100th Annual Art Exhibition 1 -22 Jan 2018 Jehangir Art allery

100th Annual Art Exhibition 16th -22nd Jan 2018 Jehangir Art Gallery

www.artsocietyofindia.org

Sweeping away the golden dust of a hundred years, looking through flashes of gem drops that have survived the tide of time...

and shall eternally guide and inspire the present till the future!

FOUNDERSThe Art Society of India

Shri Madhav Parandekar 1877 to 1961

Shri S. L. Haldankar 1882 to 1968

Shri Balaji Talim 1888 to 1970

Shri L. S. Mirgay and

Shri G. P. Fernandes

'glimpses of the Golden Era'

L-R, Shri Shivaji Tupe & Shri Madhusudan Puranik

L-R: Shri Cawasji Jehangir, Shri V. R. Amberkar, Shri Keku Gandhi and Shri M. F. Husain

Demonstration by Shri M. R. Achrekar

L-R: Shri Jal Mehta, Shri V. A. Mali, Shri B. D. Shirgaonkar & Prof. J. M. Sidhpura

L-R: Shri Harish Talim, Shri Jal Mehta & Shri V. A. Mali

President Shri Homi Dallas receiving the then Hon. CM Shri B. G. Kher at the JAG

L-R: Shri V. A. Mali, Shri G. S. Haldankar, Shri Homi Dallas, Shri Baburao Sadwelkar, Shri P. S. V. Rao & Shri Amberkar

L-R: Shri G. S. Haldankar, Shri Baburao Sadwelkar, & Shri Homi Dallas

Reproduced from archives of the ASI .

Reproduced from archives of the ASI : 'Annual Art Exhibition Catalogue, 1987-88'

Reproduced from archives of the ASI : 'Annual Art Exhibition Catalogue, 1988-89'

The ASI, grateful of its glorious past, looks forward, and embarks on the beginning of a new century.

Come along!

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Managing Board 2015-2018 ; Exhibition Jury 2018 14

Presidential address - Vasudeo Kamath 15

Mangal Prabhat Lodha- Hon. Chief Guest for the inaugural function 16

Dilip Ranade - the ‘artiste avec un tempérament scientifique!’ - Anil M. Rao 17

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'Two decades with the Art Society of India' - Dr. Gopal Nene 29

Medal Entries 34

List of Awards - Student Category 37

Awarded Entries - Student Category 38

List of Selected Entries - Student Category 42

Selected Entries - Student Category 44

List of Awards - Professional Category 55

Awarded Entries - Professional Category 56

List of Selected Entries - Professional Category 60

Selected Entries - Professional Category 63

Vote of thanks 84

Index

100th Annual Art Exhibition • 16th -22nd Jan 2018 • Jehangir Art Gallery

Since 2016, the Art Society of India has initiated three new columns in its Catalogue, as follows::

• New Books Arrival• Award Winning Books • Tribute to Honoured Painters-Sculptors

These sections have been incorporated in order that the information regarding these columns may reach maximum outreach, and the compilation of the same is made available together at one place. Any one who fits the required eligibility of finding mention in these columns may feel free to send all their relevant information to the following e mail ids -

[email protected] ; [email protected]

In the ASI Catalogue for 2018, due to the inclusion of articles in commemoration of the ASI Centenary, these columns shall not be published this year; instead they will find place next year in the Catalogue for 2019. It shall include the information of the eligible for both the years 2017 and 2018. Kindly take note of this.


Managing Board 2015-2018President Shri Vasudeo Kamath

Vice-President Shri Babubhai Mistry

Chairman Shri Manohar Nayak

Secretary

Dr Gopal Nene

Jt. Secretary Sharad Tawade

Treasurer Parul Shah

Librarian Anand Mahajani

Committee members

Smt Sadhana Bahulkar Daniel TalegaonkarSunil PujariAnil Rao

Exhibition Jury 2018Shri Arvind Hate An eminent Artist from Thane

Shri Prakash Rajeshirke Eminent Artist and Art educator from Sawarde.

Shri Ajinkya Chaulkar Eminent Sculptor from Mumbai

Shri Arvind Hate (foreground), Shri Prakash Rajeshirke (Centre), Shri Ajinkya Chaulkar & Dr. Gopal Nene.

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The Art Society of India524, Sandhurst House,1st Floor, S. V. P. road, Opera House, Mumbai 400004. T : +91 22 23888550 E : theartsocietyofindia@gmail. com W : www.artsocietyofindia.org


Greetings and felicitations to all artists: painters, sculptors and visual art aficionados.

As the Art Society of India crosses the centenary mark, functioning with renewed vigour, we ought to consider ourselves very fortunate to be witnessing such a landmark event.

Usually, as one gets older, destiny starts looking fragile due to senility, but it is converse for an art society, which reflects immortal youthfulness as it ages. A Society retains its vivacity due to the collective strength of the organized artists, and this proves more influential; as you find innovatively fascinating works of art, drawing art lovers towards viewing them.

In the year 1857, Sir J. J. School of Art was established, followed by the Bombay Art Society in 1888. Both these organizations began heavily influencing the art world. Yet, the artists with Indian inclination were well aware that the British methods and ideas had a firm hold, above everything. Movements demanding self-rule, domestic goods, and liberty were pervading the Indian atmosphere. In 1920, Lokmanya Tilak passed away; his last days were spent residing in Mumbai. Owing to which, in accordance with the times, the influence of swadeshi occupied the minds of Indian artists. In such a charged atmosphere, it is quite significant that the artists here thought of forming ‘The Art Society of India’. Subsequently, in 1918, sculptors Balaji Talim, Madhav Parandekar, painters S. L. Haldankar, G. P. Fernandes and L. S. Mirgay together instituted this society as a mark of self-reliance.

Other great artists too got on the bandwagon; namely, painters Gopal Deuskar, Ara, Raza, K. K. Hebbar, V. A. Mali; sculptor Karmarkar, etc. Besides, many known and unknown, self-taught artists have time and again contributed to the Society’s life-span. Weekly study circles of sketching, portraiture; annual study tours of painting landscapes outdoors; demonstrations; lectures by established artists, and the yearly celebration during the Founders’ week - all these programmes continue to be conducted till date by the Art Society of India. Moreover, the annual exhibition conducted every year at the All-India level is a special festival of exuberance for all the budding students and the established artists.

This exposition can be said to be indeed a pictorial graph of the achievements, revealed through the varied works of art on display. Today, as we conduct the annual exhibition commemorating the centenary year

Congratulations! of the ASI, we reminisce the living and departed artists, the art connoisseurs of the glorious past with a sense of gratitude. Various people have been sponsoring awards to winning artists. But a special category is being introduced in this centenary exhibition, with the Art Society of India giving away Gold, Silver and Bronze medals to the works of the most deserving participant artists. This medal series shall continue to be given every year.

We trust, from this year, many artists of the future shall proudly find this medal honour to be a feather in their cap. Without doubt, this contribution on behalf of the ASI shall be whole-heartedly taken cognizance of in the record books of History.

An art society functions, driven by the compassionate conduct of its artist constituents. The compulsions of commerce is an inevitable fact which cannot be denied. Along with being inclined to self-less service, it is equally necessary to garner financial support. Hence, as it nears its centenary, one is confronted with an area of concern that poses a question. Do we artists who associate ourselves with the Society and avail the purpose it exists for, and prosper professionally, give back in some proportion to the Society, in order that it be self-sufficient to keep the intent of the Society alive? Because, we realize every year, it is impossible to run an art society merely on membership subscription fee and exhibition sale.

Therefore, we express a sincere desire, and urge everyone that, ‘Let us dedicate and strengthen the Art Society of India with a feeling of deep gratitude. Let us again congratulate each other, and continue with art creation and service!’

Thank you, Yours truly

Vasudeo Kamath (President, The Art Society of India)

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The Art Society of India is proud to have him as the Chief Guest in its Centenary Exhibition.

Shri Mangal Prabhat Lodha’s innate inclination towards social service is manifested largely in areas of Health and Education, through a slew of programmes he has initiated:

• Free Medical check of over 100 patient’s daily

• Free library for public use. Libraries has over 3,50,000 books for public reading

• Scholarships to 4,500 students every year to enable them to continue their studies

• Health check-up for school students and Society staff

• Career counselling and guidance programs

• Supporting and empowering widows and deprived women


Shri. Mangal Prabhat LodhaMLA, Malabar Hill, Mumbai

Hon. Chief Guest for the Inaugural Function

The name, Shri. Mangal Prabhat Lodha is not new to Mumbai, or to the nation. A professional, a social worker and politician of clean repute, he has relentlessly endeavoured to be a link between the development of Mumbai city and the Government. Known nation-wide for his patriotism, he possesses oratorial skills, exudes goodwill and is naturally dedicated to the cause of public service.

After completing his graduation in Commerce, and then the Law Degree, Shri Lodha had begun practising as a lawyer in the Rajasthan High Court. But, he gave up his job there, since his father Late Shri. Guman Mal Lodha was appointed judge in the same court; and it would have been contrary to his moral ideals to have further continued working there. His conduct thus can be said to have been quite exemplary.

He then came to Mumbai and in 1981, laid the foundation of what is today known as the ace real estate company - The Lodha Group. The rest is History.

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The description, ‘a painter and sculptor engaged in, and informed by various specialized fields: taxidermy, tableau, diorama; who apart from the standard

equipments, uses modern tools such as rapidograph, and engages the onlooker with his art works, making the latter think about the disparities, absurdities and illlogicality of life; making him look at himself ‘, would be kind of summing up the artist, ‘Dilip Ranade’ in one sentence.

Born in 1950, in the suburbs of Mumbai at Mulund, Ranade completed his art diploma at the J. J. School of Art in 1971. Ever since his secondary school days, he says, he was drawn to scientific inquiry; particularly inclined towards physics and chemistry. Hence, scientific thinking has throughout been the preoccupying sentiment for him.

Dilip Ranade an ‘artist with a scientific temperament !’


Untitled, 2010, Ink on paper

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internals of the human body in the Biology books that he had read, for real. He found himself truly looking at everything as they were.

An incision to skin a bird opened up a new world of experience for Ranade. The mystery of life began to slowly unravel providing, literally and metaphorically an insight into its machination. Apparently it was taxidermy that he was doing, but the observer in him, an artist, was consistently watching and observing things. This artist, as he says, has been the constant observer in all the acts he performs, through his works: first as an artist and modeler, subsequently evolving into a curator.

In 1996, Ranade became curator of the European and Indian Modern Painting Section at CSMVS. He felt happy, as, after having done technical work that involved several years of moulding, casting, taxidermy, screen printing etc., he thought his appointment as a curator would provide him 'with just what the doctor ordered' to study the academic aspect of art.

Therefore, though he does not practice taxidermy or curator- ship today, those traits, he says, provided him an insight into, and have always peeped through, his principal interest - i.e., Art.

He joined the musuem, ‘Chattrapati Shivaji Maharaj Vastu Sangrahalaya’ (CSMVS), formerly, ‘The Prince of Wales Museum’ (POWM) after his academic training in fine arts; fortunately he got a job in the museum’s ‘Natural History Section’, where things that he had to deal with, were totally different than what he had studied at the School of Art. His responsibility in the museum was to paint dioramas, make models, etc. But he was in for another stroke of luck there, as he had the opportunity to practise taxidermy, which, he says, has been a major source of imagery for him. In the museum, he became acquainted with scientific classification, and realized that there existed a wide gap in impressions formed by lay persons, in which he includes himself; and the knowledge possessed by specialists, with regards to looking at the animal world (for instance: identification of a category of duck for a common man is so loose and wide that it includes ‘bar - headed goose, shelduck, mallard duck, pintail etc.’ all in a single class called ‘duck’) whereas, it is for the specialists, a specific distinguished ‘specie’ with an accurately identifying biological name.

At CSMVS, learning taxidermy came up as an oppor-tunity; it was not Ranade’s official responsibility as art-ist and modeler. As he was at it; the process involved skinning animals, where he saw the illustrations of the


Urinal, 1998, Painted plaster, approximately 11”x 8”Kafka in Aquarium, 2003 , Acrylic on canvas , 38” x 48”

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Ranade says his works could be called figurative abstract, with his images basically being familiar objects, but the content - ambigious and abstract. He finds ‘imagination’ to be a very vital force and a creative aspect of life. He believes, involving the viewer is like engaging the latter in exploring and understanding his own self and that’s what he, as an artist strives for, and has been attempting, through his art.

Having worked for 43 years with POWM, which later became CSMVS, (the last four as ‘exhibition consultant’), which itself, one appreciates to be a feat, Ranade, now has given up curatorial practice and taxidermy, which demand a lot of time. He is presently engaged with his art practice and reads about art.

~ Anil M. Rao [email protected]

Here is a record of the prolific Dilip Ranade’s accomplishments:

• He holds a diploma in Drawing and Painting from the Sir J.J. School of Art, Mumbai, in 1971.

• In 1984 he received an Indo-US sub-commission grant to study Museology. He has presented several slide lectures on Portraiture and the Techniques of Diorama Making.

He has translated the following books on art into Marathi.

• The Crafting of Reality- Sudhir Patwardhan

• ‘Drawings’ by Ranjit Hoskote, titled ‘Rekhachitravichar’ in 2012, for which he received the ‘Balshastri Jambhekar Anuvad Puraskar 2013’ award.

He has held several solos as well as participated in group exhibitions which comprise of :

• “Rekhavishkar”, Guild Art Gallery Mumbai & Sudarshan Art Gallery, Pune, 2011

• Humor, wit & Satire”, Gallery Threshold, New Delhi, 2011.

• Jehangir Art Gallery, Mumbai (1972,1978,1980 & 2004)

• Pundole Art Gallery, Mumbai, (1979,1981,1996, 1999, 1906 & 2004)

• Cymroza Art Gallery, Mumbai, 1999

• Total Museum, Seoul, 2003.

• “Shifting The Logic-Drawings solo show (1977-2007)”, at Pundole Art Gallery, Mumbai ; Threshold Art Gallery, New Delhi and Galerie 88, Kolkata, 2007

• “Shimmer of the self ", Pundole Art Gallery, Mumbai, 2011.

• ”The Decrypted Self” at Threshold Art Gallery, New Delhi, 2012.

• Visual Allegories : Poetics of Destabilization- Exhibition at the Guild Art Gallery, 2016.


