Pub Date : 2019-12-01DOI: 10.3126/sirjana.v6i1.39675
Saroj Bajracharya
This write up aims to understand the relationship between the ancient and the modern art in relation to the foundation of the unbound state of mind that has been flowing from primitive time in Nepal. State of mind is generally defined as the mental state or mood of a person at a particular time. But in this context, time is an extended and stretched playground for artists where they have sometimes connected and at times disconnected from their primitive native continuity of individual aesthetics and collective social beliefs. And this connection and disconnection from what appears as the ancient state of mind is rather the elementary characteristics of our society that has merged with western propagated modernity in terms of arts as well as science; we have local modern art façade which got fuelled around the mid 19th century in Nepal and combusted in the mid 20th century here. When one enters into this creative façade, one can still feel the unbound state of mind that emanates mystic, relaxed and harmonious qualities in some of the artworks by local artists. When these qualities unify with popular styles of expressions in Nepal, we coincide with the Nepaliness in a work of art of recent times.
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Pub Date : 2019-12-01DOI: 10.3126/sirjana.v6i1.39671
A. Shrestha
A very common understand of the word caryā brings to our mind often heard of the vajrayāna religious song known to us as caryāgīti accompanied by caryānŗtya. An apparently outward symbolic representation of the word in song and dance finds a deeper meaning when dwelt in depth. A thorough investigation into caryā opens up vast insight of vajrayāna philosophy and doctrines amalgamated in rituals of vajrayāna religious practice composed of sādhana, maņđala, mantra and mudrā with ultimate aim of emancipation in the present life itself. In essence a yoga practice with intricate procedures leads sentient beings to the world of spiritualism composed of esoteric ritual practices with a touch of aesthetical experience inherent in caryāgīti and caryānŗtya.
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Pub Date : 2018-12-01DOI: 10.3126/sirjana.v5i1.39776
अशोकमान Ashokman सिं Sing
उपभोग्य सामान वा वस्तुलाई मोडेर बट्टाभित्र राख्नका लागि आकर्षक एवम् कलात्मक ढङ्गबाट तयार पारिनेडिजाइनलाई ‘प्याकेजिङ डिजाइन’ (packaging design) भनिन्छ । प्याकेजिङ डिजाइनको ऐतिहासिक पृष्ठभूमितथा नेपालमा यसको विकासक्रमबारे खोतल्नु प्रस्तुत लेखको उद्देश्य रहेको छ । प्याकेजिङ डिजाइनरका रूपमा लेखकको लामो अनुभव र सम्बन्धित व्यक्तिहरूसंगको कुराकानीमा यो लेख आधारित छ ।
उपभोग्य सामान वा वस्तुलाई मोडेर बट्टाभित्र राख्नका लागि आकर्षक एवम् कलात्मक ढङ्गबाट तयार पारिनेडिजाइनलाई ‘प्याकेजिङ डिजाइन’ (packaging design) भनिन्छ । प्याकेजिङ डिजाइनको ऐतिहासिकपृष्ठभूमितथा नेपालमा यसको विकासक्रमबारे खोतल्नु प्रस्तुत लेखको उद्देश्य रहेको छ । प्याकेजिङ डिजाइनरका रूपमा लेखकको लामो अनुभव र सम्बन्धित व्यक्तिहरूसंगको कुराकानीमा यो लेख आधारित छ ।
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Pub Date : 2018-12-01DOI: 10.3126/sirjana.v5i1.39740
A. Shrestha
My study of ahorātrapadasādhavidhi is the study of caryā repertoire and in this repertoire of caryā of ‘performing ritual’, paňcabuddha is the store house of vajrayāna philosophical system from which emerges the bunch of deities who fill the kaleidoscopic scenario of visualization process in the religious practice of vajrayāna religion. The play of symbolism is swung to the extremes of space and beyond through the projection of akşobhya, vairocana, amitābha, ratnasambhava and amoghasiddhi as five divine forces or paňcabuddha representing paňcaskandha, driving all the sentient beings to their ‘nonexistent existence’. On the basis of the reliance on the ‘visualization’ of paňcabuddha, a path to nirvāna is eased through the ‘realization’ of śunyatā and ultimate liberation of humanity a mass.
