There are innumerable reasons why people forget a place. There is no dearth of such places in Calcutta. Some of them are remembered once a year with much enthusiasm. Let us have a positive attitude towards them. The only way to avoid losing them for ever.
Monday 17 December 2007
Tuesday 11 December 2007
VISUALS
"Amrita Sher-Gil's house at Kasauli" read FACTS NEWS VIEWS
"Sculpture from Ellora Caves (1941)" Read REVISITING RAY AT ACADEMY
Read REVISITING RAY AT ACADEMY
"Story of Birbal's cover design" Read REVISITING RAY AT ACADEMY
Unused poster of film "Devi" (1960) Read REVISITING RAY AT ACADEMY
"Unused poster of film Satranj Ki Khiladi" Read REVISITING RAY AT ACADEMY
Read REVISITING RAY AT ACADEMY
"Ek-khon" magazine cover design. Read REVISITING RAY AT ACADEMY
Read REVISITING RAY AT ACADEMY
"At D.J.Keymer" Read REVISITING RAY AT ACADEMY
"Title card of film Kanchendzonga" Read REVISITING RAY AT ACADEMY
"Dance of Ghosts from Goopy Gayen..." Read REVISITING RAY AT ACADEMY
"Drawing from Prof.Shanku's Book" Read REVISITING RAY AT ACADEMY
Read REVISITING RAY AT ACADEMY
Old Deputy Commissioner's office at Karwar, India now turned into Dy.Superintendant of Police's office.Tagore stayed here. (Read FACTS NEWS VIEWS post)
A gift of appreciation from Tagore on release of O.C.Gangoly's Hindi book of poems (1936). It read " I am happy to see your book containing poems and drawings.I congratulate you for this effort. "
( Read article "Advancement of modern art in Europe by O.C. Gangoly" )
Read REVISITING RAY AT ACADEMY
"At D.J.Keymer" Read REVISITING RAY AT ACADEMY
"Title card of film Kanchendzonga" Read REVISITING RAY AT ACADEMY
"Dance of Ghosts from Goopy Gayen..." Read REVISITING RAY AT ACADEMY
"Drawing from Prof.Shanku's Book" Read REVISITING RAY AT ACADEMY
Read REVISITING RAY AT ACADEMY
Old Deputy Commissioner's office at Karwar, India now turned into Dy.Superintendant of Police's office.Tagore stayed here. (Read FACTS NEWS VIEWS post)
A gift of appreciation from Tagore on release of O.C.Gangoly's Hindi book of poems (1936). It read " I am happy to see your book containing poems and drawings.I congratulate you for this effort. "
( Read article "Advancement of modern art in Europe by O.C. Gangoly" )
Sunday 9 December 2007
BOOKS and BOOKS
A cultured, honest, serious bibliophile never forgets a book which is truely worth reading. Only the book gets buried deeper into ones intellect with passage of time. This post reminds you of those unlucky ones, vanished from the bookshelves, for lack of sensible readers.
"Jiboner Jalchabi" written in Bengali by Prativa Bosu, wife of Late Buddhadev Bosu, is likely the last authentic insight from the poet's closest quarters. Married to Buddhadev in 1934, after she fell in love with this literary giant at Dhaka University, this book tells you about the poetic horizons this Adonis travelled and adorned. Her sincere effort reminds you that there are a few things which only a caring spouse can reflect. Published by Ananda Publishers, Calcutta and priced at Rs 150 will painfully convey to you that this book presently has no English translation. The book is catalogued as ISBN 81-7215-214-0. This book is unlucky in the sense that it loses a bulk of English language readers. Is any responsible translator reading this blog ? (also read 202 from FORGOTTEN AND UNCARED FOR) (read FACTS NEWS VIEWS for more about Buddhadev Bosu)
"Jiboner Jalchabi" written in Bengali by Prativa Bosu, wife of Late Buddhadev Bosu, is likely the last authentic insight from the poet's closest quarters. Married to Buddhadev in 1934, after she fell in love with this literary giant at Dhaka University, this book tells you about the poetic horizons this Adonis travelled and adorned. Her sincere effort reminds you that there are a few things which only a caring spouse can reflect. Published by Ananda Publishers, Calcutta and priced at Rs 150 will painfully convey to you that this book presently has no English translation. The book is catalogued as ISBN 81-7215-214-0. This book is unlucky in the sense that it loses a bulk of English language readers. Is any responsible translator reading this blog ? (also read 202 from FORGOTTEN AND UNCARED FOR) (read FACTS NEWS VIEWS for more about Buddhadev Bosu)
Saturday 8 December 2007
TAGORE'S ART OF PAINTING (by Pramode Kumar Chattopadhyay)
[This article appeared in the magazine 'Nachghar' (eng. The dancing room) in bengali in the year ( Bangla year 1348, in the month of Bhadra). It was the sixth issue in that year in which this article was published. It consisted of four pages . Nachghar was a little magazine which started its journey in 1930 (from http://www.srishtisandhan.com/)
Both in the East and the West, the last few years had witnessed, his art being discussed. Not only in Bengali or the English language, the discussion is on in other languages too. The poet enquired about these views, the views from both the ordinary and the most literate critics. He would appreciate all these criticisms and would love collecting them.
