Professional Documents
Culture Documents
Journal
Journal
2
September 2017
Journal of
Fine Art Campus
A Publication of
Fine Art Campus Unit
Tribhuvan University Teachers’ Association
Tribhuvan University
Kirtipur, Kathmandu
Editor - in - Chief
Komal Prasad Phuyal
Lecturer in English
Board of Editors
Dr.Yam Prasad Sharma
Lecturer in English
Rena Thapa
Lecturer in English
Deepa Neupane
Teaching Assisant in Nepali
Printed in Nepal
Editorial
Abstract
* This paper was initially presented on the inaugural session of "Art : Creation and
Exhibition for Development", jointly organized by National Planning Commission
and Fine Art Campus in Kathmandu on July 9, 2017. I acknowledge the invaluable
feedback of scholars and artists in the discussion. This revision has attempted its
best to seriously respond to the key concerns raised during the discussion.
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in present, assuming that now is the final moment of life, the revival
of the excitement takes place, for such hindrance in the movement
of time genuinely goes against the nature of consciousness and the
birth of division in the nexus of space and time in the frozen state.
The gone and the coming can also be termed as the real and
the unreal respectively. The present or the now reveals itself as the site
from which to observe the real and the unreal. The real all the time is
materialized in the now and the unreal is thus always systematically
derived and projected from the real arriving at the now. The movement
of the consciousness gets manifest in concrete gesture when and
only when the dynamism of the real is acknowledged for and the
possibility of such dynamism is further assumed into the unreal space.
Thus, both the real and the unreal collectively oppose the power of
the present that establishes and maintains affinity with the absolute
form during the perfect union of time and space. In fact, the present
pays no respect to the linear movement of time and the assumed
possibility of furthering such dynamism inherent in the nature of time
as realized through the concept of ‘future.’ The great notion of absolute
sleep lies deeply embedded in the very concept of the now. As the
quest of consciousness is ever directed towards creation of a unique
set of patterns, order and markers of identification, the real and the
unreal presume and invent the concept of ‘reasoning,’ ‘discipline,’ and
‘rule.’ This derivation helps comprehend the nature of the world and
formation of ideas about the world.
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Under the nexus of the real and the unreal, time connects the
concrete and the projected/expected reality through now. Emphasis
on only one of the points disturbs the equilibrium in understanding of
time in that the absolute sleep lying in now can neither be completely
ignored nor wholeheartedly accepted as the attribute of time. The
ethos of a particular time is best reflected through the analysis of
consciousness as both the source and target in the unfolding process
of time as such. Thus, the consciousness necessarily demands that
the modes of logical reasoning be incorporated in developing and
devising the perception of the spirit of time.
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give way to the coming one that is also heavily backed up by the social
imagination produced by its participants. The fall of the age of slavery
marks the advent of the age of agriculture. The absence of freedom,
equality and democratic participation of people in the polity becomes
the core theme of the text, heralding a new course of action for Nepali
consciousness to appear in the 1990s.
Best works of art signal at both the bygone and the upcoming,
grasping the inner pattern in the consciousness of contemporary time.
The excitement that promotes the absolute form of nullity enhances
the presence of ignorance as the only rule. The perfect coupling of
time and space in the frozen form does not allow emergence of any
type of alternative possibilities in logical reasoning. The absence of
time sees no consciousness at all. The work of art that does not grasp
the ethos of contemporaneity dies at its birth, for art promotes the
consciousness which derives itself from time and in turn sets a new
course for upcoming time. Excitement in art goes against the essential
ethos of artistic creation: in fact, art is an act without excitement.
Works Cited
Heidegger, Martin. Being and Time. Trans. John Macquarrie and Edward
Robinson. Oxford: Blackwell, 2001.
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Abstract
Key words
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Introduction
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Tribhuvan University
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Kathmandu University
Conclusion
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References
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that “she lacks what Muneria owes”. The binary of presence and
absence of sensual appeal in Muneria and Gauri respectively, plays
an important role to pull Narendra towards Muneria. She proves to
be a complete embodiment of sensual counterpart for Narendra.
On the other hand narrator identifies Gauri as fair, beautiful, clean,
genteel and good woman whereas he dislikes Muneria as dark, dirty,
bad, and ugly seductress in the beginning.
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she claims that he resides inside her; she has assimilated him within
her. Such intensity is not achieved only by loving the person or
object but by concentrating on the object or person of desire. Gauri
enacts such intensity of insight as a lover. She is focused and single-
minded, devoted to Narendra. Her prolonged longing even during
the moments of crisis of losing him to Muneria seems to be a kind of
ascetic one. She performs multiple feminine roles as a mother, lover,
and provider towards the latter half of Narendra’s life.
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finally acquires him but in a frail and viable dieable condition. There
seems no demarcation between her pain and pleasure, her life and
death, her matter and soul. Gauri is an ideal figure, blameless, and
pure who welcomes him to her secured household. His arrival as
a prodigal son rejuvenates Gauri’s home. Her concentration and
dedication somehow outweighs her previous ordeal of prolonged
solitary life. However Gauri is ignorant that she is meeting a fate as
Albert Camus said of, “irremedial exile. . . divorce between man and
his life. . . truly constitutes the feeling of absurdity”(Abrams 1).
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subsides again across Koshi” (Koirala 64) suggests that nothing can
be predicted about human life except its flip side and that is “death”.
Hence human beings continue to struggle in the hope of attaining
something like the characters in Narendra Dai drifting to reconcile
with contingencies of their life and paradoxically that something is
slippery and delusive.