Tea Time Elephant, 2003 , Acrylic on canvas , 40” x 50”

Lost In Cloud, 2005 , Acrylic on canvas , 38”x 48”

1918


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~ meeOevee yengUkeÀj

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efMeuHekeÀejebvee ÒeoMe&veele menYeeieer nesC³eeKesjerpe keÀesCelesner mLeeve veJnles. ner HeefjefmLeleer ³esLeerue keÀener keÀueeJebleebvee DemJemLe keÀjerle nesleer. ³eeletve®e `Yeejleer³e keÀueeJebleebmeeþer, Yeejleer³e keÀueeJebleebveer mLeeHeve kesÀuesueer mebm-Lee' Demeueer Heeefnpes ner keÀuHevee cetU Oeª ueeieueer. keÀueeefJe<e³ekeÀ keÀe³e& keÀjCeejer DeeHeueer mJeleë®eer mebmLee DemeeJeer, efle®es keÀe³e& keÀMeeÒekeÀej®es DemeeJes Fl³eeoeryeeyele DeeHeeHemeele ®e®ee& keÀªve l³eebveer lemee efveOee&j kesÀuee. DeeHeu³ee efJe®eejebvee meceHe&keÀ DemeCeejs `o Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee' ns veeJe mebmLesmeeþer efveef½ele kesÀues. ner mebmLee mLeeHeve nesC³eeceeie®eer Heeée&Yetceer ³ee ÒekeÀej®eer nesleer. l³ee keÀueeJebleebveer DeeHeueer keÀuHevee Òel³e#eele DeeCeueer. leer ³eMemJeer nesC³ee®ee O³eeme Iesleuee. l³eemeeþer mJeleë®ee YejHetj JesU efouee. JesUesJesUer DeeHeu³ee Jew³eeqkeÌlekeÀ efceUkeÀleerleerue Heojcees[ kesÀueer efvejueme-HeCes, efvejHes#e YeeJevesves Je meceefHe&le Je=Êeerves keÀece keÀªve ef®e$e-efMeuHekeÀuee #es$eemeeþer Je ef®e$e-efMeuHekeÀejeb®³ee Je=×ermeeþer J³eeHekeÀ ®eeuevee efoueer. Demee JesieUe, Oee[meer efJe®eej keÀjCeejs keÀueeJeble nesles efMeuHekeÀej yeeUe-peer leeueerce Je ef®e$ekeÀej ceeOeJe Hejeb[skeÀj, mee.ue.nUoCekeÀj, peer.Heer. HeÀvee¥ef[me DeeefCe Sme.Sue.efcejies. ³ee Kesjerpe JesUesJesUer DeveskeÀeb®eer meeLe ueeYeueer. ³ee meboYee&le ef®e$ekeÀej OegjbOej ³eebveer DeeHeu³ee `keÀuee cebefojeleerue SkesÀ®eeUerme Je<ex' ³ee DeeHeu³ee DeelceJe=Êeele SkeÀ DeeþJeCe efoueer Deens leer Heg{erueÒeceeCes

`Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee'®eer mLeeHevee ë

`1918 meeueer cegbyeF&leerue ef®e$ekeÀej Sce.kesÀ. Hejeb[skeÀj DeeefCe peer.Heer. HeÀvee¥ef[me ³ee GYe³eleebveer SkeÀ ef®e$ekeÀejeb®eer mebmLee DemeeJeer DeMee keÀuHevesves, l³eeJesU®es DeeCeKeer SkeÀ ef®e$ekeÀej Sce.SHeÀ efHeþeJeeuee ³eeb®es menkeÀe³ee&ves , ke=À<CejeJe YeeF& ³eeb®eskeÀ[s peeTve l³eeb®³ee®e Devegceesoveeves l³eeb®es DeO³e#elesKeeueer SkeÀ meYee YejJetve `Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee'®eer mLeeHevee kesÀueer. ÒeLeceleë keÀener meYeemeo efceUeues, Hejbleg l³eele Jee{ ve neslee. SkeÀ Je<e&Yej meesmee³eìer®ee keÀejYeej efojbieeF&ves nesT ueeieuee. SkeÀ efoJeMe Deecner Dee@efHeÀmeceOetve Iejer Hejle ³eslees lees®e ke=À<CejeJe YeeF& Deece®eer Jeeì Henele yemeuesues Dee{Uues. ieCeHelejeJe kesÀoejer®es ceve Deece®³eeyeÎue keÀuegef<ele keÀªve, Deece®es cegKeoMe&vener ve keÀjCeeN³ee ke=À<CejeJeebvee Heentve meenefpekeÀ®e Dee½e³ee&ves `Deepe DeeHeCe FkeÀ[s kegÀCeerkeÀ[s?' cnCetve Deecner ÒeMve kesÀuee. l³eeJej `DeeHeu³eeMeer Lees[s keÀece Deens. DeeHeCe keÀHe[s Jeiewjs GlejJetve ³eeJes leesJej ceer yemelees.' Demes ke=À<CejeJe GÊejues. Hejbleg `ceer keÀHe[s ceeieentve keÀe{erve, DeeHeues keÀece keÀe³e Deens les Deieesoj meebieeJes.' Demes Deecner cnCelee®e l³eebveer Deecneme DeeHeu³ee Mespeejer yemeJetve Iesleues. DeeefCe Deece®es neleer Deeì& meesmee³eìer®ee ̀ De@eqHuekesÀMeve HeÀe@ce&' osTve ̀ ¿eeJej mener keÀje. legcner meYeemeo Peeu³eeKesjerpe meesmee³eìerme YejYejeìer veener.' Demes cnCet ueeieues. Deecner lees HeÀe@ce& Jee®etve Heentve `keÀesCel³eener keÀe³e&keÀejer ceb[Uele Deece®es veeJe Deelee Je ³eeHeg{s kesÀJnener oeKeue keÀjerle vemeeue lej

mener oslees.' Demes cnìu³eeJej, l³eebveer l³eeyeÎue keÀeUpeer IesC³ee®es Deeée-emeve osTve Deece®eer mener Iesleueer DeeefCe lenn³eele meYeemeo cnCetve Deecner l³eeb®es neleer 100 ©He³es þsJeues. ¿eeveblej KejesKejer®e ke=À<CejeJeeb®³ee cnCeC³eeÒeceeCes Deecner meesmee³eìer®es meYeemeo Peeu³ee®es ef®e$ekeÀejebme Je efJeÐeeLeeaJeiee&me mecepelee®e l³ee®e Je<eea meYeemeoeb®eer mebK³ee meJJeeMeWJej peeTve meejKeer Heg{s Jee{le®e iesueer.'

³eele Lees[e DeelceÒeew{er®ee Yeeie Demeuee lejer mebmLes®³ee mLeeHeves®³ee keÀeUeleerue De[®eCeeR®eer keÀuHevee ³esles. megjJeeleerme J³eJeefmLele Òeeflemeeo efceUeuee veJnlee lejer efvejeMe ve neslee l³eebveer DeeHeu³ee O³es³eekeÀ[s peeC³ee®es Òe³elve vesìeves megª þsJeues. l³ee®ee®e Yeeie cnCetve Sce.Jner.OegjbOejebvee Je l³eeb®³eemeejK³ee keÀener Òeefleefÿleebvee meYeemeo nesC³ee®es DeLeJee meefceleerle ³esC³ee®es DeeJeenve kesÀues. OegjbOej ³eeb®ee ef®e$ekeÀej Je pes.pes.mketÀueceOeerue efMe#ekeÀ cnCetve ueewefkeÀkeÀ neslee. l³ee®eyejesyej DeeHeu³ee J³eeJemeeef³ekeÀ keÀeceebcegUs l³eeb®es mejkeÀej ojyeejerner Jepeve nesles. DeMee Òeefleefÿle J³ekeÌleercegUs mebmLes®³ee keÀeceeme vekeÌkeÀer®e Jesie Deeuee Demes peeCeJeles. mebmLes®³ee Meleeyoer Je<ee&®eer meebielee keÀjleevee %eele-De%eele DeMee l³ee meJee¥vee ke=Àle%eleeHetJe&keÀ efJevece´ DeefYeJeeove.

Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee®³ee ³ee Jeeì®eeueer®ee ceeieesJee I³eeJee cnCetve megjJeeleerHeemetve 1947 He³e¥le®eer GHeueyOe nesT MekeÀuesueer `F³ejyegkeÀ' yeefIeleueer.. veblej®es keÀener ke@Àìuee@ipe ®eeUues. Dev³e$e Jee®eveele Deeuesues keÀener meboYe& DeeþJeues. yejer®e JesieJesieUer ceeefnleer meeceesjer Deeueer. l³eele mebmLee keÀMeer Jee{le iesueer, keÀesCeles Je efkeÀleer GHe¬eÀce Peeues, l³eemeeþer keÀeces keÀjCeejer ceb[Uer DeMee DeveskeÀ ieesäeR®ee Gueie[e nesle iesuee. ³eemeeþer l³ee cenevegYeeJeebveer DeeHeuee JesU osC³eeyejesyej, Òemebieer Heojcees[ keÀjerle mebmLes®eer Jeeì®eeue keÀMeer megª þsJeueer ³ee®eer {esyeU ceveeves keÀuHevee Deeueer. yeN³ee®e K³eeleveece keÀueeJebleeb®ee menYeeie JesUesJesUer `o Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee'®³ee J³eJemLeeHeve meefceleerleneslee Je Deeleener Deens.

mebmLes®es O³es³e, GefÎä keÀe³e&He×leer ³ee meboYee&leerue efve³eceeJeueer efveef½ele keÀjC³eele Deeueer. SkeÀ ÒekeÀejs leer mebmLes®eer Ieìvee®e (keÀe@eqvmììîegMeve) nesleer. l³eemeeþer Jeerme Heeveer ueneve HegefmlekesÀ®eer íHeeF& `ceewpe' ÒekeÀeMeveves kesÀueer nesleer. Heefnueer meJe&meeOeejCe meYee 10 ces 1919 jespeer Peeueer. J³eJemLeeHeve meefceleer (ce@veseEpeie yees[&) mLeeHeve keÀjC³eemeeþer JesieJesieÈ³ee HeoebJej Heg{erue keÀueekeÀej Je keÀueejefmekeÀeb®eer efve³egkeÌleer Peeueer. DeO³e#e ë peer.kesÀ.cne$es (efMeuHekeÀej), GHeeO³e#e ë ke=À<CejeJe YeeF& (ef®e$ekeÀej Je efMe#ekeÀ), Sce.SHeÀ.HeerþeJeeuee (J³ekeÌleeref®e$ekeÀej), Sve.peer. ceb$eer (ef®e$ekeÀej) Sce.Jner.OegjbOej (ef®e$ekeÀej Je pes.pes.leerue efMe#ekeÀ), peer.Heer. HeÀvee¥ef[me (ef®e$ekeÀej Je efMe#ekeÀ), Sce.kesÀ.Hejeb[skeÀj (efvemeie&ef®e$ekeÀej) menKeefpeveoej (pee@F¥ì mes¬esÀìjer) ë Jner.Deej.leUJe[skeÀj, Sme.Sue.nUoCekeÀj, meYeemeo ë Sue.Sme efcejies, Sve.Deej.mejosmeeF& (ef®e$ekeÀej)

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[er.kesÀ.cne$es (efMeuHekeÀej peer.kesÀ.cne$es ³eeb®es ceesþs yebOet) peer.Jner.uee[ (JekeÀerue DeLeJee mee@efuemeerìj) S.ce.ceeUer (ef®e$ekeÀej Jner.S. ceeUer ³eeb®es Je[erue), Sme.Heer.DeeieemekeÀj (ef®e$ekeÀej Je pes.pes.leerue efMe#ekeÀ), S.S®e.ceguuej (ef®e$ekeÀej), Sce.S.peesMeer (ef®e$ekeÀej Je jJeerGo³e Òesme®es ceeuekeÀ), Jner.Jner.JeeIe (efMeuHekeÀej) pes.S.ueeuekeÀekeÀe (J³ekeÌleeref®e$ekeÀej) kesÀ.yeer.meeJe[xkeÀj (ef®e$ekeÀej), pes.Heer.keÀekeÀe, peer.Sve.ceeuee[keÀj (ef®e$ekeÀej), kesÀ. Deej.JesueCekeÀj, kesÀ.Deej. keÀerleeakeÀj (megÒeefme× íe³eeef®e$ekeÀej), Sve.Deej.OegjbOej DeeefCe efceme ceg.yeer.JewÐe. ¿ee keÀeUeleerue keÀuee#es$eele efm$e³eeb®ee menYeeie Del³euHe Demetvener meefceleer®³ee meYeemeoebceO³es `m$eer'®eer efve³egkeÌleer Peeueer nesleer ns efJeMes<e.

Deeì& meesmee³eìer Dee@HeÀ Fbef[³eeves DeeHeu³ee meceesj Deeþ GefÎäs þsJeueer DeeefCe l³ee efoMesves Jeeì®eeue megª kesÀueer leer GefÎäs Heg{erueÒeceeCes ë

• ef®e$ekeÀej, efMeuHekeÀej, Deeefke&ÀìskeÌì, HeÀesìesûeeHeÀej DeMee ¢keÀkeÀuesleerue ceb[UeR®³eele mebHeke&À efvecee&Ce keÀªve l³eeb®³eeleerue mvesn, menkeÀe³e& Jee{efJeCes.

• DeeHeu³ee mebmLes®³ee meYeemeoebmeeþer keÀueeHegmlekeÀeb®es ûebLeeue³e megª keÀjCes.

• keÀuesmebyebefOele J³eeK³eeves, Òeel³eef#ekesÀ, efHeÀuceMees Fl³eeoeR®es Dee³eespeve.

• mebmLes®es meYeemeo Je Flejebmeeþer ÒeoMe&vee®es Dee³eespeve. keÀueeJeelee&, keÀueeuesKe ³eeb®eer He$ekesÀ efve³elekeÀeefuekesÀ Òeefme× keÀjCes. keÀe³ece mJeªHeer Deeì& ie@uejer le³eej keÀªve l³eele keÀueeke=ÀleeR®es GÊece vecegves ÒeoefMe&le keÀjCes. keÀues®³ee Òemeejemeeþer MekeÌ³e Peeu³eeme cegbyeF& yeensj®³ee mebmLes®³ee keÀuee-MeeKee GIe[Ces.

