ᱱᱚᱱᱫᱚᱞᱟᱞ ᱵᱳᱥ
ᱱᱚᱱᱫᱚᱞᱟᱞ ᱵᱳᱥ (᱓ ᱰᱤᱥᱮᱢᱵᱚᱨ ᱑᱘᱘᱒-᱑᱖ ᱚᱯᱨᱮᱞ ᱑᱙᱖᱖) ᱫᱚ ᱱᱟᱦᱟᱜ ᱥᱤᱧᱚᱛ ᱟᱨᱴ ᱨᱤᱱᱤᱡ ᱯᱤᱭᱚᱱᱤᱨ ᱠᱟᱱᱟᱭ ᱟᱨ ᱠᱚᱱᱴᱮᱠᱥᱪᱩᱣᱟᱞ ᱢᱚᱰᱮᱱᱤᱡᱚᱢ ᱨᱤᱱᱤᱡ ᱵᱮᱨᱮᱫᱤᱭᱟ. ᱠᱟᱱᱟᱭ ᱾
| ᱯᱚᱫᱽᱢᱚ ᱵᱷᱩᱥᱚᱬ ᱱᱚᱱᱫᱚᱞᱟᱞ ᱵᱵᱳᱥ | |
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| ᱡᱟᱱᱟᱢ ᱧᱩᱛᱩᱢ ᱡᱟᱱᱟᱢ ᱢᱟᱹᱦᱤᱛ ᱟᱨ ᱡᱟᱱᱟᱢ ᱴᱷᱟᱶ | ᱓ ᱰᱤᱥᱮᱢᱵᱚᱨ ᱑᱘᱘᱒ ᱠᱷᱚᱲᱚᱜᱯᱩᱨ, ᱵᱮᱝᱜᱟᱞ ᱯᱨᱮᱥᱤᱰᱮᱱᱥᱤ, ᱵᱽᱨᱤᱴᱤᱥ ᱤᱱᱰᱤᱭᱟ (ᱱᱤᱛᱟᱜ ᱫᱚ ᱵᱤᱦᱟᱨ, ᱥᱤᱧᱚᱛ)[᱑] |
| ᱜᱩᱨ | ᱑᱖ ᱮᱯᱨᱤᱞ ᱑᱙᱖᱖ (᱘᱓ ᱵᱚᱭᱚᱥ) ᱠᱚᱞᱠᱟᱛᱟ, ᱯᱩᱪᱷᱤᱢ ᱵᱮᱝᱜᱚᱞ, ᱥᱤᱧᱚᱛ |
| ᱫᱤᱥᱚᱢᱤᱭᱟᱹ | ᱥᱤᱧᱚᱛᱤᱭᱟ. |
| ᱧᱩᱢᱱᱟᱢ | ᱯᱮᱱᱴᱤᱝ |
| ᱨᱟᱡᱽᱟᱹᱨᱤ ᱞᱟᱲᱟᱣᱱᱟ | ᱠᱚᱱᱴᱮᱠᱥᱪᱩᱣᱟᱞ ᱢᱚᱰᱮᱱᱤᱡᱚᱢ(Contextual Modernism) |
| ᱥᱤᱨᱯᱷᱟᱹ | ᱯᱚᱫᱽᱢᱚ ᱵᱷᱩᱥᱚᱬ (᱑᱙᱕᱔) |
ᱚᱵᱚᱱᱤᱱᱫᱽᱨᱚ ᱱᱟᱛᱷ ᱵᱳᱥ-ᱤᱡ ᱪᱮᱞᱟ ᱞᱮᱠᱟᱛᱮ, ᱱᱚᱱᱫᱚᱞᱟᱞ ᱫᱚ ᱯᱮᱱᱴᱤᱝ ᱨᱤᱱᱤᱡ "ᱥᱤᱧᱚᱛᱤᱭᱟ. ᱥᱴᱟᱭᱤᱞ" ᱢᱮᱱᱛᱮ ᱠᱚ ᱵᱟᱰᱟᱭ ᱠᱟᱫᱮᱭᱟ ᱾ ᱑᱙᱒᱒ ᱨᱮ ᱱᱩᱭ ᱠᱚᱲᱟ ᱵᱷᱚᱵᱚᱱᱚ, ᱥᱟᱱᱛᱤᱱᱤᱠᱮᱛᱚᱱ ᱨᱤᱱᱤᱡ ᱯᱨᱤᱱᱥᱤᱯᱟᱞ ᱵᱮ ᱟᱣ ᱞᱮᱱᱟᱭ ᱾ ᱱᱩᱭ ᱫᱚ ᱴᱟᱜᱳᱨ ᱚᱲᱟᱜ ᱛᱟᱞᱟᱨᱮ ᱡᱚᱯᱚᱜ ᱡᱚᱲᱟᱣ ᱨᱮ ᱛᱟᱦᱮᱸ ᱞᱮᱱᱟᱭ ᱾ ᱟᱨ ᱟᱡᱟᱜ ᱠᱟ.ᱢᱤ, ᱚᱡᱚᱱᱛᱟ ᱨᱮᱭᱟᱜ ᱵᱷᱤᱛᱤᱨ ᱠᱟᱛᱟᱷ ᱯᱮᱱᱴᱳᱝ ᱨᱮ ᱥᱤᱧᱚᱛ ᱨᱮᱭᱟᱜ ᱦᱤᱱᱫᱩ ᱫᱷᱚᱨᱚᱢ ᱠᱟ.ᱦᱱᱤ, ᱛᱤᱨᱞᱟ., ᱟᱨ ᱟ.ᱛ ᱨᱮᱭᱟᱜ ᱡᱤᱭᱟᱱ ᱠᱟᱛᱟᱷ ᱠᱚᱭ ᱯᱮᱱᱴᱤᱝ ᱥᱚᱫᱟᱨ ᱞᱮᱫᱟᱭ ᱾