References
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Figures and paintings are generally at the centre of the page and
the texts on the both sides of the visual frame. The borders of the painting
are embellished and decorated with floral designs and geometric
shapes. Nevertheless, in some manuscripts, the pictures were created at
the sides with the verbal texts at the centre. In few manuscripts, there
are pictures on one side of the page and texts on the other. However,
all the Prajnaparamita manuscripts are not illuminated. There are
also such manuscripts which do not have figures and visual images.
Sometimes, paintings are created only on the manuscript covers but
not in the text inside. The artists used home- made colors to paint the
figure. The names of the artists of these artworks are not known. The
texts tell the mythical stories. The paintings not only support the verbal
text but also enhance the aesthetic quality of the work and motivate the
readers to go through the text.
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from Maya Devi's hip. She is holding the branches of a tree for the
support, and her body is bent or curved in the shape of ‘S’ giving a
sense of elegence. While baby Buddha is emerging, his head is up.
As soon as he is born, he takes his first seven steps and stands on the
pyramid of lotus flowers. Buddha appears tall even at his birth. The
presentation of his tall figure and the seven steps are mystical and
magical images. Such strange and unusual images and events are not
found in normal human life. The pictures create divine ambience.
The spiritual world goes beyond our reasoning. The focus is on faith.
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earth from heaven, he is escorted by Hindu gods. This also depicts the
harmonious relationship between the Hindu and the Buddhist beliefs.
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the goddesses holds a sword in her hand. The sword is symbolic, for
it is believed that it "cuts through the darkness of the ignorance of all
sentient beings" (25). Next goddess sits in varada mudra, the gesture
of conferring boon. The divine being is fulfilling the wishes of her
devotees. A goddess sits in dhyana mudra, gesture of meditation,
the search for knowledge and truth. The other one sits in namaskara
mudra, gesture of adoration, greeting and respecting others.
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people. They need not suffer like Buddha himself. Ernst and Rose
Leonore Waldschmidt explain the concept of bodhisattava:
Bodhisattvas, ‘Being of Enlightenment’, who are potential
Buddhas or Buddhas designate. These blessed beings have
come within reach of their goal, the rank of a Buddha,
having travelled the way that leads through the ten stages
(bhumi) of supreme virtue and perfection; they have,
however, abstained from taking the final step to deliverance
and extinction in order to stand by those who have remained
behind on earth, their former companions in suffering, to
help them in their troubles and guide to them along the
right path. These Bodhisattavas thus have the function of
helpers to those who belong to this branch of the Buddhist
religion-like the saints. (29)
The enlightened ones (Bodhisattavas) function as the link between
Buddha and the ordinary human beings whose quest is nirvana.
Vajrapani, Ratnapani, Avalokitesvara, Visvapani, Samantabhadra
and Manjusri are the examples of bodhisattavas. On the cover
of the twelfth century Prajnaparamita manuscript, Buddha is
seated in dharmachakra mudra, the gesture of teaching the law.
There are also the above mentioned six bodhisattavas seated in
dharmachakra mudra. They are also holding a lotus flowers. The
compositions are based on the myth of Mahayana Buddhism. The
paintings communicate the sense that the enlightened teachers
make our spiritual journey easier.
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of sound must have its inevitable visual aspect”, and created “poetical
paintings personifying the moods or sentiments of the thirty-six
ragas or traditional musical scales” (387). Such features of Rajput
paintings appear in later Prajnaparamita manuscript illuminations.
But, the setting, body of the figures and facial feature are always
related to Nepali soil. These visual narratives explore the universal
human values love, and human’s attachment toward music and
poetry.
Works Cited
Aran, Lydia. The Art of Nepal: A Guide to the Masterpieces of Sculptures,
Painting and Woodcarving. Kathmandu: Sahayogi, 1978.
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Abstract
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who don’t experience shame are people who have no capacity for
connection or empathy (Listening to Shame).” In this regard, shame
retains the character of contagiousness and can’t be separate from
empathy. You lack empathy equals no communication of shame.
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perpetrator that the readers share rather just the experience of the
shame-induced character. Leys observes that:
Shame theory displaces the focus of attention from action
to the self by insisting that even if shame can be connected
to action… shame is an attribute of personhood before the
subject has done anything, or because he is incapable of
acting meaningfully. (131)
It echoes that shame should be studied prior to guilt and is
independently meaningful and one can have the feelings of guilt
and shame at a time. The failure of subject to act accordingly in
the situation sometimes gives both feelings- I am wrong and I did
wrong- for example, in the forced witness of public prosecution
of the innocent. Nevertheless the readers don’t share the guilt
because guilty is prosecuted, thus it doesn’t contain vulnerability as
it is already harm. Unlike guilt, shame possesses the possibility of
vulnerability, where redemption and repair is possible; thence shame
induced identity experience is contagiousness of shame as it is always
safer to imagine not being in harm.
Now reading the stories with this theoretical insight reveals
that the evocation of the shame in the narrations brings the positive
impact for the better tomorrow. Manto does not believe that the
political decision to divide colonial India into two separate states
is only the reason for 1947 violence. In fact man can be happy in
each other’s happiness, not by tormenting other. Neither power and
wealth nor subjugation and greed are the essence of harmonious
living. The tolerance of the coexistence of each other, love for all
and fraternity is what makes the humanity. But the rampart of hate
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Unlike Cold Meat, Open It! does not explore the affect
of violence on the perpetrators/social workers in their utterance
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Works Cited
Jalal, Ayesha. "He Wrote What He Saw and Took No Sides." Pakistani
Literature 01 (2012): 136-140.
