Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.44442
Y. Sharma
Manuscript illuminations are the early forms of traditional Nepali paintings. Manuscript illuminations are the miniature paintings found in the manuscripts, the handwritten religious texts and treaties on ethics. Such paintings tell the mythical stories in visual form. Some manuscript illuminations present the characters and events in such a way that they tell moral stories using visual medium. Sometimes, the contents appear in the form of fable. The animals are personified, for they act and behave like a human being. In some cases, the visual narration is allegorical in the sense that one set of characters, setting and events stand for other characters, place and activities. Although some characters are animals and supernatural beings, they reflect on this world, human beings and objects in the world. Such paintings explore real world, human experiences and moral values through strange, unusual and de-autometized art forms. The paintings attempt to create moral order in the then contemporary society. This article traces such issues and themes in narrative paintings found in manuscripts like Vishnudharma, Shivadharma, Devimahatmya, Pancaraksa, VesantaraJataka and Hitopadesa.
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Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.44439
R. Pokharel
Music is a universal language which transcends all barriers of country, race or religion. The people of Nepal are immensely music oriented. This paper attempts to discuss the music conditions during Lichchhavi and Malla periods of Nepal in relation to development, extension and its practices in Nepalese society. All evidences have been taken from several documentaries. Whatever we practice as traditional Music today has taken the step of development in this very age. The evidence shows that specially raga based traditional Music was practiced in those periods.
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Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.44517
नगेन्द्रप्रसाद Nagendraprasad न्यौपाने Neupane
नेपाली लोक बाजाको रूपमा परिचित मादल नेपाली लोक सङ्गीतको ढुकढुकी हो । प्राचीन शास्त्रीय बाजामृदङ्ग र पखवाजको अनुकरण गर्दै मादलको आविष्कार भएको हो भन्ने आकलन गर्न सकिन्छ । मादलको उत्पत्तिका विषयमा कुनै प्रमाण भेटिएको पाइँदैन । मादल लोक वाद्य भएता पनि सबै प्रकारका सङ्गीतमा यसले महत्त्वपूर्ण स्थान ओगटेको छ । हाल नेपाल मात्रै नभएर अन्तर्राष्ट्रिय सङ्गीत जगत्मा समेत यसको प्रयोग बढ्दो छ । अपितु नेपालमा पश्चिमा संस्कृतिको प्रभाव बढिरहेको अवस्थामा नेपाली मौलिक वाद्ययन्त्र मादलप्रति युवा वर्गको रुचिमा कमी हुँदै गएको पाइन्छ । नेपाली लोक गीतहरूमा पश्चिमा वाद्ययन्त्रहरू ड्रम,गितार आदिको प्रयोगले नेपाली संस्कृतिको लोक पक्ष नै समाप्त होला भन्ने डर भइसकेको छ ।त्यसैले आदिकालदेखि नै गौरवशाली परम्परा बोकेको मादलको संरक्षण, संवद्र्धन र विकासका लागि सम्पूर्ण सङ्घ, संस्था, सङ्गीत विद्यालय, कलेज तथा रेडियो, टेलिभिजन, पत्रपत्रिका जस्ता सञ्चार माध्यमद्वारा यस सम्बन्धी अभिरुचि बढाउने तालिम, गोष्ठी, कार्यक्रम , प्रतियोगिताहरू हुनुआवश्यक देखिन्छ । नेपालको सांस्कृतिक प्रतीकका रूपमा रहेको मादलको सरकारी तबरबाटै यस सम्बन्धी अध्ययन अध्यापनको लागि कार्यक्रम निर्माण गरी यसलाई विषयगत रूपमा लागु गर्नु अनिवार्य हुन्छ ।
