Fine Arts, 2014).
Lain S. Bangdel, Stolen Images of Nepal (Kathmandu: Royal Nepal Academy, 1989) p 14.
Lain S. Bangdel, Inventory of Stone Sculptures of the Kathmandu Valley (Kathmandu: Royal Nepal Academy, 1995). This book with an introduction written by Dina Bangdel, the writer’s daughter, now a famous art professor in Born in Terathum of eastern Nepal, the US, presents a very useful inventory of Dr. Abhi Subedi received his higher stone sculptures. education in Nepal and Britain. He is an essayist, critic, linguist, Lain S. Bangdel, The Early Sculptures of playwright and poet. He has over Nepal (Delhi: Vikas Publishing House Pvt. Ltd., 1982). two-dozen books on different subjects to his credit. Among his Pratapaditya Pal, The Art of Nepal (Berkley, over 10 plays, strong theatre groups London: Los Angeles County Museum in Nepal and abroad have performed of Art in association with University of several of them. Professor Subedi California Press, 1985) p 87. has taught 43 years at the Central Department of English. He is the Wu Weishan, The poetry of sculpture founding former President of the (London: World Scientific Publishing Co. International Theatre Institute (ITI) Pte. Ltd., 2008). p 225. UNESCO from 2000—2008 and member of Jack Burnham, Beyond Modern Sculpture International Playwright’s Forum (New York: George Braziller, Inc., 1968, fourth printing 1975) p 19. from 2000-2011. Subedi became President (1990-1992) and two Burnham, ibid, p 2. times General Secretary of the Linguistic Society of Nepal. Malla and Bajracharya, ibid p 38. He was also President of the Literary Association of Nepal. He is vice-President of the Nepal Folklore Society, and member of International Association of Theatre Critics. He has written extensively about Nepali arts and artists. He is involved in a number of interdisciplinary study groups and a prolific writer on issues of freedom, culture, literature, arts and social transformations. His essays and seminar papers are published in Nepal and outside.
35 b]jgfu/L lnlk / o;sf] cfw'lgsLs/0f czf]sdfg l;+ b]jgfu/L lnlknfO{ ljz]if ;+:s[t, lxGbL tyf ef/tdf gf} cf]6f ljleGg efiffsf lnlkdf g]kfnL lnlksf] klxrfgsf ¿kdf ljsf; ljsf; ePsf] xf] . tL x'g\ M dnfofnd, tfldn, ePsf] lnlk dflgG5 . sgf8f, t]n]u', cf]l/of, aª\ufnL, u'h/ftL, b]jgfu/L cyjf ;+:s[t / u'/d'vL . tLdWo]b] b]jgfu/L lnlksf] Oltxf;nfO{ x]bf{ o;sf] jgfu/L cyjf ;+:s[t lnlk lxGb'x¿sf] d"n l;h{gf emG8} b'O{ xhf/ jif{ cufl8 ef/tdf efiffsf] ¿kdf ljsf; ePsf] lnlk xf] . lxGb' / ePsf] a'lemG5 . o;sf] d"n ;|f]t a|fx\dL lnlk ;+:s[tsf] af]lnrfnL efiff / n]vgdf ljsf; xf] eg]/ pNn]v ul/Psf] 5 . cyf{t\ b]jgfu/L ePsf] b]jgfu/L lnlkaf6 g} kl5 lnlk a|fx\dL lnlkaf6 ljsf; ePsf] lnlk g]kfnL efiffsf] klg ljsf; ePsf] xf] . cyf{t\ dflgG5 . a|fx\dL lnlk ljZjs} ;/n / clt b]jgfu/L lnlk lxGbL / g]kfnLsf] af]lnrfnL dxTTjk"0f{ cIf/ n]vg z}nL dWo]sf Ps efiffdf leGgtf ePtf klg lnlk rflx“ Pp6} xf] . dflgG5 . To;}n] g]kfnL efiff / lnlk ef/taf6 cfPsf] cfuGt's efiff / lnlk x'g\ . o; cy{n] a|fx\dL lnlk ef/tsf ;d|f6\ czf]ssf] kfnfdf g]kfnsf] /fli6«o lnlk b]jgfu/LnfO{ dfGg k|of]u ul/g] k|rlnt lnlk xf] . o;nfO{ ;lsFb}g . lsgeg] of] lnlk g]kfn / ef/tsf] czf]s lnlk klg eGg] ul/G5 . o;sf] HjnGt ;+o'St lnlk xf] . b]jgfu/L lnlk ljz]if wfld{s pbfx/0fsf ¿kdf ;d|f6\ czf]såf/f :yflkt b[li6sf]0faf6 /flvPsf] gfd xf] . n'lDagLsf] czf]s :tDedf s'Fl8Psf] a|fx\dL b]jgfu/L gfd b'O{6f zAb ldn]/ ag]sf] lnlksf cIf/nfO{ lng ;lsG5 . To;tfsf of}lus zAb xf] . …b]j… dfg] O{Zj/ / …gu/L… dfg] af]lnrfnLsf lx;fan] ;lhnf];Fu k9\g n]Vg a:tL cyf{t\ b]jtfsf a:tL . k'/f cy{df lxGb' ;lsg] lx;fan] efiffsf] ¿kdf ljsf; ePsf] pSt lnlknfO{ k|fs[t lnlk klg elgG5 . a|fx\dL lnlk @#* O:jL ;+jt\k"j{lt/ ;'? ePsf] lnlk xf] . ToxL lnlk kl5 O:jL ;+jt\ kfFrf}F ztfAbLdf cfP/ u'Ktf lnlksf ¿kdf ljsf; ePsf] xf] . a|fx\dL lnlk d"ntM a|fx\dL kl/jf/åf/f l;lh{t lnlk xf] . To;}n] o;sf] gfd a|fx\dL lnlk /xg uPsf] elgG5 . kl5 a|fx\dL lnlkaf6 g}
36 1 5 th Anniversary lgufnf]sf] snd agfO{ cIf/ n]Vg] k|of]u / k|rngdf NofP . pSt lnlksf] ;'?cft emG8} b;f}F ztfAbLlt/ ePsf] a'lemG5 . lnlksf ¿kdf lgufnf]åf/f n]lvPsf b]jgfu/Lsf] x:tlnlvt gd'gf O:jL ;+jt\ !^#)–!^%) lt/sf] Pl;og cf6{ Do'lhoddf /flvPsf] efujt k'/f0fsf kfG8'lnlk /x]sf] 5 .
g]kfnL efiff u'Ktf efiffaf6 k|]l/t efiff xf] . u'Ktf efiffsf] lnlk pTt/ ef/tdf k|rlnt lnlk xf] . ToxL lnlkaf6 g} g]kfnL efiffsf] lnlk ljsf; ePsf] xf] . g]kfndf g]kfnL efiff / lnlk rflx“ ls/ft sfndf lj= ;+= !#*@ df k|of]u ePsf] b]lvG5 . t/ lznfn]vdf pNn]v ePcg';f/ g]kfnLsf] sfFrf] efiffsf] ;|f]t eg] zf:qcg';f/ b]jtfx¿sf] a:tLdf af]lng] efiff cflbToj+zL /fhf 8d'kfnåf/f lj= ;+= !)#* jf lnlk eGg] a'lemG5 . df ;'? ePsf] dflgG5 . csf]{ ;|f]tcg';f/ g]kfnL efiff / b]jgfu/L lnlksf] cfudg a|fx\dL lnlknfO{ ;+:s[t tyf b]jgfu/L lnlksf ;'?df uf]/vf / u8jfndf ePsf] dflgG5 . pSt ¿kdf ;/nLs[t ¿kaf6 kl/dflh{t u/L k9\g / b]jgfu/L lnlksf] g]kfnL efiff g} k[YjLgf/fo0f n]Vg of]Uo agfpg] sfddf ljsf; ug]{ zfxsf k'vf{n] g]kfndf ;qf}F ztfAbLlt/ h]D; lk|G;]k x'g\ . pgn] ;g\ !*#& df of] sfd NofPsf x'g\ . kl5 pSt efiffnfO{ kl/dfh{g u/L u/]sf lyP . h]D; lk|G;]k To;a]nfsf a[l6; uf]vf{nL cyjf v; efiffsf] gfddf k|rngdf O:6 OlG8of sDkgLsf pRr cflwsfl/s NofO{ k|of]u ug]{ k[YjLgf/fo0f zfx x'g\ . k|foM k'/ftTTjljb\ Pjd\ efiff j}1flgs lyP . g]kfnsf] kxf8lt/ af]lng] efiff ePsf] x'Fbf o; k/Gt' ljz]if lxGbL tyf ;+:s[t efiffdf b]jgfu/L efiffnfO{ kj{tLo efiff klg elgGYof] . kl5 lnlksf] x:t n]vg z}nL ef/tsf a|fx\d0f g]kfn 7'nf] /fHosf] ¿kdf Plss[t x'g] j|mddf ljåfg\x¿n] z'ef/De u/]sf] dflgG5 . kl5 ToxL km]l/ pgLåf/f g} uf]/vfnL cyjf v; efiffnfO{ lnlknfO{ ef/tsf] klZrdL lzIffljb\ tyf efiff g]kfnL efiff eg]/ gfds/0f ul/of] . ljz]if1 Pjd\ ljåfgx¿n] afF; cyjf Oltxf;df pNn]v ePcg';f/ g]kfnL efiffdf ;a}eGbf k'/fgf] x:tlnlvt lnlksf] s[lt ‘czf]s lrNn’ xf] . o;sf] cIf/ lj= ;+= !#@! df tfdfsf] kftfdf s'FlbPsf] 5 . g]kfnL b]jgfu/L lnlksf] ;a}eGbf k'/fgf] / klxnf] x:tlnlvt k':ts ‘v08 vfB’ xf] . of]
37 lj= ;+= !^$@ df n]lvPsf] xf] . t/ n]vssf] gfd pNn]v u/L k|sflzt ul/Psf] ;a}eGbf k'/fgf] g]kfnL b]jgfu/Lsf] x:tlnlvt lnlksf] k':tsrflxF ‘Hjf/k klt lrlsT;f’ xf] . of] lj= ;+= !&&# df ;+:s[t efiffaf6 cg'jfb ul/Psf] lyof] . g]kfnsf] klxnf] g]kfnL b]jgfu/L lnlkåf/f x:tlnlvt u|Gy efg'eStsf] /fdfo0f dxfsfJo xf] / efg'eStåf/f lgufnf]n] b]jgfu/L lnlkaf6 sljtf n]Vg] yfngL lj= ;+= !*@) lt/ u/]sf lyP . g]kfndf ljleGg hfltsf ljleGg efiff eP klg ltgLx¿sf] n]lvg] d"n lnlksf] ;|f]t klg a|fx\dL lnlk g} xf] . pSt lnlkaf6 g} kl/dflh{t eO{ ;a} efiffsf lnlkx¿ cfkm\g} df}lns ¿kdf l;h{gf ul/Psf] lnlk eg] /~hgf lnlk xf] . ljsf; ePsf x'g\ . t/ g]kfnsf] Oltxf;df o;sf] cfsf/ k|sf/ cyjf 9fFrfsf g]kfnL efiffsf] cltl/St g]kfn efiffsf] gfddf lx;fan] of] g]kfnsf] ;j{yf df}lns lnlk xf] . g]jf/L efiffsf] lnlksf] ljsf; klg emG8} of] lnlk P3f/f}F ztfAbLb]lv c7f/f}F b;f}F ztfAbLb]lv g} ePsf] a'lemG5 . g]jf/ ztfAbL;Dd Jofks¿kdf k|rlnt ePsf] efiffnfO{ g]kfn efiff elgPsf] d"n sf/0f lnlk dflgG5 . cGt/f{li6«o If]qdf g]kfnsf] df} klxnf ltg cf]6f g]jf/ /fHo /x]sf] sf7df8f}F lns lnlksf ¿kdf klxrfg u/fpg] lnlk oxL pkTosfnfO{ g]kfn elgGYof] / oxfFsf /~hgf xf] . afl;Gbfn] af]lng] efiff g]jf/ ePsf] sf/0f pSt efiffnfO{ g]kfn efiff /flvPsf] xf] . lnlksf] cfw'lgsLs/0fsf] ljsf;df b]jgfu/L lnlk la;f}F ztfAbLdf cfP/ gofF g]kfndf k|rlnt lnlk b]jgfu/L xf] / g]kfnsf gofF ljleGg cIf/sf] cfsf/ k|sf/ jf 9fFrfdf cGo efiffsf lnlkx¿sf] 9fFrf / z}nL ljsf; ePsf] b]lvG5 . n]6/ k|];åf/f 5kfO b]jgfu/L;Fu ldNbfh'Nbf 5g\ . t/ g]kfn ul/g] k|fljlws ljsf; ePkl5 cª\u|]hL efiffsf] lnlk tyf cIf/ 9fFrf c¿eGbf k[ys cIf/sf] gofF gofF 6fOkkmG6sf] 9fFrfdf 5g\ . g]kfn efiffsf] lnlk klg d"n ltg ef/taf6 b]jgfu/L lnlkdf 6fOk lgdf{0f x'g y/Lsf 5g\ — k|rlnt g]kfn lnlk, /~hgf yfNof] . pSt ljleGg :6fOnsf 6fOkx¿ lnlk / e'lhdf]n lnlk . g]kfnsf] k|frLg ef/tsf 6fOk kmfpG8«Lx¿af6 g]kfndf lelqg u|Gyx¿df jf lznfkqx¿df k|foM k|rlnt yfn] . g]kfn lnlk k|of]u u/]sf] kfOG5 . t/ g]kfnsf] cfkm\g} df}lns tyf snfTds 9fFrfaf6
38 1 5 th Anniversary g]kfnsf] Oltxf;df emG8} lj= ;+= @)#^ ;fn;Dd klg b]jgfu/Lsf d"n lnlkafx]s cfw'lgs 9fFrfdf lnlk agfpg] ljsf; ePsf] b]lvPg . lj= ;+= @)$@ ;fnlt/ ckm;]6 k|ljlwsf] k|rng;Fu} kqklqsfdf gofF gofF :6fOnsf cIf/ k|of]u ug{ yflnP . sDKo'6/ k|ljlwsf] ;'ljwf gcfO;s]sf] cj:yfdf emG8}} lj= ;+= @)%@ ;fn;Dd k|foM xftn] cIf/ n]v]/ k|of]u ug]{ k|rngdf ;Lldt /lx/x\of] . g]kfndf sDKo'6/ lelqPkl5 sDKo'6/åf/f k|of]u ug{ ;lsg] gofF gofF cfw'lgs kmG6x¿sf] ;km\6j]o/ ef/taf6 lelqof] . g]kfndf kqklqsfdf l8hfOgsf] dxTTj / o;sf] ljsf;sf] la:tf/ klg ;'? x'g yfn]sf] cj:yfdf Tolt pko'St cfw'lgs cIf/sf] 5g\ . ;~rf/sf ljleGg dfWoddf gofF gofF cefj lgs} v8\ls/x]sf] lyof] . cfw'lgs kmG6x¿ k|of]u ePsf] b]Vg kfO/fv]sf 5f}F . kqklqsfsf If]qdf / ;~rf/sf cGo o;} cefjnfO{ dgg u/L lj= ;+= @)%$ If]qdf ;d]t cIf/sf dfWodaf6 ljljwtf, ;fndf sfdgf k|sfzg ;+:yfdf /xFbf /f]rstf, gjLgtf tyf cfsif{0f k|:t't x'g] …sfdgf’ gfdsf] gofF g]kfnL kmG6 lgdf{0f u/]sf] 5 . l8hfOlgª If]qsf nflu of] uj{sf] ul/of] . To;sf] nuTt} lj= ;+= @)%^ ;fndf s'/f ePsf] 5 . gofF k|ltefd'vL km]l/ csf]{ 5 cf]6f gofF cIf/x¿ lgdf{0f l8hfOg/ tyf snfsf/x¿sf nflu xf};nf ul/of] . ljleGg 9fFrfdf tof/ kf/L k|sflzt Pjd\ k|]/0ffsf ;|f]t aGg k'u]sf] 5 . ul/Psf pSt kmG6x¿ ;DejtM g]kfnsf] Oltxf;df klxnf] k|ltlnlk clwsf/ k|fKt -slk/fO6_ btf{ ul/Psf kmG6x¿ x'g \. tL x'g\ — sfdgf, ;fwgf, cfs[lt, dxfgu/, g"l/zf a|; :s[K6, s'~hg cf6{8]sf] / /jLg . c7f/ jif{ cufl8 /rgf ul/Psf pSt cIf/x¿sf] u'?skL / btf{sf] k|df0fkq xfn;Dd o; kª\ltsf/ tyf lnlksf/;Fu ;'/lIft 5 . xfn cfP/ ;~rf/sf] xf]8afhLdf b]jgfu/L lnlksf ljleGg cTofw'lgs 9fFrfx¿df cIf/x¿ tof/ kfg]{ l;h{gfTds sfddf w]/} l8hfOg/x¿ nfluk/]sf
39 40 1 5 th Anniversary
41 czf]sdfg l;+
la= ;+= @)!@ df kfNkf tfg;]gdf hGd]sf czf]sdfg l;+ snf Ifqdf rf/ bzs kf/ ul/;s]sf 5g \. tLg bzs cufl8b]lv kmf]6f]u|fkmL, u|flkms l8hfOg, On:6«];g, d'b|0f tyf pTkfbg Pjd\ k|sfzg If]qdf sfo{/t /xFb} cfPsf pgL lrqsnf If]qdf rf/ bzs b]lv g} ;+nUg /xFb} cfPsf 5g\ . snf If]qsf cltl/St pgL ;flxTo ljwfdf klg snd rnfpF5g \. pgsf ‘/ªÚ zLif{ssf] cToGt pkof]uL k':tssf cltl/St pkGof; Pjd\ afn syfx¿ k|sflzt 5g\ . g]kfn ;/sf/af6 k|bfg ul/g] If]qLo /fli6«o k'/:sf/ / g]kfn nlnt snf k|1f k'/:sf/af6 ;d]t ;Ddflgt l;+n] cGo ljleGg k'/:sf/ k|fKt ul/;s]sf 5g\ . xfn pgL ;]G6/ km/ cf6{ PG8 l8hfOg, sf7df8f}F o'lgel;{6L / l;h{gf sn]h ckm kmfOg cf6{;\df cWofkg/t 5g\ .
42 1 5 th Anniversary Mystical world of caryāgīti and caryānŗtya arun shrestha
It all began with the relevant Tibetan sources. Presently the original documents on caryāgīti indentified manuscript has been lost but a copy is by Hara Prasad Shastri in possession preserved in Bengal Library. of Darbar Library of Kathmandu in 1907 A.D. Just after that, a modern Based on the works published by academic study of caryāgīti started Hara Prasad Shastri, Professor taking its shape with the publication Mohammad Shahidullah translated of the document in Calcutta in 1916, and interpreted the Dohākoşa part of exactly hundred years back from the book in French and published today. Subsequent editions followed in Paris in the year in 1928 with in 1951 and 1959. The book was subsequent editions in 1940 and written in Bengali and was titled 1966. The book was titled ‘Les Chants in Bengali which meant ‘Hundred mystiques de Kanha et de Sarah’. The years old Bauddha Gāna O Dohā later editions were titled as ‘Buddhist written in Bengali’ though it became Mystic Songs’ and were published popular as ‘Bauddha Gāna O Dohā’. It from Dhaka. had four parts: First part was titled ‘caryācaryaviniścaya’, the second was Within first 50 years of publication ‘Dohākoşa’ of Saraha or Saroruhavajra, of caryāgīti, many scholars and the third was ‘Dohākoşa’ of Kaņhā or intellectuals tried to study and Kŗşņacaryapada and the fourth was translate the manuscript among Đārkarņavā Tantra. which Rahul Sannkrityayan, Prabodh Chandra Bagchi, Shashi Bhushan First three parts were accompanied Das Gupta, Sukumar Sen, Dharmavir by interpretation in saňskŗta by Bharati and Nil Ratan Sen were Munidatta though it does not prominent. mention his name. The conclusion was derived from other sources. In 1977, an important work on Out of the total of 50 caryāgīti in caryāgīti took its form in the original ‘caryācaryaviniścaya’, the book publication of the book titled ‘An contained 46 complete caryāgīti and 1 Anthology of Buddhist Tantric incomplete caryāgīti. 3 caryāgīti were Songs: A Study of the Caryāgīti’ from missing. The original manuscript Oslo-Bergen-Tromso written by Per had total of 69 pages, out of which 5 Kvaerne. His book included regained pages were missing. These missing 50 caryāgīti and interpretations of pages were numbered 35, 36, 37, Munidatta’s saňskŗta interpretation 38 and 66 which contained last 4 & Tibetan caryāgīti translations. lines of caryāgīti 23 and complete He opined and put up his critical caryāgīti numbered 24, 25 and 48. study of the previous works on The manuscript regained its original caryāgīti. He was in agreement with structure by looking into other David Snellgrove on the period of
43 Tara Manandhar, Faculty Member of the Department of Dance, Sirjana College of Fine Arts performing caryānŗtya during the 14th Anniversary of the college, 2015
44 1 5 th Anniversary caryāgīti creation as 11th century or document of vajrayāna ritual practice some of it in the previous century. or caryā. He has attempted to explain and clarify the ‘symbolic language’ It has to be noted that only used in caryāgīti. He opined that ‘trihaņđā’, included in 50 caryāgīti of the ‘symbolic language’ or so called ‘caryācaryaviniścaya’, forms a part ‘sandhyā bhāşā’ was rendered as of our ritual practice of caryāgīti twilight speech, intentional speech, rendering. None of the other caryāgīti enigmatic speech and secret speech in of ‘caryācaryaviniścaya’forms a part of English which may lead to different our ritual practice. Caryāgīti kolāire of meaning. According to him, these Hevajratantra is the other one which is ‘symbolic language’ had religious included in our ritual practice but it is and philosophical intents. To him, the not included in ‘caryācaryaviniścaya’. contradictory words had more force The language of ‘caryācaryaviniścaya’ in explanation of the deep intended is claimed to be prominently Bengali expressions. His thought on sahaja with other vernacular Indian and caryāgīti is very impressive and languages but the caryāgīti in practice pragmatic. He says: ‘Sahaja can be among vajrācārya is prominently experienced by those who have been saňskŗta with so called vernacular initiated. Caryāgīti turns into initiation language and sandhyābhāşā. once the meaning and intent of the Expressions contained in caryāgīti words of caryāgīti is realized in full. practiced by vajrācārya also differ The moment words of caryāgīti see though doctrinal concepts remains the the light of wisdom, the symbolic same, as the source is the same. language is exposed to reality and ultimate truth. Ahorātrapadasādhanavidhi begins with hāđābharaņaśūnye and ends To my mind, this exposure of caryāgīti with cakrikuņđala caryāgīti. There reflects on caryānŗtya and one goes are host of caryāgīti, only sung and through the experience of sahaja in the sung & danced to, in between. act of dance divine. Hāđābharaņaśūnye is the one which is only sung but cakrikuņđala is the one Now to our front, pioneering work sung and danced to. of Ācārya Ratna Kaji Vajracarya Gurujyu in the form of two volumes I am attempting to present of Cacā Munā published in 1999 transliteration and analysed is the first and last of its kind. It interpretation of caryāgīti contains possibly all the important hāđābharaņaśūnye: caryāgīti prevalent in the valley. This compilation of caryāgīti with Hāđābharaņa : Original song sufficiently long introduction paves the way for further study but to our hādābharaņa kriyāyire, sambara loss no attempt was made to study, dharayikam vāchhalireveśā 2 analyse and interpret the document so vigorously worked on for the tumha vorante, maņdiyā muśāne, mūkūta posterity. Being his self proclaimed keśe digambarā ll 1 ll disciple, I have dared to analyse and interpret caryāgīti contained in re re morusambararāyā, ahorātrapadasādhanavidhi, a systematic samarasūndarī, morukorā 2
45 hama virāhini, vajravārāhi, phedamahi (jwaliyāure) worshiping the feet of moruśārā ll 2 ll the respected teacher. Sambara and vajravārāhi have entered maņđala in the śārim bhoyane, balam śuhamayane, state of samayānanda. karpūra bhava itamvorā 2 Analysis and interpretation of words gagananīlāvarņa, maņdile jvadā, of caryāgīti hāđābharaņaśūnye: merumaņdala bhavarīņā ll 3 ll dīyamdhauşatahu, chhādigera, sambara, payisayi sūnyabhattārā 2 hāđābharaņa: bone ornament hama virāhinī, vajravārāhī tumha vinu Sambara and vajravārāhi both are deşami andhārā ll 4 ll decorated with ornaments of bone. Bone signifying the death of the senses is very meaningful symbolic gāvanti līlāvajra jvaliyāure, presentation of the wisdom of the sadgurucaraņaārādhe 2 concept inherent in the vajrayāna doctrine. Control and ultimate samayānande phalingela maņdala destruction of the human senses on sambara vajravārāhī ll 5 ll a path leading to salvation is a key to yoga process adhered to in the practice or caryā brought forth by the Hāđābharaŋa : transliteration of the originators of the vajrayāna religious song philosophy. Ample examples of use of the word hāđābharaņa can be found Wearing bone ornament, sambara in caryāgīti but what is expressed in holds vācchali or vajravārāhi in her caryāgīti hāđābharaņa with ‘hāđābharaņa dwelling. You, ( vorante ), adorning kriyāire’ gives it a new dimension muśāna and crown on hair , Oh of expression in explanation of digambara. the vajrayāna doctrine. Most of the caryāgīti depict ornamentation worn O listen, my sambara brings a beautiful made of bone with the expression woman of the battle in my hermitage. hāđābharaņa suśobhitā, hāđābharaņa I, vajravārāhi, am a separated lover; vibhusitā or hāđābharaņa śobhā’. the earth is my abode. kriyāyire: wearing or making use of Possessing wind or air, semen virile is made of happiness, camphor is the Similar use of the word is found world. (itambolā). The sky is of blue in another caryāgīti named color. (maņđile jwađā).The world trāyatriňśanātha: flowed in merumaņđala. trāyatriňśanātha kriyāire sacipati 2 dīyamdhauşatahu, chhādigera, gacchatu bhuvane, iha nahi tişţha ll 1ll sambara. Revered void is a lake. I, vajravārāhī, am a separated lover. The sambara: male divinity world is all darkness without you. Sambara is also spelled as samvara. The composer Lilāvajra sings, Synonym of this manifestation is
46 1 5 th Anniversary heruka, again spelled as heruva, and hevajra. His female counterpart is vajravārāhī who is also named as vācchali. Sambara and vajravārāhī are always depicted as in embrace (āliňgana) symbolizing the non- dual (advaya) nature of phenomenal existence. He is the embodiment of compassion (karuņāmaya). Union of the two outpours in the dance performed with great bliss (mahāsukha). Together they are in the state of innate happiness (sahajānande). vācchali: vajravārāhī, a female divinity
Vācchali is also associated with the concept of ‘māyā’ in gajajina. Vācchali being the other name for vajravārāhī, she is also called guhyeśvarī in namāmi 2 śrī vajrayoginī and ānandādi devī, one in the state of happiness, in Prof. Honey Shrestha, veteran classical dance nijabhuva. As depicted in namāmī 2 artist and Faculty Member of Sirjana College of śrī vajrayoginī, she is a dharmodaya Fine Arts presenting Gyān Mudrā. picturised or to be visualized in the posture of tāņđava – a dance posture in candrogramusāna, where divinely basically symbolizing the destruction personified manifestations remain in of evil. She is also a samarasundarī: innate happiness expressed through a beautiful woman of the battle, a eternal dance. Both sambara and battle for the destruction of the evil, vajravārāhī preside over a ceremony as depicted in hāđābharaņa. She is performed in the cemeteries or musāna visualized dancing in many a posture as narrated in hāđābharaņa. with sambara in cakrikuņđala. She is evoked and worshiped as jaya vācchali, mukuţa: crown vācchali the victorious one. Mukuţa or crown is an essential headgear of a divinity depicted in vorante : texts and images created in bronze Vorante does allude interpretation. or painted scrolls. ‘Mukuţakeśe’ is a Hāđābharaņa refers to ‘tumhavorante’ frequent expression referred to in whereas triņilocana refers to caryāgīti, and sometimes it becomes ‘karnavorante’. jatāmukuţa or ratnamukuţa. A picture of one of the paňca Buddha to whom muśāne: cemetery the divinity belongs is carried on the Muśāna or śmasāna are the synonym crown. for cemetery. In a ritual, cemeteries are the place of secret rites. digambarā: epithet Cemeteries are being specified as candroga, gavhara, ghora or aşţa śmasāna Digambara is indicative of one of the
47 families of paňca Buddha from whom Female counterparts have been other manifestations emanate. It is an described as sahaja sundarī in epithet bestowed on paňca Buddha. In dvambinī, triņilocanasundarī in the explanatory thought process of raktavarņa, khaņđorohādevī and namāmi vajrayāna doctrine, visual projection of śrī yogāmbara and lhādasūndarī in the manifestation is shown carrying rāgamālā, beside samara sundarī in an image of one of the paňca Buddha hāđābharaņa. She has been described on the crown on the head to which as the one who fights the battle and it belongs. In the present case it the woman of innate nature (sahaja) is akşobhya. Caryāgītis invariably who rejoices (lhāda) with divine eyes mentions it as ‘mukuţa keśe digambarā’. (trinilocanī). In hāratī, she is presented References in other caryāgīti like as ‘surasundarī’ meaning a woman of vārāhī vyaşţhita, dvibhuja ekamukha and spirituous liquor. raktavarņa verifies the assumption. vajravārāhī: the female deity moru: my In Indian vernacular language it Vajravārāhī in embrace of sambara means ‘my’. Besides hāđābharaņa and is non-duality (advaya) personified. cakrikuņđala, referred to in the present Enjoined with her male counterpart work, urdhvarakta also uses this word she dances in ecstasy symbolizing along with ‘kolā’ or ‘korā’, ‘ra’ and void (śūnyatā) and compassion ‘la’ being interchangeable, i.e. moru (karuņā). The sky (gagana) is where kolā. Other uses of this word includes she resides. She is the embodiment of ‘moru śālā’ in hāđābharaņa and ‘moru wisdom (pragyā). ativa bhāve’ in anila, again referred to in the present work, besides ‘moru śuha or sukha: happiness saraņa’ in raktavarņa. Happiness (sukha) as a divine experience in the process of yoga samara: the battle practices or caryā adhered to; it This word may mean the battle or relates itself with balama (semen virile), to fight. The word samara is variably karpura, tāmbula (or itamborā?) and used in caryā songs. In hāđābharaņa kastūrī (or kacchūrī) i.e. kastūrī karpura it is used with ‘sundarī’ and in tāmbula sukhalāyā in jaya vācchali. dharadhara, elsewhere in the present These are the words, which have work it reoccurs as ‘dŗđhamaya samara’ been identified as so calledsandhyā meaning determined to fight. In other bhāşā or twilight language. In other caryā songs it is used thus: uses the word sukha is followed by phala or citto (sukhacitto or citta and sayala samara bhayabandhana mocayi sukhapala) and where it is preceded by & trimukha trilocana samarasuhave ‘abhimata’, it becomes abhimatasukha. in nirmala gagane, şođaśa yoginī Words like kastūrī, abhimata and phala samarasambhāve in vajrighorī, samara need some explanation here. Other surāsura jagad uddhārī in jaya vācchali words will be explained elsewhere and samara riddhi siddhi dāyanī in aşţa as we progress. Regarding abhimata, catvārinśat. meaning desired or wished, it occurs as abhimata sukhaphala mokşa sundarī: the woman bhavantu in jvalita vajrānala and sinhāsanasthita purņacandra dhutiva
48 1 5 th Anniversary abhimata sukhaphaladāyinī in vajradhara. synonymous with tāmbula, which Abhimata with the interlude of sukha is finds its reference in jaya vācchali: followed by phala tent amounting to kastūrī karpūra tāmbula sukhalāyā. desired result of happiness. Desire for fruit of happiness is the experiences śirasi sindurakajalasphula 2 of the senses expected in the kastūrī karpūra tāmbula sukhalāyā (5th phenomenal world. In the spiritual stanza) pursuit of the divine state of mind all those experiences become non-entity. This is one of those words that finds The word kastūrī has no reference its place in sandhyā bhāşā and eludes point in any other caryāgīti. proper explanation.
