Nepali art

Nepali art.

In Nepal, art is traditional and largely religious in nature, with Hindu and Buddhist imagery dominant. As in India, artists were part of a guild structure; the discovery of several artists' sketchbooks has shed fascinating light on the process of imagery. Nepali sculpture primarily depicts figures of deities. Although Nepali painting is also generally religious in content, many paintings integrate historical events, portraiture, cosmological diagrams, and astrological charts as well. Deities are depicted according to instructions contained in dhyana texts, so that worshipers and artists are able to visualize them more accurately. The cult of Bhairava, which is devoted to the worship of Shiva, has influenced much of the imagery in Nepali art. Nepali architecture is noted for its palaces, although the wood and brick composition of many structures in the Himalayan valley has left few pre-16th-century buildings extant. An important early Vishnu Temple is at Changu Narayan. For much of Nepal's history, its art was molded according to Indian forms and archetypes; the Gupta and Pala styles showed a perfection of technique. In the 19th cent., Nepali artists discovered the rajput and mughal styles, which resulted in an ongoing exchange of artistic theories with Tibet. See Indian art and architectureIndian art and architecture,
works of art and architecture produced on the Indian subcontinent, which is now divided among India, Pakistan, and Bangladesh. In the Western world, notable collections of Indian art can be seen in the British Museum, in the Victoria and Albert
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Bibliography

See studies by P. Pal (1974 and 1985).

References in periodicals archive ?
exhibition unveils Amatina's brand new series of paintings, as well as offering a variety of craftshops to educate the community about Nepali art, culture, and its people.
All three programmes are aimed at promoting Nepali art, literature, music and films, and to provide platform for the younger generation of Nepal to share their ideas, experiences and stories.
Most of the figural struts are still in situ and, deservedly, have attracted the attention of art historians since the systematic study of Nepali art and architecture began.
The conservatism of the Nepali artistic tradition is indeed one of the main reasons that stylistic dating of Nepali art is so difficult.
It makes better sense to title the book as Tribal arts from Nepal, which can indicate directly Nepali art including primitive flavor.
Lalit Kala Campus, established in 1934, has produced many talented artists who have been successful in making a name in the Nepali art scenario.
The exhibition is a great opportunity for the Lalit Kala faculty members to showcase their work and it is a chance for all Nepalis to know about Nepali art history.
The scene of hunting is another rarity in Nepali art.
A penchant for linear treatment instead of painterly delineation is another constant feature throughout the history of Nepali art.
By all means, by training, profession as well as by chance and her station in life she is destined to study Nepali art forms in their social, cultural and historical context.
As it won't be possible to review all the seventeen papers we will focus on the major ones on leading Nepali art forms only.
This, in part, is how most Nepali art ended up in "dispersal"--to use Slusser's harmless terra because of their "deplorable" treatment in Nepali hands