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Chief EditorMadan Chitrakar

Executive Editor Navindra Man Rajbhandari

Consultant EditorsDiwakar DhungelJitendra Man Rajbhandari

Designer Bijaya Maharjan

Production ManagersIswar Shrestha Bandana Manandhar

Photographs Contributers Bijaya MaharjanNipurna BajracharyaPrasanna Dangi

Cover Image Artist Bishal Sharoo Magar (BFA 4th Year)

Printer Prism Color Scanning and Press Support Kuleshwor, Kathmandu Tel. 01 428 2511Publisher SIRJaNa College of fINe aRtSUtter Dhoka Sadak, Lazimpat Kathmandu, NepalTel. 01 443 0535, 01 441 8455www.sirjanacollege.edu.npsirjanacollege@gmail.com

a Journal on arts and art education Vol. 5, 2018the 17th anniversary Issue

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.

Established in 2001 in affiliation to Tribhuvan University

17th Anniversary

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editorial“Ars longa, vita brevis (Life is short, art is long.)” — Hippocrates

This aphorism perhaps best defines the timelessness of art. Art is absolutely everywhere in everyday society yet it goes unnoticed and unappreciated by some. No matter whether it is television, movies, billboards, ads, stories, even clothes or jewelry, it is the art that is required most. In absence of art, the world would be a dull, colourless place. There would have been no Shakespeare, no Picasso, and no Beethoven. Art is, in fact, a source of all kinds of aesthetic joy. The actual enjoyment of art comes from experiencing or viewing it. Art liberates our mind if only for one moment. Moreover, it is the art that makes us see life from a different perspective.

Sirjana College of Fine Arts is a leading art institution dedicated on its mission to propagate the art philosophy in our society. Ever since its inception, the college has been contributing in producing professional artistic talents demanded by ever expanding job market. From the humble beginning with nine students, today the college has grown into a fraternity of over 300 students, 40 faculty members and 800 alumni. But we are still in a continual journey to explore and widen our scope and avenues in every way possible. A glaring example is the recent commencement of Traditional Nepali Painting Studies in our Bachelors level program. This modest effort should remain as a historic landmark in propogation and preservation of our rich heritage.

It is a matter of great pride and pleasure that we are celebrating 17th Anniversary now. For the past few years it has been our tradition to publish a scholarly art journal entitled SIRJANĀ to commemorate our college anniversary. We are really overwhelmed by the feedbacks of our readers on our past issues. This year too our college team has brought out the fifth volume of SIRJANĀ which, we presume, will make a delightful reading for all those interested in art and art education. We believe our effort will only be successful if these articles are able to ignite academic discourses among the art scholars and art lovers.

We extend our sincere gratitude to everyone who has contributed with the articles, pictorial or informational materials for the publication of this journal. The college would like to acknowledge our editorial team, designer, photograph contributors and staff for their wonderful job in bringing out this art journal in the present shape.

Happy Reading!

Madan ChitrakarChief Editor/PrincipalSeptember 24, 2018

c o n t e n t sMy Understanding of Manuj Babu and His Art

Dr. Abhi subedi 7

Purna Man Chitrakar (1864-1939 AD) a Pioneer – Least Celebrated

Madan chitrakar 16

Paňcabuddha Perception of caryā

Arun shrestha 29

Intangible Aspects Attached to the Mahākāla Worship in Hindu and Buddhist Text

Dr. Poonam R. L. Rana 38

Graphic Communications in Nepali Context

Jitendra MAn Rajbhandari 50

Memoir of light and dust (Things that enable one to see and things that one actually sees)

saroj Bajracharya 58

Contemporary Nepali Arts: Ambivalence and In-between-ness

Dr. Yam Prasad sharma 64

c o n t e n t sPrithvi Narayan Shah’s Music Policy

shree K. c. 74

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Manuj Babu Mishra, 'Monalisa', 2009. Oil on canvas. (Photo courtesy: Roshan Mishra)

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Narayan Bahadur Singh (1930-1987), probably the only serious and authentic Nepali art historian and critic, in his most cited and loved book of Nepali art history Samasaamayik Nepali Chitrakalako Itihas (1976) or 'the history of the contemporary Nepali art', has presented the first vignette of the modern painter Manuj Babu Mishra (1936-2018). I think it is very appropriate to present the main observations of Singh about Mishra's art because in a genre where there was/is scant mention, let alone review of Nepali artists and their works, to cite the views of this critic would

be important from a historical and dynamic perspective of Nepali art historicism.

Singh says, Manuj Babu experiments with diverse styles. One can still see the impact of his training in his art (Singh 248). He works in both oil and water mediums. His art ranges from realism to cubism. He works on various mediums like lithograph, dry point, etching, wood engraving and cut, apart from painting. He makes still life paintings, landscapes, and human portraits. Manuj Babu appears realistic in such works, but he appears

My Understanding of Manuj Babu and His ArtDr. Abhi subedi

abstractManuj Babu Mishra (1936-2018) was a modern artist who is mainly known for his paintings and his drawings. Nepali art critic Narayan Bahadur Singh as early as 1976 mentioned about his multiple skills in art. But Mishra was also one of those painters who ushered in an era of modern consciousness shared equally by painters and poets. His contemporaries some of whom are still painting though on a smaller scale, made experiments with their arts in modernist style. An era of distorting forms, breaking the fine figurality and using flatness by shunning the illusion of three dimensional shapes rather than representative forms was seen in Nepali modernist paintings too. Manuj Babu Mishra adopted a method of using figurality in paintings that used semi surrealistic and abstract paintings. Mishra was trained in Dhaka of the then East Pakistan in the late sixties of the last century. Despite his political statements occasionally, he was basically an artist. He was a peaceful man behind the hurricanes of hard times he created. He was also a portraitist who believed that the portrait of a person is also the portrait of the world outside him or her. He had said that to me when he was drawing my portrait.

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to be shifting to modernist art. The forms of his modernism include the distorted figurality such as the elongation of human forms. But he is basically drawn by the cubist style of Pablo Picasso. By using blue and green, he creates the intense effect of human misery. Such paintings look almost monochromatic when he uses one of these predominantly. These paintings perhaps reflect the hard life he had to live after his parents' death when he was young (249).

Singh's observation written so many years ago indicates at the evolution of Manuj Babu's paintings. In a rare review of the modernist Nepali paintings available at that time, Singh's observations put life and objectivity or impersonality of the artist and art together. Impersonality of the painter or of a poet was beginning to emerge. I want to cite from one of my reviews here in the context of this debate. One historical exhibition of paintings by one modernist artist and poet Uttam Nepali in Kathmandu brought this matter in visual and tangible form. I want to cite from my review of that exhibition published several years back:

It was the very exhibition of paintings in which an abstract artist chose to transform the nature of reading into a different medium. The lines in the canvas some viewers told me then did interrupt the sense of artistic perceptions by creating disturbances

on the eye path; the lines were creating discordant effects in the harmony and tonality of colours in the paintings and they dominated the spirit of the paintings. But the main point of interest at this time in Nepali modernism in both poetry and painting was that both painters like Bangdel, Uttam Nepali and the SKIB, an acronym for artists Sashi Shah, Krishna Manandhar, Indra Pradhan and Batsa Gopal Vaidya, and poets whose lines did Uttam Nepali include in his paintings were going through a similar experience in the realms of creative arts. During that period poets wrote abstract poems, painters produced abstract works, and singers included multi dimensional forms, words and symphony in their music. I am especially alluding to the works of the doyen of Nepali music Ambar Gurung. Uttam Nepali's paintings executed on the themes of the poets like Iswor Ballabh, Tulasi Diwasa, Bairagi Kanhila, Madan Regmi, Banira Giri, Bashu Shashi, Mohan Koirala, Krishna Bhakta Shrestha, Dwarika Shrestha, Kali Prasad Rijal, Upendra Shrestha, Mohan Himanshu Thapa and Bhupi Sherchan precisely mark the mood of his period. (Subedi, "Writers' Portraits and..)

Though I have not mentioned Manuj Babu Mishra, he was around. The other point of interest is that he was a literary writer also who wrote creative essays, and in later times, wrote fiction. In a recent online article about modernist Nepali

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painters I have indicated at Manuj Babu's method of blending moods and techniques, and his sensitivity to the changes brought by times. This shows how Manuj Babu has gained maturity in his art since Singh wrote the above review. I closely knew Manuj Babu Mishra whose paintings as I will explain in my essay cited below, are experimental, and obtrusive in which apocalyptic vision dominates the works. I have written recently, "The forms that are visibly distorted, contorted and stylised show his modus operandi that clearly foregrounds the picture of the modern era, or of modernism, which is haunted. But the scary figurality, human heads pierced by jets including his own, pythons rising to the sky and the domination of blue and green, as well as dark, ironically represent a calm acquired after a catharsis. Mishra is also a portraitist. He has drawn one of mine, which is included in his book of paintings. I feel immensely delighted by that, especially by the fact that he has kept my figurality outside the surreal modus opernadi (Subedi, "Modern Nepali").

The words 'seclusion', 'hermitage', haunting image, are related to the evolution of Manuj Babu's art. I published an obituary under the title "Manuj Babu, turbulence and peace", in the Kantipur daily. To avoid repetition I would like to present the free rendering of that essay putting additional necessary notes in that process:

There is one family house that looks like Gandhi's Sabarmati Ashram, near the Bouddha Monastery. A small house for the family to live, a few shades and a cottage of Nepali style with mud smeared walls and atmosphere created by that. That is the space of Manuj Babu Mishra. He calls that small cottage "hermitage", the meaning of which is a place where you sit for meditation, a retreat where he created a world that he imagined, and a picture of the days to come. These creations are paintings and drawings. The motif of this quiet man is hurricane. This peaceful man created an aura of disquietude and loud noise around him. Sky is crowded with speedy missiles. Huge ferocious pythons and snakes rise and

Manuj Babu Mishra, A Portrait Study of Abhi Subedi, 1990. Pen and ink on paper. (Photo Courtesy: In the Eye of the Storm: Drawings of Manuj Babu Mishra, Published by Nepal Investment Bank, 2009.)

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fly in the sky. In the first view itself one understands the motifs are the human beings traumatised by snake bites, the penetrating missiles carrying bombs, and the artilleries. Green, yellow, blue and also some white and black colours or pigments used in the paintings depict the miseries experienced by the human beings in their world growing dismal.

Manuj Babu comfortably assumes a large than life avatar and takes all this creation with him without qualms. However, Manuj Babu did not believe that the creator of the ferocious art and the life of the creator were different. He created missiles passing through the artist's head. The paradox

is that the artist is in the world and lives a normal life like everyone else. In this manner Manuj Babu had used the turbulence and noise as the rhythm of his artist's life. But the turbulent moments and the grand peace that he had found within this did not go with him when he made his final exit on 8 August 2018. They are scattered all over the Hermitage and the rest of the world, and in the self-portraits of the artist.

We cannot understand Manuj Babu by using the ferocious motif of his paintings. We should also try to understand the context and condition of his education. Art curator and art critic Sangeeta Thapa who has

Studio of Manuj Babu Mishra - 'Hermitage', Bouddha. (Photo Courtesy: Roshan Mishra)

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prepared a book of Manuj Babu's paintings with a brilliant long introduction entitled "Drawings of Manuj Babu Mishra" (2009) believes that to properly appreciate the artist's works we should understand the place of his education and the impact of his gurus and artists on his work.

Manuj Babu's art education in Dhaka of the then East Pakistan from 1963-68, plus another six months' special training, shaped him as an artist. The lingering memories of the Great Bengal Famine that he shared in literary writings there, the difficulties of the quotidian life, and the miseries of the people and their visual impressions that he saw left deep impact on Mishra's mind. Sangeeta Thapa sees the influence of Ganesh Pyne's paintings in Manuj Babu. Pyne was one "proponent of the Bengal School" in art. In Pyne's works, "Man is presented as a vanquished breed; they are killers, and areevil personified" (Thapa IX). Thapa reveals another important influence, and

that was of Zainul Abedin (1918-78) who "was a founder of Dhaka Arts College". This guru "taught in Government School of Art in, where, incidentally, the late Lain Singh Bangdel was one of his students" (Thapa VIII). As Abedin belonged to the "Neo-Bengal School", it would be very interesting to see the tradition of art education in India that trained Nepali artists. This subject requires a long and carefully researched article that is not possible to do here.

But I feel it important to recall an experience that I had when I visited Bangladesh, Dhaka in a couple of decades of the emergence of Bangladesh, another memory working strongly. At that stage artists and writers were recalling their horrid experience of the time of the killings and displacement of people during the freedom struggle. I was surprised to see the exaggerative use of the expressionism of motifs, style and colours in their paintings. I also met some elderly teachers and artists. When two professors of English at Dhaka University and art critics Syed Manjarul Islam and Kaiser Haq, introduced me to the senior artists, and explained the art works, I felt I was seeing another dimension of Manuj Babu's art apprenticeship in that country.

Manuj Babu's fierce looking paintings are his art works. Though he glibly entered the world of his art, and presented himself as a victim in the

Manuj Babu Mishra with his guru Zainul Abedin in Dhaka, c.1960s.

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boisterous world of his art, he kept himself at a distance from that larger than life experience in the same way as Picasso was detached from the theme of his painting of Guernica city destroyed by German bombs, just as the sixteenth century Italian painter Caravaggio kept himself detached from his violent paintings, just as the Nepali painter Lain Bangdel was detached from the paintings that he executed under the influence of Picasso's blue period paintings. The nineteenth century Spanish painter Francis Goya's paintings give the violent image of human beings.

The English painter Francis Bacon, similarly, makes terrifying visages of human beings. There are many examples. In all these, we can say that no Nepali painters were similar to Manuj Babu in the choice of themes and use of techniques.

It would be interesting to recall one experience here. One day Manuj Babu was making a painting on his veranda and I was watching him. Disproportionate and scary images were coming up there, while we could hear the sound of a masked dance of the famously known Lakhe ritual, loved by children and adults alike coming from the Bouddha side in the quietness that used to be the feature of the environment those days. Manuj Babu without raising his head from his work said, "Abhi, do you know? Children get frightened by the mask and the dance of this Lakhe; I don't let them go to see it." Manuj Babu was making a far more fearful painting than anything that the zero mask of a repeated festival could match. I realised that day, there was a great rare calm behind this artists' ferocious and intensely loud paintings. There was a moment of great calm as seen by the Buddha. I knew he was creating the self same power of calm behind the scary art, and the salvation of mankind behind a world where missiles carrying atomic weapons were flying.

Though Manuj Babu was quite senior to me in age, I never addressed him as

Manuj Babu Mishra, Untitled, 1982. Oil on canvas. (Photo Courtesy: Roshan Mishra)

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dai or elder brother, which is a practice among us, the literary writers. This Hermitage was a place that I visited alone or with like minded friends so many times, stayed for hours and returned. At such moments I heard Manuj Babu speaking about his philosophy of life and the purpose of his art. It is always a sense of joy and liberation to see the working space of painters. I have experience of visiting the working spaces of several artists, like Lain Singh Bangdel's working space upstairs, Bala Krishna Sama's painting room adjacent to his drawing room, Amar Chitrakar's naturally created calm and inspiring working corner, Uttam Nepali's painting

corner cluttered with canvases and paintings, Kiran Manandhar's small Atelier at the foot of Swoyambhu hill and his caves and sunny spaces in his house of Tahachal. Whenever the textures of lines, colours, sizes of finished and dripping canvases come to my mind, I feel a sense of creative strength for my own work of a different medium. Such spaces leave impact on the minds of the visitors who are close to the artists. The working places of artists are like livid dramatic stages made with forms and colours where the artists dialogued, quarrelled and made peace with their own lives. We can see their moments of crises and happiness in such mise

Manuj Babu Mishra in his studio - 'Hermitage', Bouddha, 2016. (Photo Courtesy: Bijaya Maharjan)

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on scene. I also saw several spaces of Western and Japanese artists. But the one I saw in Marseilles of France has struck me deeply. That is Cézanne's secluded working space, in a small house overlooking the Mediterranean Sea where he moved with a so-called lower class woman, to avoid the society's gossips. Like Manuj, Cezanne had moved to the seclusion of his own choice. That was Cezanne's Hermitage.

I also had literary connection with Manuj Babu. He was an essayist who wrote mostly on big themes that

involved knowledge, science and art subjects. He was also an academic who has written a book about the history of art. Though he wrote stories and fictions, he preferred to be known as an artist. He was indeed an artist par excellence. But those of us who were close to him saw another side of his personality too. That was his political self. Manuj Babu never accepted the democratic change of 1990 in Nepal. In fact, he was so frustrated by that change that he wanted to retreat from the active world and spend his time with his own creative works in seclusion named Hermitage. He had said to me then, a friend had sent him a book from Germany the subject of which, he said, if I remember correctly, was promoting radical thoughts. I did not give any importance to this shift of Manuj Babu because I believed and still believe that these were the expressions of the moments of discontent of an artist immersed in his art, sometimes without 'objective correlative.' His philosophy emanate from his style and philosophy, not from the engaged knowledge of active politics with clear goals to fulfil.

Manuj Babu and I had topics of common interest like the interpretation of art, human condition, his moments of discoveries while executing people's portraits, the success achieved by his son Rabindra Mishra, my very close erstwhile student, at the BBC, and many more.

Manuj Babu Mishra, Self portrait, 2002. Oil on canvas. (Photo Courtesy: Roshan Mishra)

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Dr. Abhi Subedi

Born in Terathum of eastern Nepal, Dr. Abhi Subedi received his higher education in Nepal and Britain. He is an essayist, critic, linguist, playwright and poet. He has over two-dozen books on different subjects to his credit. Among his over 10 plays, strong theatre groups in Nepal and abroad have performed several of theme.

Professor Subedi has taught 43 years at the Central Department of English.

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.

I must confess, I do not have more space to discuss about Manuj Babu Mishra's craft, which requires careful attention and appreciation. But in conclusion what I can say is that behind the fearsome forms of his art one can feel his ability to understand human nature and various moments of existence, and that ability is poetic.

I have one very revealing moment to share. One day, in one of my visits to his house, he wanted to draw my portrait. I sat in front of him talking. After working for sometime, he rejected that and started to do another portrait. I asked him why he had cancelled the first. I felt deep down the power of his art when he said, "the face of a person, and that also of a writer, is a flow, a movement. It is not just the face, but the outer world also that the artist should be able to capture in that portrait". The 'world' reflected in my portrait that he has "included" in the book Drawings of Manuj Babu Mishra, is a poem that I have not yet been able to decode fully.

I returned after paying my last tribute to him at Pashupati carrying with me the perennial dialogic tension between language and colours.

References

Subedi, Abhi. "Writers' Portraits and Joys of Voyeurism" Across, January—March 2003. Vol 6.No. 4.Pp 9-13.

Subedi, Abhi. "Modern Nepali Art: Bangdel and after as mirrored in my reviews" http://www.bikalpaartcenter.org/ modern-nepali-art-abhi-subedi/

Subedi, Abhi. "Manuj Babu, kolahalra shanti". Kantipur. August 11, 2018.

Thapa, Sangita. Ed. With Introduction. In the Eye of the Storm: Drawings of Manuj Babu Mishra. Kathmandu: Nepal Investment Bank, 2009.

Singh, Narayan Bahadur. Samasaamayik Nepali Chitrakalako Itihas. Kathmandu: Nepal Rajakiya Pragya Pratishthan, 1976.

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While making narratives on history, there are chances, certain links or events often may remain forgotten; minimized or ignored knowingly. But and if such things happen for whatsoever the reasons, it leads to misinformation: distortion of facts – to persist longer, and with unforeseen consequences.

In the modern history of Nepali Art too, albeit there’s a cursory mention1, there exists a mysterious silence, on the deserving details of Purna Man Chitrakar (1864-1939 AD), and his

works. He stands tall as a prominent artist cum photographer of the period. More so, many important clues and evidences on his crucial role have now come onto surface – of vital and immense importance, in the making of a modern history. Serious papers as deserving of his tall standing are certainly overdue – on him and his meaningful exploits.

turning of a New PageBut herein, before going to the details on Purna Man and his consequential exploits, a cursory glance on bits of

Purna Man Chitrakar (1864 -1939 AD)a Pioneer – Least celebrated

Madan chitrakar

abstract

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.

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history and the ongoing evolution then of Nepali Art may deem desirable. It should connect and help understand better – the roles of earlier artists before him. And it should then, allow to help make a more judicious judgment, on the subsequent impacts of his art journey in the Art scene, and then after.

To begin with, the times since the fall of the Mallas, the onset of the 19th century and after, was still fluid. Even after the conclusion of famous Nepal-Anglo Sugauly Treaty of 1816 AD, the State – the main patron of Art, had had continued to demonstrate little time and taste for patronizing softer issues like Art.

Amazingly but, by early 1820s, Nepali Art had had witnessed the coming-up of a new name in Painting – Raj Man Singh Chitrakar. He had had emerged unexpectedly as an indirect off-shoot of the treaty said above: and was closely associated with the arrival of an English diplomat cum scholar, Brian Hodgson to Kathmandu in 1822 AD. And in retrospect today, unintentionally, he – Raj Man, has come to be regarded as a pioneer – credited with many notable ‘firsts’ in Nepali Art2. His pen and ink works and watercolor sketches – depicting architectural and zoological contents – undeniably today, well remain the earliest evidences of pioneering feats – notably introduction of fundamentals of Art like – notion of three dimension, proportion, sense of perspectives and above all, probably, the first use of watercolors in the country.

Soon to follow him in the annals of Nepali Art, by 1850s, was a new and younger artist by few decades, artist Bhaju Man Chitrakar. Historically, he is best known for his close access to the centre of power then – the court of all powerful Rana Prime Minister Jung Bahadur. Surprisingly indeed as an artist, he managed to include himself in the prestigious entourage of Jung Bahadur’s famous visit to England and France. Bhaju Man, also described insistently as Bhaju-macha by his family and his descendants, gained the high popularity in the court primarily because of his extraordinary

Juju Man Chitrakar (father of the artist), c.1890s. One of the early oil color portraits by Purna Man Chitrakar. (Photo courtesy: Anuj Chitrakar, Sydney)

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skills as a painter – adept in exquisite portrait paintings with meticulous details.

What resulted aftermath of his subsequent visit to Europe as an artist, was a beginning of a new era of multiple myths – woven around him as a pioneer with many credits including – introducing oil colors and western ways of human portrayal in Nepali Painting. And the myth rather than the fact-based evidences, continued to come down, until the very recent times: continually parroted by writers on the subject.

Renowned poet and playwright Balkrishna Sama3 went on to describe

him as making series of life portraits of British royalty during his stay in London in 1850 AD, quoting a news clip from Paris – ‘a Nepali artist painting a portrait with enamels’. Writer Sama apparently interpreted it – the use of ‘Enamel,’ as oil colors. After his return, and subsequently, the notion of him being the pioneer of western style and oil colors, spread far and wide, and remained well ingrained deep in the minds of Nepali society as an undisputed pioneer.

But it appears now the inferences made by Sama were not actually based on plausible analysis or without a proper study of the oeuvre of his works. And this explains, among

A rare group photo with historic personalities Purna Man Chitrakar in pink circle and Dirgha Man Chitrakar in blue circle. (Photo Courtesy: Changing faces of Nepal, 1997)

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others, as one of the likely reasons, why later artist – Purna Man who actually propagated oil as a medium to many of his pupils and himself who practiced in oil colors to the end, remained long overshadowed. And it led to a long silence on him and his role as the actual pioneer painter in oil medium or as a pioneer photographer.

Again, before dwelling on how and what Purna Man practiced, let’s examine on the possible connections or reflections from the past on Purna Man and his works, if any – from 1880s AD and after.

The points to consider here is a fact that paintings by Purna Man were all painted in outright European style – in canvas or over large photo-enlargements in Bromide papers with light layer of oil colors. Also, to consider is whether the later development in oil and canvas whether were totally anew or were a natural continuation from the past. Only then, it would lead us to the actual origins of a new style and medium.

Extended Influences from the Past?Without a shred of doubt, when Raj Man made colored drawings for Brian Hodgson, it did remain epochal and monumental in every respect. Regardless of many new concepts he introduced including – human portrayal and in making of outdoor sketches, inclusive of human elements, the truth remained that no sooner Raj Man Singh Chitrakar

completed the drawings, all his works instantly were dispatched abroad – Calcutta, London and Paris – leaving little time for local artists to learn from those new experiments. Raj Man’s works remained literally confined to his atelier inside the British Legation – read embassy or then sent abroad – thereby, before it could influence Nepali Art – locally in any way4.

Moreover, artist Raj Man himself, left Kathmandu for good to Darjeeling in early 1850s, following the trails of Hodgson. In fact, his pioneering works lay hidden for more than 150 years from the Nepali public glare. The entire corpus of his pioneering works came into light here in Nepal – only very recently, with the publications of ‘Origins of Himalayan Studies’, London and ‘Raj Man Singh Chitrakar – the Pioneer Painter of Nepal’ by H. R. Joshi and Indu Joshi in 2005 AD.

Now let’s also examine the possibility whether Purna Man merely emulated Bhaju Man’s experiments – his possible use of oil colors and human portraits in Nepal. Firstly, there is no second opinion and the evidences also prove – Bhaju Man indeed was a great painter. A portrait painting of Jung Bahadur, found recently in London testifies it – a portrait with meticulous details with his regal robes. Until this recent discovery of the above stated portrait, it was rare to find his work – dated and with signature – leaving us always in confusion whether him being an actual vanguard of western style portrait painting.

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But it also betrays a fact that Bhaju Man essentially remained a painter – adept in tempera and in earlier Newar school of Painting – not with the oil. This is contrary to the hyped belief of him being an artist of western school of thoughts. In fact, there are no credible works to substantiate the argument. So there is no way to assume convincingly that Bhaju Man may had had also achieved modern skills – being able to paint live from Royalty during his hectic stay in London, as has been described by Sama. The talk of him painting portraits of Prince Albert from life, it seems, may certainly appear as mere fancy conjectures.

And it all emphatically suggests there is no possibility that Purna Man could have learnt or drawn inspirations from none of the artists before him, while working in oil and in portrait paintings. But before we conclude with certainty Purna Man indeed is an unsung pioneer, however for a moment, let’s also consider a relevant short observation made on another later artist, Jeet Narsingh Chitrakar. According to art writer Narayan Bahadur Singh5, Jeet Narsingh – an artist associated with Hanuman Dhoka – the Royal Palace and a distant descendant of Raj Man, is also said to have painted in oil, a portrait of young king Tribhuvan Bikram Shah in 1911 AD before Purna Man did.

But the fact is Purna Man had already made impressive appearance by then with oil paintings. So the question of

Jeet Narsingh being an earlier to work in oil, remains irrelevant. Moreover, in absence of further accounts of his continuity in oil and in view of the circumstances then, it’s highly unlikely Jeet Narsingh also remains a credible pioneer; and thus there exists very little ground to agree with writer Narayan Bahadur Singh’s observation.

a Natural CuriosityThen a next natural curiosity arises at this point – when and in what circumstances – modern tools like a camera and photo-enlargers did first arrive in Nepal; and also, when and how the first use of oil paints were made? And more importantly, what necessitated bringing in or introducing oil colors. A plausible answer – is it not that there was an emerging need to acquire modern oil colors – after the arrival of photography – so as to cater the increasing demand to color huge photo-enlargements of ruling families then – a trend so popular within the ruling elites.

Therefore, in our context, the first arrival of photography remains the central and an important issue. This is for the simple reason that an important phase of Nepali Painting had had remained inextricably intertwined with the growth of photography here. The period between 1880s-1930s AD, herein described as ‘pre-modern’ phase in art-history here, the mainstream Painting. It had had remained

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essentially based on photography – or with the huge photo enlargements. Or during this period, Nepali Painting was entirely defined and was dominated by or with the parallel growth of large life-sized photo portraits – with or without color paints – in bromide papers.

Precisely, during this critical juncture, art-history witnessed the arrival of Purna Man Chitrakar – a young painter familiar with local tradition. But later, he was to emerge as an unexpected protagonist and a pioneer. Now let’s see how it all happened and he helped shape a new era. Also, let’s see why he should not be described as a pioneer of an era called ‘pre-modern’ era – who led to the earliest use of oil colors in close association with photography.

Purna Man arrives: with oil Colors and PhotographyThe rise of Purna Man in the annals of Nepali Art is, for sure, near incidental. For when he first arrived at the services of Rana Prime minister

Bir Shumsher, he was almost inside an unfamiliar territory – vaguely familiar with recently introduced ‘photography and use of camera’ – but with little inkling that he was here – destined to create a new page in the history of Nepali Art. For sure, before he joined Lal Durbar, the residence of Maharaja Bir Shumsher, as coming from a family of ‘Chitrakars’ – the traditional painters, his skills at the best, was confined to the workings of traditional Paubhas and rudimentary skills to develop plate negatives.

The details on the circumstances of how and when he first arrived to the services of Maharaja are very sketchy. But the evidences suggest Purna Man at the age of 18, was first summoned by Dambar Shumsher, younger brother of Bir Shumsher, at Thapathali Durbar – residence of first Rana Prime Minister Jung Bahadur – now the home of his father Dhir Shumsher. Who led him or who was instrumental in taking him there is unclear.

But it appears he was there summoned as an artist – still young enough with appetite to learn new – notably European influences – the art of photography and new medium – oil colors. This is said to be 1877 AD. As has been said, Dambar Shumsher – a great enthusiast for Photography, by then already set up a photo studio inside his Thapathali Durbar – fitted with a camera, tripod and an enlarger. Purna Man initially, was here to assist in developing plate negatives. No sooner, he learnt the rest of the tricks

Com. Col. Faud Singh Khatri and his wife. Possibly one of the early photos taken by Purna Man Chitrakar, c.1890s (Collection: Shankar B. Khatri)

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of the trade. By 1881 AD, he was sent to Calcutta for further training, in photography – making him thus an earliest trained-photographer in Nepal.6

It appears he was moved to Lal Durbar – the residence of the Maharaja sometime after the bloody coup that brought Bir Shumsher to power: and now he could afford

An exquisite oil portrait of Maharaja Bir Shumsher JBR by Purna Man Chitrakar. (Collection: Sanjay Dass Shrestha, Narottam Dass and Indira Shrestha Guthi)

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more attention for more luxuries like making grandiose and lavish palaces and the suitable photos or paintings to adorn the walls of his newly palace. This is what brought Purna Man here and thus began a new era for him and eventually, to the Nepali Art.

Precisely during this time and after, many available evidences corroborate the point, and it was the beginning of momentous journey of Purna Man. And by then, it appears, he had mastered not only how to apply light layers of oil colors over the huge

enlarged photos, but also mastered to paint huge Portraits in oil, photos as references. Probably, the array of portraits made then, remains the earliest oil portraits – ever painted in Nepal. Many of those historic portraits were adorned in the majestic halls of newly built Seto Durbar – which unfortunately, went down in flames – a devastating fire that totally destroyed the famed Seto Durbar and the pioneering oil portraits.

One of the few available finest examples of oil portraits made by

A majestic view of the 'Baithak' of Seto Durbar, Jamal - well adorned with oil portraits in the wall. (Photo courtesy: Changing faces of Nepal, 1997)

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Purna Man Chitrakar is illustrated in the collection of noted art collector and artist, late Narottam Dass Shrestha and kindly availed to us by his son Sanjay Dass Shrestha. The portrait of Maharaja Bir Shumsher well narrates Purna Man’s thorough understanding of the art of portraiture – with reference to photographs. His accomplishments are more reconfirmed by the later findings of his works.

Added to it, Purna Man’s close association with Maharaja Bir Shumsher is also well reconfirmed very recently – with the recent discovery of few family portraits of Commanding Colonel Faud Singh Khatri, one of the most trusted

military attendants of the Maharaja. The precious paintings are found at the residence of veteran elder freedom fighter Shankar Bahadur KC or Khatri. Fortunately to us – the enthusiasts of art history, the collections proved to be a treasure trove of immense importance – in view with the interests on the period and the role of Purna Man. It appears now, Col. Khatri also had had good rapport with Purna Man and subsequently commissioned his portrait – oil painted over enlarged photo. And subsequently later, Purna Man also painted portraits of his son Col. Jeet B. Khatri and his wife Dev Kumari Khatri – the parents of the veteran freedom fighter Shankar B. Khatri.

All the historic works are relatively in good condition. It reveals many important and useful findings for the art students and the historians alike. First, his understanding of

Com. Col. Faud Shing Khatri - an earliest example of oil paint laid over a photograph by Purna Man Chitrakar, c.1890s (Collection: Shankar B. Khatri)

An early camera used by pioneer artist Tej Bahadur Chitrakar - a model as had been recommended by Purna Man Chitrakar.

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facial contours, drapery and the skin color is complete and remain just superb – and remain well ahead of his time. Secondly, more important is his confidence to make oil portraiture so early stage of the pre-modern era: and is highly praiseworthy.

Purna Man – a Mentor to the later PioneersThe importance of Purna Man in the narratives of art is not only confined to being a great painter in oil. It is also because, in addition to being a painter ahead of his time,

An oil portrait of Col. Jeet B. Khatri, son of Com. Col. Faud Singh Khatri by Purna Man Chitrakar.(Collection: Shankar B. Khatri)

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he mentored a group of younger artists – who eventually were to create and shape different streams in the Nepali Art later. The group of his pupils includes later luminaries like Dirgha Man Chitrakar, Ananda Muni Shakya – one of the few

early non-Chitrakar artists, Samar Shumsher and Bakhat Man Chitrakar. More important, even Tej Bahadur Chitrakar – an icon of a modern age in Painting and a graduate from Calcutta in Fine Arts, after his return, found himself mesmerized and highly

Dev Kumari Khatri, wife of Col. Jeet B. Khatri - an oil portrait by Purna Man Chitrakar c. 1890s(Collection: Shankar B. Khatri)

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Madan Chitrakar

Madan Chitrakar is a senior artist and an art writer based in Kathmandu. Three well acclaimed books "Tej Bahadur Chitrakar - Icon of Transition" (2004), "Nepali Art - Issues Miscellany" (2012) and "Nepali Painting - Through the Ages" (2017) remain to his credit, in addition to the numerous writings on Art and Culture in English and Nepali.

Presently, he is associated with Sirjana College of Fine Arts as the Principal.

influenced by the works of Purna Man Chitrakar. Not surprisingly, it is found, Tej Bahadur also followed Purna Man in many occasions, in applying photography into his later works. Purna Man Chitrakar, indeed thus remains a pioneer – but least celebrated today.

References 1 Singh, Narayan Bahadur, Samsamyik Nepali Chitrakala ko Itihas, Royal Nepal Academy, Kathmandu, 1976.

2 Joshi, Harihar Raj and Joshi Indu – Raj Man Singh Chitrakar, The Nepal Studies, Kathmandu, 2005.

3 Sama, Bal Krishna, Nepali Lalit Kala, HMG, Department of Publicity, Kathmandu.

4 Losty J. P., The Origins of Himalayan Studies, Routledge Curzon, London, 2005.

5 Singh, Narayan Bahadur, ibid (1)

6 Heide, Susanne von der, Changing Faces of Nepal, UNESCO and Himal Asia, Kathmandu, 1997.

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Paňcabuddha Caryā performance by the Faculty of Dance, Sirjana College of Fine Arts, September, 2018.

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Caryā i is basically a sādhana ii of paňcabuddha iii who in essence is paňcaskandha iv.

To authenticate the statement pronounced here, let us begin analysing the conceptual vajrayāna phenomenon like caryā, sādhana, paňcabuddha and paňcaskandha in sequence and establish a logical relationship.

Caryā in essence denotes a path for a human life leading to salvation. It endeavours to explain the deeper meaning of the existence of the human life in body and mind. In this process, for all practical purposes, practice of song, dance and the rituals are the means to enliven the spirit in man. It is scientifically

religious or religiously scientific. Very uncharacteristically, it does not rely on faith or moral lessons as preaching of the religions do. The study reveals the system to be followed to lead a chartered trail to enlightenment. It’s so called mystical thought process is aesthetically spiritual and thus contradictory in character inciting the human mind to solve the mystery of complex human life’s existence (bhāva) and non-existence (abhāva). Apparently aesthetic Caryā or practice is inherently spiritual in content.