Sukhaphala, sukhcitto, sukhacitta, The word itamvorā comes in caryāgīti sukhadāyinī and suhadāmaka are the in many forms. It has come as tāmbolā other derivative words from sukha or in caryāgītikoşa No. 28 and tāmbūla suha in referential caryāgīti. in cacā munā. The word tāmbolā, this seems to be the rightly spelled karpūra: camphor word, has always occurred with the word karpūra – either preceding it Here karpūra is narrated as ‘karpūra or following it. Hāđābharaņa refers bhava’ and kastūrī karpūra tāmbula to sambara and vajravārāhī whereas sukhalāyā in jaya vācchali indicates caryāgītikoşa mentions sabaro (or at latent meaning of the word used sabarā) and sabarī – sabaro stands in sandhyā bhāşā whereas the same for sambara and sabarī stands for word is indicative of the color of the vajravārāhī. camphor, which is white e.g. uňcā uňcā pāvata tahi vasai sabarī bālī I naitrtyadigsthitā caņđālīdevī moraňgi pīccha parahiņa sabarī givata cakārasaňjāta kŗşņavarņabhā 2 gunjarī mālī II[1]II vāyavyadigsthitā đombinīdevī dakārasaňjāta karpūravarņabhā ll umata sabaro pāgala sabaro mā kara gulī (in pūrvadiksthita) guhāđā tohori I ņia dhariņī nāme sahaja sundarī II In guhyasamājatantra it comes thus: GT dhruvapada II p 80 chapter 15 nānā taruvara maulila re gaaņata lāgelī karpūracandanairyuktām gulikām đālī I trilohaveşţitām l ekelī sabarī e vaņa hiņđai dvayendriyaprayogeņa sarvabuddhairna karņakuņđalavajradhāriī II dhru [2] II dŗśyate ll 46 ll tia dhāu khāţa pađilā sabaro mahāsukhe karpūrakumkumairyuktām gulikām seji chāilī I trilohayeşţitām l sabaro bhujanga nairāmaņi dārī pemha dvayendriyaprayogeņa sarvabuddhairna rāti pohāilī II dhru [3] II dŗśyate ll 48 ll hia tāmbolā mahāsuhe kāpura khāi I itamvorā or itamvolā: suna nirāmaņi kaņţhe laiā mahāsuhe rāti pohāi II dhru [4] II Itamvorā or itamvolā is probably
49 heart with camphor. guruvāka puňchiā bindha niamaņa bāņe I Taking the void nairāmaņi on the eke śarasandhāne bindhaha bindhaha neck, he spent the night with great paramaņivāņe II dhru [5] II pleasure.10 Using the preceptor’s word as a bow, umata sabaro garuā roşe I you pierce him with your arrow girivara sihara sandhi paisante sabaro mind. lođiba kaise II dhru [6] II Pierce; pierce the supreme nirvāņa with a single shot of the arrow.12 (from Caryāgītikoşa by Prabodh The śabara is mad with great anger. Chandra Bagchi) The śabara has entered the juncture of the mountain peak, how can he be Nilaratna Sen in caryagitikosa, another traced? 14 version, explains the caryā thus: Para 8 and 10 is explained thus by Dr. Vijayalaxmi in Siddha & Santa: The hills are high; there dwells the śabarī girl. Dwelling in the nectar (of mahāsukha), Worn in peacock feathers, the śabarī spent the night (destroying the has a garland of guňjarī on her neck.2 vikalpagyāna in the form of darkness) O drunkard śabara, o mad śabara, do eating tambolā (Nilaratna Sen calls not raise hue and cry. it a betel) and karpūra, in turn This is your wife, sahajasundari by engrossed the citta (hia) in embrace name.4 and yuganaddha, taking śūnya on Various trees are in blossom; the neck (sambhogacakra) spent the night branches are touching the sky. in mahāsukha, symbolic of rays of The śabara alone roams in the forest knowledge of wisdom. wearing kuņđala and vajra.6 A cot made of three materials was Tambolā and karpūra can be compared laid; the śabara spread the bed with to pairing of śūnya-karuņā, pragyā- great pleasure. upāya, ālī-kālī, lalanā-rasanā, vajra- The serpent śabara and the public ghanţa so on and so forth and its woman nairāmaņi spent the night in ultimate unity (yuganadha) and love.8 transformation into non-duality With great pleasure he eats the betel (advaya).
50 1 5 th Anniversary gagana: sky Gagana, in the sense of a residence of the deities, is supported by the The expression gagana has different narrations in atasi kusuma, nirmala dimensions in caryāgīti. It is symbolic gagane and tridalapadma. of color blue as in “gagana nilavarņa’ in hāđābharaņa. Similarly it is ‘gagana merumaņđala: nīlāmbara’ in vajramaya bhūmi and ‘gagana sadŗśa varņa sobhita dehā” in Merumaņđala has two conceptual humkārasambhava. In another sense dimensions – meru & maņđala. In which plays a vital role in explanation caryā, meru has been pronounced as of the vajrayāna doctrine, it is one merusŗňga, a mountain named meru, in of the paňca mahābhuta- five basic nandinamaskāra. In the middle of the elements of which the phenomenal mountain resides (rājita) self-existent world consists of – others being earth, ‘ mahāmaņikanaka’: madhyameru air, water and fire. On this concept mahāmaņikanakarājita (in madhyameru). koyarīvaňśā says: The earth (mahi) is sealed (samudrā) and flowed (rina or lina) by mount gaňgā jamunā edui tanti 2 meru. sva śire raviśaśigagana dubāre ll Maņđala, a circumscribed circle or Here gaňgā – jamunā are synonymous sphere, has been linked to a cakra- with lalanā-rasnā or āli-kālī of nerve centers in the body aroused vajrayāna Buddhism and iđā-piňgalā during yoga practice - in caryā songs of Hinduism which are two major supratimaņđita and anila cited in veins (nāđī or tanti) placed on the the present work. Dvādaśabhuja back of the head that amalgamates states: tricakra raviśaśi maņđalamājhe. and acquires a single identity and Tridalapadma specifically links the name avadhuti in vajrayāna and guhyamaņđala with tatvagyānacakra suşumnā in Hinduism. In vajrayāna whereas in akhayaniranjana it is symbolic of non-duality or in merumaņđala is linked to hŗdayacakra. other words advaya. In the same way ravi (sun) and śaśi (moon) placed Tridalapadma narrates: in the sky (gagana) has a symbolic tridala padma presence in the yoga process adhered guhyamaņđalamahāsukhakşaņe 2 to in vajrayāna. In an appropriate devī vajravilāsinī tatvagyānacakre ll dhu point of interpretation of the present ll(1st stanza) work, detailed explanation would be brought forth. As was referred And akhayaniranjana says: to earlier under vajravārāhī topic, khadga yogāmbara sādhire cakravartī it is here where she resides with merumaņđala bhavalīnā 2 sambara and engages in a sādhana – a nirmala hŗdayācakra vyāpita ahiniśāca mediation psychic process of yoga: dantasamayasādhanā ll (3rd stanza) akhayaniranjana advaya Many a maņđalas are being named anupamagaganakamalasādhanā 2 beside merumaņđala (in hāđābharaņa śūnyatāvilasita rāyaśrī viddhyādevī & anila), mahimaņđala (in ye prāņabindusama jvalitā ll (1st stanza) mahimaņđala), śaśadharamaņđala (in akhayaniranjana) (in bhāśvara) and bimbamaņđala (in
51 jinajik). The names that occurs in of arrogance (darpa), in paramarato, is other caryā songs not cited in the paired with karuņā or all compassion present work are: đākinīmaņđala (in as in cakrikuņđala. Akārasaňjāta nirmala gagane), bhānumaņđala (in mentions śūnyagŗha and anila- raktavarņa), chatrivireśvaramaņđala śūnyakaraņa or arrival of the state of (in jvalitavajrānala), raviśaśimaņđala śūnya. (in dvādaśabhuja), đākarņavāmaņđala (in aşţacatvariňśat), dinakaramņđala It is like ‘prakŗtiprabhāśvara’ (in (in uditātara, vārāhīvyaşţitha & vajramahādevī): viśvasaroruha), gaņamaņđala (in lakşamīkşaņa), gandhamaņđala (in bhavanirvāņa ekarupā 2 gandhamaņđala), guhyamaņđala (in prakŗtiprabhāśvara śūnyasvarupā ll tridalapadma) and kāyavākcittamaņđala (in śataśatahāthe). On certain stage of yoga practice the Vajradhara mentions of mahāmaņđala mind is illuminated like a jewel and and maņđalasutra, ambhavavasundharā that state is likened to śūnya. This of maņđalakarma and vajramayabhūmi is one of the main topics that will of maņđalamedini. get unfolded as we progress in the discussion of vajrayāna doctrine. rīņā: flowed Madhuripu, vajramahādevī and Similar use of the word as in namo viśvarupa sarva project śūnya- hum and hāđābharaņa can be seen in karuņā together, vāma dahina has koyarīvaňśā: śūnyasamādhi as one of the samādhi refered to and śūnyatā or the state koire vaňśā vājire vīnā 2 of śūnya vis-a-vis other concepts of anuhata sarvadeva tribhuvana tŗnā ll dhu vajrayāna is the subject matter of ll akhayaniranjana, including drasvita kanakavarņa, aşţacatvāriňśat and hevajra payisayi : lake nairātmādevī.
Payisayi adjudged to be lake in ārādhe: to worship the translation does allude the correct meaning and its ultimate Most of the uses of the expression are interpretation though it can be noted preceded by ‘sadagurucaraņa’. Worship that the word is associated with deity (aradhya) of guru’s feet being common or the epithet for deity in caryāgīti phenomenon, it has been used for such as nijabhuva and jvalita vajrānala, vajrasattva, cakrasamvara, yogāmbara, including hāđābharaņa, e.g. ‘payisayi maņđala and bindu. đombi’ in nijabhuva, ‘tribhuvanalīnā payisayi jinaśaśi’ in jvalitavajrānala samayānande: and ‘sambara, payisayi’ in hāđābharaņa. Đombini has ‘payise’ instead of Ānanda or happiness is what is ‘payisayi’. achieved on a path to emancipation. But this state of happiness is attached śūnya: void to the divinities that preside over Śūnya is compared to a lake- calm a maņđala from where the ritual and quiet in hāđābharaņa -payisayi of salvation begins as refered to śūnyabhattārā . Śūnya in negation in hāđābharaņa. It has been called
52 1 5 th Anniversary
‘vimalapaňkajasamayānanda’, spotless aşţacatvāriňśata dalamājhe humkāra nānā like lotus, in gokudahana caryāgīti. raśmi phalane 2 haragauri samākrāntā ālīđha, tāņđavakŗta On a closing note, let me throw some caraņagīta ll light on gīta or for that matter what is aşţacatvāriňśata known as caryāgīti and the creator of the gīta or caryāgīti Līlāvajra. Another such an example is from nijabhuva: gīta: song śrī ođiyāne jvaliya caņđāli 2 gīta aneha A very usual and commonly practiced kŗđanti vājanti ll reference to gīta occurs at the end ālikālī duipada dharante 2 yā cau yoginī of the caryāgīti with the name of the maňgalagīte ll ll composer or racita or carita who utters nijabhuva or bhanayi those words written in the song. The other expression for carita The gīta here is referred to as or racita is praņita or creator; likewise maňgalagīta not only rendered but for bhanayi it is gāvanti or sings. danced to, accompanied by the sound of music – kŗđanti vājanti. And finally, Some of the songs or gīta are being prominence and strength of caryāgīti named: to defend and protect vajrayāna doctrine, with performance of dance, sadguruprasāde caraņa śākyabhikşu 2 is well exemplified in supratimaņđita: śrāvaka bhānucitta samvara gīta ll dhu ll amalasvabhāva jātā eka mahāsukha nāmā 2 nŗtyantu gīta balena rakşena ll ll Here bhānucitta is the name of the supratimaņđita composer and what he has composed is named as samvara gīta. This example In aşţacatāariňśat, use of the word gīta differs with other caryāgīti where with dhvani or sound distinguishes it reference to gīta occurs right after the from any other expression: name of the composer: sadgurupada śire namitā sadgurucaraņe jinasiddhi gīta bhanayi gitadhvani omkāravajra ll dhu ll şođaśabhuja aşţacatvāriňśat trinetra mukuţakeśi paňcamudrā And finally some concluding remarks saňsthitā 2 on Līlāvajra, creator of the gīta or caryāgīti. sadgurucaraņe candravajragīta ll dhu ll đākinīdevī Līlāvajra: Līlāvajra as creator of caryāgīti is Example of aşţacatvāriňśat is credited with writing of hāđābharaņa, exemplary in the sense of the song hevajranairātmā and vajramayabhūmī. being called tāņđavakŗta, along with He stands tall along with Suratavajra a reference to ālīđha, both pointing at and Amoghavajra, who are credited the dance performed with the song, with writing of caryāgīti which is caraņagīta. being put in ritual practice. His period of siddhācārya status is
53 marked as 741 A.D. He is placed among five most important siddhas of Kathmandu valley- Maňjuvajra, Līlāvajra, Suratavajra, Vākavajra and Śāntikarācārya, according to Paul Williams. He has been established as a commentator of Maňjuśrīnāmasaňgīti. According to Tārānātha, he is the author of Kŗşņayamāri Tantra. According to Benoytosh Bhattacharyya, Līlāvajra has written many authoritative books of vajrayāna which are preserved in Tibetan translation in the Tangyur collection though none of these are existent in the original Sanskrit.
The list includes Śrī Sahajaguhya samāja sādhana, Śrī Sahajasiddhi, Arun Shrestha Āryanāmasaňgīţītikā, Yamāntaka mantramūlārtha Vajraprabheda, Born April 24, 1947, with schooling Dākīnivajrapaňjara-paňcađākīnisādhana, and initial college years from Mumbai, Maharashtra Board and Kŗşņayamāritantrasya Bombay University, graduated from paňjikā, Mahātīlakakrams, T.U. Kathmandu in Economics and Guhyasamājatantranidāna English Literature. gurūpadeśa bhāşya and Vajrasattvasādhananibandhana. Career spanned as a management personnel (Director/GM/MD) in the private sector of handicraft house (Kathmandu Travels), airlines (Nepal Airways), ground water management (NEDRILL) and consultancy (USAID) with addition of a contribution as a training and assistance personnel to Election Commission and Ministry of Tourism. Two papers presented on Caryā and Caryānŗtya on the auspices of Department of Education and Sanskritik Sansthan, Kathmandu, Nepal.
Caryā: Dancing Away to Nirvāņā, a book based on study of ‘Ahorātra Pada Sādhana Vidhi’ ready for publication.
54 1 5 th Anniversary kfZrfTo snf M ;Gbe{ kf]6«]6 k]lG6ª gjLGb|dfg /fhe08f/L lnof]gfbf]{ bf leGrLsf] lrq ‘df]gfln;f’ df 9f“rf / cfbzL{s/0fsf Psf]xf]/f] lgodnfO{ To:tf] s] 5 / o;af/] olt w]/} rrf{ kl/rrf{ k5\ofOPsf] k|tLt x'G5 . k|frLg u|Ls ;flxTodf x'G5 < e]nf:s];sf ‘kf/]xf’ df To:tf] s] kf]6«]6 k]lG6ªsf af/]df k|z:t pNn]vx¿ ljz]iftf 5 / o;nfO{ kf]6«]6 snfsf] cg'kd e]l6G5g\, lsGt' To; ;donfO{ k|ltlglwTj pbfx/0f dflgG5 < /]Da|fG6sf kf]6]«6 ug]{ kf]6«]6 k]lG6ªsf Pp6f klg pbfx/0f kfOPsf] k]lG6ªx¿nfO{ lsg kfZrfTo snfsf ljlzi6 5}g . u|Ls zf;sx¿ / tTsfnLg w/f]x/sf ¿kdf lnOG5 < cgf}7f lsl;dn] /ª ljrf/sx¿sf d'xf/ d"lt{x¿ eg] k|fKo 5g\ . kf]ltPsf cfF/L dflt;sf kf]6«]6x¿nfO{ lsg /f]dg snfsf/x¿n] O6«:sg / u|Ls b'j} k|jt{gsf/L elgPsf] xf]nf < k/Dk/fnfO{ k5\ofp“b} kf]6«]6sf] ;zSt k/Dk/fsf] ljsf; u/]sf lyP . k/Gt' /f]dg kf]6«]6 snfsf cfh ljZj k|l;b\w sxlnPsf sltko ;Gbe{df d"lt{ / d'b|fx¿sf bfFhf]df lrqx¿ kf]6«]6x¿ s'g} ;dosf zf;s jf zlStzfnL gu0o ;ª\Vofdf /x]sf 5g\ . JolStx¿sf] ;fg, ;Ttf / ;d[b\lwsf] b[i6fGt lbgsf nflu n]lvPsf lyP xf]nf . sltko dWo o'u kf]6«]6x¿ s'g} kfq ljz]ifsf] ;f}Gbo{k|lt df]lxt eP/ /lrPsf lyP xf]nf . sltko ;h{sn] dWo o'usf] k"jf{b\w{ sfnsf clwsf+z kf]6«]6sf kmut cfk\mgf] :jfWofo jf :jMcfgGbsf nflu gd'gfx¿ /f]dg df]Hofsx¿ / lrqfª\lst n]v]sf lyP xf]nf . sltko kf]6«]6 /rgfsf kf08'lnlkx¿df b[li6uf]r/ x'G5g\ . O:jL ;+jt\ k[i7e"lddf lrqsf/sf] ;+j]u / cg'e"lt !#%)–!$)) cjlwdf o'/f]k]nL k|]m:sf] / hf]l8Psf lyP xf]nf . oL lh1f;f / Kofgn k]lG6ªx¿df wd{ lg/k]If cfs[ltx¿ c8\sn;Fu} Ps kN6 kf]6«]6 k]lG6ªsf] ljutb]lv b]vfkg{ yfn]sf lyP . rf}wf}F ztfAbLsf] cfut;Ddsf] gflna]nL vf]tNg dg nfU5 . pTt/fb\w{df cfP/ au{G8L / k|mfG;df ;dsfnLg JolStx¿sf] t]n /ªdf kf]6«]6 n]Vg] k|rngsf] k|frLg ;Eotfsf o'ux¿ yfngL ePsf] lyof] . hfg efg Os, /f]a6{ SoflDkg / /f]lho/ efg\ b/ j]8]g OlhK6 / d];f]kf]6fldof h:tf dfgj ;Eotfsf g]b/NofG8\;sf k|f/lDes kf]6«]6 df:6/x¿sf k"jf{b\w{ sfndf agfOPsf kf]6«]6x¿n] d"ntM ¿kdf lrlgG5g\ . b]jL b]jtfsf cfs[ltx¿ tyf tTsfnLg zf;sx¿nfO{ k|ltlglwTj u5{g\ . k|:t/, wft', kGw|f}“–;f]/f}“ ztfAbL M l/g];f“ df6f] cflb dfWoddf agfOPsf tL kf]6«]6x¿df kGw|f}“ ztfAbLsf] ;'?cft;“u} o'/f]k ljsf; / kfqsf] ;fb[ZotfnfO{ eGbf lglZrt snfTds ;d[b\lwsf] kydf nlDsg yfln;s]sf]
55 lyof] . snf / ;+:s[ltsf If]qdf klg kf]6«]6x¿ l;h{gf ug{ yfln;Sbf klg O6nL / o'/f]k]nLx¿n] ce"tk"j{ pknlAw xfl;n :k]gsf lrqsf/x¿ eg] 6]Dk/f dfWoddf g} sfd u/]sf lyP . o; o'unfO{ ‘l/g];fF’ cyf{t\ uy]{ . t]n/ª kb\wltnfO{ ljsf; ug]{ k'ghf{u/0f sfn elgG5 . o; o'udf >]o g]b/NofG8\;sf hfg efg OsnfO{ hfG5 . lnof]gfbf]{ bf leGrL, dfOs]nfGh]nf], /fkmfon, O6flnog lrqsf/dWo] t]n/ªnfO{ k|of]u ug]{ l6l;og h:tf ljnIf0f k|ltefzfnL klxnf] snfsf/ PG6f]g]Nnf] bf d]l:;gf lyP . snfsf/x¿ hGd]sf lyP . /fhk|f;fb / rr{df a]lNhoddf bLlIft oL lrqsf/ ;g\ !$&% oL df:6/x¿nfO{ ef/bf/ jf pRr kb:y tfsf e]lg; a;fO ;/]sf lyP . lhcf]efGgL clwsf/L ;/xsf] k|lti7f k|fKt x'g' k5fl8 a]lngL / ;du| pTt/L O6flnog :s'ndf pgsf] pgLx¿sf] k|ltef g} lyof] . 7'nf] k|efj k/]sf] lyof] . ;f]/f}“ ztfAbL;Dd cfOk'Ubf ;d:t o'/f]kel/ t]n /ªsf] tTsfnLg snf ;h{sx¿df k|fs[lts hut\ nf]slk|otfn] lgs} Jofkstf lnO;s]sf] lyof] . k|ltsf] sf}t'xntf / k|frLg u|L; / /f]dsf o;} ztfAbLb]lv lrq ;txsf ¿kdf zf:qLo ;+:s[ltk|ltsf] cle?lr lgs} Sofgef;n] sf7nfO{ lj:yfkg ug{ yfn]sf] a9]sf] lyof] . To;}sf] kmn:j¿k snfsf lyof] . If]qdf cfZro{hgs kl/jt{g / k|jt{gx¿ b]vfk/]sf lyP . lrq / d"lt{ b'j} ljwfdf hfg efg Ossf] ‘cfgf]{lnlkmgL kf]6«]6’ -;g\ kf]6«]6nfO{ ljlzi6 dxTTj lbg yflnPsf] !$#$_ nfO{ kfZrfTo kf]6«]6 snfsf] lyof] . tTsfnLg clehft ;dfhdf sf]z]9'ª\ufsf ¿kdf lnOG5 . pgsf] of] s[lt kf]6«]6nfO{ JolStsf] ef}lts ;DkGgtf / k"0f{ sb -k'mn ;fOh_ kf]6«]6sf] k|f/lDes k|lti7fnfO{ cleJoSt ug]{ dfWodsf ¿kdf pbfx/0fsf ¿kdf lrlgG5 . hfg efg Osn] lng yflnPsf] lyof] . l/g];fF kf]6«]6 snfsf] o; /rgfdf lrq kfqx¿nfO{ ltgsf ;DkGgtf dxTTjk"0f{ pknlAw lrq kfqsf] ;fb[Zotfsf / k|lti7faf6 t6:y /xL ltgnfO{ oyf :j¿kdf cltl/St dfgj ;+j]unfO{ d'xf/sf] efjåf/f cª\sg u/]sf lyP . ctM kf]6«]6 snfsf b[li6n] cleJoSt ug'{ /x]sf] lyof] . o; sfnb]lv cfgf]{lnlkmgL kf]6«]6nfO{ k"0f{tM k|s[ltk/s / k|f/De ePsf] ldlgor/ kf]6«]6 cyf{t\ :jNkfsf/ k|ltlglwd"ns s[lt dfGg ;lsG5 . hfg efg kf]6«]6sf] k/Dk/f sfnfGt/df kmf]6f]u|fkmL snfsf] Ossf] csf]{ k|l;b\w kf]6«]6 /rgf ‘/ftf] km]6f pbo x'“bf;Dd hf/L /x]sf] lyof] . af“w]sf JolSt’ pgsf] cfTd lrq xf] eGg] ljZjf; ul/Psf] 5 . of] lrq l/g];f“ sfnsf kGw|f}“ ztfAbLdf pTt/L o'/f]ksf snfsf/x¿n] ;'?sf cfTd lrqdWo] Pssf ¿kdf klg wd{ lg/k]If oyfy{k/s kf]6«]6x¿sf] k/Dk/fnfO{ lrlgG5 . lrq kfqsf] lz/df af“lwPsf] km]6fn] ;j{yf gjLg ult lbPsf lyP . lrqsf/ tyf sk8fsf] d'hfsf] cWoog / /ftf] /ªsf] d"lt{sf/x¿ cfk\mgf snf ;+/Ifsx¿sf kf]6«]6 k|efjk|lt lrqsf/sf] cle?lrnfO{ ;ª\s]t agfp“y] / ljz]if :yfg Pjd\ k|of]hgsf nflu u5{ . agfOg] k|]m:sf]x¿df klg ltgsf cfs[ltnfO{ ;dfj]z uy]{ . pgLx¿n] t]n/ª / nflnTok"0f{ o; ;dosf t]n/ª k|ljlwdf bIf hd{g t'lnsf3ftåf/f ;"Id Pjd\ clws oyfy{k/s lrqsf/x¿df n'sf; j|mfgfs, cNa|]V6 8\o'// /
56 1 5 th Anniversary
Jan van Eyck. The Arnolfini Portrait, 1434. Oil Giovanni Bellini. Portrait of Doge Leonardo on oak panel. 82 cm x 60 cm. National Gallery, Loredan, 1501. Oil on panel. 61.6 cm × 45.1 cm. London. National Gallery, London. xfG; xf]lNag h'lgo/sf] gfp“ pNn]Vo /x]sf] 8f]u] lncf]gfbf]{ nf]/]8g -;g\ !%)!_ sf] 5 . To; tfsf Oª\NofG8df pRr sf]6Lsf kf]6«]6 kf]6«]6nfO{ l/g];fF o'usf clt pTs[i6 kf]6«]6dWo] k]G6/x¿sf] ;j{yf cefj /x]sf] cj:yfdf Pssf ¿kdf lnOG5 . ToxfF xf]lNag h:tf ljb]zL snfsf/x¿s} xflnd'xfnL /x]sf] lyof] . l/g];fF o'udf k\mnf]/]G; / ldnfgsf ;De|fGt JolStx¿df cfk\mgf kf]6«]6 n]Vg O6nLdf df;frf]n] dfgj cfs[ltx¿nfO{ cem nufpg] xf]8afhL g} rn]sf] lyof] . kmntM k"0f{ oyfy{k/s 9ª\un] cª\sg ub}{ k|]m:sf] sb / t[tLof+z b[Zosf kf]6«]6 /rgfx¿df k|of]u kb\wltnfO{ cfw'lgsLs/0f u/]sf lyP . / k|jt{gx¿ b]vfkg{ yfn]sf lyP . ;fGb|f] /fkmfonn] cfk\mgf a[xt\ cfsf/sf af]l6r]nL, lko/f] 8]Nnf k|mfGr]:sf, 8f]d]lgsf] lelTtlrqx¿nfO{ oyfy{k/stfsf] pTsif{df lynf]G8f], nf]/]Ghf] bL j|]m8L, lnof]gfbf]{ bf leGrL k'¥ofPsf lyP . To; tfsf j}jflxs ;df/f]x cflb k|e[lt lrqsf/x¿n] k/Dk/fut wfld{s / ;DaGwL kf]6«]6x¿ nf]slk|o x'g yfn]sf lyP / zf:qLo ljifo j:t';Fu kf]6«]6nfO{ ;dfof]hg nf]/]Ghf] nf]6\6f] o;sf ljz]if1 g} dflgGy] . ;g\ ub}{ o; ljwfnfO{ gofF cfofd lbPsf lyP . !%)) sf] bzsdf e]lg;sf] kf]6«]6 k]lG6ªdf h]lG6n] a]lngL / lhof]efgL a]lngLsf] jr{:j lnof]gfbf]{sf] ‘df]gfln;f’ -;g\ !%)%_ /x]sf] lyof] . lhof]efgL a]lngLåf/f l;lh{t kfZrfTo snfsf] Oltxf;df ;jf{lws k|l;b\w s[ltsf ¿kdf /x]sf] 5 . k\mnf]/]G;sf wgf9\o
