Wednesday, October 14, 2009

THANK YOU EVERY ONE!


We are happy to pronounce that our  artists friends have come out with tremendous enthusiasm and promptness in responding to our questionnaire with all  essential details. The selected replies shall soon see the light of the day( in print)! Ameen!

Friday, October 9, 2009

ATTENTION ARTISTS!




Dear Artist,
I am planning to bring out a special number of our bilingual quarterly art-journal 'Kala-Prayojan' http://kala-prayojan.blogspot.com/
featuring all known, less-known, unknown,upcoming,budding,aspirant Indian/International Artists (Painters/sculptors) (with their old as well as recent paintings). For this purpose, I am sending you the following questionnaire for consideration and response. Should I hope that you would be kind enough to go through it thoroughly. By replying suitably at your earliest convenience and thus helping our research team to publish significant material about you and your paintings, we sincerely hope to spread the message of global friendship through Art.
Regards,
Hemant Shesh



QUESTIONS FOR ARTISTS
1. Where did your schooling in Art take place? or you have picked up painting on your own. How did you incline towards fine arts?
2. As a student of Art, who were your contemporaries, who later became renowned artists?
3. Who were your teachers during your studies ? Did anyone/some ones did inspire your work at the initial stage as a student artist.
4. What were the major difficulties that you faced during becoming an artist and later while establishing yourself as a visual artist-in your country and then abroad.
5. Can you classify certain important significant landmarks in your long art-journey?
6. Who are the major artists, who have inspired you or your work and why?
7. Your paintings are a blend of inspirations gathered from various sources. Which culture has a greater impact on your art and why?
8. Do you wish to be underlined as a creative artist using 'multi-media' for your various forms of expression. What has to be your central concern when you take up multi-media experimention for your works?
9. What is the significance of being experimental while working multi-media?
10. In many series of paintings some artists have blended the images of the East to those of the West, What should have been the thereof and how it bridges the occidental and oriental sensibilities??
11. Are you aware of the contemporary Art in India? What major difference do you feel between the Indian art scene today as compared to the contemporary art world of West?
12. Taking a global view of modern world-art, how do you rate major Indian artists and their art? Who are the Indian artists whose works you are familiar with?
13. Public-Art as an urbanization trend is picking up gradually in developing countries like India. What should be its aesthetic direction and dimensions? How the modern art can works literate common men's vision towards life and art?
14. What is your assessment about the recent boost in art-market of the world? Has this trend negatively influenced artists or the orientation of contemporary art. Are they becoming more and more 'commercial' insted of being professional?
15. How persons other than art-field have inspired your work and who are the chief personalities of philosophical, intellectual, literary and allied fields who have contributed to the shaping of your creative orientation?
16. What in your opinion is the creative correlation between tradition and modernity? Have some of your works given an evidence of such a co-existence?
17. What is the meaning of being an Indian near you, when for the past so many decades you are staying permanently outside India? Do you sometimes miss India and for what reasons? (This Question is addressed to Non Residential Indian Artists living abroad)
18. What is the latest that you are working on and when is your next solo/group show(s) scheduled and where?
19. Have you to say anything special on governmental patronage of fine arts, especially with reference to art institutions established for protection, Promotion and development of art and artists?
20. Have you to say anything or to show anything significant to your senior/ contemporary/budding / upcoming generation of new artists? please append choisest of your 8 recent works for consideration of publication.

Thursday, April 23, 2009

मथुरा म्यूज़ियम : एक ऐतिहासिक शिल्प-धरोहर :



आज जब डॉ विजय कुमार, पुरातत्ववेत्ता और बेहतरीन विद्वान के निधन की ख़बर पढी तो याद आया, विजय वर्मा साहब के मन्दिर-वास्तुकला पर एक भाषण में, जो बहुत दिन पहले म्यूज़ियम विभाग ने आयोजित किया था, विजय कुमार जी से मथुरा के मूर्तिशिल्पों पर लम्बी बात हुई थी ।
विजय कुमार जी ने देश के प्रख्यात शोधकर्ताओं और खुदाई-विशेषज्ञों के साथ लंबे अरसे तक काम किया था . वह ख़ुद एक जाने माने खुदाई विशेषज्ञ  थे। नगरी- चित्तौड़ , आयड, उदैपुर और कालीबंगा अदि की खुदाइयों में विजय कुमार का भी योगदान था , पर सबसे ज्यादा प्रसिद्धि उन्हें बैराठ के क्षेत्र में की गयी खुदाई की वजह से मिली जहाँ विजय कुमार जी ने महाभारत काल के विराटनगर में खुदाई के दौरान ताम्बे के सेंकडों तीरों की खोज की और महाभारत युद्ध की ऐतिहासिकता पर अनुसन्धान को फिर नई दिशा सोंपी।