• meYeemeoeb®³eemeeþer HejosMeelener mebHeke&À le³eej keÀjCes DeMee GefÎäebyeje-syej mebmLes®es meYeemeolJe, Jeie&Ceer, J³eJemLeeHeve meefceleer®eer efveJe[ efveJe[CetkeÀ He×leer, celeoeve, DekeÀeTbìme DeMee leHeMeerueebmen uesKeer cemegos le%eeb®³ee ceoleerves le³eej Peeues. efJeMes<e cnCepes iesueer MebYejJe<ex ³eeleerue keÀener GHe¬eÀce meelel³eeves megª Deensle. cee$e keÀe³ece mJeªHeer Deeì& ie@uejer, cegbyeF& yeensjner mebmLes®³ee MeeKee ³eemeeþer Òe³elve Peeues. HeCe les Òel³e#eele ³esT MekeÀues veenerle.

mebmLes®es keÀuee mebJeOe&vee®es keÀe³e& DeefOekeÀeDeefOekeÀ ueeskeÀebHe³e¥le Heesn®eeJes, efJeefJeOe mlejeleerue keÀueekeÀej Je keÀueeÒesceeR®ee meceeJesMe l³eele DemeeJee cnCetve meYeemeolJee®³ee Jeie&Ceer®eer leerve-®eej ÒekeÀej®eer ÒeleJeejer nesleer. Dee-peerJe meYeemeolJee®es l³eekeÀeUer ©.100, ©. 115 Demes nesles. l³eelener Fvmìe@ueceWì®eer megefJeOee nesleer. ceefnv³ee®eer Jeie&Ceer 1ª. lej Je<ee&®eer Jeie&Ceer 10/- efJeÐeeLeea efkeÀbJee Dev³e keÀesCeeuee ner Jeie&Ceerner peemle Jeeìle Demesue lej l³eeb®³eemeeþer HeÀkeÌle 8 DeeCes (cnCepes 46 Hewmes) nesles.

mebmLee mLeeHeve kesÀu³eeJej®ee Heefnuee GHe¬eÀce mebmLes®³ee Heefnu³ee `JeOee&Heveefovee'®ee®e neslee. l³eele mebieerle Je JeeÐe Jeeovee®ee keÀe³e&¬eÀce Peeuee. lemes®e [email protected]³ekeÀj ³eeb®es `Yeejleer³e keÀues®es HegveªppeerJeve Peeues

Heeefnpes' ³eeJej ÒesjCeeoe³eer Yee<eCe Peeues. mJeeleb$³eue{îee®eer Heeée&Yetceer l³eeceeies nesleer. ÒeefleJe<eea mebmLes®ee JeOee&Heve efove Deepeleeiee³ele kesÀuee peele Deens.

meg©Jeeleer®³ee l³ee keÀeUele efvejefvejeÈ³ee keÀe³e&¬eÀceebcegUs keÀueekeÀej SkeÀ$e ³esTve l³eeb®ee Òeeflemeeo Jee{u³eeves, J³eJemLeeHeve meefceleerleerue meYeemeoeb®ee Glmeen Jee{uee. SefÒeue 1931 ceOes Peeuesu³ee lesjeJ³ee JeOee&Heve efovee®es ie@oeEjie, efoJemeYej cnCepes mekeÀeUer 8 les 4 Peeues. HesìerJeeove, Jne³eesefueve, oesveJesU®ee ®ene, ª®ekeÀj Yeespeve, HeÀesìes keÀe{Ces F. yenejer®es keÀe³e&¬eÀce Peeues. ³eeb®es Deepe DeÒegHe JeeìCeej veener. HeCe l³eemeeþer lees keÀeU ue#eele Iesleuee Heeefnpes. Heb®eenÊej Je<ee&HetJeea keÀues®³ee #es$eele ³ee®eer veJeueeF& nesleer. mebmLesves DeeHeues efnMeesye leHeMeerueebmen meeoj kesÀues les Dee{Uleele. ³ee ie@oeEjiemeeþer mJeleb$e Jeie&Ceer pecee kesÀueer. Ke®e& Jepee peelee ©. 75/- Gjues. les Heg{erue keÀe³e&¬eÀceemeeþer jeKetve þsJeues. 1939-40 ®³ee JeOee&Heveefoveeuee Peeuesu³ee ef®e$eÒeoMe&vee®eer peyeeyeoejer Je l³eemeeþer®es HeefjÞece ef®e$ekeÀej Sve.Sme.yeWês, Jner.S.ceeUer, kesÀ.kesÀ.nsyyej ³eebveer Iesleueer nesleer. l³eeb®³eener keÀueeke=Àleer ³ee ÒeoMe&veele nesl³ee. 1945 ®³ee JeOee&Heveefovener Yejie®®e neslee. mekeÀeUer Jner.S. ceeUer ³eeb®es Òeel³eef#ekeÀ l³eeveblej FbeqiueMe ef®e$ekeÀej SHeÀ.S®e.yewvme ³eeb®es `mecekeÀeueerve Yeejleer³e Je Hee½eel³e ef®e$ekeÀuee' ³eeJej J³eeK³eeve Peeues. mebO³eekeÀeUer Þeer.efcej®eboeveer ³eeb®es èf®e$e-efMeuHekeÀej Je cegbyeF& veiejHeeefuekeÀe (efyeéfìMe c³egefveefmeHeeueìer) ³eeb®³eeleerue menkeÀe³e&' efJe<e³eeJej J³eeK³eeve Peeues. l³eeveblej ̀ efHeÀMeHee@v[', `mebieerle' ner Peeues. ef®e$ekeÀej S®e.Sve. ouueeme ³eebveer GHeefmLeleebvee Gmee®ee jme osTve l³ee efoJemee®eer meebielee Peeueer. 1947 ®es Je<e& Heejleb$³eeleerue Yeejleemeeþer kesÀJe{s lejer cenÊJee®es. 15 Dee@iemì 1947 jespeer Yeejle mJeleb$e Peeuee. 7 SefÒeue 1947®³ee JeOee&Heve efoveeuee [[email protected]³ekeÀj ³eeb®³ee Yee<eCee®ee efJe<e³e neslee òwvebefove peerJeveeleerue keÀues®es cenÊJe DeeefCe mJeleb$³e Yeejleele keÀuesuee DemeCeejs efJeMes<e mLeeve' ³ee meboYee&le l³eebveer efoMeeoMe&keÀ efJeJes®eve kesÀues.

DeefuekeÀ[s JeOee&HeveefoveeSsJepeer SefÒeue ceefnv³eele `HeÀeTb[me& JeerkeÀ' kesÀuee peelees. Je l³eele keÀuesmeboYee&leerue J³eeK³eeves, JeefjmebJeeo, Òeel³eef#ekesÀ `Hee@JejHee@Fbì' ÒesPeWìsMeve ³eemeejKes GHe¬eÀce l³ee DeeþJe[îeele kesÀues peeleele.

omeje mesefueye´sMeve

JeOee&Heve efoveeÒeceeCes òmeje' meCeeueener keÀueeJeble SkeÀ$e ³esTve DeeHeu³ee He×leerves lees efoJeme meepeje keÀjerle. l³eehewkeÀer 1941-42 ceOeerue omeje mesefueye´sMeve ns efJeMes<e DeeieUs nesles. l³eeJesU®³ee K³eeleveece ieeef³ekeÀe `p³eeslmvee YeesUs' ³eeb®³ee iee³evee®ee keÀe³e&¬eÀce ns cegK³e DeekeÀ<e&Ce nesles. iebceleer®ee Yeeie cnCepes p³eeslmvee YeesUs ³eebvee ieeC³ee®es mebmLesves ceeveOeve efoues veener. l³eeyeou³eele l³eebvee l³eeb®es J³eeqkeÌleefMeuHe efoues. ns J³eeqkeÌleefMeuHe

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efJevee³ekeÀ keÀjcejkeÀjebveer kesÀues nesles. keÀues®³ee meeojerkeÀjCee®eer ner `joyeoueer' p³eeslveeyeeF¥veerner efKeuee[tJe=Êeerves mJeerkeÀejueer nesleer. l³ee efoJe-Meer mebieerle mHeOee& Je keÀueemHeOee¥®eer Heeefjleesef<ekesÀ JeeìC³eele Deeueer.

³eeHetJeea 1932 ceOes ef®e$ekeÀej Sce.S.peesMeer ³eebveer DeeHeu³ee `³egjesHe ìgj'®es DevegYeJe keÀLeve kesÀues nesles. leoveblej GHeefmLeleebvee `Dee@HemesìHeÀesìes efueLees Òeesmesmeves kesÀuesueer ke@ÀueW[me&, Hee@kesÀì yegkeÀ, Heseqvmeue, veeFHeÀ, De-Mee Jemlet Yesì osTve DeuHeesHenejner efouee neslee. 1934 ceOes kegÀceej iebOeJee¥®es ieeCes Peeues nesles. 1942-43 ®³ee Je<ee&le `ceeP³ee keÀues-meeþer' ³ee veeìkeÀeyeeyele®es uesKe Jee®eues iesues. l³eele efMeuHekeÀej efJevee³ekeÀ keÀjcejkeÀj, ef®e$ekeÀej veer.ce.kesÀUkeÀj, yeer.Jner. yejsjkeÀj, ef®e$ekeÀej S®e.Sve.ouueeme, Jemeble peesMeer, efceme cne$es ³eeb®ee menYeeie neslee. DeMee keÀener keÀe³e&¬eÀceebyejesyej meeceeefpekeÀ yeebefOeuekeÀer peHeCeejs DeLeJee l³ee®es Yeeve osCeejs GHe¬eÀcener meeoj Jne³e®es. yebieeue®es K³eeleveece ef®e$ekeÀej `ef®eÊeesÒemeeo' ³eebveer yebieeue®³ee Yeer<eCe og<keÀeUeJej®³ee mkesÀ®eme®es ÒeoMe&ve meesmee³eìer®³ee ne@ueceOes 27, 28, 29 Dee@keÌìes. jespeer kesÀues. keÀJeer nefjbêveeLe ®eìesHeeO³ee³e ³eeb®es keÀeJ³e Jee®eve Peeues.

`Yeejleer³e keÀues®es HegveªppeerJeve' ³eeyeÎue peeieªkeÀlee efvecee&Ce Peeueer nesleer. l³ee Deveg<ebieevesner keÀener ef®e$ekeÀej DeeHeueer efveefce&leer keÀjerle nesles. l³ee meboYee&le J³eeK³eeves HeefjmebJeeoner Peeues. ³ee Deveg<ebieeveer Þeer.uee[ ³eebveer DeeHeu³ee J³eeK³eeveele Demee efJe®eej ceeb[uee keÀer, `pegv³ee ceneve keÀueeke=Àleerleerue cece& peeCetve Deepe®eer keÀuee DeefOekeÀ Òel³e³ekeÀejer Peeueer Heeefnpes.'

mebmLes®es ûebLeeue³e

keÀueeJebleeb®ee, keÀues®ee meJee¥ieerCe efJekeÀeme JneJee ³eemeeþer efJeMes<e cnCepes keÀuee HegmlekeÀeb®es ûebLeeue³e GHeueyOe keÀjC³ee®es ceesuee®es keÀe³e& ³ee mebmLesves kesÀues. l³eemeeþer JesieJesieUs KeìeìesHe kesÀues iesues. les peeCetve IesCes GodyeesOekeÀ Deens. megjJeeleeruee 1919 ceO³es efMeuHekeÀej ieCeHelejeJe cne$es (peer.kesÀ.cne$es) ³eebveer mJeKe®ee&ves 70 HegmlekeÀeb®eer Yesì keÀHeeìemeefnle efoueer. FlekesÀ®e veJns lej l³eemeeþer mJeleb$e ûebLeHeeuee®eer (uee³eye´jer³eve) vesceCetkeÀ kesÀueer. l³ee ûebLeHeeuee®ee SkeÀ Je<ee&®ee Ke®e&ner cne$es ³eebveer mJeerkeÀejuee. ³eeKesjerpe meleje meYeemeoebveer oesve ªHe³eebHeemetve Jeerme ©He³eebHe³e¥le®³ee osCei³ee efou³ee. keÀener ef®e$ekeÀejebveer DeeHeu³eekeÀ[erue HegmlekesÀ Yesì efoueer. ³eeÒekeÀejs megjJeele nesTve ®eej-Hee®e Je<ee&le HegmlekeÀeb®eer mebK³ee 370 Peeueer. Heg{sner osCeieeroeKeue Deeuesueer HegmlekesÀ Je mebmLesves Kejsoer kesÀuesueer HegmlekesÀ, Jeie&Ceer Yejuesueer efve³elekeÀeefuekesÀ ³eeb®eer Yej He[le iesueer. 1940-41 ®³ee DenJeeueele veJ³ee HegmlekeÀeb®eer ³eeoer®e Deens. ûebLeeue³ee®ee ueeYe ueeskeÀebvee Ieslee ³eeJee cnCetve ûebLeeue³ee®eer JesU mekeÀeU-mebO³eekeÀeU®eer nesleer. HeCe 1941-42 ®³ee DenJeeueele DeMeerner veeWo Deens keÀer ³eg×ecegUs DemeCeeje yue@keÀDeeTì Je keÀener DeHeJeeoelcekeÀ HeefjefmLeleercegUs mebO³eekeÀeUer meele veblej

keÀesCeer ³esle vemes. l³eecegUs mebO³eekeÀeU®eer JesU keÀceer keÀjC³eele Deeueer.

ûebLeeue³ee®es keÀece keÀjC³eemeeþer Þeer.Deej.[er.HeeveJeuekeÀj, kesÀ.Deej.JesueCekeÀj,[er.meer.peesieUskeÀj Fl³eeoer ³eeb®³eemeejKeer ceb[Uer efceUeu³eecegUs Lees[îee®e keÀeueeJeOeerle ûebLeeue³ee®eer efJeéeemen&lee Je Òeefle-meeo Jee{uee. kesÀJeU HegmlekeÀeb®eer Yej ve He[lee jsuJes ce@iesPeerve®es 3 Jne@u³etcme, 1916 les 28 He³e¥le®es pes.pes.mketÀue®es HesHeme& Je Hejer#ekeÀebveer meeoj kesÀuesues DenJeeue, mketÀue Dee@HeÀ Deeì&®es 1930 ®es efjHeesì&, ìe-Fcme De@v³egDeuener oeKeue Peeues. ûebLeeue³eemeeþer PeìCeeN³ee ceb[UeR®ee ne SkeÀ ÒekeÀej®ee ieewjJe®e cnCee³euee nJee. ûebLeeue³ee®eer DeeJeM³ekeÀlee Je cenÊJe peeCetve l³eemeeþer efveOeer GYeejC³eemeeþer veeìîe#es$eeleueer ceb[Uerner Heg{s mejmeeJeueer. 1920®³ee ojc³eeve veìJe³e& yeeueiebOeJe& cnCepes®e; veeje³eCe jepenbme l³eeb®³ee yenjele nesles. mebieerle veeìkeÀeleerue l³eeb®³ee De-oekeÀejerves ueeskeÀ ceb$ecegiOe Peeues nesles. DeMee JesUer DeeHeues ueeskeÀefÒe³e veeìkeÀ `mJe³ebJej' ®³ee Òe³eesiee®ee veHeÀe l³eebveer Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee®³ee ûebLeeue³e efJekeÀemeemeeþer efouee. HeÆer®ee iee³ekeÀ Je ueeskeÀefÒe³eles®³ee efMeKe-jeJej DemeCeeN³ee SkeÀe keÀueeJebleeves, Flej keÀueeJebleebÒeleer oeKeefJeuesuee ne Deeoj, mvesn cenÊJee®ee Je ÒeMebmeveer³e Deens. mebmLesvesner l³eeÒeerl³eLe& yeeueiebOeJee¥vee l³eeb®es DeOe& J³eeqkeÌleefMeuHe (yemì) Yesì cnCetve efoues. ne DeOe&HegleUe yengoe efMeuHekeÀej j.ke=À. HeÀ[kesÀ ³eebveer kesÀuee neslee. efMeJee³e 8 ef[meWyej 1922 ®³ee meesMeue ie@oeEjie ceOes yeeueiebOeJee¥®³ee jbieceb®eeJejerue GÊece DeoekeÀejer keÀefjlee megJeCe&HeokeÀ efoues.