I believe, that whosoever discusses or criticises Tagore's art, is bound to find the poet's personality influencing his thoughts. It's not unusual and now after poet has voluntarily taken the journey to court his death (beng. Mahaprasthan) (after poet's death) his influence can be felt more intensely. For those who have met him , he still exists physically. His such physical existence in the mind of those who had loved him and still do, will continue till the nature's way of the act of disappearance come into existence. The following example will not be impertinent here.
I had been to Purna Theatres to see a movie 'Parichay', yesterday. Just before the cinema a newsreel film showing Tagore delivering a speech at the Viswabharati University, on the occasion of his eightieth birthday, literally electrified the audience. Such emotional peaks of nervous stimuli can only be felt and never appreciated in words. When the poet spoke that he will continue to exist among those minds who had loved him, results in tears amongst his passionate readers, unmistakenly. I could feel tears rolling out of my eyes. I believe the audience at this juncture of viewing forgot that Tagore was no more with us. This is the reason that I earlier said its impossible to separate his influence while reviewing his art forms.
When Tagore started painting, he regularly discussed about them with Abanindranath. His studentship under the latter began following the western form of art. Before Abanindranth had embraced the Oriental form of painting he started with the westrn form and was devoted to it. After winning the Nobel Prize Tagore had visited Europe more than once. On each visit he had not only seen the western paintings but also appreciated them. He was aware of the progress of the different works of art in the west and felt the innermost significance of each of them. He knew of the fundamental inspirations these art forms had acquired from. Tagore's paintings provide a clear expression of it.
Tagore's life and thoughts were inseparable from two art forms, the literature and the music. Painting took the second seat. He wrote, while in Shilaidaha, he would find dusts from the eraser accumulating by his side before he could find his pencil drawing taking a shape. His thoughts behind his drawings would often not materialise. A sense of hopelessness arose under such situations. But he kept his strong feelings and sharp insight sensitive to all that was being produced in the mother nature's lap. It may not have been possible in the world of paintings but his writings produced diverse pictures of mother nature in details. Where can you find such explicit descriptions of heavenly nature which ornamentalise his poetries and proses?
He had visited innumerrable countries and such visits which were voyage like, helped him in appreciating paintings and sculptures which were in fact condensations of extraordinary human powers. He had that inquisitive mind of an artist and it was easy for him to witness literally all forms of art in Europe. Since his adulthood he became interested in Europian realsim. Idealism, Impressioism, Post Impressionism or Futurism or even Cubism were the fields he paid immense attention to and he enjoyed them may be better than many an European artist. Every artist bears an inherent knowledge behind each piece of art he produces not easily visible to the viewer. It is the knowledge of procedure, method and collection of the ingredients which would ultimately produce that piece of art. But his inherent sense of art and his persistent urge to improve filled his deficiencies .
He kept a close watch on the happenings in art which took place at his home. But he was equally aware of such happenings in the west and the east. He knew of the paintings in Japan, China, Java, Iran, England, France, Italy, Germany, Hungary, Poland too. He was nourished by thoughts from the west and it helped Tagore's ideas to bloom. Only a few could gather so much idea and experience from ones trips abroad.
He had an exceptional power of observation extending into every field of art and this helped him in selecting his technique. By that time European realism and Eastern Idealism have become customary and taken a commonplace. The poet has no intention to tread the common path. In India, at that time, two popular forms of art were in vogue. One of them was European Realistic Art and the other Oriental Art or Indian Art. It is likely in 1922 Gaganendranath started Cubism in India. This inspired Tagore. It will not be impertinent to mention here that Gaganendranath showed enough courage and zest to introduce Cubism in India. The common viewers are not yet aware of the influence of Gaganendranth on Indian art and only the art historians will be able to convey the true fact behind it. Tagore had discussed with the art critics about the developement of art in the west and he made it clear that he would not stop at it. But still when he started painting, he started with help from the western techniques. It is probably the reason why we find so much influence of Post-Impressionism or Futurism in Tagore's art. He did not use oil because it was a difficult technique to follow. He used pen and ink and sometimes a thin mix of water colour in producing his art. We don't find a riot of colours in his paintings while there is a use of bold strokes in ink. We have spoken about the influence of the west because there is an influence of Picasso, Pizare and Kazan found in his art. But still there is a space left in the appreciation of his art. We find a direct influence of nature in his writings and music. While in his art we find the influence of the child in him.(To be continued)
Both in the East and the West, the last few years had witnessed, his art being discussed. Not only in Bengali or the English language, the discussion is on in other languages too. The poet enquired about these views, the views from both the ordinary and the most literate critics. He would appreciate all these criticisms and would love collecting them.