मथुरा का संग्रहालय अद्वितीय है।
आदिकाल से मथुरा नगर की गिनती भारत के सबसे बड़े और विशाल नगरों में होती आयी है । अब यह उतनी विशाल नगर नही जितना एक दौर में हुआ करता था। यह सप्तमहापुरियों में गिना जाता रहा। बौध्ध, जैन, वैष्णव और शैव सम्प्रदायों ने मथुरा में अदितीय पूजा स्थलों का निर्माण करवाया था , मथुरा में नन्द, मौर्य, शुंग, क्षत्रप, और कुषाण वंशों का शासन रहा था, आज भी मथुरा कृष्ण की लीलास्थली के बतौर लाखों लोगों की आस्था और धार्मिक विश्वास का केन्द्र है । मथुरा की सबसे महान बात : यहाँ हुआ मूर्तिकला का असाधारण विकास है। विविध धर्मों से ताल्लुक रखने वाले लाखों मूर्तिशिल्प यहाँ बनाये गए और यही कारण है मथुरा में किसी वक्त बनाई गयी बेहतरीन मूर्तियों दूर दूर तक ले जाया गया. ...सारनाथ, तक्षशिला, श्रावस्ती, भरतपुर, बोधगया, साँची, कुशीनगर और कोसंबी तक मथुरा की कला के नमूने देखे जा सकते हैं ।
संग्रहालय मथुरा अलग और खासा दिलचस्प लगा ; खास तौर पर मूर्तिशिल्पों की वजह से। भारतीय इतिहास की सबसे प्रसिद्ध   मूर्तियाँ यहाँ संगृहीत हैं।


Wednesday, April 15, 2009


हिन्दी का एक और महारथी विदा .

हिन्दी के वयोवृद्ध गाँधीवादी साहित्यकार विष्णु प्रभाकर का विगत दिनों निधन हो गया। वे 96 वर्ष के थे। पिछले कुछ दिनों से वे बीमार चल रहे थे। उनको पिछले दिनों महाराजा अग्रसेन अस्पताल में साँस लेने में तकलीफ के कारण भर्ती कराया गया था। करीब दो सप्ताह अस्पताल में रहने के बाद रात पौने एक बजे उन्होंने अंतिम साँसें लीं। विष्णु प्रभाकर का अंतिम संस्कार नहीं किया जाएगा क्योंकि उन्होंने मृत्यु के बाद अपना शरीर अखिल भारतीय आयुर्विज्ञान संस्थान (एम्स) को दान करने का फ़ैसला किया था। उन्हें उनके उपन्यास अर्धनारीश्वर के लिए साहित्य अकादमी पुरस्कार मिला था। उनका लेखन देशभक्ति, राष्ट्रीयता और समाज के उत्थान के लिए जाना जाता था। उनकी प्रमुख कृतियों में 'ढलती रात', 'स्वप्नमयी', 'संघर्ष के बाद' और 'आवारा मसीहा' शामिल हैं. इनमें से 'आवारा मसीहा' प्रसिद्ध बंगाली उपन्यासकार शरतचंद्र चटर्जी की जीवनी है जिसे अब तक की तीन सर्वश्रेष्ठ हिंदी जीवनी में एक माना जाता है.प्रभाकर को पद्म विभूषण के साथ ही हिन्दी अकादमी पुरस्कार, शलाका सम्मान, साहित्य अकादमी पुरस्कार, शरत पुरस्कार आदि कई पुरस्कारों से सम्मानित किया गया था। उनकी प्रसिद्ध कृतियों में अर्द्धनारीश्वर, धरती अब भी घूम रही है , डॉक्टर, सत्ता के आर-पार, मेरे श्रेष्ठ रंग, आवारा मसीहा, शरतचन्द्र चटर्जी की जीवनी, सरदार शहीद भगत सिंह, ज्योतिपुंज हिमालय शामिल हैं।वह हमारी पत्रिका कला प्रयोजन के बेहद उत्सुक पाठक थे और अक्सर हर अंक पर अपने हाथ से पत्रिका की सामग्री पर अक्सर बेहद तारीफ भरी प्रतिक्रिया भेजते थे। कला प्रयोजन का सम्पादकीय परिवार इस वयोवृद्ध हिन्दी पुत्र के निधन पर शोक में है और प्रभाकर जी को श्रद्धांजलि अर्पित करता है।