ᱛᱮᱦᱮᱧ ᱜᱟᱯᱟ ᱫᱚ ᱟᱡᱟᱜ ᱯᱮᱱᱴᱤᱝ, ᱟᱭᱜᱟ ᱜᱟᱱ ᱜᱟᱶᱛᱟ ᱯᱟᱦᱴᱟ ᱠᱷᱚᱱ ᱟ.ᱰᱤ ᱫᱟᱢ ᱠᱚ ᱮᱢᱟᱜ ᱠᱟᱱᱟ ᱾ ᱟᱨ ᱱᱟᱦᱟᱜ ᱥᱤᱧᱚᱛᱤᱭᱟ. ᱯᱮᱱᱴᱤᱝ ᱛᱟᱞᱟᱨᱮ ᱢᱟ.ᱱ ᱠᱚ ᱢᱮᱱᱟᱜ ᱛᱟᱭᱟ ᱾[᱒][᱓][᱔] ᱑᱙᱗᱖ ᱨᱮ ᱵᱷᱟᱨᱟᱛ ᱥᱟᱨᱠᱟᱨᱼᱟᱜ ᱞᱟᱠᱪᱟᱨ ᱛᱷᱚᱠ(Department of Culture), ᱥᱤᱧᱚᱛ ᱨᱮᱭᱟᱜ ᱟᱨᱪᱤᱭᱳᱞᱳᱡᱤᱠᱟᱞ ᱥᱮᱸᱫᱽᱨᱟ(Archaeological Survey of India) ᱯᱟᱦᱴᱟ ᱠᱷᱚᱱ ᱱᱩᱭᱟᱜ ᱯᱮᱱᱴᱤᱝ ᱫᱚ ᱱᱤᱛ ᱵᱷᱩᱨ ᱟᱨᱮ ᱜᱟᱴᱟᱝ ᱯᱮᱱᱴᱚᱨ ᱠᱚ ᱛᱟᱞᱟᱨᱮ ᱠᱚ ᱥᱮᱞᱮᱫ ᱠᱟᱫᱮᱭᱟ ᱾[᱕]
ᱱᱩᱭ ᱫᱚ ᱥᱤᱧᱚᱛ ᱨᱮᱭᱟᱜ ᱦᱚᱠᱤᱛ ᱵᱽᱭᱟᱠᱷᱟ ᱞᱟ.ᱜᱤᱱ ᱠᱟ.ᱢᱤ ᱠᱟ ᱪᱟᱞ ᱟᱫᱮ ᱫᱟᱛᱮᱸᱫ ᱾
ᱟᱬᱜᱟᱛ ᱡᱤᱭᱚᱱ
ᱥᱟᱯᱲᱟᱣᱱᱚᱱᱫᱚᱞᱟᱞ ᱵᱳᱥ ᱫᱚ ᱓ ᱰᱤᱥᱮᱢᱵᱚᱨ ᱑᱘᱘᱒ ᱨᱮ ᱢᱤᱫ ᱵᱮᱝᱜᱚᱞᱤ ᱚᱲᱟᱜ ᱨᱮ ᱡᱟᱱᱟᱢ ᱞᱮᱱ ᱛᱟᱦᱮᱸᱫ ᱾ ᱱᱩᱭ ᱫᱚ ᱠᱷᱚᱲᱚᱜᱯᱩᱨ, ᱢᱮᱫᱽᱱᱤᱯᱩᱨ ᱡᱤᱞᱞᱟ. ᱱᱤᱛᱚᱜ ᱫᱚ ᱵᱤᱦᱟᱨ ᱨᱮ ᱡᱟᱱᱟᱢ ᱞᱮᱱ ᱛᱟᱦᱮᱸᱫ ᱾ ᱟᱡ ᱵᱟᱵᱟ ᱯᱩᱨᱱᱚ ᱪᱚᱸᱫᱽᱨᱚ ᱵᱳᱥ ᱫᱚ ᱩᱱ ᱚᱠᱛᱚ ᱫᱚᱨᱵᱷᱟᱝᱜᱟ ᱤᱥᱴᱮᱴ ᱨᱮ ᱠᱟ.ᱡᱤ ᱛᱟᱦᱮᱸᱫ ᱾[᱖] ᱟᱡ ᱟᱭᱚ ᱠᱷᱮᱛᱨᱚᱢᱳᱱᱤ ᱫᱮᱵᱤ ᱫᱚ ᱚᱲᱟᱜ ᱵᱟ.ᱦᱩ ᱠᱩᱲᱤ ᱠᱟᱱᱟᱭ ᱟᱨ ᱱᱩᱭ ᱱᱚᱱᱫᱚᱞᱟᱞ ᱞᱟ.ᱜᱤᱱ ᱠᱚᱱᱰᱷᱮᱭ ᱠᱟᱭ ᱵᱮᱱᱟᱣ ᱛᱟᱦᱮᱸᱫ ᱾ ᱜᱤᱫᱽᱨᱟ. ᱡᱤᱭᱟᱱ ᱠᱷᱚᱱ ᱜᱮ ᱱᱩᱭ ᱫᱚ ᱯᱷᱚᱴᱚ ᱪᱤᱛᱟ.ᱨ ᱢᱚᱰᱮᱞᱤᱝ ᱟᱨ ᱛᱟᱭᱚᱢ ᱛᱮ ᱯᱩᱡᱟ ᱯᱮᱱᱰᱮᱞ ᱥᱟᱡᱟᱣ ᱠᱟ.ᱢᱤ ᱠᱚᱭ ᱪᱷᱩᱴᱟ.ᱣ ᱛᱟᱦᱮᱸᱫ ᱾