{"title":"मादल : एक अध्ययन {Madal: A Study}","authors":"नगेन्द्रप्रसाद Nagendraprasad न्यौपाने Neupane","doi":"10.3126/sirjana.v4i1.44517","DOIUrl":"https://doi.org/10.3126/sirjana.v4i1.44517","url":null,"abstract":"नेपाली लोक बाजाको रूपमा परिचित मादल नेपाली लोक सङ्गीतको ढुकढुकी हो । प्राचीन शास्त्रीय बाजामृदङ्ग र पखवाजको अनुकरण गर्दै मादलको आविष्कार भएको हो भन्ने आकलन गर्न सकिन्छ । मादलको उत्पत्तिका विषयमा कुनै प्रमाण भेटिएको पाइँदैन । मादल लोक वाद्य भएता पनि सबै प्रकारका सङ्गीतमा यसले महत्त्वपूर्ण स्थान ओगटेको छ । हाल नेपाल मात्रै नभएर अन्तर्राष्ट्रिय सङ्गीत जगत्मा समेत यसको प्रयोग बढ्दो छ । अपितु नेपालमा पश्चिमा संस्कृतिको प्रभाव बढिरहेको अवस्थामा नेपाली मौलिक वाद्ययन्त्र मादलप्रति युवा वर्गको रुचिमा कमी हुँदै गएको पाइन्छ । नेपाली लोक गीतहरूमा पश्चिमा वाद्ययन्त्रहरू ड्रम,गितार आदिको प्रयोगले नेपाली संस्कृतिको लोक पक्ष नै समाप्त होला भन्ने डर भइसकेको छ ।त्यसैले आदिकालदेखि नै गौरवशाली परम्परा बोकेको मादलको संरक्षण, संवद्र्धन र विकासका लागि सम्पूर्ण सङ्घ, संस्था, सङ्गीत विद्यालय, कलेज तथा रेडियो, टेलिभिजन, पत्रपत्रिका जस्ता सञ्चार माध्यमद्वारा यस सम्बन्धी अभिरुचि बढाउने तालिम, गोष्ठी, कार्यक्रम , प्रतियोगिताहरू हुनुआवश्यक देखिन्छ । नेपालको सांस्कृतिक प्रतीकका रूपमा रहेको मादलको सरकारी तबरबाटै यस सम्बन्धी अध्ययन अध्यापनको लागि कार्यक्रम निर्माण गरी यसलाई विषयगत रूपमा लागु गर्नु अनिवार्य हुन्छ ।","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"6 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":"113965413","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}
Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.44519
निलम Nilam ताम्राकार Tamrakar
नेपाली हस्तकलाका क्षेत्रमा गलैंचाले महत्त्वपूर्ण स्थान ओगटेको छ । हामीकहाँ व्यावसायिक रूपमा गलैंचाउद्योग निकै विस्तार भइसकेको छ । प्रस्तुत छोटो लेखको उद्देश्य गलैंचा डिजाइनका लागि आवश्यकग्राफिङबारे जानकारी दिनु रहेको छ । {Carpets occupy an important place in the field of Nepali handicrafts. We have carpets commercially The industry has expanded a lot. The purpose of this short article is to design a carpet Giving information about graphing.}
नेपाली हस्तकलाका क्षेत्रमा गलैचंाले महत्त्वपूर्ण स्थान ओगटेको छ हामीकहाँ व्यावसायिकरूपमा गलैंचाउद्योग निकै विस्तारभइसकेको छ । प्रस्तुत छोटो लेखको उद्देश्य गलैंचा डिजाइनका लागि आवश्यकग्राफिङबारे जानकारीदिननुरहेको छ । {地毯在尼泊尔手工艺品领域占有重要地位。我们的地毯产业已经有了很大的发展。这篇短文的目的是设计地毯 给出有关绘图的信息。｝
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Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.44444
A. Shrestha, Dewendra Pandey, Kuldip Jang Bahadur Gurung
No Abstract available.