याद पूनम दैया

कला प्रयोजन के एक लेखक और हिन्दी के पुराने संपादक पूनम दैया का उदयपुर में हृदयाघात से गत दिनों निधन हो गया । उन्हें दिल का दौरा पड़ा था और पिछले दिनों फ्रेक्चर का दुःख भी झेलना पड़ा। इन पंक्तियों के लेखक के प्रति पूनम जी का निश्छल प्यार याद रखने लायक बात है।
पिछले बहुत दिनों से शहर से बाहर रहना पडा। राजस्थान की खबरें वहां पहुँचती ही नहीं। विगत ६ अप्रैल को उदैपुर में हार्ट अटैक के बाद हमारे प्रिय लेखक और राजस्थान साहित्य अकेडमी के पूर्व अध्यक्ष श्री पूनम दैया का निधन का समाचार मेरे वरिष्ठ मित्र और हिन्दी आलोचक डॉ. दुर्गाप्रसाद अग्रवाल ने कुछ यों दिया :
"अरे! मुझे तो लगा कि आपको तो पता ही होगा. उन्हें हार्ट अटैक हुआ था. कल रात पीयूष से चैट कर रहा तो, तो उसने बताया. वैसे उनके न रहने की खबर मुझे पल्लव ने दी थी. पूनम जी वैसे पुराने हृदय रोगी थे, लेकिन उनका जाना मुझे तो स्तब्ध कर गया है. मुझसे उन्हें गहरी आत्मीयता थी, उनका सरल, निष्कलुष , वत्सल स्वभाव मुझे हमेशा याद रहेगा। हम सबकी और से उन्हें हार्दिक संवेदनाएं. मैं पूनम जी के माध्यम से ही पहली बार आपके स्नेह की धार से भीगा था - यह याद आया. "
पीयूष दैया उनके होनहार संपादक पुत्र हैं जो इधर दिल्ली में समकालीन कला का संपादन कर रहे हैं। पीयूष ने अपने ख़त में कुछ यों लिखा : आप का ख़त. सच है मेरे पिता एक वत्सल व सरल हृदय व्यक्ति थे. न शोक के लिए शब्द हैं न विदा के लिए. शायद। आज दिल्ली लौट आया हूँ......... "

वह "वातायन" के सम्पादकीय मंडल में भी रहे थे और जब अकादमी के अध्यक्ष थे तो अक्सर सचिवालय में उनसे भेंट हो जाती थी जहाँ वह अकादमी के रोके गए पुराने अनुदान के लिए कई कई बार चक्कर लगाते रहते थे। उन्होंने vidyapeeth udayapur में मेरे सम्मान समारोह की अध्यक्षता की थी और मेरी कविता के बारे में अतिशय प्रशंसा से भरा और मुझे बेहद संकोच में डुबो देने वाला भाषण भी दिया था, उन्होंने मुझे अकादमी सदस्यता भी प्रस्तावित की थी पर में प्रकाश आतुर जी के कार्यकाल में अकादमी सदस्य रह लिया था इसलिए विनम्रतापूर्वक पूनम जी से हाथ जोड़ने पड़े. कला प्रयोजन ने अपने एक अंक में अज्ञेय जी का एक साक्षात्कार छापा था: जो उदयपुर के ही डॉ। विश्वम्भर व्यास ने कभी उनसे लिया था, उस बातचीत में विश्वम्भर व्यास के साथ पूनम जी भी शामिल थे। बाद में हने पूनम दैय्या का एक छोटा सा निबंध कला प्रयोजन में छापा.

एक साहित्यिक आलोचक दोस्त माधव हाडा ने लिखा:
"खबर बहुत दुखद लेकिन सही है। यह सोच कर कि मुझे पता होगा किसी ने नहीं बताया। उंनसे आत्मीयता थी।"


ये आखिर हो क्या रहा है ????

