SIRJANĀ – A Journal Of Arts and Art Education <p>SIRJANĀ – A Journal on Arts and Art Education, is a Peer Reviewed Interdisciplinary Journal, published annually by Sirjana College of Fine Arts, Uttar Dhoka Sadak, Lazimpat, Kathmandu-2, Nepal. It is designed to stimulate scholars and to provide a platform for the publication of significant studies in the field of Fine Arts. It welcomes articles, research papers, and book reviews with a focus on the themes of Fine Arts (painting, sculpture, architecture, culture, visual communications, music, dance, and other forms of visual arts and performing arts).</p> Sirjana College of Fine Arts en-US SIRJANĀ – A Journal Of Arts and Art Education 2565-5086 Modes and Methods of Character Creation in Nepali Paintings <p>Character creation is probably the most important mode of paintings by artists and the most avowed practice and recognized ontology of the anthropomorphic predominance in art anywhere in the world. This phenomenon can be productively discussed in the context of the art traditions. Discussions about character creation in paintings sound tautological but such practices and styles of the painters of any culture and tradition can be a heuristically productive and viable topic. Though the subject is very broad, we can find some interesting creative developments by studying the traditions of art in any society and culture. The subject can encompass broader geo-cultural spheres like Eastern and Western art, and more specific topics like character creation in Nepali paintings—a study of tradition and development. In this article I will focus on this very aspect of Nepali paintings, not sculpture, by bringing my own experience of appreciating, visualizing and theorizing the human motif primarily body and secondarily features related to that. Though I briefly allude to some historical developments I will focus more on the later developments especially from the time when pedagogy in art started in earnest from the early decades of the twentieth century. The basis of the survey is my own understanding of the subject. I have evoked briefly my own perception of the subject as written in my art reviews and articles.</p> Abhi Subedi Copyright (c) 2023 Sirjana College of Fine Arts 2023-07-06 2023-07-06 9 1 4 15 10.3126/sirjana.v9i1.56249 Terracotta Sculptures: as Found in Toraṇas <p>This brief piece attempts to describe and identify the terracotta sculptures of three toraṇas at the Śiva temple in Hanuman Dhoka Durbar, which were damaged by the earthquake of 2015. The UNESCO earthquake experts and the JICA archaeological team headed by Moshimichi Okumura recreated the Toranas out of the retrieved artifacts from the debris like a jigsaw puzzle. The significant rubbles were selected and labelled with tags for identification for recreation of the damaged Toranas. In fact, this piece is about the by-product of describing and identifying broken pieces of the terracotta sculptures of Toranas, which the earthquake of 2015 ruined to rubbles.</p> Madan Chitrakar Copyright (c) 2023 2023-07-06 2023-07-06 9 1 16 21 10.3126/sirjana.v9i1.56252 Gorkha Soldiers and Ex-rebels in Paintings: a Study of the Aesthetics of Human Agency <p>When the socio-economic forces (basically those serving the capitalist mode of production) rule human beings, common people lose their agency, or the people in the upper strata tend to overlook, suppress and even suspend the agencies of people at the bottom level. We have evidences of the mockery of the writers and composers towards the soldiers and rebels deprived of their agencies. On the other hand, the aesthetics of human agency in subjugated people like soldiers and rebels is a relevant area of study. How do the contemporary Nepali paintings depict such theme is still a researchable gap. This paper investigates how contemporary paintings by some Nepali artists deal with the suspension of agency, subaltern consciousness and dissolution of humanity with regards to the lives of rebels (the ex-fighters of Maoist Peoples War in Nepal) and soldiers (British Gorkha soldiers). The discussion predominantly builds on the paintings ‘Gurkhas: Decoratively Tightened for Last 200 Years’ and ‘Bravery in the Box’ by Sunil Sigdel followed by ‘A Rebel Turned Gulf Migrant’ by Hitman Gurung, though not limited to these works. The discussion largely incorporates theoretical and conceptual implements from relevant literature on agency theories, resistance and body aesthetics, such as the ideas of Michael Garnett, Kasper Masse, Margaret S. Archer and others. The method of discussion is predominantly critical analysis of the selected paintings, personal interviews with the artists, and socio-political reverberations these works have created as reflected in some secondary texts like show feedback in visitor’s book, reviews in published in media, preface articles in exhibition brochures, etc. The findings of the discussion suggest absence and inhuman suspension of agencies in Gorkha Soldiers and Ex-Rebels. The paper concludes affirming the scope and nature of the aesthetics of human agency, especially focusing on the practice of deep agency.</p> Bishwo Raj Parajuli Copyright (c) 2023 2023-07-06 2023-07-06 9 1 22 35 10.3126/sirjana.v9i1.56253 Words of Vajrayāna Caryā in the Intellectual Domain <p>Vajrayāna Buddhism is a product of a new wave of thoughts amalgamated in the established practice of Buddhist religion. Every word coined are representative of the fresh air of creative thoughts presented for the practitioners of the promising religion to liberate the mankind in the existing life itself. Based on the philosophy originally propounded, it attempts to reach the height of glory in a logical way full of reasoning and conviction. These words are the fundamentals of the vajrayāna religious structure and the vajrayāna religious practice or carya.