~ The Art of a Patachitra Artist, Rupsona Chitrakar, 2018

From the collection of Banglanatak, Patachitra of Durga
~ A painting by the acclaimed Patua Anwar Chitrakar.

Here, the priest, worshippers, and the dhaak players have gathered to offer prayers to Maa Durga. ☀️🚩
~ another depiction of Maa Durga in Bengal patachitra paintings.
~ And Goddess Durga is represented differently in Odisha pattachitra art form.
~ Durga slays Mahisasura, Madhubani painting.
~ Krishnachandraji temple, Kalna, Bardhaman, West Bengal (Terracotta art of Bengal)
~ Kalighat painting, Kolkata, 19th century.
~ Maa Durga in pahari paintings. Here, again slaying the demon Mahishasura.
~ Again a Pahari painting where Maa Durga is seen without her lion.
~ Here she is depicted in her fiercest form. (Pahari paintings).
~ In this depiction, she is wearing a thin layer of 'alta'.
~ Mahishasura is drawn here as a buffalo, not as his human form.
~ Here, both the lion (Maa Durga's vehicle) and Mahishasura (buffalo) have a red dot on their foreheads.
~ Single panel pattachitra of Goddess Durga by Anwar Chitrakar

I will keep updating this thread as I come across more depictions of her (Maa Durga) in different art forms.

(All images are from the Internet).
~ Devi Durga slaying Mahishasura, pata painting on canvas.
~ Durga slaying demons, a Himachali miniature painting.
~ depicting a scene from the Ramayana. Ram is shown as offering his eyes to make up the full number - 108 - of lotus blossoms needed in the puja that he must offer to the goddess Durga to gain her blessing.

c 1895, Printed by: Chore Bagan Art Studio, British Museum Collections.
~ Mahiṣāsuramardini, Durgā killing the buffalo demon.

Early 20th century, Raja Ravi Varma, British Museum Collections.
~ Seated Durgā with a standing attendant.

(c. 1790-1810), Rajasthan School
~ Engraving of the goddess Durga slaying the Buffalo Demon, Mahishasura.

Richard Bernard Godfrey, (c. 1770). This artifact, now with the British Museum, sheds interesting light on the early uses of Indian print imagery.
~ The goddess Durgā, riding upon her vehicle, the lion (often depicted as a tiger). The pair are shown vanquishing the demon Mahiṣāsura.

Deccani School: 1800–1805 (on European paper).
~ The goddess Durgā of green complexion and with eight arms, rides on her vehicle.

(c. 1820), Company School, painted in Andhra Pradesh/Tamil Nadu
~ A fierce goddess (Bhavani) is seated in a chariot, led by two tigers.

(c. 1800), Rajasthan School, The British Museum Collections.

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More from @Anuraag_Shukla

11 Oct
How the principle of 'interdisciplinarity' was so integral to even a text that was written some 1000 years back. The Samarangana Sutradhara was written by Maharaja Bhoja of Dhara (c. 1010-1055) as a complete manual on all arts.
Even though it had a special focus on architecture, it also talked about how the same principles can be used in paintings as well. These principles can be further used to define human psyche, by linking different color schemes to different human emotions.
A painting, says the text, should have six limbs; pramana- appropriate size, rupabheda- variations in form, sadrishya- a reflection of reality, bhava yojana - the ability to evoke the desired mood, lavanya yojana- a glimpse of the beauty & varnikabhanga- the choice of the color.
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7 Sep
~ Kesa-vinyasa: Hairstyles (coiffures) in early Indian arts

The scriptures/mural representations, ranging from the 2nd-century BC to the 17th century AD, have detailed out the everyday living of Indians. This literary data has immense value in analyzing the culture.
The Harappans were quite interested in unique hairstyles and using combs and mirrors for making their hair-do. The picture here shows a Mirror, hairpin & collyrium pot, dated 2700 BC.
The dancing girl of the Harappan period is one of the finest examples of Indian art. An exclusive feature of this sculpture is her hair, coiled beautifully in a thick mass falling over the right shoulder.
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6 Sep
The same pipeline/network effect can now be seen in the education sector. So many of them with the one-year-long degree from Harvard are now in the business of 'revolutionizing' education, neatly aligned with agendas of the world bank/IMF/Impact bonds.

@subirshukla
A typical trajectory for such organizations/start-ups is to avail initial funding from the impact fund instituted at the graduating institution. Get recognition for your 'revolutionizing' work from the same network and get invited to a symposium organized by the same cabal.
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Reading this fascinating account on Shyamji Krishnavarma's life & work. A graduate of Balliol College, he founded the IHRS, India House, and The Indian Sociologist in London.

He believed in Spencer's dictum: "Resistance to aggression is not simply justified, but imperative".
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4 Sep
Re-reading enlightenment thoughts from a decolonial perspective makes one aware of how enlightenment thinkers were complicit in justifying imperialism on the grounds that there were fundamental philosophical distinctions that separated properly human from not-so-properly ones.
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24 Jul
telugu caduv'atanna telikaga jucu
t'aangla pathalsalal'andu galadu.

That's how it is, they take Telugu lightly
In all those English schools.

~ Chellapilla Venkata Sastry
When all of his contemporaries were quoting Shelley, Keats, and Eliot, Vishwanadha Satyanarayana garu spoke of Indian aesthetics of rasa, aucitya, vakrokti and dhvani and quoted from Abhinvagupta, Mammata, etc., in defiance of every modern literary convention.
Sanjay Subramanyam describes how by the turn of the 20th century, the life of a Telugu teacher became miserable. "His general image was of a fossilized, unimaginative individual who somehow had instant access to old books, but lacked the intelligence to study any modern subject."
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