Leys, Ruth. "Shame Now." From Shame to Guilt. Princeton: Princeton
University Press, 2007. 123-156.
Manto, Sa'adat Hasan. "Cold Meat." Black margins. New Delhi: Oxford
University Press, 2003. 204-211.
Manto, Saadhat Hasan. "Open It!" Black margins. New Delhi: Oxford
University Press, 2003. 200-203.
Shaheen, Aqeela and Riaz Qadeer. "The Influence of Manto and
Maupassant on Social Life." Pak.J. Commer. Soc. Sci. 6 (1)
(2012): 222-229.
TED. “Listening to Shame/Brene Brown.” Online video clip. You Tube.
You Tube, 16 March, 2012. Web. 1 September, 2017.
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;fgL cfkm\gf] 3/df l6sf ;Sg] ljlQs} xl/sf] 3/df l6sf yfKg hfG5] . PSsf;L
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;fgL leq vf]h]sf] 5f]/Lsf] df]x ;j} afbn ag]/ cfsfzdf d8fl/g k'U5g .
;'j]bfgL{nfO{ ;fgL;Fu lj5f]l8g] OR5f x'b}Fg / lrgf] :j?k ;fgLnfO{ ;n cf]8fO{
lbP/ kl5 e]6\g cfpg] cfu|x u5]{ . olts} ;do ljTb} hfG5 . xl/ / ;fgL cfkm\gf]
cfkm\gf] tl/sfaf6 hLjg ljtfpgyfN5g .t]x| aiff{sf] cGt/fn kl5 PSsf;L ;fgL
/ /Tgf ;f]lx k'/fg} 7fpFdf anjL/sf] 3/df k'U5g . >fj0f dlxgfsf] clj/n
aif{n] b'j} lgy|'Ss} leh]sf] x'G5g . w]/} ;do kl5sf] e]6n] ;'j]bfgL{ / /Tgfsf
cg'xf/df b]lvPsf /]vfsf w;f{x? h'g s'g} lrqsf/n] lrqsf]/] h:tf lyP eg]
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vf]hLdf hjfg 5f/LnfO{ lnP/ k'/fg} ;DjGw vf]Hb} ;'j]bf/ sxfF k'Ubf ;'j]bf/sf]
klg :ju{ Kf|:yfg eO;s]sf] yfxf x'G5 . To;kl5 ;'j]bfgL{ / /Tgf lbbL alxgL
h:tf] ;DaGw ul/ ;'j]bfgL{sf] 3/df /Tgfsf cfdf 5f]/L a:g yfN5g\ . Tolx
3/nfO{ cfkm\gf] dfG5g . afNosfnsf ldNg] ;fyL xl/ / ;fgLsf] k'g e]6 x'G5 .
plgx? klg bfh'alxgLsf ;DaGwdf l6s]/ / aflwP/ a:g afWo x'G5g . pgLx?
b'j}n] cfkm'nfO{ efOalxgLsf] bfo/fdf b]vfpg] sf]l;; u5{g t/ cGt/dgdf eg]
Ps csf]{ ljgf cfkm' ck'/f] x'g] cg'e'lt u5{g .;dfhsf] d'No / dfGotfnfO{
dWogh/ ul/ x/L / ;fgL s[ltd bfh'alxgLsf] bfo/fdf afFlbg afWo x'G5g x/Ln]
bfh'sf] st{Jo lgefpg] k|of; u5{ .
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ljbf ubf{ c;fWo lk8f eP klg c?sf] cufl8 xfF;]/ ;fgLnfO{ ljbf u5{ . ;fgL
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a'xf{tg oL ;j} s'/fx?nfO{ ;xg g;sL ;fgL dfOt hfG5] . dfOtdf cfdf l;ls:t
lj/fdL eO{ d[To' x'G5 . afa' u'dfO;s]sL ;fgLsf] cfdfsf] d[To'n] emg} kL8f
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a:g rfxG5] . g]kfnL ;dfhsf] dfGotf h'g ljjflxt gf/L dfOt a:g gx'g] kf]Os}
3/df a:g' kg]{ eGg] k|rngn] ;fgnfO{ ;'j]bfgL{n] nfUg]sf] 3/df k'¥ofO{lbg] s'/f
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OR5f geP/ cfkm' ;Fu} /fVg] OR5f eP klg p;n] of] s'/f JoQm ug{ ;Sb}g .
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z/L/nfO{ phf{lbG5 / afRg] OR5f hfU5 To;kl5 ToxfFaf6 kmls{P/ hfG5] /
ef]nL kN6 ;Nnfx u/L nf]Ug]sf] 3/ kmls{g] tof/L u5]{+ . cfFvfaf6 clj/n
cfF;' aufpFb} xl/nfO{ gkms{g] jfrf u/L ;fgL cfkm\gf] af6f] nfU5] . olQs}df of]
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b]lvPsf] 5 . ?kn] /fd|L, dfofFsL vfgL, g/d , nhfn' :jfefsL rl/q ePsL
;fgL afNosfndf bflh{ln·df xl/sf] kl/jf/;Fu glhs eP/ v]n]sL /dfPsL
x'G5] . To;kl5 a;fO{ ;g]{ qmddf afa'cfdf ;Fu} Onfd k'U5] . Onfddf t]x|aif{
ljtfP kl5 PSsf;L ;fgLsf] afa'sf] d[To'n] ;fxf/fsf] vf]hLdf xl/sf] 3/df
cfdf;Fu kms{G5] . afNosfnsf ;fyL xl/ / ;fgL b'j} hjfg e};s]sf x'G5g .
b'j}df a}+; rl9;s]sf] x'G5 . xl/nfO{ b]Vbf ;fgLsf dgdf t/· p7\5 afNosfndf
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;Fu} v]n]sf] x/L;Fu af]Ng nfh nfU5 PsfGtdf x]/L/xg dg nfU5 . xl/nfO{
b]Vbf ;fgLsf] dgdf 5'6\6} t/· pTkGg x'G5 cg'xf/ /ftf] x'G5 . p;n] s;};Fu
klg cfkm\gf dgsf s'/fx? JoQm ug{ ;lSbg / cfkm\g} dgdf u'D;fP/ /fV5] .
