Kalighat paintings - Revision history

HansaThapliyal at 18:49, 2 May 2009

2009-05-02T18:49:48Z

HansaThapliyal at 18:44, 2 May 2009

2009-05-02T18:44:34Z

HansaThapliyal at 18:38, 2 May 2009

2009-05-02T18:38:50Z

HansaThapliyal at 18:36, 2 May 2009

2009-05-02T18:36:30Z

HansaThapliyal at 18:32, 2 May 2009

2009-05-02T18:32:07Z

HansaThapliyal at 18:30, 2 May 2009

2009-05-02T18:30:00Z

HansaThapliyal at 18:05, 2 May 2009

2009-05-02T18:05:15Z

HansaThapliyal at 15:53, 1 May 2009

2009-05-01T15:53:00Z

HansaThapliyal at 08:05, 26 April 2009

2009-04-26T08:05:26Z

HansaThapliyal at 15:34, 25 April 2009

2009-04-25T15:34:48Z

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 His own Kali, he thought,  was a single line. Continuous as a human hair was the stroke of the hair brush that made it. That was the way with their paintings.
-The devi was looking away in anger. Her fury showed like he had never shown her.. It was that look away at someone.. she never looks thus  when she looks at you, not in the many idols that make white shadows of the lanes that crowd around the Kali temple.. not in the temple either, does she ever look like this, not in their scrolls. She is looking at someone else, he realised, that is why the fury shows.
+The devi was looking away in anger. Her fury showed like he had never shown her.. It was that look away at someone.. she never looks thus  when she looks at you, not in the many idols that make white shadows of the lanes that crowd around the Kali temple.. not in the temple either, does she ever look like this, not in their scrolls. She is somewhere else, in another land, somewhere far away from me.
-Who had this strange indigestion of dreams, he wondered, to dream up such an apparition?
+Which wonderful machine had this strange capacity for dreams, he wondered, to dream up such an uneasy apparition?
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 His own Kali, he thought,  was a single line. Continuous as a human hair was the stroke of the hair brush that made it. That was the way with their paintings.
-The devi was looking away in anger. Her fury showed like he had never shown her.. It was that look away at someone.. she never looks thus  when she looks at you, like she did in their scrolls. It's when she looks at someone else, that the anger in the same widened eyes, shows.  Who was dreaming in this odd manner, he wondered, to dream up this apparition?
+The devi was looking away in anger. Her fury showed like he had never shown her.. It was that look away at someone.. she never looks thus  when she looks at you, not in the many idols that make white shadows of the lanes that crowd around the Kali temple.. not in the temple either, does she ever look like this, not in their scrolls. She is looking at someone else, he realised, that is why the fury shows.
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 [[Image:Man and woman on cot, kalighat.jpeg]]
-It lay in the back of the painter's hut, in pride of place. He quite admired it, without wanting to, and felt derisory without wanting to either.
+The modern print of Kali lay in the back of the painter's hut, in pride of place. He quite admired it, without wanting to, and felt derisory without wanting to either.
-When his dazzled jealousy subsided enough to enable him to see, the first thing he noticed about the print was the pursed lips in the lines, a kind of mendicancy of making. Those small, careful strokes compensated for by the profusion of colours. The colours did not stand out, it seemed like the machines they came from had a way of sinking them INTO the paper, they became the picture.
+When his dazzled jealousy subsided enough to enable him to look closely, he noticed the pursed lips in the lines, a kind of mendicancy of making. Those small, careful strokes compensated for by the profusion of colours. The colours did not stand out, it seemed like the machines they came from had a way of sinking them INTO the paper, they became the picture.
 His own Kali, he thought,  was a single line. Continuous as a human hair was the stroke of the hair brush that made it. That was the way with their paintings.