In caryā one dances away to nirvāņa, which is liberation from future rebirths realizing the extinction of sufferings, in the ritual process or sādhana, whereby worshiper becomes worshiped and achieves divinity.

Paňcabuddha Perception of caryāArun shrestha

abstractMy 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 ‘non-existent 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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What then is the place of sādhana in caryā?

‘The Sādhana is concerned with the process (or a caryā) for worshiping a particular deity…This consists in meditating in a quiet place and there practicing Yoga till a state similar to deep sleep is brought about. In this state of deep sleep the ascetic communes with the Infinite Spirit or the inexhaustible store-house of energy, which is supposed to be the highest creative principle behind the world structure. By this communion the ascetic draws forth energy from that inexhaustible store-house, and

becomes powerful himself. This process of the realization of the Infinite Spirit is what is called sādhana. The deity is the part of this psychic process.’ v

This caryā or practice of a sādhana or process is in fact a yoga or rather a şađaňga yoga adhered to in vajrayāna Buddhism which affiliates itself to the concept of paňcabuddha in execution of yoga practice.

This is how guhyasamājatantra explains the relationship of şađaňga yoga with paňcabuddha: vi

Caryā is a yoga and in vajrayāna yoga of six limbs, şađaňga yoga, are employed: pratyahāra, dhyāna, prāņāyāma, dhāraņa, anusmŗti and samādhi.

Pratyahāra is the process by which the ten sense-organs are controlled.

Dhyāna is the conception of the five desired objects through paňcabuddha.

Prāņāyāma is the control of the breathing process by which breath is drawn from inside and is meditated upon.

Dhāraņa is the meditation of one’s own mantra.

Anusmŗti is the constant meditation of the object for which the psychic exercise is undertaken.

And finally, when by this process the

Vairocana

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transcendental knowledge is suddenly realized by the worshiper, it is known as samādhi. vii

In a yoga process, dhyāna (meditation) is the conception of the five desired objects through paňcabuddha, the five Buddhas, which is again sub-divided into five kinds: vitarka (cogitation), vicāra (thinking), priti (pleasure), sukha (happiness), and ekāgratā (concentration). viii

The five desires are in condensation through the application to the five Buddhas. Meditation (dhyāna) is said to be imagination. And that Meditation is fivefold: Primary

Conception (vitarka) is the secret triad, from the enjoyment of which comes Secondary Conception (vicāra). The vicinity of joy is the third, and the sum of pleasure is the fourth. One’s own consciousness with removal of the upsurge of knowledge and knowable, is known as the fifth, with a peace composed of all Buddha and abiding in all desires. Drawing forth the breath made of five knowledge and which is the self-existence of the five elements, one should imagine it in the form of a tiny ball on tip of the lotus nose. ix

In a caryāgīti of caryāgītikoşa, paňcabuddha is assigned a role of a karņadhāra or helmsman in the sādhana or process of caryā or religious practice: x

By using three, (kāya, vāka and citta) as a protection, kill (by) the group of eight Honor compassion and void (in your) own innate bodyCross the worldly existence, as the ocean of water, like a dream of illusion Think of (worldly existence) in the middle of the confluence of the rivers made of wavesBy the means of Paňca Tathāgata as a large oar used as rudder or helmThe outer body, Kŗşņā (says), is a web of illusionSmell, touch and taste are such, as resembling a dream forsaken of (or without) sleep

Akşobhya

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Perception (citta) is a helmsman for a path to voidKŗşņā (the composer) departs in addiction (or devotion) of the great pleasure or bliss (mahāsukha)

After establishing a link between caryā, sādhana and paňcabuddha, we are led to a further link of these three to

Guhyasamājatantra very categorically specifies paňcabuddha to be nothing but paňcaskandha or basic elements human beings are composed of:

pancaskandhā samasena pancabuddhāh prakīrtitāh l

vajra-āyatanānyeva bodhisatvāgryamaņđalamiti ll 50 llguhyasamājatantra saptadasa paţalah p.111

The five skandha or paňcaskandha are proclaimed in short to be the five Buddha or paňcabuddha.

In a dramatic turn of vajrayāna thought process, vajrayāna caryāgīti incites us to destroy the basic elements of our constituent that is paňcaskandha, on a spiritual path to elevate and achieve nirvana: xii

The mind is full of the void by the grace of sahaja.

Ratnasambhava Amitābha

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Do not be sorry for the loss of the skandhas.2Tell, how Kāhna does not exist.He is flourishing every day, entering into the three worlds.4The fool is sad to see the sense of destruction.Do the broken waves suck the ocean?6The fool cannot see the existing man.The butter seen contained in milk is not seen.8Nobody goes or comes in this world.In this style the yogin Kāhna makes sport.10 xiii

Vajrayāna Buddhism accepts the basic

doctrine of existence and nirvāņa. The reality of the existence of the body and mind apart, it vies to perfect the mundane existence through the yogic exercise to reach the ultimate goal of śūnyatā passing the stage of sahaja. Identifying ‘the five mundane existence’ in paňcaskandha symbolized by paňcabuddha, it aims to perfect, control and ultimately destroy those panca skandhas, of which paňcabuddha is a manifestation, which signifies ‘so-called existence’ to attain nirvāņa conceptualized in the form of śūnyatā. Sahaja, in this process, is the state of the mind.

In this backdrop of the conceptual formation of the doctrine, leaning on belief, faith and soul is not called for. Pure reasoning is applied in explaining the emmundane existence’ and final relief from it all, so the need to fall back on faith is negated. When the reality of the emmundane existence’ is denied the belief in the existence of the soul takes a back seat, and so the concept of re-birth.

In the kaleidoscopic formatting of vajrayāna Buddhism religious practice, a visual form given to paňcabuddha is a visualization part and the concept of paňcaskandha attached to it is a part of the realization path.

Closing the statement we began with, we can assertively pronounce that ‘caryā is a sādhana of paňcabuddha who in essence is nothing but paňcaskandha’ destined to be won over in a spiritual

Amoghasiddhi

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path of vajrayāna Buddhism so conceptualized.

On a parting note, let us praise the gains of caryā: xiv

One captures all the mystical powers and shines in the cosmos even when vanishing from sight.One sees with divine eyes when set on trivajra abode of kāya, vāka and citta.One hears all the sounds through magical psychic power.Through a drama or nāţaka one knows kāya, vāka and citta of all the sentient beings. One remembers the incidents of the eon of the former lives dwelt in samsāra as if only of three days.

Paňcabuddha

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Referencesi Vajrayaāna religious practice ii the process of excessive concentration or focus for evocation iii akśobhya, amitābha, amoghasiddhi, vairocana and ratnasambhavaiv rūpa, vedanā, saňgyā, saňskāra and vigyānav Buddhist Iconography by Binoytosh Bhattacharya p. 24vi aşānāmindriyāņāntu svavŗtisthānāntu sarvatah l

pratyāhāramiti proktamāhāra pratipattaye ll 141 ll

pancakāmāh samāsena pancabuddhaprayogatah l

kalpanam dhyānamucyate taddhyānam pancaddhā bhavetall 142 ll

vitarka ca vicāram ca prītiśaiva sukham tathā l

cittasyaikāgratā caiva pancaite dhyānasangrahāh ll 143 ll

guhyatantrşu sarveşu vividhāh parikīrtitāh l

guhyam tarkodayam tarkam vicāram tat prayogatah ll 144 ll

tŗtīyam prīisankāśam caturtham sukhasangeaham l

svacittam pancam gyeyam gyānam gyeyo dayaksamam ll 145 ll

sarvabuddhamayam śāntam sarvakāmapratişthitam l

pancagyānamayam śvāsam vi pancabhūtasvabhāvakam ll 146 ll

niśvārya pinđarupeņa nāsikāgre tu kalpaye l

pancavarņam mahāratnam prāŋāyāmamiti smŗtam ll 147 ll

svamantram hŗdaye ghyātvā prāņabindugatam nyaset l

nirudhya cendriyam ratnam dhārayan dhāraņā smŗtam ll 148 ll

nirodhavajragate cite nimittamupajāyate l

pancaddhātu nimitm tat bodhivajreņa bhāşitamll 1 49 ll

prathamam marīcikākāram dhūmrākāram dvitīyaam l

tŗtīyam khaddhotākāram vi caturtham dīpavajjvlam ll 150 ll

pancam tu sadālokam nirabhram vi gaganasannibhm l

sthirantu vajramārgeņasphārayīta khadhātuşu ll 151 ll

vibhāvya yadanuamŗtyām tadākārantu sansmaret l

anusŗtiriti geyāpratibhāsohtra jāyate ll 152 l

pragyopāyasamāpatyā sarvabhāvān samāstah l

samhŗta piņđayogena bimbamadhye vibhāvaam ll 153 ll

jhaţiti gyānanişpattih samādhiriti saggyitah l

sirjanĀ 36

pratyāhāram samāsāddha sarvamantrairadhişthyate ll 154 ll

guhyasamājatantra aşţādasah paţalah p.132-133vii Buddhist Iconography by Binoytosh Bhattacharyya p.25-27viii Buddhist Iconography by Binoytosh Bhattacharyya p.25-27ix Yoga of Guhyasamājatantra by Allex Wayman p.45x sanskrta cāryā gīti of caryāgītikoşah 13

trisarananauka krtva astakam hatam l

nijadeha karunasunyate mahile ll 1 ll

tirnau bhavajaladhih yatha krtva mayasvapnam l

madhyevenim tarango maya matah (=gyatah) ll

pancatathagatam krtva kenipatam l

vahya kayam krsna mayajalam ll 2 ll

gandhasparsarasa yadrsastadrsah l

nidravihine svapnasadrsah ll 3 ll

cittam karnadharah sunyatamarge

gatah krsno mahasukhaprasange ll 4 ll

Caryāgītikoşa of Buddhist Siddhas by Prabodha Chandra Bagchixi Yoga of Guhyasamājatantra by Alex Wayman p.229xii ll 42 ll

[ rāgakāmoda xii kānhapādānām l ]

cia sahaje śūna sampunnā l

kāndhavitoen mā hohi visannā ll [1] ll

bhaņa kaise kānha nāhi l

pharaha anidinam xii teloe pamāe ll dhruvapada ll

mūďā ditha xii nātha dekhi kāara l

bhānga taranga ki soşai sāara ll [2] dhru ll

mūďā acchante loa na pekhai l

dudha mājhe lađa xii ņacchante dekhai ll [3] dhru ll

bhava jāi ņa āvai ņa ethu koha l

aisa xi bhāve vilasai kānhila joi ll [4] dhrull ll

DohāKośaCaryāGīti No. 42 by Nilratna Senxiii Dohā Kośa Caryā Gīti No. 42

Translation by Nilratna Sen Appendix-A p.143 Caryāgītikośa

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Arun Shrestha

Born April 24, 1947, with schooling and initial college years from Mumbai, Maharashtra Board and Bombay University, graduated from T.U. Kathmandu in Economics and English Literature.

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.

xiv Gains from caryā:

antarddhāneşu saveşu sāhastraikāvabhāsakah l

harate sarvasiddhīnām bhunkte kanyām surāgrajām ll 53 ll

gangāvālukasamān buddhāmstrivajrālayasansthitān l

paśyate cakşurvajreņa svahastaikamyathāmalam ll 54 ll

gangāvālukasamaih kşetraih ye śabdāh samprakīrtitāh l

śŗņotyabhigyāvaśatah śrotrasthabhiva sarvatah ll 55 ll

gangāvālukasamaih kşetraih kāyavākcittalakşaņam l

sa vetti sarvasatvānām cittākhyam nāţakodbhavam ll 56 ll

gangāvākasamaih kalpaih sansārasthitisambhavam l

purvanivāsasamayam dinatrayamiva smaret ll 57 ll

guhyasamājatantra samaya sādhanāgranirdeśapaţalo dvādaśah p.45

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Intangible Aspects Attached to the Mahākāla Worship in Hindu and Buddhist textDr. Poonam R. L. Rana

abstract Mahākāla is the God of Time, Maya, Creation, Destruction and Power. He is a form of a Brahman Mahākāla that is affiliated with Lord Shiva. His abode is the cremation grounds. He has four arms and three eyes, and is often depicted to be sitting on five corpses. In his arms he wields a trident, drum, sword and hammer. He rubs ashes, from the cremation ground, on himself. He is surrounded by vultures and jackals. His consort is Kāli. Mahākāla and Kāli are the personification of time and destruction.

Etymology of the name MahākālaThe word Mahākāla is a Sanskrit word. Mahā means ‘Great’ and Kāla refers to ‘Time or Death’ hence translating Mahākāla to mean “Beyond time or Death” (Mookerjee, 1988. NY). The Tibetan Buddhist calls Mahākāla ‘Nagpo Chenpo’ which translates into ‘Great Black One’ and also ‘Ganpo’ which means ‘The Protector’.

the iconographic features of Mahākāla in Hindu text Shaktisamgama tantra: The male spouse of Mahākāli is the outwardly frightening Mahākāla (Great Time), whose is often portrayed by meditatative image (dhyāna) of mantra, yantra and meditation. In the Shaktisamgama tantra, the mantra

of Mahākāla is ‘Hum Hum Mahākāla praside praside Hrim Hrim Svaha’. The meaning of the mantra is that Kālikā, is the Virāt meter, the bija of the mantra is Hum, the shakti is Hrim and the linchpin is Svaha.

Mahākāla has four arms and three eyes, and is of the brilliance of 10,000,000 black fires of dissolution, dwells in the midst of eight cremation grounds, is adorned with eight skulls, seated on five corpses, holding a trident, a damaru, a sword and a kharpa in his hands.

With a beautiful body adorned with ashes from the cremation ground, standing on various corpses he dallies with Kālikā, fondling her and making love with her and fiercely kissing her, surrounded by numbers of

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Mahākāla, 15th century, 97 cm x 66.5 cm.

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loudly shrieking vultures and jackals, adorned with a heap of braided hair, in a deserted place.

Kālikā is void, ornamented with skulls, with a sweet and charming face, in the midst of that five-fold love-yantra. Her yoni is the wheel of time (kālachakra). (Shaktisamgama Tantra)

Description Shaktisamgama tantra: Shaktisamgama Tantra, the spouse of Kāli is extremely frightening. Mahākāla has four arms, three eyes and is of the brilliance of ten million black fires of dissolution. He dwells in the midst of eight cremation grounds. He is adorned with eight skulls, seated on five corpses, holds a trident, a drum, a sword and a scythe in his hands. He is adorned with ashes from the cremation ground and surrounded by numbers of loudly shrieking vultures and jackals. Among his side is his consort Kāli and they both represent the flow of time. Both Mahākāla and Kāli/Mahākāli represent the ultimate destructive power of Brahman and they are not bounded by any rules or regulations.

When Mahākāla and Mahākāli are together they have the power to dissolve even time and space into themselves and exist as a void at the dissolution of the universe. They are responsible for the dissolution of the universe at the end of Kalpa. They

are also responsible for annihilating great evils and great demons when other Gods, Devas and even Trimurtis (trinity) fail to do so.

Mahākāla and Kāli annihilate men, women, children, animals, the world and the entire universe without mercy because they are Kāla or the personification of Time, and Time is not bound by anything and Time does not show mercy, nor does it wait for anything or anyone.

Mahāpasupat Sastra: “Kāla” refers to “Time” and also “death”. Usually kāla is used as a synonym for “mri̥tyu” (Yama) the god of death. Lord Ṣhiva is the death of even death – we have a legendary example of Bhakta Mārkandēya who was born with a limited lifespan but because he was devoted to Mahādēva when Yama tried to seize his life forces, Mahādēva rescued him from Yama and even killed Yama who paradoxically is hailed by the name of ‘kāla’.

Therefore Bhagawān Ṣhiva is the kāla of kāla hence the name “Mahākāla”. However, scriptures do not use the term, “Mahākāla” to always refer to Shiva in his aspect of Time or Death, but mostly the term Kāla is used to describe him alone and only selectively it is used to describe Yama.

Mahākāla is beyond the three divisions of Time, and he is the creator of Time and he is the withdrawer of Time as well. Time (kāla) is again of two types, viz. kṣhara and akṣhara;

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the former one is withdrawn during cosmic dissolution, the latter which represents ‘eternal-time’ is nothing but another synonym to call “braḥman”. Both kinds of Time are Mahādeva alone. This second ‘time’ which is the supreme and imperishable time is Brahman (Mahākāla’s nirguṇa aspect, Shvetashvatara Upanishad).

Veda: Mahākāla is regarded as Bhagawan or self-originated, nothing generates it. It is without origin. In contrast, kāla is always moving on (gatisheel), it can never be stopped. The name 'kāla' signifies both time and death. Kāla is responsible for the life and death of each human being. Kāla is the destroyer of all existence, carrying all organisms towards physical destruction. Qualities attached to time are responsible for all happiness and sorrow. These concerns are the domain of Jyotish astrology. (Parashara M. Brihat: 1994, New Delhi Sagar.)

Bhagavad gita: In the Bhagavad Gita 11.32, Krishna takes on the form of kāla, the destroyer, announcing to Arjuna that all the warriors on both sides will be killed, apart from the Pandavas:

…sfnf]˜l:dnf]sIfos[t k|j[4f] nf]sfg\ ;dfxt{d\ Ox k|j[QM .Ú

This verse means: "Time (kāla) I am the Mahākāla, the great destroyer of the worlds, and I have come here to destroy all people." (Bhagavad Gita 11.32 )

In the Book Hindu Temple Vol. II mentions of Shiva as Mahākāla shares the name and features of Kirtimukha (Kāla). The Lingayat Legend views that Shiva, Sankara, Sarabbha seized Narashima who had become very proud after having killed Hiranyakasyapa; the brother of Simhika, who is Rahu's mother; and out of Narashimas, severed head Shiva made Kirtimukha.

The legends in Puranas says Kirtimukha should be represented at the entrances of Shiva temples and should be worshipped on entering the temple.

The image of Shiva in his terrific or ugra form or aspect is termed as Aghora, Bhavava and Mahākāla are depicted with bulging eyes, inflated cheeks and tusks etc. (Kramrisch, 1976, New Delhi)

Mahābharata and Haribansa Purana: Lord Krishna did not kill Bānāsura, only defeated him and cut all of his one thousand arms but four. It’s interesting what happened to Bānāsura. After the battle, Nandi suggested him to dance for Shiva. So in this amputated state he did Tāndava for Shiva. After that Lord Shiva made him Mahākāla. It might have been a test for him, to see if he could still perform in this condition. The description of the dance is wonderful. He danced his eyebrows, produced different sounds, and all this while fully covered in blood.

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Mahākāla in Sanatan DharamIn the Hindu religious text Mahākāla is regarded as the ultimate form of Lord Shiva, the destroyer of all elements. It is believed that there is nothing beyond him, no elements, no dimensions not even time. That is why he is called ‘Mahā’ meaning greater than time or ‘Kāla’. Kāla is also known as time or death.

There is another meaning of Mahākāla that emphasizes the destructive aspect of time. Everything dies with time: “Time ripens the creatures, Time rots them. “Time” (kāla) is thus another name for Yama, the god of death. The name is associated with Shiva in his destructive aspect as Mahākāla and is extended to his consort, the goddess Kāli, or Mahākāli. (Mahabharata 1.1.188)

In Kālatantra, Mahākāla(i) is the patriarchal "God of Time". However, originally "he" was the Universal Great Mother, ruling "birth and death" (which is the foundation of time). Here we have restored her original power. Linguistically we have to call Her "Mahākāli", which is the feminine version. In order to remember the "coup" we keep calling Her "Mahākāla", though. The same we did with the "Kāla". It deals with time and death.

Mahākāla is referred to as bringer of death. In many parts of India and Nepal followers of Sanātana Dharam worship Mahākāla to ward away untimely death. In the region

of Jharkhand, Odisha, and Northern Bengal they regard wild elephants as Mahākāla and worship them.

The Hindu legends on MahākālaIn the Brahmā Purana on ‘Shiva Mahākāla’ there is this myth:

“Once all the creatures were created and their hunger satiated they began to reproduce. Soon there were too many of them. Brahmā could see that the cosmos was choked with too much life. He wondered where he had made an error.

Saraswati pointed out to him that he had forgotten to create death. For life to go on he realized death was essential. He created Mri̥tyu, and ordered her to go and kill all creatures. Mr̥ityu was horrified of the formidable task and fled.

Shiva found Mr̥ityu crying in a desolate place. He consoled her and assured her that all those who would die would be reborn. So she would be mother even though she would be taking life away. Thus, it came to be that Death became not the end of life but a gateway to a new one. Mr ̥ityu took the form of Mahākali, devoured all life and Shiva became Mahākāla, the lord of time, the regenerator. Life became a wheel, rotated by Shiva an eternal cycle of births and rebirths.

The famous Mahākāla temple in KathmanduThe three-storeyed temple of Mahākāl lies West of Tundikhel in Kathmandu,

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and houses a terrifying idol of the deity.

The idol is made of fine black stone and depicts the deity wearing a garland of human skulls and standing on a dead body with his mouth open, while the nose and ears are covered with metal leaflets. The temple is said to have been established by the King Gunakamadeva. The date is under contradiction.

the legend: The legend goes that the temple was founded by a Tantric Guvaju. One day while he was rearing his goat at Tudhikhel he witnessed the Mahākāla flying across the sky towards China. He is believed to have called upon the King Gunakamadeva of Kantipur, where

upon the two of them decided to build an idol so as to persuade Mahākāla to stay here permanently. However, Mahākāla refused the request but agreed to visit the temple every Saturday. Thus, thousands of people visit the temple on Saturdays as it is believed that the deity himself is present there then.

Mahākāla in the Buddhist text

In the tibetan text: "Mahākāla namo" in the Tibetan text it is said that Mahākāla means literally "the great black one" Namo means "hail" or "homage". Mahākāla symbolizes the wrathful aspect of the compassionate mind, transforming energies such as anger into a powerful compassionate force.Mahākāla is a Dharmapāla, a protector of religious law. He is always depicted as an extremely fierce and terrifying deity. His purpose is to help in overcoming negative obstacles on the path to enlightenment. A compassionate wrathful deity, he appears evil, like a demon, but functions more like a guard dog, or guardian angel (Sergent). His aggression is necessary, for it allows him to demolish obstacles and negativities one faces on the path to enlightenment. Mahākāla is depicted in a variety of different ways, sometimes with six arms, other times with two. He is often brown skinned and associated in tankas with Penden Lhamo.

A form of Mahākāla

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The Himalayan Resource The designation of 'Protector Deity' is common within the Buddhist and Bon religions of the Tibet and Himalayan regions. The term is one designation in a rather fluid yet elaborate set of religious hierarchies in the various pantheons.

There are two types of Protector Deity: worldly and beyond worldly. The latter is typically called wisdom or enlightened protector, meaning that they are beyond samsāra or worldly existence.

The Buddhist protector deity Mahākāla is a wrathful form of the primordial Buddha Vajradhara. In various other forms Mahākāla can be an emanation of Akshobhya Buddha or any number of other Buddhas.

The three main Anuttarayoga Tantra deities of Hevajra, Chakrasamvara and Guhyasamāja each have a specific Mahākāla associated with the particular tantra such as: Panjara Mahākāla - Panjarnata Tantra (Hevajra), Chaturmukha Mahākāla - Guhyasamāja Tantra and the Chaturbhuja Mahākāla associated with the various Chakrasamvara Tantras.

Worldly protectors are not enlightened and not considered completely trustworthy. There is a bias in Buddhism to treat all or almost all protectors coming from India to be wisdom protectors. The exception here are the Four Guardian Kings and

what are considered the traditional Hindu Gods, often referred to in the Tantras as worldly gods, or protectors.

Numerous mountain gods and indigenous Tibetan and Himalayan deities have been incorporated into the Tantric Buddhist pantheon as worldly deities with the function of a protector. Their job is to safe-guard Buddhism in general, regions, specific monasteries or religious traditions or even a specific text as in the Nyingma Tradition.

the legend of the origin of Mahākāla

The compassion of the red Buddha Amitābha manifested as Avalokiteshvara who took a vow to forgo his own enlightenment until all the realms of samsāra had been emptied. This vow required a renewal of determination, and so with Amitābha's blessing, Avalokiteshvara next assumed a form with eleven heads and a thousand arms. Still he had been unable to benefit even a few beings.

Therefore after reflecting for one whole week, he determined that by assuming a wrathful form he would be able "to subdue the degenerate beings of this Age of Darkness."

He also saw that even beings who practiced Dharma were unable to escape from the Bardo realms (time between rebirths where beings may face great anxiety and terrifying

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experiences) and he thought that in wrathful form he could also protect them in that way.

Lastly, he thought that the beings in this Dark Age were poor and needy, experiencing only suffering after suffering, and that in wrathful form he could provide them an antidote to that suffering so that by simply making the wish (for protection) their needs could be met.

These three motives made his determination even greater than before and so from the heart of Noble Avalokiteshvara emerged a dark blue HUNG syllable that immediately became the Instantaneous Protector of Wisdom, Mahākāla.

The Different forms of MahākālaIn the Buddhist texts there are 75 forms of Mahākāla in Tibetan Buddhism. Iconographically there may be fewer forms but textually there can be an infinite number. Some are as follows:

Chaturbhuja Vajra Nata Mahākāla (Tibetan: gon po chag shi pa, dor je nag po chen po. English The Great Black Vajra Lord with Four Hands) embracing the consort

From the Tradition of Arya Nāgarjuna. In Tibetan it is known as ‘Chag shi pa’ the chaturbhuja Mahākāla has four hands.

At the top center is the primordial Buddha Vajradhara. At the left are Vajrapāni, Ga Lotsawa and Padma

Karpo (Pema Karpo). At the right are Nāgarjuna, Tsangpa Gyare and Kunzang Jalu.

Iconography: With one face and four hands, blue-black in color, Mahākāla glares ferociously with three large round eyes, bared fangs and orange hair flowing upward. He has four hands. The first pair of hands hold a fresh heart and the left a skull cup - held to the heart embracing the consort. The second right hand holds upraised a sword and in the left a katvanga staff with a trident point. Ferocious in appearance the consort holds a skull cup in the left hand. Both are adorned with a tiara of skulls, bone and jewel ornaments, garlands of heads and green silk scarves. The Lord wears a tiger skin as a lower

Chaturbhuja Mahākāla

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garment and the consort a girdle of finely strung bone ornaments. In a relaxed posture they are seated above a multi-coloured lotus, sun and red corpse seat surrounded by the flames of pristine awareness interspersed with the emanations of black dogs, birds and Garudas. ( Jeff Watt 9-2000 )

Shadbhuja Mahākāla (Shangpa)Brought to Tibet by Khyungpo Naljor the founder of the Shangpa Kagyu School, this form of Mahākāla became popular in the Sakya, Kagyu and Jonang traditions and was later adopted into the Gelugpa School, becoming the principal protector.

There are other six-armed forms Mahākāla that are unrelated to this particular six-armed Shadbhuja Mahākāla.

Shadbhuja Mahākāla arises from the Eight-Chapter Mahākāla Tantra belonging to the Kriya classification. In general Mahākāla forms are wrathful emanations of Vajradhara Buddha. From among the different forms of Mahākāla only this Shadbhuja form is an emanation of Avalokiteshvara.

Shadbhuja has a number of different forms recognizable by a variation in body color, the addition of a consort, hand attributes and retinue figures.

The most popular being the wealth deity White Mahākāla practiced in all traditions of Tibetan Buddhism. Variations in appearance are found in

the different traditions principally the leg postures of Mahākāla, the Gelugpa preferring the more wrathful posture with the legs apart. The Tsarpa lineage of Sakya prefers Shri Devi with four hands so as not to confuse her with Magzor Gyalmo the younger sister or servant that has two hands. The colours and hand objects of the remaining retinue also vary according to individual traditions. (Eight-Chapter Mahākāla Tantra)

Iconography: "The Lord of Pristine Awareness has six hands and a body dark blue in color. The first two hold

Shadbhuja Mahākāla

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a curved knife and skull cup, the middle two a human skull mālā and trident, the lowest two a damaru drum and lasso.Shadbhuja Mahākāla is adorned with a tiger skin, garland of heads, bones and snakes, and small bells on the hands and feet. He has three eyes, bared fangs, eyebrows, beard and hair flowing upward with Akshobhya as a crown. He is anointed with a sindhura drop on the forehead. And behind him is a sandalwood tree, dwelling in the middle of a blazing mass of fire. (Jonang Taranatha, 1575-1634).

Danda Mahākāla (Tibetan: gon po beng leg den nag po sri me gyi bu): a main wisdom protector of the Nyingma School

Wrathful, black in color, with one face and two hands, he holds upraised in the right a sandalwood staff and a skull cup held to the heart in the left. Wearing a long black cloak he stands atop a corpse seat, sun disc and lotus blossom, surrounded by the flames of wisdom.

At the top center is the Bodhisattva Avalokiteshvara accompanied by various figures along with Padmasambhava. At the bottom left is the worldly protector Damchen Garwa'i Nagpo along with others in the middle and on the right. (Jeff Watt 9-2000)

Kartaridhara MahākālaKartaridhara is wrathful in appearance, dark in colour, with

one face and two hands. He holds upraised in the right a curved knife (kartāri). In the left he holds a skullcup to the heart. Kartaridhara can be found in the Nartang Gyatsa publication. There are several traditions of practice. The famous is that of Jowo Atisha.

According to the Panjarnata system of Mahākāla there are two forms of the deity that have the same appearance as Kartāridhara. The first form is 'Copper Knife' Mahākāla associated with the Eight Deity practices of Panjarnata Mahākāla. The second is associated with the Seventeen Deity Panjarnata Mandala. (Jeff Watt 8-2017 )

Brahmarupa Mahākāla (Tibetan: gon po dram ze. English: the Mahākāla who appears in the form of a Brahman). Sanskrit: Brahmarupa Tibetan: Dram ze

Appearing as an Indian Brahman, dark brown in colour, he has one face and two hands. With the right hand he holds a human shin-bone trumpet and in the left, upraised, a human skull filled with blood. The hair, beard and eyebrows are white. Wearing bone ornaments, intestines and a human skin he sits atop a human body.

At the edges of the pristine awareness wisdom fire are four dakinis, ghoulish in appearance, dynamic in posture, Dombini, Chandali, Rakshasi and Singhali Devi - black, red, yellow and green. They are naked with

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disheveled orange hair, each holding a curved knife and a skull cup.

the legend: When the great Tibetan Translator Nyen Lotsawa received the Manjuvajra Guhyasamaja (also known as the Jnanapada Lineage) empowerment from the dakini Risula, she also bestowed the initiation of the Mahākāla (Chaturmukha) in the special form according to the Guhyasamāja Tantra.At this time she gave him as a servant a dark skinned Brahman. When Nyen Lotsawa and the Brahman reached Nepal the servant changed appearance and took on the form of a

monk, an appearance more conducive for travelling in Tibet. After the passing of Nyen Lotsawa the monk remained with Lama Nam Ka'upa and then later with Sachen Kunga Nyingpo. (Jeff Watt 8-2005)

The objective of Mahākāla practice is to assist practitioners in removing any challenges that impedes their spiritual practice, as well as to encourage exertion and devotion and at the same time purify obscuration and defilements. With earnest prayer and diligent practices, blessings will be bestowed and obstacles will be pacified.

The Buddhist claim that Mahākāla is the protector of Dharma and religious law

Reference

Bhagavad Gita 11.32.

Brahma Purana, section Shiva Mahākāla.

Chaturvedi, B. K. (2006). Shiv Purana (First ed.), New Delhi: Diamond Pocket Books (P) Ltd, ISBN 81-7182-721-7.

Emi, Matsushita. Iconography of Mahākāla. MA Thesis, The Ohio State University, 2001. Link of full-length Thesis http:// rave.ohiolink.edu/etdc/view?acc_ num=osu1141933891

Kalsang, Ladrang (1996). The Guardian Deities of Tibet, Delhi: Winsome Books. (Third Reprint 2003) ISBN 81-88043-04-4.

Kinsley, David R. (1997). Tantric visions of the divine feminine: the ten mahāvidyās. University of California Press. ISBN 978-0- 520-20499-7.

Himalayan Art Resource, www.Mahākāla. com

Brahmarupa Mahākāla

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Lorenz, Ekkehard (2007). The Harivamsa: The Dynasty of Krishna, in Edwin F. Bryant (ed.), Krishna, A Source Book, Oxford University Press.

Linrothe, Rob (1999). Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art, London: Serindia Publications. ISBN 0-906026-51-2.

Max Muller. Shvetashvatara Upanishad, The Upanishads, Part II, Oxford University Press, p 250

Maithily, Jagannathan. Published 2005, Abhinav Publications, ISBN 81-7017-415-5.

Mookerjee, Ajit (1988). Kāli: The Feminine Force. New York: Destin Parashara M. Brihat.

Parasara, Hora Sastra. Guide to Hindu Astrology. In: Sharma GC, editor. New Delhi: Sagar; 1994.

Robert, Hume (1921). Shvetashvatara Upanishad, The Thirteen Principal Upanishads. Oxford University Press, pages 402-406.

Shaktisamgama Tantra, Kāli Khanda.

Sir John George, Woodroffe. Shakti and Shâkta: Essays and Addresses on the Shâkta Tantrashâstra. Ganesh, 1951, ISBN 160620145X, 9781606201459.

William, Stablein. The Mahākālatantra: A Theory of Ritural Blessings and Tantric Medicine. Ph.D. Dissertation, Columbia University, 1976.

www.shivashakti.com Mahākāla.htm

Dr. Poonam Rajya Laxmi Rana

Dr. Poonam Rajya Laxmi Rana is an Associate Professor in the Department of Nepalese History Culture and Archaeology, Tribhuvan University, Kirtipur, Kathmandu, Nepal.

She holds Masters Degree in Sociology and Environment and Ecology and Doctorate in Nepalese History Culture and Archaeology.

She has participated in various National and International Seminars and Conferences.

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Graphic communications in the context of nepalJitendra Man Rajbhandari

Graphics have been powerful tools for visualizing and shaping our ideas. Graphics are images that appeal the human sense when they reach the brain through the eye. Graphic Communication, a mode of communication through visual aids, has already redefined our understanding of communication. Graphic Communication is, in fact, a translation of ideas, stories and concepts into a visual format. In Italian designer Massimo Vignelli’s words, it is the “communication of information in appropriate visual manner.” Graphic Communication is all about sharing ideas both creatively and effectively. This short article intends to trace a brief history of

Graphic Communications with special reference of Nepal.

The origin of Graphic Communications dates back to pre-historic era of cavemen some 30,000 years ago. Early men, particularly in Europe, began drawing on walls of caves of Chauvet, Lascaux, and Alta Mira. These cave paintings were created with the use of minerals and charcoal utilizing brushes, hands, and hollowed reeds in which the painter would spray color from their mouth. Although it is still a matter of debate whether they were made for religious purposes or demonstrating hunting techniques, or recording of events, the one purpose of these certainly is a means of visual human

AbstractGraphic communication, a powerful tool for conveying information through visual aids has undergone a radical change since its early application by cave artists of Paleolithic age. With the development of print technology, both the scope and significance of graphic technology have been expanding. In the context of Nepal, graphic communication has received an attention since the advent of printing press. Several artists, illustrators and graphic designers have made great contributions on the development of this form of Applied Arts. Since the last few years the Fine Arts institutions in Nepal have been introducing Graphic Communications into their curriculum which is sure to uplift the quality of graphic design in promotion of the products and services in the Nepali market.

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communication. Later Sumerians created one of the first written languages using symbols that eventually developed into formal style writing as we know today.

The invention of printing press was yet another turning point in Graphic Communications. In 1439 Johannes Gutenberg brought moveable type to Europe opening up literature (and literacy) to the masses and making it affordable. With the advent of the printing press humanity was able to recreate text, art and design on a massive scale, and for relatively cheap price. It is noteworthy that the Gutenberg press paved the way for more commercial uses of design, which ushered to the era of Graphic Design. People soon noticed how such visuals could affect shopping behaviors and increase profits. Thus modern graphic design really began after the invention of the printing press.