57 Raphael. Portrait of Baldassare Castiglione, c.1514–1515, Oil paint. 82 cm x 67 cm. Musée du Louvre, Paris.
Leonardo da Vinci. The Mona Lisa, 1503–1505. h:tf] gf/Lsf] ;'Gb/ xft ;fob} c¿ lrqdf Oil on canvas. 77 cm x 53 cm. Musée du Louvre, Paris. ag]sf 5g\ . lnof]gfbf]{n] of] kf]6«]6 ;g\ !%)# df ;'? u/]sf lyP t/ ;g\ !%)% df cfP/ dfq Jofkf/L k|mfGr]:sf] 8]n lhof]sf]G8f]sL kTgL k"/f ePsf] lyof] . sf7sf] kmNofsdfly ln;f 8]n lhof]sf]G8f]sf] o; kf]6«]6df b[Zodfg t]n/ªn] agfOPsf] of] lrq xfn ‘df]gfln;f d':sfg’ sf nflu of] ljZj ljVoft k|mfG;sf] n'e| ;ª\u|xfnodf /x]sf] 5 . /x]sf] 5 . lrqdf cg'xf/sf] df+;k]zLaf6 cfGtl/s d':sfg b]vfOPsf] 5 / csf{ k|efjzfnL l/g];fF lrqsf/ /fkmfonn] zf/Ll/s efjnfO{ s'zntfk"j{s k|:t't cfk\mgf] hLjg sfndf cg]sf}“ kf]6«]6 sld;gx¿ ul/Psf] 5 . o; kf]6«]6nfO{ d'xf/sf] kfPsf lyP . pgsf tL /rgfx¿df kfqsf] ;dfg'kflts ;Gt'ngsf] pTs[i6 pbfx/0fsf a;fO, k|sfz / lzNk k|ljlwsf ljljw ¿kdf lnOG5 . lnof]gfbf]{sf] /]vfª\sg zlSt, k|sf/x¿ b[Zodfg x'G5g\ . l/g];fF snfsf cfs[lt cª\sgsf] Ifdtf, rl/qdfly pbLodfg wf/nfO{ ;an / kl/is[t ug'{ ljZn]if0ffTds ;d´sf sf/0f g} of] lrq /fkmfonsf] Ps dfq Wo]o /x]sf] lyof] . lrq b'lgof“sf] ;jf{lws ;'Gb/ lrqdf bl/Psf] kfqx¿sf] JolStTj / efjnfO{ cfk\mgf xf] . elgG5, of] lrq n]lv“bf df]gfln;f ue{jtL /rgfx¿df hLjGt agfpgdf pgn] lgs} bIftf lyOg\ . To;} sf/0fn] ue{jtL k]6 n'sfpg] xfl;n ul/;s]sf lyP . pgn] agfPsf pb\b]Zon] pgn] cfk\mgf xft k]6df /fv]sL afN8f;f/ sfl:6of]g] -sl/a ;g\ !%!%_, lyOg\ . s]xL snfljb\x¿sf cg';f/ o; lrqdf h'lno; låtLo -sl/a ;g\ !%!@_ cflbsf
58 1 5 th Anniversary
Agnolo Bronzino. Portrait of Cosimo de' Medici, 1545. Tempera on panel. 74 cm x 58 cm. Uffizi, Florence. cfk\mgf kf]6«]6 n]vfpg nfnflot /xGy] . clwsf+z l/g];fF snfsf/x¿ kf]6«]6 sld;g kfpg nfnflot /x]sf cj:yfdf Titian. Portrait of Charles V with a Dog, 1533. dfOs]nfGh]nf] eg] kf]6«]6 ljwfk|lt pbf;Lg Oil on canvas. 192 cm x 111 cm. Museo del Prado, Madrid. b]lvGy . pgL l;:6fOg Rofkn h:tf a[xt\ Pjd\ dxTTjfsfª\IfL sfddf g} /dfO/x]sf lyP . kf]6«]6x¿df JolSt lrq0fdf pgsf] ljnIf0f bIftf b[Zodfg x'G5 . oL kf]6«]6x¿sf s}of}“ l/g];fF o'udf e]lg;sf ;jf{lws k|efjzfnL / cg's[ltx¿ kl5 cfpg] cg]sf}“ snfsf/x¿ ;kmn kf]6«]6 lrqsf/sf ¿kdf l6l;ogsf] gfpF agfPsf lyP . cfk\mgf] df:6/lk; ‘Py]G;sf] pNn]Vo /x]sf] 5 . ;g\ !%@( b]lv l6l;ogn] kf7zfnf’ -;g\ !%)(–!%!!_ df /fkmfonn] /f]dsf ;d|f6\ rfN;{ kf“rf}“sf nflu sfd ug{ ljljw bfz{lgs :s'nx¿nfO{ PsLs[t ug'{sf yfn]sf lyP . elgG5, l6l;ogn] klxnf] kN6 cltl/St ltgdf ;dflji6 kfqx¿sf] d'xf/sf cfk\mgf] kf]6«]6 agfPkl5 rfN;{n] tb'k/fGt c¿ nflu cfk\mgf ;dsfnLgx¿ a|dfG6], lrqsf/af6 cfk\mgf] kf]6«]6 agfpg gnufpg] k|0f lnof]gfbf]{, dfOs]nfGh]nf] cflbnufot cfk"m g} u/]sf lyP . l6l;ogn] /fhsLo :jod\sf] kf]6«]6 cª\sg u/]sf lyP . kfqx¿nfO{ ljljw a;fO / d'b|fdf cª\sg /fkmfonsf] cfZro{hgs bIftfs} sf/0f u/]sf lyP . afn aflnsfx¿nfO{ nflnTok"0f{ kf]knufot clehft JolStx¿ pgLaf6 9ª\un] kf]6«]6df ptfg]{ klxnf] lrqsf/sf ¿kdf klg pgnfO{ :d/0f ul/G5 .
59 e]lg;df l6l;ogsf] z]ifkZrft\ O6flnog dxf]TTjfsfª\IffnfO{ cleJoSt ug]{ xf]8afhL snfnfO{ ‘Dofgl/Hd’ cyf{t\ ‘crfr/0fjfb’ rNg yfn]sf] lyof] . tk{m 8f]¥ofpg] lrqsf/sf ¿kdf l6G6f]/]6\6f] / e]/f]lghsf] gfp“ pNn]vgLo /x]sf] 5 . PUgf]nf] ;f]/f}“ ztfAbLsf] cGTo;Dd cfOk'Ubf O6nLsf] a|f]lGhgf] / Hofs]kf] kf]G6f]/df] h:tf Dofgl/:6 snfdf Dofgl/Hd z}nL cj;fgsf] r/0fdf lrqsf/x¿n] ef}lts ;DkGgtf / hl6n d'b|fdf k'lu;s]sf] lyof] / ‘a/f]s z}nL’ sf] cEo'bo cfwfl/t ckjfbk"0f{ kf]6«]6x¿ /rgf u/]sf eO;s]sf] lyof] . /f]ddf a/f]s z}nLsf] hu lyP . a|f]lGhgf] /rlot sf]l;df] n b] d]l8rL xfNg] >]o sf/cfrL kl/jf/ / sf/fefhf]nfO{ -;g\ !%$%_ sf] kf]6«]6nfO{ ;fxl;s s[ltsf lbOG5 . o; z}nLsf] pTyfg ;f]/f}“ ztfAbLsf] ¿kdf lnOG5 . o; kf]6«]6df /fhsLo Pjd\ pTt/fb\w{df eO{ ´G8} ;g\ !&%) ;Dd sfod clehft kfqx¿nfO{ zfGt / zfnLg :j¿kdf /x]sf] dflgG5 . zL3| g} ;d:t o'/f]kel/sf k|:t't ug]{ k|rngnfO{ tf]8\b} pgn] s7f]/ snfsf/x¿n] a/f]s z}nLnfO{ cfTd;ft\ zf;ssf ¿kdf lrlgg] sf]l;df]nfO{ sjr u/]sf lyP . zf:qLo ljifo j:t'k|lt snf wf/0f u/L ;ts{ / ;+lbUw gh/n] bfofFtk{m ;+/Ifs tyf snfsf/x¿df cfsif{0f sfod g} x]l//x]sf] cj:yfdf k|:t't u/]sf lyP . /x]tf klg t'ngfTds ¿kdf a/f]s z}nL a9L :jR5Gb, ;+j]uk"0f{, cf]hbf/ Pjd\ pTt]hs ;f]/f}“ ztfAbLdf O6nLsf k|ltefzfnL dlxnf dflgG5 . ;+j]uk"0f{ cfs[ltx¿, gf6sLo /ª snfsf/x¿df ;f]kmf]lg:af cª\u':;f]nfsf] gfd ljGof; Pjd\ 5fof k|sfz tyf lrq ;txdfly cu| kª\lStdf cfp“5 . cª\u':;f]nf kf]6«]6 / afSnf 6]S;r/sf] k|of]u a/f]s snfsf ldlgor/ b'j} sfddf lgs} kf]Vt lyOg\ . pgn] ljz]iftf dflgG5g\ . ‘lr/f];So'/f]’ -Psbd JolStut / ;fd"lxs kf]6«]6 /rgfsf] k/Dk/fnfO{ ljk/Lt 5fof k|sfzsf] k|of]u_ kb\wlt / gjLg cfofd lbPsL lyOg\ . lrq ;+of]hgdf /ª\ud~rsf] h:tf] gf6sLo k|efjnfO{ a/f]s lrqsf/x¿n] cToGt} ;qf}“ ztfAbL M a/f]s snf s'zntfk"j{s pkof]u u/]sf lyP . kf]6«]6 ;qf}“ ztfAbLdf o'/f]kn] lj1fg / bz{gsf If]qdf snfdf a/f]s lrqsf/x¿n] lrq kfqsf] 7'nf] km8\sf] df/]sf] lyof] . l/g];f“ sfndf ;'? ef}lts :j¿ksf cltl/St ltgsf rl/q tyf ePsf] k|fs[lts hut\ af/]sf] cGj]if0fn] ;qf}“ / dgf]bzfnfO{ ;d]t ptfg{ yfn]sf lyP . c7f/f}“ ztfAbLdf yk ult lnPsf] lyof] . tTsfnLg o'/f]k]nL ;dfhdf kf]6«]6 k]lG6ªnfO{ a9\bf] cfly{s ;d'Gglt;“u} o'/f]k]nL d'n'sx¿df kb / k|lti7fsf] clen]vsf ¿kdf lng snfnfO{ ;+/If0f lbg] ;Gbe{df Jofks yflnPsf] lyof] . To; tfsf b/af/Lof / kl/jt{g cfpg yfn]sf] lyof] . ;dfhsf clehft ju{df e8\lsnf j:qfe"if0fåf/f clehft ju{df dfq ;Lldt snf ;ª\u|xsf] ;';lHht eP/ kf]6«]6 /rgf ug{ nufpg] kl/kf6L ;f]v ;DkGg dWod ju{df klg ;g{ yfn]sf] g} a;]sf] lyof] . o; lsl;dsf kf]6«]6sf nflu lyof] . To; tfsf eJo dxn Pjd\ luhf{3/x¿, pgLx¿ cGyf]gL efg 8fOs / lk6/ kf}n ?a]G; a[xt\ cfsf/sf lrqx¿ tyf /fhsLo h:tf k\mnf]ld; lrqsf/x¿nfO{ cg'aGw ug{ kf]6«]6x¿df rr{ / /fHosf] zlSt Pjd\ dg k/fpFy] . xNofG8sf of]xg; ed]{/sf] ?lr
60 1 5 th Anniversary k\mn]ld; a/f]s snfsf/ cGyf]gL efg 8fOssf] gfp“ Oª\uNofG8sf rfN;{ k|yd / pgsf kl/jf/ Pjd\ ef/bf/x¿sf] nflnTok"0f{ kf]6«]6x¿sf nflu k|l;b\w /x]sf] 5 . Oª\uNofG8sf] /fhsLo lrqsf/sf ¿kdf lgo'St x'g' cufl8 pgn] O6nL / k\mn]G8;{df Jofks Voflt sdfO;s]sf lyP . k|mfG;df /fhsLo lrqsf/sf ¿kdf x\ofl;G6 l/ufp sf] 7'nf] babaf /x]sf] lyof] . pgn] k|mfG;sf tTsfnLg b/af/Lofx¿sf ljljw d'b|f / kl/wfgdf cg]sf}F kf]6«]6x¿ /rgf u/]sf lyP . n'O{ rf}wf}“sf] zf;g sfnsf dxTTjk"0f{ kf]6«]6 cfl6{:6sf ¿kdf pgsf] klxrfg /x]sf] 5 . l/ufpn] tTsfnLg b/af/Lof, s"6gLlt1, Jofkf/L tyf ;DkGg JolStx¿sf cg]sf}“ kf]6«]6 Peter Paul Rubens. The Honeysuckle Bower,. c. 1609. Oil on canvas. 178 cm x 136.5 cm. Alte n]v]sf lyP . ltgdf lrq kfqsf Pinakothek, Munich. JolStTjnufot k[i7e"ldsf] b[Zo tyf eg] dWod ju{nfO{ k|ltlglwTj ug]{ kfqx¿df j:qfe/0f ;a} b'?:t Pjd\ ;"Id 9ª\un] cª\sg /x]sf] lyof] . ul/Psf sf/0f ltgnfO{ ;dsfnLg ;fh;Hhf tyf j:q ljGof;sf] clen]vsf ¿kdf lng] lk6/ kf}n ?a]G;sf] gfd pTt/L o'/f]ksf] a/f]s ul/G5 . l/ufp lrq kfqsf cgfsif{s kIfnfO{ snfsf dxfgtd snfsf/sf ¿kdf Oltxf;df klg lrTtfsif{s Pjd\ cfbz{ :j¿k k|bfg ug{ cª\lst 5 . ?a]G; ax' cfoflds JolStTjsf l;kfn' lrqsf/ lyP . wgL lyP . k|ltefzfnL lrqsf/sf cltl/St pgL s'6gLlt1, snf ;ª\u|xstf{ 8r a/f]s kf]6«]6 snfdf ;fdfGo Psn / ;kmn Jofkf/L lyP . pgsf] ‘?a]G; / kTgL cfs[ltb]lv lnP/ e8\lsnf j:q kl/wfgdf O;fa]nf a|fG6’ -;g\ !^)(_ nfO{ gj ljjflxtf ;lhPsf JolStx¿sf eJo ;fd"lxs kf]6«]6x¿ hf]8Lsf] clt ;'Gb/ kf]6«]6 /rgfsf] pbfx/0fsf ;d]l6Psf 5g\ . tL kf]6«]6 /rgfdf lrq kfqsf ¿kdf lng ;lsG5 . ?a]G;n] cfk\mgf] bf];|f] oyf:j¿k tyf ltgsf j:qfe"if0fsf] ;"Id kTgL x]n]g kmf]/d]G6sf cg]sf}“ lrqx¿ n]v]sf cª\sgsf cltl/St ltgsf dgl:ylt Pjd\ lyP . o; ;Gbe{df ‘e'Tnf ePsf] asf]{ ;+j]u ;d]tnfO{ cleJoSt ul/Psf] cf]9]sL x]n]g kmf]/d]G6’ -;g\ !^#)_ zLif{ssf] kfOG5 . s'g} lglZrt lgsfo jf ;+:yf;“u lrq lgs} k|l;b\w /x]sf] 5 . o; kf]6«]6df gf/L cfab\w ;b:ox¿sf] ;fd"lxs kf]6«]6 n]vg b]x ;f}i7jsf] s'zn cª\g / d'xf/sf] efj 8r kf]6«]6 snfsf ljz]iftf g} /x]sf] 5 . a[xt\ ;Dk|]if0f ug{df ?a]G;sf] ljnIf0f Ifdtf cfsf/sf Sofgef;df n]lvg] o:tf ;fd"lxs b[li6uf]r/ x'G5 . kf]6«]6df cfk\mgf cfs[lt ;dfj]z u/fpgsf
61 Rembrandt. The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 107 cm x 216 cm. The Mauritshuis Museum, The Hague. nflu k|To]s JolStn] lrqsf/nfO{ cfsif{s k|rngnfO{ /]Da|fG6n] ‘8f= 6'Nksf] z/L/ lj1fg kfl/>lds a'´fp“y] . ;qf}“ ztfAbLsf] sIff’ åf/f eª\u u/]sf lyP . o; lrqsf] xNofG8df o:tf ;fd"lxs kf]6«]6 /rgfx¿ lgs} ;+/rgfdf s;}nfO{ Go"g jf s;}nfO{ clws nf]slk|o /x]sf] lyof] . dxTTj glbO{sg ;a} kfqnfO{ ;dfg'kflts dxTTj lbOPsf] 5 . tyflk lrqsf d"n kfq a/f]s o'usf dxfg\ 8r lrqsf/ /]Da|fG6sf 8f= 6'lnknfO{ sfnf] 6f]k nufOlbO{ pgsf] kf]6«]6x¿df a]hf]8 lzNk bIftfsf cltl/St JolStTjnfO{ d'vl/t ul/Psf] 5 . lr/kmf/sf] ltgdf lrq kfqsf dgf]bzf / ltgsf b[ZonfO{ ljido Pjd\ sf}t'xntfk"j{s efjx¿sf] ljnIf0f bz{g x'G5 . pgn] cjnf]sg ul//x]sf ;ft hgf kfqx¿sf] O6flnog cu|h lrqsf/ sf/fefhf]sf] ;d"xnfO{ lk/fld8 cfsf/df ;+/rgf ul/Psf] cg';/0f ub}{ cfk\mgf kf]6«]6x¿df ;+/rgf / 5 . gf6sLo 5fof k|sfz cª\sgk|lt /]Da|fG6sf] lzNk k|ljlw b'j} b[li6n] ;j{yf k[ys k|of]u nufj / bIftf o; lrqdf b]Vg ;lsG5 . o; u/]sf lyP . pgsf] of] k|jt{gsf/L z}nL pgsf /rgfnfO{ ;qf}“ ztfAbLsf] xNofG8sf] k|Voft s[ltx¿ ‘8f lgsf]nf; t'n'ksf] z/L/ P]ltxfl;s, snfTds Pjd\ ;fdflhs lj1fg sIff’ -;g\ !^##_ / ‘lb gfO6 jfr’ ljsf;sf] bk{0fsf ¿kdf klg lng ;lsG5 . -;g\ !^$@_ df b[li6uf]r/ x'G5 . kfqx¿nfO{ h8 jf l:y/ ¿kdf k|:t't ug]{ To; a]nfsf] /]Da|fG6sf] df:6/ lk;sf ¿kdf lrlgg] ‘lb gfO6
62 1 5 th Anniversary ;d]l6Psf 5g\ . pgn] a]x'nf a]x'nL hf]8Lx¿sf klg k|z:t kf]6«]6x¿ n]v]sf lyP . k|mG; xN;sf] lrq0f kb\wlt sf/fefhf]sf] z}nLaf6 k|]l/t t/ oyfy{jfbk|lt 8r snfsf/x¿sf] cg'/fuaf6 lgb]{lzt lyof] . cGo a/f]s lrqsf/x¿ h:t} k|mG; xN; klg k|sfz / 6]S;r/sf] rfIf'if k|efjnfO{ cª\sg ug{df lgs} cle?lr /fVy] . Frans Hals. Officers of the Haarlem Militia pgL ;xh Pjd\ bIftfk"j{s t'lnsf ;~rfng Company of Saint Adrian, c. 1627. Oil on canvas, 183 cm x 267 cm. Frans Halsmuseum, uy]{ . ‘Sofyl/gf x'k\m6 / kl/rfl/sf’ -;g\ Haarlem. !^@)_ / ‘;]G6 Pl8«ogsf] xfn]{d cw{ ;}lgs jfr’ sf] k|l;b\lwsf k5fl8 tLg cf]6f ljlzi6 b:tfsf clws[tx¿’ -;g\ !^@&_ h:tf / kIfx¿ /x]sf 5g\ — o;sf] a[xt\ cfsf/ rgfx¿df k|mG; xN;sf] k|ltef b]Vg ;lsG5 . -#=^# ld= X $=#& ld=_, clt k|efjf]Tkfbs :k]lg; a/f]s snf z}nLsf snfsf/x¿df 5fof k|sfzsf] k|of]u tyf ultzLn :k]gsf e]nf:s];sf] gfp“ cu| kª\lStdf cfs[ltx¿ . o; lrqsf] ljifo SofK6]g cfp“5 . ltgtfs o'/f]ks} ;jf{lws sf]ssf] g]t[Tjdf lg;fgafhL cEof;sf nflu zlStzfnL JolStsf ¿kdf lrlgg] :k]gsf o'jf lx“l8/x]sf] PD;6/8\ofdsf cw{ ;}lgs b:tf /fhf lkmlnk rf}yf] e]nf:s];n] n]v]sf cfk\mgf] /x]sf] 5 . eL8ef8k"0f{ cfs[ltx¿lar kf]6«]6 b]v]/ clt d'Uw ePsf lyP . jf:tjdf SofK6]g, pgsf n]k\ml6g]G6 / afof“ k[i7e"lddf of] lrq /fhf lkmlnk rf}yf] / lrqsf/ larsf] /x]sL aflnsfnfO{ k|an 5fof k|sfzåf/f nfdf] / k|uf9 ;DaGwsf] ;'?cft lyof] . ;g\ lrqsf] s]Gb|Lo kfqsf ¿kdf p7fOPsf] 5 . !^$* df :k]gsf] /fhk|f;fbsf nflu O6flnog cGo cfs[ltx¿df Wjhf jfxs, 9f]ns jfbs, snfs[ltx¿ vl/b ug]{ l;nl;nfdf e]nf:s]; aGb'swf/Lx¿ cflb /x]sf 5g\ . j:t'tM of] O6nL uPsf lyP . pgL;“u pgsf cg'r/ x\jf“ ;fd"lxs kf]6«]6 /rgf xf], tyflk lrq 8] kf/]xf klg ;fy nfu]sf lyP . jf:tjdf kfqx¿nfO{ h8 ¿kdf gb]vfO{sg ltgnfO{ kf/]xf e]nf:s];sf bf; lyP . O6nL a;fO /]Da|fG6n] k"/f ultk"0f{ b]vfOlbPsf 5g\ . kmntM cjlwdf e]nf:s];nfO{ kf]ksf] lrq n]Vgsf ;Dk"0f{ lrq s'g} /ª\ud~rsf] b[Zo h:tf] k|tLt nflu efol6sgaf6 cfdGq0f ul/Psf] x'G5 . lyof] . kf]ksf] kf]6«]{6 n]Vg' cufl8 pgn] a/f]s kf]6«]6 snfsf] Oltxf;df k|mG; xN;sf] cEof;sf j|mddf kf/]xf -;g\ !^%)_ sf] cw{ ljlzi6 of]ubfg /x]sf] 5 . k|mG; xN;sf sbsf] kf]6«]{6 n]v]sf lyP . kf/]xfsf lgZ5n kf]6«]6 /rgfx¿df ;fdflhs hLjgsf ljleGg cf“vf / d'xf/df b]lvg] lg/k]If efj Pjd\ JolStx¿, h:t} M :yfgLo ;}lgs, c:ktfnsf :jR5Gb t'lnsf ;~rfng tyf nflnTok"0f{ /ª clwsf/L, gu/ kl/ifb\sf sd{rf/Lx¿b]lv ljGof;sf sf/0f of] lrq cfzftLt ¿kdf clt lnP/ 3'dSs8 ufosx¿ / ;j{;fwf/0f;Dd ;'Gb/ ag]sf] lyof] . ;g\ !^%$ df e]nf:s];n]
63 snfljb\sf] cg'dfgcg';f/ lrqsf/n] Sofgef;df n]Vb} u/]sf /fhf /fgLsf] cfs[lt g} P]gfdf k|ltljlDat b]vfOPsf] x'g'k5{ . e]nf:s];n] :yfg, b"/fGt/ tyf k|sfzsf] ;d:ofnfO{ o; lrqdf s'zntfk"j{s ;dfwfg u/]sf 5g\ . s'zn t'lnsf ;~rfng tyf /ª / 6f]gdflysf] cfk\mgf] lgoGq0faf6 pgn] o:tf] hl6n /rgfnfO{ k"/f PsLs[t ul/lbPsf lyP . c7f/f} ztfAbL M /f]sf]sf] / gjzf:qLotfjfbsf] cEo'bo ;g\ !&!% df k|mfG;sf /fhf n'O{ rf}yf“}sf] lgwgkZrft\ Toxf“ snf ;+:s[ltdfly /x“b}
Diego Velázquez. The Portrait of Juan cfPsf] /fhsLo ;+/If0fdf j|mdzM x|f; cfpg de Pareja, 1650. Oil paint. 81 cm x 70 cm. yfn]sf] lyof] . k|mfG;]nL ;dfhdf cfly{s Metropolitan Museum of Art, New York. ¿kn] ;DkGg sf]6Ldf a'h'{jf tyf pRr dWod kf/]xfnfO{ bf;Tjaf6 d'St ul/lbPsf lyP . ju{sf] pbo x'g yfn]sf] lyof] . c7f/f}“ ztfAbLsf] pTt/fb\w{sf bzsx¿df o'/f]kdf e]nf:s];sf] k|v/ lzNksf] rdTsf/ ‘nf; ljleGg snf z}nLx¿ k|fb'ef{j ePsf lyP / tL d]lggf’ cyf{t\ ‘ljlzi6 sGofx¿’ zLif{ssf] z}nL pGgfO;f}“ ztfAbL;Dd cl:tTjdf /x]sf a[xt\ ;fd"lxs lrqdf b[li6uf]r/ x'G5 . lyP . ;qf}“ ztfAbLdf lgs} nf]slk|o /x]sf] e]nf:s];n] ljZj k|l;b\w lrq /rgf cfk\mgf] a/f]s snfb]lv o; sfnv08;Dd cfOk'Ubf d/0f x'g' rf/ jif{ cufl8 -;g\ !^%^_ snf ;+/Ifs tyf snfsf/x¿ lj/lSt;s]sf n]v]sf lyP . o; lrq /rgfdf dfl8«8 lyP . o'/f]ksf] clehftLo j[Ttdf gof“ snf /fhk|f;fbleq Pp6f ljzfn sIfdf b/af/sf z}nL nf]slk|o x'g yfn]sf] lyof] . kfZrfTo lr/kl/lrt kfqx¿ b]lvG5g\ . lrq ;txsf] snfsf] Oltxf;df of] z}nL ‘/f]sf]sf] z}nL’ sf dWo Pjd\ cu| efudf /fhs'df/L dfu{l/tf, gfp“af6 lrlgG5 . a/f]s z}nLsf lrqx¿df pgsf] cun aundf b'O{ cf]6L kl/rfl/sf, b]lvg] pTt]hs b[Zo tyf gf6sLo k|efjsf] ;';f/], cª\u/Ifs, b'O{ hgf afpGg] tyf ltgsf abnf /f]sf]sf] z}nLsf lrqx¿sf ljifo cufl8 s's'/sf cfs[lt /x]sf 5g\ . tLdWo] ;fwf/0f Pjd\ xNsfk'mNsf /x]sf 5g\, k/Gt' tL sf]xL Ps csf{;“u s'/f ub}{ 5g\ eg] sf]xL nflnTok"0f{ /x]sf 5g\ . ;g\ !&^) sf] bzsdf bz{stk{m d'vfltj 5g\ . ltgLx¿sf l7s gj zf:qLotfjfbsf] cEo'bo geP;Dd k5fl8 afof“ 5]p :jod\ e]nf:s]; xftdf s'rL /f]sf]sf] z}nLsf] jr{:j /x]sf] lyof] . lnP/ ljzfn Sofgef; cufl8 plePsf 5g\ . leTtfsf] P]gfdf lkmlnk rf}yf] tyf dxf/fgL /f]sf]sf] z}nLsf snfsf/x¿ e8\lsnf / dl/cfgfsf k|ltljDa b]lvG5 . s]xL cfnª\sfl/s ;hfj6sf cg'/fuL t lyP g},
64 1 5 th Anniversary o; cltl/St pgLx¿ ;'kl/is[t kf]6«]6sf df:6/ kf]6«]6 /rgfx¿df k|foM lrq kfqsf] lhpnfO{ klg lyP . k|mf:jfF a';]sf] k|l;b\w kf]6«]6 ‘d8fd clnslt kmsf{O{ 6fpsf] bz{sk6\l6 kmsf{OPsf] 8] kDk]8f]’ nfO{ ;"Id Pjd\ nflnTok"0f{ /f]sf]sf] x'G5 . sf/]/fdf lrq kfqx¿sf] j:q kl/wfgsf z}nLsf] cg'kd pbfx/0fsf ¿kdf lng 6]S;r/, a'6\6f, k'msf{ tyf cfe"if0f, s]z ;lsG5 . cflbnfO{ clt k|fs[lts Pjd\ ;"Id 9ª\un] cª\sg ug]{ ljnIf0f Ifdtf lyof] . k|mfG;]nL snf hut\nfO{ k]:6n dfWod;“u kl/lrt u/fpg] >]o O6flnog lrqsf/ /f]hfNaf df}l/; Sj]G6L“ 8] nf 6'/sf] gfd k]:6n dfWoddf sfl//fnfO{ hfG5 . pgsf] klxrfg ;kmn Pjd\ sfd ug]{ k|mfG;]nL /f]sf]sf] kf]6«]6 cfl6{:6sf k|ltefzfnL dlxnf lrqsf/sf ¿kdf dfq ¿kdf :d/0fLo /x]sf] 5 . pgn] ef]N6]/, ?;f], xf]Og, clkt' O6flnog /f]sf]sf] z}nLnfO{ n'O{ kGw|f}“, d8fd 8] kDk]8f] h:tf ;dsfnLg k|ltlglwTj ug]{ dxTTjk"0f{ lrqsf/sf ¿kdf k|ltli7t JolStx¿sf cg]sf}“ kf]6«]6x¿ n]v]sf /x]sf] 5 . sfl//fsf] Voflt k]:6n dfWoddf lyP . ;g\ !&@& b]lv pgn] k]:6ndf sfd ug{ /lrt clt ;'Gb/ kf]6«]6x¿sf nflu /x]sf] 5 . yfn]sf lyP / tt\kZrft\ hLjge/ o;} pgsf] :6'l8of]df kf]6«]6 n]vfpgsf nflu dfWodk|lt ;dlk{t /x]sf lyP . nf 6'/ e]lg;sf :yfgLo k|ltli7t JolStx¿sf cfk\mgf lrq kfqx¿sf] ljlzi6 rl/qnfO{ cltl/St dxTTjk"0f{ ljb]zL cfuGt's, ;dfTg / ltgnfO{ dgf]xf/L ¿k lbgdf l;kfn' s"6gLlt1 cflbsf] eL8 /xGYof] . sfl//fsf lyP .