हिन्दी के लेखकों का मारकेश चल रहा है : पहले सुदीप बनर्जी गए, फिर लवलीन, फिर यादवेन्द्र शर्मा चंद्र फिर विष्णु प्रभाकर जी और अब पूनम जी । अभी आज के अखबार में राजस्थान पुरातत्व विभाग के पूर्व निदेशक और मेरे वरिष्ठ मित्र डॉ. विजय कुमार की मृत्यु का समाचार भी पढ़ा । उन्हें मेरा विनम्र प्रणाम.
हम इस खालीपन पर खिन्न हैं.......

Tuesday, March 17, 2009

Dr. Rajesh Vyas reviews KALA-PRAYOJAN in Sunday Special of NAVJOTI

जयपुर ......१३ मार्च २००९ नवज्योति दैनिक के रविवारीय परिशिष्ट में स्तम्भ लेखक और कला समीक्षक डॉ राजेश व्यास ने कला प्रयोजन के स्वर्ण जयंती विशेषांक पर एक सचित्र लम्बी टिप्पणी प्रकाशित की है ।

Thursday, February 19, 2009

पाठक ध्यान दें Attention Viewers




Readers of this blog may like to see the following 4 blogs too, for more material on Art and Culture:

http://jagahjaiseejagah.blogsopt.com/,

http://picturesfolderofhemantshesh.blogspot.com/

http://hemantshesh.blogspot.com/

http://aapkoyahjaankarprasanntaahogee.blogspot.com/



कला-प्रयोजन से जुड़े इस ब्लॉग के अलावा कला और संस्कृति में दिलचस्पी रखने वाले सुधी पाठकों के लिए ये चार ब्लोग्स ज़रूर देखने के लिए हम कहेंगे-
http://jagahjaiseejagah.blogsopt.com/,
http://aapkoyahjaankarprasanntaahogee.blogspot.com/
http://picturesfolderofhemantshesh.blogspot.com/
और एक  ब्लॉग http://hemantshesh.blogspot.com/ यह कहने की ज़रूरत कहाँ है की किसी भी रचनाकार की स्वाभाविक वृत्ति की ही तरह हम आप की प्रतिक्रया का इंतज़ार करेंगे, इस बार इतना ही,

-हे.शे.

जयपुर के जवाहर कला केन्द्र में देवेन्द्र कुमार धोदावत के ताज़ा चित्रों के बारे में एक टिप्पणी हेमंत शेष की कलम से

एक चिकित्सक अपनी डाक्टरी शिक्षा और प्रशिक्षण के अतिरिक्त अगर अपनी अब तक सोई हुई कला संवेदनाओं को रंगों में ढालना चाहे तो यह कोई अस्वाभाविक इच्छा नहीं कही जायेगी और इस अर्थ में पश्चिम क्षेत्र सांस्कृतिक केन्द्र के प्रतिभाशाली युवा प्रशासक देवेन्द्र कुमार धोदावत के चित्र एक बनते हुए आधुनिक कलाकार का परिचय हम से करवाना चाहते हैं। यहाँ रंगों और रेखाओं की दुनिया में बहुत कुछ अनगढ़ और अधबना होते हुए भी कुछ ऐसा ज़रूर जो देखे जाने की मांग करता है.

Monday, February 16, 2009

नया ज्ञानोदय में कला प्रयोजन के बारे में


कला-प्रयोजन के बारे में
दिल्ली के भारतीय ज्ञानपीठ प्रकाशन से प्रकाशित होने वाली मासिक हिन्दी पत्रिका के फरवरी अंक ज्ञानोदय में सुशील सिध्हार्थ की टिप्पणी में इस पत्रिका के बारे में .

Tuesday, February 10, 2009

OUR WELL RECEIVED SPECIAL NUMBERS !

The Concept of Indianness ( Bhartiyta Kee Dhaarna) : 2 consequtive issues 9-10
Krishna Baldev Vaid Aur Unka Rachna-Sansar : issue 11
Values in Art ( Kalaon Kee Moolya-Drishtee) : 2 consequtive issues; no-13
Silver Jubilee Special Number : Issue 25
Sitakant Mahapatra Aur Unkee Kavita-Yatra : Issue 26
On Theatre ( rangkarm Visheshank) Issue 29
Creative Process ( Rachna Prikriya visheshank) : Issue 42
On Theatre {Rangmanch Visheshank) : Issue 43
On Discourses on Art Forms (Kala- Samvad Visheshank) : Issue 44
On Frescoes ( Bhitti-Chitra Visheshank) : Issue 45
Golden Jubileee Special Number (Swarna Jayanti Visheshank) : Issue 50

Prof. Ratan Parimoo writes about the new issue :

" I thank you for sending me the 50th issue. It is very well printed and rich issue. It has lot of reading material relating to literature. painting,and cinema; music and theatre. I have always wanted that Hindi should have been my mother tongue. It is the only regional language of my country, the literature of which, I have been reading from school days.If I should not have taken to Art-History academically, I would probably have gone for a a career in teaching of literture! However, that is old story! I admire efforts like your very readable journal of high standard. I am sending you abook on my paintings which have some short essays on my work by others as well as writings by me....."


