{"title":"अभिलिखित लिच्छविकालीन मूर्ति विष्णुविक्रान्त : विश्लेषणात्मक विमर्श [Recorded Licchavikalin idol Vishnuvikranta: Analytical analysis]","authors":"ओम Om खत्री Khatri","doi":"10.3126/sirjana.v6i1.39790","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39790","url":null,"abstract":"विष्णुविक्रान्त मूर्तिहरू वैष्णव दर्शनमा आधारित विभव अर्थात् अवतारका उद्भृत (रिलिफ) मूर्तिहरू हुन् ।यी मूर्ति लिच्छविकालीन अभिलेखमा उत्कीर्णित स्मारकीय विशेषता भएका मूर्ति रचनामध्ये हालसम्म प्राप्यसर्वाधिक प्राचीन मूर्तिका रूपमा चिनिन्छन् । यस लेखमा एउटै कालमा रचित दुई ओटा मूर्ति रचनाबिचदृश्यमान कला पक्ष र आख्यानको संयोजनलाई विश्लेषणात्मक विमर्श गर्ने प्रयास गरिएको छ । श्रीमद्भागवत महापुराण, विष्णुधर्मोत्तर पुराण र मत्स्य पुराणलगायतका धार्मिक ग्रन्थहरूमा उल्लिखितबलिहरण कथाका आधारमा यी मूर्तिहरू रचना गरिएका छन्। यी मूर्ति लोक कल्याणहेतु विष्णुले धारणगरेका विभिन्न अवतारका प्रकरणमध्ये वामन अवतारको प्रसङ्गमा आधारित रहेका छन्। संवत् ३८९ कोराजा मानदेवको अभिलेखसहितका यी मूर्तिले ऐतिहासिक एवम् धार्मिक महŒव बोकेका छन्। एउटा मूर्तितिलगङ्गा पशुपतिमा रहेको छ भने अर्को लाजिम्पाट धोबीचौरमा स्थापना गरिएको र हाल राष्ट्रिय सङ्ग्रहालयको सङ्कलनमा रहेको छ। एउटै तिथिमितिका र एउटै विषयवस्तुमा आधारित रहे तापनिशिल्पगत पक्षका दृष्टिले उल्लिखित मूर्तिहरूमा केही पृथकता दृष्टिगोचर हुन्छ ।","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"73 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133711021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"SKIB-71 in Textual and Visual Memories","authors":"A. Subedi","doi":"10.3126/sirjana.v6i1.39357","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39357","url":null,"abstract":"SKIB-71, the acronym of Sashi, Krishna, Indra and Batsa represents a very significant phase in the movement of modern Nepali paintings. These four artists launched a movement in paintings a quarter of a century ago with a view to inspiring young artists and opening new vista of communications with artists using other media and methods. Their personal involvements in art activities couples with their experimentations created a unique atmosphere in Nepali paintings characterised by such features as the gatherings of artists, interactions, exhibitions and, above all the pedagogy of arts. After the sad demise of Indra Pradhan in 1994, three of them continued to work for which they chose to engage in art pedagogy or to work quietly on cultural motifs. Among the many reasons to consider them as part of art activities today is their impact on art education, accentuation of the subject of experimentation and participation in the art activities of present times.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130924313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Classical Music in the Shah and Rana Era: 1768 - 1951 A.D.","authors":"R. Pokharel","doi":"10.3126/sirjana.v6i1.39674","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39674","url":null,"abstract":"The tradition of classical music was more justified during the Shah and Rana Dynasty’s ruling. During the time the cultural import from neighboring India and the wide appreciation of music by kings and the Royal Palace of Nepal show the influence of Classical music among the Shah and Rana families. Some Rana Prime Ministers wanted to promote classical music but in practice most music was limited to the Royal palace and Rana family. Music Education, as well as all kinds of formal education were banned for the citizens of Nepal during the Rana regime. Those who were close to the Rana family and the palace were supposed to learn classical music from the patronized Ustaad /Pundit of the Palace and private teachers as well. This paper attempts to discuss the overall developing trends of classical music during Shah and Rana periods of Nepal in relation to development, extension and its practices in Nepalese society. All evidences have been taken from several documentaries. Whatever we practice as classical music today has taken the step of development in those periods. The evidence shows that especially raga based different Music genres were practiced and flourished in those periods.