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KARMAYOGIN.
our own mythology and history for the subject of art, and that he manifesto a certain struggling to wards outward beality and charm which is occasionally successful in his women and children. But he haud neither the power to clevelop wriginal conceptions, nor tho skill to reproduce finely that which he tried to learn from Europe. He represents in Art that dark period when, in subjection to foreign tenching and iderls, we did everything badly because we did everything slavishly. It is fortunate that the reprehentative of this period way a man without genius: otherwise he night have done infinitely more perinanent harm to our taste than he has done. The art of Sj. M. V. Duranulhar
V. Durandhar shows a grout advance. The busi is Buropean but we see aething Indian and characteristicxtruge gling to express itself in this for cign noull. Unlike Ravivarma Sj. Durandhar has always a worthy and often poetic cenception, even when he fails to express it in line udonlour. In the stillness and thoughtfulness of the figures in the sound illustration of the book there is a hint of the divino presonce which is suggested, and Indian richuese, massiveness and dignity support this great suggestion. There is nugustness and beauty in The picture of Rama and Sith about to onter Guhyaku's boat. Others of his picturus are less ancorul. Another intermediate Worker in the field who is very largely representoul, is Sj. Upendra Kishore Ray. This artist has an S tually imitative genius whose props field lios in reproduction. There :tre attempts here to 8110 caurl in the European style and others which seek to capture the the secret of the new school, capecially where it is origins!, strange ad remote in its great but these are secrets of original genius which do not yield themselves to
1 imitation and the attempt, though il teproduces uomo of the mannerisms of the school, often ends literely in grotesqueness of line and conception. सनृतवादिनी।
संस्कृतसाप्ताहिकपत्रिका वार्षिकमूलं यह प्रापणम्पयन रू. ३
स्कृतचन्द्रिका । स संस्कृतमासिकपत्रिका
बा.कामयन प्रापकन्ययेन रू. २ वर्तमान एजन्सी, गिरगांव,
C . 64169:-
.T.
We have not left ourselves the (SJ.) BEPIN CHANDRA PAL. Aprce to do justice to the really THE SITUATION II. great art represented in the book,
(Concluind.) the wonderful suggestions of the landscape in Sj. Abanindranath
We must realise this simple truth. Tagore's "Slaying of the Enchanted! We must understand that there is Deer," the decorative beauty of the
such a thing a British Conscience. "Last Days of Desamth," and the
No virginised society is op can be cpic grandeur and grace and strange withont conscience. Even the naked romantic mystery of Mahadev
cannibals have a conscience of their receiving the Descent of the Gan
own. The individual is crerywhere ges." Wo would only suggest to impelled to subordinata all indivithe readers whose artistic perop- dual ends to the ears of his tions are awikened but in need of
community, not by mere physical training, to nse the comparative
force explict or impliet, but really hy Teethod for which Sj. Ramananda
the communal conscience, the collectChatterji has supplied plentiful ive moral sense of the people ninong materials in this book, for instance, he lives and noves and has his being the three illustrations of the Kai This communal conscience, this kayi and Manthara incident which socin conscience, this national are given one after the other. Sj. I conscience are given one after the other.- Sj.
in the vehicle and Naalalal Bure's original and unge organ of Dharma: crywhere. gestive though not entirely sucOCNH- And there is no natan or people ful pictur, Sj. Durandhar's vigo- that has not a consience of its rous and character-revealing but to own. The inistake lies in taking imitatively European work, and Si. abstract view of this social force. U. Ray's nttempt to master the new For our conscience is not an indestyle with its striking evidence of a pendent and isolated fuulty.--the great reproductive facutly but small success where originality is the nim. and wrong, in the light of original Finally, let him look at the few ex. and universal intutions, without amples of old art in the book, then any reference to our intellectual or at the work of the new school, omotional, or general sucial, recte especially the two pictures Against mic, and political life. This is : page 22, nnd last at Raju Ruivar-wrong, an unreal, an abstract www ma's failurex. He will realise the of Conscience. Such a view pinch stringe hintus in the history of our moral faculty and our mural Indian Art brought about by the life, beyond the realm of evolution onslavement of our minds to the But our conscience is not what West and rocognise that the ar- isolatod thing. It x e the tists of the new school are merely
sum total of all our thought itt recovering our ancestral heritage with a new development of spiri
experiences. It is the resultant.. tual depth, power and originality, to say, of all the social forcon work which is prophetic of the futuro.
ing about 118. It gives it decisions
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