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 He was a pat painter by lineage, by having learnt his father's occupation. He had moved to Calcutta a few summers ago.
 One day a rich patron with a taste for the cheap- he lived with an aged prostitute when he came to Boribazaar for three, sometimes five weeks and more- gifted  him a picture of the gods, spectacular, fresh from some new 'press'. The old man liked to transfer some things from his river facing mansion, to the poorer quarters he frequented. He was an alright fellow, really, the old man, he would smile hugely when he shared his second hand goods.
 It lay in the back of the painter's hut, in pride of place. He quite admired it, without wanting to, and felt derisory without wanting to either.

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 It lay in the back of the painter's hut, in pride of place. He quite admired it, without wanting to, and felt derisory without wanting to either.
 When his dazzled jealousy subsided enough to enable him to see, the first thing he noticed about the print was the pursed lips in the lines, a kind of mendicancy of making. Those small, careful strokes compensated for by the profusion of colours. The colours did not stand out, it seemed like the machines they came from had a way of sinking them INTO the paper, they became the picture.
-The devi was looking away in anger. He fury showed like he had never shown her.. It was that look away at someone.. she never looks thus  when she looks at you, like she did in their scrolls. It's when she looks at someone else, that the anger in the same widened eyes, shows. Who was dreaming in this odd manner, he wondered, to dream up this apparition?
+The devi was looking away in anger. Her fury showed like he had never shown her.. It was that look away at someone.. she never looks thus  when she looks at you, like she did in their scrolls. It's when she looks at someone else, that the anger in the same widened eyes, shows.  Who was dreaming in this odd manner, he wondered, to dream up this apparition?
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 [http://images.google.co.in/imgres?imgurl=http://banglapedia.net/Images/KalighatPainting1.jpg&imgrefurl=http://banglapedia.net/HT/K_0042.HTM&usg=__87hZeL231ZtZF8L8-dAr1C8dNyw=&h=300&w=194&sz=57&hl=en&start=11&um=1&tbnid=5WeePjiDjIjOUM:&tbnh=116&tbnw=75&prev=/images%3Fq%3Dkalighat%2Bpainters%2B19th%2Bcentury%26hl%3Den%26lr%3D%26sa%3DN%26um%3D1]
-The British were bringing Western Academia to India- hence the Calcutta School of Art.
+The first thing he noticed about the print that the  landowner gave was the pursed lips in the lines, a kind of mendicancy of making. Those small, careful strokes compensated for by the profusion of colours. The colours did not stand out, they sank into the paper in the machines they came from, they became the picture. The devi was looking away angrily.. yeah, it showed she was angry, like he had never shown her.. that look away at someone.. she never looks thus  when she looks at you, like she did in their scrolls. It's when she looks at someone else, that the anger in the same widened eyes, shows. Who had dreamed up such an apparition, he wondered.
-A lot of traditional Pat painters migrated to Calcutta, also hoping for a better livelihood. Many settled around the Kalighat temple, and made traditional scroll paintings.
-Students who had passed out of the Calcutta School of Art, had started printing presses.
+----------------------------------------------
-English companies were circulating their own versions of Indian images into the Indian market.
 The famed Kalighat painters or Calcutta had to seriously contend with the oleograph, the wood-cut print, and the newsheet to make their work viable.

←Older revision		Revision as of 08:05, 26 April 2009
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	The outlines of the Kalighat paintings were simple, allowing them to be copied in the lithograph presses and then filled in with colour.		The outlines of the Kalighat paintings were simple, allowing them to be copied in the lithograph presses and then filled in with colour.
	But only with the coming of the chromolithograph was it possible to render the vivid colour in these paintings.		But only with the coming of the chromolithograph was it possible to render the vivid colour in these paintings.
		+	---
		+
		+
		+	The famed Kalighat painters or Calcutta had to seriously contend with the oleograph, the wood-cut print, and the newsheet to make their work viable.

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 A lot of traditional Pat painters migrated to Calcutta, also hoping for a better livelihood.
 The outlines of the Kalighat paintings were simple, allowing them to be copied in the lithograph presses and then filled in with colour.
-But only with the coming of the chromolithograph was this form of painting really enabled.
+But only with the coming of the chromolithograph was it possible to render the vivid colour in these paintings.