Élisabeth Louise Vigée-le Brun. Portrait of Thomas Gainsborough. Mrs. Richard Brinsley Marie Antoinette with Her Children, 1788. Oil Sheridan, 1787. Oil on canvas. 219.7 cm x 153.7 on canvas, 275 cm x 215 cm. Musée National du cm. National Gallery of Art, Washington D.C. Château de Versailles.
65 yf]d; u]G;af]/f] / hf];'cf /]gf]N8; la|l6; JolStTjx¿sf] ;'Gb/ kf]6«]6sf nflu pgL :s'nsf] k|yd kf]6«]6 lrqsf/sf ¿kdf k|l;b\w l5g\ . sltko snfljb\x¿ pgnfO{ gj lrlgG5g\ . oL b'j} lrqsf/x¿ cfk\mgf kf]6«]6df zf:qLotfjfbL snfsf/sf] sf]6Ldf /fV5g\, j:q kl/wfgsf] cª\sgnfO{ clt dxTTj clkt' clwsf+z lj1x¿sf cg';f/ pgsf lbGy] . u]G;af]/f] k[i7e"lddf e"–b[Zo ;lxtsf kf]6«]6x¿df k|o'St /ª ljGof; / lrqfª\sgsf] k"0f{sbsf kf]6«]6sf nflu k|l;b\w 5g\ . pgL z}nL d"ntM /f]sf]sf] z}nLcGtu{t g} k5{g\ . ;g\ snfsf cf}krfl/s lgodnfO{ k5\ofpg'eGbf !&&( df dxf/fgL d]/L PG6f]g]6]sf] kf]6«]6 dfgj / k|s[ltsf] cjnf]sgdf hf]8 n]Vgsf nflu pgnfO{ e;f{O{ /fhk|f;fbdf lbGy] . kmntM pgsf lrqx¿ x]bf{ bz{snfO{ af]nfOPsf] lyof] . 5 jif{sf] cjlwdf pgn] Ps lsl;dsf] sfJofTds cg'e"lt x'G5 . dxf/fgL / /fhkl/jf/sf dfq lt; cf]6feGbf u]G;af]/f] j:q kl/wfgdf clt a9L kf]6«]6 n]v]sL lyOg\ . ‘d]/L PG6f]g]6] / pgsf s'zntfk"j{s sfd ug{ l;kfn' lyP . pgsf s]6fs]6Lx¿’ -;g\ !&**_ df cl:6«ofdf dxTTjk"0f{ s[ltx¿ xf]o\sL sfpG6]; d]/L’ hGd]sL k|mfG;sL dxf/fgL / pgsf ;GtfgnfO{ -;g\ !&^)_ / ‘>LdtL l/r8{ la|G:n] /fhsLo kl/j]zdf lrq0f ul/Psf] 5 . lrqdf ;]l/8g’ -;g\ !&*&_ k|mfG;]nL /f]sf]sf] dxf/fgLsf] /];dL kl/wfg / Kjf“vaf6 ;lhPsf] z}nLsf] cg';/0fdf ag]sf 5g\ . csf{ 6f]k cflbdf pgsf] x}l;ot / zlSt k|ltljlDat cª\u|]h lrqsf/ ljlnod xf]ufy{n] k/Dk/fnfO{ ePsf 5g\ . of] lrq n'O{–Plnhfa]yn] k|mfG;sf] eª\u ub}{ kf]6«]6 k]lG6ªnfO{ xf:ok"0f{ k|:t'lt j|mflGt x'g' Ps jif{ cufl8 n]v]sL lyOg\ . lbPsf lyP . c7f/f}F ztfAbLdf ;+o'St /fHo cd]l/sfsf c7f/f}F ztfAbLdf kf]6«]6 k]lG6ªsf If]qdf k|v/ Pjd\ k|ltef;DkGg dlxnf lrqsf/x¿ b]vfk/]sf lyP . tL dWo] k|mfG;sL Plnhfj]y leuL n]a|'F, x6nLsL /f]hfNaf sf/]/f / l:j6\h/NofG8sL PGh]lnsf spkmDofgsf] gfpF Oltxf;df :j0f{ cIf/df cª\lst 5g\ . o; ztfAbLdf kmf]6f]u|fkmLsf] cfljisf/ geO;s]sf] cj:yfdf :jNkfsf/sf kf]6«]6x¿nfO{ lgs} dxTTj lbOGYof] . clt ;"Id cª\sg ul/Psf o:tf :jNkfsf/sf kf]6«]6x¿ k|foM ;'gsf a6\6fleq jf unfdf nufOg] cfe"if0fdf /flvGy] . d]/L–n'O{–Plnhfa]y leu]–n]a|'“sf] gfpF c7f/f}“ ztfAbLsf] k|mfG;sf dlxnf lrqsf/dWo] zLif{ :yfgdf /x]sf] 5 . pgL n'O{–Plnhfa]y gfp“af6 John Singleton Copley. Paul Revere, 1768. Oil a9L lrlgG5g\ . clehft Pjd\ k|ltli7t on canvas, 89.22 x 72.39 cm.
66 1 5 th Anniversary zf:qLo z}nL’ sf gfdaf6 lrlgG5 . c7f/f}F ztfAbLsf] pTt/f{b\w{ / pGgfO;f}F ztfAbLsf] k"jf{b\w{df gj zf:qLotfjfbL snfsf/x¿n] k|frLg u|Ls / /f]dg j:q kl/wfgdf ;';lHht cfs[ltx¿sf] cª\sgsf k/Dk/fnfO{ lg/Gt/tf lbPsf lyP . oL lrqsf/x¿ d'xf/ / xft uf]8fsf] uf]nfOsf] k|efj b]vfpg k|ToIf k|sfzsf] k|of]u uy]{ . hfs n'O 8]le8 / hf“–cf]u':6–8f]d]lgs O“u| h:tf lrqsf/x¿ q'l6/lxt /]vfª\sg / lrq kfqsf rfl/lqs ljz]iftfk|lt clt ;r]t /x]/ sfd uy]{ . k|mfG;sf] /fhgLltdf g]kf]lnogsf] Jacques-Louis David. Napoleon at the Saint-Bernard Pass, 1801. Oil on canvas, 261 pTyfg;“u} hfs–n'O{ 8]le8n] cfk"mnfO{ cm × 221 cm. Musée de l'Armée. k|mfG;]nL lrqsnf If]qsf k|d'v lg0ff{ossf ¿kdf :yflkt u/]sf lyP . g]kf]lnognfO{ kf]6«]6 cfl6{:6dWo] hf]g l;ª\un6f]g sf]Kn]sf] snfaf/] s'g} 1fg lyPg, tyflk cfk\mgf] gfpF cu| kª\lStdf cfpF5 . pgLåf/f l;lh{t /fhgLlts 5ljnfO{ k|ab\w{g ug]{ lbzfdf ;fDo'n P8D; -;g\ !&&@_ / kf}n l/e]/] -;g\ snfnfO{ pkof]u ug{ ;lsG5 eGg]af/] pgL !&^*_ sf kf]6«]6x¿ ltgdf b[Zodfg pu| oyfy{jfbL u'0fsf nflu rlr{t 5g\ . o; ;dosf csf{ lrqsf/ luNa6{ :6'cf6{n] cd]l/sL /fi6«kltx¿sf cltl/St Ps xhf/ cf]6feGbf a9L ;ª\Vofdf kf]6«]6x¿ n]v]sf lyP . c7f/f}“ ztfAbLsf] pTt/fb\w{ tyf pgfO;f}“ ztfAbLsf] k"jf{b\w{ M gj zf:qLotfjfb / /f]dfG;jfb c7f/f}“ ztfAbLsf] pTt/fb\w{;Dd cfOk'Ubf k|mfG;]nL snf hut\df /f]sf]sf] z}nL cj;fg x'g] cj:yfdf k'lu;s]sf] lyof] . k|mfG;]nL lrqsnfsf If]qdf u|Ls snfnfO{ cfbz{ dfg]/ gof“ z}nLsf] hGd lbg] >]o hfs n'O{ 8]le8nfO{ Marie-Guillemine Benoist. Portrait of a hfG5 . of] z}nL ‘gj zf:qLotfjfb’ jf ‘gj Negress, 1800. Oil on canvas, 81 x 65 cm. Musée du Louvre, Paris.
67 ;r]t lyP . o:tf] kl/l:yltdf oL b'O{ 5jLnfO{ a9fOr9fO k|:t't ug'{ /x]sf] lyof] . dxTTjfsfª\IfL JolStTjsf] pko'St ;ª\ud ePsf] lyof] . 8]le8åf/f l;lh{t ‘;]G6 d]/L–u'On]dfOg a]gf]O{sf] lrq ‘cZj]t o'jtLsf] agf{8{af6 hf“b} u/]sf g]kf]lnog’ -;g\ !*))_ kf]6]«6’ -;g\ !*))_ df c7f/f}“ ztfAbLsf] nfO{ o;sf] pbfx/0fsf ¿kdf lng ;lsG5 . pTt/fb\w{sf] zf:qLotfjfb / pGgfO;f}“ 8]le8sf lzio OFu|sf] ‘l;+xf;gdf cf?9 ztfAbLsf] k"jf{b\w{sf] /f]dfG;jfb b'j} z}nLsf g]kf]lnog’ -;g\ !*)^_ sf] /rgf k5fl8 klg tTTjx¿ kfOG5g\ . o; lrqdf sDd/b]lv dfly Ps dfq pb\b]Zo g]kf]lnogsf] /fhsLo cf+lzs ¿kdf gUg Zofd j0f{sL o'jtL
Francisco de Goya. The Nude Maja, 1800-1805. Oil on canvas, 97 cm × 190 cm. Museo del Prado.
Francisco de Goya. The Clothed Maja,1800-1805. Oil on canvas, 97 cm × 190 cm. Museo del Prado.
68 1 5 th Anniversary b[li6uf]r/ x'G5 . ;fbf k[i7e"ld / ;]tf] kl/wfg v';L kfg]{ Wo]on] slxNo} agfPgg\, a? lar uf9f j0f{sL cfs[ltdf b[Zodfg ;zSt cfk\mgf lrqx¿df pgn] ltgsf ljnf; j[lTt / /]vfª\sg / ;an /ª\ufª\sgnfO{ o; lrqsf] d"v{tfnfO{ pbfª\uf] kf/]sf 5g\ . ;g\ !*)) df ljz]iftf dflgG5 . uf]ofn] b'O{ cf]6f lrq agfPsf lyP — ‘ljj:q dfhf’ / ‘;j:q dfhf’ . b'j} lrqdf cfs[ltnfO{ c7f/f}“ ztfAbLsf] pTt/fb\w{df cfPsf] pxL kl/j]z / d'b|fdf cª\sg ul/Psf] 5 . km/s j|mflGtsf] rj|mjftn] o'/f]k / cd]l/sfdf k'/fgf s]jn Pp6f lrqdf cfs[ltnfO{ j:q;lxt / /fhgLlts ;+:yfkgnfO{ a9fl/lbPsf] lyof] . csf]{df j:q/lxt b]vfOPsf] 5 . oL lrqsf kmntM snfsf If]qdf klg o;sf] k|efj jf:tljs df]8]n sf] lyP eGg]af/] ;xL k/]sf] lyof] . clehft ;dfh lj?b\w hfgsf/L k|fKo 5}g . To; a]nfsf] xNnfcg';f/ ljb|f]x ug]{ j|mddf tL j|mflGtsf nflu snfn] oL lrqsf kfq Ps ;dosf uf]ofsL k|]ldsf dxTTjk"0f{ e"ldsf v]n]sf] lyof] . o;sf cNafsL /fgL lyOg\ eg] sf]xL lognfO{ :k]gsf nflu gj zf:qLotfjfb k|efjzfnL dfWod tTsfnLg k|wfgdGqL dfGo'n 8] uf]8f]O{sL l;b\w ePsf] lyof] . k/Gt' pGgfO;f}“ ztfAbLsf] k|]ldsf k]lk6f 6'8f] dfGy] . uf]ofnfO{ oL lrq ;'?cft;“u} gj zf:qLotfjfb lzlyn uf]8f]O{n] g} n]Vg nufPsf lyP . nf}lss eO;s]sf] lyof] . To;nfO{ /f]dfG;jfbsf] kfqnfO{ ljj:q lrq0f ug{ / k|bz{g ug{df cleofgn] lj:yfkg u/]sf] lyof] . Sofyf]lns rr{n] k|ltaGw nufPsf sf/0f kGofOnf] t'lnsf3ft, ;an /ª ljGof;, hl6n uf]ofsf] hLjg sfndf oL b'j} lrq ;fj{hlgs Pjd\ c;dfg'kflts ;+/rgf, 5fof k|sfzsf] ul/Psf] lyPg . ;zSt k|efj, cfs[ltx¿sf] efjk"0f{ d'b|f / pGgfO;f}“ ztfAbL M oyfy{jfb, k|efjjfb / l:ylt /f]dfG;jfbL lrqsnfsf ljz]iftf pTt/ k|efjjfb dflgG5g\ . /f]dfG;jfbL lrqsf/x¿n] k|efjzfnL g]tfx¿, ;'Gb/ dlxnfx¿ / pGgfO;f}“ ztfAbLdf rr{ / /fhfsf] zlStdf ljb|f]xL ljifo j:t'dfly hLjGt kf]6]«6x¿ ljv08g cfP;“u} snfsf If]qdf klg ltgsf] l;h{gf u/]sf lyP . t]cf]8f]/ h]l/sf] / k|efj 36\g yfn]sf] lyof] . ltgsf 7fp“df snf cf]h]g b]nfj|mfn] cg]sf}F o:tf kf]6«]6x¿ /rgf ;+/Ifssf ¿kdf k'“hLklt a'h'{jf ju{, /fHo u/]sf lyP . /f]dfG;jfbnfO{ :ki6 :j¿k lbg] ;/sf/ tyf /fli6«o Ps]8]dLx¿ b]vfkg{ >]o h]l/sf]nfO{ hfG5 . h]l/sf]n] dgf]/f]uaf6 yfn]sf lyP . ztfAbLsf] pQ/fb\w{sf u|l;t JolStx¿sf b; cf]6f kf]6«]6sf] z[ª\vnf bzs;Dd cfOk'Ubf snf ahf/n] cGt/f{li6«o n]v]sf lyP . tL kf]6«]6x¿ pTs[i6 snfTds :j¿k lnO;s]sf] lyof] eg] gof“ / k'/fgf z}nL / cleJo~hgfsf cltl/St JolSt snfs[ltx¿ lsga]r ug]{ Jofj;flos cf6{ ljz]ifsf] dgf]ut ljrngsf] cj:yfsf l8n/x¿n] dxTTjk"0f{ :yfg cf]ul6;s]sf clen]vsf ¿kdf k|l;b\w 5g\ . lyP . o'/f]k / cd]l/sfel/sf k|lzIffyL{x¿sf nflu ‘Osf]n 8] af]hf/’ elgg] k]l/;sf Ps]8] :k]gsf lrqsf/ uf]ofn] b/af/L Pjd\ clehft lds snfsf/x¿sf :6'l8of]x¿ cfsif{0fsf JolStx¿sf] hlt klg lrq agfP, pgLx¿nfO{ s]Gb| lyP . k|foM ;a} snfsf/x¿ ‘k]l/; ;nf]“’
69 pTs[i6tf / pko'St ljifo j:t'nfO{ :jLs[t z}nLdf cª\sg ug]{ snfsf/x¿ dfq Ps]8]dLsf] s[kfkfq aGy] . k]l/; ;nf]“ ?9LjfbL lg0ff{osx¿sf] lgoGq0fdf /x]sf] lyof] / ;g\ !*#) sf] bzsb]lv pgLx¿n] k|fljlws ¿kn] Ps]8]dLsf] dfkb08eGbf lgDg sf]6Lsf / ;fdfGo ljifo j:t'df cfwfl/t snfs[ltx¿nfO{ lgoldt ¿kdf c:jLs[t ug{ yfn]sf lyP . ztfAbLsf kl5Nnf bzsx¿df cfP/ k|ultzLn Pjd\ :jtGq snfsf/x¿sf] Pp6f ;d"xn] ;nf]“sf nflu cfk\mgf sfd a'´fpg 5f8]sf lyP . oL :jtGq ljrf/wf/fsf snfsf/x¿n] lgtfGt oyfy{jfbL b[li6sf]0faf6 clek|]l/t /x]/ gof“ ;fdflhs r]tgfdf cfwfl/t snfs[ltx¿ /rgf ug{ yfn]sf lyP . oL :jtGq ljrf/wf/fsf snfsf/x¿ snf eg]sf] ‘cfj/0f/lxt oyfy{’ x'g'k5{ eGg] b[9 wf/0ff /fVy] . pgLx¿sf] z}nL ‘l/olnHd’ cyf{t\ ‘oyfy{jfb’ sf gfp“af6 Thomas Eakins. Mrs. Edith Mahon, 1903. ljZj k|l;b\w /x]sf] 5 . Oil on canvas. Smith College Museum of Art -Northampton, Massachusetts. pGgfO;f}F ztfAbLdf Uo':tfe s'a]{ h:tf elgg] /fli6«o k|bz{gLdf snfs[lt k|bz{g ug{, oyfy{jfbL snfsf/x¿n] ;dfhsf lgDg tyf cfk\mgf sfdaf/] ;dLIfsx¿af6 dWod juL{o kfqx¿df cfwfl/t pb\b]Zd"ns ;sf/fTds k|ltlj|mof kfpg / snf kf]6«]6x¿ /rgf u/]sf lyP . s'a]{n] o'jfj:yfdf cg'/fuLx¿nfO{ snfs[lt a]Rg nfnflot /f]dfG;jfbaf6 k|]l/t eP/ ljljw dgl:ylt / /xGy] . cvaf/ tyf klqsfdf k|sflzt x'g] efjnfO{ cleJoSt ug]{ cfTd lrqx¿ n]v]sf snf ;dLIfsx¿sf] l6Kk0fL / b[li6sf]0fn] lyP . csf{ k|mfG;]nL oyfy{jfbL lrqsf/ snf ;ª\u|xstf{x¿nfO{ k|efljt kfg{ yfn] cf]g/] bf]ldon] cfk\mgf ;dsfnLgx¿sf y'k|} sf lyP . cf6{ Uofn/L tyf Do'lhodx¿ o;} Sofl/s]r/x¿ n]v]sf lyP . ztfAbLb]lv cl:tTjdf cfpg yfn]sf lyP . k|Voft cd]l/sL snfsf/ yf]d; OlsG; pGgfO;f}“ ztfAbLsf] dWo sfn;Dd cfOk'Ubf oyfy{jfbsf cgGo cg'ofoLsf ¿kdf klg snf lzIf0f kb\wlt / snfs[ltsf] lrlgG5g\ . k/Dk/fut wf/b]lv k[ys vfnsf ;fj{hlgs k|bz{gLdfly o'/f]k]nL /fli6«o kf]6]«6 /rgfx¿sf nflu pgL k|l;b\w /x]sf Ps]8]dLx¿sf] s7f]/ lgoGq0f /x]sf] 5g\ .\ ‘>LdtL Pl8y dfxf]g’ -;g\ !()#_ lyof] . tTsfnLg ;Gbe{df oyf]lrt k|fljlws zLif{ssf] kf]6]«6df pgn] b'Mv / ljiffb h:tf
70 1 5 th Anniversary
Edouard Manet. Stéphane Mallarmé, 1876. Oil on canvas, 27.5 X 36 cm. Musée d'Orsay. c?lrs/ dfgjLo ;+j]unfO{ OdfGbf/Lk"j{s ;Dej ePsf] lyof] . k|:t't u/]sf lyP . df]8]nsf nflu vr{ h'6fpg g;Sgfn] ;g\ !*&) sf] bzs;Dd cfOk'Ubf k|mfG;]nL clwsf+z ODk|];lg:6 lrqsf/x¿ k|foM snf hut\df oyfy{jfbn] ‘ODk|];lgHd’ cyf{t\ kl/jf/ / ldqhgx¿nfO{ g} lrq /rgfsf nflu k|efjjfbnfO{ dfu{ k|z:t ul/;s]sf] df]8]nsf ¿kdf k|of]u uy]{ . pgLx¿ ;fd"lxs lyof] . snfdf :jtGqtf / gjLg wf/k|lt jf Psn cfs[ltx¿nfO{ v'nf kl/j]zdf jf k|ltab\wtfsf sf/0f oL ‘ODk|];lg:6x¿ Pp6} k|sfz cfR5flbt sIfleq lrq0f uy]{ . kftnf ;d"xleq uf]naGb /x]sf lyP, clkt' ljifout / rxlsnf /ª\ufª\sg tyf k|:6 t'lnsf3ftx¿ ?lr tyf z}nL Pjd\ JolStut :jefjsf k|o'St oL ODk|];lg:6 kf]6]«6x¿ jf:tjd} b[li6n] pgLx¿ ljljw rl/qsf lyP . cfw'lgs cfTdLo / lrTtfsif{s 5g\ . snfsf] k|f/De dflgg] ODk|];lgHdsf] ar{:j aL;f}“ ztfAbLsf] k"jf{b\w{;Dd /x]sf] lyof] . o;} Pb\jf/ dfg]nfO{ oyfy{jfb / k|efjjfb larsf z}nLsf sf/0f cfw'lgs snfsf wf/ dflgg] ;]t' lrqsf/sf ¿kdf lng] ul/G5 . pgnfO{ pTt/ k|efjjfb, kmjjfb, 3gjfb h:tf pGgfO;f}“ ztfAbLsf] k|mfG;]nL lrqsnfsf] pTt/jtL{ ljljw jfb Pjd\ z}nLx¿sf] pTyfg Oltxf;df tTsfnLg cfw'lgs hLjgnfO{
71 d]/L s];]6 cd]l/sfsf] k]lG;neflgofsL lyOg\, tyflk hLjgsf] clwsf+z ;do k|mfG;df latfPsL lyOg\ . pgL b]ufsf lgs6td ldq lyOg\ . b]ufs} k|f]T;fxg kfP/ pgn] ODk|];lg:6x¿sf] ;d"xdf k|j]z u/]sL lyOg\ . s];]6n] k|foM dlxnfx¿sf] ;fdflhs Pjd\ lghL hLjg / afnaflnsf;“u pgLx¿sf] ;fldKonfO{ cfk\mgf lrqx¿df cleJoSt u/]sL lyOg\ . lko/]–cUo':t /]Gjf/\ ODk|];lg:6 Edgar Degas.The Bellelli Family, c. 1858–1867, lyP, clkt' pgsf sfdx¿df gj Oil paint. Musée d'Orsay. zf:qLotfjfb / /f]dfG;jfbsf] dgf]/d ;lDd>0f lrqdf hLjGt kfg]{ klxnf] lrqsf/sf] >]o lbg] b[Zodfg x'G5 . pgsf sfddf clgof]lht t/ ul/G5 . dfg]n] cfk\mgf lrqdf cfs[ltx¿nfO{ ljlzi6 /ª ;ª\ult Pjd\ hLjGt k|sfz ;/nLs[t u/L 5fofsf] k|efjnfO{ Go"g u/]sf b[li6uf]r/ x'G5g\ . at{ df]l/hf]n] klg d]/L lyP . pgsf] /ª\ufª\sg kb\wlt hfkfgL s];]6n] h:t} ;dfhsf ;De|fGt dlxnfx¿nfO{ lk|G6x¿af6 k|efljt lyof] . pgsf] ‘:6]kmg] s]Gb| agfO{ sfd u/]sL lyOg\ . dfNnfd]{’ -;g\ !*&^_ nfO{ oyfy{jfb / ;g\ !**) sf] bzssf] dWo sfn;Dd k|efjjfbsf] ;lDd>0fsf] ;'Gb/ pbfx/0fsf cfOk'Ubf ODk|];lgHdn] dha't h/f ¿kdf lnOG5 . ufl8;s]sf] lyof] eg] o;} ;dob]lv kf]:6 Pb\uf b]ufsf] klxrfg k|efjjfbsf ;+:yfks ODk|];lgHd cyf{t\ pTt/ k|efjjfb / c¿ gof“ dWo] Pssf ¿kdf /x]sf] 5, clkt' pgL snf cleofgx¿ j|mdzM b]vfkg{ ‘k|efjjfb’ zAbsf 3f]/ lj/f]wL lyP / cfk"mnfO{ yfln;s]sf lyP . snfsf If]qdf ‘l/oln:6’ cyf{t\ ‘oyfy{jfbL’ eGg ?rfp“y] . b]vfk/]sf oL gof“ wf/x¿n] k/Dk/fnfO{ ´g\ pgL ;zSt 8«fk\m6\;Dofg lyP . pgsf kf]6«]6 r'gf}tL lbg yfn]sf lyP . kf}n uf]Uj“ / /rgfx¿ kfqsf dgf]ut bzf tyf dfgjLo leG;]G6 efg uf] b'j} pTt/ k|efjjfbL lrqsf/ Psfª\uLkgsf] ;zSt lrq0fsf ¿kdf k|l;b\w lyP . pgLx¿n] k/Dk/feGbf k[ys /ª 5g\ . pgL snfdf j|mflGtsf/L kl/jt{gsf ljGof; t/ efj ;Dk|]if0fsf b[li6n] lgs} ;zSt kIfkftL lyP, tyflk snfsf ljlzi6 kf]6«]6x¿ agfPsf lyP . efg uf]n] cfk\mgf] k/Dk/fut cfbz{k|lt lgi7f /fVy] . ctM hLjg sfndf cg]sf}“ cfTdlrq agfPsf sltko snfljb\x¿n] b]ufnfO{ ‘cfw'lgs lyP . ;g\ !**^ b]lv !**( sf] cjlwdf hLjgsf zf:qLo lrqsf/’ sf] ;+1f lbPsf dfq pgn] cfk"m :jod\nfO{ rfln; kN6eGbf 5g\ . ‘a]Nn]nL kl/jf/’ -;g\ !*%*–!*^&_ a9L lrqfª\sg u/]sf lyP . tLdWo] s'g}df df pgn] Ps csf{k|lt c;Gt'i6 kl/jf/sf bf/L;lxt, s'g}df bf/L/lxt / s'g}df sfgdf ;b:ox¿nfO{ cleJoSt u/]sf 5g\ . of] lrq k6\6L af“w]sf cflb ljljw :j¿kx¿sf] bz{g pgsf pTs[i6 kf]6«]6 /rgfx¿dWo] ulgG5 . x'G5 . ;g\ !**( df n]lvPsf] efg uf]sf] cfT-
72 1 5 th Anniversary dlrqdf ;Lldt /ªdfq k|of]u ul/Psf ljwfsf] cfudgn] ljifo j:t'nfO{ b'?:t Pjd\ 5g\ . ´6\6 x]bf{ o; lrqdf df]gf]j|mf]d k|efj oyfy{k/s lrqfª\sg ug]{ k/Dk/fb]lv b[li6uf]r/ x'G5 . ;Dk"0f{ lrqdf lkmsf lgnf] /lxcfPsf] snfsf/sf] l;ksf] dxTTjnfO{ xl/of] /ªsf] k|wfGo /x]sf 5g\ . pgsf cjd"Nog ug{ yfn]sf] lyof] . k/Gt' o; clwsf+z cfTdlrqdf h:t} o;df klg lrq r'gf}tLaf6 xtf]T;flxt x'g'sf abnf kfqn] bz{stk{m l;wf gx]/L cGt st} yf]d; OlsG; / P8u b]uf h:tf lrqsf/x¿n] x]l//x]sf] k|tLt x'G5 / pbf; Pjd\ Psf]xf]/f] lrqsf/x¿n] kmf]6f]u|fkmLaf6 b]vfpg g;lsg] ;f]rdUg cj:yfdf b]lvG5g\ . jf To;n] eGbf c´ df}lns Pjd\ snfTds 9ª\usf] k|:t'lttk{m Wofg s]lGb|t ug{ yfn]sf cToGt k|efjzfnL pTt/ k|efjjfbL lyP . kmntM pgLx¿ j}olSts ?lr / r]tgfaf6 lrqsf/x¿sf kª\lStdf cfF/L b] t'n'h a9L lgb]{lzt /xg yfn]sf lyP / pgLx¿df nf]q]s klg k5{g\ . pgn] cfk"mn] lgs6;“u ljifo j:t' / lzNk ljlw b'j} b[li6n] :jR5Gb b]v]sf, ;ª\ut u/]sf ;fdflhs :t/, jftfj/0f 9ª\un] sfd ug]{ k|j[lTtn] h/f uf8\g yfn]sf] tyf cfk"m k|foM uO/xg] 7fp“x¿ Pjd\ Toxf“ lyof] . To; tfsf /ª\uLg kmf]6f]u|fkmLsf] ljsf; e]l6g] kfqx¿nfO{ cfTdLotfk"j{s oyfy{ ¿kdf eOg;s]sf] kl/k|]Iodf lrqsf/Ldf /ª\ufª\sg lrq0f u/]sf 5g\ . kb\wlt ;DaGwL ljljw k|of]utk{m lrqsf/x¿ o;} ztfAbLsf lrqsf/ hf]g l;ª\u/ ;fh]{G6sf] k|f]T;flxt ePsf lyP . k|efjjfb / pTt/ k|efjjfbk|lt s'g} df]x lyPg . pgn] oyfy{jfbL z}nLnfO{ k5\ofP/ ;zSt /ª\ufsg k|of]u u/L clt ;'Gb/ Psn / ;fd"lxs kf]6«]6x¿ agfPsf lyP . pgnfO{ efg 8fOsaf6 cf/De ePsf] la|l6; kf]6«]6 k/Dk/fsf clGtd dxTTjk"0f{ snfsf/sf ¿kdf lnOG5 . cd]l/sfdf hGd]/ cGt/f{li6«o Voflt sdfPsf h]D; caf]6 Dofslgn x\lj:n/n] s]xL ;j{yf leGg vfnsf kf]6]6 /rgf u/]sf lyP . v}/f] / sfnf]df ;+/rgf ul/Psf] ‘snfsf/sL dftf’ -;g\ !*&!_ zLif{ssf] pgsf] lrq lgs} k|l;b\w /x]sf] 5 . x\lj:n/ cfk\mgf sfddf cfsf/ / /ªsf] nok"0f{ ;+/rgfnfO{ dxTTj lbGy] . ;g\ !*$) sf] bzsb]lv kmf]6f]u|fkmL k|ljlwdf ;'wf/;“u} o;sf] pkof]u Pjd\ nf]slk|otfn] Henri Matisse. Portrait of Madame Matisse (The green line), 1905. Oil on canvas, Statens Jofkstf lng yfn]sf] lyof] . kmf]6f]u|fkmL Museum for Kunst, Copenhagen, Denmark.