I believe, that whosoever discusses or criticises Tagore's art, is bound to find the poet's personality influencing his thoughts. It's not unusual and now after poet has voluntarily taken the journey to court his death (beng. Mahaprasthan) (after poet's death) his influence can be felt more intensely. For those who have met him , he still exists physically. His such physical existence in the mind of those who had loved him and still do, will continue till the nature's way of the act of disappearance come into existence. The following example will not be impertinent here.
I had been to Purna Theatres to see a movie 'Parichay', yesterday. Just before the cinema a newsreel film showing Tagore delivering a speech at the Viswabharati University, on the occasion of his eightieth birthday, literally electrified the audience. Such emotional peaks of nervous stimuli can only be felt and never appreciated in words. When the poet spoke that he will continue to exist among those minds who had loved him, results in tears amongst his passionate readers, unmistakenly. I could feel tears rolling out of my eyes. I believe the audience at this juncture of viewing forgot that Tagore was no more with us. This is the reason that I earlier said its impossible to separate his influence while reviewing his art forms.
When Tagore started painting, he regularly discussed about them with Abanindranath. His studentship under the latter began following the western form of art. Before Abanindranth had embraced the Oriental form of painting he started with the westrn form and was devoted to it. After winning the Nobel Prize Tagore had visited Europe more than once. On each visit he had not only seen the western paintings but also appreciated them. He was aware of the progress of the different works of art in the west and felt the innermost significance of each of them. He knew of the fundamental inspirations these art forms had acquired from. Tagore's paintings provide a clear expression of it.
Tagore's life and thoughts were inseparable from two art forms, the literature and the music. Painting took the second seat. He wrote, while in Shilaidaha, he would find dusts from the eraser accumulating by his side before he could find his pencil drawing taking a shape. His thoughts behind his drawings would often not materialise. A sense of hopelessness arose under such situations. But he kept his strong feelings and sharp insight sensitive to all that was being produced in the mother nature's lap. It may not have been possible in the world of paintings but his writings produced diverse pictures of mother nature in details. Where can you find such explicit descriptions of heavenly nature which ornamentalise his poetries and proses?
He had visited innumerrable countries and such visits which were voyage like, helped him in appreciating paintings and sculptures which were in fact condensations of extraordinary human powers. He had that inquisitive mind of an artist and it was easy for him to witness literally all forms of art in Europe. Since his adulthood he became interested in Europian realsim. Idealism, Impressioism, Post Impressionism or Futurism or even Cubism were the fields he paid immense attention to and he enjoyed them may be better than many an European artist. Every artist bears an inherent knowledge behind each piece of art he produces not easily visible to the viewer. It is the knowledge of procedure, method and collection of the ingredients which would ultimately produce that piece of art. But his inherent sense of art and his persistent urge to improve filled his deficiencies .
He kept a close watch on the happenings in art which took place at his home. But he was equally aware of such happenings in the west and the east. He knew of the paintings in Japan, China, Java, Iran, England, France, Italy, Germany, Hungary, Poland too. He was nourished by thoughts from the west and it helped Tagore's ideas to bloom. Only a few could gather so much idea and experience from ones trips abroad.
He had an exceptional power of observation extending into every field of art and this helped him in selecting his technique. By that time European realism and Eastern Idealism have become customary and taken a commonplace. The poet has no intention to tread the common path. In India, at that time, two popular forms of art were in vogue. One of them was European Realistic Art and the other Oriental Art or Indian Art. It is likely in 1922 Gaganendranath started Cubism in India. This inspired Tagore. It will not be impertinent to mention here that Gaganendranath showed enough courage and zest to introduce Cubism in India. The common viewers are not yet aware of the influence of Gaganendranth on Indian art and only the art historians will be able to convey the true fact behind it. Tagore had discussed with the art critics about the developement of art in the west and he made it clear that he would not stop at it. But still when he started painting, he started with help from the western techniques. It is probably the reason why we find so much influence of Post-Impressionism or Futurism in Tagore's art. He did not use oil because it was a difficult technique to follow. He used pen and ink and sometimes a thin mix of water colour in producing his art. We don't find a riot of colours in his paintings while there is a use of bold strokes in ink. We have spoken about the influence of the west because there is an influence of Picasso, Pizare and Kazan found in his art. But still there is a space left in the appreciation of his art. We find a direct influence of nature in his writings and music. While in his art we find the influence of the child in him.(To be continued)
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