;dfhsf] cufl8 bfh'sf] bhf{ lnPsf] xl/nfO{ ;fgLn] cGt/ dgn] rfxG5] . p;sf
x/]s lqmofsnfk dg k/fp5] / b]Vbf nhfpF5] ;dfhsf cufl8 alxgLsf] bhf{
kfPsL ;fgLn] x/L;Fu nIdL k'Fhfsf] aQLsf] /dfOnf] x]g{ hfg] df}sf kfpF5] .
x/Ln] xft ;dft]/ 3'dfPsf tL /xdfOnf ;do nfO{ p;n] clj:d/l0fo agfpF5]
cfgGbcg'e'tL lnG5] . ;fgLsf] 3/df ljx]sf] s'/f rN5 t/ p;nfO{ ljx] ug]{ OR5f
x'Fb}g . OR5f ljk/Lt p;sf] ljx] x'G5 . xl/nfO{ x[bodf /fv]sL ;fgLn] nfUg]nfO{
dg lbg ;lSbFg / p;sf] nfUg];Fusf] ;DjGw lau|g uO ;f}tf a]xf]g{ afWo x'G5] .
nf]Ug]sf] 3/ kl/jf/ ;j} ;fgLnfO{ af]em nfU5 / ;w}sf nflu a:g elg dfOt
ogsL xl/sf] 3/df kms{G5] . cfdfsf] klg d[To' x'G5 . cfkm\gf cfdfa'jf u'dfPsL
nf]Ug]sL aGg g;s]sL xl/nfO{ kfpg g;s]sL ;fgL cGTodf cfTdxTof ug]{ OR5f
u5]{ / xl/;Fusf] cJoQm k]|dn] afRg] OR5f hfU5 / km]/L cfkm\gf] ;+3if{df kms{G5] .
o;/L ;fgLsf] e'dLsf pkGof;df ;j{q b]lvG5 . pm g]kfnL ;dfhsL
k|ltlglw gf/L kfq xf] . xfd|f] ;dfhn] gf/LnfO{ lgod / cg'zf;gsf] bfo/fdf
/fv]sf] 5 . h;n] p;sf] dgsf OR5f rfxgfx? a'em\g] / ;Demg] k|of; ub}{g
;fdflhs aGbg Psftkm{ x'G5 eg] :jtGq ?kdf :jefljs tl/sfn] knfpg]
k|]d csf{tkm{ . k|]dnfO{ ;dfhsf] cfb{zdf cfx'tL lbP/ ;dfhn] rfx]sf] cfbz{df
cfkm'nfO{ x'Dg'kg]{ l:yltsf] rl/q ;fgLsf] e'ldsfn] cf]u6]sf] 5 .
v_ x/L
o; pkGof;sf] gfossf] ?kdf xl/ b]vfk/]sf] 5 . cfbz{ rl/q
af]s]sf] xl/ ;fgLsf] afNosfnsf] ;fyL xf] . ;dosf] rqm;Fu} ;fgL k|lt knfPsf]
k|]dnfO{ xl/n] klg JoQm ug{g;ls cfkm\gf] dgsf] s'g} s'gfdf n'sfP/ ;fgLnfO{
alxgLsf] ?kdf ckgfpg afWo x'G5 . bfh'sf] st{Jo lgef{x ub}{ ;fgLNffO{ sGofbfg
u5{ / cfkm' bfh'sf] ?kdf a:b5 . cfkm\gf] dgsf] leqL s'gfdf k|]dsf] Hjfnf kfn]
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Journal of Fine Art Campus Vol. 2 (September 2017)
klg ;fdflhs aGbgn] To; Hjfn nfO{ lgefO bfh'sf] st{Jo lgef{x ub{5 . xl/
/ ;fgLsf] of] s'/fsfgL af6 k|i6 x'G5 –æ;fg' 3/ uPkl5 :qLsf] wd{ xf], kf]Osf]
;]jf ug'{ , gf]s/ rfs/nfO{ c/fpg', l;sfpg' . ;f;'nfO{ cfdf h:tf] ;Demg\',
glrg];Dd kf] ;f;'n] a'xf/Lsf] k/LIff lnG5g . ;f;'–;;'/f l/emfpg ;s] cfkm\g}
5f]/f 5f/L h:t} u5{g .Æ -k[i7 $$_ o;/L xl/ o; ckGof;df cfb{z k'?if
rl/qsf] e'ldsfdf b]lvPsf] 5 . dgsf OR5fx?nfO{ bjfP/ ;dflhs kl/aGbdf
aflwP/ ;fglhs cfb{zdf lx8\g] k'?if kfq xl/ ;t\ kfq xf] .