没有摘要可用。
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Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.44520
ओम Om खत्री Khatri
नेपालमा मूर्तिकलाको समृद्ध र उत्कृष्ट परम्परा रहि आएको छ । हामीसंग शास्त्रीय परम्परामा आधारितमूर्तिकलाको गौरवशाली इतिहास रहेको छ भने समसामयिक मूर्तिकलाको क्षेत्रमा पनि नेपालीमूर्तिकारहरूले उल्लेखनीय योगदान पुर्याउंदै आएका छन् । प्रस्तुत लेख आधुनिक नेपाली मूर्तिकलाकाप्रकरणमा ऐतिहासिक दृष्टिले महत्त्वपूर्ण सैनिक स्मारक मूर्ति रचनाहरूबारे केन्द्रित रहेको छ । {Nepal has a rich and excellent tradition of sculpture. Based on the classical tradition we have. There is a glorious history of sculpture and Nepali in the field of contemporary sculpture. Sculptors have made significant contributions. This article is about modern Nepali sculpture. The episode focuses on historically important military memorial sculptures.}
नेपालमा मूर्तिकलाको समृद्ध र उत्कृष्ट परम्परा रहि आएको छ । हामीसंग शास्त्रीय परम्परामा आधारितमूर्तिकलाको गौरवशाली इतिहास रहेको छ भने समसामयिक मूर्तिकलाको क्षेत्रमा पनि नेपालीमूर्तिकारहरूलेउ्लेखनीय योगदान पुर्याउंदै आएका छन् । प्रस्तुत लेख आधुनिक नेपाली मूर्तिकलाकाप्रकरणमा ऐतिहासिकदृष्टिले महत्त्वपूर्ण सैनिक स्मारक मूर्ति रचनाहरूबारे केन्द्रित रहेको छ ।{ 尼泊尔有着丰富而优秀的雕塑传统。我们以古典传统为基础。尼泊尔在当代雕塑领域有着辉煌的历史。雕塑家们做出了重大贡献。本文介绍的是现代尼泊尔雕塑。本集的重点是具有重要历史意义的军事纪念雕塑。｝
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Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.39840
A. Subedi
This topic has been lodging with me for over three decades. During this period of time it has continued to pose me new challenges and new excitements of openings. I have written some essays on this topic. I am basically a literary person who writes poems, plays, essays, art criticism and theoretical aspects of both genres of art - paintings and poetry. As a teacher I have taught these subjects all my life. But saying final words does not worry me because despite efforts by art critics, historians and literary writers to draw common grounds for both literature and art, it has yielded mixed results everywhere. One thing is always certain - the comparisons remain incomplete in terms of drawing either a fine line between arts and poetry, and showing the unique merger between the two forms of art. Some subjects remain exciting in their incomplete states. That happens as a matter of exigency, which means the incompletion of comparison is necessitated by the nature of the subject itself. As this is a very big subject, attempt is made to narrow it down to the poetic experience. Affinity of the genre of literature, especially of poetry, to art constitutes the subject matter for this article.