³eeÒeceeCes DeeCeKeer SkeÀe veeìkeÀe®ee Òe³eesie 5 meHìWyej 1942ceOes Peeuee.veeìkeÀe®es veeJe nesles `ceeP³ee keÀuesmeeþer' uesKekeÀ nesles veeìkeÀkeÀej cnCetve K³eeleveece Peeuesues ceecee JejsjkeÀj. veeìkeÀe®es keÀLeevekeÀ keÀueeJebleeb®³ee Òeke=ÀleerMeer Je meceepee®³ee Òeke=ÀleerMeer meepesmes Je JeemleJee®eer ceeefce&keÀ peeef-CeJe osCeejs nesles. l³ee®ee Lees[keÌ³eele DeeMe³e Demee keÀer veeìkeÀe®ee vee³ekeÀ `megboj' ne SkeÀ ®eebieuee ef®e$ekeÀej Demelees. HeCe l³ee®eer Je l³ee®³ee keÀues®eer yejs®e ueeskeÀ ®esäe, eEìieue keÀjerle. SkeÀoe l³ee®³ee ef®e$eeuee He@efjme®³ee ÒeoMe&veele megJeCe&HeokeÀ efceUeu³ee®es Je=Êe ³esles. lesJne ns®e eEveokeÀ nej-legjs IesTve npej nesleele. keÀueeJeblee®es DeefYevebove keÀjleele. HeCe lees cevemJeer keÀueeJeble les ve mJeerkeÀejlee, l³ee ueeskeÀebvee DeeHeu³ee mìgef[Deesletve Ieeue-Jetve oslees. veeìkeÀeleerue YetefcekeÀe ef®e$e-efMeuHekeÀejebveer®e keÀjC³ee®es þjues. l³eevegmeej Jemeble DeebyesjkeÀj vee³ekeÀ nesles. pes.pes. mketÀue®eer efJeÐeeefLe&veer keÀ-ceue cejeþs veeef³ekeÀe nesleer. veeìkeÀe®³ee leeueceer ef$eYegJeve jes[ ³esLeerue mee.ue.nUoCekeÀjeb®³ee mìgef[Deesle (1938®³ee megceejeme) Jne³e®³ee. HeCe veblej cee$e l³ee veìceb[UeR®es leeueceeRvee ³esCes keÀejCeHejlJes Deefve³eefcele Peeues. efoioMe&keÀ Heeée&veeLe DeeUleskeÀjebvee les ª®eues veener. l³eebveer leeueceer yebo kesÀu³ee. veeìîeÒe³eesiee®eer keÀuHevee yeejieUueer. cee$e Jej GuuesefKeuesu³ee 5 meHìWyej 1942uee ns®e veeìkeÀ efueìue efLeSìj leHexÀ jbieYetceerJej Deeues. keÀener veìmeb®e yeoueuee. Heefnuee Òe³eesie `je@³eue Dee@Hesje neTme, efiejieeJe'

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³esLes Peeuee. ³ee veeìkeÀeuee DeveskeÀ ef®e$e-efMeuHekeÀej, keÀueejefmekeÀ eflekeÀerì keÀe{tve Deeues nesles. Ke®e& Jepee peelee ³ee eflekeÀerì efJe¬eÀerletve 233 ©He³es 12 DeeCes GYes jeefnues. DeMeer veeWo DenJeeueele Deens. lej ³ee Òe³eesieeletve 1100/- ©. GlHeVe Peeu³ee®eer ceeefnleer, lemes®e DeeOeer GuuesefKeuesu³ee veeìkeÀe®es keÀLeevekeÀ, leeueceer, veìeb®³ee YetefcekeÀe ner ceeefnleer èf®e$ekeÀej ieesHeeU osTmkeÀj ë keÀueeJeble DeeefCe ceeCetme' ³ee HegmlekeÀele Deens.

HegmlekesÀ, Jee®eve l³eecegUs ³esCeejer yengÞeglelee, ÒeieuYelee ³eeb®es cenÊJe ef®e$e-efMeuHekeÀej Demetvener l³eekeÀeUerner keÀener HeoeefOekeÀeN³eebveer peeCeues Je keÀuee HegmlekesÀ, efve³elekeÀeefuekesÀ ³eeb®ee mebûen keÀjC³eeme keÀener GHee³e-³eespevee kesÀu³ee ³eeb®es efJeMes<e Jeeìues. Deepener leer HegmlekesÀ mebmLes®³ee keÀe³ee&ue³eele GHeueyOe Deensle. cee$e Deepe®es peerJeve ieefleceeve, J³emle mHeOee&lcekeÀ Deens, JesUs®eer keÀcelejlee DeeefCe l³ee®eyejesyej neleeMeer ceeefnleer®es cenepeeue Dem-eCeejer Fbìjvesì®eer megefJeOee ³eecegUs ner HegmlekesÀ ®eeUe³eueener keÀesCeer efHeÀjkeÀle veener.

ef®e$eÒeoMe&ves

Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee ³ee mebmLes®es Heefnues ÒeoMe&ve, 7 SefÒeue 1922 ceOes pes.pes. mketÀue®³ee mìgef[Deesle HebOeje efoJemeeb®es Peeues. GodIeeìve pes.pes. mketÀue®es Òee®ee³e& ke@À.iue@[mìve mee@ueesceve ³eebveer kes-Àues. lesLes peceuesu³ee ceesþîee mecegoe³eeHeg{s l³eebveer `Yeejleer³e keÀuee Je keÀueekeÀej' ³eeb®³ee Òeleer DemeCeejer DeeHeueer Deelceer³elee J³ekeÌle kesÀueer. ³ee ÒeoMe&vee®eer eflekeÀerì efJe¬eÀer, ef®e$e efJeketÀve efceUeuesues keÀefceMeve Je ke@Àìuee@ie efJe¬eÀer ³eeletve GYes jeefnuesu³ee (megceejs HeeJeCes oesve npeej) ©He³eebcegUs Peeuesuee Ke®e& Yeªve efveIeeuee. cee$e GuuesKeveer³e yeeye cnCepes ieCeHele cne$es (peer.kesÀ.cne$es) ³eebveer Goej DebleëkeÀjCeeves ÒeoMe&vee®ee meJe& Ke®e& mJeleë G®eueC³ee®ee efveCe&³e J³ekeÌle kesÀuee. l³eecegUs®e mebmLes®³ee Jeeef<e&keÀ DenJeeueelener l³ee®eer veeWo Peeueer veener. ³eeefMeJee³e cne$es ³eebveer DeeHeueer ÒeeceeefCekeÀ F®íe J³ekeÌle kesÀueer keÀer meesmee³eìerle efceUeuesues ©. 908 ®es GlHeVener ³ee efnMeesyeele meceeefJeä keÀª ve³es. Þeer. cne$es ³eeb®³ee ³ee meËo³e Goej ¢efäkeÀesveecegUs Heefnu³ee ÒeoMe&vee®eer veeWo `³eMemJeer' DeMeer Peeueer. Þeer. cne$es ³eeb®³ee ³ee ke=Àleerves mebmLesleerue keÀe³e&keÀl³ee¥®ee Glmeen vekeÌkeÀer®e Jee{uee Demesue ³eele MebkeÀe veener.mebmLesveerner cne$es ³eeb®³ee Òeleer ke=Àle%elee J³ekeÌle keÀjC³eemeeþer 8 ef[meWyej jespeer Keeme JesieUer yewþkeÀ Iesleueer.

³ee mebmLes®es ogmejs ef®e$eÒeoMe&ve 1924 ceOes efiejieeJe, ®eewHeeìer ³esLeerue efJeumeve keÀe@uespe ³esLes 20 Dee@keÌìes. les 6 veesJnW. 1924 ³ee keÀeueeJee-fOele Peeues. SketÀCe 252 keÀueeke=Àleer ÒeoefMe&le Peeu³ee. ³ee ÒeoMe&veeme keÀueejefmekeÀebveer lej Yesì efoueer®e. HeCe efJeMes<e cnCepes Meeues³e efMe#ekeÀebveer DeeHeu³ee efJeÐeeL³ee¥vee DeeCeues nesles. ns ÒeoMe&ve DeekeÀ<e&keÀ Je DeeefLe&keÀ¢äîee HeÀueoe³eer nesC³eemeeþer Sce.kesÀ.Hejeb[skeÀj ³eebveer YejHetj HeefjÞece Iesleues nesles. ³ee ÒeoMe&veeuee Òeeslmeenve osC³eemeeþer veeìîe#es$eeleerue `³eMeJeble

mebieerle veeìkeÀ kebÀHeveerves' l³eeb®³ee SkeÀe je$eer®³ee veeìkeÀe®³ee Òe³eesiee®ee veHeÀe osCeieer cnCetve efouee. ³ee efveOeer®ee GHe³eesie ÒeoMe&veeleerue ®eebieueer ef®e$es efJekeÀle IesTve leer Heg{s keÀe³ece mJeªHeer nesCeeN³ee ie@uejerkeÀefjlee jeKetve þsJeC³ee®es ³eespeues. l³ee keÀe³ece mJeªHeer Deeì& ie@uejermeeþer Sce.Jner. OegjbOej ³eebveer l³eeb®es peuejbieeleerue ef®e$e ̀ DeHeÀpeueKeeveeJej efJepe³e' osCeieer oeKeue efoues. ÒeoMe&vee®ee megceejs 625 ©. Ke®e& Jepee peelee 158/- ©He³eeb®eer ÒeeHleer Peeueer. ³ee ÒeoMe&veeyeÎue ̀ yee@cyes ¬eÀe@efvekeÀue' efve³elekeÀeefuekeÀele íe-Hetve Deeues nesles. DeMee efjleerves ns ogmejs ÒeoMe&vener HeÀueoe³eer Peeues.

³ee mebmLes®es eflemejsner ÒeoMe&ve efJeumeve keÀe@uespeceOes 5 SefÒeue les 27 Se-fÒeue 1929 ³ee keÀeueeJeefOele leerve DeeþJe[îeeb®es Peeues. ¿eele 251 keÀueeke=Àleer nesl³ee. GodIeeìve keÀe@uespe®es efÒeeqvmeHee@ue pee@ve ce@keÀkesÀvPes ³eebveer kesÀues. Heefnu³ee®e efoJeMeer YeeJeveiej®³ee cenejepeebveer ÒeoMe&veeuee Yesì efoueer Je 2967/- ©He³eeb®eer ef®e$es Kejsoer kesÀueer.

1944-45 ceOeerue ÒeoMe&ve mej keÀeJemepeer penebieerj ne@ue (meO³ee®es Sve.peer.Sce.S.) ³esLes 16 veesJnW. 1944 uee megª Peeues. ÒeoMe&vee®es GodIeeìkeÀ nesles ye[esÐee®es cenejepe. ³ee JesUer ÒeoMe&veemeeþer efveJe[meefceleer veJnleer. Òel³eskeÀ meYeemeoeves DeeHeueer ef®e$e lesLes ueeJeueer. ³ee ef®e$eebletve meJeexÊece Hee®e (5) ef®e$es efveJe[ueer. l³eeleerue Jner.S.ceeUer ³eebvee `Heìsue ìê@HeÀer' Je meesmee³eìer®es ke@ÀMe ÒeeFPe efceUuees. mìg[bì ìêJneEueie®³ee mkeÀe@uejefMeHe®es ceevekeÀjer ef®e$ekeÀej jPee þjues.

DeeefLe&keÀ mecem³ee, Dev³e De[®eCeer ³eecegUs meg©Jeeleer®³ee keÀeUe Òe³elve keÀªvener Òel³eskeÀ Je<eea ÒeoMe&ve YejefJelee Deeues veener. Hejbleg Dev³e GHe¬eÀce cee$e megª jeefnues.