᱑᱘᱙᱘ ᱨᱮ ᱱᱚᱱᱫᱩᱞᱟᱞ, ᱟᱡᱟᱜ ᱑᱕ ᱥᱟᱞ ᱩᱢᱮᱨ ᱨᱮ ᱠᱚᱞᱠᱟᱛᱟ ᱛᱮ ᱥᱮᱱᱴᱨᱟᱞ ᱠᱚᱞᱮᱡᱤᱭᱮᱴ ᱥᱠᱩᱞ ᱨᱮ ᱚᱞᱚᱜ ᱞᱟ.ᱜᱤᱱ ᱥᱮᱱ ᱮᱱᱟᱭ ᱾ ᱑᱙᱐᱒ ᱨᱮ ᱚᱱᱟ ᱵᱤᱱᱤᱰ ᱥᱟᱠᱟᱢᱮ ᱛᱟᱞᱚᱢ ᱯᱟᱨᱚᱴ ᱠᱮᱫ ᱫᱚᱥᱟᱨ ᱚᱱᱰᱮ ᱜᱮ ᱠᱚᱞᱮᱡᱽ ᱨᱮ ᱧᱩᱛᱩᱢ ᱮ ᱚᱞ ᱠᱮᱫ-ᱟ ᱾ ᱑᱙᱐᱓ ᱡᱩᱱ ᱨᱮ ᱱᱩᱭ ᱥᱩᱫᱷᱤᱨᱚᱫᱮᱵᱤ ᱥᱟᱶ ᱵᱟᱯᱞᱟ ᱞᱮᱱᱟᱭ ᱾ ᱱᱩᱭ ᱫᱚ ᱟᱠᱚ ᱚᱲᱟᱜ ᱜᱟᱛᱮ ᱨᱤᱱᱤᱡ ᱦᱚᱯᱚᱱ ᱮᱨᱟ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟᱭ ᱾ ᱱᱚᱱᱫᱩᱞᱟᱞ ᱫᱚ ᱟᱨᱴ ᱯᱟᱲᱦᱟᱣ ᱮ ᱠᱩᱨᱩᱢᱩᱴᱩ ᱞᱮᱫ ᱛᱚᱵᱮ ᱟᱠᱚ ᱚᱲᱟᱜ ᱦᱚᱲ ᱵᱟᱝᱠᱚ ᱨᱮᱵᱮᱱ ᱞᱮᱱᱟ ᱾ ᱑᱙᱐᱕ ᱨᱮ ᱱᱩᱭ ᱮᱴᱟᱜ ᱠᱚᱞᱮᱡᱽ ᱩᱪᱟ.ᱲ ᱟᱛᱮ ᱠᱚᱢᱚᱨᱥ ᱮ ᱯᱟᱲᱦᱟᱣ ᱮᱱᱟ ᱾ ᱚᱱᱟᱨᱮ ᱞᱮᱛᱟᱲ ᱜᱮ ᱯᱷᱮᱞ ᱮᱱ ᱛᱟᱭᱚᱢ ᱟᱠᱚ ᱚᱲᱟᱜ ᱦᱚᱲ ᱟᱨᱴᱥ ᱯᱟᱲᱦᱟᱣ ᱞᱟ.ᱜᱤᱱ ᱮ ᱨᱮᱵᱮᱱ ᱦᱚᱪᱚ ᱞᱮᱫ ᱠᱚᱣᱟ ᱾[᱗]
ᱥᱟ.ᱠᱷᱭᱟ.ᱛ
ᱥᱟᱯᱲᱟᱣ- ↑ C. H. Prahlada Rao. "Nanadlal Bose". Rashtrotthana Sahitya.
- ↑ "San Diego museum showcases Nandalal Bose". Rediff.com News. 25 ᱡᱩᱱ 2008.
