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Debaprasad Bandyopadhyay
La Filológica Por La Causa
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DEBAPRASAD BANDYOPADHYAY
ABSTRACT
Thus, so-called division between classical and folk art was blurred in Ray’s representation of
Bangla graphemes (Cf. FOLK AND NON-FOLK: QUESTIONING THE DICHOTOMY
Download (.pdf) ). 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 artistic manipulation of Bangla
graphemes. (s)talker also mentioned Ray’s calligraphic impact on the Bangla printing
technology. Bengali children, when were to be introduced in the Language Art (especially
Bangla writing system), might practice alpana with a festive mood for the easement of their
finger-movements and for alpana’s affinity with the Bangla graphemes.
An archive of Bangla graphemes was made in collaboration with the Asiatic Society, Kolkata.
(s)talker was the one of the principal investigators of this project.
2007. (With Akhar Bandyopadhyay) “এও হয়: আঁকতে আঁকতে অক্ষর (Writing by Means of
Drawing)” Ed. Basu, P.manus Hoye oTha (understanding Children’s World). Kolkata:
Shrayan. (pp. 487-519) Download (.pdf)
2006-08. (With R.K. Roychowdhury and Sunanda Mukhopadhyay) Cyber Archive of Bangla
Graphemes. Download (.pdf)
2002. (With Sovan Tarafdar). “ছবি লেতেন সেযবিৎ” (Satyajit Ray Writes Paintings)”.
Dhrubapad. Yearbook-VI. (pp.392-417). Kolkata. Download (.pdf)