73 Gustav Klimt, Portrait of Adele Bloch-Bauer I (The Woman in Gold), 1907. Oil, silver, and gold on canvas, 138 cm x 138 cm. Neue Galerie, New York.
la;f}“ ztfAbL ultdf eO/x]sf] ;x/Ls/0f tyf cf}b\of]uLs/0fsf sf/0f ;fdflhs d"No / l/g];f“ sfnb]lv rNb} cfPsf snf k/Dk/fk|lt dfGotfdf cfPsf] kl/jt{g /x]sf] dfGg lju|xsf] j|md pGgfO;f}F ztfAbLsf] ;lsG5 . jf:tjdf cfw'lgs snfsf] cleofg pTt/fb\w{b]lv g} ;'? eO;s]sf] lyof] . lj:tf/} / ts{ab\w 9ª\uaf6 j|mdzM cufl8 la;f}F ztfAbLdf cfP/ o; j|mdn] emg} a9\b} uPsf] lyof] . snfdf cfw'lgstf Jofkstf lnPsf] lyof] . o; ztfAbLdf j|mflGtsf/L lyPg, a? ljsf;jfbL lyof] . cfw'lgs snfn] 7'nf] km8\sf] dfg'{sf] k[i7e"lddf b'O{ cf]6f ljZj o'b\wsf] qf;bL, b|'t la;f}F ztfAbLsf] k|f/De;Fu} kf]6«]6 snf gofF lbzftk{m pGd'v x'g yfn]sf] lyof] .
74 1 5 th Anniversary cf]6\6f] l8S; / DofS; a]sdgn] cleJo~hgfjfbL pNn]vgLo kf]6«]6x¿ n]v]sf lyP . a]sdgn] pRr sf]6Lsf s]xL cleJo~hgfjfbL cfTd lrqx¿ n]v]sf lyP . cfd]b]of] df]lbofgLn] cfk\mgf nDafsf/ df}lns z}nLdf cg]sf}F /f]df~rs kf]6«]6x¿ n]v]sf lyP . cfk\mgf tL /rgfx¿df pgn] ckl/lrt dfG5], afn aflnsf, ;8s afnfx¿, sfdsfhL dlxnfx¿ cflbnfO{ df]8nsf ¿kdf k|of]u u/]sf lyP . df]bLn] pgLx¿nfO{ cfk\mgf cToGt} /f]rs z}nLn] o'St /]vfª\sg / dfw'o{ /ª ljGof;åf/f cd/ agfOlbPsf lyP . tfdf/f 8] n]lDksfn] ‘cf6{ 8]sf]’ o'unfO{ Max Beckmann. Self Portrait with Champagne k|ltlglwTj ub}{ ;kmn kf]6«]6x¿ n]v]sf lyP . Glass, 1919. Oil on canvas, 65 cm x 55.5 cm. ;g\ !(@) / !(#) bzssf cd]l/sL l/oln:6 kmjjfbL snfsf/ cfF/L dflt;n] k|s[ltk/:t :s'nnfO{ /a6{ x]g/L / hh{ a]nf]h lrlgG5g\ . cEof;nfO{ TofUb} /ftf], lgnf], kx]Fnf], xl/of] h:tf ljz'b\w /ªx¿ k|of]u ub}{ cgf}7f t/ k|efjzfnL kf]6«]6x¿ l;h{gf u/]sf lyP . ;]hfgsf] ?lr kf]6«]6df ;"Id cª\sgsf abnf ;/nLs[t cfsf/df lyof] . cl:6«ofsf Uo':tfe lSnDK6n] afOh]G6fOg snfsf 9fFrfdf ;'gf}nf /ª k|of]u ub}{ ‘;'j0f{ dlxnf’ h:tf snfTdstfn] cf]tk|f]t kf]6«]6 l;h{gf u/]sf lyP . :k]lg; snfsf/ kfAnf] lksf;f]n] cfk\mgf k|]ldsfx¿nfO{ So'la:6 -3gjfbL_ lrq /rgfx¿df ptf/]sf lyP . pgsf oL cfs[ltx¿nfO{ kfZrfTo snfsf Oltxf;df ;fdfGo Sofl/s]r/dfq geO{ ljifo j:t'sf] ;'Gb/ / ;+j]uk"0f{ l8:6f];{gsf ¿kdf lnOG5 . ‘PS;k|];lg:6’ cyf{t\ ‘cleJo~hgfjfbL’ lrqsf/x¿n] o;eGbf cufl8 gb]lvPsf dgf]j}1flgs cWoogdf cfwfl/t cb\e"t kf]6«]6 l;h{gf u/]sf lyP . hd{g snfsf/x¿ Tamara de Lempicka. Portrait of Ira P, 1930.
75 Amedeo Modigliani. Reclining Nude, 1917. Oil on canvas. The Metropolitan Museum of Art, New York.
Francis Bacon. Three Studies for a Portrait of Henrietta Moraes, 1963. DofS; cg]{:6sf] ‘;a} ldqhg;Fu}’ a9\bf] e'msfjsf] kl/0ffd:j¿k ;g\ !($) / -;g\ !(@@_ zLif{ssf] lrqnfO{ ljz'b\w !(%) sf] bzsdf cfP/ /l;ofnfO{ 5f8]/ cfw'lgs kf]6«]6sf] pbfx/0fsf ¿kdf lng o'/f]k / cd]l/sfdf kf]6«]6 k]lG6ª ljwf ;':tfpg ;lsG5 . yfn]sf] lyof] . k/Gt' o; ;Gbe{df cd]l/sL oyfy{jfbL lrqsf/ PG8«o' ljynfO{ ckjfb ;g\ !(#)–@))) ;Ddsf] cjlwdf oyfy{jfbL dfGg ;lsG5 . ;g\ !(&!–!(*% sf] cjlwdf / cfs[ltd"ns kf]6]6 k]lG6ªsf k/Dk/fnfO{ ‘x]Nuf’ zLif{sdf pgn] x]Nuf 6]:6f]k{m gfpFsL hLljt /fVgdf /l;ofnL snfsf/x¿ O;fs dlxnfsf @$& cf]6f lrq n]v]sf lyP . oL a|f]8\:sL, lgsfnfO{ k]mlrg, ca|fd clv{kf]e lrqx¿ ljljw kl/j]zdf s'g} ;j:q / s'g} cflbsf] dxTTjk"0f{ of]ubfg /x]sf] 5 . cd"t{ ljj:q /x]sf 5g\ . Ps} hgf snfsf/n] Pp6} snf -PA;6«ofS6 cf6{_ / cfs[ltljxLg snf kfqsf] olt w]/} ;ª\Vofdf ;fob} c¿ -gg lkmu/]l6e cf6{_ k|lt snfsf/x¿sf]
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Andrew Wyeth. Helga, 1981. Drybrush and/or watercolour on paper.
77 Jamie Wyeth. Portrait of Arnold Schwarzenegger, 1977. Oil on canvas. cfk\mgf lktf PG8«o' ljysf] oyfy{jfbL k/Dk/fnfO{ g} cg';/0f ub}{ cb\of]kfGt a]hf]8 Lucian Freud. Reflection (self portrait), 1985. kf]6]«6x¿ l;h{gf ul//x]sf 5g\ . pgsf ljifo Oil on canvas. j:t'df /fi6«kltb]lv lnP/ ;fdfGo ;'Fu'/;Dd snfsf/n] n]v]sf 5g\ . ;d]l6Psf 5g\ . ;g\ !(^) / !(&) sf] bzsdf cª\u|]h ;Gbe{ ;"rL snfsf/x¿ n'l;og k|mfo8 / k|mflG;; a]sgsf Adams, Laurie Schneider. A History of Western sf/0f kf]6«]6 ljwfsf] k'ghf{u/0f ePsf] dfGg Art. 3rd ed. New York: McGraw-Hill, 2001. ;lsG5 . oL b'j}n] lgs} k|efjzfnL kf]6«]6x¿ Cunningham, Lawrence S. and Reich, John J. Culture and Values: A Survey of the l;h{gf u/]sf lyP . a]sgsf kf]6«]6x¿ ltgdf Humanities. 6th ed. USA: Thomson Learning b[Zodfg ljeT;k"0f{ u'0fsf nflu rlr{t 5g\ . Inc, 2006. n'l;og k|mfo8sf kf]6]«6x¿df cToGt} 7f]; David Piper, The Illustrated Library of Art. ;+/rgf, ;an t'lnsf3ftx¿ / kfqx¿sf] Portland House, New York, 1986. dd{:kzL{ dgf]bzfsf] bz{g x'G5 . Gombrich, E. H. The Story of Art. London: Phaidon Press Ltd., rev. ed. 2000.
PG8L jf/xf]n, cn]S; sf6\h, rs Snf]h Gordon C. Aymar, The Art of Portrait Painting. cflb k|e[lt ;dsfnLg cd]l/sL Chilton Book Co., Philadelphia, 1967, snfsf/x¿n] cfk\mgf /rgfx¿df dfgj Gowing, Sir Lawrence (Ed.). A Biographical Dictionary of Artists. Revised ed. Oxfordshire, d'xf/nfO{ s]Gb| agfP/ sfd u/]sf lyP . England: Andromeda Oxford Ltd. 2002. kmf]6f]u|fkmL cfs[ltdf cfwfl/t a[xt\ cfsf/ / Gowing, Sir Lawrence (Ed.). A History of Art. pu| oyfy{jfbL -xfOk/ l/oflnl:6s_ kf]6«]6x¿ Rev. ed. Oxfordshire, England: Andromeda rs Snf]hsf ljz]iftf dflgG5 . h]dL ljyn] Oxford Ltd. 1995.
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Hale, J. R. (Ed.). A concise Encyclopedia of the Italian Renaissance. New York: Oxford University Press, 1982.
John, Hope-Hennessy. The Portrait in the Renaissance. Bollingen Foundation, New York, 1966.
Patridge, Loren. The Art of Renaissance Rome. New York: Harry N. Abrams, 1996.
Piper, David. The Illustrated History of Art. London: Octopus Publishing Group Ltd, 1981.
Robin Simon, The Portrait in Britain and America. G. K. Hall and Co., Boston, 1987.
Stokstad, Marilyn. Art History: A View of the West. Volume One and Volume Two. 3rd ed. New Jersey: Pearson Education, Inc. 2008.
Woodall, Joanna. Portraiture: Facing the Subject. Manchester University Press, Manchester, 1997. gjLGb|dfg /fhe08f/L
gjLGb|dfg /fhe08f/L lrq l;h{gfsf cltl/St l;h{gf sn]h ckm kmfOg cf6{;\df snf Oltxf; ljifo cWofkg u5{g\ / snfaf/] n]V5g\ klg . pgL lgs} nfdf] ;dob]lv lghfdtL ;]jf cGtu{t kf7\oj|md ljsf; s]Gb|, ;fgf]l7dLdf sfo{/t 5g\ . pgLåf/f lnlvt ‘kfZrfTo snf M ;ª\lIfKt Oltxf; -klxnf] efu_’ k|sflzt eO;s]sf] 5 eg] o;} k':tssf] bf];|f] efu k|sfzf]Gd'v 5 .
79 Art & Heritage: An Ancient Image at our Doorstep
Dr Poonam Rajya Laxmi Rana
For those interested in art, Chaturmurtis and it continues to this architectures, ancient temples and day. This image belongs to the 3rd monumental remains, Nepal is century AD. It has been sculptured an open museum. At every nook from a single piece of rock that has and corner there are temples with been withstanding sun, wind, rain, unique art/ artistic creations to make hail, fog, frost. Most of its features outsiders wonder as to how they were have been fragmented and withered crafted? with time. Yet its grandeur and uniqueness can be identified despite This Chaturmurti image is at the erosion and fragmentation. This Rastriya Nach Ghar, Jamal, which unique piece of Chaturmurti image, lies in the heart of the city. Chatur does not exist anywhere else, but in is four, and ‘murti’ means image or Nepal. icon. It means four images in one sculpture. Since many centuries, the The first image is of Brahma (the sculptors of Nepal have been making creator), standing on the lotus Pedestal who is regarded as the source of knowledge and his consort Saraswati is ‘knowledge’ itself. On its right is the image of Shiva (Fig 2), and towards its right is the image of Vishnu (Fig 3). In between Brahma and Vishnu is the image of Shakti (Fig 4).This Chaturmurti image rests on a single‘Jalahari’ water –vessel shaped as pedestal. Some important characteristic feature of this image is that it is made of single sandy rock.
Among the Hindus the ‘THREE TRINITY’ or ‘TRIMURTI’ holds an important position, however, in this image; Brahma is given more importance than the others. Vasudeva Saran Agrawal views that Brahma worship existed in India during Mathura and Kushan period. The icon of Brahma was depicted with four Fig 1. The Chaturmurti Image, Rastriya Nach heads therefore known as (Chatur- Ghar, 3rd Century A.D. anana), four face, (chatur-mukha),
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cloth tied around his waist. On his neck he wears a single beaded ‘mala’ or necklace. He is shown with a keyura or armlet, bala or wristlet, karana kundala or earring; and is shown holding ‘akshayamala’ or prayer beads on his right hand, and left hand he is shown with ‘kamandalu’ or water pot. This is the oldest Brahma image of Nepal. It has a broad shoulder and chest and the shape of the lotus petal are similar to the Mathura style of India. Like any other ancient images of Nepal this image also does not depict ‘upavita’ or the sacred thread. This is one of the features that distinguish ancient images with the new images.
On the right side of Brahma image is the icon of Shiva shown standing on a small ‘padapitha’ or the pedestal. He is depicted with four hands, on his ears he wears a kundala (earring), kanthahara (necklace), bala (wristlet). Fig 2. Siva image of Chaturmurti He is also shown with a dhoti or antariya or a cloth tied around his eight eared (asta-karna). In his hands he holds four Vedas, or he may hold the Veda in one hand and in other various accessories such as ‘jap mala’ or prayer beads, ‘kamandalu or water pot. He is usually bearded, which symbolizes maturity; and his vehicle is a swan or goose that signifies knowledge. He is always depicted on the lotus springing from Lord Vishnu’s navel.
This image at the Rastriya Nachghar is depicted in ‘samabhanga mudra’ with legs slightly apart, placed upon a lotus flower. Lord Brahma is depicted with four heads that signifies 4 directions. This image depicts only three heads with ‘jata’ or raised headdress, some portion of this images is eroded. Brahma is shown wearing a dhoti or a simple Fig 3. Vishnu image Chaturmurti
81 Fig 4. Shakti Image Chaturmurti, Epatol, Sakhu, 8th-9th century A.D. waist that comes up to his knee. He is On the right side of Siva is the image depicted with four hands holding ‘jal- of Shakti, This image is one of the patra’ water-pot or kamandalu, trisul most artistic creation of its time. This or trident and one hand in varadha image shows that the sculptors had mudra or symbol of blessing.This is surpassed excellence. The image also one of the oldest image of Shiva depicts a lovely female figure with in Nepalese art. smiling face. She stands on a small pedestal in a samabhanga posture. On the right side of Siva is the image She is shown wearing kundal of Lord Vishnu the ‘saviour’. This (earring), necklace, ‘kalli’ or anklet image is in ‘samabhanga mudra with and dhoti a cloth tied around the legs slightly apart. It is highly eroded. waist that reaches up to the feet. Like The face, hand and other frontal other ancient images of her period portions are highly eroded. He is her hair-style is similar to Chyasalhiti depicted wearing kundala, (earring), Gajalaxmi. . necklace, antariya or dhoti or cloth tied around the waist, it is similar Another Chaturmurti image was to that of Lord Brahma’s image. He made 500 years later in the town of is depicted with four hands holding Epatol Sankhu, some 12 miles away samkha (conch shell), charka (discus), from Kathmandu. This image belongs gadha (mace) and one hand in to 8th 9th century AD. This image varadha mudra (symbol of blessing). has Brahma with a single head and
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Vishnu with Samkha (conch), Chakra (discus), Gadha (mace), and Padma (lotus) .In between them is the image of Ardhanareswara (Hermaphrodite) showing union of Siva & Shakti, prior to this century image of Ardhanareswara had not been made. This image is constructed around a huge ‘Shiva linga’ placed on a square shaped ‘jalahari’ (water-vessel shaped pedestal).
Both these Chaturmurti differ in style. The Chaturmurti at Epatol, has the look of ChanguNarayana Viswaroopa’ image. This image is more refined. All this shows that as Dr. Poonam Rajya Laxmi Rana time passed, art, artistic creations also underwent refinement. Despite what Dr. Poonam Rajya Laxmi Rana maybe, the “Chaturmurti” image at is an Associate Professor in the Rastriya Nach Ghar near Jamal is a Dept of Nepalese History Culture unique piece of ancient art which has & Archaeology, Tribhuvan its own grandeur and style. University, Kirtipur, Kathmandu, Nepal.
She holds Masters Degree in Sociology and Environment & Ecology and Doctorate in Nepalese History Culture & Archaeology. She is also a graduate in Fine Arts. She has conducted Solo Exhibition twice.
She is also involved in teaching A Levels, AS Levels & O Levels Sociology & Enviromental Management. And Nepal studies. Her articles have been published in both national & International magazines.
She has participated in various National & International Seminars & Conferences. She has won International Scholarship to Deutschland for her story and has been twice short listed for Asian Scholarship.
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gu]Gb|k|;fb Gof}kfg] tfn jfbgnfO{ ;ª\ul7t / ;'Jojl:yt ug{sf k|:tf/nfO{ dflgPsf] 5 . o;}sf] k|of]uåf/f g} nflu u7g ul/Psf] kb\wltsf] k|of]u g} tfnsf] tfnsf] :j¿k / ;f}Gbo{ hLljt /xG5 . tfnsf] bzk|f0f xf] . tfnsf bzk|f0fsf ljifodf k|frLg bzk|f0faf/] ;ª\lIfKt ljj]rgf tn ul/G5 — / dWosfnLg ljåfg\x¿lar dt dtfGt/ /x]sf] kfOG5 . k|frLg k/Dk/fb]lv rlncfPsf] sfn tfn ;+/rgfsf] d"ne"t cfwf/sf] kl/sNkgf ;fwf/0ftof sfnsf] cy{ ;do x'G5 . g} ;'Jojl:yt eP/ tfnsf] bzk|f0fsf ¿kdf ;ª\uLtdf ufog, jfbg tyf g[Todf h'g ;do k|:k'ml6t ePsf] xf] eGg ;lsG5 . tfnsf] Joltt x'G5, To;nfO{ sfn elgG5 . sfnnfO{ lj|mofTds ¿knfO{ ;fsf/ / ultzLn agfpg tfnsf] dfqf, tfnL, vfnL, ljefu / tyf To;nfO{ hLjGt agfpgsf nflu af]nx¿df af“l8Psf] x'G5 . tfnsf] cfj[lTtsf] ul/Psf] cfTd:j¿k ul7t ¿knfO{ g} tfnsf] ;do, :yfoL jf cGt/fsf] ;do of ljleGg bzk|f0f elgG5 . dfgj¿kL z/L/df k|f0f cyf{t\ ljefu jf dfqfsf] ;do — oL ;a} sfnleq cfTdfsf] dxTTj /x] h:t} tfndf bz k|f0fsf] k5{g\ . ;ª\uLt /Tgfs/df o; k|sf/ JofVof dxTTj /x]sf] 5 . tfnsf] ;+/rgf / To;sf] ul/Psf] 5 — k|ToIf k|of]udf g} bzk|f0fsf] cToGt dxTTjk"0f{ :yfg /x]sf] 5 . tfnM sfn lj|mof dfgd\ tfn :tn k|lti7fofdflt wfof]w{o :d[tM ;ª\uLtsf] of] k|frLg tfn kb\wlt w]/} c+zdf uLt+ jfB+ tyf g[To+ ot:tfn] k|ltli7td\M leGg ePsf sf/0f k|ToIf Jojxf/df o;sf] k|of]u Go"g x'g uPsf] xf] . tyflk tfn dfu{ ;+/rgfsf] k[i7e"ldnfO{ a:g / hfGgsf nflu ;fdfGo cy{df dfu{ eGgfn] af6f] eGg] o;sf] cWoog ;xfos / pkof]uL l;b\w x'G5 . a'lemG5 . cyf{t\ tfnsf] af6f]nfO{ dfu{ ;ª\uLtsf dxfg\ JolStTj kl08t zf/ª\ub]jn] elgG5 . o;n] tfndf dfqfsf] PsfO slt cfk\mgf] u|Gy ‘;ª\uLt /Tgfs/’ df tfnsf] bz nfdf] 5 eGg] a'emfpF5 . To;}cg';f/ o;sf k|f0faf/] o;/L JofVof u/]sf 5g\ – ljleGg cª\ux¿ slt dfqfsf 5g\Ù tfnL, sfnf] dfu{M lj|mofulg u|xf] hftL–snf–no M . vfnL, cflb slt b"/Ldf 5g\Ù Ps cfj{tgdf otL k|:tf/ sYotL tfn k|f0f bzf:d[tf M .. ;db]lv ;d;Ddsf] b'/L slt nfdf] 5 cflb . Ps cIf/b]lv csf]{ cIf/;Dd larsf] cy{ M tfnsf] bzk|f0fsf ¿kdf sfn, dfu{, ;donfO{ dfu{ elgG5 . tfndf ;a}eGbf 5f]6f] lj|mof, cª\u, u|x, hftL, snf, no, olt / PsfO cIf/ sfn xf] . dfu{ 5 k|sf/sf 5g\,
84 1 5 th Anniversary clkt' xfn tn plNnlvt k|sf/dWo] ;'?sf k|of]u ul/g] l;dfgf cyf{t\ af/nfO{ g} cª\u ltg k|sf/ dfq k|rngdf /x]sf] kfOG5 . elgG5 . o;nfO{ cfhef]ln ljefu eGg] ul/G5 . oxL cª\uåf/f sgf{6s tfnsf] /rgf – blIf0fL ePsf] dflgG5 . cª\usf] 5 k|sf/sf gfd / – jlt{sf lrx\g o; k|sf/ 5g\ — – lrqf ;ª\Vof gfd cª\u lrx\g cIf/ sfn – lrqt/ª dfqf – lrqtdf != c0f'b|'t cª\u F ! – clt lrqtdf @= b|'t cª\u ) @ lj|mof #= n3' cª\u . $ s'g} klg tfnnfO{ b'O{ tl/sfaf6 b]vfpg ;lsG5 — tanf ahfP/ cyjf xftsf] $= u'? cª\u * jf * cf3ftåf/f . xftåf/f tfn b]vfpg] ljlwnfO{ %= Kn't cª\u * jf # !@ lj|mof eG5g\ . d'Votof lj|mof b'O{ k|sf/sf 5g\ — ^= sfskb cª\u ± !^ ;zAb lj|mof M tfnsf ljleGg ljefudf u|x cjl:yt tfnnfO{ tfnLcg';f/ b'O{ xft Ps tfndf h'g dfqfaf6 uLt cf/De cyf{t\ csf{df ahf/]/ ahfOG5 eg] To; lj|mofnfO{ g} ;'?cft ul/G5, To; :yfgnfO{ u|x elgG5 . u|x ;zAb lj|mof elgG5 . o;nfO{ tfnL elgG5 . hDdf rf/ k|sf/sf 5g\ . lgMzAb lj|mof M tfnsf zAbdf cyf{t\ dfqfdf ;du|x M uLt, jfb\o tyf g[To sfnsf] klxnf] tfnL glbO{sg cf}“nfn] cyjf xft xNnfP/ dfqfaf6 cf/De x'g] :yfgnfO{ ;du|x dfqf cyjf ljefu b]vfOG5 eg] To; elgG5 . pTt/ lxGb':tfgL ;ª\uLtdf cfhsn lj|mofnfO{ lgMzAb lj|mof elgG5 . o;nfO{ k|To]s tfnsf] klxnf] dfqfnfO{ ;d eg]/ vfnL elgG5 . a'lemG5 . o;sf] lrx\g 'X' dflgPsf] 5 . oxfFaf6 cª\u tfnsf] ;'?cft / cGTo x'G5 . uLtnfO{ gfKgsf nflu tfnsf] k|of]u ljifd u|x M uLt, jfb\o / g[To tfnsf] k|yd ul/G5 . tfn agfpgsf nflu cª\usf] k|of]u dfqfaf6 k|f/De geP/ tfnsf] s'g} cGo dfqf ul/G5 . cª\usf] k|of]unfO{ if8fª\u;+ elgG5 . :yfgaf6 k|f/De x'G5 eg] To; :yfgnfO{ ljifd if8\ eGgfn] 5 x'G5 eg] cª\u;+ eGgfn] cª\u u|x elgG5 . eGg] a'lemG5 . sgf{6s ;ª\uLtdf tfnsf ctLt u|x M ctLtsf] zflAbs cy{ ljleGg ljefunfO{ cª\u elgG5 . cyf{t\ lalt;s]sf] eGg] x'G5 . To;}n] tfnsf] d'Vo tfnnfO{ tfnL vfnL 5'6\ofpgsf nflu cyjf klxnf] :yfg ;dkl5 b]vfpg jf ufpg,
85 ld>df ;ft dfqfsf], v08df kf“r dfqfsf] / ;ª\sL0f{df n3' gf} dfqfsf] x'G5 . o; k|sf/ sgf{6s kb\wltsf] tfndf n3'sf] dfqfdf kl/jt{g ugf{n] & X % = #% tfnsf] /rgf aG5 . lxGb':tfgL ;ª\uLtdf hftLsf] cy{ :ki6 5}g . sgf{6s ;ª\uLtsf] cfwf/cg';f/ ;dfg ;ª\Vofsf] dfqfsf ljefu ePsf] tfn, h:t}M ltgtfn / sx?jf rt:> hftLsf] bfb/f ahfOg] :yfg sfnnfO{ g} ctLt u|x elgG5 . / Ps tfn lt:> hftLsf] emktfn v08 lgk"0f{ tyf Ifdtfjfg\ snfsf/åf/f o;nfO{ hftLsf], e'md/f / ?ks ld> hftLsf] tyf b]vfOg] jf ahfOg] ul/G5 . ljz]iftM rdTsf/ wdf/ tfn ;ª\sL0f{ hftLsf] tfn xf] . k}bf ug{ o:tf lsl;dsf] :yfg / ;dosf] snf k|of]u ug]{ ul/G5 . kmntM bz{s / >f]tfx¿ cfZro{rlst Pjd\ e|ldt kg]{ u5{g\ . jfbg z}nL cyjf ljlwnfO{ snf elgG5 . tanfdf xft /fVg] tl/sf, a}7ssf] cf;g, cgfut u|x M cgfutsf] zflAbs cy{ cfpg] ljleGg af]nsf] lgsf; cyf{t\ lgsfNg] ;do eGg] a'lemG5 . cyf{t\ d'Vo ;dsf] klxnf tl/sf cflbsf] pkof]usf ;fy;fy} cfk\mgf] g} ;d b]vfpg] lglZrt :yfgnfO{ cgfut u|x sf}znk"0f{ cfsif{s jfbg cflbsf] pkof]u g} elgG5 . jf:tjdf ctLt / cgfut u|xnfO{ snfcGtu{t k5{ . snfsf cfwf/df g} ljleGg ljifd u|xsf] k|sf/ dfGg ;lsG5 . o;sf] 5 3/fgfsf] ljsf; / hGd ePsf] 5 . k|of]u k|foM ufog, jfbg tyf g[Todf rdTsf/ k}bf ug{ cyjf ;dsf] e|d /fVgsf nflu no ul/G5 . ;dsf] kl5 / cl3 gSsnL ;d ;dosf] ultnfO{ no elgG5 . ufog, jfbg, / b]vfpg] :yfgnfO{ ctLt / cgfut elgG5 . g[Todf cfwfl/t ;dfg nosf] rfn cyjf o;sf] k|of]u ;fwgfåf/f dfq ;Dej x'G5 . a/fa/ ;dosf] ult g} no xf] . no w]/} hftL k|sf/sf x'G5g\, tyflk ;fwf/0f b[li6af6 ;ª\uLtsf lgldTt nonfO{ ltg efudf blIf0fL ;ª\uLtdf hftL eGgfn] ljefusf] ljefhg ul/Psf] 5, h:t} M dfqfsf] ;ª\Vofsf] af]w eGg] x'G5 . sgf{6s ;ª\uLtdf ;ft tfnnfO{ d'Vo ljnlDjt no M l9nf] ultsf] rfn jf no g} dflgPsf] 5 — w|'j, d7, ¿ks, emDk, lqk'6, ljnlDat no xf] . c7 / Ps . k|To]s tfnsf] kf“r kf“r hftL dWo no M g l9nf] g rf“8f] cyf{t\ h;sf] ult x'G5g\, h:t} M rt>, lt>, ld>, v08 / dWo xf];\, To;nfO{ dWo no elgG5 . ;ª\sL0f{ . n3'sf] dfqfdf kl/jt{g ugf{n] hftLsf] pTklTt x'G5 . cyf{t\ rt> hftLdf b|''t no M h'g no b|'t ult cyjf l56f] 5, n3' rf/ dfqfsf], lt> hftLdf tLg dfqfsf], To;nfO{ g} b|'t no dflgG5 .