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132382638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dynamics of Contemporary Nepali Paintings","authors":"Y. Sharma","doi":"10.3126/sirjana.v6i1.39676","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39676","url":null,"abstract":"The article explores the multiplicity of contemporary Nepali paintings in terms of Nepali tradition and contemporary experiments. Globalization enhanced the creative flow of ideas and events in the domain of art. Th condition of cultural encounter and ambivalence appear in the context of Nepali art as the effects of globalization. We can trace the native images, symbols, icons and forms interacting with western techniques in the artworks. The paintings depict the representation of cultural self and cultural other. Using the techniques of irony and parody, the visual texts respond and accommodate the alien forms. We can see how heterogeneous images, genres and cultures are criss-crossed within the paintings in the context of pervasive semiotic flow. The artworks present the dialogue of vision and textuality, tradition and modernity along with continuity and change making the work open-ended and plural having multiple significances.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125354037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Art Creations of Pramila Giri","authors":"Banshi Shrestha","doi":"10.3126/sirjana.v6i1.39670","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39670","url":null,"abstract":"During the 60s and 70s, various new concepts and trends of European modern arts were slowly and nobly emerging in Nepali Art. Traditional Paubha artists and some senior artists such as Chandraman Singh Maskey, Tej Bahadur Chitrakar were following the conventional grammar, characteristics and themes in their art creations. \u0000There were virtually no women artists in the creative art scene. Later Pramila Giri and Shilu Payri along with some other female artists appeared on the art stage with new ideas and concepts of modernity. Artist Giri in her early stage, was also following the conventional approaches, but later she began to experiment and present her new art forms with mythical figures and themes. \u0000Her analytical thoughts and search led her to use the various forms, images and symbols of religious and mythical figures of BHAIRAV in her art creations. Thus, she started in presenting the figures and forms plus sculptures on her large size canvas. It was completely a noble approach and presentation. \u0000BHAIRAV, a gigantic demonic figure but with all the divine powers is regarded as the incarnation of Lord Shiva. Red, white, blue, black colors are used to represent a chosen incarnation of the Lord. \u0000Thus, if the viewers are familiar with the mythical figures of Lord BHAIRAV, it will be easier to understand the use of colours and the presentations of the figures in her art creations.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116836027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nepal's Lumbini is more than a birth place of Gautama Buddha","authors":"Binod P. Bista","doi":"10.3126/sirjana.v6i1.39672","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39672","url":null,"abstract":"Lumbini is so far unrecognized for its importance and significance by placing all attention to it as Siddhartha Gautam’s (Buddha) birth place. It is this very place where all three schools of Buddhism — Theravada, Mahayana, and Vajrayana come together. Buddha’s message of peace and harmony is practiced in daily life by the local inhabitants professing different religions such as Buddhism, Hinduism, and Islam. Ancient Kapilvastu covers such a wide area that it has become a goldmine for archaeologists for far and wide to have an opportunity to study civilizations and cultures which date back the pre Christian Era. United Nations Secretary General U Thant spearheaded the development of present Lumbini with help from an International Committee for the Development of Lumbini which he formed and saw that the task of a Master Plan for Lumbini was given to one uniquely qualified architect Kenzo Tange, a person with a vision. With many changes and adjustments from the original Master Plan, Lumbini is fast losing its luster by the construction of physical structures that hardly conform to the bylaws written during the approval of the Master Plan. Yet by the sheer strength of Buddha himself Lumbini retains its un-parallel beauty, serenity, tranquillity, and universality. Lumbini has reached this stage of development amidst several unwarranted controversies and mismanagement, but not all is lost. Lumbini can offer three distinct services to humanity as Buddha would have wanted: Guide those who believe in Buddha as God as they can find the almighty in every inch of the Sacred Garden; Lessen the pains and sufferings of others who seek to have a better life through meditation and prayers; and create a congregation of peace lovers who are in search of peace for themselves, their communities, their countries and the whole world.