Technological advancements have opened up tons of possibilities in Graphic Communications. The desktop computers and digital software have made representation of ideas and information visually possible in many more ways. With the boom of media technology, Graphic Communications have become an inseparable part of mass media.

In the context of Nepal too, graphic designing turned an essential requirement with the entry of printing presses. Before that most of Nepali books used to be printed in Benaras. The value of Graphic Communications was first manifested with the use of illustrations in those books. Ratna Pustak Bhandar was probably the first

An early example of book illustration done by tej Bahadur Chitrakar for 'Nepali Prabeshika - 1', Published by McMillan and Co. Ltd, Calcutta. 1949.

An early example of book illustration done by Keshav Duwadi for 'Nepali Prabeshika - 1', Published by McMillan and Co. Ltd, Calcutta. 1949.

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Nepali publisher to institutionalize book publishing business. In those early days, Keshav Duwadi appeared as the pioneer illustrator in Nepali publications. A graduate from Sir J.J. School of Arts, Mumbai, Duwadi is often credited for his contribution to introduce illustrations in Nepali books. His illustrations on popular Nepali religious text of Swasthaani Brata Kathaa can be regarded as one of best instances of early illustrations which visualize the Hindu gods and goddesses in entirely Nepali attire.

After the promulgation of New Education Plan in the year 1971, a wave of new textbooks hit the education sector. Those school

textbooks, mostly printed at Janak Education Materials Center, Sanothimi gave a new look to Nepali textbooks with brand new layouts and vivid illustrations. Madan Chitrakar, Dil Bahadur Chirakar, and Manuj Babu Mishra were the most prolific illustrators in this era. Apart from that Tek Bir Mukhiya’s cover designs in the most of books published by Sajha Prakashan and K.K. Karmachaya’s stamp designs are also the noteworthy works of Nepali Graphic Communications.

Coming to 80s decade, emergence of offset printing technology replaced the letter press and zinc blocks from Nepal. Jor Ganesh Press, Sahayogi

A cover design done by Dil Bahadur Chitrakar for 'Baalak' - a children magazine, published jointly by Janak Education Materials Center and Nepal Children Organization, 1971.

A cover design with modern approach done by Madan Chitrakar for 'My english Book 4', published by Janak Education Materials Center, 1974.

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A cover design done by tek Bir Mukhiya for a book written by Bishwombhar Chanchal, published by Saajha Prakashan, 1973.

Press, and Modern Press together with government owned Gorkhapatra press opened up new vistas of graphic designing for Nepali artists. Multi color art work designs saw a boom with the political change of 1990. The Ministry of Health, Ministry of Education and UNICEF brought out various materials with lots of graphic contents and development illustrations. This period saw the rise of the outstanding illustrators like Durga Baral, Madan Chitrakar, K. K. Karmacharya, Ujjwol Kundan Jyapoo, Sharad Ranjit and others. They were followed by the professional graphic communicators like Ashok Man Singh, Mohan Khadka and others.

Prominent artist Madan Chitrakar is the first Nepali artist to receive formal degree in Applied Arts. The graduate from Sir J. J. School of Arts, Mumbai, Chitrakar is also the pioneer figure to start teaching Graphic Communications in the Nepali art colleges. Moreover, his illustrations on the series of the textbook entitled My English Book are still considered a milestone in Nepali school textbooks. He says, “Graphic Communications is basically a form of Applied Arts meant for human consumption. Here art is ‘applied’ with certain motive. It encompasses anything from logo designing, press campaign, product

An illustration done by Durga Baral for 'Nava Drishya' - a publication for neo-literates, published by UNICEF, 1987.

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promotion, branding to developing corporate identity.”

Another instructor Bijaya Maharjan, who represents the young generation of Graphic Communicators in Nepal, opines that the field of Graphic Communications is diverse. He sees lots of distinctions between Fine Arts and Applied Arts. “Fine Arts is a form of self expression where as applied art is a purposeful art. Within it, label, poster and brochure designing, photography and illustrations are all included,” Maharjan says.

graphic Communications in Nepali art educationRegardless of its importance and the relevance however, Graphic Communications as a formal course of studies, has proven a late comer in Nepali Art education system. Speaking honestly, the arrival of this genre is a recent phenomenon – it is due to various reasons including the sheer ignorance of the part of concerned stake holders.

The formal beginning was made in the country as late as beginning of the 21st century by Kathmandu University,

An illustration done by Sharad Ranjit for 'Nava Drishya' - a publication for neo-literates, published by UNICEF, 1987.

An illustration done by Ujjwol Kundan Jyapoo for 'Nava Drishya' - a publication for neo-literates, published by UNICEF, 1987.

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An illustration done by Mohan Khadka for 'Nepal traveller' - a magazine on travel and tourism, published by Ramashesh Pd. Shah, 1984.

Stamps designed by K. K. Karmacharya for the Department of Postal Service.

Center for Art and Design with a provision of Bachelors’ Degree in Fine Arts as an independent course of Studies in Graphic Communications. The primary credit must be attributed to the two individuals Aiden Warlow, an educationist from the Great Britain and Sujan Chitrakar, the academic co-ordinator of the Center. In association with Madan Chitrakar, a historic beginning was made with designing the first ever curriculum of the subject and the first commencing of the first BFA Studies in Graphic Communications was made. The historic beginning was made initially in a very modest class room with spartan facilities needed in the studies. The rest is history.

Realizing the importance soon after, Tribhuvan University (TU), the Faculty of Humanities and Social Sciences followed suit and

introduced a four years studies of Bachelors Degree (BFA) in Graphic Communications. Accordingly, all the colleges under the aegis of TU commenced the formal studies under their academic programs. And lately, the achievements made by the graduates of the Sirjana College of Fine Arts in the genre, continue to prove phenomenal – with each successful graduates contributing brilliantly from their respective positions.

The TU course aims to impart the knowledge and skills with particular focus in the following areas:

• Understanding of space and the importance of space management

• Familiarity with the fundamentals of design

• Practice in print media, e.g. corporate identity, press advertisements and illustration

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Some glimpes of the activities carried out by the students of BFA, Graphic Communications in Sirjana College of Fine Arts.

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Jitendra Man Rajbhandari

Jitendra Man Rajbhandari is an Associate Professor of English in Tribhuvan University. He has been teaching English Literature and Business Communication for about 25 years. Presently, he is associated with Saraswati Multiple Campus as the Head of the English Department.

• Understanding digital tools, e.g. computer software and photography as means of graphic design

From this short analysis of the university curriculum of Graphic Communications, it is clear that this course is basically focused on the pragmatic application of arts for utilitarian purpose. Hence, the Graphic Communications studies are sure to yield much more beneficial outcomes in developing country like Nepal.

To sum up, the area of Graphic Communications and Applied Arts is endless. They have been emerging as powerful domain of mainstream art and art education. The involvement of talented and creative young artists in this field heralds indeed an optimistic future of Nepali Applied Arts. The growing awareness of corporate and non corporate sectors about the importance of Graphic Communications in promotion, branding of their products and services is also sure to take Graphic Communications to a new commercial height in the days to come.Works Cited

Chitrakar, Madan. Personal interview. 10 Sep. 2018.

Cramsie, Patrick. The Story of Graphic Design. British Library, 2010.

Ekilson, Stephen J. Graphic Design: A New History. Yale UP, 2012.

Maharjan, Bijaya. Personal interview. 12 Sep. 2018.

Onta, Pratyoush. Mass Media in Post-1990 Nepal. Martin Chautari, 2006.

Tribhuvan University. Curriculum of BFA Four Years Bachelor in Graphic Communications, 2014.

Vignelli, Massimo. The Vignelli Cannon. Lars Muller, 2015.

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Memoir of light and dust(things that enable one to see and things that one actually sees)

saroj Bajracharya

abstractThis 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.

IntroductionThis account focuses on both traditional and the modern developments in art and culture in order to understand the collective contemporary art scene in Nepal. However, more subjective approach is persuaded because the idea of state of mind itself is rather subjective than objective. This approach is undertaken also to pass up unnecessary details and length of the article.

literature review Two segments have been introduced here to project the idea of the state of mind that the Nepali art bears; i.e.- the ancient art and the art in the modern context bridging them with the pre modern advancement in art. The write-up has attempted to focus on and compares between these eras in order to understand the overall art psyche of Nepal.

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the ancient continuityIn the 8th century A.D. Padmasambhava came to Nepal from north-west India. A prince once but he forsook his position in search of surpassing the limited concept of liberation of any kind; to truly be free. The predecessor of Vajrayana, a tantric Buddhism to attain Nirwan, the seeker meditated in various parts of Nepal before journeying Tibet. This sacred ground indeed reserves immense spiritual magnetism. Many a sages and wise have found unconditional solace here. Various religious doctrines and rituals were initiated in this land. Indeed Nepal was a land to practice discipline, understand rational social system, and experience individual growth as well as cultivate collective awareness. Sages in the likes of Gautam Buddha, Machhendranath, Gorakhnath and Nagarjun made this land their sacred haven to inhale internal peace and exhale compassion.

Unparallel for its spiritual vibes, this land was equally prominent for its trade route, as few centuries ago Nepal was the connecting route for trade between India and China. This surely helped both the neighboring countries to prosper.

Arguably there are two significant components that refine the quality of a nation; firstly the more evident one is the material prosperity which is generally measured by economical affluence and its circulation, and

secondly which is rather hidden is the spiritual abundance that can be realized by experiencing peace and compassion in that territory. Both these material and spiritual qualities were the salient features of Nepal. And both these exceptional qualities that brought human civilization to its full bloom then were all manifested through the arts here. Therefore, collective state of mind of the inhabitants here was shaped by these two qualities. However, the very definition of art back then was much different than now. Averment religious values were at its prime and societies were more communal towards religion; making art a tool for religion and a device for ritualistic objectives. Henceforth, the concept of god was significant than any human emotions or values. This particular characteristic of social structure forbade artists to have claim over their artworks, simply because they were creating images of gods and deities and it was considered unethical or even a sin to sign or engrave human name on god. Because of this reason artists of the ancient era remains unsung. Not that they were disrespected, rather the social conditions were different and religiously collective than now.

In all this network of religion, art and social beliefs, Araniko in the 12th century made a quest to launch the art of Nepal to the neighboring countries. He was summoned to Tibet to create architectural monuments. Art brings

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significant incidents that occur in various time and space into a singular plane so that humans can envision newer possibilities of their own evolution as well as the growth of their surroundings. It would not be an exaggeration to state here that an art created with positive intention and a clear vision makes everything relative with everything else. Therefore, art begins from individual abstraction, proceeds towards the physical collective then merges with the unified conscious abstraction again. In order for the art to mature, humans themselves have to mature. And in Nepal till the Malla monarchial system, art gained such heights that it had subtly begun to influence even

religion which was a prime human point of saturation then. In many cases, it was difficult to differentiate art from religion. This happened because rulers as well as the citizens knew the influence of art.

Ancient art here were not only based on religious beliefs or the traditional values and visuals. The viewers did not only communicated with these attributions; rather at the same time such art also arouse a quality towards perceiving life, brought confidence and the concentration that channeled their thought process to flow in certain harmonious pattern allowing the viewers to express and shape their behavior in certain ways. From such situations was the state of mind structured of the Nepali people.

From Kirants to Thakuri, Lichhavi and the Mallas art was a tool for communal connectedness. It was used to manifest religion, the one component that sought out solidarity amongst the civilians. That is what the leaders needed- connected collectivity to maintain their stature. However, whatever the reasons behind their promotion of arts, the harmonious state of mind surely flew unbound through it. Art manifested the revival of prosperity.

the begetting of the modernAfter the descent of medieval era and the ending of the Malla regime, Shah dynasty unified and ruled Nepal. Until the Malla regime, art

White stupa at Miaoying Temple, Beijing. Constructed by order of Kublai Khan under the supervision of Nepali architect Araniko, 1271.

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was one of the primary necessities of the rulers because the religious cultural association of the people was evidently very dominant. And in order to express this association, the rulers created magnificent arts in forms of pawua which is a traditional painting, sculptures of deities and kings and architectural monuments like temples, and palaces. However, with the beginning of the Shah regime, the kings began focusing more on politics and diplomacy and less on arts and culture. Then the Rana takeover of the kingdom of Nepal in the mid 19th century changed the direction of arts here. The idea of popular modernism was not carefully observed and analyzed while they are initially being used here. The introduction of the western technique and subjects in art created a shock to the artists and the audiences alike.

It was a time when the British had colonized this side of the subcontinent and even though Nepal was not colonized, the Rana aristocrats were always in a pursuit to have positive terms with the British. For this reason they began adapting to British ways of arts and etiquettes. This is when more western styles portraits and figures in paintings began to appear which were done by local and western artists. And in all this whirlpool of happenings, the local art of the region gradually began to mislay its mark. However, individual artists were practicing such art but the state was more focused on the

newly introduced art from the west to assert their stature and relevancy in the global community. All this had very less to do with the tranquil state of mind that art of this side bore. Even though the introduction of western art brought immense possibilities, in a way the unbound creative state of mind was sadly breached. The continual harmonious flow was broken. After the Rana authority was dethroned in the mid 20th century, Nepal entered into a democratic political phase. Until this time the harmony of way of thinking has subtly altered. In the later phases of the 20th century some considerable

Dirgha Man Chitrakar, A Life Size Portrait of Jung Bahadur Rana, 1936. Oil on canvas. National Museum, Chhauni, Kathmandu.

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steps were taken to promote the modern art by the government, but negligible precaution was carried out to restore the harmony and the source that our ancient art carried. However, not merely the visuals and the skills to execute the traditional art is suggested here nor just the religious content it bore; rather how the work of art and its interactive quality brought

about transformation on the collective psyche is of grave importance. That is the primary source that cultivated harmony in minds of the inhabitants.

Conclusion and a little moreState of mind is very important in order for the artist to get in tuned with nature. This comes with immense preparation and time

Krishna Manandhar, Composition, 1975. Oil on canvas.

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Saroj Bajracharya

Saroj Bajracharya is an artist, a writer and a curator. He has been active in art for more than two decades. He has been actively involved in many facets of art that include painting, writing, teaching, curating, organizing and coordinating art events and exhibitions.

Various solo exhibitions, group shows and two books titled Future of History and A Concise Introduction to Nepali Modern Sculpture are to his credit.

tested experiences. From unrecorded history to the recorded ancient phases of Nepal, the arts here have directed civilization into newer level of understandings. Navigated by religion, the ultimate message in art was harmony and connectedness with the surroundings.

The pre modern art here was the British influenced art. Subsequently, after the abolition of the Rana supremacy during the Shah regime, Nepali art entered into modern era which was much influenced by modern art of India, particularly of the neo tantric movement. Most of the conceptual qualities of ancient art have had been lost up until now. However, the artists of the initial modern art phase did surely keep the Nepaliness alive via various motifs they were incorporating in their works; however, bringing back the harmonious state of mind that persisted from thousands years were indeed a challenge for the first generations of artists here. Artists in the likes of Shahi Bikram Shah, Uttam Nepali, late Manujbabu Mishra, late Ramananda Joshi, Batsa Gopal Vaidya to name a few did bring back the lost glory. But since publications, documentations and interactions on art are negligible, these affluent works is yet to be connected with the timeless state of mind of Nepal.

References

Padmasambhava/www.rigpawiki.org

Buddhist art and the trade routes/www. asiasocietymuseum.org

Revolution of 1951/www.en.wikipedia.org

Singh, Narayan Bahadur. Samasamayik Nepali Chitrakala ko Ithihaas, Royal Nepal Academy, 1976.

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Contemporary Nepali arts break the conventional codes. These art forms question and subvert authority. Cultural identities of contemporary Nepali painting are provisional, dynamic, ever shifting and always on the process of becoming. They are constantly transformed in relation to context and existing power structures of the society. In-between-ness and ambivalence are the dynamisms of contemporary Nepali painting where native and alien art forms come

together creating a visual inter-text with multiple meanings and significances.

Globalization has brought cultural encounters in the contact zone. The people of various cultural background have come together. The cross-flow of individuals ultimately has influenced the socio-cultural activities in the native land.

Cultural encounters and differences give way to dialogue and interaction

abstractContemporary Nepali arts are connected among each other along with western arts and early Nepali artworks. These artworks share the subject matters, techniques and forms of earlier traditions. Inter-textuality is sometimes created through recycling and appropriation. Similar elements have been used for different purposes. Likewise, similar contents reappear in different forms. Contemporary Nepali arts are the mélange of various cross-currents. Ever-changing alien art influences in the present time have unsettled representational modes of arts. Some art techniques have been borrowed from the western arts, the Hindu and the Buddhist myths and rituals, and native art traditions. The artworks present different elements that have been intertwined. The artworks neither assimilate nor reject the alien art forms but strike balance between them from ambivalent and in-between space. Through the plural art forms, contemporary Nepali arts not only express the feelings of the Nepali artists but also explore the socio-cultural issues of contemporary Nepal. Due the co-presence of diverse images, symbols and forms, the artworks speak of the cultural self and the cultural other. The identities of these art forms are constructed and reconstructed in ambivalent and in-between spaces of local and global influences. Such art forms are plural and open-ended, and their significances or meanings become multiple.

contemporary nepali Arts: Ambivalence and In-between-ness Dr. Yam Prasad sharma

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between local and global cultures and arts. Reconstructing identity in contemporary arts is a process of "making local sense of the collision" (Lechner et.al p.320). Remaining at the ambivalent and in-between space, contemporary Nepali artists revise, reread and re-interpret global and local cultures, traditions and artworks.

Nepali artists recycle and reformulate native and alien images through dialogue and interaction. These artworks integrate the images of the Hindu and Buddhist myths with different significances. Such inter-textual art forms are heterogeneous which merge native and alien cultural images creating a mélange. They re-integrate the

local and global images. These heterogeneous artworks subvert homogeneity and authority. According to Pieterse (1995), these artworks “unsettle the introverted concept of culture which underlies romantic nationalism, racism, ethnicism, religious revivalism, civilizational chauvinism, and culturalist essentialism” (p.64).

Contemporary Nepali arts are not monolithic but heterogeneous and interconnected. Arts and cultures are not found in fixed but constructed in ambivalent space through appropriation of available different cultures and arts. According to Bhabha (1995), cultures and arts are constructed in “ambivalent space

Chandra Man Singh Maskey, 'Bhaumacha'(welcoming of the bride), 1982, Watercolor on paper. Photo courtesy: 'Nepali Art: Issues Miscellany', written by Madan Chitrakar, 2012.

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of enunciation, that we begin to understand why hierarchical claims to the inherent originality or 'purity' of cultures are untenable. . . meaning and symbols of culture have no primordial unity or fixity; that even the same signs can be appropriated, translated, re-historicized, and read anew” (p.208).

No culture is pure. Similarly, contemporary Nepali artworks also share the images of distant cultures.Culture is never just a matter of ownership, of borrowing and lending with absolute debtors and creditors, but rather of appropriations, common experiences and interdependencies of all kinds among different cultures. (pp.261-62)

Heterogeneous art forms are inter-textual because they are interconnected with other works. Earlier art forms are revised and reintegrated. Such features are found even in contemporary Nepali paintings and sculptures. They go beyond own discipline to other disciplines.

Some contemporary Nepali arts share the features of postmodernism. Postmodern artworks do not follow the codes of a particular genre of art. They share the techniques of other art genres. The artwork "blurs genres, transgresses them, or unfixes boundaries that conceal domination or authority" (Cohen 2000 p.293). Such artworks are "multi-generic" having inter-art relationship (Rowe 1992 p.186). They are not governed by the pre-established rules. Such creative process attempts to formulate its own rules in the artwork.

The identity of contemporary Nepali artists is not fixed but ever changing. Cultural identity in art is not found in fixed form but constructed and reconstructed from heterogeneous cultural images through appropriation. The reconstructed cultural identity is not certain and universal but plural and provisional.

Western realistic style influenced the art of portrait painting during the Rana rule from the mid-nineteenth century. Rana Prime ministers, Jung Bahadur and Chandra Sumshere visited Europe, got their portrait

tej Bahadur Chitrakar, 'A Portrait Study from Life Model', 1926. Oil on canvas. (Collection: Madan Chitrakar.)

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made in western style and brought some western paintings home (Singh 1976 pp.35-36). They took Nepali artist in their journey to Europe. The artists like Bhajuman Chitrakar and Dirghaman Chitrakar were exposed to western art forms. These rulers made these artists execute the portraits of themselves and their family members in realistic style. Chandra Sumshere sent Tej Bahadur Chitrakar and Chandraman Maskey for art training in Calcutta. The art school educated the artists in western styles of art. These artists used canvas and western media like oil color, watercolor and pastels for their paintings. The Rana rulers invited even western artists to Nepal to paint their portraits. (Singh

1976 p.40). Pratapaditya Pal (1985) comments on the paintings of the Rana rule, "After the mid-nineteenth century Nepali portraits were rendered entirely in the European tradition" (p.132). Breaking away from religious paintings, realistic style of painting and western media entered in the field of Nepali painting during the Rana rule. Landscapes, still-life paintings, and scenes of hunting of wild animals were painted exploiting western media and realistic style. These paintings break away from mythological motifs of religious arts.

More western influences came to Nepal after the end of Rana autocracy in 1950. Many contemporary Nepali artists went to western and Indian cities for art training. Lain Singh Bangdel, Laxman Shrestha and Urmila Upadhyay took art education from Paris. Pramila Giri and Dipak Simkhada went to America for art education. They learned western techniques of art. Later, they brought home western techniques of painting.

Some contemporary artists went to Indian cities for art education. Uttam Nepali, Ramananda Joshi, Shashi Shah, Batsa Gopal Vaidya, Krishna Manandhar, Govinda Dangol, Madan Chitrakar, Pramila Giri, Kiran Manandhar, Vijay Thapa, Shankar Raj Singh Suwal and Dipak Simkhada are some of them. India remained British colony until 1947, so, western art education was already in practice in India. These artists also brought western influences in the domain of

Pramila giri, 'Bhairav III', 1994. Brass, 23 cm x 42 cm x 17 cm.

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Nepali art. Western influence came to Nepal directly and also through India.

Nepali artists came in contact with western art forms and techniques through traveling possibilities and media. These western art techniques helped Nepali artists to break away from referential representations providing the opportunity to express their imagination, inner emotions and personal feelings in the process of creation. Simultaneously, traditional cultural encounters kept on taking place in the contact zone. The referential native art forms and subjective western art forms interacted, cooperated and reintegrated in a single work of art.

In the initial stage, the cultural encounters created complexity in native place. Nepali artists have been attracted toward these plural western art forms because they can provide the opportunities to express their inner emotions. On the other hand, they are interested on using native contents. At this situation, remaining in the ambivalent space, contemporary Nepali arts appropriate western forms and native contents through dialogue and interaction. Cultural interplay and crossovers take place in in-between space. In the process of appropriation, various strategies are used like exploitation of western techniques and the usage of Hindu and Buddhist mythologies and religious imagery. The traditional

Shashi Shah, 'Chaos of War', 1979. Pen and ink on paper.

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native forms and western techniques are de-contextualized and re-contextualized. In the process of appropriation, borrowed techniques are used for different purpose in different context. Contents and forms of traditional arts are reinterpreted, re-historicized and reorganized to explore the contemporary socio-cultural issues. Established cultural icons are questioned, subverted and menaced. The artworks challenge the authority and homogeneity.

In this sense, contemporary Nepali arts present intercultural appropriation. The works also depict the juxtaposition of visual images and verbal texts in the same canvas. The artists create three dimensional images on the canvas.

Three dimensionality is the feature of sculpture. Photographs on the canvas blur the boundary between high art and low art. Remaining in the dynamism of ambivalent and in-between space, the artists appropriate heterogeneous images and art forms giving voice to the cultural self and the cultural other. Such reconciliation of diverse cultural elements has broadened the creative possibilities in the domain of contemporary art.

The artworks present inter-textuality between western forms and contents of early Nepali arts. They also explore the theme of meditation and concentration. The Buddhist stupa, meditating sage in padmasana (lotus posture) with vitarkamudra (the gesture of debate), temples, shivalinga, vajra and mandala are recurrent images of native contents treated with western forms. Contrary images are put in unexpected and unusual way. The artworks are inter-textual because they are connected to traditional Nepali arts and architecture, and at the same time, interconnected to the western art form. This is the ambivalent attitude of the artist.

The artworks also integrate native socio-cultural images like typical Nepali cottages and human figures in Nepali dresses. To present these elements, the western technique has been used from the in-between space. The borrowed images have been re-contextualized. Contemporary Nepali arts represent both the cultural self

Batsa gopal Vaidya, 'Ganesh', 2018. Acrylic on canvas.

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and the cultural other by integrating different forms of art.

Contemporary Nepali paintings read anew, reinterpret and reintegrate early Nepali paintings. The artists re-historicize and reorganize the forms and contents of these early works to address the issues of contemporary times. They revitalize conventional subject matters, symbols and images exploiting new forms whereas they depict contemporary themes and issues using slightly distorted and altered traditional forms. Traditional symbols and images not only appear with new strength but also the artists recycle them using parody and irony. Sometimes, these contemporary

works question, challenge and subvert the authority of early art forms. Contemporary Nepali painting thus does not totally break away from its traditional root but extends and widens its horizon to give expression to the social and geo-political issues of contemporary Nepal.

Globalization has facilitated the creative flow of ideas and events in the domain of Nepali art. The artworks have depicted the concepts like cultural encounter, ambivalence, in-between-ness and appropriation due to the effects of globalization. Native images, symbols, icons and forms are interacting with western techniques and forms in the artworks. The works show cultural self and cultural other. Nepali artists respond and accommodate the foreign forms and techniques in their own creations.

Heterogeneous images and cultures are criss-crossed in the paintings and sculptures. Nepali artists have created plural and subjective artworks by using western techniques. They have recycled and reintegrated the contents of early Nepali arts. The structure of mandala, themes of meditation and religious iconography reappear in unconventional forms. The artists have assimilated their own ancient arts with modern techniques. The structure of mandala, Shivalinga, trident, vajra, lotus and decorative pattern of Mithila folk arts have been presented using expressionist, surrealist and cubist art forms. Dance of Shiva-Shakti has been

Saur ganga Darshandhari, 'Flow of Truth', 2013. Installation Art, exhibited in the National Art Exhibition, Nepal Academy of Fine Arts, Kathmandu, 2013.

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reinterpreted in the contemporary works. Traditional images and subject matters have revived in renewed forms. Continuity and change are the significant features of contemporary Nepali arts.

Some artworks create social and political awareness in contemporary society. The artworks critique the society by depicting the existing contradictions and ironies. These works also function as a satire toward authority and political leadership.

The artworks also cross the boundaries of various disciplines and art genres like music, sculpture, painting, poetry, photography and theatrical performance. The boundaries among various art forms have been blurred to give expression to the creative urge of the artists in relation to the time and space. The individual artwork also looks like a pastiche, for it assembles and integrates the heterogeneous art forms within it. The artist's performance has been accompanied with painting, sculpture, photography and music. Visual arts and verbal arts have been presented together.

Contemporary Nepali arts depict inter-art relationship among various art genres like recitation of scriptures and installation arts as in the Hindu cultural phenomena. Art and religion have been intertwined along with art and life. Creative process has spiritual and pragmatic values. Contemporary Nepali artists have been inspired from

such features of rituals. Despite the variation in the mode of presentation, there is the continuity of early traditions. Various art forms are brought together from in-between space.

Some artworks attempt to resolve the dualities between Buddhism and Hinduism, sacred concepts and profane elements, and cosmic being and individual self. There is the play between worldliness and religiosity. Some artworks are objective and referential, for they represent objects and events of myths and external world. But most of the contemporary artworks are subjective, plural and open-ended because of the use of western art forms. These works are ambivalent toward different beliefs and myths.

ConclusionReconciliation of western techniques of art and native subject matters and forms are significant features of contemporary Nepali arts. These works interact with early Nepali arts and contemporary western arts from ambivalent space. External influences have come in the formation of contemporary Nepali arts. Globalization resulted in interconnection of various cultures and arts along with fashion and food. Globalization has brought cultural encounters between western forms and native art contents. It facilitated the cross-flow of artists and art products of different socio-cultural

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space. Due to this, Nepali artists came in contact to the western art forms and techniques. This played important role in the creation of inter-textual artworks. Using western techniques as tools, Nepali artists have reinterpreted the early art forms and revitalized them in contemporary arts.

Contemporary Nepali artworks have the potentiality of multiple interpretations. Ambivalence and in-between-ness are the dynamisms of the Nepali artworks. Despite such features and characteristics of contemporary Nepali artworks, some questions always come in my mind: Are there any distinct identities of contemporary Nepali arts? Should we follow western modernity to make us modern? Is there the possibility of Nepali modernity in art that are created in different socio-political context? What is exclusive in Nepali art? Are we approaching toward our goal or moving in vicious circle? These curiosities may lead us toward deeper research, interpretation and art criticism.

Works Cited

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Axford, B. (1996). The Global System. Cambridge: Polity Press.

Barthes, R. (1992). The death of the author. Critical Theory since Plato. Ed. Hazard Adams. New York: Harcourt Brace Jovanovich College.

Bhabha, H. K. (1995). Cultural Diversity and Cultural Differences: The Post-Colonial Study

Reader. Eds. Bill Ashcroft, Gareth Griffiths and Helen Tiffin. London: Routledge.

Bloom, H. (1988). Poetic origins and final phases. Modern Criticism and Theory. Ed. David Lodge. London: Longman.

Cohen, R. (2000). Do Postmodern Genres Exist? Postmodern Literary Theory: An Anthology. Ed. Oxford: Blackwell.

Delanty, G. (2000). Modernity and Postmodernity: Knowledge, Power and the Self. London: SAGE.

Deleuze, G. et.al (1987). A Thousand Plateaus: Capitalism and Schizophrenia. Trans. B. Massumi. Minneapolis: University of Minnesota Press.

Eco, U. (1988). Casablanca: cult movies and intertexual collage." Modern Criticism and Theory. Ed. David Lodge. London: Longman.

Griffiths, G. (1995). The myth of authenticity. The Post-Colonial Study Reader. Eds. Bill Ashcroft, Gareth Griffiths and Helen Tiffin. London: Routledge.

Hall, S. (1997). Cultural identity and diaspora. Contemporary Postcolonial Theory: A Reader. Ed. Padmini Mongia. Delhi: Oxford UP.

Harvey, D. (2000). Time-space compression and the rise of modernism as a cultural force. The Globalization Reader. Ed. Frank J. Lechner and John Boli. Massachusetts: Blackwell.

Jairazbhoy, R. A. (1965). Oriental Influences in Western Art. Bomboy: Asia Publishing House.

Jameson, F. (1988). The politics of theory: ideological positions in postmodernism debate. Modern Criticism and Theory. Ed. David Lodge. London: Longman.

Kristeva, J. (1992). From one identity to another. Critical Theory since Plato. Ed. Hazard Adams. New York: Harcourt Brace Jovanovich College.

Lassaigne, J. (1959). Matisse: Biographical and Critical Study. Paris: Skira.

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Dr. Yam Prasad Sharma Dr. Yam Prasad Sharma is the lecturer of English at Tribhuvan University, Lalitkala Campus. He also teaches Art History and Aesthetics. He conducted research on contemporary Nepali paintings.He is the author of the book Nepali Paintings: A Critical Analysis, and Co-author of Alternative Art: Shifting Trends in Aesthetics. More than two dozen articles of his have been published in various journals, magazines, newspapers and art exhibition catalogues.

Lechner, F. J. et.al (2000). The Globalization Reader. Massachusetts: Blackwell.

Lyotard, J. (1986). Answering the question: what is postmodernism? The Postmodern Condition. Trans. R. Durand. Manchester: Manchester UP.

McGrew, A. (1992). A Global Society? Modernity and its Future. Eds. Tony McGrew, Stuart Hall and David Held. New Jersey: Wiley-VCH & Sons.

Pal, P. (1985). Arts of Nepal: A Catalogue of the Los Angeles County Museum of Art Collection. Berkeley: Los Angeles County Museum of Art, Wilshire Boulevard and California UP.

Pieterse, N. (1995). Globalization as hybridization. Global Modernities. Eds. Mike Flatherstane, Scott Lash and Roland Robertson. London: Sage.

Reynolds, G. (1946). Twentieth Century Drawings. London: Pleiades Books.

Rowe, J. C. (1992). Postmodernist studies. Redrawing the Boundaries. Eds. Stephen Greenblatt and Giles Gunn. New York: The Modern Language Association of America.

Said, E. (1994). Culture and Imperialism. London: Vintage.

Singh, N. B. (1976). Samasamaik Nepali Chitrakalako Itihas. Kathmandu: Royal Nepal Academy.

Wain, L. (1999). Introduction: Postmodernism? Not Representing Postmodernism. Literary Theories: A Reader and Guide. Ed. Julian Wolfreys. New York: NYUP.

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BackgroundNepal, the Himalayan kingdom where Lord Buddha was born, is a culturally rich and profound country. From ancient times people with diverse culture, religion, caste, ethnicity, ideology and identity live together. Prithvi Narayan Shah, the founder of the Nepal kingdom addressed this diversity in his ‘Divya Upadesh’ by describing Nepal as a common garden of four castes and thirty six creeds.

Music is one of the most integral parts of our culture. It is the identity of our nationality and culture. The Kings of the past have always played an important role in preserving and protecting our rich traditional music.

They had great love and affection towards music. Some of the Malla kings even composed music which still exists today. So it only natural that Prithvi Narayan was no different than the other kings and he must have been touched by the sweet melodies of traditional Nepali music. Besides that, during that particular era the entire Indian subcontinent was engulfed within a musical environment. There was even a trend of patronizing musicians and composers, and without doubt many of these musicians have visited the Gorkha Durbar while King Prithvi was still young and hence he must’ve had been exposed to many musical elements from a tender and malleable age.

Abstract Most writers describe Prithvi Narayan Shah as someone who didn’t really appreciate music. However, his grooming in the palace with different rituals accompanied by musical chants of mantras and his attachment with his fellow friends in his childhood shows that he had adopted musical in a very cultural manner.

In his ‘Divya Upadesh’, he has shown views of preserving and protecting Nepali culture by promoting Nepali music and Nepali artists. Bise Nagarchi, a musician helped Prithvi Narayan Shah in his unifying campaign by encouraging and refreshing the people at war through his music.

This article will enlist points that showcase facts that show he was not against music and also review some of his ‘Dibya Upadesh’ through a more musical perspective. Both primary and secondary data have been used as the source of content in the making of this article.

Prithvi narayan shah’s Music Policyshree K. c.

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Music is something that is important to every human. From birth to funeral, music plays an important role in Nepalese life. Every festival and ritual are accompanied by music in our culture. From the past all the Kings have had a very active role in following and preserving our musically rooted traditional rituals. Certainly King Prithvi Narayan Shah was aware of and appreciated the musical tradition of our festival and rituals. .His Divya Upadesh shows that he had great concern to traditional roots within music.

Prithvi Narayan Shah, the father of modern Nepal and the leader of

the Gorkhali conquest, was born on 27 December 1722AD as the first child to King Narabhupal Shah and the second queen Kaushalyawati (Acharaya Baburam2024 BS). He ascended the throne to Gorkha after the death of his father in 1799 BS at the age of 20. He conquered most of the neighboring kingdoms and had developed friendship with the Kings of the three main cities that are Kathmandu, Lalitpur (Patan) and Bhaktapur. He liked the beautiful valley of Kathmandu so much that he desired to conquer it. He targeted Kathmandu and successfully attacked it in 1825 on the occasion of Indrajatra, soon after came Patan and then

K. K. Karmacharya, Prithvi Narayan Shah looking at the Kathmandu valley from the hill of Chandragiri, 2004. Oil on canvas, 101.6 cm x 152.4 cm. Gorkha Durbar Museum, Gorkha.

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Bhaktapur. He was also responsible for developing the feeling of unity amongst the people of Nepal as he considered Nepal as a garden of four castes and 36 sub-castes.

