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  • Satyajit Ray Writes Paintings

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    Debaprasad Bandyopadhyay
    638 views13 pages
    2002. (With Sovan Tarafdar) “chobi lekhen Sottojit.” Chakroborty, Sudhir ed.Dhrbapad. Yearbook-VI (pp.392-417). Kolkata. http://linguistlist.org/pubs/papers/browse-papers-action.cfm?PaperID=8162 This paper provides an account of Satyajit Ray’s (An Oscar-winner Bengali Filmmaker, musicologist, painter, and writer) calligraphic techniques. Satyajit Ray designed two English typefaces, viz., Ray Roman and Ray Bizarre. This paper concentrates on Ray’s artistic playing with the Bangla graphemes as it is revealed in the cine posters and cine promo-brochures’ covers (This paper excludes book-cover designs by Ray). The authors of this paper found deep impact of (a) Artistic pattern of European staff notation in the graphemic syntagms; (b) Alpana (“ritual painting” mainly practiced by Bengali women at the time of religious festival; the term denotes 'to coat with’. Generally categorized as “Folk”-Art cf. http://banglapedia.search.com.bd/HT/A_0211.htm) in Ray’s graphemic representations. Thus, so-called division between classical and folk art is blurred in Ray’s representation of Bangla graphemes. The three-tier X-height of Bangla graphemes was presented in a manner of musical map and the contours, curves in between horizontal and vertical meeting-point, follow the patterns of alpana. Authors also showed the metamorphosis of graphemes (This might be designated as “Archewriting”) as a living object/ subject in Ray’s manipulation of Bangla graphemes. Author also mentioned Ray’s calligraphic impact on the Bangla printing technology. Bengali children, when is to be introduced in the Language Art (especially Bangla writing system), may practice alpana with a festive mood for the easement of their finger-movements and for alpana’s affinity with the Bangla graphemes.

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    2002. (With Sovan Tarafdar) “chobi lekhen Sottojit.” Chakroborty, Sudhir ed.Dhrbapad. Yearbook-VI (pp.392-417). Kolkata. http://linguistlist.org/pubs/papers/browse-papers-action.cfm?PaperID=8162 This paper provides an account of Satyajit Ray’s (An Oscar-winner Bengali Filmmaker, musicologist, painter, and writer) calligraphic techniques. Satyajit Ray designed two English typefaces, viz., Ray Roman and Ray Bizarre. This paper concentrates on Ray’s artistic playing with the Bangla graphemes as it is revealed in the cine posters and cine promo-brochures’ covers (This paper excludes book-cover designs by Ray). The authors of this paper found deep impact of (a) Artistic pattern of European staff notation in the graphemic syntagms; (b) Alpana (“ritual painting” mainly practiced by Bengali women at the time of religious festival; the term denotes 'to coat with’. Generally categorized as “Folk”-Art cf. http://banglapedia.search.com.bd/HT/A_0211.htm) in Ray’s graphemic representations. Thus, so-called division between classical and folk art is blurred in Ray’s representation of Bangla graphemes. The three-tier X-height of Bangla graphemes was presented in a manner of musical map and the contours, curves in between horizontal and vertical meeting-point, follow the patterns of alpana. Authors also showed the metamorphosis of graphemes (This might be designated as “Archewriting”) as a living object/ subject in Ray’s manipulation of Bangla graphemes. Author also mentioned Ray’s calligraphic impact on the Bangla printing technology. Bengali children, when is to be introduced in the Language Art (especially Bangla writing system), may practice alpana with a festive mood for the easement of their finger-movements and for alpana’s affinity with the Bangla graphemes.

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    638 views13 pages

    Satyajit Ray Writes Paintings

    Uploaded by

    Debaprasad Bandyopadhyay
    2002. (With Sovan Tarafdar) “chobi lekhen Sottojit.” Chakroborty, Sudhir ed.Dhrbapad. Yearbook-VI (pp.392-417). Kolkata. http://linguistlist.org/pubs/papers/browse-papers-action.cfm?PaperID=8162 This paper provides an account of Satyajit Ray’s (An Oscar-winner Bengali Filmmaker, musicologist, painter, and writer) calligraphic techniques. Satyajit Ray designed two English typefaces, viz., Ray Roman and Ray Bizarre. This paper concentrates on Ray’s artistic playing with the Bangla graphemes as it is revealed in the cine posters and cine promo-brochures’ covers (This paper excludes book-cover designs by Ray). The authors of this paper found deep impact of (a) Artistic pattern of European staff notation in the graphemic syntagms; (b) Alpana (“ritual painting” mainly practiced by Bengali women at the time of religious festival; the term denotes 'to coat with’. Generally categorized as “Folk”-Art cf. http://banglapedia.search.com.bd/HT/A_0211.htm) in Ray’s graphemic representations. Thus, so-called division between classical and folk art is blurred in Ray’s representation of Bangla graphemes. The three-tier X-height of Bangla graphemes was presented in a manner of musical map and the contours, curves in between horizontal and vertical meeting-point, follow the patterns of alpana. Authors also showed the metamorphosis of graphemes (This might be designated as “Archewriting”) as a living object/ subject in Ray’s manipulation of Bangla graphemes. Author also mentioned Ray’s calligraphic impact on the Bangla printing technology. Bengali children, when is to be introduced in the Language Art (especially Bangla writing system), may practice alpana with a festive mood for the easement of their finger-movements and for alpana’s affinity with the Bangla graphemes.

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