Òeel³eef#ekesÀef®e$e-efMeuHekeÀues®³ee #es$eele HetJeeaHeemetve DeepeHe³e¥le Òeel³eef#ekeÀeb®³ee keÀe³e&¬eÀceeuee vesnceer ®eebieuee Òeeflemeeo efceUlees. keÀeieo DeLeJee ke@ÀveJneme®³ee keÀesN³ee He=ÿYeeieeHeemetve les l³eeJej ìHH³eeìHH³eeves ¢iiees®ej nesle peeCeejs J³eeqkeÌleceÊJe efvejKeCes ueeskeÀebvee DeeJe[les. jefmekeÀpeve l³eele iegbie nesleele. mJeeleb$³eHetJe& keÀeUele ke@Àcesje GHeueyOe Demeuee lejer lees Deepe®³ee meejKee menpe, megueYe veJnlee. HeÀesìes keÀe{Ces Keef®e&keÀner nesles. Òeel³eef#ekeÀeb®es HeÀesìes keÀe{Ces l³eecegUs ogefce&U nesles. Òeel³eef#ekeÀe®es MegeEìie ner keÀuHeveener DeefmlelJeele veJnleer. DeMee keÀeUele ef®e$ekeÀej-efMeuHekeÀeje®eer efveefce&leer Ie[le Demeleevee leer Òel³e#eele Heenlee ³esCes ner efpe%eemetbvee, jefmekeÀebvee ceesþer®e HeJe&Ceer Jeeìs. l³ee l³ee JesUer ³ee K³eeleveece ef®e$e-efMeuHekeÀejeb®³ee Òeel³eef#ekeÀeb®³ee JesUer efve³eesefpele ne@ue, ie®®e Yeªve pee³e®es. Òeel³eef#ekeÀ yeIeC³eemeeþer ³eesi³e peeiee efceUeJeer cnCetve ueeskeÀ yejs®e DeeOeerHeemetve ³esTve DeeHeueer peeiee HekeÀ[erle. Òeel³eef#ekeÀeb®³eeJesUer peeCe-Jeuesueer keÀueeJebleeb®eer Mewueer, jbieuesHeve He×leer, ef®e$e jbieJeleevee®eer Meejere-fjkeÀ uekeÀye, jbiemebieleer ³eeb®³ee ieHHeener veblej GHeefmLeleebceOes jbiele. Deeì&

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meesmee³eìer Dee@HeÀ Fbef[³ee ceOesner Òeel³eef#ekeÀeb®eer ÒeLee HetJeeaHeemetve DeepeHe³e¥le Deens. 1918 les 47 He³e¥le®³ee keÀener Òeel³eef#ekeÀeb®ee kesÀJeU GuuesKe keÀjerle Deens. S.SkeÌme.eE$eoeo, Sme.Heer.DeeieemekeÀj, efMeuHekeÀej Jner.Jner.JeeIe, mee.ue.nUoCekeÀj, Sve.Deej.mejosmeeF&, ®eg[skeÀj, OegjbOej, efMeuHek-eÀej j.ke=À.HeÀ[kesÀ Fl³eeoer. ieesHeeU osTmekeÀj pes.pes.mketÀue®es [sH³etìer [e³ejskeÌìj Demeleevee l³eebvee 1940-41 ceOes ³ee mebmLesceOes Òeel³eef#ekeÀ Je J³eeK³eeveemeeþer Deecebef$ele kesÀues nesles. ns Òeel³eef#ekeÀ vetleve keÀueecebe-fojele Peeues. keÀener Òeel³eef#ekeÀeb®³ee JesUer cee@[sue cnCetve keÀueeJebleeb®eer®e efveJe[ Peeueer. Goe. Sce.SHeÀ.HeerþeJeeuee ³eebveer 1924-25 ceOes Sce.Jner.OegjbOejebvee mece#e yemeJetve lewuejbieeleerue l³eeb®es ef®e$e oer[ leemeele kes-Àues. SefÒeue 1947 ceOes Jee@uìj ueBien@cej ³eebveer efMeuHekeÀej efJevee³ekeÀ keÀjcejkeÀjeb®es mece#e J³eeqkeÌleef®e$eCe kesÀues nesles. Jee@uìj ueBien@cej ns p³et! ogmeN³ee cene³eg×eHetJeea Yeejleele Deeues. ³esLeerue DeeOegefvekeÀ keÀuee®eUJeUerle l³eeb®es mLeeve cenÊJee®es Deens. l³eeb®eer peesceoej DeeieUer ef®e$eMewueer, Jew®eeefjkeÀ ÒeieuYelee ³eecegUs 1940 ®³ee ojc³eeve l³eeb®es keÀuee#es$eele ÒemLe nesles. efMeuHekeÀej Deej.Heer.keÀecele ³eebveer ef®e$ekeÀej Sve.Sme. yeWês ³eeb®es J³eeqkeÌleefMeuHe kesÀues.

DeefYevebove, HejosMeieceve ³eeyeÎue®³ee meYeekeÀueeJebleebvee Òeeslmeenve osC³eemeeþer l³eeb®³ee efJeMes<e keÀeceefiejer®eer DeLe-Jee ³eMee®eer oKeue IesTve mebmLesleHexÀ mJeleb$e ieewjJe meYee Peeu³ee. l³eele yee@cyes Deeì& meesmee³eìer®³ee mHeOee&lcekeÀ-ÒeoMe&veele megJeCe& HeokesÀ, jewH³e HeokesÀ efceUeuesu³eeb®eener meceeJesMe Demes. DeMeer keÀener Heefjef®ele veeJes cnCes S.SkeÌme. eE$eoeo, efMeuHekeÀej yeeUepeer leeueerce Fl³eeoer. yeeUe-peer leeueerceeb®³ee `mìêrì yesiej' efMeuHeeuee efceUeuesu³ee [email protected].®³ee megJeCe&HeokeÀe Òeerl³eLe& les efMeuHe Deeì& meesmee³eìer Dee@HeÀ Fbef[³eeves DeeHeu³ee DenJeeuee®³ee (efjHeesì&) cegKeHe=ÿeJej íeHeues. l³ee®eÒeceeCes [email protected]. Kesjerpe HegCes, ceêeme, efouueer, efmeceuee, yebieueesj ³esLeerue ÒeoMe&veele Heeefjleesef<ekesÀ efceUeuesu³ee keÀueeJebleeb®eener ieewjJe kesÀuee.

G®®e efMe#eCeemeeþer, J³eeJemeeef³ekeÀ keÀeceebmeeþer eEkeÀJee ÒeJeemeemeeþer He-josMeer peeCeeN³ee keÀueeJebleebveener MegYes®íe osCeejs meceejesn Peeues. Goe. peer.[er.ieeWOeUskeÀj, yeer.kesÀ. ieesjsieeJekeÀj, Sve.kesÀ.ieesjsieeJekeÀj, Deej.Heer. keÀecele ns keÀueeJeble 1930-31 ®³ee ojc³eeve ÖeÀevme, Fbiueb[ ³esLes G®®e efMe#eCeemeeþer HejosMeer peeCeej cnCetve l³eebvee meceejbYeHetJe&keÀ efvejesHe efouee iesuee. efyeéfìMe meeceép³eeleerue `Jescyeues' ³esLeerue ÒeoMe&veele efMeuHek-eÀej j.ke=À.HeÀ[kesÀ ³eebvee ³eMe efceUeues l³eeyeÎue®ee ieewjJe 1926ceOes Peeuee. Sce.Jner.OegjbOejebvee efyeéfìMeebkeÀ[tve `jeJeyeneotj' ns efyeªo yeneue keÀjC³eele Deeues. l³eeÒeerl³eLe& 10 peeves 1928 ceOes l³eeb®ee melkeÀej Peeuee. èfouueer [skeÀesjsMeve®³ee' ³eMemJeer J³eeJemeeef³ekeÀ (keÀefceMev[) keÀeceeyeÎuener Sce.Jner.OegjbOej, peer.Heer.HeÀvee¥ef[me, lej ueeuekeÀekeÀe

³eebvee Fbiueb[ceOes jepeIejeC³eeleerue J³ekeÌleeR®eer Heesìx^ì keÀjC³ee®es keÀece efceUeu³eeyeÎue DeefYevebovee®es keÀe³e&¬eÀce (1929) Peeues. ueeuekeÀekeÀe 1931 ceOes Hejle Deeu³eeJej l³eeb®³ee mJeeielee®eener keÀe³e&¬eÀce Peeuee. l³eeJesUer l³eebveer lesLeerue `keÀuee Je keÀueekeÀej' ³eeyeeyele DeeHeues DevegYeJe meebefieleues. jeJeyeneotj OegjbOej, l³eeb®eer Helveer Je ef®e$ekeÀej cegueieer DebefyekeÀe OegjbOej 1937-38ceOes ³egjesHe ÒeJeemeemeeþer iesues. l³eebveener MegYes®íeb®ee efvejesHe osC³eemeeþer keÀuee#es$eeleerue DeveskeÀ ceb[Uer peceueer nesleer. HejosMe ieceve, HejosMeele G®®e keÀueeefMe#eCe ³ee®es l³eekeÀeUer Del³eble DeÒegHe nesles mebmLesves Demes DeefYevebovee®es keÀe³e&¬eÀce HeÀkeÌle ef®e$e-efMeuHekeÀuee #es$eeleerue keÀueeJebleebHegjles ce³ee&efole þsJeues veener lej Dev³e #es$eeleerue keÀueekeÀejeb-veener ieewjefJeues. veJeesefole ve=l³eebievee, ieeef³ekeÀe, K³eeleveece yeeueiebOeJe& ³eeb®ee l³eele meceeJesMe Deens. yeeyetjeJe HeWìjeb®ee ieewjJe l³eeb®³ee ef®e$eHeì me=äerleerue keÀeceefiejeryeÎue jewH³e keÀjb[keÀ osTve kesÀuee. yeeyetjeJe HeWìjeb®³ee ieewjJeeuee YejHetj ieoea Peeueer nesleer.

DeY³eeme oewjs (SkeÌmekeÀjdMeve), meb[s mkesÀeE®eie keÌueememeb[s mkesÀeE®eie keÌueeme®ee DeejbYe 1920 -21 ®³ee ojc³eeve Peeuee. lees Jeie& J³eJeefmLele megª jneJee Je DeY³eemetbvee l³ee®ee veerì GHe³eesie JneJee cnCetve l³eemeeþerner keÀesCeervee keÀesCeer leer peyeeyeoejer ce³ee&efole keÀeUekeÀefjlee G®euele. kesÀ.Deej.JesueCekeÀj, Deej.[er.HeeveJeuekeÀj, ef®e$ekeÀej Sve.Deej.mejosmeeF&, [er.S®e.veiejkeÀj, Hegjce, Sme.Sue.nUoCekeÀj, S.S.Yeesmeues, efMeuHekeÀej leeueerce ³eebmeejKes ceev³elee HeeJeuesues keÀueekeÀejner l³eele ue#e Ieeueerle. ³ee Jeiee&®eer iewjmees³e cee@[sue DeYeeJeer nesT ve³es cnCetve leeueerce ³ee-bveer, SkeÀoe SkeÀ Je<e& cee@[sue®es Hewmes mJeleë Yejues. ³esLes ³esCeeN³eebvee GÊespeve osC³eemeeþer, ³ee Jeiee&le Peeuesu³ee keÀecee®es ÒeoMe&ve keÀªve Heeefjleesef<ekesÀ osC³ee®ee GHe¬eÀcener keÀener Je<ex megª neslee. ³ee `meb[s mkesÀeE®eie keÌueeme'®ee GuuesKe ef®e$ekeÀej efJeceue (YeeieJele) iees[yeesues ³eeb®³ee Deelce®eefj$eele Deens. efJeceue iees[yeesues ³ee pes.pes.mketÀue®³ee 1935-36 ®³ee efJeÐeeefLe&veer. K³eeleveece uesefKekeÀe ogiee& YeeieJele ³eeb®³ee Yeefieveer. pes.pes.mketÀue ceOes efMe#eCe Iesle Demeleevee l³ee Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee®³ee meYeemeo Peeu³ee. mebmLes®³ee `meb[s keÌueeme'uee efve³eefcele peeTve mejeJe keÀjerle. l³eeJesUer lesLes keÀener ef®e$ekeÀej ceb[Uer Demele. l³eeb®³eele keÀe-nervee keÀener Jeeo, ®e®ee& megª Demele. lemes®e l³eeb®³eekeÀ[tve keÌueemeuee Deeuesu³eebvee ceeie&oMe&vener efceUle Demes. lesLeerue ûebLeeue³ee®eener l³eebveer Ye-jHetj GHe³eesie kesÀuee. Hejbleg l³ee jefJeJeejerner Iejeyeensj He[le cnCetve Iej®eer Je[erueOeejer ceb[Uer veejepe Demele. efMeef#ele Iejelener megÆer®³ee efoJeMeer cegueerves Iejeyeensj He[t ve³es. IejkeÀeceeuee neleYeej ueeJeeJee DeMeer He×le nesleer. efJeceue ³eeb®³ee Deelce®eefj$eeleu³ee ³ee DeeþJeCeerletve Deeì& meesmee³eìer Dee@HeÀ Fbef[³eeleerue JeeleeJejCe Glmeener, ®ewlev³ece³eer nesles ns peeCeJeles Je efm$e³eebyeeyele®es keÀener meeceeefpekeÀ mebkesÀlener ue#eele Deeues.

mebmLes®ee Heefnuee DeY³eeme oewje (SkeÌmejMeve) 1919 ceOes JemeF&®³ee

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efkeÀuu³eeJej iesuee neslee. l³eele 85 meYeemeoeb®ee menYeeie neslee. efMeuHekeÀej j.ke=À.HeÀ[kesÀ (cnCepes®e Deej.kesÀ. HeÀ[kesÀ) Je l³eeb®³ee ye-bOetbveer meJee¥®es mJeeiele kesÀues. efoJemeYej®³ee keÀeceeveblej l³eeb®es DeeojeefleL³e keÀjC³eemeeþer SkeÀ mebieerlee®ee keÀe³e&¬eÀcener þsJeuee. 1927 les 32 ®³ee ojc³eeve DebyejveeLe, yeesjerJeueer ³esLeerue iegbHeÀe, IeejeHegjer uesCeer, Jeýeséejer ³esLes oewjs Peeues. ner efþkeÀeCes lesJne cegbyeF&Heemetve KetHe otj Jeeìe³e®eer. ueeskeÀue, yemesme®³ee megefJeOee nuueermeejK³ee veJnl³ee. keÀenerJesUe mekeÀeUer yees®ejer Leb[er Demeueer lejer l³ee®eer HeJee& ve keÀjlee mkesÀeE®eie, ueB[mkesÀHeuee meg©Jeele nesF&. 1932 ceOeerue HeJeF&®³ee DeY³eemeoewN³eele efm$e³eeb®eener menYeeie neslee. l³eeJesU®es mebmLes®es GHeeO³e#e Sce.S.peesMeeRveer ogHeejer lesLes peeTve meJee¥®es keÀece yeefIeleues Je meceeOeeve J³ekeÌle kesÀues. mebO³eekeÀeUer l³ee meJee¥vee DeeHeu³ee Iejer ®eneHeeveeuee yeesueeefJeues. l³eemeeþer ceesvej yemener efoueer. 1939-40 ®³ee cegbyeé oewN³eeuee Heb®eenÊejpeCe nesles. Sve.Sme.yeWês ³ee ÒemLeeefHele ef®e$ekeÀejeves lesLes Òeel³eef#ekeÀ efoues. efvemeiee&®³ee yeouel³ee ©Hee®es Yeeve l³eebveer DeeHeu³ee ef®e$eeletve efoues. 1942 ceOeerue Iees[yeboj DeY³eeme oewN³ee®eer SkeÀ DeeþJeCe cepesMeerj Deens. Iees[yebojuee peeC³eemeeþer meJee¥vee v³ee³euee ûeBìjes[ntve ®ekeÌkeÀ SkeÀ ì^keÀ®e þsJeuee neslee. SjJeer ne ì^keÀ oie[eb®³ee JeenlegkeÀermeeþer JeeHejuee peele Demes. ³ee leeHeÌ³eeyejesyej ef®e$ekeÀej Sve.Deej.mejosmeeF&, Hejeb[skeÀjner nesles. ceb[Uer Glmeenele nesleer. ì^keÀ®ee DeeJeepe DeeefCe l³ee meJe& ceb[UeR®ee DeeJeepe ³eeb®eer peCet ®e{eDees{ nesleer. ogHeejveblej YegpebiejeJeebveer meJee¥®es ®eneHeeC³eeveer DeeojeefleL³e kesÀues. l³eeveblej lees meJe& leeHeÀe Iees[yeboj®³ee ìeskeÀeuee DemeCeeN³ee Sce.Deej.Meb-keÀjMesì ³eeb®³ee yebieu³eele Heesn®euee. ì^keÀ®es efve³eespeve, ì^keÀ®³ee Òekeemee®es JeCe&ve ³ee®es GuuesKe DenJeeueele Deeues l³eeDeLeea ceb[UeRveer iebceleerveer ì^keÀ ÒeJeemeeyeeyele efJeveeso DeLeJee menpe KegmeKegMeerle eEìieue ìJeeÈ³ee kesÀu³ee DemeCeej. ³eeKesjerpe DeeCeKeerner keÀener DeY³eeme oewjs Peeues. lees GHe¬eÀce Deepener megª Deens. DeueerkeÀ[s Je<ee&letve SkeÀ oewje Deeþ-one efoJemeeb®ee lej ogmejs oesve oewjs oesve-leerve efoJemeeb®es Demes SketÀCe leerve DeY³eeme oewjs Dee³eesefpele kesÀues peeleele. l³eeuee Òeeflemeeoner ®eebieuee Demelees.