Prithvi Narayan Shah’s ChildhoodFrom a very early age Prithivi Narayan Shah was taught the vedic mantras and Durga kawach alongside other activities such as education and athletics. A place was made where he could interact with children of his age. (Acharaya, 2024 BS) According to historic data, our music is very much associated with the vedas. Vedas were musically recited (Singh, 1995)) and because of that intentionally or unintentionally he may have had inherited some music culture. We can also guess that during the course of his playing with his friends, he might have come across cultural music from different friends.

At the age of 11 during his bratabanda, Sabitra mantra was chanted by Shreeharsha Mishra. And at the age of 12 Mokchheshowar Joshi taught him the Saptrastri stotras and the stutis for mediation. (Acharaya, 2024 BS) Because of all these strotras and mantras he must have adopted a rich musical culture.

According to historian Acharaya Baburam, Queen Chandra Prabha kept him away from the dance and music unlike other princes of neighboring state thinking that he will

indulge in lust and entertainment. However this doesn’t mean that he was restricted in attending festivals and rituals which were musical. Hence, although unwilling, he was groomed musically.

After the coronation King Prithvi Narayan Shah headed to Varanasi for taking a bath in Ganga according to the tradition (Acharaya, 2024 BS)Varanasi during that time and even today is a very musically rich city. So in Varanasi too he might have observed different musical events although his purpose was different. Given all the exposure he received towards music it is unlikely that he was indifferent to our profound musical culture.

Studying all these events we can assume that he never hated music instead, he followed all the musical cultures of our festivals, and rituals.

UnificationThe unification of more than four score of petty kingdoms in Greater Nepal stands as one of the greatest challenges of eighteenth century Asia. There are five types of unification-military, political, legal, administrative and cultural. For the cultural unification there needs to be the religious and cultural assimilation. Had there not been the cultural unification the unification wouldn’t have been permanent. (Ludwig F. Stiller, 2017) As mentioned beforehand, music is one of the most

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integral parts of culture and hence, we can assume that music must have played important role in the cultural unification of Nepal. His respect towards Nepali culture can be seen in his ‘Dibya Upadesh’.His Dibya Upadesh “Nepal chaar barna chhatish jaatko saja fulbari ho” clarifies his opinion of cultural unification of which music is an integral part.

King Prithvi Narayan Shah attacked Kathmandu on 1768 when Jaya Prakas Malla the king of Kathmandu and the people were celebrating the Indra Jatra Festival, rejoicing in dance and music (Ludwig F. Stiller p121). Prithvi Narayan Shah was aware of the effect of dance, music, so he planned to attack on that day when all were submerged in entertainment but this doesn’t prove that he was against music. This shows that he had musical knowledge, otherwise he wouldn’t have known about the effect that music could produce.

Bise Nagarchi, a musician also played a very important role in his unification campaign by encouraging and boosting the morale of the warrior by singing the war songs. Also Raghunath Bhatt and Maniram Gaine contributed in unifying Nepal through their music. (Acharaya, 2024 BS)

Court environment Pratap Shah, the elder son of Prithvi Narayan Shah was not enamored of the military life. His tutors turned his attention to the study of poetry and music. (Ludwig F. Stiller, 2017)

Had there not been the musical environment and the music tutors at the royal palace, Pratap Shah wouldn’t have been interested in music. So we can assume that there was a musical environment at the palace then. Along with this Pratap Shah might have been influenced by the traditional music of the valley.

According to Triratna Manandher, Prithvi Narayan Shah was presented two dances by Ranjit Malla of Bhaktapur as a gift while he was still in Gorkha. This might have been done because of his love for the music. This all shows the very rich musical tradition of the Gorkha palace.

A great singer, composer, and Binkar Sadarang visited the Gorkha palace during the time of Prithvipati. (Singh, 1995) Many other great musicians visited Nepal and some even served as a court musician which shows the rich musical environment of palace during that time and shows that the Kings were a patronage of music.

It is said that Prithvi Narayan Shah also composed a couple of spiritual songs (Bhajans) of Gorakhnath. He was spiritual and had faith in religion. Having faith in religion definitely means being attached with the devotional songs too.

the Divya Upadesh of Prithvi Narayan Shah

The Divya Upadesh explains Prithvi Narayan Shah’s accomplishment of the unification campaign and

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his counsel to the successors of his seats of power. These counsels dealt with the geo-political vulnerability of his newly unified country, and provided directions to the governing elite on how to pursue governance, nationalism, and foreign policy in order to sustain the country.

The Divya Upadesh shows how a conqueror eventually changed himself into a unifier. The Kingdom that he unified not only remains unified till today, but also continuously maintains independent existence and expresses the collective consciousness of its people. The rest has certainly become history. He tried to unify the country in all aspects..

The Divya Upadesh encompasses most of the important issues for the newly unified country. Mera sana dukhale aarjyako muluk hoina, sabai jatako fulbari ho, sabailai chetasna bhaya. Yo fulbariko chota bada charai jat chhatis varnale yeslai samvar garnu (Commision): I have suffered a lot to build this Nation.This is a garden of all Castes, everybody should acknowledge it. Everybody from all the four Jat (Castes) and Thirty Six Barna (creeds) should protect and promote this garden.

If we observe this ‘divya upadesh’ we can see his vision of culturally uniting the nation. Whenever we talk about culture, music comes along with it. The traditional music of every nation is closely associated with its culture. Therefore when he described

it as the garden of different castes, he definitely also meant that the culture and the different cultural music were a very important part of our society.

Yo aasin Hindustan ho, aafno kul dharma nachod nu (Commission)

In this divya upadesh related to religion he advised the citizens of Nepal to never leave the traditional dharma of the ancestors. He emphasized that his country, which he finds to be a real Hindustana, is a commonwealth of all castes and tribes, and he believed in a government by the consent of the governed. He says his is the real Hindusthan (place of Hindus). “Do not give up your Kul-dharma (religions inherited by the dynasty). Abide by the order of the Khwamit (King).”

So when he quotes to stick to our own religion, he also means to stick to our own culture associated with music. Following our own religion for him meant following our own music associated with it. If we look back at history, we find that every music has evolved through religion. There are spiritual songs throughout the world in every religion.

Malai euta kurako sandeha lagirahanchha, ke kura bhane Muglan najikai chha, tyes jagama chokadas patriya rahanchhan, chitrakar bhanyako kothabhar dholak,sitar raag taanama bhullan, Raag taana ma thulo moha hunchha ra daksaya pani pesinchha, deshko bheda oani tinle laijanchhan ra hariple daga garchha,

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raagko abhyas pani kasaile nagarnu (Commission)

Whereas, I have a serious doubt in my mind. My doubt is that Muglana (India/British Rule) is not far away from Nepal; there are different Chookada (youths involved in antisocial/delinquent behavior) and Patria (shameless person) within Muglana. My worry is that our youths may visit those colorful and artistic rooms (places) and engage themselves in Dholak, Sitar, Raga and Tan (musical environment and essence of music).People may have a lot of Moha (attachment) in Raga and Tana (music) and they may spend a lot of money on it. They (people engaged in such entertaining activities) may reveal our state-secrets and our enemy may attack us (with the help of that information). Do not try Raga. Prohibit the movement of those three kinds of people (Chhokada, Patria and Gayak (singer)) in the mountainous region. If you have to open their movements, allow them to move in small numbers (one or two together with at a time) for Fagoo (a festival) and then send them back as soon as possible. If we could do so they will not give away the secrets of our country. (Commission)

He even advises people not to drain out money on Hindustani singers and dancers. Whilst he acknowledged that there was great pleasure in their melodies, he sought to highlight the possible misuse of local wealth drainage and espionage: “they also

take away the secrets of your country and deceive the poor.”

Many writers have tried to interpret it differently and tried to show that he was against the music. It is true that he was against the cultural and musical invasion of other countries. He was against the policy of foreign artists coming to Nepal because he suspected they might be spies sent to steal the wealth of the nation. But if we study this Divya Upadesh we can see his acknowledgement to the effect of music. He explains its power to lure. On the other hand he didn’t want his army and courtier to indulge in foreign raga and taana, which means he was already acquainted with the effect of melodies of ragas. This was actually for the army for not diverting their mind except war

Aafna sokh sayallai ta shastra bamojim ko tinai shahar newa haruko naach jhikai herya pani hunchha, yinma ta diyako pani aafnai desma rahanchha (Commission)

Here in this ‘dibya upadesh’ he shows his great concern for the traditional music. Moreover, he sought to turn the attention instead towards the Newar dancers of the three cities of Nepal as a suitable alternative: “This is quite all right. If anything is given to these, it remains inside your own country: If this is done, your country will be well protected.” (Adhikari, 2015) He quotes that instead of listening to foreign music for pleasure one can listen his own traditional

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music of Newars which are very rich and are based on strong theory. He also quotes that this music is based on shastra, which means he was familiar with this music based on profound theory. He was always of the opinion that the Nepali culture and the Nepali artist should be preserved and protected.

Musicians who played important role in UnificationAccording to available evidences, Bise Nagarchi a musician helped King PN Shah in his unification campaign with two unique ways. First, when ‘Gorkha kingdom’ faced financial problem to manage military and war acts, Bise suggested King PN Shah to collect one rupee from each household of Gorkha kingdom to cover the unification expenses Secondly, Bise took part in the war of unification as a singer. He used to sing war-songs that were full of emotion, devotion and commitment in front of the battlefield. He used his songs to make the Gorkha soldiers vigorous and motivated in the war course. (Wagle, 2017) From this evidence it is clear that Prithvi Narayan Shah was acquainted with the power of music and he used this power of Bise Nagarchi to encourage as well as refresh the people at war. The historians even claim that Bise’s father too was a musician in the Gorkha Durbar.

Beside Bise other musicians like Raghunath Bhatt and Maniram Gaine also participated in the unifying

campaign. (Acharaya, 2024 BS) They acted as a catalyst and accelerated the unification campaign. They united the people and encourage them. Along with the war songs they also refreshed the tired warriors through their enchanting melodies.

Taking the suggestion of musicians and participating them in the war goe to show that he had great love and respect for music and musicians.

ConclusionThough historians and writers have tried to portray King Prithvi Narayan Shah as someone who was against music, if we study his history we find that he was never against the music and the musician. It is said that he was kept away from music and dance but studying his childhood, we find that from the childhood he was taught vedas which are considered as the source of our music. After the coronation he had been to spiritual journey to Banaras, the city of music, where he might have observed the musical events.

Taking the help of Bise Nagarchi, Maniram Gaine, Raghunath Bhatta in the unification shows that he was familiar with the power of music.

In his ‘dibya upadesh’ he has always expressed his concerns regarding the Nepali culture, caste, religion and music. Nepali music is associated with its rich culture and religion, and the people of different castes have their own traditional music. So he always

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held the opinion that Nepali music and musicians should be preserved and protected.

He always held the opinion that we should stick to our values and culture, which proves that he was not against the Nepali music but rather respected its place in our culture.

Bibliography

Acharaya, B. (2024 BS). A Short Biography of Shree 5 Prithvi Narayan Shah. Lalitpur: Sajha Prakasan.

Adhikari, D. B. (2015). The Divya Upades of King Prithvi Narayan Shah. Spot Light Vol: 08.

Commision, N. L. (n.d.). P. N. Shah Dibya Upades. Retrieved August 13, 2018, from www.lawcommission.gov.np/ documents/: http://www.lawcommission. gov.np/documents/2015/08/Commission, N. (n.d.).

Dibbaya-Upadesh of Prithivi Narayan Shah. Retrieved August 14, 2018, from www. lawcommission.gov.np/.../dibbaya-up...: http://www.lawcommission.gov.np/en/ documents/2015/08/dibbaya-upadesh-of- prithivi-narayan-shah.pdf

Ludwig F. Stiller, S. (2017). The Raise of the House of Gorkha. Jamal, Kathmandu: Education Publushing House.

Nepal, B. (n.d.). Prithvi Narayan Shah, Creator of Greater Nepal. Retrieved August 12, 2018, from prithvi-narayan-shah-creator- greater-nepal: http://bossnepal.com/ prithvi-narayan-shah-creator-greater- nepal/

Singh, D. T. (1995). Indian Music. Varanasi: Sangeet Research Academy.

Wagle, T. C. (2017, January 29). Bise Nagarchi : A Hidden History. Retrieved

August 14, 2018, from INCOMESCO: https://jesiwagle.wordpress. com/2017/01/29/cast-system-nepal/

Wikipedia. (n.d.). Prithvi Narayan Shah. Retrieved August 12, 2018, from https:// en.wikipedia.org/wiki/Prithvi_Narayan_ Shah: https://en.wikipedia.org/wiki/ Prithvi_Narayan_Shah

Shree K. C.Shree K. C. did his Master's degree in Music (Vocal) from Banaras Hindu University, India. He represents Dagar tradition of Dhrupad. He has performed in many prestigious stage shows. Presently he is associated with the Central Department of Fine Arts, TU and Sirjana College of Fine Arts. His articles on Music are published in different publications.

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sirjanĀ 83

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sirjanĀ 84

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sirjanĀ 85

;'? u/]sf] lyof] . pSt rfprfpsf] klxnf] ¥ofk/ l8hfOg o; kª\lStsf/n] u/]sf] lyof] .

g]kfndf Ogfd]n /ªsf] pTkfbg ug]{ klxnf] pBf]udf kz'klt k]G6;\sf] gfd cufl8 cfpF5 . o; pBf]usf] :yfkgf ;g\ !(*$ df ePsf] lyof] . To:t}, g]kfnsf] cf}Bf]lus Oltxf;df g'xfpg] ;fa'g …dfofn'Ú, …Pe/]:6 6'yk]:6Ú, …a|fO6/ 6'yk]:6Ú, …:dfOn 6'yk]:6Ú

cflb b}lgs pkef]Uo pTkfbgx¿ klg

ahf/df b]vfk/] . a|fO6/ 6'yk]:6n] cfh;Dd lg/Gt/ ahf/ lnO/x]sf] 5 . xfn pSt 6'yk]:6sf] Kofs]lhª l8hfOg / 5kfO

g]kfnd} ug]{ ul/G5.

xfdLsxf“ vfB pBf]u Joj;fonfO{ Jojl:yt pBf]usf ¿kdf yfngL ug]{ >]o s[i0f kfp/f]6L pBf]u k|f= ln= nfO{ hfG5 .

;g\ !($( df …s[i0f kfp/f]6LÚ gfdaf6

:yflkt pSt a]s/L pBf]udf xfn cfw'lgs k|ljlwsf] k|of]u / pTkflbt vfB j:t'df ;'Gb/ Kofsflhª / ¥oflkª x'g] ugf{n] To;sf] pTs[i6tf ´g} a9]sf]kfOG5 . ;g\ !(*! df :yflkt gfª\nf] a]s/L k|f= ln= n] pTs[i6 9fFrfdf ¥oflkª tyf Kofs]lhª ug]{ k4ltsf] yfngL u/]sf] lyof] .

;g\ !(*! df :yflkt l/hfn 6f;L OG8l:6«hsf] 8«s k|'m6 k|8S6\;af6 pTkflbt

vfB tyf k]o kbfy{sf pTkfbgx¿ Kofs]lhª / n]an l8hfOg klxn]sf t'ngfdf xfn lgs} pTs[i6 b]lvG5g\ . ;g\

!(*# df sf7df8f}“df :yflkt g]kfn k'm8

OG8l:6«håf/f pTkflbt …6fs'/f… gfdsf ;j{t tyf h';x?sf] n]an l8hfOg o; kª\lStsf/n] u/]sf] lyof] .

g]kfnsf pBf]u Joj;fosf If]qdf s]xL l8l:6n/L tyf a|'c/L sDkgLx?n] klg Oltxf; af]s]sf 5g\ . Tof] a]nf :yflkt

sirjanĀ 86

sltko l8l:6n/Lx? aGb klg eO;s]sf 5g\ . tLdWo] ;g\ !(^^ df x]6f}“8fdf :yfkgf ePsf] g]kfn a|'c/L k|f= ln= g]kfnsf] klxnf] lao/ ofS6«Lsf ¿kdf lrlgG5 . To; sDkgLåf/f pTkflbt …:6f/ uf]N8 lao/Ú sf] n]an l8hfOg ;lxt 5kfOsf] sfd klxnf ef/tdf x'g] ul/GYof] eg] xfn :jb]zd} ;Dk"0f{ sfd x'g] u5{ . xfn nf]slk|o /x]sf lao/x¿ …6'af]u{Ú, …;fgldu]nÚ cflb lao/x?df pTs[i6 n]an l8hfOg b]Vg ;lsG5 .

g]kfndf pTkflbt dlb/fdWo] ;g\ !(&% df afnfh'df :yflkt g]kfn l8l:6n/L k|f= ln= åf/f pTkflbt …v's'/L /dÚ g]kfnsf] k'/fgf] dlb/fsf ¿kdf lrlgG5 . o;sf] l8hfOg tyf 5kfO g]kfnd} x'g] u5{ . To:t} hfjnfv]n l8l:6n/Låf/f pTkflbt …?;nfg ef]8\sfÚ, lxdfnog l8l:6n/L k'm8 PG8 a]e/]h k|f= ln= åf/f pTkflbt …/f]on :6\ofuÚ, …An]G8;{ k|fO8Ú cflb dlb/fx?sf]

n]an tyf Kofsflhª l8hfOg cGt/f{li6«o :t/sf 5g\ . sf7df8f}“ pkTosf aflx/sf l8l:6n/L pBf]ux?sf pTkfbgdWo] …dfpG6 Pe/]:6 x\lj:sLsf] n]an l8hfOg / Kofs]lhª l8hfOg o; kª\lStsf/n] agfPsf lyP .

pTkfbsLo ;fdfg jf j:t'sf nflu

l8hfOgsf] e"ldsf

s'g} klg pkef]Uo ;fdfg jf j:t'nfO{ pkef]Stfx? ;dIf k'¥ofp“bf pTkflbt ;fdfg jf j:t'sf] ljZj;gLotf, pTs[i6tf, z'4tf cflbsf] ;jf]{kl/ dxÎj /xG5 g} . o; cltl/St pTkflbt j:t'sf u'0f Pjd\ ljz]iftfaf/] hfgsf/L jf ;Gb]znfO{ pkef]Stf df´ k|;f/ ug{sf nflu pko'St lj1fkg, cfsif{s n]an l8hfOg, snfTds tyf ;'/lIft Kofs]lhª l8hfOg cTofjZos kIfx¿ x'g\ . cfhsf] k|lt:kwf{Tds ahf/df oL kIf sdhf]/ x'g] lalQs} tL j:t' ahf/df laSg ufx|f] k5{ . t;y{ pkf]ef]Uo j:t'sf] n]an / Kofs]lhª l8hfOgdf lgDglnlvt d"ne"t l;4fGtx¿nfO{ dgg ug'{kg]{ x'G5 M

– pTkflbt j:t'sf] agfj6 / To;sf] u'0f tÎjnfO{ ;'/lIft /fVg'

– jftfj/0fLo tyf jfo'jLo ;'/Iff

– ;Gb]z k|jfx ug'{

– ahf/ lng'

– l6sfpsf nflu ;'/lIft kfg'{

– k|of]hgdf ;'ljwfhgs tyf ;lhnf], ;xh t'Nofpg'

sirjanĀ 87

czf]sdfg l;+

czf]sdfg l;+ ljut rf/ bzsb]lv lrqsnf, kmf]6f]u|fkmL, u|flkms l8hfOg, On:6«];g, d'b|0f tyf pTkfbg Pjd\ k|sfzg If]qdf sfo{/t /xFb} cfPsf 5g\ .

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 nlntsnf k|1f -n]vg_ 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\ .

plNnlvt a'“bfx¿nfO{ d"t{ ¿k lbgdf l8hfOg/sf] cx+ e"ldsf /xG5 . jt{dfg k|lt:kwf{Tds ahf/df Kofs]lhª l8hfOg snfsf] dxÎjnfO{ b[li6ut ubf{ l8hfOg/x¿sf nflu Kofs]lhª l8hfOgsf] sfd /fd|f] Joj;fo x'g ;S5 .

References

Production for graphic Designers- Alan pipes

A complete guide to advanced Illustration and Design- Consultant editor Simon Jenning's

http://archive.nepalitimes.com/news. php?id=9060#.W6eckdcza70

https://cheers.com.np/product/khukri- coronation-375ml

http://bossnepal.com/top-group-companies- nepal/

https://www.bloomberg.com/research/ stocks/private/snapshot. asp?privcapid=106293462

http://www.nepaldispatch.com/2013/05/government-decides-not-to-revive-janakpur-cigarette-factory/

http://tbinepal.com/article-Nepal%20 Breweries

http://kabranepal.com/history.html

http://bossnepal.com/nebico-private-limited/

http://www.blconglomerate.com/ companies/processed-food/pashupati- biscuits-industries/

http://bizznepal.com/index.php/Home/ aboutus

http://www.hoovers.com/company- information/cs/company-profile.surya_ nepal_pvtltd.68bb143ebcb42b47.html

http://kathmandupost.ekantipur.com/ news/2012-11-09/everest-toothpaste-re- launched.html

https://www.structuralgraphics.com/blog/ a-brief-history-of-packaging/

https://en.wikipedia.org/wiki/Packaging_ and_labeling

sirjanĀ 88

k[i7e"ld

bf];|f] ljZjo'4sf] ;dflKt;“u} o'/f]k, hfkfgnufot o'4df ;+nUg k|foM ;a} d'n'ssf] cy{ Joj:yf w/fzfoL ePsf] lyof] . clkt' klZrd o'/f]k / hfkfgn] s]xL jif{leq g} Psbd k|lts"n cj:yfnfO{ l5rf]Nb} csNkgLo ¿kdf cfly{s ;d[l4

xfl;n ug{ yfn]sf] lyof] .

o'4kZrft\ cd]l/sf ljZjs} ;jf{lws ;d[4

Pjd\ zlStzfnL /fi6« aGg k'u]sf] lyof] .

of] ljzfn /fi6« cfw'lgs k|ljlw tyf pBf]u Jofkf/sf] pa{/ e"ldsf ¿kdf b|'t ultdf :yflkt x'“b} lyof] . cd]l/sfnfO{ o'4f]Q/ sfnsf] …cfzf / ;kgfsf] d'n'sÚ sf

¿kdf x]g{ yflnPsf] lyof] . ljZje/af6 cf]Ol/Psf ljljw wd{, j0f{ Pjd\ hfthfltsf dflg;x¿sf nflu of] e"ld …d]lN6ª k6Ú aGg

yfln;s]sf] lyof] .

cfly{s ;d'Gglt;“u} b|'t ultdf abln“b} uO/x]sf] klZrdf hLjg z}nLdf pkef]StfjfbL ;+:s[ltn] h/f uf8\g yfn]sf] lyof] . kl/jlt{t ;f+:s[lts kl/j]z;“u} cGt/f{li6«o snf hut\df ;+o'St /fHo cd]l/sfn] cfgf] k|e'Tj hdfpg yfn]sf] lyof] . Hofh ;ª\uLt / l;g]dfsf] t of] d'n's dfp ynf] g} alg;s]sf] lyof] .

o'4 e8\lsg'cufl8 / o'4 sfndf gfhL

bdgaf6 hf]lug] j|mddf o'/f]kaf6 cgluGtL af}l4s JolStx¿ cd]l/sf efl;Psf lyP . tL o'/f]k]nL ljrf/s, slj, n]vs, ;ª\uLtsf/, rnlrqsdL{, snfsf/,

jf:t'sf/ Pjd\ j}1flgsx¿n] cd]l/sfsf] af}l4s hghLjgdf dxÎjk"0f{ k|efj kf/]sf lyP . tb'k/fGt kfZrfTo ;+:s[ltsf]

g]t[Tjsf] afu8f]/ cd]l/sfn] lng yfn]sf] lyof] -af]sf]nf, !(((, k[= #(!_ .

n]v;f/

bf];|f] ljZjo'4kZrft\ kl/jlt{t cfly{s Pjd\ ;f+:s[lts kl/j]z;“u} cGt/f{li6«o snf hut\df ;+o'St /fHo cd]l/sfn] cfk\mgf] k|e'Tj hdfpg yfn]sf] lyof] . tb'k/fGt cfw'lgs snfsf ultljlwx¿sf] s]Gb| cd]l/sf aGg yfn]sf] lyof] . cfd ;~rf/ tyf cfd pTkfbgdf k|of]u x'g] cfs[lt tyf k4ltx¿nfO{ snfdf pkof]u ug]{ k|j[lQ;“u} ‘kk cf6{’ sf] cEo'bo ePsf] lyof] . jf:tjdf ljZjo'4kZrft\ csfl;Psf] cfly{s ;d'Gglt tyf To;af6 hlgt ‘kk ;+:s[lt’ g} kk cf6{sf] pb\ud lyof] . Oª\UNofG8af6 yfngL ePsf] kk cf6{ cd]l/sfdf df}nfPsf] lyof] . k|:t't n]vdf kk cf6{sf] k[i7e"ld, o;sf] k|j[lQ tyf o; z}nLsf dxŒjk"0f{ snfsf/x¿af/] rrf{ ul/Psf] 5 .

kk cf6{ M la;f}“ ztfAbLsf] Ps dxTTjk"0f{ snf cfGbf]nggjLGb|dfg /fhe08f/L

sirjanĀ 89

kk cf6{sf] pbo

;g\ !(%% b]lv !(^% sf cjlwdf s]xL snfsf/x¿n] o'4f]Q/ ;+:s[ltdf b|'t ultdf km:6fp“b} u/]sf] cfd;~rf/k|lt cf}wL ?lr lng yfn]sf lyP . kmntM pgLx¿n] cfgf snfdf cfd pTkfbgdf k|of]u x'g] cfs[lt tyf k4ltx¿nfO{ pkof]u ug{ yfn]sf lyP . x'gt …c;]DAn]hÚ (Assemblage) k4ltdf sfd ug]{ snfsf/x¿n] klg ljleGg j:t'x¿sf] k|of]uåf/f snfs[lt /rgf uy]{ t/ ltgdf cfd pTkfbgsf j:t'x¿sf] k|of]u ;Lldt dfqfdf x'g] uy]{ . of] gof“ snf cfGbf]ngnfO{ …kk cf6{Ú (Pop Art) gfds/0f ul/Psf] lyof] . cfd pTkfbg;“u hf]l8Psf cfs[ltx¿ Pjd\ k4ltx¿sf] Jofks k|of]usf sf/0f ;dsfnLg snfsf cGo wf/x¿sf t'ngfdf kk cf6{sf] :j¿k a9L nflnTok"0f{ /x]sf] 5 . ;+j]ufTds k|efjsf b[li6n] …c;]DAn]hÚ tyf …x\ofk]lgª\;Ú (Hapenings) h:tf snf cfGbf]ngx¿df b]lvg] ckx]ngf, pkxf; / xf:o k|j[lQsf abnf kk cf6{ a9L nfIfl0fs Pjd\ lg/k]If b]lvG5 -:6f]s:6f8, @))*, k[= ***_ .

kk cf6{sf] cEo'bo tTsfnLg snf hut\df k|e'Tj hdfP/ a;]sf] cd"t{ cleJo~hgfjfb (Abstract Expressionism) sf] lj?4 ePsf] lyof] -kfOk/, k[= $*^_ . algagfp tyf pknAw j:t' Pjd\ cfs[ltx¿nfO{ pkof]u u/L snfs[lt /rgf ul/gfn] kk cf6{n] …bfbfÚ (Dada) z}nL;“u s]xL ;fd~h:o /fV5 .

;+o'St /fHo cd]l/sfdf ;g\ !(^@ b]lv kk cf6{n] Jofkstf lng yfn]sf] lyof] . tyflk of] snf cleofgsf] ;'?cft eg] s]xL jif{cufl8 g} Oª\UNofG8df eO;s]sf] lyof] . ljZjo'4kZrft\ csfl;Psf] cfly{s ;d'Gglt tyf To;af6 hlgt …kk ;+:s[ltÚ

(pop culture) g} kk cf6{sf] pb\ud lyof] . of] snf cfGbf]ngnfO{ …kk cf6{Ú sf] ;+1f la|l6; snf ;dLIfs n/]G; cnf]j]

(Laurence Alloway) n] lbPsf lyP .

kk cf6{df sfd ug]{ snfsf/x¿ cfd hghLjgdf k|rlnt Pjd\ nf]slk|o j:t'x¿, h:t} M kfp/f]6L, r6gL, ;dfrf/kq, l;g]dfsf l6s6, n]an, ¥ofk/ cflb cfgf snfs[ltdf 6f“:y] . cfw'lgs ljZjdf nf]slk|o cfs[ltx¿ tyf Jofkf/ Pjd\ ;+:s[lt;“u hf]l8Psf lrqx¿sf] Jofks k|of]u g} kk cf6{sf] nf]slk|otf / ;kmntfsf sf/0f lyP .

l/r8{ x\ofldN6g (Richard Hamilton)

;g\ !(%@ df nG8gdf o'jf snfsf/x¿sf]

Ps hdftn] …:jtGq d08nÚ (Independent Group) gfp“sf] ;d"x :yfkgf u/]sf lyP . To; ;d"xdf jf:t'sf/

l/r8{ /a6{ l:dy;g (Richard Robert Smithson), d"lt{sf/ P8'cf8f]{ kfpnf]HhL (Eduardo Paolozzi), lrqsf/ l/r8{ x\ofldN6g (Richard Hamilton) cflbsf] ;+nUgtf /x]sf] lyof] . pgLx¿sf] 5nkmnsf

ljifoj:t' oGq, lj1fkg, rnlrq cflbsf sf/0f kl/jlt{t hghLjg, ;+:s[lt Pjd\

sirjanĀ 90

To;sf] kl/0ffddfly s]lGb|t /xg] uYof]{ . pgLx¿ tTsfnLg kl/j]zdf jr{:j sfod u/]sf snfsf cfw'lgs k|j[lQx¿nufot snfk|ltsf] k/Dk/fut b[li6sf]0fsf k|v/ lj/f]wL lyP . pgLx¿n] nG8g l:yt OlG:6Ro'6 ckm sG6]Dkf]//L cf6{;\ (Institute of Contemporary Arts) df k|bz{gLx¿sf] cfof]hgf uy]{ . To; ;d"xsf ;b:o l/r8{ x\ofldN6gnfO{ kk cf6{ z}nLsf] hgs dflgG5 .

x\ofldN6gsf] dfGotfcg';f/ 6]lnlehg, rnlrq tyf ;~rf/sf cGo dfWodx¿n] cfw'lgs cfd;+:s[ltsf] ¿k lnO;s]sf 5g\

/ k/Dk/fut snfn] ug]{ sfo{ ca ltgn] ul//x]sf 5g\ . ljutsf snfn] cfbz{ ;f}Gbo{nfO{ k|:t't uYof]{ eg] cfhsf bz{sx¿ ToxL s'/f lj1fkg tyf lkg–ck kmf]6f]u|fkmx¿df b]V5g\ . olb snfsf] sfo{

;dfhaf/] l6Kk0fL ug'{ xf] eg] 6]lnlehgdf k|;f/0f x'g] ;dfrf/n] To;nfO{ emg\ tLj| ¿kdf ul//x]sf] 5 . olb k/Dk/fut snfdf s'g} kf}/v jf zf}o{sf cfVofgnfO{ oyfy{ hLjgeGbf a[xt\ cfs[ltdf k|:t't ul/GYof] eg] ca tL b[Zo rnlrqx¿df b]Vg ;lsG5 . cGttM olb s'g} klg snfsf z}nLn] cfgf] ;donfO{ k|ltlglwTj u5{ eg] jt{dfg ;dodf df]6/ uf8L tyf cGo gjLgtd pkef]Uo j:t'x¿n] ToxL sfd ul//x]sf 5g\ . -:6f]s:6f8, @))*, k[= **(_ .

;g\ !(%^ df xfldN6gn] …kmut s] xf] Tof], h;n] cr]nsf 3/ Psbd k[ys / cfsif{s kf5{ <Ú (Just what is it that makes today's homes so different? So appealing?) zLif{ssf] sf]nfh s[lt agfPsf lyP . of] nfdf] zLif{s pgn] lj1fkgsf gf/faf6 lnPsf lyP .

o; /rgfdf Ps hf]8L k'?if / dlxnf cfs[lt /x]sf 5g\ . xfldN6gn] ltgnfO{ …cf8dÚ (Adam) / …OeÚ (Eve) sf] ;+1f lbPsf 5g\ . lrq /rgfdf b[Zodfg sf]7fnfO{ cd]l/sL pTkfbgx¿af6 l;“ufl/Psf 5g\ . sf]7fsf] ‰ofnaflx/ b]lvg] l;g]df lyo6/df ;g\ !(@& df lgld{t klxnf] ;fpG8 6«ofs l;g]df …lb Hofh l;ª\u/Ú (The Jazz Singer) rln/x]sf] 5 . l6eL ;]6dflysf] leQfdf k/Dk/fjfbL snf ;dLIfs hf]g /l:sg (John Ruskin) sf] kf]6«]6 em'lG8Psf] 5 . s]Gb|Lo k'?if kfqn] af]s]sf] j:t'df cª\lst

l/r8{ x\ofldN6g, kmut s] xf] Tof], h;n] = = =, !(%^, sf]nfh,

@^ ;]= ld x @% ;]= ld=, s'G;yn], hd{gL

sirjanĀ 91

cIf/ …kkÚ (POP) af6 g} ;dLIfs n/]G; cnf]j]n] xfldN6gsf] of] sf]nfh /rgfnfO{ …kk cf6{Ú (Pop Art) sf] ;+1f lbPsf lyP . ;du|df xfldN6gsf] o; s[ltn] cfd;~rf/sf cfs[ltx¿sf] k|of]uåf/f cfw'lgs ;'ljwf, ;d'Gglt Pjd\ ;kmntfsf] b[i6fGt k:s]sf] 5 -:6f]s:6f8, @))*, k[= **(_ .

cd]l/sL kk cf6{

rngrNtLsf nf]slk|o ljifoj:t'nfO{ t6:y

efjaf6 ;Daf]wg ug'{ g} kk cf6{sf] rfl/lqs ljz]iftf dfGg ;lsG5 . oxL k|j[lQsf sf/0f kk cf6{nfO{ oyfy{k/s

snfsf] cfw'lgs :j¿ksf ¿kdf :yflkt

ul/lbPsf] 5 . of] k|j[lQ bfbf snf (Dada art) sf ljjfbf:kb sf]nfhx¿ tyf cltoyfy{jfb (Surrealism) sf /f]df~rs tyf /x:ofTds /rgfx¿b]lv ;j{yf k[ys /x]sf] 5 -af]sf]nf, !((, k[= $@@_ .

hf:k]/ hf]G; (Jasper Johns) / /a6{ /;]gau{ (Robert Rauschenberg)

cd]l/sL cfw'lgs snfnfO{ ;j{yf gf}nf]lbzftk{m pGd'v u/fpgdf hf:k]/ hf]G; (Jasper Johns) / /a6{ /;]gau{ (Robert Rauschenberg) sf] pNn]vgLo of]ubfg /x]sf] 5 . To;tfsf o'jf

snfsf/x¿ ;x/L hLjg;“u ;Da4

cfs[ltx¿k|lt lgs} cfslif{t x'“b} lyP . pgLx¿ snf /rgfsf b[li6n] tL cfs[ltx¿sf] ;fdYo{ / ;DefJotf vf]Hb}

lyP -af]sf]nf, !(((, k[= $@@_ .