u_ ;'j]bfgL{ / /Tgf
o; pkGof;df b]vf k/]sf ;'a]bfgL{ / /Tgf >Ldfg ljt]/ a];fx/f ag]sf
g]kfnL gf/Lx?sf k|ltlglw kfq x'g . h'g ;Gtfg df]xdf cGwf ag]sf ddtfsf
vfgL ePsf cfdf x'g . ;Gtfg g} ;DkQL ;Demg] cfb{z kfqsf ?kdf ;'j]bfgL{
/ /Tgf b]vfk/]sf 5g . xfd|f] g]kfnL ;dfhsf nf]Ug]n] sdfpg] / ;Dk"0f{ Jojxf/
wfGg] k/Dk/f 5 . nf]Ug]sf] cf>ddf :jf:gL / ;Gtfg a:g] u5{g . ha nf]Ug]sf]
csfndf lgwg x'G5 tj :jf:gLnfO{ ;Gtfg kfNg] / ;d:ofn] ;tfpF5 . /Tgfn]
nf]Ug]sf] d[To' kl5 3/ 5f]l8 ;'j]bfgL{sf] cf>ddf cfpF5] eg] ;'j]bfgL{n] nf]Ug]sf]
d[To'n] 5]f/f]n] k9\g gkfPsf] s'/f JoQm u5]{ . o;/L g]kfnL ;dfhdf nf]Ug]sf]
cg'kl:ytL jf d[To'n] :jf:gLnfO{ k|ToIf ?kdf ef]Ug'kg]{ kL8fnfO{ oyfy{ ?kdf
Kf|:t't ul/Psf] 5 .
3_ cGokfqx?
;fgLsf] nf]Ug] ;f;', ;;'/f, GfGb, b]j/, l5d]sL h:tf kfqx?sf] e'ldsf
klg oxfF b]lvG5 . ;fgLsf] nf]Ug] hf] :jf:gLsf] dfof gkfP/ csL{ :jf:gL Nofpg]
jf ax'aLjfx ug]{ k'?if kfqsf] ?kdf b]lvG5 eGg] ;f;', ;;'/f, gGb, b]j/, klg
a'xftg s6fpg] kfqsf ?kdf b]lvPsf] kfOG5 . a'xf/L eg]sf 3/df sfd ug{
cfpg] lgMz'Ns v]tfnf x'g . h;sf] d'No ltg'{ kb}{g eGg] dgf]a[tL af]s]sf] g]kfNfL
;dfhsf] emNsf] ;fgLsf] 3/sf] kl/jf/Ls cj:yfn] b]vfpF5 .
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Journal of Fine Art Campus Vol. 2 (September 2017)
$= kof{j/0f
o; pkGof;sf] kof{j/0f bfh{ln·sf] u|fld0f kl/j]znfO{ lng ;lsG5 .
/fhjfl8 ufpFsf] ;]/f]km]/f]df of] pkGof;sf] ;+/rgf ePsf] 5 . bfh{ln· ;x/
3'dlkm/sf] leS6f]l/of kmN; h:tf 7fpFx?sf] pNn]v ePsf] 5 . To;} ul/ ;fgLsf]
kl/jf/ a;fO{ uPsf] Onfdsf] klg JofVof ePsf] kfOG5 . >fj0f dlxgsf] em/L
df3 dlxgsf] 6x6x 3fd bz}+ ltxf/ sf] df};d h:tf s'/f x? kof{j/0fsf] ?kdf
cfPsf 5g . of] pkGof;df ;'vdf k|s[tL xfF;]sf] b'Mvdf k|s[tL /f]Psf] b]vfO{Psf]
5 . h:t} Pp6} a]bgfn] tyf Pp6} ;Gtfkn] 5f]k]sf] /x]5 . b'j}sf] lhjg cfsfzdf
Pp6} sfnf] d]3 cfP/ lhGbuLsf] ;'v / cfzf phf8 kf/]sf] /x]5 / To;}n] b'Jf}sf
cfFvf /;fP Pp6} b'Mvsf] afbnaf6 c>'aiff{ embYof]{ t/ ;'j]bfgL{nfO{ Pp6f s'/f
b]Vbf crDd nfUYof] –æs'Ol/d08n nfu]/ 5f]k]sf kxf8 a:tL j/k/sf ufpF3/
?vkft ;j} pHofnf] eP/ ToxfF rxlsnf] 3fd nfu] h:tf] nfUof] clg cfkm'n]
dfem]/ /fv]sf 3/sf efF8fklg ;j} pHofnf] eP/ stf stf 6Ns]h:tf] nfUof] .
Æ -k[i7 !^_ bz}+ ltxf/df l6sf nufpg] ltxf/df nIdL k'hf ug]{ ljx]df hGtL hfg]
5f]/L cGdfpg] h:tf k|rngsf] pNn]v klg oxfF kfOG5 . To;} ul/ lbg b'MvLnfO{
cf>d lbO ;xof]usf] efjgf b]vfPsf] s'/f klg oxfF b]vfOPsf] 5 .