DeMee efJeefJeOe GHe¬eÀceebyejesyej keÀuee#es$eeleerue keÀener ÒeMve, mecem³ee, jWieeUuesueer keÀeces, keÀueekeÀejeb®³ee (efyeéfìMe) mejkeÀejkeÀ[tve Demeuesu³ee DeHes#ee, OeesjCes ³eekeÀ[sner ner mebmLesves DeelceefJeéeemeeves ue#e efoues. l³eemeeþer MeemeveekeÀ[s HeeþHegjeJee kesÀuee. DeMee oesve leerve GoenjCeeb®ee GuuesKe ³esles keÀjerle Deens.

1924 ceOes SefueceWìêr Je Fbìjefce[erSì [ê@Fbie ûes[ Hejer#eebletve cegkeÌlenmle (ÖeÀer nB[) ne efJe<e³e keÀe{tve ìekeÀC³ee®ee ÒemleeJe ieJnjceWìkeÀ[s iesu³ee®es keÀUues nesles. ³ee cegkeÌlenmle efJe<e³eeÜejs Yeejleer³e keÀues®eer DeesUKe Heg{erue efHe{îeebvee keÀªve osC³ee®es Mew#eefCekeÀ keÀe³e& Ie[t MekeÀles cnCetve lees efJe<e³e keÀe{tve ìekeÀC³eeme keÀener keÀueekeÀejeb®ee efJejesOe neslee. `Deeì& meesmee³eìer

Dee@HeÀ Fbef[³ee'®eener DeY³eeme¬eÀceeletve `cegkeÌlenmle' keÀe{tve ìekeÀC³eeme efJejesOe neslee. l³eemeeþer 3 Dee@iemì 1924 DeeefCe 1 Dee@iemì 1925 DeMee oesve yewþkeÀe Peeu³ee. l³eevegmeej Mew#eefCekeÀ Keel³eekeÀ[s (Sp³egkesÀMeve ef[Heeì&ceWì) He$e HeeþefJeC³eele Deeues. l³eele l³ee efveCe&³eemeeþer keÀueekeÀejeb®eer®e mJeleb$e meefceleer vesceeJeer DeeefCe l³ee meefceleer®ee efveCe&³e ceev³e kesÀuee peeJee DeMeer ceeieCeer kesÀueer. MeemeveekeÀ[tve keÀUefJeues iesues keÀer ceeO³eefcekeÀ MeeUele ne efJe<e³e efMekeÀJeuee peelees, lees lemee®e ³eeHeg{sner efMekeÀefJeuee peeF&ue. keÀueekeÀej meefceleer®³ee meebieC³eevegmeej®e Heg{erue efveCe&³e nesTve l³ee®eer keÀe³e&Jeener nesF&ue. Mew#eefCekeÀ Keel³ee®³ee ³ee ³eesi³e efveCe&³eecegUs Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee mebmLesueener meceeOeeve Jeeìues. nuueer®³ee [ê@Fbie ûes[ Hejer#eebceOes Demeuesu³ee `cegkeÌlenmle' efJe<e³ee®ee efJe®eej efMe#ekeÀebveer, `Yeejleer³e keÀues'®³ee JewefMe<þîeeb®³ee meboYee&lener keÀjeJee. l³eekeÀ[s peeCeerJeHetJe&keÀ ue#e efoues Heeefnpes.

`Dee@ue Fbef[³ee efMeJeepeer cesceesefj³eue keÀefceìer'keÀ[tve le³eej nesCeeN³ee efMeJemceejkeÀe®es keÀece yejs®e ueebyeCeerJej He[le nesles. l³eeyeÎue veejepeer efvecee&Ce Peeueer. efMeJepevceeuee 1928 ceO³es leerveMes Je<ex HetCe& nesleerue, leesHe³e¥le lejer ne HegleUe GYeejuee peeJee Demes SkeÀceleeves mebcele Peeues. keÀece JesUsle JneJes ³ee¢äerves ns keÀece peer.kesÀ.cne$es Je efJevee³ekeÀ keÀjcejkeÀj ³eebvee Jeeìtve ÐeeJes. l³eeb®es SkeÀceskeÀebMeer mebyebOener ®eebieues Deensle De[®eCe ³esCeej veener Demee mebyebefOeleeb®ee nesje neslee. cee$e Òel³e#eele Heefnueer®e yewþkeÀ JeeoUer Peeueer. Heg{sner HeefjefmLeleerves JesieJesieÈ³ee keÀueeìC³ee Iesleu³ee. keÀece keÀesCeekeÀ[s peeF&ue FLeHeemetve les HetCe& nesF&He³e¥le yejs®e keÀener Ie[ues. leLeeefHe megjJeeleeruee jWieeUuesues ns keÀece mceejkeÀ efMeuHeele Deûesmej DemeCeeN³ee peer.kesÀ.cne$es ³eebvee efoues peeJes Demes He$e Deeì& meesmee³eìer Dee@HeÀ Fbef[³eeves `Dee@ue Fbef[³ee efMeJeepeer cesceesefj³eue keÀefceìer'®³ee mes¬esÀìjeRvee HeeþefJeues. l³eele cne$es ³eebvee les YeJ³e keÀece osC³ee®ee HegveefJe&®eej kesÀuee peeJee, les ¿ee keÀeceeuee v³ee³e osleerue Je þjuesu³ee JesUsle GÊece keÀece keÀªve osleerue Demes keÀUefJeues nesles.

ò mkeÀuHe®ej De@C[ [skeÀesjsMeve mkeÀerce De@ì v³et efouueer' ³ee keÀeceemeboYee&lener Deeì& meesmee³eìer Dee@HeÀ Fbef[³eeves efJeMes<e ue#e Ieeleues. ³ee keÀeceeyeeyele®es Je=Êe Jele&ceeveHe$eele keÀener ceefnv³eebHetJeea Òeefme× Peeues nesles. l³eeyeÎue®eer ®e®ee&, efJe®eej-efJeefvece³e ³eemeeþer SkeÀ mJeleb$e yewþkeÀ 1 cee®e& 1928 ceOes IesC³eele Deeueer. l³eele mebmLes®³ee DeO³e#eebveer Meemeveeuee ns efJe®eejues Heeefnpes keÀer Yeejleer³e efMeuHekeÀuesuee l³ee `c³etjue'®³ee ³eespevesle mLeeve Deens keÀer veener? Demee þjeJe mebcele Peeuee. ³ee yeeyele®ee cemetoe le³eej keÀªve lees Flej keÀueemebmLee, ueb[veceOeerue Fbef[³ee meesmee³eìerkeÀ[sner HeeþefJeC³eele Deeuee. 21 cee®e& 1928 ceOes SkeÀ efJeMes<e meYee IesC³ee®es ³eesefpeues. efouueer®³ee ¿ee c³etjue [skeÀesjsMeve®ee ceesþe®e Yeeie cegbyeF&®³ee keÀueekeÀejebveer meekeÀej kesÀuee. leMeer mebOeer l³eebvee efceUeu³ee®es meceeOeeve

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J³ekeÌle keÀjC³eemeeþer leer meYee nesleer. ke@À. iue@[mìve mee@ueesceve ³eebvee DeO³e#e cnCetve Deeceb$eCener kesÀues. Hejbleg keÀener leebef$ekeÀ $egìeRcegUs leMeer meYee IesCes®e jefnle keÀjeJes ueeieues, ns JesieUs!

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efJeMes<e cnCepes, ³ee Je<eea Meleeyoer meepejer keÀjCeeN³ee Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee®es DeeefCe SkeÀMes SkeÀesCeleerme Je<ex Peeuesu³ee yee@cyes Deeì& meesmee³eìer®es SkeÀceskeÀeb®es mebyebOe meewneoe&®es Je menkeÀe³ee&®es Deensle.

Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee®³ee GefÎäebHewkeÀer `keÀe³ecemJeªHeer' Deeì& ie@uejer Je mJeleë®³ee ceeuekeÀer®eer peeiee DemeCes ns mJeHve Òel³e#eele ³esT MekeÀues veener. lemes nesC³ee®eer ef®evnsner veenerle. megªJeeleer®³ee Heb®eJeerme-leerme Je<ee&le l³eemeeþer Òe³elvener Peeues. Goe. K³eeleveece keÀueeJebleeb®³ee keÀueeke=Àleer osCeieer oeKeue efceUCes, keÀener keÀueeke=Àleer mebmLesves efJekeÀle IesCes, l³eemeeþer JesieUer peeiee yeIeCes Fl³eeoer. HeCe l³eele DeveskeÀ De[®eCeer Deeu³ee. efJeMes<eleë DeeefLe&keÀ ®eCe®eCe. ³eecegUs les GefÎä Òel³e#eele Glejues veener. Meleeyoer ceneslmeJee®³ee efveefceÊeeves ³eemeeþer Òe³elve keÀjC³ee®ee meb-keÀuHe keÀª³ee. MeemeveekeÀ[tvener l³eeyeeyele Òeeflemeeo efceUeJee DeMeer DeeMee keÀª³ee.

Òemlegle uesKeemeeþer DemeCeejer He=ÿmebK³es®eer ce³ee&oe, meboYe& meeOeveeb®eer keÀcelejlee DeeefCe JesU®eerner ce³ee&oe ue#eele Ieslee; mebmLes®³ee keÀe³ee&®ee Dee{eJee IesCes ns mJeeleb$³eHetJe& keÀeUeHe³e¥le®e ce³ee&efole kesÀues Deens. MebYej Je<ee¥®³ee Jeeì®eeueerHewkeÀer ³esLes kesÀJeU 1918 les 1947 ceOes osMeeuee

mJeeleb$³e efceUeues leesHe³e¥le®es®e GHe¬eÀce Deensle. ³ee ìH³eele mebmLes®ee jewH³eceneslmeJeer meesnUe Heej He[uee. mebmLes®eer Jeeì®eeue megª jentve megJeCe& ceneslmeJe, nerjkeÀceneslmeJe DeeefCe Deelee MeleeyoerHetefle& He³e¥le DeeHeCe Heesnes®euees Deenesle. ¿ee oerIe& Jeeì®eeueer®ee Fefleneme mebkeÀefuele nesCes iejpes®es Deens.

iesu³ee MebYej Je<ee&le kesÀJe{s lejer efmLel³eblej Peeues. ne yeoue peerJevee®³ee Òel³eskeÀ Debieele Peeuee. owvebefove keÀeceebHeemetve les keÀuee efveefce&leerHe³e¥le DeeefCe mJeleëYeesJeleer®³ee ueneve peieele, iueesyeuee³ePesMeve Le[keÀC³eeHe³e¥le®eer ner Jeeì®eeue Deens. lemes®e efKeMeele pescelesce Hewmes DemeC³ee/vemeC³eeHeemetve les ke@ÀMeuesme J³eJeneje®³ee veeboerHe³e¥le Demes efkeÀleerlejer yeoue DeefleMe³e Jesieeves nesle Deensle. DeMee ³ee ìHH³eeJej pegv³ee mebmLee HetJeea®³ee He×leerves pesce-lesce leie Oeªve jent MekeÀleerue. HeCe yeouel³ee keÀeUeÒeceeCes keÀueeJebleeb®³ee iejpe DeesUKetve mebmLeeb®eer Hegvej&®evee keÀjeJeer ueeiesue. SkebÀojerle meÐeefm-Leleerle lesner Del³eble keÀþerCe Deens. p³ee keÀueeJebleebmeeþer, l³eeb®³ee keÀues-meeþer ns keÀje³e®es, l³eeb®ee®e Òeeflemeeo Deieoer DeuHe Deens. l³eeceeieerue keÀejCeeb®ee MeesOe Iesle, GHee³e³eespevee keÀjC³ee®eer iejpe Deens. MebYej Je<ee¥®³ee Jeeì®eeueeR®es ceeie& `ne³eìskeÀ!' ìskeÌvee@uee@peer®³ee mee¿eeves ÒeMemle, DeeOegefvekeÀ kesÀues Heeefnpes. cee$e l³eemeeþer ueneve-ceesþîee keÀuee mebmLee efìkeÀu³ee Heeefnpesle. DeMee mebmLee l³ee #es$ee®ee Fefleneme Demeleele. Fefle-neme Ie[efJeC³ee®eer #ecelee SKeeÐee®e DeueewefkeÀkeÀ J³ekeÌleerle Demet MekeÀles. HeCe mebmLesleerue Òel³eskeÀ J³ekeÌleer Fefleneme efvecee&Ce keÀjC³eele Je YeefJe<³e Ie[efJeC³eele ceveëHetJe&keÀ DeeHeuee neleYeej ueeJet MekeÀles, ns ue#eele Iesleues Heeefnpes.


meeOevee yengUkeÀj(JeÀefceìer cesbyej, `o Deeì& meesmee³eìer Dee@HeÀ Fbef[³ee')[email protected]


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I joined the Art Society of India (ASI) in 1997 and started attending its Study Circle. My friend Mr.Pradeep Madan, who was already a member of the Society, introduced me to Shri. Prabhakar Narvekar, who used to manage the study circle then. That time the study circle used to be only on Sunday mornings and the society’s office hours from Monday to Saturday were between 3-7 pm. A human model used to be hired and was paid Rs.50/- for three hours session. Today we pay the model Rs. 200/- for that. About 15 members used to regularly attend the study circle sessions. Gayatri Mehta, Arvind Rathod,Pankaj Chapele, Laxmichand, Goolbanu Merchant, Vitthal Hire, Abdul Gani, R.V. Naik were some of the regularly attending members. Sometimes Shri John Fernandes, Shri B.R. Kulkarni, Shri. V.D.Joshi, Shri Prabhakar Kumthekar used to attend it. I was a novice then and started learning from them. Some Art school students used to attend the study circle and some of the final year students had good work. Later on from 2000 onwards, the study circle started assembling on Tuesday-Thursday- Saturday afternoons in addition to Sunday mornings and the number of members attending it went on increasing. Sometimes it became difficult to get a place to sit if one arrives late. Shri. Shravan Gurav and Shri. Satyadas, who were accomplished applied artists, Marathi science fiction writer Shri. Laxman Londhe used to attend the study circle during the decade (2000- 2010). Shri. Shravan Gurav and Shri. Satyadas had a nice style of rendering.The surge of attending members as well as the increasing number of people taking society’s membership coincided with the boom that appeared in the Visual Art industry during that period, when paintings of Indian master painters fetched huge prices at international auctions. Later on, with the efforts of Gayatri Mehta, the then secretary of the society, Sunday sessions began to be dedicated to ' Nude Study Sessions', which continues till date, in batches as series of 8 Sundays. The nature of the study circle was never like a drawing and painting class and it is still the same. It gives

'Two decades with the Art Society of India'

an opportunity to the students, hobby artists, amateurs to practice sketching from live model. It is only at the Art Society that this facility is made easily available to those who want to learn and practice drawing and painting from live model. I have always strongly felt there should be an able guide voluntarily and regularly attending the study circle sessions, as many new members attend it, expecting to get guidance.The Society’s office space is not large enough for effectively using it during study circle sessions.