/;]gau{ lrq / d"lt{nfO{ Pp6} /rgfdf ;+of]hg uy]{ . To;nfO{ pgn] …sDafOG;Ú

(Combines) cyf{t\ …;+o'StÚ sf] ;+1f

hf:k]/ hf]G;, ltg cf]6f ´G8f (Three Flags), !(%^,

SofGef;df d}g, &^ ;]= ld X !!$ ;]= ld=, lJx\6\g] Do'lhod ckm

cd]l/sg cf6{, Go'of]s{

/a6{ /;]gau{, uN5L (Canyon) , !(%(, ldl>t dfWod,

!*% ;]= ld X !^* ;]= ld= X ^# ;]= ld=, aflN6df]/ Do'lhod

ckm cf6{, d]l/NofG8

sirjanĀ 92

lbPsf lyP . pgL kmf]6f], ;dfrf/kqsf

6'j|mf cflb 6f“;]/ snfs[lt /rgf uy]{ . pgL cfgf /rgfx¿ dfk{mt ;dsfnLg d'2fx¿nfO{ ;Daf]wg uy]{ .

hf:k]/ hf]G; snf /rgfdf snfTds u'0fnfO{ a9L dxÎj lbGy] . t'ngfTds b[li6n] pgsf sfdx¿ a9L lgolGqt, ;Gt'lnt Pjd\ af}l4s k|tLt x'G5g\ .

hf:k]/ hf]G; / /a6{ /;]gau{nfO{ ;+o'St /fHo cd]l/sfdf kk cf6{ cleofgnfO{ dfu{ bz{g lbPsf k|f/lDes snfsf/sf ¿kdf :d/0f ul/G5 .

PG8L jf/xf]n (Andy Warhol)

cd]l/sL snfsf/x¿n] kk cf6{nfO{ cem kl/is[t Pjd\ ;/nLs[t :j¿k lbPsf lyP . cd]l/sL kk cf6{nfO{ lzv/df k'¥ofpgdf PG8L jf/xf]nsf] dxÎjk"0f{ of]ubfg /x]sf] 5 . vfB kbfy{sf a6\6f, k]o kbfy{sf l;;L cflb Pjd\ ;ª\uLt, rnlrq h:tf cd]l/sL cfd ;+:s[ltdf nf]slk|o kfqx¿ jf/xf]nsf ljifoj:t' /x]sf 5g\ .

jf/xf]nsf k|ltlglw s[ltsf ¿kdf xlnp8 cleg]qL dl/lng d'g/f] (Marilyn Monroe)

PG8L jf/xf]n, hf]g n]gg (John Lenon), Sofgef;df l;Ns l:j|mg

sirjanĀ 93

dfly cfwfl/t pgsf] låkmns lrq (diptych) nfO{ lng ;lsG5 . o; /rgfdf pgn] kmf]6f] cfs[ltnfO{ l;Ns–l:j|mg k4ltåf/f Sofgef;df ptf/]sf 5g\ . rnlrq ljwfsL k|Voft dl/lng dg/f]sf d'vfs[ltx¿nfO{ jf/xf]nn] cfgf] lrq /rgfdf klg lkmNd l:6«k h:t} j|mda4 ¿kdf b]vfPsf 5g\ . lrqsf] låkmnsdWo] Ps kmns /ª\uLg / csf]{ kmns ZofdZj]t /x]sf] 5 .

cfd;~rf/n] ;d:t ljZjnfO{ xfdLlar cem lgs6 NofOlbG5, / ltgn] ljZjnfO{

x]g]{ xfd|f] b[li6sf]0fnfO{ t6:y agfOlbG5 .

;fgf] afs; -l6eL_ dfk{mt 6f9f jf glhs 3l6t s'g} klg b'3{6gf jf k|sf]k;“u xfdL k|To]s lbg cfgf] a}7s sf]7fleq a;]/

;fIffTsf/ u5f}{“ . of] ;fgf] afs;nfO{ xfdL cfgf] OR5fcg';f/ vf]N5f}“ / aGb u5f}{“ . xfd|f] e"ldsf …b[Zo/ltsÚ (voyeurs) sf] dfq x'G5 . ldl8ofn] af/Daf/ bf]xf]¥ofP/ b]vfpg] ;dfrf/ jf 36gfsf k|efjk|lt xfdL k"0f{tM

;+j]bgfz"Go eOlbG5f}“ . cfd hgdfg;dfly ldl8ofsf] log} k|efjsf] csf6\o oyfy{nfO{ cfTd;ft\ u/]/ jf/xf]n cfgf /rgfx¿df efjljxLg cfs[ltx¿sf] cGwfw'Gw k'g/fj[lQ u5{g\ -:6f]s:6f8, @))*, k[= *(!_ .

PG8L jf/xf]naf/] …lb cf6{ ckm df]8lg{HdÚ sf n]vs ;fGb|f] af]sf]nf n]V5g\ — æcd]l/sg 8n/ gf]6, sf]sf–sf]nf af]tn, ;'k Sofg, lncf]gfbf]{ bf leGrLsf] df]gfln;f, dl/lng d'g/f], Plnhfa]y

6]n/, dfnf]{g a|fG8f], PlNe; lk|:n] h:tf lkmNd :6f/sf lrqx¿, ljB'tLo s';L{, sf/ b'3{6gfaf/] 5flkPsf ;dfrf/ kmf]6f] cflb

;g\ !(^) sf bzssf] k"jf{4{sf PG8L

jf/xf]nsf s[ltx¿sf ;fdu|L /x]sf 5g\ . ltgnfO{ k[ysLs/0f, k'gMpTkfbg, a[xtLs/0f, d'b|0f tyf j|mlds k'g/fj[lQsf

dfWodåf/f pgL cfw'lgs cfd;~rf/sf s[lqd ;+;f/sf] lbuf] :df/s v8f u5{g\ . ;fdfGo l;Ns–l:j|mg k4ltsf] k|of]uåf/f pgL cfgf kfqnfx¿O{ Psn,

PG8L jf/xf]n, dl/lng låkmns (Marilyn Diptych), Sofgef;df t]n /ª, Plj|mlns, Ogfd]n tyf l;Ns l:j|mg,

@)% ;]= ld= X !$$ ;]= ld=, 6]6 Uofn/L, nG8g

sirjanĀ 94

åo, bh{gf}“ jf ;of}“sf ;ª\Vofdf sf]/f jf c:t/ nufOPsf Sofgef;df k|To]s ljifosf cg]s k|sf/x¿df :yfgfGt/ ul//xG5g\ .Æ -af]sf]nf, !((, k[= $@^_

/f]o ln:6]g:6fOg (Roy Lichtenstein)

cd]l/sL snfsf/dWo] …kk'n/ sNr/Ú nfO{ ljifoj:t' agfO{ lrq /rgf ug]{ klxnf]

snfsf/sf] >]o /f]o ln:6]g:6fOgnfO{ hfG5 . ;g\ !(^! df pgn] lj1fkg, sf6'{g lrq tyf sldS;df cfwfl/t lrq

/rgfx¿ agfpg yfn]sf lyP . ltgdf df]6f]

sfnf] afx\o /]vfª\sg;lxt k|fylds /ªx¿ k|of]u ul/Psf 5g\ . o; cltl/St lk|lG6ª k4ltdf k|of]u x'g] laGb' /]vfx¿

klg ltgdf k|of]u ul/Psf x'G5g\ . ln:6]g:6fOg lj1fkg tyf cGo k|sfzgx¿df k|sflzt nf]slk|o lrq, syf, sldS; jf b[i6fGt lrqx¿nfO{ ltgsf] d"n

¿kdf t/ a[xt\ cfsf/df ¿kfGt/ u5{g\ . To;af6 pgL bz{snfO{ k"/akl/lrt t/ ltgsf ;jyf{ gf}nf] :j¿k;“u ;fIffTsf/ u/fp“5g\ -af]sf]nf, !(((, k[= $@@_ .

Snf; cf]N8]gau{ (Claes Oldenburg)

l:j8]gdf hGd]sf Snf; cf]N8]gau{sf sfdx¿ a9L cfnf]rgfTds Pjd\ xf:ok"0f{ /x]sf 5g\ . pgsf] xf:or]t cfk"m cWoog u/]sf] ;+:yf ofn o'lgel;{6L (Yale University) sf nflu pgn] agfPsf …lnlkl:6s :df/sÚ (Lipstick Monument) df

/f]o ln:6]g:6fOg, cf], h]km === (Oh, Jeff...), Sofgef;df t]n

/ª, !@@ ;]= ld= X !@@ ;]= ld=

Snf; cf]N8]au{, 6\ofª\sdfly 7f8f] /flvPsf] lnlkl:6s

(Lipstick Ascending on Caterpillar Tracks), /ªuLg l:6n,

cNd'lgod tyf kmfOa/ Unf;, ^&) ;]= ld= X %($ ;]= ld= X

### ;]= ld=, ofn o'lgel;{6L cf6{ Uofn/L

sirjanĀ 95

68\sf/f] b[li6uf]r/ x'G5 . of] /rgf pgn] ;g\ !(^) sf bzsdf leotgfd o'4tfsf lj?4 cfof]lht ljBfyL{x¿sf] lj/f]w k|bz{g tfsf jf:t'snfsf ljBfyL{x¿sf] cg'/f]wdf agfPsf lyP . cf]N8]gau{n] o; s[ltdf o'4 6\ofª\dfly If]Kof:q (missile) sf] k|tLssf ¿kdf Pp6f ljzfn lnlkl:6s 78\ofPsf lyP .

cf]N8]ga'u{ n'ufkmf6f, h'Qf, 6f]kL, v]nf}gf cflb b}lgs hLjgdf k|of]u x'g] ;fdu|Lsf cltl/St s]s, lkHhf, :ofG8ljr, x\ofdau{/, ;;]h, kmnk"mn cflb vfB j:t'nfO{ Knf:6/, k]k/d];] h:tf ;fdu|Ldf agfO{ ltgdfly /ª\ufª\sg uy]{ . ltgnfO{ pgL kf];]{n]g Kn]6, l;;fsf b/fh cflbdf ;hfP/ k|:t't uy]{ .

cf]N8]gau{nfO{ cfw'lgs oyfy{jfbL snfsf/sf ¿kdf lng] jf glng] eGg]af/] dte]b xf]nf, clkt' pgsf sfddf lglxt oyfy{jfbL rl/qnfO{ eg] gsfg{ ;ls“b}g . tL sfd cfbzL{s/0faf6 lglb{i6

5}gg\ . ltgn] s'g} dgf]ut efjnfO{ klg

JoSt ub}{gg\ . clkt' ltgn] lg0ff{os jf cleJolStzLn e"ldsfsf abnf xf:o efjnfO{ phfu/ u5{g\ -af]sf]nf, !(((, k[= $#^_ .

cGo kk snfsf/x¿

cd]l/sL kk cf6{nfO{ :yflkt u/fpgdf

hh{ ;]un (George Segal), dfl/;f]n P:sf]af/ (Marisol Escobar), 6d

j];]ndfg (Tom Wesselman), h]D; /f];]lGSj:6 (James Rosenquist), lhd 8fOg (Jim Dine), /a6{ OlG8ofgf (Robert Indiana), P8j8{ xf]Kk/ (Edward Hopper), h]D; lun (James Gill) cflb snfsf/x¿sf] klg dxÎjk"0f{ of]ubfg /x]sf] 5 .

hfkfgdf kk cf6{

bf];|f] ljZjo'4sf] ;dflKtkl5 hfkfgn] cfk"mnfO{ cToGt ljsl;t Pjd\ cf}Bf]lus /fi6«sf ¿kdf :yflkt ug{ yfn]sf] lyof] . b|'t cfly{s j[l4b/;“u} hfkfgsf] hghLjgdf kfZrfTo ;+:s[lt tyf hLjg z}nLn] klg k|efj kfg{ yfn]sf lyP . o;;“u} hfkfgL snfdf klg cfw'lgs snfsf ljljw wf/ tyf z}nLx¿sf] Jofks k|of]u x'g yfn]sf lyP . x'gt k"jf{4{sf cfw'lgs snf cfGbf]ngx¿sf ¿kdf lrlgg] k|efjjfb (Impressionism), pQ/k|efjjfb (Post Impressionism), cf6{ gf]Jo' (Art Nouveau) h:tf dxÎjk"0f{ z}nLsf k|0f]tfx¿sf] k|]/0ffsf] pb\ud hfkfgL k/Dk/fut p8Ans lk|G6x¿ (woodblock prints) lyP . Pb\jf/ dfg] (Édouard Manet), Snf]b df]g] (Claude Monet), P8\uf b]uf (Edgar Degas), leG;]G6 Eofg uf] (Vincent van Gogh), t'n'h n'q]s (Toulouse-Lautrec), u':tfe lSnD6 (Gustav Klimt) cflb pGgfO;f}“ ztfAbLsf ljZjk|l;4 snfsf/x¿sf sfddf hfkfgL

lk|G6sf] ulx/f] k|efj k/]sf] b[li6uf]r/ x'G5 .

sirjanĀ 96

hfkfgL kk cf6{sf] k|s/0fdf xf?o sf]uf (Harue Koga) sf sfdx¿ -;g\ !(@) sf] bzssf pQ/f4{ / ;g\ !)#) sf] bzssf

k"jf{4{_ nfO{ kk cf6{sf] ;ª\s]tsf ¿kdf lnOG5g\ . kk cf6{sf] ljsf;df ofof]O{ s';fdf (Yayoi Kusama) sf] dxÎjk"0f{ of]ubfg /x]sf] 5 . pgL kf]Nsf 86\; (polka dots) k|of]u u/L lrq, d"lt{, OG;6n];g k/km/d]G;, k]m;g l8hfOg cflb ul5{g\ . ;g\ !(^) sf] bzssf] dWojtL{ sfnd} u|flkms l8hfOg/ tf8fgf]/L

of]s" (Tadanori Yokoo) hfkfgL kk cf6{sf ;jf{lws ;kmn Pjd\ cGt/f{li6«o Vofltk|fKt snfsf/sf ¿kdf :yflkt eO;s]sf lyP .

pgn] la6N;, dln{g dg/f], Plnhfj]y 6]n/ h:tf kk ;+:s[ltsf cfOsf]gx¿sf nflu cg]sf}“ l;h{gfTds lj1fkg, kf]:6/ tyf lrqx¿ /rgf u/]sf lyP . s]OrL tfgfdL (Keiichi Tanaami) To; ;dosf csf{ k|l;4 kk cfl6{:6sf ¿kdf lrlgG5g\ .

pk;+xf/

kk cf6{sf] ;'?cft Oª\UNofG8af6 eP/

;+o'St /fHo cd]l/sfdf km:6fPsf] lyof] . ctM kk cf6{nfO{ …cd]l/sg lkmgf]ldggÚ eg]df cltzof]lSt

gxf]nf . lgM;Gb]x of] snf cfGbf]ng klZrdf hghLjgsf] cfly{s ;d[l4;“u} df}nfPsf] g"tg cfd ;+:s[ltsf] pkh lyof] . cd]l/sf / s]xL o'/f]k]nL d'n'sx¿ afx]s Nofl6g cd]l/sf, clk|msf tyf

Pl;ofnL d'n'ssf snfsf/x¿ kk cf6{k|lt

ofof]O{ s';fdf, ¿vdf pmWj{d'vL kf]Nsf 86\;, l;ª\ufk'/ låjflif{s

snf d]nf, @))^, csf{8{ /f]8, l;ª\ufk'/

tf8fgf]/L of]s", la6N; ;ª\uLt ;d"xsf] Do'lhs /]s8{sf] se/

l8hfOg, !(^$

sirjanĀ 97

vf;} cfslif{t ePsf] b]lv“b}g . oL If]qsf snfsf/x¿n] cfw'lgs snfsf cGo wf/x¿, h:t} M 3gjfb (Cubism), cltoyfy{jfb (Surrealsim), cleJo~hgfjfb (Expressionism), cd"t{ cleJo~hgfjfb (Abstract Expressionism) cflb snf z}nLnfO{ cfTd;ft\ u/] tfklg kk cf6{nfO{ Tolt cg';/0f u/]sf] b]lv“b}g . o;f] x'g'k5fl8 ;DejtM kk cf6{sf] laulauL x'“bf tfsf t];|f] ljZjsf oL d'n'sx¿sf] df}lns Pjd\ k/Dk/fjfbL ;+:s[ltnfO{ kfZrfTo ljZjsf] …kk sNr/Ú n] 5'g kfPsf] lyPg . k/Gt' o; ;Gbe{df Pl;ofnL d'n's hfkfgnfO{ eg] ckjfbsf ¿kdf lng'kg]{ x'G5 . hfkfgL kk cf6{ klg cd]l/sL kk cf6{s} xf/fxf/Ldf cufl8 cfPsf] oyfy{nfO{ gsfg{ ;ls“b}g .

;Gbe{ ;"rLAdams, Laurie Schneider. A History of Western Art.

3rd ed. New York: McGraw-Hill, 2001.

Arnason, H. History of Modern Art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.

Bocola, Sandro. The Art of Modernism: Art, Culture, and Society from Goya to the Present Day. Munich, London, New York: Prestel, 1999.

Cunningham, Lawrence S. and Reich, John J. Culture and Values: A Survey of the Humanities. 6th ed. USA: Thomson Learning Inc, 2006.

de la Croix, H.; Tansey, R., Gardner's Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980.

Gombrich, E. H. The Story of Art. London: Phaidon Press Ltd., rev. ed. 2000.

Gowing, Sir Lawrence (Ed.). A Biographical Dictionary of Artists. Revised ed. Oxfordshire, England: Andromeda Oxford Ltd. 2002.

Gowing, Sir Lawrence (Ed.). A History of Art. Rev. ed. Oxfordshire, England: Andromeda Oxford Ltd. 1995.

Harrison, Sylvia. Pop Art and the Origins of Post-Modernism. Cambridge University Press. 2001.

Livingstone, M., Pop Art: A Continuing History, New York: Harry N. Abrams, Inc., 1990.

Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p486-487.

Stokstad, Marilyn. Art History: A View of the West. Volume One and Volume Two. 3rd ed. New Jersey: Pearson Education, Inc. 2008.

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 . 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 . l;h{gf sn]h ckm kmfOg cf6{;\åf/f k|sflzt …lrqsnfÚ zLif{ssf] k':tssf] n]vg tyf ;Dkfbg sfo{df klg pgsf] ;+nUgtf /x]sf] 5 .

s]OrL tfgfdL, zLif{s/lxt, !(&!, sfuhdf sf]nfh

sirjanĀ 98

kf}efMlrq — zlSt u0f]z, c7f/f}“ ztfAbL, &$ ;]= ld X %! ;]= ld=, /fli6«o snf ;ª\u|xfno, eStk'/

sirjanĀ 99

y/L y/Lsf k6lrq

8f= h'g' af;'snf /l~htsf/

n]v;f/

sk8fdf n]lvPsf] lrqnfO{ ;+:s[t / g]kfnL efiffdf ‘k6lrq’, g]kfnefiffdf ‘kf}efM’ / ltAatL efiffdf ‘yfGsf’ elgG5 . sk8fsf cfsf/ k|sf/ / lrq n]Vg] ljz]iftfsf cfwf/df k6lrqnfO{ ;ft k|sf/df ljefhg ug{ ;lsG5 — kf}efM lrq, k6d08n, lan+kf}, wls+lrq, xlnk6lrq, ufl5sf lrq / Onf+ lrq . kf}efM lrq eGgfn] rf/kf6] sk8fdfly b]jL b]jtf, wfld{s cg'i7fg, ;dfhdf 3l6t P]ltxfl;s 36gf ljz]ifsf] ;+:d/0f, ;fdflhs cj:yf / k|fs[lts tyf dfgjåf/f lgld{t b[Zo cflb ;DaGwL lrq0fnfO{ elgG5 . k6d08ndf sk8fdf d'Vo b]jtfnfO{ s]Gb|df /fv]/ HofldtLo cfsf/x¿df ;;fgf b]jtfx¿sf] lrq agfpg] jf HofldtLo cfsf/x¿df /ª dfq k|of]u ul/G5 . lan+kf} k|foM #–$ xftb]lv *–!) xft jf !@ xft;Dd nfdf] x'G5 / o; k4ltdf sk8fdf P]ltxfl;s 36gfj|md, kf}/fl0fs syf, cjbfg tyf hftssyfx¿nfO{ lrqsyfsf ¿kdf ptfl/G5 . wls+lrq eGgfn] lrq ;lxtsf] sk8fnfO{ cfudsf]7fsf] 9f]sfdf /flvg] lrq eGg] a'lemG5 . wls+lrqdf ;fª\s]lts lrx\g jf b]jLb]jtfsf lrq x'G5 . xlnk6 lrq eGgfn] lnª\uf]df em'G8\ofOg] lrq ;lxtsf] sk8f eGg] a'lemG5 . ufl5sf lrq eGgfn] b]jLb]jtfsf /ydf /fv]/ hfqf ug]{ a]nf /ysf] k5fl8tk{m /flvg] lrq ;lxtsf] sk8fnfO{ elgG5 . Onf+lrq eGgfn] /ydf /fv]/ b]jLb]jtfsf] hfqf ug]{ a]nf /yleq b]jtfsf] dfly /flvg] lrq ;lxtsf] sk8f eGg] a'lemG5 . ufl5sf lrq / Onf+ lrq b'j}df h'g b]jtfsf] hfqf ul/g]] xf], ;f] b]jtfnfO{ ;fª\s]lts cfsf/ jf dfgjLo :j¿kdf lrq0f ul/G5 .

k6lrqsf] cy{ / kl/efiff

…k6Ú zAbsf] cy{ ;+:s[t efiffdf sk8f

xf] -cfK6], k[= %^$_ . sk8fdf n]lvPsf]

lrqnfO{ ;+:s[t efiffdf …k6lrqÚ elgG5 . s'g} klg k"hgLo b]jLb]jtf / JolSt, j:t' jf :yfgnfO{ sk8fdf lrq ptfg'{ g} k6lrq xf] . sk8fdf n]lvPsf] wfld{s lrqnfO{

g]jf/x¿n] …kf}efMÚ / ltAatLx¿n] …yfGsfÚ eG5g\ . ltAatL zAbsf]zdf yfGsfsf] cy{ …;Dd k/]sf]Ú jf …lrqÚ xf]

-bf;, k[= %^*_ . ctM yfGsf eGgfn] ;dtn :yfgdf lrq n]Vg' eGg] a'lemG5 .

o; cy{df ;dtn sk8f, sfuh, leQf,

e'FO cflb nufot cGo ;txdf agfOPsf] lrqnfO{ …yfGsfÚ elgG5 . ltAatL zAbsf]zcg';f/ sk8f jf sfuhdf

n]lvPsf] b]jtfsf] lrqnfO{ …yfg\ s'Ú jf …s' yfgÚ elgG5 -pxL, k[= %^*_ . o;af6 sk8f jf sfuhdf dfq b]jtfsf] lrq n]Vg'nfO{ …yfGs'Ú elgG5 . ltAatL

sirjanĀ 100

zAbsf]zcg';f/ …yfg\Ú sf] cy{ …;Dd k/]sf] ;txÚ / …s'Ú sf] cy{ …/x:odoÚ jf …u'x\oÚ xf] -pxL, k[= %^*_ . o; cy{n] ;Dd k/]sf sk8f, sfuh, leQf, e'OF cflb nufot cGo ;txdf /x:odoL jf u'x\o jf k|tLsfTds lrq /rgf ug'{nfO{ …yfGs'Ú eGg] a'emfpF5 . yfGs' cke|+z eO{ …yfGsfÚ ePsf] b]lvG5 . t/ leQf jf e'OFdf /x:odo jf u'x\o b]jtf n]lvPsf]nfO{ yfGsf elgPsf] kfOFb}g . sk8fdf n]lvPsf] lrqnfO{ dfq yfGsf elgPsf] kfOG5 . t/ klZrdfx¿n] sk8fdf wfld{s lrq n]lvPsf]nfO{ …6+sfÚ eGg] u5{g\ -afª\ub]n, k[= #*_ . pgLx¿n] yfGsf (Thanka) df …yÚ pRrf/0f gu/L To;sf] cNk k|f0f …tÚ pRrf/0f u/]sfn] yfGsfsf] ;6\6f …6+sfÚ zAb k|of]u u/]sf] b]lvG5 .

sk8fsf] cfsf/ k|sf/ / lrq n]vgsf] ljz]iftfsf cfwf/df k6lrqnfO{ ;ft lsl;ddf ljefhg ug{ ;lsG5 . tL x'g\ —

!= kf}efM lrq

@= k6d08n

#= lan+kf}

$= wls+lrq

%= xlnk6 lrq

^= ufl5sf lrq

&= Onf+ lrq

kf}efM lrq

…kf}efM lrqÚ rf/kf6] sk8fdfly b]jLb]jtf,

wfld{s cg'i7fg, ;dfhdf 3l6t P]ltxfl;s 36gf ljz]ifsf] ;+:d/0f, ;fdflhs cj:yf / k|fs[lts tyf dfgjåf/f lgld{t b[Zo cflb ;DaGwL lrq0fnfO{ elgG5 . …kf}efMÚ zAbnfO{ ljleGg n]vsn] km/s km/s cy{ nufPsf 5g\ . k|tfkflbTo kfnn] kf}efM zAb b'O{ cf]6f ;+:s[t zAb …k|ltdfÚ / …k|efÚ af6 ag]sf] cg'dfg u/]sf 5g\ . pgsf cg';f/ …k|ltefÚ sf] cy{ …lrqÚ / …k|efÚ sf] cy{ …k|sfzÚ xf] . kf}efM wfld{s lrq xf] / of] pHofnf] / 6lNsg] ;txdf agfOG5 . kf}efM ljwfdf snfsf/x¿n] nfdf] ;dob]lv k|ltdfnIf0f zf:qcg';f/ wfld{s lrqx¿ lrq0f ub}{ cfPsf 5g\ -kfn, k[= ^%_ . l8NnL/d0f /]UdLn] kf}efMnfO{ k|efd08n zAbsf] cke|+z ePsf] pNn]v u/]sf 5g\ -/]UdL, k[= (*%_ . s]xL ljåfg\n] …k6–e6\6f/sÚ af6 cke|+z eP/ kf}efM ePsf] dfg]sf 5g\ . …e6\6f/sÚ eGgfn] k"hf ug{ of]Uo xf] -cfK6], k[= &@(_ . k"hf ug{ of]Uo JolSt jf j:t'nfO{ sk8fsf] kqdf n]lvg] ePsfn] …kq–e6\6f/sÚ elgPsf] x'g

;S5 . kq–e6\6f/saf6 …k|lte/f8Ú jf

…klte/f8Ú zAbx¿ ePsf] cg'dfg ul/Psf] 5 . ;g\ !&)# -g]= ;+= *@$ r}q z'Sn k~rdLsf] lbg_ df k|lti7f ul/Psf] k6lrqdf b'O 7fpFdf …k|lte/f8Ú /

Ps 7fpFdf …k|lte/fÚ zAbx¿ k|of]u ePsf 5g\ -kGt, k[= @)!_ . ;g\ !&(& -g]= ;+= (!*_ sf] kf}efMdf …k|lte/f8Ú / …k|ltjfxf/

k|ltdfÚ zAbx¿ k|of]u ePsf] kfOPsf] 5 -lrQw/, k[= !$$_ . a]lNhod k'u]sf]

sirjanĀ 101

kf}efMlrq — g[ToZj/ -lzjzlSt_, !^%(, ($ ;]= ld X ^* ;]= ld=, /fli6«o snf ;ª\u|xfno, eStk'/

sirjanĀ 102

g]kfnL kf}efM lrqdf …klte/fbÚ zAb k|of]u ePsf] 5 -pxL, k[= !$%_ . oL b'O{ kf}efMdf k|of]u ePsf zAbx¿df …k|lte/f8Ú zAbeGbf …klte/fbÚ zAb ldNg cfPsf] Oltxf;ljb\ dx]z/fh kGtn] atfPsf 5g\ -cGt/jftf{ M dx]z/fh kGt_ . h'4/Tg ah|frfo{ / ab|L/Tg ah|frfo{x¿n] klg kf}efMnfO{ …k|lte/f8Ú zAbsf] k|of]u u/]sf 5g\ -ah|frfo{, k[= !! / ah|frfo{, k[= @_ . l;Uk|mb lngxf8{n] klg kf}efMsf] k'/fgf] zAb …klte/fbÚ g} eg]sf 5g\ -lngxf8{, k[= #&_ . pgn] k6lrqnfO{ …kf}jfxfÚ zAbsf] k|of]u u/]sf 5g\ -lngxf8{, k[= $%_ . pgn] …klte/f8Ú af6 …kf}jfxfÚ / …kf}jfxfÚ af6 …kf}efMÚ ePsf] cg'dfg u/]sf 5g\ -pxL, k[= $%_ . o;/L …klte/fbÚ zAb cke|+z eP/ …kf}efMÚ ePsf] cg'dfg ul/Psf] 5 .

rf/kf6] cfsf/df n]lvPsf] k6lrqsf nflu dfq …klte/f8Ú zAbsf] k|of]u geO{ hftssyf jf cjbfgsyfsf] nfdf] k6df

lrqsyf n]lvPsf]nfO{ klg k|of]u ePsf] kfOG5 . aln{g Do'lhod k'u]sf] ag]kfsf] kf/fjt dxfljxf/sf] ;g\ !*#& -g]= ;+= (%*_

sf] ljZjGt/ hftssyfdf cfwfl/t k6df

n]lvPsf] lrqsyfsf] clGtd lrqsf] d'lGt/ …k|lte/f8Ú zAbsf] pNn]v 5 -lngxf8{, k[= @@, lrq *%–*%_ . ;g\ !&(&

-g]= ;+= (!*_ d} k|of]u ePsf] …k|ltjfxf/ k|ltdfÚ zAbn] …ljxf/sf] lrqk6Ú eGg] a'emfpF5 . g]kfnefiffdf kqnfO{ …kf}Ú eGg] ul/G5 . …klte/f8Ú, …kt–e/f8Ú zAbx¿

…kf}Ú / …e/f8Ú ldn]/ ag]sf] b]lvG5 . oxL …klte/f8Ú / …kt–e/f8Ú zAbx¿df ePsf] …e/f8Ú zAb cke|+z eP/ …ef/Ú ePsf] x'g ;S5 . …ktÚ sf] …kf}Ú / …e/f8Ú sf] …ef/Ú af6 …kf}–ef/Ú x'g] k|an ;Defjgf 5 . …kf}–ef/Ú af6 klg cke|+z eP/ …kf}efMÚ zAb ag]sf] x'g ;S5 . k|]ddfg lrqsf/sf cg';f/ kqdf ljleGg ljlw ckgfO{ n]lvg] lrqnfO{ …kf}efMÚ elgG5 . g]kfnefiffdf …kf}Ú sf] cy{ …kqÚ jf …kfMÚ -kq uGtL_ xf] . …kqÚ jf …kfMÚ df ljlw k'¥ofP/ k"hf u/]/ ;fwgf u/L ljlwk"j{s lrqsf] dfWodaf6 ljleGg b]jLb]jtfsf lrq, cfsf/ tyf b[Zo v'nfpg'sf ;fy} zf:qcg';f/ j0f{, cfo'w, d'b|f cf;g, cflbsf kljq z'4 kq xf] . o;nfO{ …kf}Ú jf …kfMÚ klg eGg ;lsG5 . olt eJo kq, h;df b]jLb]jtfsf dfq} geO{ cEoGt/sf u'x\o lrq;d]t n]lvPsf] x'G5, Tof] s'g} wft' jf ;'gs} eGbf klg eJo lrqsnfsf] kq xf] -k+', k[= !*)_ . …kq e6\6f/sÚ nfO{ dNn sfndf g]jf/x¿n] …k6 e08f/sÚ eGg] uy]{ .

zflGt/Tg tfd|fsf/n] …kq e08f/sÚsf]

cke|+z eP/ …kf}efMÚ ePsf] cg'dfg u/]sf 5g\ -tfd|fsf/, k[= @!_ . o;/L ljleGg JolSt, dNn sfnsf / zfx sfnsf kf}efMx¿df kf}efM zAbnfO{ km/s km/s

cy{ /x]sf] kfOG5 . t/ s'g zAb ;To xf] eGg] lglZrt ul/Psf] kfO“b}g . l;Uk|mb lngxf8{n] eg] h:tf] klte/f8af6 …kf}afxfÚ

/ …kf}jfxfÚ af6 …kf}efMÚ zAb c¿ zAbsf] t'ngfdf glhs klg b]lvG5 . lsgeg]

sirjanĀ 103

klte/f8 eGgfn] kqdf u'x\o b]jtf, h'g axfndf k|bz{g ul/g] eGg] a'lemG5 . klte/f8nfO{ g]jf/x¿n] 5f]6\ofP/ kf}, axfnsf] kf} ePsf]n] af]nLrfnLdf kf}jfxf ePsf] b]lvG5 . kf}afxfsf] klg cke|+z g} kf}efM ePsf] b]lvG5 . ;g\ !*## -g]= ;+= (%$_ cyf{t\ eLd;]g yfkfsf] ;do;Dd klg k6df n]lvPsf] lrqnfO{ …k|lte/f8Ú zAbsf] k|of]u ePsf]n] …kf}efMÚ zAb slxn] b]lv k|rngdf cfPsf] xf], olsg ¿kdf eGg ufx|f] 5 .

kf}efMdf k|foM af}4 tyf lxGb' b]jLb]jtf a9L dfqfdf lrq0f ul/Psf] kfOG5 . oL lrqx¿ cfWoflTds 1fgsf cfwf/df lrq0f ul/G5g\ . kf}efM lrq dlGb/, ljxf/, alxn, d7, k"hf sf]7f cflb :yfgx¿df wfld{s cg'i7fg jf k"hf ug{ / wd{b]zgf jf b]jLb]jtfsf cfWoflTds 1fg lbg, cfgf s'nk'qx¿nfO{ bLIff lbg / ;f+;fl/s b'Mvaf6 d'lSt kfpg jf lgjf{0fdf k'Ug agfOG5 . kf}efM lrq ljxf/sf] cfudsf]7f,

ljxf/, dlGb/ tyf 3/ 3/df em'G8\ofOPsf] x'G5 . kf}efM lrqdf wfld{s syf lrq0f gu/L b]jLb]jtfsf nIf0f, d'b|f / efjnfO{

dfq lrq0f ul/G5 .

k|ltdfnIf0f zf:q / ;f}Gbo{ zf:qcg';f/ af}4 tyf lxGb' b]jLb]jtfsf lrqx¿ lrq0f

ul/G5g\ . lxGb' kf}efM lrqsf t'ngfdf af}4 kf}efM lrq a9L kfOPsf 5g\ . kf}efM lrqsf] rf}8fOeGbf prfO a9L x'G5 -x6, k[= ^^_ . lxGb' kf}efM lrqsf t'ngfdf af}4

kf}efM lrqsf] prfO a9L x'G5 . kf}efM lrq rf}8fO nfdf] ePsf] clxn];Dd kfOPsf] 5}g\ -lrqsf/, k[= #_ . af}4 Kff}efM lrqsf ljifoj:t'x¿ ljleGg lsl;dsf /x]sf 5g\ . tL ljifoj:t'nfO{ dLgaxfb'/ zfSon] ;ft efudf ljefhg u/]sf 5g\ —

!= a'4sf] hLjgL / pgsf k"j{hGdx¿

@= a'4x¿ / af]lw;Îjx¿

#= Oi6b]jtf jf WofgL b]jtfx¿

$= 8fs / 8flsgLx¿

%= wd{kfnx¿

^= d08nx¿

&= wd{rj|m lrq -zfSo, k[= %%_

kf}efMdf d'Vo b]jtfnfO{ lar efudf 7'nf] cfsf/df / ;xfos b]jtfx¿ ;;fgf cfsf/df jl/kl/ /fv]/ lrq ;+of]hg ul/Psf] x'G5 . kf}efM lrq lglZrt zf:qLo lgodleq a;]/ agfOg] wfld{s lrq x'gfn] o;df s'g b]jtf sxfF, s'g cj:yfdf, sqf]

cfsf/df /fVg], s:tf] ¿k /ªsf] agfpg] eGg] s'/f klxn] g} lgwf{/0f ul/Psf] x'G5 . To;kl5 dfq lrq sf]g]{ sfo{ x'G5 .

kl5Nnf] sfnsf kf}efMdf lrqsf] ;tx b'O{

efudf ljefhg ul/Psf] kfOG5 . dflyNnf] efudf d'Vo b]jtf / ;xfos b]jtfx¿sf] lrq0f ul/G5 . tNnf] efu ;fgf] gfkdf bftfx¿sf] lrq0f ul/G5 . kf}efM lrqdf d"n

b]jtfnfO{ k"0f{ cg'xf/df b]vfOP klg cGo b]jtf / dfgj ¿kx¿nfO{ cw{ d'xf/df b]vfOPsf] kfOG5 . ax' lz/wf/L

sirjanĀ 104

cg'kHof]lt lrqsf/, gjb'uf{ d08n, @))%

sirjanĀ 105

b]jLb]jtfsf] lrqfª\sg ubf{ d'Vo lz/ k"0f{ d'xf/df / cGo lz/ cw{ d'xf/df lrlqt kfOG5 . b]jLb]jtfsf lrq k|foM l;wf d'xf/ / ltg rf]}yfO d'v x'G5 .

kf}efM lrqdf cw{d'xf/ ePsf b]jLb]jtfsf lrq sd dfqfdf k|of]u ePsf] kfOG5 . kf}efM lrqdf b]jLb]jtfsf cfFvf Ps dfq b]vfpg' lsl~rt\ cz'e 7flgG5 . tyflk s]xL lrqdf Pp6f dfq cfFvf b]vfOPsf] klg kfOG5 . b]jLb]jtfsf d'xf/b]lv lnP/ k|To]s cª\u, h:t} M xft, v'6\6f, sDd/ cflb gfua]nL cfsf/sf x'G5g\ -lrqsf/, k[= $+_ . kf}efM lrq agfpg nufpg] ;j{;fwf/0f, ohdfg cyjf bftfx¿, ltgsf kl/jf/ / tfTsflns /fhf /fgL / kl/jf/sf cGo ;b:onfO{ kf}efMsf] ;a}eGbf tn k'5f/df ;fgf] cfsf/df nx/} agfOPsf x'G5g\ . o:tf lrqsf] nflu 5'6\ofOPsf v08sf] lardf o1s'08df xf]d ug{ nfu]sf], lardf b]jtfsf] k|ltdf /fv]/ k"hf ug{ nfu]sf], lardf snz / cGo j:t' klg /flvPsf x'G5g\ . Psftkm{ nx/} k'?if /

csf]{tk{m nx/} gf/Lsf lrqx¿ agfOPsf

x'G5g\ eg] s'g}df gf/L / k'¿ifx¿nfO{ ldnfP/ Pp6} nx/df klg /flvPsf] kfOG5 . b'j}tk{msf dflg;x¿ leqk6\l6 lartk{m kms]{/ k|foM xft hf]8]/ gd:sf/

d'b|fdf b'j} 3'F8f 6]s]/ / s'g}df Pp6f 3'F8f tn k;f/]/ csf]{ 3'F8f dfly p7fP/ a;]sf] agfOPsf x'G5g\ . oL lrqdf cw{d'xf/

g} agfOPsf 5g\ . dflg;sf] d'v lrqdf b'?:t lgsfNg sl7g kg]{ ePsfn] g} o:tf]

/rgf ul/Psf] xf] -pxL, k[= %_ . kf}efM lrqdf gf/L / k'?ifx¿sf] lrq0f ul/;s]kl5 lrqsf] k'5f/df ltg kª\lSt hltdf h'g p2]Zo lnP/ lrq agfpg nufOPsf] xf], To; ljifodf / kl/jf/sf ljifodf tyf lrq n]vfpg] bDktLaf/] n]lvPsf] kfOG5 . To;df ltlyldlt ;d]t lnlka4 x'G5 . s'g} s'g} kf}efMdf /fhfsf] gfpF klg n]lvPsf] x'G5 . o; k|sf/sf] k/Dk/f g]kfnL kf}efM lrqdf kGw|f}F ztfAbLb]lv ;'¿ ePsf] cg'dfg ul/G5 . lsgeg] rf}wf}F ztfAbLsf kf}efM lrqdf kf}efM lrqsf] tNnf] efudf bftfx¿ / lnlka4 u/]sf] kfOFb}gg\ . hlt cfh;Dd e]l6Psf 5g\, ltgdf o:tf] k/Dk/f rn]sf] b]lv“b}g afª\ub]n, k[= $(_ . k'¿if / gf/Lsf d'xf/, zf/Ll/s agf]6, j:q / cnª\sf/ Tolta]nf ;dfhdf rn]sf] h:t} agfpg] k|of; u/]sf] h:tf] b]lvG5 . lrq lgdf{0fsf] ;docg';f/ ltgsf] ¿k klg km/s x'Fb} uPsf] b]lvG5 . sltko lrqx¿ ;dsfnLg eP klg km/s snfsf/n] agfPsf lrqsf] snfsfl/tf /

k|:t'tLs/0fsf] leGgtf ePsf] klg b]Vg

;lsG5 .

kf}efM lrqx¿df d"ntM af}4 wd{ / lxGb'

wd{sf] lrqfª\sg eP klg sltko kf}efM lrq

nf]s Jojxf/;Fu klg ;Da4 5g\ . ;g\ !%^% df lrqfª\g ul/Psf] :joDe" hL0ff]{4f/ ;DaGwL lrqnfO{ lng ;lsG5 .