%= efiff z}nL
o; pkGof;sf] efiff z}nL, ;/n, ;xh, ;/; Pjd\ k|jfxdio ePsf]
kfOG5 . kfq cg'?ksf] efiff z}nLsf] k|of]u ul/Psf] pQm pkGof;df g]kfnL
;dfhdf x'g] juL{o :yfg / cf]xf]bf cg'?ksf] efiffsf] k|of]u ul/Psf] 5 .;fdflhs
dfGotf / dof{bf cg'?k efiff rog ul/Psf] kfOG5 . o;df kfqsf ?kdf cGo
kfqx?sf] k|of]u ePsfn] t[tLo k'?iffTds z}nLsf] k|of]u ePsf] kfOG5 . 7'nfnfO{
cfb/ ul/Psf] 5 eg] ;fgfnfO{ dfof tF ltdL sf] k|of]u ul/Psf] 5 . dgdf c?s}
ct[Kkt k|]d af]s]sf JolQmn] ;fdflhs aGwgdf afFlwP/ c? ;Fu ljx] ul/ ef}lts
zl// ;'lDkP klg pm dfgl;s ?kdf nf]Ug]sf] aGg g;Sg] s'/f u/L oxfF o;/L
JoQm ul/Psf] 5 –æ ;j} eGbf dnfO{ t ;flxFnL Kof/L 5 . ;j} sfddf p;}n]
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Journal of Fine Art Campus Vol. 2 (September 2017)
;3fpF5] pxL cl3 ;b{5] . d htf uof] pm klg pTf} d]/f] k'R5/ eg]klg x'G5 . d
cfpg nfu]sf] a]nf dl;t} cfpF5' elg stf stf /f]O{ . ;f;'n] /f]lslbPsf] ePt
s;f] ug]{ lyO s'GgL . d]/f] ;fy nfu]/ cfPsL . a8L, anfO{ t p;}sf] dfq] dfofF
nfU5 . Æ -k[i7 $%,%%_
pkGof;sf] cfbL b]lv cGTo ;DDfg} b'Mv kfPsf kfq k|lt efj ljxf]n
t'Nofpg] efiffsf] k|of]u ePsf] 5 . /Tgfsf] efiffdf kb;ªultsf] ljrng ul/
af]lng] bflh{ln· efiffsf] k|of]u 5 . ;+jfbfTds / j0f{gf|Tds b'j} z}nLsf] k|of]u
ePsf] o; pkGof;df ljDj k|ltssf] klg oy]i7 k|of]u ePsf] 5 . cfnªsfl/s
efifsf] k|of]u s't'xn hGo 36gfsf] cfof]hgf klg blvG5 . hLjgsf] 5Gb eª\u
eof], cfzfsf] lbof]df t]n ;'Sof], clg cfhGd / Jofyfsf] lr/:dk/0fLo 5fn
x[bodf cªsLt eof] .-k[i7 %*_
^= p2]Zo
ædfOt3/Æ pkGof; lglZrt pb]Zosf ;fy kf7s ;fd' k]; ePsf]
b]lvG5 . g]kfnL ;dfh, wd{, /LtL / ;+:s[tL n] dfgj hLjgnfO{ s;/L d'bf{ t'No
agfpF5 eGg] s'/f o;df b]vfO{Psf] 5 . dgdf /x]sf OR5f rfxgf / efjgfnfO{
;dfhsf] lgtL / lgoddf afFlwP/ b]vfjl6 ;DaGw lgjfpg' kg]{ afWotfnfO{
oxfF pNn]v ul/Psf] 5 . xfd|f] g]kfnL ;dfhdf gf/Lx? eg]sf ;xglzn st{Jo
k/fo0f kltnfO{ eujfg 7fGg] vfnsf x'g'k5{ eGg] dfGotf 5 . plgx?nfO{
afNosfn b]lvg} nf]Ug]sf] 3/df l/Hg leHg l;sfOG5 . To;}sf] nflu tflnd
lbOG5 . c?sf] kl/jf/nfO{ cfkm\gf] dfGg nufOG5 . cfkm\gf] kl/jf/nfO{ lj;{g
l;sfOG5 . gfd uf]q / y/ ;j} kl/j{tg ul/G5 dfgf} gofF hGd eof] . ;j}
clwsf/af6 alGrt ul/G5 dfgf} p;sf] hGd s]jn s;}sf] u'nfdLsf] nflu ePsf]
xf] . o;l/ bf];|f] bhf{sf] ?kdf /flvPsf gf/Lx?sf cfGtl/s / jfXo ;+3if{nfO{
oxfF b]vfpg vf]lhPsf] 5 . clwsf/ eGg] s'/f s:f} ;Fu c+h'nL yfk]/ k|fKt ug{
;lsb}g To;sf] nflu n8\g ;Sg' k5{ . cfkm}n] cfkm}nfO{ df/]/ ;dfh;Fu gf6lso
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Journal of Fine Art Campus Vol. 2 (September 2017)
hLjg ljtfpg' eGbf dHhfn] v'n]/ ;dfhnfO{ :jtGqtf k"j{s hLjg lhpg
lbg' k5{ eGg] s'/f l;sfpg' k5{ . gf/L s;}sf nflu bfl; xf]Ogg\ a? /fi6« /
;dfhsfcg'ofoL x'g eGg] s'/f klg of] ;dfhn] yfxfkfpg' k5{, eGg] s'/f of]
pkGof;af6 k|i6 x'G5 .
&= lgis{if
xfd|f] g]kfnL ;dfh / ;+s[tL h;n] ;fdfhLs lgodx? tf]s]sf] 5 . h'g
lgod pNnª3g ug'{ eg]sf] wd{ lj?4, k'/} ;dfhsf] lj?4 nfUg] eGGf] a'lemG5 .
oxfF dfgljo ;dj]bgfsf] jf:tf u/]sf] kfO{b}g h;n] ubf{ dflg;x? dfgl;s ?kdf
k|tfl8t x'G5g eGg] s'/f of] pkGof;df b]vfpg vf]lhPsf] 5 . cfkm\gf] OR5f
cg';f/ afFRg gkfpFbf / vf]s|f] vf]n cf]8\g' kbf{ slt dflg;x?sf] lhjg ajf{b
x'G5 eGg] s'/f of] pkGof;df kfpg ;lsG5 . To:t} dfof k|]d eGg] s'/f s'Gf}
of]hgf cfj:otf cg'zf/ pTkGg x'Fb}gg\ . dgaf6 plAhPsf] k|]d / k|]dn] lbPsf]
Ps ld7f; k'0f{ knsf] ;Demgf cfF6 / lxDdt lbg] u5{ eGg] s'/f ;ª\s]t lbg
vf]h]sf] 5 .
