By Tapati Guhathakurata
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PDF | English | 102 pages
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Fabrics could seem to be sculpture’s most evident element. normally visible as a method to an finish, and regularly studied when it comes to technical systems, their intrinsic which means frequently is still unquestioned. but fabrics include a box wealthy in which means, bringing into play a variety of concerns the most important to our realizing of sculpture.
Eight. Danksagung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty six nine. Literaturhinweise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty seven 6 1. Einleitung Aus der Fachliteratur sowie den Erfahrungen der filzherstellenden Industrie ist es bekannt, dass vor allem das Walkvermogen von Wolle und Haar durch Be handlungen, die eine mehr oder weniger sichtbare Schadigung bewirken, ver und bessert werden kann.
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Additional info for Abanindranath Known and Unknown The Artist versus the Art of His Times
39. 75-76. 28. Parimoo, The Painting of the Three Togores, pp. 168-69. TitleDescription Shahajadpur Landscape Series Bengal Landscape, Shahajadpur Bengal Landscape, Shahajadpur Medium water-colour The Boat water-colour water-colour "The Grave of Makdum Saheb" water-colour Miscellaneous "Ba~ragi"(Caricature) "Vasantasena" Jesus Chr~st water-colour and ink water-colour on board water-colour on cloth "Arabian Nights" Series "The Greek King And the Physician" "Aladdin And His Wonderful Lamp" "Sindbad, the Sailor" "Looking into the Harem" "The Four Fishes" "The Merchant Who Understood Animal Language'' "The Four Travellers" "The Hunchback of Fishbone" water-colour water-colour water-colour water-colour water-colour water-colour water-colour water-colour "The Story of the Bronze Horse" "Princess Kamar-UI-Jaman" "Wazir and Sahajadi" water-colour water-colour "Haroun al Rashid And the Camel Man Telling the Story" water-colour "Fisherman And the Genie" "Alibaba And the Forty Thieves" water-colour water-colour "Shahajada Being Led into the Bridal Chamber" "The Finding of the Ninth Doll" water-colour water-colour "The Three Sisters" "Story of the Three Sisters" "Princess of China" "Abu Hossain, Caliph For a Night" "Marriage of Nuruddin" "The First Old Man's Tale" "The Merchants And the Genie" "Lady of the Rings" "Story of the Cock And the Merchant" "Merchant And the Genie" "In the Harem" water-colour water-colour water-colour water-colour water-colour water-colour water-colour water-colour water-colour water-colour water-colour water-colour Untitled water-colour "The Crystal Coffin" water-colour "Story of Sharnsul-Nahar" water-colour Date Size (L x B) crn Title/Description Medium "Krishna-Mangal" Series "Kaliya Daman" water-colour with charcoal "Keshi Badh" water-colour with charcoal "Slaying the Elephant Demon" water-colour with charcoal "Kagasur Badh" water-colour with charcoal "Putuna Badh" water-colour with charcoal "Balaramer Mahishasur Badh" water-colour with charcoal "Kubjake Shoja Kora" water-colour with charcoal "Krishner Mastuto Bhai" water-colour with charcoal "Shakat-Bhandan" water-colour w ~ t hcharcoal "Ramkrishner Namkaron" water-colour "Mask" Series Self-portrait water-colour RabindranathTagore water-colour "Durmukh" water-colour "Alokendranath as Kumarsena" water-colour "Birendranathas Debdutta" water-colour "Nishikanta as Moghul" water-colour Shobhanlal Ganguly water-colour "Rabindranath as Vikram" water-colour Sisir Kumar Bhaduri water-colour Mukul Chandra Dey water-colour w ~ t hcharcoal Nitai Binode Goswami water-colour with charcoal Nritendranath GangulyINishikanta BratindranathTagore waterwzolour water-colour with charcoal Mask water-colour Mask water-colour Mask water-colour water-colour water-colour water-colour water-colour water-coiour Mask water-colour Date Size (L x 6) cm TitleDercription Medium Size (L x B) cm Date 11.
A wonderful account of these trends is provided by Shankho Ghosh in his book, Kalpanar Hysteria (Calcutta: Proma, 1984). 37. There were some professional positions he did take on during these last years - he was a joint editor with Dr. Stella Kramrisch of the Journal of the lndian Society of Oriental Art during the late 1930s and 40s and after Rabindranath's death in 1941, he was inducted for a while as Upacharya (Vice-Chancellor) of Visva-Bharati at Santiniketan But none of these positions could propel him into an active professional life.
61-62, 76-77, ff. The premium he places on fancy and whimsicality as the source of his creativity came out of the general tenor of cultural activity of the Jorasanko home, where one ofthe main poetry and dramatic clubs setup by Rabindranath Tagore in the 1890swas named Khamkheyali Sabha - khamkheyali is the term I loosely translate as whimsical. 17. Abanindronother Shilpa Charcha Sambondhe Smriti-charana (Abanindranath's reminiscences on his mode of painting)- Abanindranath Tagore papers, Rabindra Bhavan Archives.
Abanindranath Known and Unknown The Artist versus the Art of His Times by Tapati Guhathakurata