The Problems of Aesthetics [Editorial]
Vol. 3 No. 2, April 1949, pp. 4-6, 9
Regardless of the difference in time and space, the homogeneity of humanity leads to similarity in aesthetic traits of different civilizations. The Indian artist is compared with his counterpart in the Occident and China in terms of his emphasis on the creation of form (rupa). The Indian artist needs to draw the resources and traditional laws of Indian art to add new discoveries to the artistic patrimony of the world.
Planning a New Hospital in India
Vol. 3 No. 2, April 1949, pp. 7-9
The requirements of a well-planned hospital are spelt out, including the arrangement of wards, space for ancillary services, adequate staff quarters, limited entry of visitors, and utility space within wards. A multi-storeyed, rather than a single-storeyed, building facilitates smooth flow of internal traffic. For the planning of a well-equipped hospital, cooperation between the architect and the medical authorities is essential. Rather than building several small hospitals with inadequate facilities, it is preferable to have a large central hospital with a good communication system. A hospital must have a atmosphere of service and kindness, discipline, and efficiency so that patients feel comfortable.
Flexgarh: An Old Principle Reused
Vol. 3 No. 2, April 1949, pp. 10-13
The writer presents a case for the widespread use in India of Flexgarh, a design for a factory-made house with movable components, including interior and exterior walls, to adapt to the changing needs of the family from hour to hour. This principle is suitable for middle-income families living in cities, and is economical if mass-produced. The structural components of the house and their functions are described with the help of drawings.
Offices and Stores for Calico Mills: Ahmedabad
Vol. 3 No. 2, April 1949, pp. 14-16
The overall design by Frank Lloyd Wright of the proposed building is described. The building has an external wall-shell of pre-cast concrete; the ground floor has tall show windows; overhanging terraces cap the top floor. It is well suited to the functions of display, stock, and sale, and as a dignified piece of architecture will stand out from its nondescript match-box type counterparts.
Kanthas of Bengal
Vol. 3 No. 2, April 1949, pp. 18-29, 37
The art of kantha (embroidery on disused pieces of cloth joined together) of Bengal is brought to life by a vivid description of the stitches employed, subjects, symbolism of figures and designs drawn from plant and animal life, linear ideograms, and geometrical stitch patterns. Mainly a prerogative of women, the art of kantha is more complete in its repertory and value than the art of alpona (free-hand drawings in liquid rice-paste on coloured earth of the floor). The chief centres of production are identified. The varied designs include a central lotus, trees, and depiction of the human figure. The illustrations carry details of dimension, colour, and subject.
Some Dance Poses in the Chidambaram Temple
Vol. 3 No. 2, April 1949, pp. 30-36
The great temple at Chidambaram is said to be the only shrine which has its sculptural leitmotiv representation of poses from the Natya Shastra. The dance friezes in the Nritya Sabha (Hall of Dance), Raja Sabha (Hall of Thousand Pillars) and courtyard of the temple are described with the help of sketches by Shiavax Chavda. A time lapse and therefore difference in style is evident between the execution of these three groups of sculptures. They are said to be superior in delicacy and refinement to the dance poses showing the karanas on the inner walls of passages.
Kathakali Dance Drama
Vol. 3 No. 2, April 1949, pp. 38-40
Kathakali preserves the ancient synthesis between poetic speech, song, music, and movement unlike in Europe where the divisions are more rigid. An increasing interchange between India and the West is now looked forward to, after the successful rendition of the dance drama "King Rugmangadan" by Sivaram in London.
An Introduction to Indian Dancing
Vol. 3 No. 2, April 1949, pp. 41-43, 62
The features, themes, codes, techniques, and programmes of Kathakali, Kathak, Manipuri, and Bharatanatya dance forms are presented. The 9 rasas (moods) are the basis of all dance forms. Among other divinities, Shiva (Nataraja, the Lord of dance), is the figure around which all Indian dance is woven.
Vol. 3 No. 2, April 1949, pp. 44-46, 40
The growth and maturity of Moitra's paintings is traced through his early life, a craving for aesthetic vision, and the influences of Rajput/Pahari schools, folk art of Bengal, and post impressionist art of Europe. The Bengal famine and formation of the Calcutta Group of Artists finally resulted in Rathin Moitra becoming a totally contemporary painter, depicting life as he saw it.
National Song: Jana Gana Mana
Vol. 3 No. 2, April 1949, pp. 47-51
The transcription and piano arrangement of Rabindranath Tagore's melody by M. Alain Danielou (Shiva Sharan), historian and critic of Indian music, is accompanied by the Bengali text and its translation. This is the Vishva Bharati authorized version.
Vol. 3 No. 2, April 1949, pp. 53-54
Rajput Painting by Basil Gray and Moghul Painting by J.V. S. Wilkinson, reviewed by Karl Khandalavala; Nritta Manjari, a book on Bharata Natyam by Leela Row Dayal, reviewed by Mrinalini Sarabhai; a brief list of books and annuals received.
Vol. 3 No. 2, April 1949, pp. 57-62
Shows at the All-India Fine Arts and Crafts Society, New Delhi by J.T.; events in the first quarter of 1949 in Bombay, including the controversial Newton affair and a show by D.J. Joshi of Laxmi Kala Bhavan, Dhar, by J.M.; shows in Calcutta including one on Buddhist art, by B.D.; and the announcement of an architecture exhibition to be held at a reconstructed site in London in 1951.