;Gbe{ ;fdfu|L
u}/], OZj/L k|;fb - @)^# _, cfw'lgs g]kfnL cfVofg, pkGof;sf/ n}gl;+x af·b]nsf]
cf}kGofl;s k|j[lt, sf7df8f}+ M lIflth k|sfzg .
9'·fgf, nfjGo / tf/fb]jL sfkm\n] - @)^$_ P]lR5s g]kfnL sIff !! g]kfnL uB, efiff /
;flxTo, sf7df8f}+ M h'lk6/ k||sfzg .
k|wfg, s[i0frGb| l;+x -@)%^ _, g]kfnL pkGof; / pkGof;sf/, nlntk"/ M ;femf k|sfzg .
af·b]n, n}gl;+x -@)%^_, dfOt3/ - df}nLs pkGof;__ sf7df8f}+ M /Tg k':ts e08f/ .
/fO{, rGb|axfb'/ -@)%^_, g]kfnL pkGof;sf cwf/x?, nlntk'/ M ;femf k|sfzg .
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Journal of Fine Art Campus Vol. 2 (September 2017)
k|ydtM ;+uLt zAb …uLtÚ zAbdf æ;d\Æ pk;u{ nfu]/ ag]sf] xf], h;sf]
cy{ x'G5 uLt ;lxtsf] s[ofx?sf] k|:t'tLs/0f ;+uLt xf] . >[i6Lsf ljleGg kIfx?
dWo] ;+uLt klg Ps k|d'v kIf xf] . ;[li6sf] ;+/rgf, ;~rfng tyf ;+xf/ ;a}
kIfdf ;+uLtn] k|ToIf–ck|ToIf ?kdf k|efj kfb}{ cfPsf] 5 .
Oltxf; vf]tNg]] xf] eg] / kf}/f0fLs syfx? lgofNg] xf] eg] ;[li6 /
;+uLt b'jn} fO{ h'DNofxf eGg km/s gdfg] klg x'G5 lsgsL ;[li6stf{ -a|Dxf_ tyf
1fgsL ;fd|f1L;/:jtL klg ;+uLtsf k|dv ' ;ft Zj/ -;f, /], u, d, k, w, lg_
;Fu;Fu} cjtl/t x'ge ' Psf] JofVof kf}/fl0fs u|Gyx?df kfpg ;lsG5 . dxfb]jsf]
tf08j g[To, 8d?sf] cfljisf/, dxfb]jåf/f k~r/fu! -e}/j, lx8f]n, d]3, bLks
/ >L_ sf] /rgf, a|Dxfsf] s/tfn jfbg, ;/:jtLsf] lj0f jfbg, lji0f' tyf
lzjk"q u0f]zsf] d[bu+ jfbg, gf/bd'lgsf] Pstf/], cK;/fx?sf] dgdf]lxgL g[To
cflbn] ;[li6sfndf ;+uLtsf] ;j{Jofkstf k'i6L ub{5g\ .
;Too'u kl5 q]tf o'udf /fIf;–/fh /fj0fsf] ;/f]b jfbg, ufog
snfdf lgk'0f{ njs'z aGw' cflb /x] eg] åfk/o'udf j+zLw/ >Ls[i0f, ;+uLt
ef]uL b]j]Gb|, s07 ;+uLt tyf lj0ff jfbgsf 1ftf ch{g', g[To u'? >L :tf]s
-s[i0fsf g[To u'?_ cflb pNn]vlgo x'g\ . To;} u/L slno'usf] k'jf{wb]lv g} klg
ljleGg ;+uLtfg'/fuL–eQmx? slj/bf;, ;'/bf;, dL/fjfO{, t'n;Lbf;, tfg;]g,
j}h'jfj/f, cflbsf] gfd dggof]Uo 5g\ .
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Journal of Fine Art Campus Vol. 2 (September 2017)
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Journal of Fine Art Campus Vol. 2 (September 2017)
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Journal of Fine Art Campus Vol. 2 (September 2017)
u_ dWosfn
o; sfn sl/a *)) b]lv sl/a !@)) O:jL;Dd /Xof] . tTsflng
;dodf /fhf tyf /fHox?lar lvrftfgL cflbsf sf/0fn] o'4d} s]lGb|t /Xof] .