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"120 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116044161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"आवरण पृष्ठ डिजाइन [Cover page design]","authors":"अशोकमान Ashokman सिं Sing","doi":"10.3126/sirjana.v6i1.39787","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39787","url":null,"abstract":"कुनै पुस्तक हेर्दा सामान्य जस्तो प्रतीत हुन्छ, अपितु एउटा पुस्तक पाठकको हातसम्म पुग्नुअगाडि त्यसले लेखन, सम्पादन, डिजाइन, छपाइ, बाइन्डिङ आदिको लामो सिर्जनात्मक एवम् प्राविधि प्रव्रिmयाको चव्रm पूरा गर्नुपर्ने हुन्छ । पुस्तकप्रति पाठकको आकर्षण, मोह र पठन उत्सुकता जगाउने सन्दर्भमा आवरण पृष्ठको सर्वोपरि महŒवरहेको हुन्छ । ग्राफिक डिजाइनरका लागि सुन्दर र आकर्षक आवरण डिजाइन गर्ने कार्य सदा चुनौतीपूर्ण रहन्छ ।व्यावहारिक कला विधाअन्तर्गत ग्राफिक डिजाइन विषय अध्ययनरत विद्यार्थीहरूका लागि आवरण पृष्ठ डिजाइनकाबारेमा यहाँ प्रस्तुत गर्ने प्रयास गरिएको छ ।","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123615548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Spirit of Nepali Painting: What has hath Driven the Art","authors":"M. Chitrakar","doi":"10.3126/sirjana.v6i1.39669","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39669","url":null,"abstract":"(Note: Herein the term, ‘Nepali Painting’ exclusively refers to the earlier art of Painting – rooted in religious faiths: and not the art that emerged after the arrival of western notion of painting.) \u0000For centuries, ‘The art of Painting in Nepal’ remained confined to the visual forms associated with spiritual beliefs: or as a description of imageries from Hindu and Buddhist pantheon. Occasionally, the visuals also narrated rise or decline of particular thoughts or a cult within a given time. The complexities found in the art also, have had intrigued many – by the impressive presence of myriad set of imageries – representing varied meanings or beliefs, expressed in diverse visual forms. \u0000But little is explained and argued on or about the underlining reasons or the deeper human desire to envision so. To argue on it or explain it, it remains a challenge. To dwell on it, it also becomes imperative to go behind - look to the earlier times when chosen thoughts were appeared first or impressed upon the early people. This is necessary so as to understand the state of mind and their perception of life then. Only then, one can or may imagine or analyze what may have had led them to the chosen beliefs and to the visual forms that we call art today. This should be described as the driving spirit of the art. \u0000Present essay therefore, is a brief and a modest attempt to unravel some of such driving spirits – based on the available references and also, personal observations.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123700603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Symbolism behind Art and Colour denoted on the Buddhist Prayer Flags","authors":"P. Rana","doi":"10.3126/sirjana.v6i1.39673","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39673","url":null,"abstract":"Sacred Prayer Flags of different colours and symbols are not just decorative pieces. Symbols have more deeper meaning and the attached intangible beliefs than their mere outer creativity. Each and every colour and objects symbolizes good fortune, health, happiness, protection. The prayer flags are very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. Hence the painted or printed objects and colours are of great values to humanity.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125822601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial Vol.6","authors":"Madan Chitrakar","doi":"10.3126/sirjana.v6i1.39354","DOIUrl":"https://doi.org/10.3126/sirjana.v6i1.39354","url":null,"abstract":"No abstract available.","PeriodicalId":272442,"journal":{"name":"SIRJANĀ – A Journal on Arts and Art Education","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133176576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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