To; kf}efM lrqsf] lar efudf :joDe"sf] :t"k v8f u/]/ To;sf] rf/}tkm{ jf:t'sdL{x¿n] sfd ub}{ u/]sf, 7fpF 7fpFdf

sirjanĀ 106

uf]/]6fx¿ / st} ;;fgf af}4 :t"k lgdf{0f x'Fb} u/]sf b[Zo cª\lst 5g\ -cof{n_ .

k6d08nlrq

;+:s[t zAbsf]zcg';f/ …d08nÚ eGgfn]

uf]n jf j[Qfsf/ xf] -cfK6], k[= &^#_ . u'x\o;dfhtGqsf 6Lsfsf/ rGb|sLlt{n] df/ cyf{t\ df/n] nflt cyf{t\ u|x0f u5{ eGg] cy{df …d08nÚ zAb 5 egL JofVof

u/]sf 5g\ -rGb|sLlt{, k[= *(, d08M df/M t+ nflt u[X0fftLlt d08n+_ . …d08Úsf] cy{ ;f/ cyf{t\ k/dfy{;To / To;nfO{ nflt cyf{t\ u|x0f u5{ eGg] cy{df …d08nÚ elgPsf] 5 -pxL, k[= (^, d08+ ;f/+

k/dfy{;Tod\ . t+ nflt u[0xftLlt d08nd\_ . u'x\o;dfhtGqcg';f/ lrQjh|;dfg sfojfs\lrQd08n x'G5

-u'x\o;dfhtGq $.& lrQjh|k|tLsfz+ sfojfs\lrQd08nd\_ . u'x\o;dfhtGqsf 6Lsfsf/ rGb|sLlt{sf cg';f/

sfojfs\lrQsf] ;f/ ePsf]n] …d08Ú cyf{t\

…;f/Ú elgPsf] xf] . To;}n] d08 nflt u|x0f u5{ eGg] sfojfs\lrQd08n elgPsf] xf] -sfojflSrQfgf+ d08M ;f/+ u'XØ+ tntLlt

sfojflSrQd08n+ tT;Dos\ k|jIofdLlt of]uM_ . o; lx;fan] …d08Ú sf] cy{ …1fgÚ / …nÚ sf] cy{ u|x0f ug'{ xf] . o;af6 d08nsf] cy{ af]lw1fg k|fKt ug'{ x'G5 .

lan+kf} — s[i0fnLnf, pGgfO;f}“ ztfAbL, @% ;]= ld X @) ;]= ld= -lrq ;f}hGo M dbg lrqsf/_

sirjanĀ 107

x]jh|tGqcg';f/ ;f/ g} d08n xf] .

af]lwlrQ g} dxf;'v xf] . p;sf] cfbfg u|x0f ug'{ g} d08n xf] . Tof] g} b]jtf xf] -x]jh|tGq @.#.@& d08n+ ;f/ldTo'St+ af]lwlrQ+ dxT;'vd\ . cfbfg+= tt\ s/f]tLlt d08n+ dng+= dtd\ .._ . x]jh|tGqcg';f/ g} ¿k, zAb, uGw, /;, :kz{, wd{ wft' :jefj cflb ;a} k|1fåf/f g} pkef]u ul/G5 . Tof] g} ;xh :j¿k xf], dxf;'v xf], lbJoof]lugL

xf], Tof] g} d08nrj|m xf], k~r1fg:j¿k g} ToxL xf] -x]jh|tGq, @.$.$$–$% ¿k+ zAb:tyf uGwf] /;M :kz{:ty}j r . wd{wft':jefjZr k|1o}jf]ke'Hot] .. ;}j ;xh¿kf t' dxf;'vf lbJoof]lugL . ;}j d08nrqm+ t' k~r1fg:j¿lk0fL .._ . d08n Ps 3]/fsf] ;ª\s]t xf] . d08nsf] kof{ojfrL zAb …rj|mÚ klg xf] . rj|mnfO{ uGg] lx;fan] Ps rj|m, b'O rj|m / ltg rj|m eGg ;lsG5 . ljz]if u/L :yfgnfO{ klg …rj|mÚ zAbsf] k|of]u ul/Psf] x'G5, h:t} M sforj|m, jfs\rj|m, lrQrj|m cflb . To:t} lgjf{0frj|m, wd{rj|m, ;Def]urj|m, dxf;'vrj|m cflb . o;/L x]bf{ rj|msf] cy{ ;d'Rro jf ;ª\u|x jf ;d"x xf] . d08nn] Jofkstfsf] ;ª\s]t lbG5 eg] rj|mn] ;ª\sL0f{tfsf] ;ª\s]t lbG5 . d08ndf ljleGg bfz{lgs 1fg / b]jLb]jtf 5g\ eg] rj|msf] leq s'g} j:t' jf b]jLb]jtf dfq x'G5 . …rj|mÚ eg]kl5 uf]nfsf/ dfq eGg] a'lemG5 . t/ d08nn] uf]nfsf/, cw{uf]nfsf/, lqsf]0ffTds, rt'isf]0ffTds

cflb klg x'G5g\ -ah|frfo{, k[= !)%_ .

oL ljleGg cy{sf cfwf/df d08n eg]sf] s'g} klg cfsf/leq ljleGg k|tLsåf/f cfWoflTds 1fg lng] Ps dfWod xf] .

k6d08n b'O lsl;dsf 5g\ . klxnf] lsl;ddf d'Vo b]jtfnfO{ s]Gb|df /fv]/

HofldtLo cfsf/df ;;fgf b]jtfx¿ lrq0f ul/Psf x'G5g\ . juf{sf/leqsf] ;a}eGbf leqsf] 3]/fdf d'Vo b]jtfnfO{ lrq0f

wls+lrq

sirjanĀ 108

ul/G5 . bf];|f] lsl;ddf ljleGg HofdLlto cfsf/x¿df /ªåf/f dfq lrq0f ul/G5 . d08ndf Pp6f juf{sf/leq ljleGg j[Qfsf/x¿ x'G5g\ . d08ndf aflx/L /]vfb]lv lar efu;Dd ljleGg efu x'G5g\ . aflx/L 3]/fx¿ ltg cf]6f clUg, jh| / kb\d x'G5g\ . tL kfFr cf]6f /ªaf6 lrq0f ul/Psf x'G5g\ . ;a}eGbf aflx/sf]

uf]nf] 3]/fnfO{ …HjfnfjnLÚ elgG5 . o; 3]/fdf ;w}“ clUgHjfnfsf a'6\6f nofTds tl/sfn] lrq0f ul/G5 . To;eGbf leqsf]

uf]nf] 3]/fnfO{ …jh|fjnLÚ elgG5 . o;

3]/fdf ;w}F jh|x¿ Ps} ;dfg gfkdf nx/} /flvPsf x'G5g\ . To;eGbf leqsf] uf]nf] 3]/fnfO{ …kb\dfjnLÚ elgG5 . o;

3]/fdf klg ;w}F kb\d Ps} gfkdf j|mdzM /flvPsf x'G5g\ . tL ltg cf]6f 3]/fleq juf{sf/ 3]/fsf rf/ cf]6f e'hfdf rf/cf]6f åf/ x'G5g\ . ltgnfO{ rf/ lbzfsf

¿kdf lnOG5 . o;nfO{ …jh|fk'/Ú elgG5 . d08ndf tnsf] efunfO{ k"j{ dflgG5 . rf/ lbzfnfO{ cnu cnu rf/ /ª lbOG5g\ . s]Gb| efuaf6 rf/ s'gfdf rf/ lbzfsf] rf/ /ªsf] l;dfgf 5'6\ofOPsf] x'G5 . rf/ /ªdWo] k"j{df ;]tf] jf lgnf], blIf0fdf kx]Fnf], klZrddf /ftf], pQ/df xl/of] /ª x'G5g\ . s]Gb|sf] d"n b]jtf ;]tf] jf lgnf] /ªsf] x'G5 . juf{sf/

åf/x¿leqsf] 3]/f eg] b]jtfcg';f/ km/s

km/s x'G5g\ . s'g}df uf]nfsf/, s'g}df lqsf]0f, s'g}df rt'isf]0f, s'g}df if6\sf]0f, s'g}df ci6sf]0f tyf s'g}df uf]nfsf/ k"mna'6\6fsf] k|of]u u/]/ km/s

km/s ¿kn] ;hfj6 / cfsf/df klg km/s km/s ;ª\Vofdf 3]/fx¿ agfOG5g\ . ;a}eGbf leqsf] 3]/fleq d'Vo b]jtfsf] lrq

agfOG5 . d'Vo b]jtf c¿ ;xfos b]jtf eGbf cln 7'nf] cfsf/df ljz]if lsl;dn]

wls+lrq — gf;Mwls+

sirjanĀ 109

agfOG5 . ;a}eGbf aflx/L uf]nfsf/ 3]/fsf] leq plrt ;Gt'ng sfod u/]/ ;xfos b]jtfx¿sf lrqx¿ agfOPsf x'G5g\ . aflx/ uf]nfsf/ 3]/feGbf aflx/ afFsL /xg] rf/ s'gfdf klg b]jtfx¿ agfOG5g\ . sltko d08nlrqdf cem ;a}eGbf tn yf]/} 7fpFdf d08nlrq agfpg nufpg], bfg ug]{ ohdfgx¿sf] k"hf kf7 ul//x]sf] ;fd"lxs lrq klg nx/} afofFb]lv bfofF;Dd agfpg] rng 5 . d08nlrqdf d'Vo b]jtf;lxt c¿ w]/} b]jLb]jtfsf ;;fgf cfs[ltnfO{ cfcfg} 7fpFdf lrq0f ul/Psf] x'G5 . tL b]jtfx¿nfO{ k|ltdfnIf0fcg';f/ cf;g, d'b|f, /ª / :yfg lrq0f ul/G5 .

;a} b]jtfsf plrt :yfg u|x0fsf nflu HofdLlto cfsf/sf] k|of]u ul/Psf] x'G5 . j|mf]wL b]jtf 5 eg] cf7 cf]6f Zdzfgsf b[Zo ylkG5g\ . cf7 Zdzfgsf k|tLssf ¿kdf :t"k, kxf8, gbL, d[t z/L/, ¿v, hgfj/, r/f / b]jtfx¿, h:t} M gfu b]jtf, cf7 e}/j, cf7 of]uL, ci6dft[sf

b]jL / cf7 lbSkfn x'G5g\ . o; uf]nf]nfO{ …ZdzfgfjnLÚ elgG5 . d08nlrqdf HofldtLo cfsf/sf] dxÎjk"0f{

:yfg x'G5 . d08nlrqsf vfnL :yfgx¿

klg £ofFrf -3fF;_ sf a'6\6fx¿af6 el/k"0f{ x'G5g\ .

t'nfkf}

…t''nfkf}Ú zAb …t'nfÚ -a]/]/_ / …kf}Ú -kq_

ldn]/ ag]sf] xf] . …t'nfÚ sf] cy{ …a]g'{Ú / …kf}Ú sf] cy{ …kqÚ xf] . kq a]/]/ /flvg]

ePsf]n] t'nfkf} elgPsf] xf] . of] lrq ljz]if kj{sf cj;/df dfq ljxf/ jf alxnsf lgbfndf s]xL lbgsf nflu k|bz{gLdf /flvg] ePsfn] …lan+kf}Ú klg elgG5 . g]kfnefiffdf lgbfnnfO{ lan+ -lgbfn_ elgG5 . s]xL ljz]if lbgdf dfq lgbfndf k|bz{g ul/g] ePsfn] lan+kf} / To;kl5 To; lrq sk8fnfO{ a]/]/ ;'/lIft 7fpFdf /flvg] ePsfn] t'nfkf} elgPsf] xf] . o;nfO{ …tfxfkf}Ú klg elgG5 -cof{n_ . …tfxfÚ -nfdf]_ / …kf}}Ú ldn]/ tfxfkf} x'G5 . …tfxfÚsf] cy{ g]jf/ efiffdf nfdf] / …kf}Ú sf] cy{ kq xf] . nfdf] kq ePsfn] tfxfkf} elgPsf] xf] . dlGb/df klg 6fFlug] ePsfn] …tf]n+kf}Ú -6'F8fndf /flvg] kq_ klg eGg] ul/G5 -lrqsf/, k[= #_ . cd[tfgGbsf] wd{sf]z ;ª\u|xdf t'nf+kf} plNnlvt 5 -kGt, k[= **_ . l;Uk|mb lngxf8{n] nfdf] / ;fFu'/f] rf}8fO sk8fdf n]lvPsf] lrqnfO{ lan+kf} eg]sf 5g\ . pgn] lan+kf}sf] k'/fgf] zAb lan+kltaf6 cfPsf] dfg]sf 5g\

-lngxf8{, k[= $%_ . kf6g ;ª\u|xfnodf

/x]sf] /fhf l;l4g/l;+x dNnn] n]vfpg nufPsf] lan+kf}df …t'nf+kltÚ plNnlvt 5 -lngxf8{, k[= $!_ . aln{g Do'lhoddf

k'u]sf] alGbsfk'/ -ag]kf_ dxfgu/sf kf/fjt{dxfljxf/sf] ;g\ !*#& -g]= ;+= (%*_ sf] lan+kf}df clGtd lrqsf] d'lGt/ …k|lte/f8Ú zAbsf] pNn]v 5 -lngxf8{, lrq *$–*%_ . o;/L hftssyf jf

cjbfgsyfnfO{ nfdf] k6df lrqsyf

sirjanĀ 110

n]lvPsf]nfO{ lan+kf}, t'nfkf}, t'nf+kf}, lan+klt, tfxfkf}, tf]n+kf}, t'nf+klt / k|lte/f8 cflb k|of]u ePsf] kfOG5 .

lnlb|of Pl/Pg / n}gl;+x afª\b]nn] lrq}lrqn] syf ptfl/Psf] t'nfkf}nfO{ k6lrq eg]sf 5g\ -afª\ub]n, k[= %^ / Pl/og, k[= @!*_ . k6lrqn] t'nfkf} afx]s cGo sk8fdf wfld{s lrq n]lvPsf]nfO{ klg hgfOG5 . To;sf/0f lnlb|of Pl/Pg / n}gl;+x afª\b]nn] eg] h:tf] t'nfkf}nfO{ dfq k6lrq eGg' o'lSt;ª\ut x'“b}g .

t'nfkf} #–$ xft nfdf]b]lv *–!) jf !@ xft;Dd nfdf] sk8fdf P]ltxfl;s 36gfj|md, kf}/fl0fs syf, cjbfg / hftssyfx¿nfO{ lrq} lrqn] syfdf ptf/]/ a]l/Psf] x'G5 . of] !@ b]lv !* OGr;Ddsf rf}8fO / nDafO syfcg';f/ x'G5 -zfSo, k[= @)_ .

s]xL t'nfkf} #) lkm6 nDafO;Ddsf] 5 t/ rf}8fO eg] @ lkm6eGbf a9L x'G5 -kfn, k[= !%_ . t'nfkf}df dflytk{m lrqx¿ x'G5g\ eg] lrqsf] l7s d'lg lrqaf/] n]lvPsf] x'G5 . t'nfkf} kf}efM lrq h:tf] 7f8f] / d'Vo b]jtfnfO{ dfq s]Gb|df geO{ lelQlrq h:tf] lrqx¿ z[ª\vnfa4 tl/sfn] /flvPsf x'G5g\ . lrq / lnlka4 ul/Psfn] bz{sx¿sf nflu of] w]/} g} k|efjsf/L x'G5 .

wls+lrq

‰ofn jf 9f]sfdf /flvg] kbf{nfO{ g]jf/ efiffdf …wls+Ú elgG5 . lrq;lxtsf]

wls+nfO{ …wls+lrqÚ elgG5 . wls+lrqdf ;fª\s]lts jf b]jLb]jtfsf] lrq x'G5 . wls+lrq sf]7fsf] 9f]sfsf] gfk / b]jtfcg';f/ km/s km/s x'G5g\ . wls+lrq bLIff lnPsf lrqsf/x¿n] dfq agfpg kfOG5 . of] lrq agfpFbf bLIff glnPsf JolStx¿nfO{ x]g{ lgif]w x'G5 . of] lrq agfpFbf lg/fxf/ jf s'g} k"hf ljlw ckgfpg gkg]{ s'/f To; sfo{df ;+nUg sf7df8f}F df;+uNnLsf g/]Gb| lrqsf/n] atfPsf 5g\ -cGt/jftf{ M g/]Gb| lrqsf/_ . wls+lrq :yfgcg';f/ klg km/s km/s x'G5g\ .

ljxf/, alxn, dlGb/ / 3/sf cfu+sf]7fdf ;ª\3 jf 3/sf dflg; afx]s cGo JolStsf nflu lgif]w ul/Psf] x'G5 . To; sf]7fdf :yfkgf ul/Psf b]jtfnfO{ aflx/af6 gb]lvg] u/L k|j]zåf/df lrq n]lvPsf] wls+ ´'G8\ofOPsf] x'G5 . cfudsf]7fdf klg k6lrqsf] k|of]u ul/G5 . o;nfO{ …cfu+wls+Ú elgG5 . cfu+wls+ sf7df8f}F, kf6g / eStk'/df dfq

km/s km/s geO{ sf7df8f}Fd} dflyNnf]

6f]n / tNnf] 6f]ndf klg km/s km/s /x]sf 5g\ . sf7df8f}Fdf k|of]u ul/g] cfu+wls+sf] ;a}eGbf dfly e}/jsf] k|tLs

ltg cf]6f 6fpsf] / tL e}/jsf 6fpsf]sf lardf b'O{ cf]6f sj+rfM -sª\sfn_ x'G5 . oL kfFr} cf]6f 6fpsfdf uf -k5\of}/f_ x'G5 . tL 6fpsf d'lg /ftf] / lgnf] /ªsf b'O{ b'O{ cf]6f sdnsf k"mnx¿ tyf lardf 5q

x'G5 . tL k"mnx¿sf tn kbf{ x'G5 . oL

sirjanĀ 111

lrqsf d'lg bfofF afofF rGb| / ;"o{, /ftf] / lgnf] sdnsf] k"mn lardf x'G5g\ . oL lrqsf d'lg bfofF afofF HjnfGxfo\s+ / l;Gxd", lardf b'O{ hgf dxf/fh h:tf

/xG5g\ . oL lrqsf tn gf;BM -g[To]Zj/sf] k|tLs_ sf] ltg g]q, g]qsf]

tn lardf uf -k5\of}/f_, ufsf] d'lg jh|, o;sf] d'lg bfofF afofF kfq ;dfO/fv]sf] xft, o;sf] tn lardf

snzdfly st[kfq, snzsf] bfofF afofF sfsfl5 cyf{t\ sfsf:of -sfu_ / pNsfl5 cyf{t\ pNsf:of -;'uf_ d'v ePsf] x'G5 . sfsf:ofsf] d'lg :ofnn] v'6\6f vfO/x]sf] / pNsf:ofsf] d'lg s's'/n] xft vfO/x]sf]

x'G5 . oL b'O{ hgfj/sf lar Wjh ;lxtsf] af} -cf};fgL_ /flvPsf] x'G5 . af}sf] b'j}lt/ uf]hf -lehfOPsf] lrp/fsf] r}To h:tf] cfsf/_ x'G5 . cfu+wls+df lxGb'x¿n] jh|sf] ;6\6f v8\u n]V5g\ . cfu+wls+sf] lrq rf/}lt/ sj+ / e}/jsf 6fpsfx¿ n]lvPsf x'G5g\ . cfu+wls+ n]lv;s]kl5 h;n] agfpg nufPsf] xf], To; kl/jf/n] snMk"hf -efsn u/]sf] k"hf_ lnP/ lrqsf/sf] 3/ cfpF5g\ . To; snMk"hfn] cfu+wls+df k"hf ul/G5 . k"hf ;DkGg ePkl5 lrqsf/n] cfu+wls+df b[li6 lbOG5 . of] k"hf ;DkGg u/L b[li6 /flv;s]kl5 cfu+wls+ s;}n] klg x]g'{ x'Fb}g eGg] hgljZjf; /x]sf] 5 . klxnf wls+lrq n]Vg nufpFbf wls+lrq n]Vg nufpg]n] ;aeGbf klxnf cfu+BMnfO{ Ps efu 5'6\ofP/ lrqsf/ / cfk"mx¿n] klg

;do\alh vfg] ul/GYof] . cfhsn of] rng x/fO;s]sf] 5 .

wls+lrq cfudsf]7fdf dfq geO{ gf;MBM -g[ToZj/nfO{ dfgjLo ¿ksf] ;6\6f

;fª\s]lts lrx\gdf ltg g]qsf k|tLs ltg cf]6f Kjfnx¿ x'G5g\ . o;nfO{ g]jf/x¿ …gf;MBMÚ elgG5 . g]jf/x¿sf] a:tL ePsf

x/]s 6f]ndf of] :yfkgf ul/Psf] x'G5 .

sf7df8f}Fleq alQ; 6f]nsf Hofk"x¿n] x/]s jif{ gf;MBMsf] k"hf ug{ wls+lrq agfpg nufpg] u5{g\ . o;nfO{ g]jf/x¿ …gf;Mwls+Ú elgG5 . gf;Mwls+df ;a}eGbf dfly sj+rf kfFr cf]6f, lgnf] / /ftf] sdnsf k"mnx¿ rf/ cf]6f

xlnk6 lrq

sirjanĀ 112

n]lvPsf x'G5g\ . oL lrqx¿sf d'lg bfofF afofF rGb| ;"o{, g[To]Zj/sf] k|tLs ltg g]q ;lxtsf] ltg 7fpFdf, lardf /ftf] / lgnf] sdnsf k"mnx¿ n]lvPsf x'G5g\ . oL lrqsf tn ltg g]qsf] d'lg ufrf] ;lxtsf] ltg cf]6f lqz"n, sdnsf] k"mnd'lg ceo d'b|f, ;aeGbf tn ;;fgf uf]hf x'G5g\ .

gf;MBMdf wls+lrq aln lbgsf nflu k|of]u ul/G5 . gf;MBMsf] cufl8 aln r9fpg gx'g] ePsfn] gf;MBMnfO{ wls+lrqn] 5f]k]/ dfq aln lbg] ul/G5 . o;/L gf;MBMdf aln lbgsf nflu wls+lrqsf] k|of]u ul/g] :ki6 x'G5 .

x/]s jif{ aln lbgsf nflu gofF wls+lrq clgjfo{ ¿kdf agfpg'k5{ .

afx| jif{df Ps k6s d[0dod"lt{ agfpg]

j|mddf ljZjsdf{sf] k|tLssf ¿kdf wls+lrq agfOG5 . afx| jif{df k|of]u ul/g] ljZjsdf{sf] wls+lrq dfly sdnsf k"mnx¿

/ vKk/, ktfM, bfofF afofF lgnf] / /ftf] k"mn, To;sf] tn ltg g]q, To;sf] tn lardf v8\u, bfofF afofF laGb' d'b|f / kfq ;dfPsf] xftsf] hf]8L x'G5 . o;sf] bfofF afofF uf]hf x'G5 .

xlnk6 lrq

ljz]iftM lnª\uf]df em'G8\ofOg] k6nfO{ …xlnk6Ú elgG5 . lnª\uf] p7fpg] rng

ePsf] g]jf/ a:tLx¿df lnª\uf] p7fpg]

hfqfsf] cjlwdf dfq lnª\uf]d} xlnk6 lrq klg kmx/fOG5 . of] s]xL ;dosf] nflu -Ps lbg / sf7df8f}Fdf OGb|hfqfsf] cjlwe/ jf cf7 lbg_ dfq lnª\uf]

p7fp~h]n;Dd dfq k|bz{g ul/G5 . 5f]6f] cjlwsf nflu dfq kmx/fOg] x'gfn] xlnk6 lrqaf/] c¿ lrqsf] h:tf] cWoog ug{

;lhnf] 5}g . xlnk6df rGb| ;"o{ jf u0f]z / s'df/;lxt b]jtfsf k|tLs

ufl5sf lrq Onf+lrq

sirjanĀ 113

lrx\gx¿ jf ci6dª\un lrx\gx¿, st} st} ci6lbUkfn cyjf b; lbUkfnsf k|tLs lrx\gx? agfOg] s'/f g/]Gb| lrqsf/n] atfPsf 5g\ -cGt/jftf{ M g/]Gb| lrqsf/_ . clkt' :yfgcg';f/ lrqx? klg km/s km/s x'G5g\ . x/]s jif{ eStk'/sf] la:s]6 hfqfdf kmx/fOg] xlnk6 lrqdf ;a}eGbf dfly l;+xsf] lrq, l;+xn] Wjhf af]s]sf], o;sf] tn j|mdzM e}/j, u0f]z, rj|m, >LjT;, sdnsf] k"mn, Wjhf, snz, rfd/, df5f, 5q, zª\v, a]tfn -e}/jsf] jfxg_ / dn -;k{ jf 8«fOug h:tf]_ sf lrq /x]sf 5g\ -hª\ud, k[= !&–!*_ . x/]s jif{ sf7df8f}Fdf OGb|hfqfsf] cjlwdf 78\ofOg] lnª\uf]df eg] ;a}eGbf dfly s'df/, To;kl5 j|mdzM >LjT;, sdnsf] k"mn, Wjhf, snz, rfd/, df5f, 5q, zª\v, ;'uf, rj|m, jh|, ;"o{, v8\u, 306f, u|Gy, cflb :ki6 b]lvG5g\ . To;kl5sf lrqk6 a]l/Psf] x'gfn] ToxfF s] s] cª\lst 5g\, eGg ;lsGg . lnª\uf] 9fln;s]kl5 xlnk6 lrq klg u'l7of/x¿n] nfg] ul/G5 . xlnk6 lrq lnª\uf] p7fpg] a]nf afx]s cGo a]nf k|b{zg gul/g] / a]l/Psf] xlnk6 lrq vf]Ng gx'g] lgodn] ubf{ klg o;af/] uxg cWoog ug{ d'l:sn 5 . s'g} bftfn] gofF xlnk6 lrq kmx/fpg] OR5f ePdf ;f]xL xlnk6 lrq g} kmx/fOG5 . k'/fgf xlnk6 lrq / gofF xlnk6 lrq ;a} u'7Lsf] £ofDkf]df ;'/lIft /flvPsf x'G5g\ . ;a}eGbf kl5sf] xlnk6 lrqnfO{ dfq lnª\uf]df kmx/fOG5 . £ofDkf]df ePsf] xlnk6 lrqnfO{ aflx/ lgsfNg' x'Fb}g eGg]

dfGotfn] ubf{ tL xlnnk6 lrq £ofDkf]leq g} s'lxP/ w'nf] eP/ hfG5g\ . To;}n] ubf{ xlnk6 lrqsf] P]ltxfl;stf / o;af/] uxg cWoog ug{ d'l:sn 5 . tyflk xlnk6 lrqn] xfn;Dd klg lg/Gt/tf g} kfO/x]sf] 5 .

xlnk6 lrq rf}8fO sk8f a'Gg]x¿df e/ k5{ . o;sf] nDafO eg] sl/a @$ lkm6 hlt x'g] g/]Gb| lrqsf/n] atfPsf 5g\ . eStk'/sf] la:s]6 hfqfdf lnª\uf]df kmx/fOg] b'O{ cf]6f xlnk6 lrqdWo] Pp6f $* lkm6 nDafO / csf]{ $% lkm6 nDafO tyf rf}8fO eg] @! OGrsf] x'G5 -pxL, k[= !&–!*_ . k6df nufOPsf] c:t/ -k|fOd/ x\jfO6_ ;'s]kl5 s'g lrq agfpg] xf], ;f]xLcg';f/sf] /]vfª\sg u/]/ /ªx¿ el/G5g\ . cGTodf afx\o /]vfx¿ sf]l/G5g\ . xlnk6 lrqdf klg c¿ lrqdf h:t} kfFr cf]6f /ª g} k|of]u x'G5 .

ufl5sf lrq

sf7df8f}F pkTosfdf x/]s jif{ s'g} lglZrt

lbg jf s]xL lbg b]jL b]jtfsf] hfqf ug]{ k/Dk/f /x]sf] 5 . hfqf ug]{ a]nf b]jtfnfO{ v6df /flvG5 / v6nfO{

af]s]/ lglZrt :yfgx?df 3'dfpg] rng

/lxcfPsf] 5 . o;/L b]jtf v6df /fv]/ hfqf ug]{ a]nf v6sf] k5fl8tk{m sk8fdf h'g b]jtfsf] hfqf ul/Psf] xf] ;f] b]jtfsf] lrq jf k|tLsfTds lrx\g n]lvPsf] x'G5 .

pSt lrq;lxtsf] sk8fnfO{ …ufl5sf lrqÚ elgG5 . of] lrq sk8fdf l;w} n]lvG5 .

sirjanĀ 114

Onf+ lrq

ufl5sf lrq v6sf] k5fl8 /flvG5 eg]

b]jtfsf] k|ltdf /flvg] v6sf] leqk6\l6

dflylt/ /xg] lrq;lxtsf] sk8fnfO{ …Onf+

lrqÚ elgG5 . o;df klg sk8fdf b]jtfsf]

lrq jf ;fª\s]lts lrq n]lvG5 . o;df

klg ufl5sf lrqdf h:t} sk8fdf l;w}

lrq n]lvG5 . o; lrqdf kfFr cf]6f dfq

/ªsf] k|of]u ug'{k5{ eGg] 5}g .

lgisif{

…k6Ú zAbsf] cy{ ;+:s[t / g]kfnL efiffdf

sk8f xf] . sk8fdf n]lvPsf] lrqnfO{

;+:s[t efiffdf …k6lrqÚ elgG5 . g]jf/x¿n]

sk8fdf wfld{s lrq n]lvPsf]nfO{ …kf}efMÚ,

ltAatLx¿n] …yfGsfÚ / klZrdfx¿n] …6+sfÚ

elgG5 . sk8fsf] cfsf/ k|sf/ / lrq

n]Vg] ljz]iftfsf cfwf/df k6lrqnfO{ ;ft

lsl;ddf ljefhg ug{ ;lsG5 — kf}efM

lrq, k6d08n, lan+kf}, wls+lrq, xlnk6

lrq, ufl5sf lrq tyf Onf+ lrq .