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Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.44518
नवीन्द्रमान Nabindraman राजभण्डारी Rajbhandari
पाश्चात्य कलाको इतिहासमा बीसौं शताब्दीमा जस्तो अनेकौं वाद एवम् शैलीहरू यस अघिका शताब्दीहरूमा देखा परेका थिएनन् । परम्परादेखि विग्रह र आधुनिकतातर्फ अग्रगमनको युगका रूपमा यो शताब्दी स्मरणीय रहेको छ । यस युगमा प्रवर्तित विविध वाद, शैली एवम् कला आन्दोलनहरूले कलालाई सर्वथानवीन तथा आधुनिक स्वरूपमा प्रस्तुत गरेका थिए । प्रस्तुत लेखमा बीसौं शताब्दीको युरोपेली कलाका पृष्ठभूमि, आधुनिक कलाको जन्म तथा दोस्रो विश्वयुद्ध सुरु हुनु अगाडिसम्म देखापरेका कलाका शैली, प्रवृत्ति, कला अभियानहरू एवम् समग्र कला क्षेत्रमा तिनले पारेका प्रभावबारे चर्चा गरिएको छ । {In the history of Western art, many theories and styles have not appeared in the previous centuries as in the twentieth century. This century is remembered as an age of progress from tradition to war and modernity. The various theories, styles and art movements introduced in this era presented art in a universal and modern form. This article discusses the background of twentieth-century European art, the birth of modern art, and the art styles, trends, and art campaigns that preceded the outbreak of World War II, and its impact on the art world as a whole.}
{"title":"बिसौ शताब्दीमा पाश्चात्य कला : दोस्रो विश्वयुद्धको सघारसम्म आइपुग्दा {Western Art in the Twentieth Century: At the End of World War II}","authors":"नवीन्द्रमान Nabindraman राजभण्डारी Rajbhandari","doi":"10.3126/sirjana.v4i1.44518","DOIUrl":"https://doi.org/10.3126/sirjana.v4i1.44518","url":null,"abstract":"पाश्चात्य कलाको इतिहासमा बीसौं शताब्दीमा जस्तो अनेकौं वाद एवम् शैलीहरू यस अघिका शताब्दीहरूमा देखा परेका थिएनन् । परम्परादेखि विग्रह र आधुनिकतातर्फ अग्रगमनको युगका रूपमा यो शताब्दी स्मरणीय रहेको छ । यस युगमा प्रवर्तित विविध वाद, शैली एवम् कला आन्दोलनहरूले कलालाई सर्वथानवीन तथा आधुनिक स्वरूपमा प्रस्तुत गरेका थिए । प्रस्तुत लेखमा बीसौं शताब्दीको युरोपेली कलाका पृष्ठभूमि, आधुनिक कलाको जन्म तथा दोस्रो विश्वयुद्ध सुरु हुनु अगाडिसम्म देखापरेका कलाका शैली, प्रवृत्ति, कला अभियानहरू एवम् समग्र कला क्षेत्रमा तिनले पारेका प्रभावबारे चर्चा गरिएको छ । \u0000{In the history of Western art, many theories and styles have not appeared in the previous centuries as in the twentieth century. This century is remembered as an age of progress from tradition to war and modernity. The various theories, styles and art movements introduced in this era presented art in a universal and modern form. This article discusses the background of twentieth-century European art, the birth of modern art, and the art styles, trends, and art campaigns that preceded the outbreak of World War II, and its impact on the art world as a whole.}","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"88 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":"125118314","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}
Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.39843
Binti Burung
Who are the Gurkhas? The Gurkha Memorial Museum in Pokhara starts out their exhibition of the “Gurkha Story” by exploring this question. The narrative approach connects the Gurkha origin to the events of the 19th century Nepal. In a chronological order, the story unfolds, as we see the Gurkha involve in the two world wars and to the present time. Several mediums have been integrated to express the lives and contributions of the Gurkhas, and through these depictions we see them in a familiar and unfamiliar light, some that are widely recognized and a few that are not so easily seen.