Prof. Ratan Parimoo is the former professor of Art History and Aesthetics and Dean of the fine Art faculty , Baroda University. A Jawahar Lal Nehru fellow ( 1991-93), Dr. Parimoo presently is the Director of L.D.Museum, Opposite Gujarat University, Navrangpura, in Ahmedabad- Blogger's Note

Wednesday, February 4, 2009

पश्चिम क्षेत्र सांस्कृतिक केन्द्र के बारे में कुछ जानकारी A Few Words about WZCC

West Zone Cultural Centre , UDAIPUR, INDIA
is one of the seven Zonal Cultural Centres set up by the Govt. of India to provide facilities for the creative development of performing arts, visual arts, traditional folk & tribal art forms and literary pursuits in the western region of India in the states of Rajasthan, Gujarat, Maharashtra, Goa and union territries of Daman, Diu & Dadra Nagar Haveli. The main thrust of the Zonal Cultural Centres is to network and disseminate cultural activities in rural India and build up linkages among various folk art forms at village, district, state level, inter and intra-zonal level among the member states in association with the various art academies of state and Central Govt. There is a special emphasis on artists' creativity, peoples' participation and revival of vanishing arts & crafts.

Kala-Prayojan Quraterly is the most regular, prime publication of WZCC.

A painter-Administrator, Dr. Devendra Kumar धोदावत, IAS (Kerala Cadre) was the publisher of this journal and also the Director of the WZCC. uptill now. All enquiries regarding the membership and subscription etc. may be addressed to Director on http://www.wzccindia.com/

OUR CONTRIBUTORS

Under the editorship of Hemant Shesh

Major Writers and Artists published in "Kala-Prayojan" so far:

Agyeya , Dr। Ramvilas Sharma, Satyajit Ray, Kedar Nath Agrawal, Vidya Niwas Mishra, Nemi Chandra Jain, Ramswaroop Chaturvedi, Krishna Baldev Vaid, Nirmal Verma, Jagdish Gupt, Dr. Daya Krishna, M F Hussain, Prof. Govind Chandra Pandeya, S. H.Raza , Ashok Vajeyee, F.N. Souza, Mukund Lath, Vishu Khare, Kumar Gandharva, Vijay Verma, Dr. R.C. Agarwal, Jagat Pal Singh, Sitakant Mahapatra, Raghuvir Singh, Bacchoo Lal Awasti'Gyan', Devarshi Kalanath shastry, Prayag Shukla, Ashok Aatreya, Jyoti swaroop, Anil Sinha, Shamsher Bahadur Singh, Ramesh Chandra Shah,Udayan Vajpeyee, Nag Bodus, Radha Vallabh Tripathi, R. V. Vyas, Ranveer Singh Bisht, Madhu Bhatt tailong, Pandit Jasraj, Sarvesh Bhatt, Chandrakanta, Mohan Sharma, Ganesh Pyne, Anjan Sen, Rammurti Tripathi, Yashdev Shalya, Pandit Vishwa Mohan Bhatt, Pt. Laxman Bhatt Tailong, Yaroslav Sifurt, Mohan Shrotriya, Prakash Parimal, Kumar Vimal, Arpna Kaur, Meenaxi Bharti, Madan Mohan Mathur, D.C. Sharma, Pt. Lalmani Mishra, Suneera Kasliwal, Ratan Lal Mishra, Vedpraksh Amitabh, Veerendra Singh, Giridhar Rathi, Ram Kumar, Kishor Kabra, Hasmukh Baradi, Nawal Kishore, Charan Sharma, Daniel fillod, Saroj Pal Gogi, Rati Saxena, Chetan Karnani, Ke. Ka. Shastry, Rizwan Zaheer Usman, Nand Chaturvedi, Hardayal, Kamal Kishore Goyanka, Mo. Di. Paradkar, Jeewan Singh, Gangadhar Gadgil, Leeladhar Jagoodi, Rajee Seth, Jaya Goswami, Shiv Prasad Singh, Vijendra, Vaidyanath Saraswati, P.D. Sharma, Mithilesh Srivastav, Rajendra Prasad Sharma, Ranjana Gunjan, Arun Kamal, Prabhakar Shrotriya, Bharat Bhardwaj, Riszad Krinesky, Sudheer Saxena, Poonam Daiya, Siddheshwar Prasad, Peeyush Daiya, Sushma Bhatnagar, Purushottam Agrawal, Vijay Bahadur Singh, Devendra Raj Ankur, Mridula Garg, Henri Moor, K. K. Hebbar, Mudrarakshas, Vishu Chandra Sharma, Jaidev Taneja, Giriraj Kishore, Rahi Fahimuddin Dagar, Gopi, Rekha Rao, Nalini Bhagwat, Pushpita, Jyotsna Milan, Girish Rastogi, Bhagwan Singh, Suresh Awasthi, Ramesh Dave, Ayappa Pannikkar, Laxmikant Verma, Adur Gopalkrishnan, Umakant Upadhyaya, Ustad Fariduddin Dagar, Geetanjali Lal, Abhay Shankar Mishra,Ravi Srivastav, Zeabgniev Herbert, Mahendra Bhanawat, Vijay Kulshreshtha, Laxma Gaud,Akhilesh, Mahendra Raja Jain, Rajendra Upadhyaya, Vibha Rani, Chandrakant Bandivadekar, Narendra Mohan, Kamla Prasad, Sunita Jain, Leeladhar Mandloi, Mohan Aalok, Pt. Shiv Kumar Sharma, Indu Prakash Kanoongo, Lavleen, Raji Seth, Pt. Hari Charan Verma, Devendra Issar, Vinod Das, Jyotish Joshi, Wole Shoyinka, Vivaswa Shimborsky, Eric Stimus, Suresh Dwivedi, Vilas Gupte, Paul Vallery, Manbhadur Singh, Om Prash Pandeya, Wageesh Shukla, Pt. Rajan-Sajan Mishra, Droneveer Kohlee, Herjeet Ernest, Vidya Sagar Upadhyaya, Harshdev Madhav, K. Satchidanandan, Sadhna Agrawal, Rajendra Gangani, Sangeeta Gundecha, Divik Ramesh, Ernest Albert, Nasira Sharma, Hamidulla, Pt. Birjoo Maharaj, Yaroslav Sifurt, Dushyant Ojha, Rita Pratap, Utpal Banerjee, Gopi Chand Narang, Bharat Ratna Bhargava, Pt. Munna Shukla, Parmanand Srivastava, Gopal Rai, Tarun Bhattacharya, Yugeshwar Upadhyaya, Jagmohan Mathodia, Krishna Mohan Bhatt, Komal Kothari, Ashok Rahi, Baldev Vanshi, Aalok tondon, Kumar Ambuj, P. Mansaram, Bhawani Shankar Sharma, Lalit Mohan Sen, Shambhunath, Pt. Bhajan Sopori, Navneeta Devsen, Bhagwat Swaroop, Vinay Sharma, Induja Awasthi, P. N, Chyal, Kiran Murdiya, Ursula Bloom, Wall Jeelgood, Mebel Constenduros,Vishwambhar Vyas, Uma Dogra, Pt. Surinder Singh, Tejpal Singh, Prerna Arora, Gopal Das,Kamla Nath Sharma, Nand Bharatdwaj, Jeewnanand Das, Jai Goswamy, Jolly Bhandari, Renu Sharma, Lipika Dasgupta, Haku Shah, Mina Kumar, Rakesh Kumar Singh, Indushekhar Sharma, Vandna Kengrani, Ustad Ghulam Mustafa Khan, Abhinand Lath ,Adoor Gopal Krishnan, Agnipushpa, Ajamil , Ajit Kumar, Amarjeet Konke, Ambareesh, Amit Verma , Anant Verma, Amajeet 'Kasak' , Ashok Gaur,Ankit Patel, Parijat Dewarshi, Atanu Bhattacharya, Balbir Parwana, Bhagawati Lal Vyas Bhawani Shankar Sharma, Bhawen Barua, Bhupen Khakkar, Bhupinder Kaur Preet, Boris Pasternak, Chandra Bhushan Sharma, Chandra Prakash Dewal, Chandra Singh Birkali, Dev, Devkant Barua, Devneet, Dhirendra Kumar Jha, Dileep Sharma, Dinesh Das, Edwin Sugarev, Evan Motideav, Gopi, Gurdev Chauhan, Gurmeet Kallar, Majri Gurnam Gill, Gyanendrapati, Gyanwati Baid Mehta, Harbhajan Halvavin, Harekrishna Deka, Harekrishna Jha, Hari Bhatnagar, Hari Ram Aavarya, Hayashi Yukiko, Heeren Bhattacharya, Heerendra Nath Dutta, Hemant Shesh, Herbert Maria Marquise, Jagmohan Mathodia, Manmohan Jha, Jagtar, James Berry, Jaswant Deed, Jaswant Zafar, Jeevan Narah, Jeevnanand Das, Jyotsana Milan, K. Ravindra, K. Santoshi, Kanhaiya Lal Sethia, Kedar Kanan, Kumar Ambuj, Laeek Hussain, Latterio Kalapai, Lokesh Jain, Lugi Pirendilo, Mahaprakash, Mahaveer Dadheech, Mahendra Bhanawat, Mahendra Raja Jain, Meethesh ‘Nirmohi’, Minder, Mohanjeet, Molini Niezwa, Moolchandra Gautam, Mukesh Garg, Mukesh Sharma, Nachiketa, Nalini Kumbhat, Narayan Prasad Das Swami Narayanjee, Naresh Chandrakar, Dinesh Chandra Goswami, Neelkant, Neelmani Phookan, Nilim Kumar, Nirupma Dutt, Om Purohit ‘Kagad’, P.S. Sukhdev, Paramjeet, Paramjeet Sodhi, Paras Arora, Pradeep Verma, Pravesh, Premlata Sharma, Rada Panchevoska, Poonam Daiyaa, Raghu Rai, Raghvendra Tiwari, Rajendra Gangani, Ram Singh Chahal, Ramgopal Bajaj , Sanjay Kundan, Sanjeev Tamanna, Santosh Mayamohan, Sanwar Daiya, Satyadev Samvitendra, Satyen Joshi, Savinder Singh Noor, Shakti Chattopadhyaya, Shambhunath, Shiv Kumar, Sidhhu Damdami, Subhash Mehta, Sukhpal, Suneel Gangopadhya, Surjeet Patar, Taranand Viyogi, Tathagat Chatterji, Tej Singh Jodha, Tyanyang Gyatso,Pratyaksha, Veenu Kumar, Vibhuti Anand, Kabita Chakrawarty and many many more!