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Pub Date : 2018-12-01DOI: 10.3126/sirjana.v5i1.39809
नवीन्द्रमान Nabindraman राजभण्डारी Rajbhandari
दोस्रो विश्वयुद्धपश्चात् परिवर्तित आर्थिक एवम् सांस्कृतिक परिवेशसंगै अन्तर्राष्ट्रिय कला जगतमा संयुक्त राज्य अमेरिकाले आफ्नो प्रभुत्व जमाउन थालेको थियो । तदुपरान्त आधुनिक कलाका गतिविधिहरूको केन्द्र अमेरिका बन्न थालेको थियो । आम सञ्चार तथा आम उत्पादनमा प्रयोग हुने आकृति तथा पद्धतिहरूलाई कलामा उपयोग गर्ने प्रवृत्तिसंगै ‘पप आर्ट’ को अभ्युदय भएको थियो । वास्तवमा विश्वयुद्धपश्चात् अकासिएको आर्थिक समुन्नति तथा त्यसबाट जनित ‘पप संस्कृति’ नै पप आर्टको उद्गम थियो । इङ्ग्ल्यान्डबाट थालनी भएको पप आर्ट अमेरिकामा मौलाएको थियो । प्रस्तुत लेखमा पप आर्टको पृष्ठभूमि, यसको प्रवृत्ति तथा यस शैलीका महत्वपूर्ण कलाकारहरूबारे चर्चा गरिएको छ । [With the changing economic and cultural environment after World War II, the United States began to dominate the international art world. Since then, the United States has become the center of modern art activities. Pop art emerged with the tendency to use the forms and methods used in mass communication and mass production in art. In fact, the post-World War II economic boom and the resulting "pop culture" were the origin of pop art. Pop art originated in England]
ोस्रो विश्वयुद्धपश्चात् परिवर्तित आर्थिक् सांस्कृतिक परिवेशसंगै अन्तर्राष्ट्रिय कला जगतमा संयुक्त राज्य अमेरिकाले आफ्नो प्रभुत्वजमाउन थालेको थियो । तदुपरान्त आधुनिकलाका गतिविधिहरूको केन्द्र अमेरिका बन्न थालेको थियो । आम सञ्चार तथा आम उत्पादनमा प्रयोग हुने आकृति तथापद्धतिहरूलाई कलामा उपयोग गर्ने प्रवृत्तिसंगै 'पप आर्ट' को अभ्युदय भएको थियो । वास्तवमा विश्वयुद्धपश्चात् अकासिएको आर्थिक समुन्नति तथा त्यसबाटजनित 'पप संस्कृति' नै पप आर्टको उद्गम थियो । इङ्ग्ल्यान्डबाट थालनी भएको पप आर्ट अमेरिकामा मौलाएको थियो । प्रस्तुतलेखमा पआर्टको पृष्ठभूमि、यसको प्रवृत्ति तथा यस शैलीका महत्वपूर्ण कलाकारहूबारे चर्चा गरिएको छ । [随着第二次世界大战后经济和文化环境的变化、美国开始主导国际艺术界。自此，美国成为现代艺术活动的中心。波普艺术的出现，倾向于在艺术中使用大众传播和大规模生产中使用的形式和方法。事实上，二战后的经济繁荣以及由此产生的 "波普文化 "正是波普艺术的起源。波普艺术起源于英国］
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Pub Date : 2018-12-01DOI: 10.3126/sirjana.v5i1.39738
M. Chitrakar
A frequent debate or an issue favorite amongst the art-history buffs is usually found around when and who first used oil paints as a medium of painting and introduced photography in Nepal. On many occasions, the credits were attributed to a legendary name – Bhaju Man Chitrakar or Bhaju-macha. But it appears now many of those narratives were made more based on the popular hearsays rather than actual study of his oeuvre of works or a credible analysis of the circumstances then. The essay here seeks to analyze the roles of the prominent artists then – spanning late 80s of the 19th century to the late 30s of the 20th century. It is found the role played by a least celebrated artist Purna Man Chitrakar, seemed more credible – in ushering a new era, described as ‘Pre-modern’, with the irrefutable accounts of his workings in oil colors and photography. Moreover, his mentorship of many of the junior artists later proved momentous – leading to create different new streams in the evolution of Nepali Art – later.