</p> Arun Shrestha Copyright (c) 2023 2023-07-06 2023-07-06 9 1 36 47 10.3126/sirjana.v9i1.56255 Some Emerging Nepali Abstract Painters of 1980s <p>Nepali artists of 1980s further developed the subjective, abstract and plural art trends with their individual identity in the paintings. The movement was from objective representation to subjective expression; concrete reality to abstract concept; from external world to the inner experience; and from visible appearance to the invisible existence. Some representative artists of this period are Kiran Manandhar, Sharad Ranjit, Navindra Man Rajbhandari, and Jeevan Rajopadhyay. Mananandhar's paintings emphasize the inner expression through altered art forms. Sharad Ranjit presents the dancing colors suggesting the implied rhythm of the universe. Rajbhandari's artworks present the quest of light in the darkness and rhythmic melody in the silence. Jeevan Rajopadhyay's colorful compositions stand for themselves with the focus on the aesthetic pleasure of the colors and abstract shapes. Creative works of these artists attempt to capture the invisible and intangible aspects of reality in the aesthetic visual form. There is the curiosity to know the unknown – to see the unseen. The visual forms attempt to present this side of the reality through lines, rhythmic curves, unusual shapes, strange colors, and novel images. Since the visual forms are plural and open-ended, there is the possibility of multiple interpretations. Thus, this research is qualitative.</p> Yam Prasad Sharma Copyright (c) 2023 2023-07-06 2023-07-06 9 1 48 63 10.3126/sirjana.v9i1.56256 Phenomenology in Nepali Paintings <p>I make an attempt to investigate the select eight paintings by Nepali artists through phenomenology. Nepali artists paint through their living experiences and convert forms into various metaphors in their artworks. Their creations connect with people of different professions in society and make them enter into a new consciousness. I further attempt to explore the relationship of Nepali art with the phenomena of the lives of Nepali artists. The select eight paintings by eight artists are explored here. The artworks are analyzed and interpreted in the qualitative method. In earlier times, Nepali paintings were not interpreted through phenomenological aspects. I argue that the form and colour they invented express their life experiences consciously. I conclude that the value of the living experiences of Nepali artists in the creative process helps in the development of Nepali contemporary art.</p> Rajbhandari Jasmin Copyright (c) 2023 2023-07-06 2023-07-06 9 1 64 77 10.3126/sirjana.v9i1.56269 Appropriating the Mona Lisa in the Contemporary Nepali Painting <p>There is no boundary in creating, or recreating new work whether in art, literature, music, film, drama, or any medium. The practice of artists using original objects or images in their artworks with changes of the original ones is considered appropriation in art, or appropriate art. This paper focuses on the appropriation of the Mona Lisa in the contemporary Nepali paintings. The Mona Lisa, the most sought-after work of art, was created by Leonardo Da Vinci during c. 1503-1506 is presently housed in the Louvre Museum, Paris. There are several examples of Vinci’s art turned into appropriate art by artists from around the world. In 1919, Marchel Duchamp appropriated adding a moustache and beard with a pencil in a postcard reproduction of the Mona Lisa. Moreover, this appropriation of the Mona Lisa can be seen in Nepali artists' paintings as well. It can be seen in the works of the eminent artist Manuj Babu Mishra to the up-and-coming artists like Laxman Bajra Lama and many others. While making conscious and unconscious dialogues with the Mona Lisa, Nepali contemporary artists seem to be apparently driven by traditional myths, icons, motifs, and religions. Here, ten of the appropriate arts of the Mona Lisa, created by contemporary Nepali artists will be discussed.</p> Saur Ganga Darshandhari Copyright (c) 2023 2023-07-06 2023-07-06 9 1 78 89 10.3126/sirjana.v9i1.56271 Research Note: the Tangible and Intangible Art Heritage of Chitrapur (Chitlang) <p>This paper explores the tangible and intangible art heritages of Chitlang, also known as Chitrapur is an ancient historical route. Before the 18th and early 19th centuries, this was the only route thriving with life. In those days, it used to be a roadway that would never sleep. Today it remains isolated and discarded despite being rich in both tangible and intangible historicity that goes back to the Dwāpara-yuga (Mahabharata period). There are innumerable relics and the inhabitants who claims to be the descendants of the Gopala dynasty of Nepal. There are few books available on Chitlang written by local scholars, but they lack focus on art heritages. This article attempts to throw some light on the tangible heritages and the intangible tales associated with Chitlang/Chitrapur. The methodology is qualitative in nature and based on historicity of Chitlang.</p> Poonam R.L. Rana Copyright (c) 2023 2023-07-06 2023-07-06 9 1 90 99 10.3126/sirjana.v9i1.56273 Exhibition Review: Painting Exhibition on Art through the Ages by Hari Prasad Sharma <p>Nepal through the Ages: Reviving Ancient and Medieval Culture and Architecture: A Painting Exhibition of the Complete Works of Senior Artist, Hari Prasad Sharma organized by Nepal Heritage Society, Himal Association and Social Science Baha on September 6 – 26, 2019 at Nepal Art Council, Baber Mahal</p> Swosti Rajbhandari Kayastha Copyright (c) 2023 2023-07-06 2023-07-06 9 1 100 108 10.3126/sirjana.v9i1.56274