7'nf /fHox? ;–;fgf /fHox?df ljeflht eP . ;Qfl;g zlQmzfnL zf;sx?sf]
ljnf;Lkgn] b/af/leq ;+uLtnfO{ k|f]T;fxg lbg yflnof] . To;a]nf l5d]sL
/fHox?af6 ;+uLt1x? lemsfO{ ljleGg sfo{qmdx? ;~rfng u/Lg] ul/GYof]
eg] zf;sx? :jo+ ;+uLtsf] lzIff lng] / lng nufpg] klg ub{y] . jf:t'snf,
d'lt{snf, lrqsnf, g[Tosnf, clego, ;flxTo, wd{;+:s[lt cflbsf] ljsfzdf
dNn /fhfx?sf ljz]if of]ubfg /x]sf] 5 .& hol:ylt dNnåf/f lgld{t /fd
dlGb/, s'De]Zj/, pGdQ e}/j, tn]h'–ejfgL, %% ‰ofn] b/af/, s[i0fdlGb/
cflb nufot r}To, ljxf/ cflb b]jfno tyf b/af/x?df s'FlbPsf snfx? klg
tTsflng zf;sx?n] ;+uLtk|lt b]vfPsf] efjgfsf] Wof]ts xf] . sf7df8f}+sf
clGtd /fhf ho k|sfz dNn t uGwj{ ljwfdf kf/+ut lyP eGg] Oltxf;af6 k|i6
x'G5 . To;} u/L k|tfk dNn klg ;+uLt / snfsf kf/vL lyP . l;l4 g/l;+x
dNnn] sflt{s gfrsf] rng rnfP eg] tTsflng ;dob]lv k|rngdf cfO/x]sf
ljleGg ;f+uLlts kj{, gfrx? cfh;Dd klg rln/x]sf 5g\ . ef/lto Oltxf;
qmddf ljz]if u/L ojg sfn -;g\ ^$&–;g\ !@()_, vLnhL o'u -;g\ !@()–;g\
!#@)_ cld/ v';/f]sf] hLjgsfn, t'uns o'u, d'un sfn -;g\ !%@%–;g\ !&$)_
csj/ sfn -;g\ !%^)–;g\ !^)%_, c+u|]hsf] k|f/De sfn cflb ;+uLtsf pNn]Vo
cjlw dflgG5g\ eg] g]kfndf lnR5aL zf;gsfnsf]* s/La s/La ^#) aif{nfO{
-nueu & cf} ztfAbL b]vL !$ cf} ztfAbL_ nlntsnfsf] :j0f{o'u dflgG5 .
3_ cfw'lgs sfn
;g\ !*)) eGbf otfsf] ;dofjlwnfO{ Oltxf;sf/x?n] cfw'lgs sfnsf]
>]0fLdf ljeQm u/]sf 5g\ . o; sfndf ;+uLt Ps 5'§} ljwfsf] ?kdf :yflkt
& ≠ ;ltzrGb| /]UdL,k]h-@^
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Journal of Fine Art Campus Vol. 2 (September 2017)
eof] . ljz]if u/L ef/tdf ;+uLtsf] nf]slk|otf clws /Xof] . ef/tsf hok'/
g/]z( -;g\ !&&!–;g\ !*)$_ n] ;+uLtnfO{ zf:qf]Qm Joj:yf ug{ æ;+uLt ;f/Æ
gfds u|Gy /rgf u/fP eg] ljåfgåo k+= lji0f' gf/fo0f ef/tv08 tyf k+= lji0f'
bLuDa/ kn'is/sf] of]ubfg xfn;Dd g} k|z;+ f of]Uo /lx cfPsf] 5 . jxfFx?n]
;+uLtnfO{ lnlkj4 ug{ 5'§f5'§} lnlksf] ljsfz ug'{ eof] . xfn eg] ef/tv08]
lnlk cToflws k|rlnt /lx cfPsf] 5 . o; sfndf ljleGg ;+uLt ljBfno
v'Ng'n] ;+uLtsf] cToflws k|rf/ eof] . ;–;fgf /fHox?sf] Plss/0f tyf :jtGq
/fHo :yfkgfn] ;+uLtsf] huhuL cGt/f{li6«o ?kdf km}lnof] . /fhg}lts hfu/0f,
b]zelQm, hg r]tgfd"ns sfo{x?df ;d]t ;+uLtsf] oy]i6 k|of]u eof] . ljleGg
vf]h cg';Gwfg ul/of] eg] ;~rf/ dfWodsf] ljsfzn] ;+uLtdf x/]s ljwfx?
-k|sf/x?_ k|sfzdf cfP . ;+uLtsf] lzIff ;j{;n' e eof] . ;+uLtnfO{ zf]efn+st[
ul/of] . ;–;fgf /fHo PsLs/0f kZrft\ ljleGg JolQmx?nfO{ ;+uLt lzIff lbnfpg
ef/lto ;+uLt1 g]kfndf af]nfpg] k|rng /Xof] . ;+uLtdf OR5f /fVg] wgf9\ox?
snfsf/ lgo'Qm ug],{ ljb]zdf uO{ ;+uLt 1fgfh{g ug]{ ub{y ] . g]kfndf /f0ff sfndf
;+uLtn] b/af/L k|>o kfof] eg] /fhf lqe'jg k:rft eg] g]kfnL tyf zf:qLo
;l·t hg hgdf nf]slk|o x'bF } cfO/x]sf] cj:yf 5 . cfw'lgs sflng k|dv ' g]kfnL
;+uLt kf/+utx?df jvtlj/ a'9flkwL{ -;g\ !*%&–!(@)_, ;'rt] l;+x k|wfg -;g\
!)
68
Journal of Fine Art Campus Vol. 2 (September 2017)
69
Journal of Fine Art Campus Vol. 2 (September 2017)
70
Journal of Fine Art Campus Vol. 2 (September 2017)
List of Contributors
2. Ramesh Pokharel
3. Rena Thapa
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Journal of Fine Art Campus Vol. 2 (September 2017)
5. Gokarna Dulal
6. Bipin Ghimire
7. Deepa Neupane
8. Parashuram Paudel
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A Publication of
Fine Art Campus Unit
Tribhuvan University Teachers’ Association
Tribhuvan University
Kirtipur, Kathmandu