West Zone Cultural Centre,
Bagore ki Haveli, Udaipur-313001 (Rajasthan)
0294-2523858, 2410539, 2422567
Shilpgram: 2431304
Fax - 0294- 2523858
Regular Activities in the following states:
Goa, Gujarat, Rajasthan, Maharashtra, Union Territory of Daman, Diu and Dadra, Nagar Haveli
wzcccom_jp1@sancharnet.in
wzcccom@rediffmail.com
http://www.wzccindia.com


TO GET MORE INFORMATION ABOUT THIS JOURNAL;


please write to the honorary-founder editor; Hemant Shesh


on : hemantshesh@gmail.com


and visit our website : wzccindia.com

HEIDI POUWELS writes in The Journal of the American Oriental society

".......While I do not wish to take sides, the issues Nirala's romantic poetry raises are very relevant to current debates. Most obviously, the Hindi-Hindu connection is very much in the thick of contemporary political debates, sparked by the rising tide of Hindutva, which spill over into the literary world. The endorsement of the slogan Hindi, Hindu, Hindustan by the influential contemporary Marxist critic Namvar Singh (in the October-December 1997 issue of the journal "Kala Prayojan," published from Udaypur) provoked a polemic reaction in "Hamsa", as a selling out of Marxism to Hindutva forces. (24) In such a context, Nirala's political ideas take on a new dimension. For example, Nirala's poem "Ram ki Sakti Puja" (1936) has been criticized for being reactionary and for reinforcing orthodox Hindu feudal forces, in an article in which the author deplores the lack of solidarity of Marxist literary critics with the Dalit cause. (25) "
Diptych in verse: gender hybridity, language consciousness, and national identity in Nirala's ......