艺术史爱好者之间经常争论的话题通常是关于何时以及谁首次在尼泊尔使用油画作为绘画媒介并引入摄影。在许多场合，功劳都归功于一个传奇的名字——Bhaju Man Chitrakar或Bhaju-macha。但现在看来，这些叙述更多地是基于流行的传闻，而不是对他全部作品的实际研究或对当时情况的可靠分析。本文试图分析当时从19世纪80年代末到20世纪30年代末的杰出艺术家的角色。人们发现，一位不太知名的艺术家普尔纳·曼·奇拉卡尔(Purna Man Chitrakar)所扮演的角色似乎更可信——他以油画和摄影作品无可辩驳地引领了一个被称为“前现代”的新时代。此外，他对许多年轻艺术家的指导后来被证明是重要的——在后来尼泊尔艺术的发展中创造了不同的新流。
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Pub Date : 2018-12-01DOI: 10.3126/sirjana.v5i1.39734
Madan Chitrakar
No abstract available.
没有摘要。
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Pub Date : 2018-12-01DOI: 10.3126/sirjana.v5i1.39744
Saroj Bajracharya
This write up aims to understand the relationship between the ancient and the modern art in relation to the foundation of the unbound state of mind that has been flowing from primitive time in Nepal. State of mind is generally defined as the mental state or mood of a person at a particular time. But in this context, time is an extended and stretched playground for artists where they have sometimes connected and at times disconnected from their primitive native continuity of individual aesthetics and collective social beliefs. And this connection and disconnection from what appears as the ancient state of mind is rather the elementary characteristics of our society that has merged with western propagated modernity in terms of arts as well as science; we have local modern art façade which got fueled around the mid 19th century in Nepal and combusted in the mid 20th century here. When one enters into this creative façade, one can still feel the unbound state of mind that emanates mystic, relaxed and harmonious qualities in some of the artworks by local artists. When these qualities unify with popular styles of expressions in Nepal, we coincide with the Nepaliness in a work of art of recent times.
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Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.44437
P. Rana
The discovery of Mauryan Emperor Ashokan pillar in Lumbini by General Khadaga Shumsher Rana and Dr. Alois Fuhrer in 1896 A.D. opened the door of archaeological study in Nepal. Since then the archaeological excavations have been carried regularly. This article focuses around Lumbini the Birth Place of Buddha and highlights the contributions of Bhrikuti in spreading Buddhism in Tibet.
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Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.39846
M. Chitrakar
The perception of ‘Art’ has had changed phenomenally since the earliest appearance of art like Painting or Sculpture on the surface of earth. The numerous shifts to new forms and manifestations since then are attributed to the basic human instincts - like desire for continual change and explore for new. But all the changes are always being determined by the motives of the involved artists. Like elsewhere, Nepali Art too has had witnessed multiple forms and phases as time moved on. In the recent times, Art here too, is defined as experimental – an end result of creative experiments. And an argument that today is an age of unlimited freedom - to imagine and to create. But lately, it is found there have been frequent instances of abusing this creative freedom. To correct such tendencies in time, the concerned authorities have designed the related curriculum of Higher Education in Fine Arts – so that the exercise to experiment in ‘Art’ is made only after a designated stage of academic learning – not earlier. Obviously, the point is to lay the due emphasis on learning of academic forms first before exercising creative freedom – called ‘Experimental Art’.
{"title":"The Dividing Line: Academic Forms and Experimentations","authors":"M. Chitrakar","doi":"10.3126/sirjana.v4i1.39846","DOIUrl":"https://doi.org/10.3126/sirjana.v4i1.39846","url":null,"abstract":"The perception of ‘Art’ has had changed phenomenally since the earliest appearance of art like Painting or Sculpture on the surface of earth. The numerous shifts to new forms and manifestations since then are attributed to the basic human instincts - like desire for continual change and explore for new. But all the changes are always being determined by the motives of the involved artists. \u0000Like elsewhere, Nepali Art too has had witnessed multiple forms and phases as time moved on. In the recent times, Art here too, is defined as experimental – an end result of creative experiments. And an argument that today is an age of unlimited freedom - to imagine and to create. But lately, it is found there have been frequent instances of abusing this creative freedom. \u0000To correct such tendencies in time, the concerned authorities have designed the related curriculum of Higher Education in Fine Arts – so that the exercise to experiment in ‘Art’ is made only after a designated stage of academic learning – not earlier. Obviously, the point is to lay the due emphasis on learning of academic forms first before exercising creative freedom – called ‘Experimental Art’.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134017717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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