Ang Biography

Ang Biography

 

Karna
 
Tilkamanjhi
Sarah
   
Ashok Kumar
   
Nandlal Bose
   
Bihula
   
Fanishwarnath 'Renu'
   
Ramdhari Singh Dinkar
   


KARNA : THE REAL HERO OF ANG

ON DIWALI, gamblers take the "auspicious" name of Yudhisthir before starting the game. How this patron of gamblers who told lies throughout his life has come to be known a s dharmaraj (Protector of religion) and how Karna, who did not even hesitate to give away his life in charity has been deprived of honour, are questions requiring careful consideration.

Ironically, historians, writers of Purans and great poets have ignored Karna, who imbued the nation with enthusiasm, strength, self - respect and love for truth, and have established Yudhisthir as a pillar of the nation by showering upon him epithets like Dharmaputra (Son of Religion) and Dharmaraj (Ruler of Religion).

Our ancient guides inadvertently, if not deliberately, declared as ideal men certain persons whose charachters were no better than a false weight or measure. Yudhisthir is one of them.

Poets Exalted the Honest People

In the begining of Hindu culture, poets exaplted the honest people. The portrayls of Harish Chandra and Ranti Deva are based on their deeds. But later poets who enjoyed the patronage of king stopped praising justice and virtue and made the exaltation of the acts - whether good or bad, reasonable or unreasonable - of their patrons the sole object of their life. It is on account of their insincirity that our nation is facing a crisis today.

Yudhisthir, the hero of Mahabharata, was an illegitimate child of Pandu. Not only this , he lacked honesty and truth. Karna was born to Kunti, when she was Virgin. Karna dedicated his whole life to charachter- building and on the basis of his supreme manliness tried to become the best man in his life. He left an everlasting impression on the minds of arrogant persons by saying - ";You are born in the family of Gods, but i have only my manliness."

Yudhisthir lost in gambling not only the whole kingdom but also Draupadi, the joint wife of his brothers. This proves that he was a confirmed gambler. Krishna saved draupadi from disgrace but never reprimanded Yudhisthir for his serious lapse.

It is said thatYudhisthir spoke only half a lie in his lifetime, when he manipuilated the cruel murder of Dronacharya by saying "Aswthama is killed in the battle - maybe a man or elephant." But is that all. During their exile, he instructed draupadi and his four brothers not to divulge their identity or real names to King Virat. He also gave a false name, false caste and false profession to the king and repeated it again and again while training the king in the art of gambling.

Out of Shame

In fact Yudhisthir was not victorious in real sense of the term. The devastation wrought by the war put him to such a shame that he went quietly to the Himalayas to die there in snow. It was a refined form of suicide. When Rama left the royal palace to began his exile, all his subjects followed him, weeping bitterly. But the Pandavas were followed only by a dog. To satisfy the Pandavas, the poet-chroniclers named the dog as an incarnation of religion.

Inborn Genius

From his very childhood he was called the son of charioteer. This was disgraceful for him. In the atmosphere of inequality then prevailing Dronacharya could not train him in the science of Arms because he was not the prince. But Karna had inborn genius and natrul strength. In that caste ridden age he made parshuram teach him the science of arms and got through the test of Brahminism.

While Arjuna stood in the battle-feild maddened with the pride of his power and challenged the enemy soldiers, Karna accepted his challenge. Arjuna got frightened and to avoid battle insulted him by calling him sutputra, even then Kunti kept quiet.

Duryodhan who always recognised merit, at once declared Karna as a Ruler of Ang Pradesh. Karna felt obliged and always remained a true friend of Duryodhan throughout the life.

While dying, Karna said with Pride: "My Property was offered to the Brahmins and my Youth to my Wife. I have laid my life in the battlefeild for my master."

At the instance of Krishna when Kunti, who had disgraced Karna to save her face, went to persuade him, he did not say a word about her evil deeds. He never held her responsible for all the disgrace that he sufferred, and assured her, that he will always remain the mother of 5 sons. Barring Arjuna, he promised not to kill any Pandava, and he spared Yudhisthir in the battlefeild. He fullfilled his promises even at the cost of his life.

What to talk of Beggars, Karna did not dissapoint the person who came to ask for his life. Indra, the king of perfidious gods who had molested even the wife of his teacher, disguised himself as a brahmin and came to Karna to beg for his Kawach (sheild) and Kundal (earrings). Before the arrival of Indra, his father, the Sun had forewarned him about the conspiracy and advised him not to part with the kawach and kundal. But Karna refused to accept his advice and said: "I would prefer death than dissapoint beggar at my door."

So, Large-Hearted

The perfidious Indra came to his door and begged for his Kawach and Kundal. Karna exposed Indra but still took out the symbols of his life and gave them in charity to Indra.

When Krishna found Karna in trouble on the battlefeild he prompted Arjuna to attack. Violating all the rules of war, they attacked Karna who had no arms. When he reminded Arjuna about the rules, Krishna smiled misceviously and said: "Karna where were your rules when you attacked Abhimanyu who was plaved in a similar situation?"