86 1 5 th Anniversary otL ;ª\uLtdf ;do gfKgsf nflu /Llt cyjf tl/sfsf] cfjZostf k5{ . o;nfO{ olt elgG5 . nosf] ljleGg ¿kdf k|of]usf] lgod g} otL xf] . ljnlDat, dWo / b|'t nosf] d[bª\uf otL M d[bª\usf] h:tf] cfs/f ePsf] ;+of]uaf6 ljleGg ¿kdf ag]sf] otLsf ljleGg cyf{t\ d'v 5f]6f], lardf k'ms]/ / cGTodf 5f]6f] cfs[ltsf] kl/sNkgf ul/Psf] 5 . tfn ePsf] nodf cjl:yt af]n /rgfnfO{ g} zf:qdf ultsf] k|of]unfO{ ltg nodf lgab\w d[bª\uf otL elgG5 . k|f/De / cGTodf b|'t no, u/]/ ahfpg] lgodnfO{ g} otL elgG5 . otL lardf dWo no ePsf] /rgf g} d[bª\uf otL kfFr k|sf/sf 5g\ M xf] . ;dfotL M otLsf ltg cf]6} ¿k cyjf no Pp6} jf ;dfg /xG5 jf k|f/Deb]lv cGTo;Dd Pp6} ultsf] no g} x'G5 eg] Tof] ;dfotL xf] . o;sf] cfs[lt o:tf] x'G5 M
:qf]tfutf otL M otLsf] ult k|f/Deb]lv lkkLlnsf otL M otLsf] cfsf/ 8d?sf] h:tf] ljnlDat, dWo / b|'t /xG5 eg] To; nodf ePsf] cyf{t\ k|f/De / cGTodf ljnlDat ePsf] cfs[lt cyjf ¿knfO{ :qf]tfutf otL no t/ aLrdf b|'t no ePsf] af]n /rgf g} elgG5 . gbLsf] ;|f]taf6 kfgL au] h:tf] u/L lkkLlnsf otL xf] . To; ultsf] cfwf/df ag]/ rNg] af]n ;d"xnfO{ :qf]tfutf eG5g\ .
uf]k'R5f otL M h'g otLsf] ult ;'?b]lv b|'t, dWo / ljnlDat /xG5, To; cfsf/ af]n /rgf g} uf]k'R5f otL xf] . o;sf] cfs[lt ufO{sf] k'R5/ h:tf] /xG5 .
87 k|:tf/ k|frLg ;dodf tfnnfO{ ljleGg tl/sfåf/f lj:tfl/t ug]{ ul/GYof] . To;df tfnsf] d"n lj|mof, h:t} M dfu{, snf, dfqf, cª\u, otL ;a} k|efljt x'GYof] / k"/} sfn k|df0fnfO{ b]vfP/ cnu cnu ¿kdf cª\unfO{ hf]8\g] ul/GYof] . oxL ljljw cª\u sNkgfsf] gfd g} k|:t/ xf] . rt'/ª\u k|:tf/ / if8fª\u k|:tf/ o;sf b'O{ ljlw x'g\ . jt{dfg ;dodf k|:tf/sf] kl/efiff o; k|sf/ ul/G5 — s'g} klg j:t'nfO{ lj:tf/ ug{ jf k}mnfpgsf nflu ckgfOg] lgod g} k|:tf/ xf] . ;ª\uLtdf k|:tf/sf] :yfg gu]Gb|k|;fb Gof}kfg] clws dxTTjk"0f{ 5, h:t} M :j/ k|:tf/, no k|:tf/, sfobf k|:tf/, /]nf k|:tf/, 7]sf k|:tf/ gu]Gb|k|;fb Gof}kfg] s'zn tanf cflb . jfbssf cltl/St ufossf ¿kdf klg ;'kl/lrt 5g\ . ;ª\uLt ;Gbe{ ;"rL M ljifodf :gftsf]Tt/ u/]sf != >Ljf:tj, cfrfo{ lu/LzrGb| . tfn Gof}kfg]n] g]kfnnufot kl/ro, efu ! . b'aL k|sfzg, ;g\ @)!!, ef/tdf cfof]lht ljljw Onfxafb . ;fª\uLlts sfo{j|mdx¿df cfk\mgf] k|:t'lt lbO;s]sf @= ofbj, k|f= aL= Pn= . tanf k|sfz, 5g\ . ljleGg ;fª\uLlts ;ª\3 efu ! . ;ª\uLt sfof{no, xfy/;, ;+:yfx¿;Fu cfab\w /x]sf Gof}kfg] ;g\ @))&, Onfxafb . xfn kb\dsGof SofDk; , l;h{gf sn]h ckm kmfOg cf6{;\ / g]kfn #= zdf{, eujtz/0f . tfn k|sfz . ;ª\uLt Do'lhs ;]G6/df cWofkg/t 5g\ . sfof{no, xfy/;, ;g\ @))@, p= k|= xfy/; . [email protected] $= jlzi7, kl08t ;Togf/fo0f . tfn dft{08 . ;ª\uLt sfof{no, xfy/;, ;g\ @))!, p= k|= xfy/; . %= e6\6, dfwjk|;fb zdf{ . a|x\dgfb ;ª\uLt . k}/jL k|sfzg, ;g\ @)!^, sf7df8f}F .
88 1 5 th Anniversary Poetry on Visual Art
Jitendra Man Rajbhandari
"You know, Phaedrus that is the strange that is seen rather than felt, and thing about writing, which makes it truly poetry is painting that is felt rather correspond to painting. The painter's than seen.” Many poetic works have products stand before us as though they been composed with inspiration of were alive, but if you question them, they paintings and sculptures confirming maintain a most majestic silence. It is the fact that poetry and visual art the same with written words; they seem can create a powerful combination. to talk to you as if they were intelligent, This has given a birth to the genre but if you ask them anything about what called ‘Ekphrastic Poetry.’ The word they say, from a desire to be instructed, Ekphrasis comes from the Greek they go on telling you just the same thing language meaning description. It forever" was applied to the skill of describing a thing with vivid detail. Oxford (From: Plato’s Phaedrus 275 d ) Dictionary of Literary Terms defines Ekphrasis as “a verbal description The affinity between a literary of non-verbal work of art, real or work and a visual art has long imagined, usually a painting or been a favourite issue for academic sculpture.” In such poems the poet discourse among scholars, critics ventures to amplify and expand the and philosophers alike. Both a work meaning of a painting or sculpture, of literature and a visual art, being through the imaginative act of the powerful modes of human narrating and reflecting the visual art. expression, represent biased or Alfred Corn in his essay on the history unbiased perception of their creators. of ekphrastic verse writes, “once the No matter which form of expression ambition of producing a complete they are, creativity and innovation and accurate description is put aside, are the underlying ingredients of a poem can provide a new aspects any artistic output. A writer always for a work of visual art.” This article intends to play a game of selection intends to take a look on some of the and combination with the words representative ekphrastic poems from and texts while an artist puts effort different literary era through this to display figures and patterns with light. colours and shapes. The end purpose of the both creators is to create an One of the earliest examples of ‘image’ in the mind and sight of their ekphrastic verse can be discovered respective audience and readers. The in Homer’s Illiad where we can same is true in matters of poetry and find an elaborate description of art. For centuries, art has inspired decorated shield of Achilles fashioned poets and poetry has inspired artists. by Hephaestus, the Greek god of Leonardo da Vinci rightly puts it blacksmiths, craftsmen, artisans, and when he says, “Painting is poetry sculptors. The shield depicted images
89 of the earth, sky, sea, sun, moon, and She looked over his shoulder For vines stars, pictures of two cities, a wedding and olive trees, celebration, a murder trial, an Marble well-governed cities advancing army, domestic and wild And ships upon untamed seas, beasts, a war, a field full of plowmen, But there on the shining metal a vineyard, a meadow, and dancing His hands had put instead boys and girls. An artificial wilderness And a sky like lead. And first Hephaestus makes a great and … … … massive shield, Barbed wire enclosed an arbitrary spot blazoning well wrought emblems all Where bored officials lounged (one across its surface, cracked a joke) … … … And sentries sweated for the day was hot: And he forged on the shield two noble A crowd of ordinary decent folk cities filled Watched from without and neither moved with mortal men, with weddings and nor spokeAs three pale figures were led wedding feast in one forth and bound To three posts driven … … … upright in the ground. And he forged the Ocean River’s mighty (The Shield of Achilles, lines 1-8 and power girdling 31-37) round the outmost rim of the welded indestructible shield. John Keats’s Ode to Grecian Urn is yet another celebrated poem in (The Illiad, Book 18, lines 558-707) this genre. The poem offers a vivid description of a pottery from ancient Inspired by the same work, later Greek civilization and contemplates W.H. Auden wrote The Shield of on the timelessness of art: Achilles in 1952. However, in Auden’s work we find Hephaestus’s grand Thou still unravish'd bride of quietness, images replaced by apocalyptic ones: Thou foster-child of silence and slow time, barbed wire and bare fields, rape and Sylvan historian, who canst thus express murder, bureaucrats and sentries. A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? … … When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty,— that is all Ye know on earth, and all ye A decorated shield of Achilles need to know."
90 1 5 th Anniversary
A thing that grieves not and that never hopes. Stolid and stunned, a brother to the ox? Who loosened and let down this brutal jaw? Whose was the hand that slanted back this brow? Whose breath blew out the light within this brain?
Both the poem and the painting are perhaps the best testimony of the powerful impact that art and verse can leave in the society.Interestingly, a single work of visual art that offered a creative stimulation to two different poets is a 1558 painting by a Dutch artist Pieter Brueghel. His masterpiece Landscape with the Fall of Icarus is the painting on which W. H. Auden’s Musée des Beaux Arts and William Carlos Williams’ Landscape with the Fall of Icarus are based. Both A sketch of Grecian urn by Keats the poems revolve around the old (Ode to Grecian Urn, lines 1-9 and master’s depiction of the tragic Greek 46- 50) myth of Icarus who flew too close to the sun with wax wings and fell into One of the groundbreaking poems of the sea to his death. ekphrastic genre is the American poet Edwin Markham’s The Man with the The painting focuses more on the Hoe, published in 1899.The poem, landscape rather than the portrayal of based on the painting of the French Icarus’ fall. The men in this picture are artist Jean – Francois Millet, triggered working; one ploughing his fields, one a national debate on labour rights in tending his flock, and the other man the USA. It portrays a labour leaning is most likely fishing. In the painting upon his hoe, over burdened by his they do not look bothered by anything work. The image of the man with hoe going on around them, and are became a symbol of the agricultural especially not paying any particular labours and raised a question on attention to Icarus. It seems that the societal role in the working condition workers give Icarus no attention as if of farm workers. The poem goes on: Icarus’ drowning is unimportant in the world. Bowed by the weight of centuries he leans Upon his hoe and gazes on the ground, The emptiness of ages in his face, Auden’s poem Musée des Beaux And on his back the burden of the world. Art, first published in 1939, opens up Who made him dead to rapture and with a "miraculous birth", and ends despair, with "the tragedy" of a death. Auden
91 Jean-François Millet. The Man with the Hoe, 1860-1862. Oil on canvas, 81.9 x 100.3 cm praises the painters, like Brueghel, Had somewhere to get to and sailed who understood the nature of calmly on. suffering and humanity’s indifference to it. The theme in the poem is apathy (Musée des Beaux Arts, line 14-21) of the world to human suffering: Later in 1960, William Carlos Williams In Breughel's Icarus, for instance: how also narrates the same story about the everything turns away fall of Icarus with many contextual Quite leisurely from the disaster; the details. In his poem with the same ploughman may title as Brueghel’s masterpiece, Have heard the splash, the forsaken cry, Williams expreses his wonder on how But for him it was not an important an individual’s pain and tragedy go failure; the sun shone unnoticed sometimes. In the very As it had to on the white legs outset of the poem, he creates a vivid disappearing into the green image of the surrounding landscape. Water, and the expensive delicate ship The death of Icarus took place in that must have seen spring when the year was emerging Something amazing, a boy falling out of in all its pageantry. Everywhere in the sky, the surrounding there was a thrill of spring. A farmer was tilling his land
92 1 5 th Anniversary
Peter Bruegel the Elder. Landscape with the Fall of Icarus, c. 1554-55.Oil on panel. 74 x 112 cm. and seashore was full of activity. the edge of the sea Meanwhile, the heat of the sun made concerned the wax wings of Icarus melt. Icarus with itself fell into the sea with a splash. No one noticed Icarus drowning in the sea. sweating in the sun The ploughman goes on ploughing that melted and the ship keeps on sailing. The the wings’ wax event passed ‘unsignificantly’ and ‘unnoticed.’ The world which Icarus unsignificantly falls to is so “concerned with itself” off the coast that it feels indifferent about his there was tragedy: a splash quite unnoticed According to Brueghel this was when Icarus fell Icarus drowning it was spring (Landscape with the Fall of Icarus, a farmer was ploughing lines 1- 21 ) his field the whole pageantry The twentieth century confessional poet Anne Sexton and the nineteenth of the year was century Dutch painter Vincent van awake tingling Gogh had many things in common. near Both of them struggled with mental
93 breakdown and ultimately committed at the foreground is described as suicide to end their life. The Starry “black haired” who “slips/ up like a Night was the masterpiece that Van drowned woman into the hot sky.” Gogh actually painted while he was She repeatedly says, “This is how/ I at an asylum in 1889, thirteen months want to die.” Clearly, Sexton sees the before his death. The painting depicts reflection of her own death wish in the enchanting night sky in blues the Van Gogh’s painting: and blacks brimming with whirling clouds, bright yellow- white stars The town does not exist and bright crescent moon against a except where one black-haired tree slips silent village below. A cypress trees up like a drowned woman into the hot sky. seems to connect earth and sky in the The town is silent. The night boils with foreground. Taking the inspiration eleven stars. from this great work, Anne Sexton Oh starry night! This is how composed a poem on the same title I want to die. in 1961. The poem reflects a sense It moves. They are all alive. of isolation and hostility amidst the Even the moon bulges in its orange irons movement of stars. To Sexton, the to push children, like a god, from its eye. central moon image in the painting The old unseen serpent swallows up the appears as a great dragon that will stars. suck up into its being. The dark tree Oh starry starry night! This is how I want to die:
Vincent van Gogh. Starry Night, Oil on canvas.
94 1 5 th Anniversary into that rushing beast of the night, Greenberg, Jan. Heart to Heart: New sucked up by that great dragon, to split Poem Inspired by Twentieth- Century from my life with no flag, American Art. Scholastic, 2002. no belly, no cry. Homer. Illiad. Trans. Robert Fraglest. Penguin, 1990. (The Starry Night, lines 1- 18) Plato. Phaedrus. Trans. Christopher Thus, this brief study on some of the Rowe. Penguin, 1995. representative poems on ekphrastic genre makes it clear that the pairing Williams, Carlos William. Collected of visual art and literary art leaves Poems 1939 -1962. Vol. II. New a perennial impression on the both Directions Publishing Corps. 1962. viewers and readers’ mind. Poetry and art often consist of multiple layers of meanings and interpretations. Just as the artwork gives a new dimension to the poetry, the poem too gives a new dimension to the art work. Jan Greenberg, the author of Heart to Heart; New Poems Inspired by Twentieth century American Art reaffirms the ‘power of art to inspire language’ and says, “what the poet sees in art and puts into words can transform an image ….extending what is often an immediate response into something more lasting and reflecting.” After all, as Plutarch has said, “Painting is silent poetry and poetry is painting that speaks”.
Works Cited: Jitendra Man Rajbhandari
Baldick, Chris. Oxford Dictionary of Jitendra Man Rajbhandari Literary Terms. OUP, 2008. is an Associate Professor of English in Tribhuvan Corn, Alfred. “Notes on Ekphrasis.” Academy of American Poets. University. He has been Accessed 1 Sep. 2016. teaching English Language and Literature for about “Ekphrasis: Poetry Confronting 22 years. Presently, he is Art.” Academy of American Poets. associated with Saraswati Accessed 28 Aug. 2016. Ferguson, Margaret, Salter, et al. The Multiple Campus as the Head Norton Anthology of Poetry: 5th ed.: of the English Department. Norton, 2005
95 … Of memories and realization … saroj bajracharya
Art is about looking for someone that days like Shrestha did. After viewing you think you know, in an invisible the exhibits, Puran Khadka and I went crowd. This invisible crowd has its to a nearby tea shop and conversed own characteristics… and people about art and its contagious around think that you are building attributions in society. those characteristics or imagining them. But it is not only imagination; In later days, I became a constant it actually exists because you exist. visitor to Puran Khadka’s Studio at Therefore, that invisible crowd that NAFA, Naxal. One conversation in reflects outside is in fact inside of particular, I remember was about you and vice versa i.e. who you are pain and its implications on human looking for is also looking for you. beings. Pain causes misery because it The day you find each other is the day ignites anger; not pain but the anger you become an artist; then onward, no in the long run leads us to misery. second person has to verify that you However, in modern times, we even are an artist. borrow pain from others; not to share their affliction but to have soft corner I met Puran Khadka, one of the most towards us from the surroundings by self-contemplative persons I have displaying that we are also suffering. had the pleasure to know, around Puran Khadka agreed that true pain twenty years ago in an exhibition. has a capacity to make one angry. Perhaps, it was Sirjana Art Gallery in But borrowed pain makes us coward 1997 and I think the exhibition was because it stops us from facing real by artist Shyam Lal Shrestha. Times situation and provokes us to escape and situations were quite different from burdening issues. And Puran back then. The resources were limited Khadka attained these wisdoms from but those resources were used to unhindered contemplations and self- the fullest. In those days, it was not conversations. about conventional approach to art; rather it was about maintaining a Occasionally, my visit to his studio sense of immortality through art. used to coincide with another legend The paintings by Shyam L. Shrestha of an artist Uttam Nepali. He was the dealt with the ethnic Newar culture of academician of Nepal Association of Nepal and even though he depicted Fine Arts back then. He spoke very the custom rather than the meaning of little yet few words were enough the culture; his canvases did provoke to put across his contemplations. In a sense of creative curiosity to the later years, I heard much about his onlookers; largely due to the blend political involvement and its relation between western painting technique to Nepali Art; which is an entirely and eastern ways of life. Very few different spectrum for a life of the artists blended the two back in those artist. As a painter, he is a dynamic
96 1 5 th Anniversary
Shyam Lal Shrestha. Women at Tap. Oil on canvas. 2016. and contemplative abstract artist. His how heavy and active words can works are abstract, not only technique be, and then you have to be able to wise but in terms of content as well. sponge out the heaviness of words by Uttam Nepali is twenty years elder to assembling them into your sentence… Puran Khadka and represents the first then you would have given your generation of modern artists in Nepal; portion of life and experience to your whereas Puran Khadka belongs to the chosen words. The same go with second. motifs; metaphors and colors that make a good painting... Nothing is Uttam Nepali painted from the easy…after understanding that it’s mind. Once, he mentioned to me that not easy, then you get accustomed to emotions need to be intellectualized it and it won’t be a burden to you… before being articulated. This process the journey would be joyful. is even more important to artists, as emotions fuel and intellect motivates Those days still feels like yesterday; them. His abstract canvas appears but years have gone by. There are like a fluid which constantly seems ordinary Tuesdays and then there changing its appearance. There is is this one particular Tuesday of 5th another instance; he told me that in of July 2016. This is the day when I order to sense a writer in you, first received the news that Puran Khadka and foremost you have to know how just left the world. It was only the past lifeless words are. Then this feeling Sunday that we met at his apartment. has to be transformed in realizing After strolling for a while we had tea,
97 98 1 5 th Anniversary
Puran Khadka. The Wholeness. Acrylic on canvas, 2016
99 Uttam Nepali. Untitled. Acrylic on canvas. 2000. his favorite habit. He spoke about has become the innate nature now. how difficult it is to maintain creative Few days ago, as I was thinking about understanding and keep on practicing Puran Khadka’s works, suddenly art. He spoke of his struggle and how memories of Uttam Nepali popped he had realized the sense of ‘I’ which up in my mind; perhaps, because goes beyond the temporal self or the they both are world class abstract material concept of me and mine. painters. A year back, I abruptly met Therefore, his colors and forms were Uttam Nepali outside of a temple in transforming into minimal, cutting off my neighborhood. A man, who once all the cacophonies that distracts. And was commanding, now had sunken also by listening to one subtle whisper with age. We had met multiple that takes an enormous concentration times; spoke and argued over and patience to find out. His red, our opinions but now he couldn’t grey, black and white color scheme recognize me. I slowly walked back
100 1 5 th Anniversary home after my brief Namaste to him. And I thought what did these great men achieve?...... They achieved immortality……because even after all of us are long gone and memories are perished; the vibes of realization that they have nurtured will not only remain but will subtly take care of the coming generation also. With all these thoughts swirling in my mind, for a spur of a moment, I found myself in the corridors of Sirjana Art Gallery twenty years ago. Back then it had not yet been converted into a college. The most prime gallery in Nepal, it welcomed all the leading creative minds in Nepali art. And in that corridor the voices of Puran Khadka and Uttam Nepali spoke to me. Perhaps, those voices were my Saroj Bajracharya own; echoes of the conversations that Saroj Bajracharya is an we had. And these self-conversations artist, a writer and a and contemplations have given me a curator. He has been active sense of unification, even if they are in art for more than two not here or even with their memory decades. He has been actively loss, we are all one and absolute. This involved in many facets of is when the crowd perished and I as art that include painting, a whole appear. And this is exactly writing, teaching, curating, when my sense bow down to Puran organizing and coordinating art events and exhibitions. Khadka and Uttam Nepali… various solo exhibitions, group shows and 2 books titled Future of History and A Concise Introduction to Nepali Modern Sculpture to his credit.
101 nId0f e'h]n . gf/fo0faxfb'/ l;+xsf] JolStlrq, ;g\ @)!@ . hn/ª .
102 1 5 th Anniversary snf n]vgdf gf/fo0faxfb'/ l;+xsf] of]ubfg nId0f e'h]n g]kfnL lrqsnfsf If]qdf o; ljifoaf/] snd pgsf] dfjnL xh'/a''af r]tjL/ yfkfaf6 rnfpg], cWoog cg';Gwfg ug]{ Pjd\ ;Gt'lnt 3/}df ePsf] xf] . To;kl5 sf7df8f}Fsf] dxfjL/ 9ª\un] ;dLIff u/L oyf]lrt dfu{lgb]{z ug]{ OlG:6Ro'6af6 k|fylds txdf cWoog cf/De n]vs tyf ;dLIfsx¿ Hofb} sd 5g\ . o; u/]sf l;+xsf] :s'n] lzIff af/f lhNnfsf] k|;ª\udf la;{g} gx'g] JolStTj x'g\ — :juL{o jL/u~hdf ePsf] xf] . ;g !($$ df l;+xsf] gf/fo0faxfb'/ l;+x . g]kfnL snf / ;kl/jf/ agf/;tk{m nfu]sf lyP . agf/;df snfsf/x¿ tyf ljb]zL snf z}nL Pjd\ pgn] lyof] ;f]lkmsn ;f];fO6Laf6 Dofl6«S; snfsf/x¿sf af/]df g]kfnL kf7sx¿nfO{ kf;, l8= P= le= sn]haf6 cfO{= P= / ;g hfgsf/L lbg] ;Gbe{df pgsf] ct'ngLo of] !(%# df la= Pr= o'= af6 la= P= pTtL0f{ ubfg /x]sf] 5 . k/Gt' la8Dagfsf] s'/f — u/]sf lyP . pgsf bfh' s0f{dfg l;+xn] eg] pgsf] JolStTj / s[ltTjsf af/]df jt{dfg lrqsnf ljifod cWoog u/]sf lyP . k':tf cgle1 k|foM 5 . olt w]/} of]ubfg k'¥ofPsf JolStTjsf af/]df a]jf:tf ul/Fbf l;+x kl/jf/sf] agf/; a;fO dbgk'/fdf kf08] :jod\ l;+xsf] klxrfg ctLtsf] ue{df x/fpnf xf}nLsf] k'/fgf] 3/df lyof] . ;f]xL 3/sf] eGg] 8/ ePsf] 5 . o; lsl;dsf k|j[lTtn] e'OFtnfdf Pp6f lrq ;ª\u|xfno lyof] . ToxfF ubf{ g]kfnL snf n]vg Pjd\ ;dLIffsf] a]nf a]nfdf snf k|bz{gL eO/xGYof] . Ps hgf If]qdf jt{dfgdf lj|mofzLn JolStx¿ / aª\ufnL snfsf/ klg l5d]sdf 8]/f u/L a:g] eljiodf cfpg] n]vsx¿ lg?T;flxt x'g] x'gfn] ToxfF snfsf/x¿sf] cfjthfjt Pjd\ cj:yf gcfpnf eGg ;lsFb}g . snf ;DaGwL ultljlwx¿ eO/xGYof] . To; snfdo jftfj/0fsf] k|efj la:tf/} g]kfnL snf n]vg tyf ;dLIffnufot cGo gf/fo0faxfb'/ l;+xdf klg kb}{ hfg' :jfefljs ljleGg If]qdf gf/fo0faxfb'/ l;+xn] k'¥ofPsf] lyof] . cem :jod\ cfˆg} bfh' lrqsnfsf of]ubfgaf/] rrf{ ug'{eGbf klxn] pgsf] ljb\ofyL{ x'gfn] pgn] lrqsnfnfO{ glhsaf6 JolStut hLjgsf] af/]df s]xL pNn]v ug'{ x]g]{ a'‰g] cj;/ k|fKt u/]sf lyP . o;} j|mddf ;fGble{s xf]nf . gf/fo0faxfb'/ l;+xsf] hGd bfh' s0f{dfg l;+x ef/t snf ejg;Fu ;Dab\w lj= ;+= !(*& ;fn, kmfu'g @$ ut], zlgaf/sf x'g k'u]sf lyP . Tolta]nf gf/fo0faxfb'/ l;+x lbg sf7df8f}Fsf] 7d]ndf ePsf] xf] . la= P= df cWoog/t lyP . km';{bsf] ;dodf ;fTosLaxfb'/ l;+x / tf/fb]jL l;+xsf kfFr l;+x klg bfh';Fu} pSt snf ejgdf g} ;do ;GtfgdWo] pgL dflxnf] 5f]/f lyP . latfpg] uy]{ . snf ejgdf ef/tsf :yflkt gf/fo0faxfb'/ l;+xnfO{ cIf/ lrgfpg] sfd lrqsf/x¿ / pgLx¿sf] snf /rgfaf/]
103 5nkmn x'g] uYof]{ . o;/L rf}tkmL{ snfdo uf]/vfkqsf] ;x;Dkfbs, k|wfg jftfj/0fsf k|efjn] ubf{ snfk|lt pgsf] ;Dkfbsb]lv …dw'ks{Ú sf] k|wfg ;Dkfbssf] e'msfj a9\g uPsf] lyof] . lhDd]jf/L ;DxfNb} hLjgsf] clGtd If0f;Dd sfo{/t /x]sf lyP . lj= ;+= @)$$ ;fn, ebf} la= P= pTtL0f{ u/]kl5 lj= ;+= @)!) ;fndf @ ut], dª\unaf/sf lbg %* jif{sf] pd]/df o; l;+x g]kfn kms]{sf lyP . pgn] Onfd ;+;f/af6 ef}lts ¿kdf pgn] labf lnPsf lhNnfsf] dfOkf/df cjl:yt s/kmf]s lyP . hLjgsf] clGtd cj:yfdf pgL cfˆgf] ljb\of dlGb/df k9fpg yfn]sf lyP . To; kl/jf/ -b'O{ 5f]/f, ltg 5f]/L / >LdtL_ sf ;fy a]nfsf pgsf ljb\ofyL{ l6sfk|;fb zdf{ -xfn d}tLb]jLdf 8]/f u/L a:y] . cª\u|]hL ljifosf pkk|fWofks_ sf cg';f/ l;+x :s'ndf 5bfF lrq sf]g{ l;kfn' lyP . ;fy} g]kfnL snf ljsf;df gf/fo0faxfb'/ l;+xsf] ljb\ofyL{x¿nfO{ klg lrq agfpg pNn]vgLo of]ubfg /x]sf] 5 . snfk|ltsf] ?lr clek|]l/t uy]{ . csf{ ljb\ofyL{{ b'uf{gfy zdf{ Pjd\ cg'/fusf sf/0f hLjg lhpg] j|mddf -uf]/vfkqsf k"j{ ;x;Dkfbs tyf g]kfn ljljw If]qdf ;+nUg /xFbf klg pgn] snfnfO{ 6]nLlehgsf k"j{ dxfk|aGws_ sf] ljz]if dxTTj lbPsf lyP . :s'ndf cWofkg egfOcg';f/ klg pgL /fd|f] lrq agfpFy] . ubf{ xf];\ jf uf]/vfkq ;+:yfgsf] kqsf/ Pjd\ pgsf cg';f/ xfn;Dd klg :j= l;+xn] ;Dkfbssf] e"ldsf lgjf{x ubf{ xf];\, pgn] agfPsf ;/:jtLsf] lrq s/kmf]s ljb\of snfnfO{ ;bf s]Gb|ljGb'df /fv]sf] kfOG5 . dlGb/df cb\ofjlw 5 . g]kfnL, lxGbL / cª\u|] ;flxTo /rgf ubf{ klg pgsf] d"n ljifo tyf hL efiffdf pgsf] /fd|f] bvn lyof] . lj= ;+= z}nLdf lrqsnfsf] emns kfOG5 . pgsf] @)!# ;fndf s/kmf]s :s'nsf] cWofkg sfo{ ;flxToLs /rgf k9\bf klg lrqsf] cjnf]sg 5f8]sf lyP . u/]sf] cg'e"lt x'G5 . Onfd 5f]8]kl5 gf/fo0faxfb'/ l;+x /f}tx6 g]kfnL snf / bz{slarsf] b'/L sd ug'{df lhNnfsf] ;b/d'sfd uf}/tk{m nfu]sf lyP . pgsf] k|d'v b]g /x]sf] 5 . Toltdfq xf]Og, pgsf 5f]/f c?0f l;+xsf cg';f/ sl/a Ps g]kfnL snfsf/x¿nfO{ ;df;fdlos tyf jif{ ToxLFsf] s'g} :yfgLo :s'ndf cWofkg cfw'lgs lrqsnfsf] kl/j]zdf cl3 a9\g u/L a;]sf lyP . /f}tx6df g} lj= ;+= @)!$ k|]l/t ug{df pgn] dxTTjk"0f{ e"ldsf ;fn c;f/ @) ut] ;/f]rb]jL cof{n;Fu pgsf] lgjf{x u/]sf lyP . pgsf lrqsnf ;DaGwL ljjfx ePsf] lyof] . ljjfxkZrft\ cfk\mgf] k':tssf ¿kdf 5flkPsf s[ltx¿ cfh kl/jf/;lxt pgL sf7df8f}Ftk{m nfu]sf lyP . g]kfnL lrqsnfsf Oltxf;df sf];]9'ª\uf lj= ;+= @)!% ;fnb]lv pgL uf]/vfkqdf ;fljt ePsf] 5 . o;sf cltl/St pgn] cf}krfl/s ¿kdf ;Dab\w ePsf lyP . ljleGg snf ;ª\u7g / ;+:yfx¿;Fu ;Dab\w agf/;df 5bfF ;flxTo tyf snfsf] pgdf eO{ snf ljsf;df lg/Gt/ xf};nf k|bfg u/]sf ulx/f] k|efj k/]sf] lyof] . To;}n] pgL lyP . uf]/vfkqdf k|j]z ugf{;fy snf ;flxTonfO{ ljz]if :yfg lbPsf lyP .