;Gbe{ u|Gy ;"rL

cfK6], jfdg lzj/fd, ;+:s[t–lxGbL sf]z, -;g\ !(^^,

k|yd ;+:s/0f / ;g\ !(^( bf];|f] ;+:s/0f_ k"gM d"lb|t,

jf/f0f;L M df]tLnfn agf/;Lbf;, ;g\ @))&

u'x\o;dfhtGq

cfo{>Lu'x\o;dfhtGqd\ tyf cfrfo{rGb|sLlt{

s[t u'x\o;dfhtGqk|bLkf] Bf]tg6Lsf if6\sf]6L

JofVof;lxt, -cg'= lbJojh| jh|frfo{,

nlntk'/ M nf]6; l/;r{ ;]G6/, g]= ;+= !!@!

lrqsf/, cd/, k/Dk/fut / cfw'lgs lrqsnfsf] Ps ´ns, sf7df8f}“ M g]kfn /fhsLo k|1f–k|lti7fg, lj=;+= @)#$

lrQw/ …x[boÚ, g]kfn efiff ;flxToof hftM, sflGtk'/M g]kfn efiff kl/ifb\, g]= ;+= !)(!

hª\ud, e/tdl0f, …xlnk6 lzjWjhf xf], gfugflugL xf]Og, k[= !&–!*,Ú vf]k[ª, lj=;+= @)^^, jif{ !*, cª\s !^

tfd|fsf/, zflGt/Tg, eStk'/ /fli6«o ;ª\u|xfnosf] kf}efMlrq Ps cWoog, :gftsf]Q/ zf]wu|Gy ck|sflzt, sLlt{k'/ M g]kfnL Oltxf;, ;+:s[lt / k'/ftTTj s]Gb|Lo ljefu, lj= ;+= @)%^

kGt, dx]z/fh, …O6'+axfnsf] k|1fkf/ldtfÚ, k[= *&–#%$, k"l0f{df, !#$ k"0ff{ª\s, #$ jif{, @ cª\s

+k'+ -lrqsf/_, k|]ddfg, k/Dk/fo\ RjHof ljlw, lsk"M g]kfnefiff cfsfb]ld, g]= ;+= !!@&

ah|frfo{, h'4/Tg, t'+Vof]of dxfsfnofu' ;+lIfKt kl/ro, o]F M ;'gs]z/L ah|frfo{, g]= ;+= !!!*

ah|frfo{, ab|L/Tg, t'+ Vof]of dxfsfn, o]F M sfZok/Tg ah|frfo{, g]= ;+= !)(#

afª\ub]n, n}gl;+x, k|frLg g]kfnL lrqsnf, sf7df8f}“ M g]kfn /fhsLo k|1f–k|lti7fg, lj= ;++= @)#$

Arian, Lydria, The Art of Nepal, Kathmandu: Sahayogi Prakashan, 1997

Bajracharya, Rajendra, 'Symbolic Meaning of the

Mandala and its Significance', @%$( cf}“ a'4 hoGtL :j0f{ dxf]T;j :dfl/sf

Das, Sarat Chandra, (Edi. Graham Sandberg and A. William Heyde), A Tibetan English Dictionary with Sanskrit Synonyms, Delhi: Motilal Banarsidass, 1983.

Hutt, Micheal, Nepal, A Guide to the Art and Architecture of the Kathmandu Valley, Gardmore: Paul Strachan-Kiscadale Ltd. 1994.

sirjanĀ 115

8f= h'g' af;'snf /l~htsf/

8f= h'g' af;'snf /l~htsf/ snf tyf af}4 cWoogsf lj1sf ¿kdf kl/lrt l5g\ . Oltxf; tyf af}4 cWoog ljefu, kf6g ;+o'St SofDk;df pkk|fWofks kbdf sfo{/t 8f= /l~htsf/ ;]G6/ km/ cf6{ PG8 l8hfOg, sf7df8f}“ ljZjljBfnodf lelhl6ª k\mofsN6L klg x'g\ . pgsf] …rf?dlt :t"kÚ, …wDdb"tÚ / …eStk'/sf] k~rbfgÚ zLif{ssf cg';Gwfgd"ns k':tsx¿ k|sflzt 5g\ . o; cltl/St pgsf n]v /rgfx¿ ljljw /fli6«o Pjd\ cGt/f{li6«o hg{n tyf kq klqsfx¿df k|sflzt 5g\ .

Lienhard, Sigfried, Die Absenteuver Des Kaufrnannns Simhala, Berlin: Museums Fur Indische Kunst, 1985.

Lienhard, Siegfried, Die Legende Vom Prinzen Visvantara, Berlin: Museum Fur Indische Kunst, 1980.

Lienhard, Siefried, The Divine Play of Lord Krishna: a Krishnalila painting from Nepal, with thirty-one poems in Newari, Bonn: VGH-Wiss.-Verl., 1995

Pal, Pratapaditya, Art of Nepal, Calfornia : The Los Angeless County Museum of Art, 1985.

Pal, Pratapaditya, The Arts of Nepal, part II, Leiden: E. J. Brill, 1978.

Regmi, Dilli Raman, Medieval Nepal, Vol. II, New Delhi: Rupa Co., 2007( 1965), Reprint.

Shakya, Min Bahadur, Sacred Art of Nepal, Kathmandu : Handicraft Association of Nepal, 2000.

Shakya, Min Bahadur, Paubha Painting Nepal, Fukuoka Asian Art Museum Catalouge, 2nd Jan-22nd March, 2011.

sfo{kq d's'Gb/fh cof{nåf/f …g]kfnL lrqsnfsf] k[i7e"ldÚ zLif{sdf g]kfn k|1f–k|lti7fgdf k|:t't sfo{kq

sirjanĀ 116

tanf jfbg M snf, z}nL tyf k/Dk/f

gu]Gb|k|;fb Gof}kfg]

n]v;f/tanf jfbgsf] k/Dk/f O:jL ;+jt\ ;qf}“–c7f/f}“ ztfAbLb]lv ;'? ePsf] dflgG5 . ljleGg sfnv08sf cg]sf}“ snfsf/sf] lg/Gt/ ;fwgfsf tyf lk“9Lkl5 lk“9Lsf u'?–lzio k/Dk/fsf] kmn:j¿k g} cfh tanfdf ljleGg 5 cf]6f ‘3/fgf’ cyf{t\ ‘afh z}nL’ :yflkt x'g ;s]sf] 5 . tanf jfbgsf] Oltxf;sf ;Gbe{df ljleGg ljåfg\x¿n] cfcfk\mg} ts{ / ljrf/ k|:t't u/]sf 5g\ . o;sf] Oltxf;sf] cWoogsf j|mddf k|frLg lrq, clen]v tyf u|Gyx¿nfO{ klg cfwf/ dfGg ;lsG5 . tanfdf ljleGg afh cyjf z}nLsf cfcfk\mg} ljz]iftfx¿ 5g\ / ltgnfO{ cg';/0f ub}{ km/s km/s z}nL / 3/fgfsf tanfjfbsx¿n] cEof; ub}{ cfPsf 5g\ . tbg'¿k g} pgLx¿n] cfk\mgf 1fg / l;knfO{ lj:tf/ ub}{ cfPsf 5g\ . ;dosf] j|md;“u} tanf jfbgsf] If]q kl/is[t Pjd\ kl/dflh{t x'“b} uO/x]sf] 5 .

kl/ro

snfsf k|fof]lus kIf Ps lk“9Laf6 csf]{ lk“9Ldf x:tfGt/0f x'“b} uP/ g} kl/is[t Pjd\ ljlzi6 z}nLsf] lgdf{0f x'G5 . oxL k|lj|mofcg';f/ g} ufog, jfbg / g[To ljwfsf ljljw z}nLx¿ ljsl;t x'“b} uPsf] dflgG5 .

z}nLsf] lgdf{0f / ljsf;

snfsf s'g} klg ljwfsf z}nL lgdf{0fdf

snf ;fwssf] lg/Gt/sf] nug, pgsf] sNkgfzLntf, pgsf] k|jt{gfTds k|j[lQ / k|ltefsf] ;jf]{kl/ e"ldsf /x]sf] x'G5 . o; cltl/St :yfgLo Pjd\ If]qLo ;+:s[ltsf]

k|efj, hg cle?lr tyf ;dsfnLg snfsf/sf] ;+;u{sf] k|efj klg z}nLsf] ljsf;df 7'nf] ;xfos /xG5 . oxL oyfy{

tanf jfbgsf] z}nLsf] ljsf;df klg nfu' x'G5 .

tanf jfbg snfdf lbNnL, nvgp, km?Vvfjfb, agf/;, ch/f8f / kGhfa cflb :yfgsf If]qLo k|efjnufot hg cle?lr tyf kvfjh, 9f]ns, gu8f cflb jfBoGqx¿sf] k|efj /x]sf] kfOG5 . d"ntM tanf eg]sf] ;ª\ut jfBoGq ePsf sf/0f klg tL :yfgsf ufos, uflosf, tGqsf/ tyf g[Tosf/x¿sf z}nLsf] klg k|efj o;df k/]sf] kfOG5 .

pbfx/0fsf ¿kdf tanf ;ª\utsf sf/0f nvgpdf sTys g[Tosf], agf/;df 7'd/L ufogsf] k|efjsf sf/0f :jtGq tanf

jfbgdf ltgsf] k|efj k/]sf] dfGg

;lsG5 .

O:jL ;+jt\ ;f]x|f}“ ztfAbLsf lrqx¿df

g[Tosf] ;fydf tanf jfbg ub}{ u/]sf b[Zox¿ cª\lst 5g\ . sK6fg ljn8{sf] pNn]vcg';f/ pGgfO;f}“ ztfAbLdf g[Tosf

sirjanĀ 117

;fy tanf jfbgsf] ;ª\utsf] k/Dk/f lyof] -ljn8{, k[= ^#_ . gjfa cf;k'm2f}nfsf] o''u -c7f/f}“ ztfAbLsf] pQ/f4{df aVz" / ;nf/Lsf] tanf jfbg z}nLsf] ljz]iftfaf/] pNn]v kfOG5 . To;} ;dosf pGgfjsf 3'/g vf“ gSsf/rLsf] lziosf ;fy aVz' vf“sf] tanf jfbgsf] k|lt:kwf{sf] pNn]v

klg kfOG5 . oL pNn]vx¿af6 To; ;do tanf jfbgsf] z}nL :jtGq ¿kdf ljsl;t eO;s]sf] lyof] eGg] 1ft x'g cfp“5 -s/d

Odfd, O= ;+= !(@%, k[= $*_ .

ljleGg k|efj

tanf jfbg k|ltli7t x'g'eGbf klxn] kvfjh / 9f]ns jfbg ljlzi6 jfbg

snfsf ¿kdf km:6fO;s]sf lyP . jfBoGqsf ¿kdf tanfsf] nf]slk|otf la:tf/ x'g'df kvfjh jfbssf] jfbg

z}nLsf] ;d]t ljz]if of]ubfg /x]sf] lyof] . pbfx/0fsf ¿kdf lbNnLsf] tanf jfbg k/Dk/fnfO{ kl/is[t ug{df l;4f/ vf“ kvfjhL tyf lztfa vf“ kvfjhLsf] of]ubfg /x]sf] dflgG5 . kGhfasf tanfjfbgsf] lzIff k/Dk/fnfO{ nfn ejfgLbf; kvfjhL, s'bpm l;+x tyf gfyåf/]sf] kvfjhL;“u hf]8]sf] kfOG5 .

o; ;Gbe{df xlsd d'xDdb s/d xdfdsf]

pNn]vgLo e"ldsf /x]sf] dflgG5 . tanfsf] k||f/lDes jfbg z}nL kvfjh jfbgsf] z}nLb]lv k|efljt lyof] . ljleGg …cjg4 jfBÚ cyf{t\ 5fnfaf6 df]l8Psf

afhfsf ljz]iftf / k|efjåf/f g} tanf jfbgsf] snfdf ;f}Gbo{ j[l4 x'“b} uPsf] dfGg ;lsG5 .

tanf xftåf/f cf3ft u/]/ ahfOg] cjg4

l;h{gf sn]h ckm kmfOg cf6{;\sf ljBfyL{x¿nfO{ tanf jfbgsf] k|lzIf0f lb“b} n]vs

sirjanĀ 118

jfB xf] . o;sf] d"n ;DaGw k|frLg ¿kdf …lqk':s/Ú jfB;“u hf]l8Psf] 5 . ctM of] jfbg snfsf] ljsf;nfO{ a'‰gsf nflu e/t jl0f{t lqk':s/sf] jfbg ljlw cWoog ;xfos l;4 x'G5 .

k|frLg k|:t/ d"lt{df lrlqt cjg4 jfBsf b'O{ ¿k pmWj{s tyf cflnª\Uo alh/x]sf] h:tf] x:td'b|faf6 o; jfBsf] jfbgdf b'O{ k|sf/sf] x:tf3ft d'Vo /x]sf] l;4 x'G5 . tLdWo] Pp6fdf xTs]nfsf] k|of]u / csf]{df cf}“nfsf] k|of]u x'G5 . e/td'lgåf/f jl0f{t lqk':s/ jfbgdf k~rkfl0fk|xtsf] ljlwsf af/]df ljrf/ ug]{ xf] eg] tanf jfbgsf] ljlwdf of] k|lj|mof d"n ¿kdf ljBdfg 5 . e/tn] k~rkfl0fk|xtsf gfd o; k|sf/ atfPsf 5g\ — ;dkfl0f, cw{;dkfl0f, cwf{w{;dkfl0f, kfZj{kfl0f, k|b]lzgL -e/t, !(^$, Znf]= ;= $)_ . 8f= nfndl0f ld>n] o;sf] JofVof o; k|sf/ u/]sf 5g\ —

;dkfl0f M ;dtn xy]nfåf/f k|xf/ ug'{

cw{;dkfl0f M cfwL ;dtn xy]nfåf/f k|xf/

ug'{

cwf{w{;dkfl0f M rf}yfO ;dtn xy]nfåf/f

k|xf/ ug'{

kfZj{kfl0f M xy]nfsf] k5fl8 åf/f k|xf/ ug'{

k|b]lzgL M cf}“nfsf] cu|efuåf/f k|xf/ ug'{ -ld>, !(&#, k[= (@_ .

e/tåf/f jl0f{t k~rkfl0fk|xtdf ;"Id ¿kdf

ljrf/ ug]{ xf] eg] kfl0fk|xt cyf{t\ xftsf] k|of]udf lgDglnlvt b'O{ d'Vo ljlw /x]sf 5g\ M

xftsf] k|of]u M o;cGtu{t ;dkfl0f, cw{;dkfl0f, cwf{w{;dkfl0f / kfZj{kfl0fsf] k|of]u x'G5 .

cf}“nfsf] k|of]u M o;cGtu{t k|b]lzgLsf] k|of]u x'G5 .

dWosfndf cfP/ cjg4 jfBdf oxL kfl0fsf] k|of]usf b'O{ d"n e]båf/f g} yfk / rf“6Lsf] k|of]usf] ljlw ljsl;t ePsf] lyof] . cfh klg d[bª\u / tanf jfbgdf kfl0f k|of]usf] oxL b'O{ d'Vo ljlw /x]sf 5g\ . o; jfBcGtu{t yfksf] k|of]udf e/tåf/f jl0f{t kfZj{kfl0fnfO{ 5f]8]/ af“sL rf/ kfl0fsf] k|of]u cfh klg b]Vg ;lsG5 .

e/tn] lqk':s/ jfbgsf] Jofjxfl/s ¿knfO{ -lqk|xf/_ ltg k|xf/sf] gfdåf/f o; k|sf/

atfPsf 5g\ — lgu[xLt, cw{u[xLt, d'St -e/t, !(^$, Znf]= ;= $)_ .

lqk|xf/ -ltg k|xf/_ sf] JofVof ub}{

8f= nfndl0f ldqåf/f …lgu[xLtÚ sf] cy{df …lgolGqt…, …cw{u[xLtÚ sf] cy{df …cw{lgolGqtÚ / …d'StÚ sf] cy{df …v'nf…

zAbsf ¿kdf Jojxf/df NofPsf lyP . 8f= ld>sf cg';f/ lqk|xf/sf] :ki6Ls/0f o;k|sf/ 5 —

lgu[xLt -lgolGqt_ M o;df aGb Wjlg;“u}

sirjanĀ 119

u'~hg klg xf];\, h:t} M tanfsf] af]n s, ls6, ts, lt6, lt/ls6, st\ cflb k6fIf/nfO{ lng ;lsG5 -ld>, !(&#, k[= (@_ .

cw{lgu[xLt -cw{lgolGqt_ M o;df Wjlg cw{u'l~ht xf];\, h:t} M tanfsf] af]n gf, tf cflb k6fIf/nfO{ lng ;lsG5 .

d'St M o;df Wjlg k"0f{ u'~ho'St / v'nf af]n xf];\, h:t} M tanfsf] af]n u, lb, wf, wL+, lbg, lb+u, tf -yfk_ cflb k6fIf/nfO{ lng ;lsG5 .

e/tåf/f jl0f{t lqk|xf/df ljrf/ ubf{ dWosfnLg cjg4 jfBsf] jfbg df ahfOg] …aGb af]nÚ / …v'nf af]nÚ e/tåf/f jl0f{t j|mdzM lgu[xLt, cw{lgu[xLt / d'St k|xf/åf/f ljsl;t ePsf] lyof] eGg] 1ft x'G5 . o;dWo] lgu[xLt / cw{lgu[xLt k6fIf/ kvfjh, 9f]ns / tanf cflb cjg4 jfB sf] aGb cyjf cw{u'l~ht af]nsf ¿kdf / d'St k6fIf/ v'nf af]nsf] ¿kdf ljsl;t ePsf lyP .

:jfefljs ¿kdf xTs]nfåf/f k|of]u x'g] d'St k|xf/sf] v'nf af]ndf u'~h w]/} lyof] . ToxL kl5 uP/ yfk afh, v'nf afhsf] kof{osf ¿kdf :yflkt ePsf] lyof] . :jefjtM

rd{d'vsf] lsgf/lt/ cyjf rf“6Lk6\l6 cf}“nfsf] k|of]u lgu[xLt cyjf cw{lgu[xLt k|xf/sf] af]ndf u'~h aGb jf cfwf ePsf

sf/0fn] kl5 uP/ rf“6L jf lsgf/ afh, aGb afhsf] kof{osf ¿kdf :yflkt ePsf]

lyof] . o; ztfAbLsf ;'k|l;4 kvfjhL nfn e[u'gfy jdf{sf] sygcg';f/ k/Dk/fut ¿kdf d[bª\usf] afh b'O{ k|sf/sf 5g\ — yfk / rf“6L -jdf{, !((%, k[= (_ . Jofks b[li6åf/f cjg4 jfBsf] oL b'O{ k|d'v jfbg ljlwsf] k|of]u :ki6 ¿kdf k|frLg k|:t/ snfdf / dWosfnLg lrqx¿df cª\lst tanf jfbssf] x:td'b|fsf b[Zo b]Vg ;lsG5 .

oBlk lqk':s/, låk':s/ of cfª\lss jfB jfbgsf cg]s k|sf/ k|:t/ snf jf lelQlrqx¿df klg eUgfjz]ifsf ¿kdf b]Vg ;lsG5 .

o; k|sf/ k|frLg / dWosfnLg cjg4 jfB ljz]iftM cfª\lss / To;af6 ljsl;t kvfjh tyf pmWj{d'vL låk':s/ / To;af6 ljsl;t tanfsf k/Dk/fut jfbg ljl-wdf yfk / rf“6Lsf] k|of]uåf/f b'O{ afhsf] ljsl;t k/Dk/f b]vfk/]sf] kfOG5 . ljleGg If]qdf oxL b'O{ d"n jfbg ljlwåf/f cjg4 jfBsf] ljljw jfbg z}nLx¿ ljsl;t ePsf]

a'lemG5 .

tanf jfBsf] jfbg z}nLsf] cy{df nf]sefiffsf ¿kdf …afhÚ eGg] zAb

;ª\uLt If]qdf k|rlnt 5 . o;sf] Jo'TklQ

…jfBÚ zAbaf6 ePsf] xf] . ahfpg ldNg] / aHg] pks/0fsf cltl/St ahfpg] k|lj|mofnfO{ klg ;+:s[t efiffdf …jfBÚ

elgG5 . ctM …jfBÚ zAbaf6 …afhÚ zAbsf] Jo'TklQ ePsf] xf] . o;k|sf/ jfbgdf ljlzi6 x:tk|If]ko'St jfbg ljlwnfO{ …afhÚ

sirjanĀ 120

elgPsf] 5 .

x:tk|If]kåf/f pTkGg k6fIf/sf] lgsf; / To;sf] ;+of]hgaf6 ljlzi6 z}nL lgdf{0f ePsf] lyof] . of] jfbg z}nLsf] e]b ljlzi6 3/fgfdf ?9sf] ¿kdf /x]sf] lyof] . sfnfGt/df ToxL 3/fgf afhsf] gfdn] k|l;4 ePsf] xf], h:t} M lbNnL afh, nvgp afh, agf/; afh, kGhfa afh cflb .

o; k|sf/ tanf jfbgsf] ;Gbe{df …afhÚ zAb k|foM b'O{ cf]6f cy{n] Jojxf/df k|of]u ePsf] kfOG5 — yfk k|wfg / rf“6L÷lsgf/ k|wfg -jfbgsf] Jofks cy{df / k|To]s 3/fgfsf] ljlzi6 z}nLsf] cy{df_ .

tanfsf ;Gbe{df afh k/Dk/fcg';f/ yfk / rf“6Lsf ¿kdf ljsl;t ePsf] lyof] . oxL b'O{ cf]6f d'Vo z}nLnfO{ tanf jfbgsf b'O{ k|d'v c+z dflgG5 . ltgnfO{ …k"/a afhÚ / ÚklZrd afhÚ elgG5 . kl5 uP/ k"/a afhnfO{ v'nf af]nsf] afh / klZrd afhnfO{ rf“6L cyjf lsgf/sf] afh

eg]/ lrlgg yflnof] . k"/a afhcGtu{t

agf/;, nvgp, km?vfjfb k5{g\ eg] klZrd afhcGtu{t lbNnL, ch/f8f, kGhfa k5{g\ .

:y'n ¿kdf oL afhcGtu{t ljleGg 3/fgfsf tanfjfbsx¿n] cfgf] k|ltef, af]n ;+/rgf tyf jfbg tÎjsf]

cfwf/sf ¿kdf ;"Id snfTds ljz]iftf v8f u/]sf lyP . tL 3/fg]bf/ jfbsåf/f

g} kl5 uP/ tanf jfbgsf] cg]sf}“ ljlzi6 z}nLx¿ ljsl;t ePsf] kfOG5 . sfnfGt/df klZrd afhsf] ¿kdf lbNnL / ch/f8f 3/fgf ljsl;t ePsf lyP eg] k"/a afhsf ¿kdf nvgp, km?Vvfjfb, agf/; 3/fgf ljsl;t ePsf lyP . o; cltl/St kGhfadf tanf jfbgsf] Ps csf]{ afh :jtGq ¿kdf ljsl;t ePsf] kfOG5 . of] kl5 uP/ kGhfa 3/fgfsf] afhsf] gfdn] k|l;4 eof] . oL ljleGg 5 3/fgfsf afh -z}nL_ sf] j0f{g o;k|sf/ /x]sf] 5 M

lbNnL afh M tanf jfbgsf] of] jfbg z}nL lbNnLdf ljsl;t ePsf] lyof] . To;}n] o;nfO{ lbNnL afh elgPsf] xf] . o; afhdf bfof“ tanfdf th{gL / dWodf cf}“nfsf] k|of]u w]/} dfqfdf ul/G5 . b'O{ cf}“nfsf] k|of]usf cltl/St o; afhdf d'vrd{df lsgf/ cyjf rf“6Lsf] af]nsf] k|of]u k|r'/ dfqfdf ul/G5 . To;}n] o;nfO{ lsgf/sf] afh jf b'O{ cf}“nfsf] afh klg elgG5 . Wjlgsf] ¿kdf o;df k|foM aGb /

cfwf v'nf af]nsf] k|of]u /xG5 cyf{t\ o; afhdf lgu[xLt / cw{lgu[xLt k|sf/sf af]nsf] k|of]u ljz]if ¿kdf ul/G5 .

lbNnL afhdf lw6, lt6, lt/ls6, wftL, wfu]gwf, lwg lug, ltg lsg cflb af]nsf] k|wfGo /x]sf] 5 . k]zsf/sf] jfbg o; afhsf] dxÎjk"0f{ ljz]iftf xf] . o; afhdf

ut, 6's8f, 5f]6f] 5f]6f] nosf/L o'St df]x/f, d'v8f / ltxfO{sf] k|of]u w]/} ul/G5 . lbNnL afhdf aHg] sfobf k|foM

sirjanĀ 121

rt:q hftLdf /rgf ul/Psf] x'G5 .

o;sf] sfobf /rgfsf] Pp6f pbfx/0f —

lqtfn sfobf -lbNnL afh_ M

wflt 6wf lt6 wfwf . lt6 wfu] ltgf lsgf .

x @ tflt 6tf lt6 tftf . lt6 wfu] lwgf lugf .

) #

ch/f8f afh M pQ/ k|b]zsf] d]/7 lhNnfdf ch/f8f eGg] ufp“ 5 . Toxf“ a:g] tanfjfbsåf/f o; afhsf] ljsf; ePsf] dflgG5 . To;}n] tanf jfbg sf] of] afh kl5 uP/ ch/f8f afhsf] gfdaf6 k|l;4 eof] .

ch/f8f 3/fgfsf] ;+:yfks sNn' vf“ / ld? vf“ b'O{ efO lbNnLdf tanf jfbg l;Sy] . To;}n] ch/f8f afhdf lbNnL afhsf] ;Dk"0f{ ljz]iftf kfOG5 . ch/f8f afhdf af]nsf] lgsf;df cf}“nfsf] k|of]u lbNnL afhsf] h:t} ul/G5 / sfobfsf]

af]nsf] ;+of]hg sl7g / k|foM cf8L -8]9u'g÷ltu'g no_ df ul/G5 . tanf jfbgsf ;a} afhdf sfobfsf] b'O{ efu

x'G5 . ltgnfO{ v'nf / aGb efu

elgG5 . ch/f8f afhsf] sfobfsf] k|To]s efusf] cGTodf k|foM Ps ljlzi6 cltl/St af]n ;d"xnfO{ hf]8\g] ul/G5 .

c/+ljGb d"nuf“js/n] cfgf] u|Gy …tanfÚ df ch/f8f afhsf] ;Gbe{df eg]sf 5g\ — ch/f8fsf] tanf jfbgdf yf]/ax't k"/a

afhsf] ut÷tf]8fsf] k|efj kgf{n] Toxf“sf

snfsf/n] sfobfsf] ut÷tf]8fsf] cª\u ;dGjo u/]/ cfgf] tanf jfbg ;d[4 agfPsf lyP .

ch/f8f afhdf afof“sf] k|of]u 3'dfp/f] kf/fdf k|of]u ul/G5 . To;}n] ch/f8f afhnfO{ afof“ k|wfg dflgPsf] 5 . ch/f8f afhdf k|foM lgDglnlvt af]nsf] k|of]u k|wfgtfsf ;fy ul/G5 M 3]gs, ltGg, 3]ts, sts, 3]3]]gs, lwg lwgflug cflb .

o;sf] sfobf /rgfsf] Pp6f pbfx/0f —

v'nf efu —

lw˜Gg wfu]g wf˜˜ wfu]g . wfts 3]ts lwglw gflug . x @ wfu]lt /ls6 lw˜Gg wfu]g . wfts w]ts lt+glt+ gflsg ) #

aGb efu —

lt+˜Gg tfs]g tf˜˜ tfs]g . tfts s]ts lt+glt gflsg . x @ wfu]lt /ls6 lw˜Gg wfu]g . wfts 3]ts lwglw gflug

) #

nvgp afh M tanf jfbgsf] k"/a afhdf nvgp jfhnfO{ k|d'vtfsf] ¿kdf dflgPsf] 5 . o; afhdf d'St k|xf/åf/f aHg] v'nf

af]n ;d"xsf] k|wfGo /x]sf] 5 . ctM o;

afhdf ahfOg] af]n /rgfx¿ hf]8\bf/ / u'~hbf/ x'G5 . o; afhsf] afbg z}nLdf bfof“ tanfdf th{gL / dWodf cf}“nfsf cltl/St cgfldsf cf}“nfsf] klg k|of]u

ul/G5 .

sirjanĀ 122

nvgp afhdf kvfjh jfbgsf] jfbg z}nL, h:t} M ut, k/g, 6's8f, utk/g, rj|mbf/, km/dfO;L cflb /rgf ahfOg] x'gfn] g} of] afh v'nf / hf]8bf/ afhsf ¿kdf :yflkt ePsf] xf] .

nvgpsf] tanf jfbg z}nLdf g[Tosf] k|efj w]/} 5 eGg] dfGotf /lxcfPsf] kfOG5 . j:t'tM tanf jfbg k|f/Dedf g[Todf ahfpg] jfB g} lyof] . ctM o; afhdf sys g[Tosf] ;fy ahfOg] /rgfsf] k|efj klg :jfefljs ¿kdf kg{ uof] .

nvgp afhdf lw/ lw/, ts S8fg, S8fg, ls6ts lb+u8, tf“u8, S8w], t]6], lw6 lw6, ulbug, lwglug, t"gf sQf OToflb af]nsf] k|of]u ljz]if ¿kdf ul/G5 .

o;sf] sfobf /rgfsf] Pp6f pbfx/0f —

lqtfn sfobf -nvgp afh_

v'nf efu —

wflu˜ gf˜g wfu]lt /ls6 . wfu]g wfqs lwglw gflug . x @ ts3 8f˜g wfu]lt /ls6 . wfu]lt 6wfu] qst" gfsQf ) #

aGb efu —

tfls˜ gf˜g tfs]lt /ls6 . tfs]g tfqs ltglt gflsg . x @ ts3 8f˜g wfu]lt /ls6 . wfu]lt 6wfu] qst"“ gfsQf . ) #

km?Vvfjfb afh M o; afhsf] ljsf; nvgpdf ePsf] dflgG5 . ls+jbGtLcg';f/

nvgpsf aVz" vf“n] cfgf HjfO“ xfhL

ljnfot cnL 9f9LnfO{ afx| ;o ljlzi6 ut bx]hdf lbPsf lyP . kl5 uP/ ToxL afx| ;o utsf cfwf/df km?Vvfjfb afhsf] ljsf; ePsf] lyof] .

km?Vvfjfb afh k"/asf] ljz]iftfåf/f o'St eP/ g} af]nsf] lgsf; / /rgf e]bdf nvgp afheGbf k[ys aGg k'u]sf] lyof] .

km?Vvfjfb afhdf lw/lw/, lt/lt/, l38gu lb+ugu, lt+ugu, lbgts, bL+u, lbu+ lbgflug, tf“u8, bLu+8, S8fg, W8fg, lwglug, tls6 cflb af]nsf] k|of]u w]/} dfqfdf x'G5 .

km?Vvfjfb afhdf d'St k|xf/ o'St af]nsf] ;fy;fy} bfof“ tanfdf lbNnL afhsf] ef“tL lgu[xLt / cw{ lgu[xLt k|xf/o'St af]nsf] klg ;dfj]z ePsf] b]Vg ;lsG5 . To;}n] o;df k"/a afhsf] k|wfGo x'g'sf cltl/St lbNnL afhsf] klg s]xL k|efj /x]sf] kfOG5 .

km?Vvfjfb afhsf] jfbg z}nL nvgp;“u

ldNbf] h'Nbf] 5 t/ o; cltl/St rfnf, /f}“, ut cflb ljz]if ¿kaf6 k|:t't ul/G5 . o; jfbg z}nLsf af]nx¿ v'nf / hf]8bf/

x'G5g\ . ljz]iftM o; afhdf utsf]

k|of]u ljleGg no / nosf/Låf/f ;'Gb/ ¿kdf k|:t't ul/G5 .

o;sf] sfobf /rgfsf] Pp6f pbfx/0f —

lqtfn, sfobf -km?Vvfjfb afh_

v'nf efu —

sirjanĀ 123

lw/ lw/ lt/ lt/ l38 gu lt8 gu . x @ wf lt/ ls6 wf l38 gu lt8 gu . ) l38 gu wf lt/ l38 gu lt8 gu . wf lt/ ls6 wf l38 gu lt8 gu . )

aGb efu —

lt/ lt/ lt/ lt/ ls8 gs lt8 gs . x tf lt/ ls6 tf ls8 gs lt8 gs . ) l38 gu wf lt/ l38 gu lt8 gu . x wf lt/ ls6 wf l38 gu lt8 gu . )

agf/; afh M agf/; afhsf] ljsf; df]b" vf“sf lzio agf/; lgjf;L kl08t /fd ;xfoåf/f ePsf] xf] . tyflk agf/;sf ;'k|l;4 tanf afbs kl08t lszg dxf/fhn] o; 3/fgfsf] hGdsf] >]o kGhfa 3/fgfnfO{ lbPsf 5g\ . pgsf] egfOcg';f/ kl08t /fd ;xfosf lktf kl08t k|sfz

dxf/fh d"ntM g[Tosf] ;fy ;ª\ut ug]{ tanf jfbs lyP . pgn] nvgpdf cf gf k'q kl08t /fd ;xfonfO{ dfb'

vf“sf] lzio agfPsf lyP .

tanf jfbg lzIffsf j|mddf kl08t /fd ;xfonfO{ pgsf u'? kTgLaf6 kf“r ;o kGhfaL ut k|fKt ePsf] lyof] . tL ut

d"ntM kvfjhsf] ut lyof] . To;}n] agf/; afhsf] jfbg z}nLdf kvfjhsf] d'St k|xf/ ePsf] v'nf af]nsf] k|wfGo

b]lvG5 . o; afhsf] z}nLdf g[Tosf] ;fy ;fy kvfjh jfbgsf] klg k|efj /x]sfn] k]zsf/ / sfobfsf] :yfgdf p7fg, 5Gb, nosf/L, af6, ut, k/g, utk/g, kmb{, rj|m/bf/ 6's8f, :t'tL k/gsf ;fy;fy} nUuL / n8Lsf] klg ljz]if ¿kdf jfbg ug]{ ul/G5 . tanf jfbgsf] If]qdf agf/;L nUuL dxÎjk"0f{ pknlAw dflgG5 .

agf/; afhdf k"/a afhsf] ;a} af]nsf] k|of]u ub}{ gf8f, wf8f, wf8flug, tf8flug, wfltgf8, w]/]w]/ tLs\ tLgf8 cflb af]nsf] k|of]u Jofjxfl/s ¿kdf b]Vg ;lsG5 .

o;sf] sfobf /rgfsf] Pp6f pbfx/0f —

v'nf efu —

wf 8 wf w] . t] 6] wf 8 . x @ 3f 8 wf tL . s tL gf 8 . ) #

aGb efu —

tf 8 tf t] . t] 6] tf 8 . x @

wf 8 wf tL . u wL gf 8 . ) #

kGhfa afh M kGhfasf k'/fgf tanf jfbsn] kvfjhsf] af]nnfO{ aGb u/]/ tanf jfbgdf k[ys z}nLsf] lgdf{0f u/]sf

lyP . Tof] z}nL cfh kGhfa afhsf] gfdn] k|l;4 /x]sf] 5 . kvfjh jfbgsf] ljz]iftfsf s]xL emns kGhfa afhdf :ki6

#

#

#

#

@

@

@

x

sirjanĀ 124

b]Vg ;lsG5 .

kGhfa afhsf] sfobf k|foM lbNnL afhsf] sfobfsf ck]Iff nfdf] / leGg x'G5 . o;df k|foM kvfjhsf] af]nsf] k|wfGo /x]sf] kfOG5 . o; cltl/St nfdf] nfdf] ut k/g, rj|m/bf/ ut cyjf rj|m/bf/ k/g tyf cg]s nosf/L o'St ltxfO cflb o; afhdf ;'Gb/tfk"j{s cTolws ¿kdf ahfOg] ul/G5 .

j:t'tM kGhfa afhdf kvfjhsf] rf“6L / yfk, b'j} ljlwsf] ;dGjo b]lvG5 . lsgls Toxf“sf cg]s tanf jfbsn] gfyåf/sf kvfjh afbsåf/f lzIff kfPsf lyP, h:t} M efO d]xtfa l;+x . gfyåf/sf kvfjhjfbssf] k/Dk/f d"ntM a|h;“u ;DalGwt lyof] . a|hdf rf“6L / yfk b'j}sf] k|of]u d[bª\udf ahfOg] ul/GYof] -jdf{, !(&%, k[= (_ . To:t} kGhfasf s]xL tanfjfbsn] yfkk|wfg afhsf nfn ejfgL bf; /s'bpm l;+xsf] kvfjh z}nL, ljlw /

k/Dk/f l;s]sf lyP .

kGhfa afhdf k|foM lgDglnlvt af]nsf]

k|wfGo b]Vg ;lsG5, h:t} M

B]6t, lbu+ lbu+, S8\tfg, l38t, l38gf, t8Gg, wf8wf cflb .

o;sf] sfobf /rgfsf] Pp6f pbfx/0f —

lqtfn sfobf -kGhfa afh_

v'nf efu —

wfu] glt gwf u]g . wfu] ltgf S8wf stf . x @ u]g wfu] glw gfwf . u]g wfu] lt+gf lsgf . ) #

aGb efu —

tfs] glt gtf s]g . tfs] ltgf S8wf stf . x @ u]g wfu] glw gfwf . u]g wfu] lw+gf lugf .