Krishna's subterfuge won. If he were alive today, we would have asked him: "Oh protector of religion, is this your definition of religion that whatever the Pandavas do is reliion and whatever the opponents do is irreligion? Do you incarnate to Establish such a mischevious religion? Listen Krishna, Abhimanyu was killed only after Bhishma was murdered fraudulently by your faction. When your favourite Arjuna was peirceing the body of Bhishma with a shower of arrows, while hiding behind shikandi, and whe the 80 year old Bhishma exposed you, you got him killed fraudulently. Religion was then cremated by you and your Pandavas. At tat time where were your religious discourse which you dilivered to Karna ?

It is mentioned in the samhitas that when Karna was lying wounded in the battlefeild, both Krishna and Arjuna went ot him disguised as Brahmins. Karna got hold of a stone, broke one of his gold teeth and gave it to them.

Even Krishna the patron of Pandavs has praised Karna, "Even Indra, who is equipped with the Thunderbolt, cannot kill Karna on the battlefeild. What to talk of others, even you and i with our gandeeva and sudarshan chakra cannot conquer him."

What a pity that Krishna got such a great man killed fraudulently. Sanjay expressed his sorrow over his death in these words: "The divine tree for the beggars is broken today. Karna who was considered as a great man is killed today."

How far is it justifiable to refuse to recognise Karna as an ideal charachter who was religion-incarnate, charitable, brave, true and firm, and to recognise Yudhisthir as an ideal charachter when he was a coward, meek and a liar?

Worst sort of Alliance

Krishna and the Pandavas present the worst sort of Alliance in that age. Persons with such weak charachters can never be called ideal man. On the other hand, Karna was great in all respects. He is the right person who should be our hero, ideal.

We can help the moral regenaration of our country only by recognising Karna as our Ideal charachter.


Karna



TILKAMANJHI

 
SARAH
 


ASHOK KUMAR

Ashok Kumar aka Dadamoni was born Kumudlal Kunjilal Ganguly in Bhagalpur and grew up in Khandwa. He briefly studied law in Calcutta, then joined his future brother-in-law Shashadhar Mukherjee at Bombay Talkies as laboratory assistant before being made its leading man.

Ashok Kumar made his debut opposite Devika Rani in Jeevan Naiya (1936) but became a well known face with Achut Kanya (1936). Devika Rani and he did a string of films together - Izzat (1937), Savitri (1937), Nirmala (1938) among others but she was the bigger star and chief attraction in all those films. It was with his trio of hits opposite Leela Chitnis - Kangan (1939), Bandhan (1940) and Jhoola (1941) that Ashok Kumar really came into his own. Going with the trend he sang his own songs and some of them like Main Ban ki Chidiya, Chal Chal re Naujawaan and Na Jaane Kidhar Aaj Meri Nao Chali Re were extremely popular!

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Ashok Kumar
(1911 - 2001)







NANDLAL BOSE

Born in Bhgalpur, Bihar on December 1882, Nandlal Bose rose to become one of modern India's most important artists. A product of GCAC, Bose was mentored by Havell and Abanindranath. His integrity and intent idealism were reflected as well as widened with his nationalistic consciousness, his commitment for classical and folk art, along with its underlying spirituality and symbolism, and a responsibility towards shaping the self-consciousness, choices and moral virtues of the people. The early philosophical inspirations came from Havell, Coomaraswamy and Sister Nivedita, while his interactions with the Japanese painters in Calcutta influenced him to realize the significance of the artistic heritage.
The Indian renaissance formed the full vision of the magnificent yet ruined past in Abanindranath Tagore. Though it was pervaded with western realism, its nostalgic milieu asserted more of the national and Pan-Asian culture than the topical issues. After this advent, therefore, an intense need was felt for identifying indigenous sources of inspiration, and evolving a new artistic language, which would wed art to life. The key role here belongs to Nandalal Bose (1882-1966).
At fifteen, Nandalal went to Calcutta to continue his education. There he studied at the Central Collegiate School for his Entrance Examination and then joined the General Assembly College to study for the F. A. examination. But his passion remained art. All his time was spent collecting books and magazines to study the works of great painters. Even the money meant for his school fees went into art. He failed in the F. A. examination, then joined the Metropolitan College where again he did not pass the examination. Nothing persuaded him away from art.
Nandalal incessantly kept learning to paint, picking up model-drawings, still-life, etc. from his cousin Atul Mitra, copying the works of European masters (like Raphael's Madonna) and the style of Raja Ravi Verma's (as seen in Mahashveta). When he was yet feeling his way, Bose was elated when he suddenly recognized his future Guru, Abanindranath Tagore, from his paintings like 'Buddha' 'Sujata' and 'Bajra-Mukut'
Too shy to ask Abanindranath to accept him as a disciple, Bose took his classmate Satyen to speak to the Guru on his behalf. Bose went with some paintings. Not only Abanindranath Tagore, but Havell and Lala Iswari Prasad examined them and appreciated the maturity of lines and experimentation in his works. Some were copies of European paintings but among the originals 'Mahasveta' won Havell's admiration while 'Ganesh' won over Lala Iswari Prasad.
Abanindranath had met his future disciple. What Swami Vivekananda was to Ramakrishna, Nandalal Bose became to Abanindranath Tagore, who saw in him his artistic heir.
Abanindranath's Art School was not just a teaching institution, but a locus for extending and deepening the appreciation and enjoyment of both classical and folk art through a variety of activities like recitations and discussions. In the beginning Harinarayan Basu and Iswari Prasad guided Nandlal in the school, but later Abanindranath himself guided his growth. During this time, Bose was his only student, though later many more joined him.