104 1 5 th Anniversary
snfsf/ ldqx¿;Fu jftf{nfk ub}{ gf/fo0fab'/ l;+x -lgnf] 3]/fleq_, lj= ;+= @)#$ ‘l:sj–&!’ / ‘o'j–snfsf/ ;d"x -ofu_’ :yfloTj lbPsf lyP . n]vgsf] pgsf] of] j|md h:tf snfsf/x¿sf] ;d"x / ;+:yfnfO{ cufl8 hLjgko{Gt sfod /x]sf] lyof] . pgsf sltko a9fpgdf pgsf] klg dxTTjk"0f{ b]g /x]sf] 5 . n]vfOx¿ k'm6s/ /rgfsf ¿kdf k|sflzt eP, ofusf t pgL k|d'v ;Nnfxsf/ g} lyP . pgn] sltko k':ts ¿kdf k|sflzt eP eg] sltko ‘g]kfn nlntsf ;+:yf -gfkmf_’ sf] ck|sflzt g} /x] . pgsf] k|sflzt s[ltx¿sf ;Nnfxsf/sf ¿kdf klg sfd u/]sf lyP . pgL oxfF ;ª\lIfKt ¿kdf rrf{ ug]{ hdsf]{ ul/Psf] JolStut ¿kdf snfsf/x¿nfO{ vf]hL vf]hL 5 M e]6 uy]{ . pgLx¿sf af/] cvaf/ / klqsfdf n]Vy] . pgL kfZrfTo snfsf uxg cWootf g]kfnL lrqsf/, lj= ;+= @)@& lyP / To; ;DaGwL n]v, lgaGw cflb k|:t't s[lt gf/fo0faxfb'/ l;+xsf] snf n]lv/xGy] . pgsf] n]vg z}nL klg uha pDbf ;DaGwL klxnf] k':ts xf] . ;femf k|sfzgåf/f lyof] — Ps kN6 k9\g ;'? u/]kl5 5f8\g} dg k|sflzt o; k':tssf] klxnf] ;+:s/0f lj= ;+= gnfUg] vfnsf] . @)@& ;fnd k|sflzt ePsf] xf] . of] k':ts gf/fo0faxfb'/ l;+xn] pgn] uf]/vfkqdf uf]/vfkqdf k|sflzt n]vx¿sf] ;ª\slnt k|j]z ug'{ cufl8b]lv g} kfpg'eGbf klxn] b]lvg} :j¿k xf] . pSt n]vx¿ …wg~hoÚ sf gfddf snfsf ;DaGwdf n]Vg ;'? ul/;s]sf lyP . n]lvPsf lyP . n]vss} egfOcg';f/ pgsf] uf]/vfkq ;+:yfgdf /x]kl5 pgn] cf}krfl/s of] s[lt cfnf]rgfTds geO{ kl/ro u|Gysf tyf cflwsf/Ls ¿kdf snf n]vgnfO{ ¿kdf k|:t't ul/Psf] 5 . o;df pgL cToGt
105 ;r]t b]lvG5g\ . ;d;fdlos lrqsnfsf] ;+:s/0f lj= ;+= @)#@ ;fndf ;femf cToGt} k|f/lDes cj:yf ePsfn] em6\6 k|sfzgaf6 ePsf] lyof] . of] k':ts klg cfnf]rgf ;xg g;Sg] b]v]/ pgn] o;f] ‘;+od’, ‘snfsf/’, ‘k|ult’, ‘cleJolSt’ / u/]sf x'g\ . tyflk k|:t't k':tsdf pgn] g]kfnL ‘dw'ks{’ df k|sflzt n]vx¿ -clGtd n]vafx] lrqsf/ tyf pgLx¿sf s[ltx¿sf] ;DaGwdf s_ sf] ;ª\slnt :j¿k xf] . l;+xsf] of] k':ts cToGt} ;"Id / ;r]t 9ª\un] ljZn]if0f jf:tjd} snfnfO{ ;flxTodf cleJoSt ul/ u/]sf 5g\ . o; k':tsdf tTsfnLg ;Gbe{df Psf] pTs[i6 s[lt /x]sf] . s'n b; cf]6f g]kfnL snfsf If]qdf lj|mofzLn la; hgf n]vx¿sf] ;ª\ufnf] o; k':tssf] clGtd g]kfnL lrqsf/x¿ / ltgsf s[ltsf af/]df n]v …Ps kf6f] /ftf], csf]{ kf6f] lgnf] clgÚ df o; k':tsdf rrf{ ul/Psf] 5 . o; k':tsdf n]vsn] /ªsf af/] cToGt} ;"Id 9ª\n] o;sf] j|mdzM rGb|dfg l;+x df:s] -hGd M O= ;+= k|fljlws / dgf]j}1flgs k|efjaf/] ljZn]if0f !())_, t]haxfb'/ lrqsf/ -hGd M O= ;+= u/]sf 5g\ . !())_, afns[i0f ;d -hGd M O= ;+= !()#_, s]zj b'jf8L -hGd M O= ;+= !(@!_ cd/ pSt n]vsf] Ps c+z — lrqsf/ -hGd M O= ;+= !(@@_, n}gl;+x xl/of] ===. afª\b]n -hGd M O= ;+= !(@#_, sflnbf; >]i7 -hGd M O= ;+= !(@$_, s0f{dfg l;+x, Pp6f dfWolds /ª xl/of] . lbnaxfb'/ lrqsf/ -hGd M O= ;+= !(@*_, kx]Fnf] + lgnf] = xl/of] lx/0oWjh hf]zL -hGd M O= ;+= !(#$_, pTtd g]kfnL -hGd M O= ;+= !(#&_, nId0f kx]Fnf] – lgnf]sf] ld>0f xl/of] . >]i7 -hGd M O= ;+= !(#*_, /fdfgGb hf]zL zLtnbfoL /ª xl/of] === Zofdnsf] b\of]ts, -hGd M O= ;+=!(#*_ 6]sjL/ d'lvof -hGd pj{/tfsf] k|tLs xl/of] . M O= ;+= !(#*_, u]x]Gb|dfg cdfTo -hGd M O= ;+= !(#(_, dg'hafa' ld> -hGd M O= ;+= ;d;fdlos g]kfnL lrqsnfsf] Oltxf; !(#(, lzn'Kof/L -hGd M O= ;+= !($@_, zzLljj|md zfx -hGd M O= ;+= !($@_ ljho k|:t't k':ts g]kfnL snfsf] Oltxf;df snf yfkf -hGd M O= ;+= !($#_ / k|ldnf lu/L hut\sf] cfwf/ :tDe ag]/ /x]sf] -hGd M O= ;+= !($^_ ;dflji6 5g\ . 5 . o; k':tsf cfwf/df ;d;fdlos g]kfnL lrqsnfnfO{ ljutb]lv jt{dfg;Dd snf Ps cg'e"lt, Ps lrGtg, lj= ;+= lgofNg ;lsG5 . of] k':ts l;+xsf] t];|f] s[lt @)#@ xf], clkt' ;d;fdlos g]kfnL lrqsnfsf] Oltxf;sf b[li6n] ;jf{lws dxTTjk"0f{ kfZrfTo snf Oltxf;sf] o'ufGtsf/L df]8df dflgG5 . lj= ;+= @)## ;fndf k|sflzt of] To; avtsf snfsf/x¿n] u/]sf ;ª\3if{sf k':ts tTsfnLg g]kfn /fhsLo ufyfx¿nfO{ cToGt /f]rs lsl;dn] k|1f–k|lti7fgaf6 k|sflzt ePsf] xf] . ;flxlTos z}nLdf n]lvPsf] of] k':ts l;+xsf] snf ;DaGwL bf];|f] s[lt xf] . o;sf] klxnf] k':tsdf ;d;fdlos g]kfnL lrqsnfsf]
106 1 5 th Anniversary Oltxf;nfO{ ljleGg sfn v08 tyf g]kfndf cfw'lgs snfsf] k[i7e"ldsf cg'v08df ljefhg u/L a'‰g ;lhnf] x'g] ;DaGwdf snf n]vs tyf ;dfnf]rs u/L k|:t't ul/Psf] 5 . cfheGbf rf/ bzs gf/fo0faxfb'/ l;+xn] n]v]sf x'g\ . ;+o'St cufl8 of] k':ts gn]lvPsf] eP sltko g] ¿kdf n]lvPsf] o; k':tsdf l;+xs} k|:t'lt kfnL snfsf/x¿sf] klxrfg To;} x/fP/ hfg] cln lj:t[t b]lvG5 . o;df pgn] g]kfndf lyof] . jt{dfgdf :yflkt sltko slxn] / s;/L cfw'lgs snfsf] k|j]z eof], lrqsf/x¿sf] klxrfgnfO{ :yflkt u/fpgdf tTsfnLg ;Gbe{df o;sf] cj:yf / k|efjsf l;+xsf] o; k':tssf] pNn]Vo e"ldsf /x]sf] 5 af/]df ts{;ª\ut 9ª\un] k|:t't u/]sf eg]df cltzof]lSt gxf]nf . 5g\ . o;sf cltl/St g]kfndf lrqsnfsf] ljsf;df ePsf k|of;, cj/f]w / yk o; k':tsdf n]vsn] oyf;Dej ;To ug'{kg]{ sfo{sf] af/]df klg cf}FNofpg pgL tYo kTtf nufpg] k|oTg u/]sf 5g\ . o;sf] r's]sf 5}gg\ . o;df pgn] tTsfnLg g]kfn HjnGt pbfx/0fsf ¿kdf ;d;fdlos g]kfnL /fhsLo k|1f—k|lti7fgdf lrqsnf lrqsnfsf ;a}eGbf cu|h lrqsf/ /fhdfg ljifonfO{ ;flxTosf] t'ngfdf dxTTj glbOPsf] l;+xsf af/]df pgn] u/]sf vf]h af/] cfkTtL hgfPsf 5g\ . o;af6 ;flxTosf/ cg';GwfgnfO{ lng ;lsG5 . /fhdfg l;+xsf x'Fbf x'Fb} klg snf If]qk|lt pgL slt ;+j]bgzLn af/]df xfn cfP/ k'li6 ePsf] 5 . Tolt a]nf lyP eGg] k|dfl0ft x'G5 . g} pgn] /fhdfg l;+xsf af/]df kof{Kt cfwf/ Pjd\ ts{ k|:t't ul/;s]sf lyP . Oltxf;sf] z[ª\vnfxLg z[ª\vnfx¿ ut{df x/fO;s]sf lrqsf/sf af/]df vf]hLb]lv lnP/ pgL kl5sf w]/} snfsf/sf] of] k':ts l;+xsf] lgaGw ;ª\u|x xf] . o;df klxrfg sfod ug{df pgsf] ct'ngLo of]ubfg ;dflji6 lgaGwx¿ k9\bf of] s[lt snf / /x]sf] 5 . o;af6 k|:t't k':ts tof/ ubf{ pgn] ;flxTosf] ;ª\ud e}mF k|tLt x'G5 . pgsf hLjg u/]sf uxg cWoog tyf vf]h cg'dfg ug{ ef]ufOsf ;f/ cleJolSt e}mF nfUg] of] s[lt ;lsG5 . pgsf] lgwgkZrft\ k|sfzg ePsf] xf] . k/Dk/fut tyf cfw'lgs lrqsnf k':tssf] Ps c+z — of] k':ts ltg hgf n]vsx¿ dgjh| jh|frfo{, d[To' slt s7f]/ x'G5 . d[To';Fu cfFvf h'wfpg pTtd g]kfnL / gf/fo0faxfb'/ l;+xn] ;+o'St slt sl7g x'G5 . w]/} eof] d}n] d[To';Fu cfFvf ¿kdf n]v]sf x'g\ . g]kfn nlntsnf ;+:yf h'wfO/fv]sf] . -gfkmf_ åf/f cfof]lht …g]kfnL k/Dk/fsf -gf/fo0faxfb'/ l;+x . lrGTo÷clrGTo . lrqsnf d"lt{snfÚ ljifos b'O{ lbg] snf z[ª\vnfxLg z[ª\vnfx¿ . k[i7 ^( . lj= ;+= uf]i7Ldf sfo{kqsf] ¿kdf k|:t't ul/Psf] @)$$ . ;femf k|sfzg ._ lyof] . k/Dk/fut g]kfnL snf sf af/]df snfljb\ dgah| ah|frfo{n], g]kfnL cfw'lgs lj= ;+= @)$$ ;fndf ;femf k|sfzgåf/f snfsf ljifodf snfsf/ pTtd g]kfnLn] / k|sflzt of] k':ts pgsf] rf}yf] k':ts cfsf/
107 ofuåf/f cfof]lht snfsf/x¿sf] jgef]h sfo{j|md, uf]bfj/L, lj= ;+= @)#% -kx]Fnf] 3]/fleq gf/fo0faxfb'/ l;+x
sf] s[lt xf] . o;df ljifo j:t' / 36gfj|mdx¿ gf/fo0faxfb'/ l;+xåf/f lnlvt s'n rf}w cf]6f z[ª\vnfab\w 5}gg\ . pgsf] / cfd dflg;sf] lgaGwx¿sf] o; ;Fufnf]nfO{ ;dsfnLg g]kfnL hLjg h:t} . t/ klg Ps csf{df ;DalGwt ;flxTosf If]qdf a]hf]8 s[ltsf ¿kdf eg] 5g\ . To;}n] o; k':tssf] zLif{s rog d"Nofª\sg ul/G5 . o; lgjGw ;ª\u|xaf/] /rgf ;'xfpFbf] 5 . ;flxTo /rgfdf klg ;dLIfs k|df]b k|wfg / lgaGwsf/ o'j/fh lrqsnf If]qs} zAbfjnL / snfTds z}nLdf gofF3/]sf l6Kk0fL pNn]v ug'{ ;dLrLg x'G5 . 36gfqmd tyf ljifo j:t'x¿nfO{ k|:t't ul/Psf] kfOG5 . gf/fo0faxfb'/ l;+xsf rf}w cf]6f cfTdk/s lgaGwsf] ;ª\u|x z[ª\vnfxLg z[ª\vnfx¿df k':tssf] Ps c+z — /x]sf lgaGwsf cfwf/df xfdL pgnfO{ cd"t{ n]vg kb\wltk|lt cg'/St lgaGwsf/ eGg sfnLu08sLsf] tL/df ;fFem ;f]xf]l/P/ cfPsf] ;S5f}F . ;f] ;ª\u|xsf lgaGwx¿ ;a} cfw'lgs 5 . kNnf] tL/df s]xL pbf; pbf; cfs[lt cd"t{ lrqx¿ em}+ nfU5g\ . 5g\ . dfG5] x'g\ tL . ltgsf wldnf lrq 5g\ clxn] . -k|df]b k|wfg . nlntsnf å}dfl;s . jif{ @, k"0ff{ª\s !!, lj= ;+= @)^# . lgaGwsf/sf -gf/fo0faxfb'/ l;+x . sljtf÷lrq÷sljtf ¿kdf gf/fo0faxfb'/ l;+x . k[i7 !$, !%_ . z[ª\vnfxLg z[ª\vnfx¿ . k[i7 & . lj= ;+= @)$$ . ;femf k|sfzg ._
108 1 5 th Anniversary z[ª\vnfx¿sf] 6'6km'6 / 6'6km'6x¿sf] ;+nUg ePb]lv g} pgsf n]v /rgfx¿ k|sfzg z[ª\vnfdf gf/fo0faxfb'/ l;+xsf] n]vsLo x'g yfn]sf] x'g\ . pgn] ljleGg pkgfdx¿df /km\tf/ bf}8]sf] b]lvG5 . lghfTdstfnfO{ efj n]v /rgfx¿ n]v]sf 5g\, h:t} M dw'ks{sf] af]wsf] t/ntfdf 3fn3'n gkf/L k'mnsf kqkq ‘k|;+ujz’ :tDedf ‘wg~ho’, dw'ks{s} h:tf] l;h{gfdf v/fv/L /fVg] lzNksf wgL ‘afnau}Frf’ :tDedf ‘k|zfGt’ / uf]/vfkqdf k|tLt x'G5g\ . ‘/fhx+z’ gfddf n]v]sf 5g\ . snfnufot cGo ;d;fdlos ljifodfly n]lvPsf pgsf -o'j/fh gofF3/] . cfs[lt . g]kfn /fhsLo ccgluGtL n]v /rgfx¿ 5/k:6 cj:yfdf k|1f–k|lti7fg, snf sf}zn ljefu . jif{ !, 5g\ . To;nfO{ ;d]6]/ k':ts cfsf/df k|sflzt cª\s !, @)%& . k[i7 $#_ ug{ ;lsPsf] v08df g]kfnL snf jfª\do k|1f k'/:sf/åf/f ;Ddflgt k|ltef If]qdf 7'nf] ;xof]u k'Ug hfg]5 . of] k':ts lj= ;+= @)!^ ;fn b]lv lj= ;+= @)#* ;fn ;Dddf g]kfnsf ljleGg If]qsf k|fl1s k|ltefx¿nfO{ ;Ddfg ul/Psf] 36gfx¿sf] P]ltxfl;s b:tfj]h xf] . o;sf] n]vg sfo{ ltg hgf n]vsx¿ gf/fo0faxfb'/ l;+x, /fdz/0f bgf{n / s'df/w/ zdf{ 1fgLaf6 ePsf] xf] . b]znfO{ k|fl1s k|ltefx¿n] nufPsf] u'0f / /fi6«n] sb/ :j¿k u/]sf] ;Ddfgn P]ltxfl;s b:tfa]hsf ¿kdf /xf];\ eGg] x]t'n] o; k':tssf] k|sfzg ePsf] xf] . of] k':ts g]kfn /fhsLo k|1f–k|lti7fgsf] /ht pT;jsf cj;/df k|sfzg ePsf] xf] . o; k':tsdf ;dflji6 ljleGg k|1f k'/:sf/ nId0f e'h]n åf/f ;Ddflgt k|ltefx¿ dWo] OGb| /fHo nIdL k|1f k'/:sf/ kfpg] lrqsf/, d"lt{sf/ / nId0f e'h]nsf] klxrfg s'zn lrqsf/ / d"lt{sf/sf ¿kdf /x]sf] 5 . l;h{gfTds lrq lzNksf/x¿ kf/;dl0f /l~htsf/, rGb|dfg tyf d"lt{ /rgfsf cltl/St pgn] k|l;b\w l;+x df:s], l;b\lwd'lg zfSo, cd/ lrqsf/, JolStx¿sf s]xL yfg k"0f{ sb / cfjIf dfl0fsdfg lrqsf/, a'b\w/Tg jh|frfo{ / d"lt{x¿ klg /rgf u/]sf 5g\ . dsjfgk'/sf] zzLljj|md zfxsf ljifodf gf/fo0faxfb'/ bfdgdf /x]sf] :juL{o ¿krGb| lji6sf] k"0f{ sbsf] ;flns pgsf] pNn]vgLo sfdsf l;+xn] n]v]sf x'g\ . ¿kdf lrlgG5 . cGo n]v /rgfx¿ xfn pgL l;h{gf sn]h ckm kmfOg cf6{;\;Fu ;Dab\w 5g\ . snf ;DaGwL ljljw gf/fo0faxfb'/ l;+xsf k':ts cfsf/df ultljlwx¿df klg pgL lgs} ;lj|mo gcfPsf y'k|} n]v /rgfx¿ 5g\ . uf]/vfkqdf /lxcfPsf 5g\ .
109 ;ª\uLt Ps ljj]rgf
b'uf{k|;fb vltj8f
;ª\uLt dfgj hLjgsf] g};}lu{s ljifo j:t' 5 . gfbaf6 j0f{, j0f{af6 zAb, zAbaf6 jfSo xf] . xf:o, /f]bg ljidofbL lj|mof hGdl;b\w u'0f / jfSoaf6 efiffsf] pTklTt ePsf] 5 . To:t} eP h:t} ;ª\uLt klg hGd l;b\w u'0f xf] . Wjlgaf6 gfb, gfbaf6 >'lt, >'ltaf6 :j/, :j/ x/]s dflg;df ;ª\uLt ;'if'Ktfj:yfdf ljb\odfg af6 ;Kts, ;Ktsaf6 yf6 clg yf6af6 x'G5 . s;}df b]lvg] u/L / s;}df cb[Zo ;ª\uLtsf] lgiklTt x'G5 . ToxL ;'if'Kt cj:yfdf . dflg; PSnf] x'Fbf pm cj:yfdf /x]sf] ;ª\uLtnfO{ l;sfOåf/f hflu|t u'gu'gfpg yfN5, rfx] p;nfO{ ;ª\uLt cfcf];\ u/fOG5 . j}1flgs b[li6af6 ;ª\uLt, Wjlg, jf gcfcf];\ . cfGbf]ng jf sDkgsf] kl/0ffd xf] . ha b'O{ j:t' jf lk08 cfk;df 7f]lSs“bf jf 3if{0f x'“bf To:t} caf]w aRrfx¿nfO{ g} x]/f}“, ha p;n] hf] pTkGg sDkgaf6 Wjlg pTkGg x'G5, ToxL t s'g} ;ª\uLt ufog jfbg ;'G5 jf g[Toflbsf] cfxt gfb xf] . ;f/ª\ub]jåf/f lj/lrt ;ª\uLt b[Zo b]V5, pm klg tfnL ahfpg jf xftuf]8f /Tgfs/ gfds k':tsdf pNn]v ePcg';f/ – xNnfP/ xf];\ cyjf z/L/ dsf{P/ xlNn“b} tfn / no;“u r]i6fx¿ bzf{pg yfN5 . Tof] g} pmleq gsf/+ k|f0fgfdfg+ bsf/ dgn+ ljb'Mx' . /x]sf] ;'if'Ktfj:yfsf] ;fª\uLlts cg'e"lt hftM k|f0fflUg ;+of]uf t]g gfbf]SlewLot] .. hfu[t ePsf] xf] . cyf{t\ ‘g’sf/ ¿kL k|f0f jfo' / ‘b’sf/ ¿kL ;ª\uLt ljgfsf] hLjg lg/; x'G5 . ;t\ / clUgsf] ;+of]uaf6 gfbsf] pTklTt ePsf] 5 . lrt\ sf] k'jf{ c+z eP/ klg cfgGb/lxt x'G5 . hf] xfd|f] s0f{ /Gb| -sfg_ åf/f u|x0f u/]/ dg of] t ;b\lrbfgGb :j¿k xf] . elgG5, ;ª\uLt dl:tisn] cg'e"t u5{ . of] a|x\df08df htftt} O{Zj/Lo jf0fL xf], To;}n] t zf:qdf elgPsf] Wjlg JofKt 5 . rfx] Tof] ls6 ktª\ufbLsf] 5, of] a|x\d ¿k xf] . a|x\d cv08 cå}t eP/ Wjlg xf];\ jf jfo', gbL cyjf kz'kG5L jf klg k/a|x\d gfb a|x\d / zAb a|x\d . oL b'O{ dfgjfbL lj|mofsnfkåf/f pTkGg Wjlg xf];\ . ¿k k|tLt x'G5g\ . ToxL zAb / gfb a|x\dnfO{ xfd|f] s0f{sf] ;Lldt >Jo zlStsf sf/0f Tof] ulx/f];“u a'‰g ;s]sf] v08df dfq k/a|x\d ;a} ;'Gg c;Dej x'G5 . To;}n] t e/tåf/f k|fKt ub}{ df]If k|flKtsf] ;fwg x'g ;S5, To;}n] /lrt ‘gf6\ozf:q’ df elgPsf] 5 – t}tL/Lo pklgifb\df elgPsf] 5 M g gfb]g ljgf uLt+ g gfb]g lagf :j/f . zAb a|x\d0fL lgi0fftM k/ a|x\df lwuR5tL . g gfb]g ljgf >'To+ t:dfGgfbf]Gdo+ hut\ .. of] r/fr/ a|x\df08 ;Dk"0f{ gfbdo / nodo of] a|x\df08sf] ;[li6 ;“u;“u} gfbsf] klg pTklTt
110 1 5 th Anniversary ePsf] jf cl:tTj /x]sf] j}1flgs ts{ 5 . v08df hLjgsf] cGTo x'G5 . xfd|f] x[bosf] lsgls of] ;Dk"0f{ vuf]n, e"uf]n, ;f}o{d08n, rfn -9's9'sL_ xf];\ jf xfd|f] lx“8fOsf] Ps ;a} ;f}o{ kl/jf/ ;"o{sf c+z x'g\ eg] ha ;"o{ ;fdfGo rfn, oL ;a} nodo eP/ g} xfd|f] 6'lj|mof] ta cjZo g} ljzfn Wjlg pTkGg hLjg, hut\ clg ;[li6 / a|x\df08sf] cl:tTj eof] . o;/L a|x\df08sf] ;[li6 / Wjlgsf] /x]sf] 5 . To;/L g} ;ª\uLtdf klg nosf] cGof]Gofl>t ;DaGw ts{;ª\ut k|tLt x'G5 . cToGt} d'Vo e"ldsf /x]sf] 5 . h;sf] ljgf ;ª\uLtsf] cl:tTj jf ;f/ /x“b}g . non] :j/, k"jL{o bz{g tyf jfª\dosf ljåfg\x¿n] cIf/ / zAbx¿nfO{ plrt ¿kdf af“Wg], hf]8\g] ;ª\uLtsf] pTklTt ‘ç’ zAbaf6 ePsf] / ;dfof]hg ug]{ sfd u5{ . dfg]sf 5g\ . ç zAb PsfIf/ eP/ klg c, p, d oL tLg Wjlgsf] ldl>t :j¿k xf] hf] a|x\df, o;/L ;ª\uLt cd"t{ ljifo x'“bf x'“b} klg ;d:t lji0f', dx]z :j¿k, ;t\ lrb\ cfgGb :j¿k, k|f0fL hut\sf nflu k|s[lt k|bTt pTtd pkxf/ lqd"lt{, lqzlSt :j¿k k|0fjfIf/ ç c, p, d xf] eGbf cltzof]lSt gxf]nf . lqgfb a|x\dsf] d]naf6 ç zAb a|x\dsf] pTklTt ePsf] dflgPsf] 5 . o;/L zAbeGbf ;ª\uLt dfgj lgld{t ljifo j:t' geP/ klg klxnf Wjlg jf gfbsf] pTklTt ePsf] dfgjåf/f cfjZostf / Ifdtfcg';f/ kl/ k|dfl0ft x'G5 . ToxL ç zAb j]b sf] klg is[t k|fs[lts ljifo xf] . of] t dfgl;s lah dGq xf] . To;}n] ç g} of] a|x\df08 cGtj{[lTtx¿nfO{ ;/n ¿kdf pb\3f6g ug]{ Ps ;[li6sf] klxnf] zAb dflgPsf] 5 . ;zSt ;fwg xf] . dxfg\ kfZrfTo ;ª\uLtsf/ layf]ljgn] eg]sf 5g\ — æ;ª\uLt t To:t} ;ª\uLtsf] csf]{ d"n tTTj ‘no’ xf] . cfWoflTds / nf}lss hLjg larsf ;+of]hs h;sf sf/0f of] a|x\df08 ;[li6, ultzLn / xf] . ;bf Ps¿k rnfodfg 5 . no cyf{t\ rfn, jf ult ljgf of] a|x\df08sf] sNkgf;Dd klg ;ª\uLt dfgjLo ;+j]bgf, efjgf, JoSt, c;Dej x'G5 . of] ;[li6df k[YjL, ;"o{, rGb|, cJoSt lrTtj[lTtnfO{ cleJoSt ug]{ ;kmn jfo', hn, r/fr/ hut\sf k|f0fL r]tg, dfWod xf] . efiff / zAbn] JofVof t ug{ cr]tg ;a} j:t' ;"Idflt ;"Id ¿kdf lg/Gt/ ;lsG5 t/ efjsf] ulx/fOnfO{ 5'g ;ª\uLt kl/jt{gzLn / ultzLn 5g\ . vuf]n, e"uf]n, cfjZos / ;dy{ x'G5 . To;}n] t elgG5, hxf“ tf/f u|x cflb ;a}sf] cfk\mg} lg/Gt/ / lgoldt ;flxTo / Jofs/0f yfS5g\, Toxf“af6 ;ª\uLt ult / no 5 . hf] yf]/} dfq tndfly jf u8a9 ;'? x'G5 . eof] eg] of] a|x\df08df k|no x'G5 . To:t} xfdL ;ª\uLt, ;flxTo / snf oL ltg} cf]6f ljwf ;d:t k|f0fLx¿ klg noab\w 5f}“ cGoyf xfd|f] Pp6} efjgf¿kL gbLsf d'xfgaf6 k'm6]/ lg:sg] hLjg ;Dej x'“b}g . l;h{gfsf eª\ufn x'g\ . rfx] Tof] ;flxTosf] Zjf;k|Zjf;sf] Ps ;fdfGo no x'G5, To:t} zAb ;+of]hg jf efjfTds cleJolStsf xfd|f] /St;~rf/sf] klg Ps lgwf{l/t ult ulx/fO / t/ª\ux¿ x'g\ cyjf ljleGg /ª / x'G5 . olb oL lj|mofx¿ c;fdfGo ePsf] efjgfsf ld>0faf6 kl/slNkt lrqsnf, d"lt{snf cflbsf zAbxLg JofVof jf cfnfk
111 :j/nx/L / ;/udflbåf/f efjfleJolSt xf];\ . x'g'ePsf] ls+jbGtLn] klg o;nfO{ cGttM ToxL Ps dfgj cGtMs/0f jf k|:6\ofp“5 . To:t} ;k{ klj|mg] ;k]/fn] klg dgdl:tissf] pR5fn / cfk\mgf] lag ahfP/ ;k{nfO{ cfkm\gf] jzdf /fv]/ grfO/fv]sf] b[Zo htftt} b]Vg efjfleJolStsf] k|of; xf] . elgG5, ;flxTo kfOG5 . hª\undf xl/0fsf] l;sf/ ug]{ z/L/ xf] eg] ;ª\uLt k|f0f xf] . To:t} snf l;sf/Lx¿n] klg d'/nL ahfP/ xl/0f n6\7 k/]/ z[ª\uf/ xf] . To;}n] k|f0fdo z/L/df h:tf] rg{ 5f8]/ plePsf] df}sf 5f]kL l;sf/ z[ª\uf/sf] zf]ef x'G5, To:t} ;flxTo ;ª\uLt / ug]{ u/]sf] xfdLn] ;'g]sf 5f}“ . ;ª\uLtsf] snfsf] plrt ;dfud x'g ;s] ;'gdf ;'uGw zlStsf] ljifosf] af/]df klZrdL d'n'sx¿df eg] e}“m clt pTtd x'G5 . To;}n] t klg ;do ;dodf vf]h, cg';Gwfg / cGj]if0f rf0fSodl0fn] cfk\mgf] gLltzf:qdf n]v]sf ePsf] / eO/x]sf] s'/f xfdLn] k|z:t ;'g]sf / 5g\ – kqklqsfdf k9]sf 5f}“ . h:t} ;ª\uLt ahfP/ ;flxTo, ;ª\uLt, snf ljxLg ufO{sf] b'w lgsfNbf b'w w]/} lbg] xf];\ cyjf ;fIfft\ kz' k'R5 ljiff0fxLg . ;ª\uLt ahfO/xg] 7fp“df k"mnx¿ klg /fd|f] k'mn]sf cyjf df}/Ln] w]/} dx nufPsf] cflb vfbGg lq0f+ gr hLjdfg vf]hx¿ eO;s]sf 5g\ . h]xf];\, ;ª\uLtdf tt\ efub]x+ kz'eLg{/f0ff+ .. Ps cb[Zo, cnf}lss zlSt lgxLt x'G5 eGg] snf ;flxTo / ;ª\uLtk|lt ?lr gx'g] jf dg s'/f k|dfl0ft eO;s]sf] 5 . cfhef]ln t gk/fpg] JolSt dfgj xf]Og, Tof] 3f“; gvfg] ;ª\uLt pkrf/ kb\wltsf] ¿kdf klg k|of]u g/kz' xf] h;sf] l;ª / k'R5/ b'j} x'“b}g . To;}n] eO/x]sf] 5 / o; ljifodf yk c¿ To:tf] dfgj b'n{e} xf]nf h;nfO{ snf ;flxTo cg';Gwfg x'g] j|md hf/L 5 . ;ª\uLtn] dfgj / ;ª\uLtk|lt cfsif{0f / ?lr gxf];\ . ;ª\uLt dg dl:tisdf s;/L ulx/f] k|efj kf5{ eGg] ljgfsf] hLjg ck"0f{, cw'/f] / lg/; x'G5 eGbf s'/fsf] vf]h eO/x]sf] cj:yf 5 . ;ª\uLtdf cltzof]lSt gxf]nf . 8'a]sf] dflg; zfGt, wL/ / uDeL/ :jefjsf] x'g' o;sf] k|df0f xf] . pko'{St pbfx/0fx¿af6 ;ª\uLtdf Ps ckf/ / cnf}lss zlSt x'G5 of] k|dfl0ft x'G5, ;ª\uLtåf/f g s]jn dfgjÙ eGg] s'/f xfdLnfO{ ljlbt} 5 . xfdLn] kz', kG5L, ls6ktª\u, af]6 la?jf cflb klg ls+jbGtLx¿ ;'g]sf jf k9]sf 5f}“, csa/sf] dgdf]xs zlStaf6 k|efljt x'G5g\ . b/af/df tfg;]gn] bLks /fu ufp“bf To; /fu ufogsf k|efjn] b/af/df cfuf] nfu]sf] / cGTodf tfg;]gs} ;'k'qL ;/:jtLn] d]3 /fusf] ufogåf/f Tof] clUg ;dg u/]sf] syfaf6 ;ª\uLtsf] zlStsf af/]df cfsng ug{ ;lsG5 . To:t} tfg;]gsf klg u'? :jfdL>L xl/bf;hL dxf/fhåf/f cfk\mgf] /fu ufogåf/f j[Gbfjgdf af“s] ljxf/L nfn eujfg\ k|s6
112 1 5 th Anniversary ;Gbe{ u|Gy;"rL != j]bJof;, t}tl/o pklgifb -k'gMd'b|0f_, uLtf k|];, uf]/vk'/ @= cfrfo{ e/t, gf6\ozf:q -k'gMd'b|0f_, ;ª\uLt sfof{no xfy/; #= cfrfo{ rf0fSo, rf0fSogLlt -k'gMd'b|0f_, uLtfk|];, uf]/vk'/ $= ;f/ª\ub]j, ;ª\uLt /Tgfs/ -k'gMd'b|0f_, ;ª\uLt sfof{no xfy/; %= ld>, 8f= nfndl0f, ef/tLo ;ª\uLt, ef/tLo 1fglk7 ljZjljb\ofno k|sfzg b'uf{k|;fb vltj8f b'uf{k|;fb vltj8f s'zn afF;'/L jfbssf ¿kdf klg ;'kl/lrt 5g\ . jgf/; lxGb' ljZjljb\ofnoaf6 ;ª\uLt ljifodf :gftsf]Tt/ u/]sf vltj8fsf ltg yfg ;fª\uLlts PNad ;fj{hlgs eO;s]sf 5g\ . pgn] gj]{, 8]gdfs{, l:j8]g, k|mfG;, hd{gL, l:j6\h/NofG8, >Lnª\sf cflb d'n'sx¿df cfof]lht ljljw ;fª\uLlts sfo{j|mdx¿df cfk\mgf] k|:t'lt lbO;s]sf 5g\ .