) #

lgisif{

tanf jfbgsf] ljleGg afhsf] ljz]iftfnfO{ ljrf/ ubf{ x:tk|If]k, k6fIf/sf] ljsf; / af]nsf] ;+of]hgåf/f lbNnL, k'/a cyjf kGhfa If]qdf ljsl;t tanf jfbgsf ljlzi6 k4lt Pscsf{;“u leGg 5g\ . Ps k4ltaf6 l;s]sf tanf jfbsn] csf]{ k4ltsf] ;+/rgfnfO{ ;xhtfsf ;fy ahfpg ;Sb}gg\ . clkt' s'g} klg jfbsn] s'g} /rgfnfO{ To;sf] ljlzi6 k4ltcg';f/ gl;Sg] xf] eg] l7s;“u k|:t'lt lbg

;Sb}gg\ . oxL sf/0fn] ubf{ k|To]s afh ljlzi6 jfbg k4ltcg';f/ ;Lldt lbzfdf g} ljsl;t ePsf] x'G5 .

jt{dfg ;dodf Pscsf{sf] k|:t'lt x]g]{, ;'Gg], a'‰g], l;Sg] / 5'6\ofpg ;Sg] ;'ljwf pknAw ePsf sf/0f dflg;sf] pbf/ /

;dGjojfbL b[li6sf]0f j[l4 x'“b} uPsf] 5 . snfsf If]qdf klg of] ;dGjo k|j[lQ ljsl;t eO/x]sf] 5 . To;}n] tanf jfbgsf] If]qdf klg cfh cg]s tanf

sirjanĀ 125

jfbs cfgf] jfbgdf ljleGg afhsf] ;+/rgf / ljz]iftfnfO{ ;dGjotfsf cfwf/df lgofNg] u5{g\ . ljleGg afhdf ljBdfg ;dfg tÎjlar ;dGjo x'g ;S5 / ToxL eO/x]sf] xfdL kfp“5f}“ . Tof] ;Dej klg 5 .

;Gbe{ u|Gy;"rL

zdf{, eujtz/0f, tfn zf:q, k= /ljz+s/ zdf{, %@, lji0f'k'/L, cnLu9, !(&&

zdf{, eujtz/0f, tfn k|sfz, ;ª\uLt sfof{no, xfy/;, ;ftf}“ ;+:s/0f, !(*!

jdf{, e[u'gfy, tfn d~h/L -k|yd v08_, nfnf 3'/x'gf/fo0f jdf{, ad{g k|];, #&! ck/ lrtk'/ /f]8, snsQf, t[tLo ;+:s/0f, !(&%

bf; /fdz+s/ -8f=_, …kfun bf;Ú Pjd\ uf]kfn z+s/ uf]njns/, tanf sf}d'bL, >LdtL sdn uf]njns/, /fdrGb| ;ª\uLtfno, Ujflno/, k|yd ;+:s/0f, !((%

jlzi7, ;Togf/fo0f, tfn dft{08, ;ª\uLt sfof{no, xfy/;, b;f}“ ;+:s/0f, @))(

d/f7], dgf]x/ efnrGb|/fj -8f=_, tfn–jfB zf:q, zdf{ k':ts ;bg, kf6gs/ ahf/, nZs/ Ujflno/ -d= k|=_, låtLo ;+:s/0f, !((!

dfO{0fs/, ;'wL/, tanf jfbg M snf cf}/ zf:q, clvn ef/tLo uf+wj{ dxfljBfno d+8n, @)))

d'nuf“js/, c/lj+Gb, tanf, dxf/fi6« u|+ylgld{tL d+8n, gfuk'/ – !)

d"lg, e/t, gf6\o zf:q, cf]l/+o6n Oli6Ro'6, a8f}bf, k|yd ;+:s/0f, !(^$

Willard, Augustus N. (Captain), The Music of India.

gu]Gb|k|;fb Gof}kfg]

gu]Gb|k|;fb Gof}kfg] s'zn tanf jfbssf cltl/St ufossf ¿kdf klg ;'kl/lrt 5g\ . ;ª\uLt ljifodf :gftsf]Q/ u/]sf Gof}kfg]n] g]kfnnufot ef/tdf cfof]lht ljljw ;fª\uLlts sfo{j|mdx¿df cfˆgf] k|:t'lt lbO;s]sf 5g\ . ljleGg ;fª\uLlts ;ª\3 ;+:yfx¿;Fu cfa4 /x]sf Gof}kfg] xfn kb\dsGof SofDk; , l;h{gf sn]h ckm kmfOg cf6{;\ / g]kfn Do'lhs ;]G6/df cWofkg/t 5g\ .

sirjanĀ 126

x]g/L d'/sf] d"lt{ /rgf æ/fhf / /fgLÆ M Ps ljdz{

cf]d vqL

n]v;f/

la;f}“ ztfAbLsf ljZjljVoft d"lt{sf/ x]g/L d'/ (Henry Moore) sf] cflbdtfk/s d"lt{ /rgf ‘/fhf / /fgL’ (King and Queen) ljlzi6 z}nL / cg'e"lthGo k|efjsf nflu k|l;4 /x]sf] 5 . o; d"lt{df ‘cflbdjfb’ cyf{t\ ‘lk|ldl6leHd’ (Primitivism) sf] wf/nfO{ k5\ofPsf] 5 . d"lt{df r}tGo / caf]wkgnfO{ s'zntfk"/as ;+of]hg ul/g'nfO{ snfsf/sf] df}lnstf / j}lzi6\o dfGg ;lsG5 . of] d"lt{ /rgfsf] cflbdtfk/s (archetypal) kIfsf ;DaGwdf cg]sf}“ lj1x¿sf n]v /rgfx¿ k|sflzt 5g\ . o; d"lt{sf cg]sf}“ cg's[ltx¿ ljZjel/ s}of}“ ;ª\u|xfnox¿sf] cfsif{0fsf ¿kdf /x]sf 5g\ . o; s[ltsf ;DaGwdf ljleGg y/L cg'dfg Pjd\ rrf{ kl/rrf{ ePsf 5g\ . d'/sf] of] rlr{t d"lt{ /rgfsf ;DaGwdf vf]tNg' n]vsf] p2]Zo /x]sf]] 5 .

ljifo k|j]z

x]g/L d'/sf] dxÎjk"0f{ d"lt{ /rgf …/fhf / /fgLÚ df Ps hf]8L dlxnf / k'?if cfs[ltnfO{ ;+of]hg ul/Psf] 5 . pgsf] of] /rgf cflbdtfk/s d"lt{sf ?kdf lrlgG5 . o; d"lt{df ljz]if k|sf/sf] z}nLnfO{ cjnDag ul/Psf] 5 . a]Grdf al;/x]sf o'un hf]8Lsf] o; d"lt{sf cg]sf}“ ;+:s/0fx¿ ljleGg b]zsf ;ª\u|xfno tyf pBfgx¿df b]Vg ;lsG5 .

of] d"lt{ lgtfGt cfw'lgs /rgf xf], clkt' d"lt{df cflbdjfbnfO{ cª\uLsf/ ul/Psf] 5 . d"lt{sf/n] d"lt{ /rgfsf ljljw cfofdx¿nfO{ ;d]6\b} dfgjLo caf]wkg / dfgjOt/ cfs[ltnfO{ ;dfof]hg ug]{ k|of; u/]sf]

a'lemG5 .

snfljb\x¿sf cg';f/ of] k|frLg /fhsLo d"lt{sf] clGtd ;+:s/0f xf], tyflk o;nfO{

;d;fdlos b[li6sf]0faf6 x]l/g'k5{ . o; d"lt{sf] Pp6f ;+:s/0fnfO{ :s6NofG8sf] 8dlk|m; (Dumfries) l:yt kfs{sf] Pp6f 9'ª\fdfly :yfkgf ul/Psf] 5 .

/fhf / /fgL

8lDk|m; kfs{df /x]sf] /fhf / /fgLsf o'un

cfs[lt v'nf cfsfzd'lg a]Grdf a;]sf 5g\ . pgLx¿n] cufl8sf] tnfptk{m b[Zofjnf]sg ul//x]sf h:tf] efg x'G5 .

v'nf jftfj/0fdf 6xNg uPsf j[4 j[4f

Psl5g cf/fdsf nflu a;]sf x'g\ ls h:tf] klg k|tLt x'G5 .

…/fhfÚ cyf{t\ k'?if cfs[ltsf] lz/nfO{ tn lrp“8f]b]lv lgwf/;Dd kftnf] kftf h:tf] u/L agfOPsf] 5 . o;} cfsf/nfO{ cfFvfsf] :yfgdf 5]bg u/L cfFvfsf] kf/bzL{ u'0fnfO{ sfod ul/Psf] 5 . lgwf/sf] l7s dfly

sirjanĀ 127

rGb|fsf/ j:t' -;DejtM ku/L, cfe"if0f jf skfnsf] n6\6f_ /x]sf] 5 . csf]{ 5]paf6 lz/nfO{ x]bf{ afv|fsf] 6fpsf]sf] l;ª h:tf] cg'e"lt x'G5 . cg'xf/nfO{ cjtn (cocave) cfsf/df b]vfOPsf] 5 . /fhfsf] cg'xf/ s'g} clk|msL dv'G8f] h:tf] nfU5 .

cfs[ltdf sfFwsf] agf]6 pQn (convex) cfsf/df agfOPsf] 5 . 5ftLsf] efu klg sfFw h:t} pQnfsf/ /x]sf] 5 . z/L/df jIfsf] d'G6f / gfO6f] cflb gb]lvgfn] cfs[ltn] j:q wf/0f u/]sf] a'lemG5 . sd/b]lv d'lgsf] sk8f eg]

v'6\6fdf :ki6 b[li6uf]r/ x'G5 . kfv'/f / xftsf cf}Fnfx¿ dl;gf / af6'nf /x]sf 5g\ . bfofF xft k5fl8 s'lxgf]af6 s]xL v'lDrPsf] cj:yfdf /x]sf] 5 . xftsf cf}Fnfx? k|:6;Fu b]vfOPsf 5g\ . xftn] ;dtn a]Grdfly bfofF v'6\6flg/ 6]s]sf] 5 . /fhfsf] d]?b08 l;wf /x]sf] 5 . sd/ xNsf em's]sf] 5 . cfs[ltnfO{ bfofF afofF 5]paf6 x]bf{ kftnf] cfsf/ b[li6uf]r/ x'G5 . cf}Fnfx? :jfefljs / nofTds b]lvG5g\ . kfv'/f / xft ;'8f]n tyf kftnf] b]lvG5g\ . d"lt{sf] ;txdf cf}hf/sf 3ftåf/f j|m;x\oflrª (crosshatching) ul/Psf] 5 .

x]g/L d'/, /fhf / /fgL (King and Queen), !(%@, wft', 8lDk|m;, :s6NofG8

sirjanĀ 128

…/fgLÚ cyf{t\ dlxnf cfs[lt k'?ifsf] afofFk6\l6 ;Fu} /x]sf] 5 . lz/nfO{ kftnf] kfl/Psf] 5 . af6'nf] l5b|åf/f cfFvfsf] kf/bzL{kgnfO{ ;ª\s]t ul/Psf] 5 . gfssf] emNsf] x'g]u/L sf]0f k/]sf] cg'xf/df cGo cª\ux¿ ljno ul/Psf 5g\ . lz/sf] k5fl8 kftnf] lz/aGbL h:tf] b]vfOPsf] 5 . lgwf/dfly cw{rGb|fsf/ d's'6 /x]sf] 5 . lz/df k5fl8k6\l6 skfnsf] 8Nnf] h:tf] b]vfPsf] 5 . cg'xf/sf b'j} ufnfnfO{ cjtn cfsf/df agfOPsf 5g\ . a;fO klg k'?ifs} h:tf] /x]sf] 5 . 3'F8fb]lv hldg;Dd l;wf 6]s]sf] 5 . sd/b]lv dflysf] efu klg l;wf /x]sf] 5 . cf}Fnfx? nfdf 5g\ . cfs[ltsf] kfZj{ efu cjtn cfsf/df leqk6\l6 wl;Psf] 5 . sfFw eg] k'?if cfs[ltdf h:t} wg'iffsf/df /x]sf] 5 / t'ngfTds b[li6n] ;fgf] 5 . dlxnfsf] ;du| cfs[lt k'?if cfs[ltsf] bfFhf]df ;fgf] /x]sf] 5 .

k'?if cfs[ltdf h:t} dlxnf cfs[ltn] klg

nfdf] / v's'nf] j:q wf/0f u/]sf] 5 . 5ftLdf p/f]hnfO{ ;fª\s]lts ¿kdf b]vfOPsf] 5 . cfs[ltsf] cu|efunfO{ pQn

cfsf/df b]vfOPsf] 5 .

b'j} cfs[ltdf v'6\6fsf] agf]6 emG8} p:t} p:t} b]lvG5 . k'?ifsf] t'ngfdf dlxnfsf]

j:q clnslt dfly ePsfn] v'6\6fsf] efu a9L b]lvG5 . dlxnf cfs[ltsf xft 3'F8fdfly /x]sf] 5 . xft / kfv'/f dl;gf / ;'8f]n /x]sf 5g\ . k'?ifsf] cfs[lt h:t}

dlxnfsf] cfs[ltnfO{ klg bfofF afofF 5]paf6 x]bf{ kftnf] k|tLt x'G5 . k|frLg OlhK6l;og d"lt{ k/Dk/fdf h:t} /fhfsf] cfs[ltnfO{ 7'nf] / /fgLsf] cfs[ltnfO{ ;fgf] agfOPsf] 5 .

d'/sf d"lt{df hgfj/sf] h:tf] k|tLt x'g] lz/df d's'6, ;f“u'l/Psf] cg'xf/, bfx|L cflbdf k|frLg OlhlK6l;og, ;'d]/ tyf lgu|f] snfsf k|efj b]Vg ;lsG5 . pgsf cfw'lgs d"lt{ /rgfdf cflbdtfk/s j}lzi6\onfO{ cg'e"t ug{ ;lsG5 . clkt' pgn] OlhK6l;og d"lt{df b]lvg] h8kgfnfO{ eª\u ul/lbPsf 5g\ .

d'/n] ;g\ !(%! Dff lu|; e|d0f u/]sf lyP . To; cltl/St ljutdf OlhK6, ;'d]l/of cflb k|frLg ;Eotfsf ynf]x¿df ul/Psf e|d0fx¿sf] cg'ej klg pgL;“u lyof] .

la|l6; snfljb\ xa{6{ l/8 (Herbert Read) sf cg';f/ d'/sf …/fhf / /fgLÚ h:tf sfdx?df b[Zodfg tÎjx? cGo d"lt{sf/x?, h:t} M sG;6\oflG6g a|fª\s';L (Constantin Brâncuşi), HofF cfk{ (Jean Arp), af/a/f x]kjy{ (Barbara Hepworth) cflb snfsf/sf sfd;Fu d]n vfFb}gg\

(Read H. , 1964, p. 204) .

;g\ !(%# tfsf l;lh{t d'/sf s]xL

dxÎjk"0f{ d"lt{x?sf ljifoj:t'df …cfdf / lzz'Ú sf] k|wfGo /x]sf] kfOG5 . tL cfs[ltdf z/L/sf] ck]Iff xft, v'6\6fnfO{

sirjanĀ 129

pgn] laNs'n k[ys z}nLdf k|:t't u/]sf 5g\ .

d'/n] ljz]iftM h}ljs ljifo j:t'nfO{ cfgf /rgfsf] cfwf/ agfPsf 5g\ . pgn] cfgf] k|]/0ffsf ;|f]tsf ?kdf k|s[ltnfO{ lnPsf] b]lvG5 . o;}df cfwfl/t /x]/ pgn] …ltg cf]6f cfs[ltx?Ú (Three Forms), …9lNs/x]sf] cfs[ltÚ (Reclining Figure) nufotsf ljifoj:t'df d"lt{ /rgf u/]sf 5g\ . pgsf sfdx?df clwsf+z dfgj cfs[ltsf] afx'No /x]sf] b]lvG5 . log} ljifodWo] ;d"x d"lt{cGtu{t …/fhf / /fgLÚ /rgfnfO{ lng ;lsG5 . o; d"lt{df klg cGo d"lt{x¿df h:t} pgn] ckgfPsf] z}nL k|:6 ?kn]

cg'e"t x'G5 . d"lt{ /rgfdf klxnf] kN6 l5b|x¿sf] k|of]u ug]{ >]o d'/nfO{ g} hfG5 .

o; d"lt{sf cg]sf}“ ;+:s/0f /x]sf 5g\ / tL ljleGg :yfg tyf jftfj/0fdf :yfkgf ul/Psf 5g\ . :yfgsf lx;fan] tL d"lt{n] Ps} vfnsf] cg'e"lt jf k[ys cg'e"lt u/fp“5g\ eGg] k|Zg klg l;h{gf x'g ;S5 . o;nfO{ agfpg] j|mddf d"lt{sf/n] o;af/] ljrf/ u/]sf lyP jf lyPgg\ eGg] csf]{ lh1f;f pTkGg x'G5 . d"lt{–kfqx¿ jf:tljs /fhf /fgL x'g\ jf s'g} sfNklgs x'g\ eGg] sf}t'xn klg hfU5 . d"lt{ :yfkgf ul/Psf :yfgcg';f/ d"lt{sf] cfGtl/s efjdf kl/jt{g x'G5 jf x'Fb}g / To;

x]g/L d'/, 9lNs/x]sL dlxnf (Reclining Figure), !(@(, k|:t/, of]s{;fo/, Oª\UNofG8

sirjanĀ 130

:yfgsf jftfj/0fsf nflu d"lt{ lgdf{0f ul/Psf] xf] jf d"lt{sf nflu tL :yn rog ul/Psf x'g\ eGg] lh1f;f klg pTkGg

x'G5 .

x]g/L d'/ -O= ;+= !*(*–!(*^_

a]nfotdf hGd]sf x]g/L :k]g;/ d'/

(Henry Spencer Moore) la;f}“ ztfAbLsf ljVoft d"lt{sf/sf ?kdf lrlgG5g\ . cflbdjfb tyf cGo d"lt{sf/x¿ sG;6\oflG6g a|fª\s';L (Constantin Brâncuşi), Hofsa OK;6]g (Jacob Epstein), x]g/L uf}l8o/–a|h]:sf (Henri Gaudier-Brzeska) tyf k|mfª\s 8f]A;g

(Frank Dobson) sfd b]v]/ pgL d"lt{ /rgfdf l;wf s'“bfO (direct carving) k4ltk|lt cfslif{t ePsf lyP .

bf];|f] ljZjo'4 tfsf ;g\ !($) df

nG8gsf] xfDkl:68 (Hampstead) l:yt pgsf] :6'l8of] ad la:kmf]6af6 Ifltu|:t

ePsf] lyof] . To;kl5 pgL x6{kmf]8{;fo/sf] dr x9fd (Much Hadham, Hertfordshire) ;/]sf lyP . To;kl5 hLjge/ oxL pgsf] sd{ynf] /x]sf] lyof] .

d'/ ;zSt 8«f6\;Dofg lyP . ;g\ !($)–$@ df o'4 tfsf adaf/Laf6 aRgsf nflu nG8gsf] e"ldut :yndf cf>o lnP/

x]g/L d'/, e"ldut /]ndfu{df af; a;]sfx¿ (Sheltters in the Tube), !($!, l;;fsnd, d;L, hn/ª tyf d}g/ª,

#* ;]= ld X %^ ;]= ld=, 6]6 Uofn/L, nG8g

sirjanĀ 131

a;]sf gful/sx¿sf] pgn] cg]sf}“ /]vflrqx¿ n]v]sf lyP . ltgdf /]vfª\sgdf pgsf] Ifdtf 68\sf/f] b]Vg ;lsG5 . pgnfO{ tL 8«Oªx? tof/ ug{sf nflu …o'4 snfsf/x¿sf] k/fdz{ ;ldltÚ (The War Artists' Advisory Committee) n] cg'aGw u/]sf] lyof] . pSt ;ldltsf cWoIf To; ;dosf k|efjzfnL snfljb\ s]g]y Snfs{ (Kenneth Clark) lyP .

;g\ !($* df e]lg;df x'g] låjflif{s k|bz{gL

(Venice Biennale) df d'/ k'/:s[t ePsf lyP . o; k'/:sf/n] pgnfO{ cGt/f{li6«o :t/sf] d"lt{sf/sf ¿kdf :yflkt ul/lbPsf] lyof] . pgn] ;fj{hlgs ejg, kfs{, rf]s cflbdf /fVgsf nflu cg]sf}“ dxÎjk"0f{ d"lt{ /rgfx¿ lgdf{0f ug]{ cg'aGwx¿ kfPsf lyP . pgn] 9nf]6 / k|:t/ b'j} dfWoddf pTs[i6 s[ltx¿ l;h{gf u/]sf lyP . pgn] ;d"x d"lt{x? klg y'k|} agfPsf lyP . pgnfO{ ;/n / af]wuDo efiffdf cfgf

egfO /fVg ;Sg] JolStsf ?kdf klg :d/0f ul/G5 .

d'/n] k/Dk/fut dfGotfsf ljk/Lt d"lt{

/rgfdf l5b|x¿ /fVg] k|of]u u/]sf lyP . pgsf] snf z}nL lgu|f] snf tyf 6f]n6]s–dfofg (Toltec-Mayan) cfs[ltx?, cflbdjfb (Primitivism) Pjd cltoyfy{jfb (Surrealism) af6 k|efljt 5g\ . ;g\ !(@) df /f]h/ k|mfO{ (Roger Fry) åf/f lnlvt k':ts …lehg PG8 l8hfOgÚ (Vison and

Design) k|sflzt ePsf] lyof] . o; k':tssf] Pp6f cWofo lgu|f] d"lt{snf;Fu ;DalGwt /x]sf] 5 . of] k':ts k9]kZrft\ d'/sf] snfk|ltsf] b[li6sf]0fdf kl/jt{g cfPsf] lyof] . la|l6; Do'lhoddf ;ª\slnt

dfofg tyf OlhK6l;og ;Eotf sfnsf

d"lt{x?n] klg pgnfO{ lgs} cfslif{t kf/]sf lyP .

x]g/L d'/sf] …/fhf / /fgLÚ d"lt{sf] k|]/0ff

;|f]t sl/a !#)) O:jL ;+jt\k"j{sf] OlhK6l;og d"lt{ …xf]/]dx]a / cd]lgofÚ nfO{ dflgG5 . x]g/L d'/ zf:qLo snfaf6 eGbf klg k|frLg d]lS;sg d"lt{snfaf6 k|efljt

b]lvG5g\ .

xd{x]a / cd]lgof (Statue of Hermheb and Amenia), sl/a

!#)) O= k"=, k|:t/, la|l6; Do'lhod, nG8g

sirjanĀ 132

l:j; dgf]ljZn]ifs sfn{ u':tfe hª (Carl Gustav Jung) åf/f k|ltkflbt …ljZn]if0ffTds dgf]lj1fgÚ (analytical psychology) cg';f/ JolStdf ;fd"lxs cr]tg k|j[lQ klg x'G5 / of] k|j[lQ k|tLs, ;ª\s]t, Jojxf/sf kf/f, ;f]r / cg'ejåf/f lgld{t k|]/0ff / cfbz{x¿ x'g\ . x]g/L d'/sf] d"lt{nfO{ sfn{ hªsf] l;4fGtsf cfwf/df klg ljj]rgf ug{ ;lsG5 . /fhf / /fgLsf] d"lt{nfO{ o;sf] ;zSt pbfx/0fsf ¿kdf lng ;lsG5 .

x]g/L d'/sf cg';f/ /fhf / /fgLsf] d"lt{ /rgf ug]{ ljrf/ k5fl8 la|l6; Do'lhoddf /x]sf] k|frLg OlhK6sf] k|:t/ d"lt{ /x]sf] lyof] . pgL cfgL 5f]/LnfO{ k/L syf ;'gfpg] uy]{ / of] klg d"lt{ /rgfsf] ;|f]t aGg uPsf] lyof] . sltkosf egfOdf d'/ / cfgL kTgLsf] Pp6f kmf]6f] tyf dxf/fgL Plnhj]y låtLosf] /fHoleif]saf6 k|]l/t ePsf x'g ;Sg] eGg] klg ul/G5 . t/ s]xL cfnf]rsx? of] ts{ dfGg tof/ 5}gg\ . lsgeg] :jfefljstf / sfNklgstf

larsf] c;dfgh:o ;+of]hg ;dLIfsx?sf nflu plrt nfu]g (Cocrreian, 2015) .

of] d"lt{ OlhK6l;og d"lt{ k/Dk/fsf] lgs6

/x]sf] 5, clkt' sltko s'/fnfO{ ;j{yf

k[ys 9ª\un] b]vfpg ;Sg'nfO{ snfsf/sf] k|ltefsf] k|df0f dfGg ;lsG5 . d'/n] cfgf] 3f]if0ff kq dfk{mt dfWodsf] ;Totf,

cjnf]sg, pRrt/ dfgl;s u'0f h:tf tÎjx¿sf] dxÎjnfO{ k|fyldstf lbPsf 5g\

(Read H. , Unit 1, 1934) .

x]g/L d'/sf cflbdtfk/s d"lt{nfO{ …lk|ldl6lehd\ Og df]8lg{6LÚ cyf{t\ cfw'lgstfdf cflbdtfsf ¿kdf lng ;lsG5 . pgsf snfdf b]lvg] cltoyfy{jfbL k|j[lQsf sf/0f To;nfO{ dgf]ljZn]if0fsf b[li6n] cWoog ubf{ ltgdf ;fd"lxs cr]tgsf] cg'e"lt k|l:6G5 .

lgisif{

;'if'Kt ¿kdf /x]sf cg'e"ltx¿nfO{ x]g/L d'/n] cfgf] cflbdtfk/s /rgf … /fhf / /fgLÚ df ptf/]sf 5g\ . o; d"lt{df cfw'lgstfdf cflbdkgfnfO{ cª\uLsf/ ul/Psf] k|:6 ¿kdf b]Vg ;lsG5 . r}tGo / cjr]tg larsf] ;+of]hgnfO{ s'zntfk"j{s k|:t't ug'{nfO{ x]g/L d'/sf] df}lnstf dfGg ;lsG5 . o; d"lt{ /rgf;“u ljljw k|;ª\ux¿ hf]l8Psf eP klg j:t'tM of] k|frLg OlhK6l;og d"lt{ …xd{x]a / cd]lgofÚ d"lt{af6 k|efljt eP/ agfOPsf] b]lvG5 . o; k|j[lQsf /rgfnfO{ dgf]ljZn]ifsx¿n] cflbdtfk/s l;4fGt;Fu hf]8]/ ljZn]if0f u/]sf 5g\ . oxL l;4fGtsf] kl/j]zdf /fhf / /fgLsf] Ps o'un d"[lt{ /rgf ul/Psf]] kfOG5 . k/Gt' d"lt{sf/ d'/ o; ljifodf df}g /xg rfx]sf] pgsf] Pp6f cGt/jftf{af6 :ki6 x'G5 .

o; d"lt{sf cg]sf}“ cg's[ltx¿ ljleGg b]zsf ;ª\u|xfno tyf pBfgx¿df :yfkgf ul/Psf 5g\ . d"lt{sf ljleGg cfofdx¿nfO{ ;d]6\b} dfgjLo caf]wkg Pjd dfgjOt/ :jefjnfO{ rfl/q / cfbz{sf ¿kdf k|:t't ul/gfn] of] s[lt c;fdfGo b]Vg k'u]sf] 5 .

sirjanĀ 133

;Gbe{ ;fdu|L

Adamski, A. (2011, September). Archetypes and the Collective Unconscious of Carl G. Jung in the Ligth of Quantrum Psychology. (s. Adamski, Ed.) Neuro Quantology, 563 -571.

Causey, A. (1998). Sculpture Since 1945. New York: Oxford University Press.

Chilvers, I. (1996). The Concise Oxford Dictionary of Art and Artists (2 nd ed.). New York: Oxford University Press.

Clarke, M. (Ed.). (2001). The Concise Oxford Dictionary of Art Terms. New York: Oxford University Press Ink.

Cocrreian, A. (2015). 'King and Queen', Henry Moore: Sculptural Process and Public Identity. Retrieved August 10, 2018, from https://www.tate.org. uk/art/research-publications/henry-moore/ henry-moore -om-ch-king-and-queen-r1172098

Feldman, E. (1992). Vareities of Visual Experience (4th ed.). New York: Harry N. Abrams, Incorporated.

Fezzi, E. (1972). Henry Moore. London: The Hamlyn Publishing group Limited.

Finn, D. (1989). How to Look at Sculpture. (B.Fazio, Ed.) New York: Harry N. Abrams, Incorporated.

Fry, R. (1920). Vision and Design. London: Chattok Windus.

Gombrich, E. H. (1977). Art & Illusion: A study in the Psychology of Pictorial Representation. London: Phidon Press Limited.

James, P. (Ed.). (1966). Henry Moore on Sculpture. Macdonal: London.

Janson, H.W.& Janson A.F. (1964). History of Art (6th ed.). London: Thames & Hudson Ltd.

Read, H. (1934). Unit 1 The Modern Movement in Engilsh Architecture,Painting and Sculpture. (H. Read, Ed.) London: Casselland Company LTD.

Read, H. (1946). The Grass Roots of Art. London: Faber and Faber Limited.

cf]d vqL

;g\ !(^( df afun'ªdf hGd]sf cf]d vqL cGt/f{li6«o :t/df :yflkt cfw'lgs g]kfnL d"lt{sf/sf ¿kdf ;'kl/lrt 5g\ . /fli6«o Pjd\ cGt/f{li6«o :t/df cfof]lht cg]sf} “ d"lt{ sfo{zfnf / uf]i7Lx¿df efu lnO;s]sf vqL ;d;fdlos g]kfnL d"lt{sf/x¿sf] ;+:yf …cf/DeÚ sf ;+:yfks cWoIf x'g\ . g]kfn nlntsnf k|1f–k|lti7fgsf] k|f1 kl/ifb\sf] ;b:o /lx;s]sf pgL xfn nlntsnf SofDk;, lq= lj= df pkk|fWofkssf ¿kdf sfo{/t 5g\ .

Read, H. (1949). The Meaning of Art. Great Britain: Pelican Books.

Read, H. (1964). Modern Sculpture: A Concise History. London: themes & Hudson Ltd.

Read, H. (1964). The Philosophy of Modern Art. London: Faber and Faber Limited.

sirjanĀ 134

BFA SHOW - 2018 a Window to the Future Graduation Show 2018 proved once again, to be a window to unveil our achievements - made within past one academic year: and to our students, the first occasion to make a public appearance. The Paintings and Sculptures remained a microcosm of academic skills mixed with the ability to transcend into a creative world - to narrate personal feelings, then to respond artistically in art. Moreover, it also displayed their ability to recreate works based on the the centuries’ old traditional forms and the motifs.In the Graphic Communications section, our young graduates could assert they are competent and capable to cope with any professional challenges – as needed in any industrial and a modern society.

sirjanĀ 135

sirjanĀ 136

sirjanĀ 137

UTTAM PRASAD KHAREL (December 22, 1959 – January 15, 2018)

(Artist/Art Teacher and Founder Member of Sirjana College of Fine Arts and

Sirjana Contemporary Art Gallery)

May your soul ascend to the heavenly abode and always rest in peace.

gfd pQd Yof] ltd|f] sfddf klg pQdlrqdf d"lt{df v'NYof} lzIf0f klg pQd ..

c;fWo /f]un] ufFHof] ar]gf} ltdL pQdsnfkf/vL e} afFr :ju{df ltdL pQd ..

IN MeMORIUM

Established in 2001 in affiliation to Tribhuvan University

SAMMRIDHI PAUDEL (June 16, 1989 – April 29, 2018)

(Founder Member of Sirjana College of Fine Arts)

May your soul ascend to the heavenly abode and always rest in peace.

;d[l4 lsg c:tfOg\ a'´]g b}jn] lsgafaf cfdf klt ;Kk} ?jfof] b}jn] lsg ..;a}df cfF;' emb}{ 5 ;d[l4 Vj} Û stf egL;d[l4 c:tdf /f]of] snf sn]h of] klg ..

IN MeMORIUM

Established in 2001 in affiliation to Tribhuvan University

sirjanĀ 140

Acknowledgements

anjali Shrestha (BFA 3rd year, Dance, SCoFA)

anuj Chitrakar (Sydney)

anup Jyoti Chitrakar (Artist)

Baikuntha Man Shrestha (Founder Chairman, Sirjana College of Fine Arts - SCoFA)

Basu Dev guragain (Poet/Satirist)

Batsa gopal Vaidya (Chairman, SCoFA)

Bhawana Sharma (Librarian, SCoFA)

Chandra Bhattachan (Member, Management Committee, SCoFA)

Chandra Shyam Dongol (Member, Management Committee, SCoFA)

Chiranjivi Dhakal (Office Assistant, SCoFA)

Dawa lama (BFA 4th year, Graphic Communications, SCoFA)

Devina Malla (Member, Management Committee, SCoFA)

Dinesh Paudel (PMCC, Lions Clubs International Multiple District 325)

Dipen limbu (BFA 4th year, Graphic Communications, SCoFA)

Dipendra Bajracharya (Photographer)

Durga Baral (Eminent Artist)

gautam Manandhar (Program Coordinator, SCoFA)

Prof. Honey Shrestha (Faculty Member, Department of Dance, SCoFA)

K. K. Karmacharya (Eminent Artist and the Faculty Member, SCoFA)

Krishna Manandhar (Former Principal, SCoFA)

laxman Bhujel (Assistant Principal, SCoFA)

laxman Chaulagain (Office Helper, SCoFA)

Mahen Mohan Shrestha (Member, Management Committee, SCoFA)

Meenakshi Sharma (Member, Management Committee, SCoFA)

Pramila giri (Eminent Artist)

Pratap Khatri, Kamalpokhari

Prakash Ratna Shakya (Member, Management Committee, SCoFA)

Purna Ratna Bajracharya (Treasurer, Management Committee, SCoFA)

Purnima Shrestha (BFA 3rd year, Dance, SCoFA)

Prof. Dr. Rajesh gautam (Member, Management Committee, SCoFA)

Rabindra Man Joshi (Member, Management Committee, SCoFA)

Ravindra Jyapoo (Member, Management Committee, SCoFA)

Roshan Bhandari (Member, Management Committee, SCoFA)

Roshan Mishra (Director, Taragaon Museum)

Sailesh ghalan (Exam Assistant, SCoFA)

Sajeet Rajbhandari (Student, Media Studies, School of Arts, KU)

Sanjay Dass Shrestha, Narottam Dass Indira Guthi

Saur ganga Darshandhari (Faculty Member, SCoFA)

Shankar Bahadur Khatri, Kamalpokhari

Sharada Man Shrestha (Founder Member, SCoFA)

Sharad Ranjit (Member, Management Committee SCoFA)

Shashi Shah (Eminent Artist and the Founder Principal, SCoFA)

Shyam lal Shrestha (Member, Management Committee, SCoFA)

Sulochana gopali (Faculty Member, Department of Dance, SCoFA)

Sushma Koirala (Faculty Member, Department of Dance, SCoFA)

Sunil Ranjit (Member, Management Committee, SCoFA)

tara Manandhar (Faculty Member, Department of Dance, SCoFA)

tekbir Mukhiya (Eminent Artist)