When I joined the society, Shri. P.S.V. Rao, Jt. Secretary of the society, used to voluntarily look after the office with extreme dedication, helped by an assistant named Abdul. In my second year, I wrote an article for the ASI catalogue . I was offered remuneration for it by the Society. I refused to accept it as it was a voluntary act, done without expecting any return, but Shri Rao suggested me to be a life member of the society by paying additional money over the amount of remuneration; and willingly obliged. In the year 2000, I was elected as one of the committee members of ASI, to later go on to become joint secretary. Gayatri Mehta was Secretary then. In 2010, I was Secretary of the Society. Initially the Managing Committee of the society used to be elected every year, but from 1982 onwards, the elections were held every 2 years, which after around 1992, became three years. When I joined the society, the members used to attend the AGM in good number. The election used to be an interesting event of concern for the members. Now, very few members attend AGM and the elections of the Managing Committee is a dull affair. After becoming member of the Managing Committee, I got an opportunity to work with other Committee members who were accomplished artists. I was still learning to draw and paint. Apart from that, I could pick up many virtues from veterans - Ms. Dahanukar, V.A.Mali, B.R. Kulkarni, Kanu Nayak, John Fernandes and others. The office hours of the society

~ Dr. Gopal Nene


were later extended and made between 12-7 pm. Somewhere around 2000, Mr. Rao resigned from the office because of personal reasons and was succeeded by Povle, Deshpande and is currently taken care of by the office executive Prajakti Salaskar- Shankardas Abdul was followed by Wagholikar,Kiran More and others, till the present employee Mangesh Sabale. The Library Cupboard which earlier stood on the floor, during the renovation, had to be kept aloft touching the roof due to space constraints. This rearrangement could be carried out of the donation by Shri Ghanashyamdas Saraf Trust. Today we still face the space crunch and the ASI office, which is a multipurpose place, is in need of a comprehensive overhaul.

The financial condition of the Society , during late eighties and early nineties of the last millennium, was indeed in a very bad shape. This is when V. A. Mali, Siddhapura and other committee members approached Ms. Dahanukar and requested her to take charge as the President of the ASI in order to pull the society out of its financial crisis. After Ms.Dahanukar took charge, she was able to bring about reforms in the functioning, as well as the financial condition of the Society. The valuable paintings in the collection of the society were exchanged for funds with a museum in Goa, opened by a Goan industrialist, named Salgaonkar, and the Society was able to get itself out of the financial disaster to some extent. The society will always remain indebted to Ms Prafulla Dahanukar. After her demise, Shri. Vasudeo Kamath, being a worldly renowned prolific artist, took over as the President of the ASI and under his presidency, with his guidance and valuable involvement in the Society, and with a benevolent Chairman like Shri. Manohar Nayak, we now look forward to an assured and promising future for the Society.

When I joined the society, Kanu Nayak was the treasurer of the Society and he used to maintain the accounts efficiently and was very keen on getting it audited perfectly. At present the auditors Shri. Deepak Tikekar efficiently and timely prepare the audited annual accounts.

It seems from the previous annual reports, the Society started arranging landscape outings for the members around 1972. But these were arranged in the viscinity

of Mumbai only, with an exceptional tour to Umbergao. When I joined, the landscape outings had come to a standstill. I started organizing them again with active participation of Gayatri Mehta and it received good response. I remember the first 'one day' outing arranged by me to a remote location , Kalote Mokashi waterfall near Khopoli , with 35 participants in an hired 45 seater Bus. Veterans like John Fernandes, B. R. Kulkarni, Shri. V. D. Joshi, accompanied too. John Fernandes painted a watercolour landscape at the waterfall, sitting on a rock in a flowing stream. He was intermittently washing his brush in the flowing water. John sir painted the landscape using imported watercolour paper, imported colours and brushes, but used Indian flowing water. On the way back he asked to halt the bus near a bridge and standing on the bridge, painted another landscape. We had to manage the onlookers gathering on the bridge as the bridge was on the Panvel- Khopoli highway. It was a wonderful experience which I will never forget. This landscape trip reactivated the activity of landscape outing and since then, the Society has arranged outings to various places near Mumbai, as well as far away from Mumbai too, like Varanasi, Haridwar, Chittorgarh, Omkareshwar, Hampi, Badami, Gokarna, Shringeri-Karkal-Udupi; to name a few. Initially there was a good response to one day outings and we used to hire a mini -bus for it. The participants were charged a small amount and the remaining bus hiring charges were borne by the Society. Year after year, the Bus charges went on increasing and then it became impossible for the Society to bear these increasing expenses and as a result, the one day outings were discontinued. Now the Society organizes only two outings in a year, out of which one is of 5 days and the other one of 10 days.These outings are organized with very reasonable expenses for the paticipants. We send the schedule for these outings along with our annual report so that people can plan their leaves accordingly. These outings are very fruitful as the participants only paint and draw the whole day throughout the tour. I regret, that the younger members today, do not voluntarily participate in organizing the tours. This is observed in all the events organized by the Society. When I attend such events in the field of music, religious discourses, literature, rangoli, the youngsters enthusiastically participate organizing events under

~'Two decades with the Art Society of India'

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the guidance of Seniors. I expect that the younger artists come forward and happily start taking interest in conducting the activities of the Society.

The annual report books and the annual exhibition catalogues published since inception of the Society, over the period, changed in its design and presentation. In last 10 years it became very much attractive because of the dedicated efforts in designing them by Anand Mahajani, our committee member.

Previously, the Society had produced prints of paintings, by old masters associated with the ASI, for sale during the annual exhibition. Now the stock is exhausted. Recently the process of photographic documentation of all demonstration paintings was executed by Nitin Chitnis, as a goodwill gesture ; for which we immensely appreciate him.

Tha Annual Art Exhibition which the Society organizes every year at Jehangir Art gallery is the main activity of the Society. It is a unique event to experience: right from accepting the entries , transporting them carefully to the gallery and deciding the scheme for hanging. When I joined, we used to book only the Auditorium Hall of Jehangir Art gallery due to limited funds. The entries were received as actual art work only. It was a big task to safeguard all the paintings and sculptures till the end of the exhibition. The works left by artists, in many cases, lie in hopeless wait for months to years after the exhibition, as every year there are certain artists who submit the art work, but are reluctant to take it back. Copying the selected art works for printing in the catalogue was often done by Dilip Dahanukar, with pleasure. After one such exhibition, when all the displayed and undisplayed paintings were brought back from Jehangir art Gallery, the Society’s office was crammed and we had to hold the working of the Society’s office for few weeks. Next year onwards the committee decided to accept the entries in the form of images of artwork during the initial phase . Since the year 2000 onwards, the Society reserves all the ground floor galleries of Jehangir Art Gallery so that more number of artworks can be displayed. Over the last decade, we receive entries from distant states of India from Kashmir, Bihar, Uttar Pradesh, North eastern states to Kerala, Tamilnadu and others. We included ‘Installation’ as a category in our annual exhibition but

I think Installation art has not yet been well understood and appreciated by people at large. Last few years, the selling during the exhibitions has drastically reduced and the Society’s source of income through commission on sold artworks has reduced.The escalated rent of the gallery, increased transport charges etc., and reduced Sale of exhibits makes it difficult to manage the show but we have to carry on, as it is the main activity of the Society.

The Society has an ever continued activity since its inception, to arrange demonstrations by eminent artists. I feel privileged to have witnessed demos of works by the likes of Tupe, S. S. Sheikh, John Fernandes, Vasudeo Kamath, Dattatreya Padekar, B. R. Kulkarni, Anil Naik; to Prafull Sawant, Rajesh Sawant, Dhivre, Vishvanath Sabale, Manoj Sakale, Pramod Kurlekar, Satyajeet Varekar, Prashant Prabhu, Kishor Nadawdekar, Madhu Champaneria Anil Abhange; and the list is endless. There is always grand response to these demonstrations. Many aspiring artists, years together religiously attend these demonstrations. I remember a demonstration by John Fernandes. He demonstrated a full figure drawing in pencil. The model was Shri. Prabhakar Narvekar, who had white hair, moustache and beard. He used to wear light coloured trousers with waist- belt , and tucked-in white full shirt. John rendered only the tones in the figure with soft pencil, and then at only few places put dark accents by pressing the pencil on the paper, and finally brought out the highlights with an eraser. The likeness and the character of the model was achieved with minimum of pencil work. This drawing is in the collection of the society. Shri. Vasudeo Kamat has demonstrated for the Society in various mediums.

In order to initiate the exchange of thought process among the Society’s members, a few years back, we started innovative sessions in the Society’s office once a week or fortnight. Subjects were ‘ how the advertising people think about colour’, ‘whether we can

adopt the ‘alankaars’ ( to borrow the figures of speech used by the poet 'B. B. Borkar' in our painting’), ‘to know the basic principles of animation’, ’ to see how the painters have used and produced ‘rhythm’ in their painting’,etc. It was well conveyed to all members about such meetings but except we, the organizers of such


31

meetings; very few members turned to it and we had to discontinue the meetings. Similar experience is when lectures or slide shows on some topics are arranged. It seems that they trust their eyes, more than the mind.

The Society has a good collection of art -related books in its Library. These books and art magazines are collected with great efforts by the active committee members in the past. Some books are even donated by members. There are books on understanding art, appreciating art, as well as 'how to draw and paint' type of books. The Society had subscribed to issues of magazines : ‘ The Artist ’, ‘ The American artists ’. These magazines used to arrive in the Strand Book Stall in Fort and then Mr. Rao or Abdul used to get them for the Society’s Library. Many such issues of the magazines are compiled in the form of hard bound books. Earlier, many members of the Society used to regularly come to the Society, during office hours and read these books there. Some of them used to borrow them for a week. The members used to be eager to receive the new issues of magazines. Few years back, we purchased books on the art of some of the western artists like Mattisse, Goya and others but today these books remain in their shelves; completely

ignored. The only preferred topic is ‘How to draw and paint’; types of books like those by Andrew Lumis and others. The reduced interest in reading books is largely because of the information explosion due to wide use of the internet.

Established in 1918, by the visionary activist artists of that era, the 'Art Society of India' has progressed and is celebrating its Centenary this year 2018. I am connected with it for a small period of 20 years. But still, I felt I need to share and document few of my experiences through this article.



Dr. Gopal Nene(Secretary, The Art Society of India)

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Yash Pal Singh (Uttar Pradesh) P - 1155 A Ibadat - 1

Gold Medal


34

34

Silver Medal

Ambrish Mishra, AllahabadP - 1387 ABhoora


35

Bronze Medal

Siddhant Pitale, MumbaiP - 1068 A (S)Untitled


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Sr. Award Amount ` Entry No. Title Artist

1Shri. Ghanshyamdas Saraf Award of Rs. 5100/- by Shri. Mahavirprasad G. Saraf.

5,100.00 S 550 A ‘My Space’Omkar Mankame, Raigad

2J. R. Mistry Memorial Award of Rs. 3,000/-

Late Mr. Prafullrai D. C. Patel Award of Rs. 2,000/- By Smt. Usha Patel for an entry in Graphics

5,000.00 S 585 A ‘Past Distortion Anamika Singh, Allahbad

3 M/s. Kokuyo Camlin Ltd. Award of Rs.5,000/-. 5,000.00 S 724 A'Nature’s connectivity with Human

Arif Khan, Bhopal

4

Late Shri. M. P. Dhage Award of Rs.1000/- for Realistic Landscape in oil by Smt. Indu M. Dhage.

Late Shri. John Fernandes Award of Rs. 500/- for realistic Landscape/figurative painting.

Late Smt. Heeralaxmi Mehta Award of Rs. 600/- for landscape, by Ms. Gayatri Mehta.

Shri. P. G. Kumthekar & Smt. Leela P. Kumthekar Award of Rs. 2000/- .

Late Shri. Gajendra Mehta Award of Rs. 600/- for figurative/portrait Painting.

4,700.00 S 524 A 'Ambadas'Kumar Misal, Mumbai

5

Late Shri. K. K. Hebbar Award of Rs. 800/- by Shri. P. S. V. Rao for realistic Landscape/Figurative painting.

Late Shri Rustaom Dadbhai Siodia Award of Rs.800/-

Late Shri. Homi Nanshirwan Dallas Award of Rs.800/-

Late Smt.Cummi Dallas Award of Rs.800/- for deserving Entries in any category

Late Shri. G. S. (Bhai) Haldankar Award of Rs.750/- by Studio Bahar for realistic Portrait.

3,950.00 S 783 A 'Rainy Season'Atul Gendle, Pune

6

M. K. Parandekar Memorial Award of Rs. 2,500/- by Shri. J. M. Parandekar & Shri S. M. Parandekar.

Late Mrs. Prafulla Dahanukar Award of Rs.1000/- for Composition.

3,500.00 S 534 A 'Skin as Metaphor'Prakash Gaikwad, Nagpur

7Late Shri K. D. (Dada) Mahajani Award Rs. 3,500/- by Shri Girish. K. Mahajani.

3,500.00 S 568 A (S) 'Relax' Sumedh Sawant

8Late Shri K. D. (Dada) Mahajani Award Rs. 3,500/- by Shri D. M. Mahajani.