"Jago Phir Ek Bar".(Hindi poetry)
Publication: The Journal of the American Oriental Society
Publication Date: 01-JUL-01A uthor: Pauwels, Heidi
UNIVERSITY OF WASHINGTON

Makarand Parajape writes in his blog :

“Svaraj and Postmodernism"
"Kala Prayojan "10 (Oct-Dec 1997): 102-114.

In this paper I argue that the critique of modernity need not be mounted from a postmodernist platform. Both in Europe and in India there was an older tradition of dissent. Indeed, both Marx and Freud emerge as two powerful examples of modernity’s internal critique. However, it is from an older, spiritual centre that I wish to draw my strength. In the West, this tradition included various figures like Blake, Goethe, Carlyle, Dickens, Emerson, Thoreau, Ruskin, Tolstoy, Dostoevsky, Weil, and so on. These figures are varied in their response, but have one common thread running through their work. They use religion, mysticism, spirituality, or literature to critique modernity. That is, they do not attack modernity on its own terms as Marx or Freud does, but invoke from within Europe, alternative traditions of epistemology and metaphysics. This “other mind of Europe,” can, as Gandhi realised, serve as a useful ally in our own quest for selfhood. In India, we find a critique of modernity from its very inception. Gandhi’s Hind Swaraj (1909) is perhaps the most powerful and far-reaching of these critiques. Now, can we argue that Hind Swaraji is postmodern? I would prefer to think of it as anti-modern, neo-traditional. Yet it does share and anticipate some of the criticisms mounted by postmodernism later.
In other words, I argue that we do not need postmodernism to critique modernity; we can use critical traditionalism better. Indeed, historically speaking, we in India have never fully accepted or internalised modernity. That is why we need not debunk it as urgently as the postmodernists have to.
In the second part of my paper, I offer a serious critique of postmodernist relativity or anomie from the point of view of Indian critical thinkers like Gandhi and Aurobindo. The latter spoke of an “antinomian tendency” that constantly recurs in the life of Europe. But instead of going above the normative and authoritarian regime of rationality, it instead plunges into anarchy and nihilism, denying all ethical obligations in its search of vital freedom. I argue, therefore, that the various expressions of the postmodern condition “in their very poignant cry for total emancipation, actually result in legitimating various kinds of irresponsibility.” That is why such free play is available only in the most secure and materially advanced nations of the world, where like spoilt children of late capitalism, these philosophers can make a mess which others must clean up. Postmodernity, in other words, rides piggy back on the most oppressive features of modernity, just as globalisation needs missiles and racist visa regimes for its survival. The free flow of capital is promoted, but the movement of labour is strictly curtailed. This is the paradox of the postmodern condition. It’s anit-foundationalism itself becomes a pseudo-foundation which only entraps us in the prison house of language. This is a chakravyuva into which we may well know how to enter, but not how to get out. --Makarand Paranjape, is a Professor of English at Jawaharlal Nehru University's Centre for English at the School of Language, Literature and Culture Studies. ...




we have just published the GOLDEN JUBILEE special number of West Zone Cultural Center, Udaipur's quarterly bilingual-magazine "KALA-PRAYOJAN" consisting of worth preserving articles on Literture, Modern Art, Indian Classical Music, Impact of globalization on futre Art, Contemporary and traditional Theatre, Cyber Art, and film। Our contributors of this number are Dr. Kamal Kishore Goyanka, Dr. Kumar Vimal, Dr. Rammurty Tripathi, Kalanath Shastry, Vijay Verma, Girish Rastogi, Alex Colvin,, Jahangir Sabawala, Manmohan Saral, Nihar Ranjan Rajah, Dr. Kavita Chakravarty, Sandhya Sen, Praytaksha, (Late) Dinesh Chandra Sharma, H. Klinke, N. Raghvendra, K. Gopalan
Exclusive interviews with Shyam Benegal (By Droneveer Kohlee), Raji Seth( by Sudarshan Narang) Rene Leforts( by KP) (Late) Nirmal Verma (by Dr. Vandana Kengrani) Ahilesh( by Peeyush Daiya), S.L. Kandara (by Pandit Vijay Shankar Mishra) are this issue's special feature.

Senior modern short story writer Ashok Aareya has contributed a story : "Deewar Ke Peechhe Rahtee Hai Wah Ladkee".

The 50th issue contains impressive art-work ( Paintings) of P. N. Choyal, Akhilesh, Awdhesh Mishra, Joseph Gaal (Poland), Chhotoolal, Pranay Goswamy, Prof. Ratan Parimoo, Jahangir Sabawala and others.