xfn pgL nlntsnf SofDk;, l;h{gf sn]h ckm kmfOg cf6{;\ / g]kfn ;ª\uLt ljb\ofnodf cWofkg/t 5g\ .
113 Music Therapy
- Dr. Niranjan Bhandari
The present day and age is Absolute. It is considered a very characterized by an abundance effective spiritual tool to attain Nada of economic and social problems Brahma. The ancient system of Nada of various kinds. An increase in yoga considers the whole universe materialism has inflicted serious harm as a formation of vibration. Even the on the physical and psychological most basic element of music the swara health of people. Lifestyles are traces its name of swa (mening self) becoming increasingly fast paced and and ranjan (meaning of please). Thus, stressful. This constant stress has a the swara itself is that which pleases very damaging effect on the body's by itself the mind of the listener. immune system leading to an increase in al king of diseases and illnesses. The essential pillars on which music therapy is based as follows: Music is a very powerful tool that can help in such stress related Power to Inspire: Music has the problems that may even cause severe power to inspire. It has the power behavioral problems. Not only this, to excite or to calm down a person. music has been found effective in These are mutually in contrast but increasing will power, self confidence are used in treating different kinds of and concentration. It has also been ailments. found helpful in very effective in treating learning disabilities, autism, Sound Vibrations: The sound mental retardation in children and vibrations have a definite effect on Alzheimer’s syndrome in the aged. the human mind. Even the Vedic How does music help in such a mantras are supposed to be recited huge spectrum of ailments? One in a particular manner with specific of the answers to this question is accents and intonations in order to that amongst all the fine arts that produce the right vibrations to make include music, painting, architecture, the mantras effective in producing the sculpture and literature. It is only desired results. music that is a 'moving' phenomenon. The act of creation by the artist and Mind waves: the human brain has its appreciation by the listener are different centers that emit different simultaneous, especially in a live kinds of energy waves. The waves performance. Consequently, its effect emitted are of four types: Beta, is very profound and highly enhanced Alpha, Delta and Theta. Music helps on the human mind as compared to in enhancing the production of the the other fine arts. alpha waves that are believed to be very good for the mental and physical In the Nepal and Indian tradition, health. music has been linked to the
114 1 5 th Anniversary
Sound waves and man: The human music therapist. It is not essential for hear can grasp sound that has a patients to have knowledge of the frequency of 20 to 20,000. Less than ragas or any other genre that is being 20 vibrations per second cause’s used for the purpose of music therapy infrasonic sound which can affect to benefit from it. Music therapy mental health. More than 20,000 has no side effect if done under the vibrations per second is ultrasonic right guidance and supervision sound that is believed to be helpful and is especially effective if used in treating several health problems in combination of other methods of including fractured bones or injured treatment. ligaments. References: Will power: Music helps in 1. sangit chikitsa: bhaskar V. khandekar strengthening will power that is published in sangit, Ras, parampara aur very essential to dealing with health vichar, edited by om prakash chaurasia, problems in a patient particular kinds vani prakashan, new delhi. of music helps in the creation of 2. Raga therapy by T.V. Sairam endorphins, which are a special kind 3. Music therapy The sacrd and the profane of chemical that help in enhancing Ed. T. V. op0timism in a patient.
Emotion: It has been found that different emotions create different physical changes in the human body. For example, when a person is angry, the pulse rate increases, the ears and eyes may torn red. Nervousness sometimes leads to sweating and so on. Music therapy is used so that certain specific emotions are generated in order to have the desire physical effect on the patient.
Music therapy is becoming Dr. Niranjan Bhandari increasingly popular in India. The music therapists use the Dr. Niranjan Bhandari, a categorization of indiavuals based master's degree and Ph.D holder on the nature principle of Rajsik, from Banaras Hindu University, Varanasi, India is a prolific flute Tamsik and Satvik or the Ayurvedic artist. principle of vata, pitta and kaph. Several classical Ragas and used Recently he has been conferred in music therapy practices. This with Nepal Vidhya Bhushan depends in the characteristic of the 'Ka' by the Rt. Honourable raga. Today, various commercial President of Nepal. Presently he is records are available in the market associated with Lalit Kala Campus for the purpose of music therapy and Sirjana College of Fine Arts. or meditation which can be used to treat a specific health problem in on solution with an experienced
115 New Media Art in Art Education manish lal shrestha
Art is often isolated in our society. Even Art is decentralized to the People rarely realize its importance devastated districts and connecting and value. I have come across with whole community together. different periphery of communities after the big roar of the nature. More Earthquake destroyed many schools than nine thousand people have and colleges including art colleges died, millions homeless, billions of Nepal one of them is Sirjana of properties got destroyed and College of Fine Art. For the whole traumatized the souls of the nation. It year students have been studying became the national and international under broken rooms and leaked concern just because it hit the tin roofs. Studying and learning important cities and world heritage under the destroyed building is sites of Nepal. Major art and artifacts tough. Hopefully new things come got broken and many of our cultural with new thoughts. Earthquake is heritage sites are still in the verge of an opportunity for all the Nepalese ruin. Though people feel the loss, Art to grow into new functional ideas. is still not in the priority. Conceptual norms could grow through these circumstances. It is The Kathmandu valley is one and not trying to destroy the old norms only valley consists of great numbers or conventional practices. There are of world heritage sites in the whole possibilities for new thoughts of new world. Even after a year and the Nepal and new dimensional Art half the sites are still not being and cultural heritage. Earthquake in taken seriously by the government. Nepal brought new possibilities of Before the earthquake they used contemporary senses. Instead of the to generate lots of revenues which renovating the old we could think could have led the better future of something new to flourish. the nation. I agree upon the facts that it takes lots of resources and New Media Art is introduced in many skillful artists and artisans Nepali Art education in the very to rebuild such heritage. But as we recent times. It was a big challenge to look back outside the valley, most break all the norms of conventional of the area is completely destroyed, practices. Although Sirjana College to build the ecological space is not of Fine Art is well received by that big issue for the government but established artists of Nepal but their progress is still so slow. Most somewhere there’s a lack on updating of the development progress is now it. Art has grown up into different decentralized which I find the positive perspective and still the situation is aspects of devastation. People from way back to the realistic ideology. the communities are going to serve Students are taught to learn the skills the communities outside the valley. rather than to create own objectives
116 1 5 th Anniversary
Bibek Shrestha. Tornado Shape Spiral. BFA 4th year. 2016. into reality. Nepal as a whole seem so Assignments are designed with the influential to the western culture.Our individual understanding of the lesson on new media is to understand students. The approach is to bring the values of own native ideology their own vision into reality using and transform them to create the different elements and medium than futuristic vision. We started with usual materials. We intend to bring conceptual practice with an intension interactivity, performativity and not to define a piece as a painting spontaneous creative activity to define or a sculpture. As in the west new new media art. media was started with moving photographic inventions in the late To cite as an example, it was 19th century. Artists then have been an interesting approach by Bob using photographic and video graphic Benjamin to materialize the native tools, computer graphics, light art, concept into contemporary presence. digital art, sound art, internet art and The installation art of concrete technologies to express their norms. miniature building foundation is In the context of Nepal, the country of to reflect the tremor of the nation. major power cuts and load shedding, Minimalistic approach on his work it is difficult to intervene with the could bring dialogue among the western ideology of using electronic viewers. To create an art, process and gadgets as a tools to express inner collaboration are important factors views. So to start new media art which reflect in his work. To flatten is to think with conceptual norms the chair he was collaborating with beyond the conventional approach. carpenter in his neighborhood that
117 Nadim Shakya. Videos on 3D Form. BFA 4th Rabin Kaji Shakya. Insecurity. BFA 4th year. year. 2016. 2016. shows the communal interlink. It on the 3D form he created on the creates some space for all the viewers wall. It was an image I found it more to imagine into their own thought associated with technology, computer process. Rabin kaji Shakya created graphics, wise use of programming; it the work on contemporary issues of was the transformation of new media Nepal like load shedding and also approach. linked with insecurity caused by the devastating earthquake. Using Despite lots of challenges, we could helmet as material for the work, unlit run the new media art classes. bulbs and wire was to deliver his Fundamental structure of new media concept wisely in the topic insecurity. art should have well – equipped Installation on tornado shape spiral independent studio for the students. by Bibek Shrestha created some Since the new media approach thought provoking gesture. Yogesh doesn’t confine in limited space, it can Awale created the installation of solar vary according to the situation and system through bulbs. Some of the with site specific intervention. New bulbs were colored in black to depict media art practice has lots of potential the pollutions and some plants were in the future due to the progressive grown in some bulbs. His concept development of the nation. Social was to relate environmental issues. media can be another space to deliver Nadim Shakya projected the videos the creative and futuristic tendency
118 1 5 th Anniversary
Yogesh Awale. Solar System. BFA 4th year. 2016.
Manish Lal Shrestha
Manish Lal Shrestha is a multi-dimensional visual artist. Thirteen solo exhibitions, several workshops and residencies in Switzerland, France, Pakistan, Srilanka, India, USA, Holland, South Korea and Nepal in his credit, made him well received Bob Benjamin. A Useless Chair. BFA 4th year. visual artist of Nepal. 2016. He has received several awards, of new media art practice. As an including National Fine Arts artist we should protect the freedom Award in 2011 from Nepal of expression through any means Academy of Fine Arts. He is and by any method. Why can’t an Founder/Executive Director of artist talk about the issues, talk about Gallery Mcube, Nepal. He is censorship, talk as an activist and actively involved in community empower the community through art practice to empower different means of art? community in remote villages. He is a faculty of New Media Art in Sirjana College of Fine Arts.
119 Experiences in Sirjana college of fine arts Bob Benjamin
Initially I found myself at a loss trying to pin down the crucial experiences and events that have underscored my six years relationship with Sirjana College of Fine Arts. I have decided to do away with all the superfluous details of life at Sirjana which most of you will eventually come to learn as your time here unfolds. So when we trim this fat down what remains is the bare essentials, which I feel comfortable to talk about. The essential and common experience we all will share in this case is art. There are two very indispensible experiences that everyone will have during their time in Sirjana which I experienced too.
First one is a positive one that will not only help you better yourself as an art student but will also help you evolve into a better human being. Another one is a negative one that holds the Bob Benjamin. Limbo. Woodcut Print on nepali members of Sirjana back; teachers and paper, 12” X 9” students alike, from exploring their true potential and if it is addressed going through a phase where I was honestly will improve this institution experimenting with different things and the services it provides by leaps and I had no idea of what I wanted and bounds. as a career. I say experimenting but to be precise, I took up something Let me begin by giving a short and as soon as my interest waned I introduction as to how I got involved gave it up. This was the extent of my in art and consequently with Sirjana. experimentation with music, writing, I am not one of those people who computers, designing, animation, car started drawing from a young age repairs and modification and the list or even showed the slightest bit of goes on. I tried many things but just interest in art. My introduction to couldn’t bring myself to imagine a the visual arts was when I joined scenario where I saw myself pursuing the hobby class provided by Sirjana a fulfilling lifelong career in any of college. During this time I was
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Bob Benjamin. Exercise in Futility, Aquatint on Paper, 9.6” X 7” the things I was experimenting with. and it stemmed out of self motivation. But with painting that wasn’t the So it was then I decided to give up case. I kept coming back to it. I started everything else including my hobby missing my computer classes first to art class and enroll in the courses spend more time at my “hobby art Sirjana provided. Thus began my class”. Then along with my computer journey. class it was my designing class and soon followed my animation class. All The irony of art school is that no these classes seemed inconsequential. one can teach you how to make I spent alternate days at the hobby art art or good art at least. I know that class and when I wasn’t there I spent now having spent six years at this all my time drawing and looking institution. That being said what can up art and reading about art on the be taught is the technical aspect of it. internet. My life took a turn I had not Art schools can only give you tools expected it would take; moreover I and techniques by the use of which really liked it. This was what I was one can unearth and excavate one’s searching for. own truth and make art out of it. As is the case with learning everything I realized that I was intrigued by the new we start with the simple and process of visual art so much that progress into complex things. The nobody had to tell me to work hard basic shapes that we practice as a and commit considerable time to it. I beginner will be used to decode, was doing that on my own. Whatever understand and relate visually passion, dedication and commitment something as complex as the human I was putting into it was self initiated body. This process of simplifying so
121 you can get a better understanding of the complex organic whole not only serves one in the arts but also in life as well. Everything done and taught in Sirjana College, bears the mark of this time tested process. This method I believe will help ease in students into visual art, a new language, without intimidating them and helping them reap the benefits of a method that puts emphasis on a structured way of looking at art. Miyamoto Musashi the Japanese swordsman in his book “A Book of Five Rings” says “To know ten thousand things, know one well”. That one thing that is worth learning and taught well in Sirjana is simplifying the process of visual art. This is one positive experience I believe everyone who decides to study in Sirjana College will have. The most obvious benefit of this method is that one acquires a working understanding of the means that Bob Benjamin. Dog Shit. Linoleum Print on govern successful artistic enterprise. nepali paper, 10.2” X 12” You learn the rules so to speak. Once you learn the rules it is much easier to ask ourselves is –“Is every to break them and once you learn the Sirjana College graduate a visually structure it is easier to deconstruct literate individual who can actively it and fit it to your individual need. contribute to the local artistic Also, my time in the college and many community and the community hours of self study have made me at large?” Ideally we would want aware that it isn’t important to break every graduate from the college to the rules for the sake of breaking be visually literate and an active the rules. It all depends upon the member of the artistic community. manner of how we break the rules. If But unfortunately we know for a fact we as artists and art students don’t that this isn’t the case. No matter just simply break the rules but strive how well a program is designed it all to aesthetically break them then we depends upon how it is implemented. create something worthwhile and The greatest hurdle to the program enduring. in the college is that students aren’t given enough responsibility and The process of simplifying that are never held accountable for I mentioned above, the full failure of upholding whatever little comprehension of which no doubt responsibility they have now. The will produce visually educated and remedy for this, if I may suggest, aware artists capable of producing should begin with enforcing stimulating art. When we consider compulsory attendance, weekly and this fact the question that we have monthly assignments and evaluations
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Bob Benjamin. Foundation, Cement, Metal Rod, 4” X 4” X 5” and to make sure the students are a considerable amount of the course held responsible the ones who fail to time? The recently implemented final meet with the requirements should be compulsory display is a step towards penalized. We have a culture here in correcting this wrong. But it far from the college of procrastinating things solves the problem. It addresses the and putting things off to the very last issue but doesn’t quite solve it. moment possible. This culture gives facility to students who aren’t serious This might seem like a harsh criticism about art and come here to pass the but it is the truth and I only mention time and at the end of the year submit it here because I want Sirjana to in two or three assignments and improve. I won’t the teachers and pass the exams. This quite frankly is students here to have healthy, a disservice to the education that is fruitful interactions. I also mention provided here, it makes a mockery it in the hope that everyone will talk of the teachers who everyday take about it and give it the attention it time out of their day to teach here for deserves; that way it can be dealt with a meager salary and it is offensive to accordingly. We have to acknowledge the students who put in the effort and the good along with the bad that is commitment to work day and night how progress is made. I have spent to excel in their craft. Additionally, it six years in Sirjana and I admit it is devalues the final assessment exam far from perfect but I believe that and the marks obtained in it. Art is an everyone involved with Sirjana will interactive transaction. How can the keep improving and evolving inching transaction take place when one side it ever closer to its goal of becoming a of the involved party isn’t present for haven for artful practices.
123 Finally, I want to say art is a habit. It should be done daily.
It is like any other profession. It demands great sacrifice, hard work, perseverance and patience. I know this sounds unglamorous but that is the whole point. You should be driven to make art to such an obsessive degree that you know with unflinching clarity and absolute confidence that whether times are good or bad and under any circumstance you will make art. You will use it as the primary language to learn about your surroundings and express it. This is the most valuable experience Sirjana College of Fine Bob Benjamin Arts has helped me cultivate. So make art when you are happy, make art Bob Benjamin, an alumnai of when you are sad, make art when you Sirjana College of Fine Arts, is don’t won’t to make art anymore and an enthusiastic art practitioner. His art practices range when you are done making art make from the conventional to the some more. unconventional.
Additionally he is interested in how history of art helps in shaping and evolving contemporary art, art in general and his own practice.
124 1 5 th Anniversary Hilariously yours,
Kuldip Jang Bahadur Gurung
Kuldip Jang Bahadur Gurung, an alumnai of Sirjana College of Fine Arts, works as an illustrtator in the Curriculum Development Centre, Ministry of Education. He was awarded with "Nepal Vidhya Bhusan - Ga" in 2014 for scoring highest marks in the Faculty of Humanities and Social Sciences, Tribhuvan University.
125 Established in 2001 in affiliation to Tribhuvan University
founder members
Shashi Shah, artist Batsa Gopal Vaidya, artist Shyam Lal Shrestha, artist Krishna Manandhar, artist
Baikuntha Man Shrestha, Ravindra Jyapoo, artist Takashi Khajita, Prabin K. Shrestha, artist artist/art activitist social activist
Purna Chandra Boki Late Ujjwol Kundan Jyapoo Sharada Man Shrestha Aruna Shakya, art enthusiast/ Shrestha, art enthusiast artist artist business entrepreneur
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Sharad Ranjit, artist Late Surendra Raj Bhattarai, Maya Manandhar, artist Dhiresh Kumar Dahal, artist/art writer artist
Purna Ratna Bajracharya, Guatam Kumar Manandhar, Bijay Shrestha, Ashok Kumar Bhadel, artist artist artist business entrepreneur
Minu Shrestha, artist Uttam Kharel, artist Navindra M. Rajbhandari, Nilam Tamrakar, artist artist/art writer
Sunil Ranjit, artist Devina Malla, artist Prabha Bhattarai, Poet Jaya Dev Krishna Shrestha, business entrepreneur/ art enthusiast
127 Rajendra Man Rajbhandari, Rabindra Man Joshi, Ebba Bista, Prasida Khanal, art enthusiast art enthusiast/ business art enthusiast art enthusiast entrepreneur
Samriddhi Poudel, general members art enthusiast
Prof. Dr. Rajesh Gautam, Radheshyam Mulmi, artist Chandra Bhattachan, poet/ Prakash Ratna Shakya, historian/artist lyricist artist
Chandra Shyam Dongol, Bina Pradhan, vocalist Nanda Kishor Shrestha, artist business entrepreneur/social activist
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Mahen Mohan Shrestha, Madan Chitrakar, Shanta Kumar Rai, Gangadhar Saroo, art enthusiast/social activist artist/art writer artist artist
Laxman Bhujel, artist Meenakshi Sharma, Achyut Ram Bhandari, Nagendra Prasad Neupane, teacher/ art enthusiast tabala artist tabala artist
Samjhana Rajbhandari, Bhawana Manandhar, Saurganga Darshandhari, Roshan Bhandari, artist artist artist artist
Krishna Gopal Shrestha, Mukesh Shrestha, artist Dheeraj Ram Rajbhandari, artist engineer/art enthusiast
129 management committee Administrative Staff
Baikuntha Man Shrestha Krishna Manandhar Chairman Principal Batsa Gopal Vaidya Navindra Man Rajbhandari Vice-Chairman Programme Coordinator Shyam Lal Shrestha Laxman Bhujel Member Vice-Principal Ravindra Jyapoo Gautam Manandhar Member Administration Officer Sharada Man Shrestha Bandana Manandhar Member Account Officer Maya Manandhar Uttam Kharel Member Day Shift Incharge Purna Ratna Bajracharya Sharada Man Shrestha Member Store and Maintenance Incharge Gautam Manandhar Shanta Bahadur Dangal Member Exam Assistant Uttam Prasad Kharel Bhawana Sharma Member Librarian Neelam Tamrakar Chiranjivi Dhakal Member Office Assistant Sunil Ranjit Dil Bahadur Ghalan Member Lab Boy Devina Malla Rita Pujari Member Genitor Jaya Dev Krishna Shrestha Ishor Tamang Member Gardener Sharad Ranjit Member Prakash Ratna Shakya Member Dr. Rajesh Gautam Member Krishna Manandhar Member-Secretary
130 1 5 th Anniversary Faculty Members
Painting Music K. K. Karmacharya Nhuchhe Bahadur Dongol (Folk Rhythm Instruments) Sunil Ranjit Dunkun Das Chaudhary (Tabala) Laxman Bhujel Rabin Lal Shresstha (Tabala) Mukesh Shrestha Durga Prasad Khatiwada (Flute) Krishna Gopal Shrestha Bishnu Acharya (Vocal) Roshan Bhandari Shree K. C. (Vocal) Nagendra Prasad Neupane (Tabala/ Printmaking Folk Music) Saur Ganga Darshandhari Dr. Niranjan Bhandari (Flute) Samjhana Rajbhandari Yati Raj Adhikari (Violin)
Graphic Communications Dance Madan Chitrakar Prof. Honey Shrestha (Kathak) Radhe Shyam Mulmi Subima Shrestha (Kathak) Ashok Man Singh Tara Manandhar (Charyaa) Ganga Dhar Sharoo Sulochana Gopali (Bharat Naatyam) Abin Shrestha Sushma Koirala (Folk Dance) Devendra Pandey Bijaya Maharjan Compulsory Subjects Meenakshi Khanal (English) Sculpture Pratibha Pun (Nepali) Ravindra Jyapoo Ambika Niraula (Nepali) Sharada Man Shrestha Narmada Sharma Regmi (English) Prakash Ratna Shakya Chandra Shyam Dangol
New Media Manish Lal Shrestha
History of Art Navindra Man Rajbhandari Bhawana Manandhar
131 Acknowledgement
Abhi Subedi, Dr. (Essayist/Critic/ Poonam R. L. Rana, Dr. Linguist/Playright/Poet) (Associate Professor, TU) Arun Shrestha (Researcher) Prakash Ratna Shakya (Sculptor) Ashok Man Singh (Painter/Graphic Pramod Pradhan (Critic) Designer) Pranisha Gurung (BFA 4th year, Baikuntha Man Shrestha (Chairman, Sirjana College of Fine Arts) Sirjana College of Fine Arts) Ravindra Jyapoo (Sculptor) Batsa Gopal Vaidya (Vice Chairman, Roshan Bhandari (Artist) Sirjana College of Fine Arts) Roshani Maharjan (Alumnae, Bibek Shrestha (Alumnae, Sirjana College of Fine Arts) Sirjana College of Fine Arts) Saroj Bajracharya (Painter/Writer/Poet) Bob Benjamin (Alumnae, Sirjana College of Fine Arts) Shanta Bahadur Dangal (Exam Assistant, Sirjana College of Fine Arts) Chiranjivi Dhakal (Office Assistant, Sirjana College of Fine Arts) Sharada Man Shrestha (Sculptor/ Painter) Dawa Omu Lama (Designer) Shashi Bikram Shah (Founder Dil Bahadur Ghalan (Lab Boy, Principal, Sirjana College of Fine Arts) Sirjana College of Fine Arts) Shyam Lal Shrestha (painter) Dipendra Bajracharya (Photographer) Sunil Ranjit (Painter) Durga Prasad Khatiwada (Flute Artist) Tara Manandhar (Classical Dance Hari Ram Adhikari (BFA 4th year, Artist) Sirjana College of Fine Arts) Uttam Nepali (Painter/Poet) Harnamadi Art Foundation, Hetauda Uttam Kharel (Painter) Honey Shrestha, Prof. (Classical Dance Artist) Yogesh Awale (Alumnae, Sirjana College of Fine Arts) Kuldip Jang Bahadur Gurung (Alumnae, Sirjana College of Fine Arts) Yuv Raj Nayaghare (Essayist) Lok Chitrakar (Pauva Artist) Manish Lal Shrestha (Visual Artist) Nadim Shakya (Alumnae, Sirjana College of Fine Arts) Nagendra Prasad Neupane (Tabala Artist) Niranjan Bhandari, Dr. (Flute Artist) Om khatri (Sculptor)
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