{"title":"Gurkha Story in Layers and Textures","authors":"Binti Burung","doi":"10.3126/sirjana.v4i1.39843","DOIUrl":"https://doi.org/10.3126/sirjana.v4i1.39843","url":null,"abstract":"Who are the Gurkhas? The Gurkha Memorial Museum in Pokhara starts out their exhibition of the “Gurkha Story” by exploring this question. The narrative approach connects the Gurkha origin to the events of the 19th century Nepal. In a chronological order, the story unfolds, as we see the Gurkha involve in the two world wars and to the present time. Several mediums have been integrated to express the lives and contributions of the Gurkhas, and through these depictions we see them in a familiar and unfamiliar light, some that are widely recognized and a few that are not so easily seen.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"51 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":"126886693","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}
Pub Date : 2017-12-01DOI: 10.3126/sirjana.v4i1.44508
लोक Lok चित्रकार Chitrakar
नेपाली मौलिक कलाका क्षेत्रमा परम्परागत चित्रकला विधा प्रमुख विधाका रूपमा रहिआएको छ । यसकोप्राचीनता, मौलिकता र महत्त्वबारे सर्वसाधारणदेखि लिएर प्रबुद्ध वर्ग भनाउदाहरू समेत कम जानकारीराख्छन् वा यसप्रति उदासीन छन् । यस विषयमा अध्ययन गर्ने र छलफल गर्ने अवसर नपाएर पनि यस्तोभएको हुन सक्छ । नेपाली परम्परागत चित्रकलाको अपेक्षित रूपमा प्रचार हुन नसक्नु पछाडि यसबारेपढ्ने, लेख्ने, हेर्ने अवसरको कमीले गर्दा पनि हो । नेपाली परम्परागत चित्रकला के हो, यसलाई कसरीबुझ्ने र यसको सिर्जनात्मक प्रक्रिया र प्राविधिक पक्ष के हुन्, यसमा प्रयोग हुने सामग्रीहरू के हुन्, यसकोसिर्जनात्मक बन्देज तथा स्वतन्त्रता आदि सम्बन्धमा थोरै भए पनि प्रकाश पार्नु यस लेखको उद्देश्य रहेकोछ । {In the field of Nepali original art, traditional painting has been the major genre. Its antiquity, originality, and significance have little or no effect on the general public, even the so-called enlightened class. This may have happened without the opportunity to study and discuss the subject. Lack of opportunity to read, write and watch Nepali traditional painting is also due to lack of publicity as expected. The purpose of this article is to shed some light on what is Nepali traditional painting, how to understand it and its creative process and technical aspects, what materials are used in it, its creative restrictions and freedom etc.}
{"title":"परम्परागत चित्रकला र यसको रचना प्रक्रिया {Traditional painting and its composition process}","authors":"लोक Lok चित्रकार Chitrakar","doi":"10.3126/sirjana.v4i1.44508","DOIUrl":"https://doi.org/10.3126/sirjana.v4i1.44508","url":null,"abstract":"नेपाली मौलिक कलाका क्षेत्रमा परम्परागत चित्रकला विधा प्रमुख विधाका रूपमा रहिआएको छ । यसकोप्राचीनता, मौलिकता र महत्त्वबारे सर्वसाधारणदेखि लिएर प्रबुद्ध वर्ग भनाउदाहरू समेत कम जानकारीराख्छन् वा यसप्रति उदासीन छन् । यस विषयमा अध्ययन गर्ने र छलफल गर्ने अवसर नपाएर पनि यस्तोभएको हुन सक्छ । नेपाली परम्परागत चित्रकलाको अपेक्षित रूपमा प्रचार हुन नसक्नु पछाडि यसबारेपढ्ने, लेख्ने, हेर्ने अवसरको कमीले गर्दा पनि हो । नेपाली परम्परागत चित्रकला के हो, यसलाई कसरीबुझ्ने र यसको सिर्जनात्मक प्रक्रिया र प्राविधिक पक्ष के हुन्, यसमा प्रयोग हुने सामग्रीहरू के हुन्, यसकोसिर्जनात्मक बन्देज तथा स्वतन्त्रता आदि सम्बन्धमा थोरै भए पनि प्रकाश पार्नु यस लेखको उद्देश्य रहेकोछ । \u0000{In the field of Nepali original art, traditional painting has been the major genre. Its antiquity, originality, and significance have little or no effect on the general public, even the so-called enlightened class. This may have happened without the opportunity to study and discuss the subject. Lack of opportunity to read, write and watch Nepali traditional painting is also due to lack of publicity as expected. The purpose of this article is to shed some light on what is Nepali traditional painting, how to understand it and its creative process and technical aspects, what materials are used in it, its creative restrictions and freedom etc.}","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"22 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":"114400294","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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