- ↑ Robert L. Pincus (15 ᱢᱟᱨᱪ 2008). "The Art of Nandalal Bose' is first U.S. showcase for an Indian icon". Paramus Post. Archived from the original on 29 ᱚᱠᱴᱚᱵᱚᱨ 2013. Retrieved 1 ᱡᱩᱞᱟᱭ 2020.
- ↑ Kamala Ganesh; Usha Thakkar (13 ᱡᱩᱞᱟᱭ 2005). Culture and the Making of Identity in Contemporary India. SAGE Publications. pp. 49–. ISBN 978-0-7619-3381-6.
- ↑ Nine Masters "Archive copy". Archived from the original on 7 ᱥᱮᱯᱴᱮᱢᱵᱚᱨ 2015. Retrieved 1 ᱡᱩᱞᱟᱭ 2020.
{{cite web}}: CS1 maint: archived copy as title (link) Government Museum and Art Gallery, Chandigarh. "Nine Masters: Rabindranath Tagore, Amrita Sher-Gil, Jamini Roy, Nandalal Bose, Raja Ravi Varma, Gaganendranath Tagore, Abanindranath Tagore, Sailoz Mookherjea, and Nicholas Roerich." - ↑ C.H.Prahalada Rao; Litent (1 ᱡᱟᱱᱩᱣᱟᱨᱤ 2014). Nandalal Bose. Litent. pp. 3–. GGKEY:D9L3P5T7YE4.
- ↑ Dinkar k Kowshik (1985). Nandalal Bose, the doyen of Indian art. National Book Trust, India. Retrieved 18 ᱮᱯᱨᱤᱞ 2012.