While his disciple for over five years, Bose picked up a lot from Abanindranath. His method of teaching, simple and engaging as it was, enlivened the classroom atmosphere and inspired rapt attention from his disciples. Stories from the history of India, the Ramayana and the Mahabharatha were woven into his classes. Buddha's stories, Goddess Kali, Krishna, Shiva's Thandava Dance narrated in the classes fired Bose's imagination. There were others inspired by 'Bethala Panchavimshathi' stories. 'Sati' was one of his works of this period, which won much praise.
Bose's original style was recognized by famous artists and art critics like Gaganendranath Tagore, Anand Coomaraswamy and 0. C.Ganguli. He was also greatly encouraged by Sister Nivedita who became a great friend of the artist.
Along with being a great painter, Nandalal Bose played a leading role in the renaissance of art in India along with Asit Kumar Halder, Surendranath Ganguli, Samarendra Gupta, Kshitindranath Majumdar, Surendranath Kar, K. Venkatappa, Hakim Mohammed Khan, Shailendranath Dey, Durga Simha etc, who were all inspired by Abanindranath Tagore.

Bose drew rich inspiration also from Rabindranath Tagore. When he founded the Kala Bhavan in Santiniketan Rabindranath invited Nandlal Bose to have a free hand with the institution. He said " rarely did one come across in one person such a union of intelligence, sympathy, skill, experience and insight ". The Tagores left it to Bose to work out a cogent agenda in the field of art and try them out in practice. Without going into the argumentation of modernism or post-modernism, Bose approached the situation in a home-spun way. His focus was on the awakening of the creative potentials of each individual.
Bose declined the offer to join the staff of the Government Art School and instead helped Abanindranath prepare a catalogue of the works of art in his house. While compiling this rare collection of various styles of paintings, statues of stone and metals, ivory carvings, dolls, and costumes and also works from Nepal and Tibet, Bose even made copies of some of the oldest works.
His oeuvre spanning almost six decades appears at times as if it were a string of versatile choices in the use of diverse art-historical preferences. They also permeate one another, sometimes containing the possibility of an enduring style. Observed apart, the zenith of every variation shows a complex but radiant consistence of character. As an artist though, his keenness to communicate with the spectator would sometimes surpass unrestrained self-expression.

Bose's experimentation and versatility enfolded numerous influences and traits. Ancient and folk traditions co-existed with the naturalism and Modernist persuations. Tested conventions of art did not counter his involvement with actual life-people and impetus. Artistic subtleties and ethereal tones were frequently flavoured with vigor and energy. His mellow, restrained washes allied with the rythmic, yet strong line dictating his compositions.
The historic artistic tradition of India coupled with several contemporary inspirations gave birth to an overlapping of styles in Nandlal's creativity. His school project of copying the Ajanta murals lent tranlusence and a classical linearity to his style. Similarly, the emphasis on a unity between art and natural rusticity during the Kala Bhavan experience afforded the flat spaces of Mughal and Rajasthani traditions to his work, while the Sino-Japanese influences imparted complexity to his soulful washes. The Sabari cycle of temperas, with their thick opaque pigments, exhibit a post-impressionist inheritance, at the same time giving an expressionistic impact with coarse, belligerent strokes and jagged areas. A transition from figuration to a dominance of landscapes was also spotted in his works in the 1930's. Bose's versatile experimentation blended all such inspirations beautifully in his series on the 'Chaitanya', while the rural Bengali 'pata' influenced his vibrant depiction of village life in the 'Haripura-Posters'. His skillful combination of stylization with the realistic pinnacled in the 'Natir-Puja Murals' and the free and sparse preparatory drawings.

Internally restless, Nandlal Bose always carried with him a stack of blank cards, a slab of ink and brush. Ever sensitive to the stimuli surrounding him, he used to give in to his impulses to record these, recall old images and invent new ones, through small spontaneous sketches in monochrome. Nandalal Bose always kept the habit of realistic sketching on the spot and doing finished drawings of sceneries, people, animals and vegetation. Fundamental directness, seasoned detail, a convincing overall finish and emotion marked his expression.
Bose was relegated at times as a partisan idol, a prominent leader of the nationalist backlash against colonialism. Yet despite his nationalistic bent, Bose was not a defensive antagonist. He aimed to nourish the source streams of India's creative genius, so as to make its stand with the world healthy and fruitful.


In addition to the impact of his articulate creativity on the art of India for all time to come, Nandalal Bose's impression on his students was immense and through them it suffused all over the country.
He died on April, the 16th 1966, in Calcutta.





Nandlal Bose

(1882-1966)







Paintings By Nandlal Bose
Bihula


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Fanishwarnath 'Renu'  
Ramdhari Singh Dinkar  
 

 


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