3,500.00 S 752 A (S) 'Untitled'Deepak Durge, Mumbai

9J. R. Mistry Memorial Award of Rs. 3,000/- for a deserving painting.

3,000.00 S 521 C 'Bodh'Anand Pratap, Mumbai

10Shri. Narendra Sheth Award of Rs.800/- for lady student.

Late Smt. Cumi H. Dallas Award of Rs.500/- by Shri. D. B. Billimoria and Society’s Award for lady Student.

1,300.00 S 631 B 'The Queen'Sayali Thakare, Mumbai

11Shri. Madhusudan Puranik Award of Rs.1250/-

Society’s Award for deserving entry.1,250.00 S 554 A

'In searching of Water - 2'

Sachin Kamble, Parbhani

List of Awards - Student Category


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Awarded Entries - Student Category

S - 550 AMy Space

Omkar Mankame, Raigad

S - 585 APast distortion

Anamika Singh, Allahabad


Awarded Entries - Student Category, contd.

S - 724 ANature's connectivity with Human

Arif Khan, Bhopal

S - 783 ARainy Season

Atul Gendle, Pune


S - 524 AAmbadas

Kumar Misal, Mumbai

S - 534 ASkin As Metaphor

Prakash Gaikwad (Nagpur)

S - 521 CBodh

Anand Pratap, Mumbai

S - 554 AIn searching of water 2Sachin Kamble, Parbhani




SL - 631 BThe Queen

Sayali Thakare, MumbaiS - 752 A (S)

Untitled Deepak Durge (Mumbai)

S - 568 A (S)Relax Sumedh Sawant (Kolhapur)


Entry No. Award Artist Title Price

S - 495 A Anupama Dey (West Bengal) Morning 45000.00S - 496 A Gopal Paramar (Gujrat) Tum Bhagwan Hai 11000.00S - 501 A (S) Akshay Divate (Nashik) Untitled 51000.00S - 503 A Deepika Sakhat (Mumbai) Traces in th Mind 15000.00S - 504 A Dipesh Raj (New Delhi) Three Figure 22000.00S - 505 B Harshika (Delhi) Journey UnimaginableS - 507 A (S) Thinley Gurung (West Bengal) Portrait of a Horse 49000.00S - 508 A Shailesh Kulkarni (Jalgaon) Landscape - Top View 10000.00S - 509 A Raghuvir Shinde (Mumbai) Amma 10000.00S - 511 A Ganesh Jare ( Mumbai) Anna 10000.00S - 521 C Anand Pratap (Mumbai) Bodh 95000.00S - 524 A Kumar Misal (Mumbai) Ambadas 35000.00S - 526 A Nilisha Phad (Mumbai) The Afternoon Nap 35000.00S - 528 B Roshan Anvekar (Mumbai) Meenu Gava 80000.00S - 533 A (S) Hitesh Dhanmeher (Palghar) Untitled 7500.00S - 534 A Prakash Gaikwad (Nagpur) Skin As Metaphor 50000.00S - 535 A Chandrakant Halyal (Mumbai) Back to Nature 45000.00S - 542 B Prathamesh Loke (Thane) Halt 30000.00S - 543 A Mayur Waghmare (Raigad) Society 35000.00S - 547 A Aniket Pujare (Mumbai) The Unknown Person 5000.00S - 550 A Omkar Mankame (Raigad) My Space 75000.00S - 552 B Anil Chouhan (Jalgaon) Lost in Urbanisation 2.3 45000.00S - 554 A Sachin Kamble (Parbhani) In searching of water 2 50000.00S - 557 C Tai Borate (Thane) Orange Table 12000.00S - 564 A Shubham Kesur (Thane) Never ending Race 25000.00S - 568 A (S) Sumedh Sawant (Kolhapur) Relax 25000.00S - 570 A (S) Vijay Maske (Kolhapur) Busy 30000.00S - 571 A (S) Abhijit Kumbhar (Kolhapur) Anushka 70000.00S - 577 A Sonal Salekar (Mumbai) Sea Scape 45000.00S - 581 A Akshay Lushte (Thane) Ready to Seat 6000.00S - 585 A Anamika Singh (Allahabad) Past distortion 30000.00S 599 A (S) Mayuri Joshi (Nashik) The Tea Plucker 10000.00S - 600 A Rohini Sharma (Nashik) Shrinagar 10000.00S - 604 A Paresh Jethwa (Mumbai) Local Life N.F.SS - 606 B Shalaka Shende (Nagpur) Tea Time 50000.00S - 617 A Gajanan Shelke (Mumbai) Pune to Mumbai 26000.00S - 628 B Chetan Pashilkar (Mumbai) Untitled 55000.00S - 630 A Prayag Chinchole (Kalyan) Chanakya 10000.00S - 631 B Sayali Thakare (Mumbai) The Queen 45000.00S - 635 A Shubham Tapkire (Ratnagiri) Evening Time 15000.00S - 640 A Aniket Tambat (Ratnagiri) Connection 20000.00S - 641 B Shweta Urane (Kolhapur) Creator 28000.00S - 643 A Hemant Sawant (Ratnagiri) Motion of Emotion 25000.00S - 646 A Makarand Rane (Kankavli) Conductor 25000.00S - 650 A Suresh Jangio (Nashik) Reflection 35000.00S - 653 A Chetan Patil (Nashik) Little Try 12000.00S - 656 A (S) Ganesh Khutikar (Raigad) Care 10000.00S - 660 A (S) Rohit Powar (Ratnagiri) Bull 10000.00

List of Selected Entries - Student Category


42

42


S - 662 A (S) Sairaj Wadakar (Ratnagiri) Squeeze 5000.00S - 678 A (S) Gaurav Thakur (Ghaziabad - U.P) Walking with thoughts 19000.00S - 683 C Saiya Mondal (Baguiati) The Crow 20000.00S - 685 A (S) Yash Chaulkar (Mumbai) Aldrich 15000.00S - 686 A (S) Rahul Tari (Mumbai) Sewing Machine 20000.00S - 692 B Gaurav Kosamkar (Nagpur) Contemplation series 4 6000.00S - 704 A (S) Yoginder Aggarwal (Ghaziabad -U.P) Transubstantiation 125000.00S - 705 A Ashfak Shaikh (Aurangabad) Untitled 1 25000.00S - 706 B Trupti Misal (Aurangabad) Untitled 10000.00S - 709 A Nita Vyavhare (Akola) Light 15000.00S - 724 A Arif Khan (Bhopal) Nature's connectivity with Human 15000.00S - 732 B Ananya Dalal (West Bengal) Delirium 50000.00S - 738 A (S) Avinash Bhishnurkar (Vadodara) Boneless Face 20000.00S - 739 A (S) Dhruv Patel (Vadodara ) Untitled 50000.00S - 747 A Ashwini Nakhate (Chandrapur) Godhadi 50000.00S - 749 A Vinayak Sarwankar (Mumbai) The Puppet 16000.00S - 752 A (S) Deepak Durge (Mumbai) Untitled N.F.SS - 753 C Divya Ramrecha (Mumbai) Occult 15000.00S - 757 A Piyal Paul (Lucknow) Busy schedule with death feeling 50000.00S - 758 B Soni Bhalerao (Mumbai) Nude 25000.00S - 759 A Payal Rokade (Mumbai) Dream City 35000.00S - 761 C Mansi Palshikar (Satara) Indian - God 45000.00S - 763 A Karan Kawade (Nagpur) My SelfS - 767 A Devendra Dawkhar (Navi Mumbai) Dabewala 18000.00S - 772 A Manish (Chattishgarh) Pain 15000.00S - 773 B Sachin Gupta ( Nalasopara - Thane) Evening Walk 18000.00S - 780 A Sukh Chouhan (Chhatisgarh) Jivan Chakra 300000.00S - 783 A Atul Gendle (Pune) Rainy Season 51000.00S - 800 A (S) Ranjay Sarkar (West Bengal) Untitled 1 30000.00S - 801 A Rajadhiraj Singh (Allahabad) Wonderful Environment 80000.00S - 805 B Sahadeb Barman (West Bengal) Shoe Study 15000.00S - 812 B (S) Nayanjyoti Barman (West Bengal) The Force 10000.00S - 827 A Somnath Gayen (West Bengal) Three Musicians 8000.00S - 830 B Seemanta Bhagawati (Assam) Depression 5 5000.00S - 832 B Intaz Ansari (Birbhum) The Seller 25000.00S - 835 A Pritom Khara (Kolkata) Grooming 15000.00S - 838 A Saurabh Kumar (Jharkhand) Lost in Nature 35000.00S - 838 C Saurabh Kumar (Jharkhand) Resting Roller 18000.00S - 846 B Attri Chetan (Dehradun) Peeping 12000.00S - 856 A (S) Santosh Patel Fishes of LifeS - 857 A Chandan Baruah (Assam) The Craving 20000.00S - 860 B Tushar Sahay (Chattisgarh) Carrom Players 10000.00S - 864 A Sayantani Roy (West Bengal) May your soul in Rest & Peace 15000.00S - 866 A Anil Sherkhane (Pune) Light Shadow 15000.00S - 867 A Manish Kumar (West Bengal) Relation 1 27000.00S - 868 A Jyoti Kushwaha (Allahabad) Landscape 50000.00S - 870 A Kiran Banewar ( Gondia) Man Greeds 10000.00

List of Selected Entries - Student Category, contd.


43

S - 495 AMorning

Anupama Dey (West Bengal) S - 496 ATum Bhagwan Hai

Gopal Paramar (Gujrat)

S - 503 ATraces in the Mind

Deepika Sakhat (Mumbai)

S - 504 AThree Figures

Dipesh Raj (New Delhi) S - 505 BJourney Unimaginable

Harshika (Delhi)

S - 508 A

Landscape - Top ViewShailesh Kulkarni (Jalgaon)

S - 509 AAmma

Raghuvir Shinde (Mumbai)

S - 511 AAnna

Ganesh Jare ( Mumbai)

S - 521 CBodh

Anand Pratap (Mumbai)

Selected Entries - Student Category


44

44

S - 524 AAmbadas

Kumar Misal (Mumbai)

S - 526 AThe Afternoon Nap

Nilisha Phad (Mumbai)S - 528 B

Meenu GavaRoshan Anvekar (Mumbai)

S - 534 ASkin As Metaphor

Prakash Gaikwad (Nagpur)

S - 535 ABack to Nature

Chandrakant Halyal (Mumbai)

S - 542 BHalt

Prathamesh Loke (Thane)

S - 543 ASociety

Mayur Waghmare (Raigad)

S - 547 AThe Unknown PersonAniket Pujare (Mumbai)

S - 550 AMy Space

Omkar Mankame (Raigad)

Selected Entries - Student Category, contd.


45

S - 552 BLost in Urbanisation 2.3Anil Chouhan (Jalgaon) S - 554 A

In search of water 2Sachin Kamble (Parbhani)

S - 557 COrange Table

Tai Borate (Thane)

S - 564 ANever ending Race

Shubham Kesur (Thane)

S - 577 ASea Scape

Sonal Salekar (Mumbai)

S - 581 AReady to Seat

Akshay Lushte (Thane)

S - 585 APast distortion

Anamika Singh (Allahabad)S - 600 A

ShrinagarRohini Sharma (Nashik)

S - 604 ALocal Life

Paresh Jethwa (Mumbai)



46

46

SL - 606 BTea Time

Shalaka Shende (Nagpur)

S - 617 APune to Mumbai

Gajanan Shelke (Mumbai)

S - 628 BUntitled

Chetan Pashilkar (Mumbai)

S - 630 AChanakya

Prayag Chinchole (Kalyan)

SL - 631 BThe Queen

Sayali Thakare (Mumbai)

S - 635 AEvening Time

Shubham Tapkire (Ratnagiri)

S - 640 A Connection

Aniket Tambat (Ratnagiri)

S - 641 BCreator

Shweta Urane (Kolhapur)

S - 643 AMotion of Emotion

Hemant Sawant (Ratnagiri)



47

S - 646 A

ConductorMakarand Rane (Kankavli)

S - 650 AReflection

Suresh Jangio (Nashik)

S - 653 ALittle Try

Chetan Patil (Nashik)

S - 683 CThe Crow

Saiya Mondal (Baguiati) S - 692 BContemplation series 4

Gaurav Kosamkar (Nagpur)

S - 705 AUntitled 1

Ashfak Shaikh (Aurangabad)

S - 706 BUntitled

Trupti Misal (Aurangabad)

S - 709 ALight

Nita Vyavhare (Akola)S - 724 A

Nature's connectivity with HumanArif Khan (Bhopal)

Selected Entries - Student category, contd.


48

48

S - 732 BDelirium

Ananya Dalal (West Bengal)

S - 747 AGodhadi

Ashwini Nakhate (Chandrapur)

S - 749 AThe Puppet

Vinayak Sarwankar (Mumbai)

S - 753 COccult

Divya Ramrecha (Mumbai)

S - 757 ABusy schedule with death feeling

Piyal Paul (Lucknow)

S - 758 BNude

Soni Bhalerao (Mumbai)

S- 759 ADream City

Payal Rokade (Mumbai)

S - 761 CIndian - God

Mansi Palshikar (Satara)

S - 763 AMy Self

Karan Kawade (Nagpur)

Selected Entries - Student category, contd.


49

S - 767 ADabewala

Devendra Dawkhar (Navi Mumbai)

S - 772 APain

Manish (Chattishgarh)

S - 773 BEvening Walk

Sachin Gupta ( Nalasopara - Thane)

S - 780 AJivan Chakra

Sukh Chouhan (Chhatisgarh)

S - 783 ARainy Season

Atul Gendle (Pune) S - 801 AWonderful Environment

Rajadhiraj Singh (Allahabad)

Name : Sahadeb BarmanTitle : Medium Water Colour Study 2

Medium: Water Colour

S - 805 BShoe Study

Sahadeb Barman (West Bengal) S - 827 AThree Musicians

Somnath Gayen (West Bengal)

S - 830 BDepression 5

Seemanta Bhagawati (Assam)



50

50

S - 832 BThe Seller

Intaz Ansari (Birbhum)

S - 835 AGrooming

Pritom Khara (Kolkata)

S - 838 ALost in Nature

Saurabh Kumar (Jharkhand)

S - 838 CResting Roller

Saurabh Kumar (Jharkhand) S - 846 BPeeping

Attri Chetan (Dehradun)

S - 857 AThe Craving

Chandan Baruah (Assam)

S - 860 BCarrom Players

Tushar Sahay (Chattisgarh)S - 864 A

May your soul Rest in PeaceSayantani Roy (West Bengal)

S - 866 ALight Shadow

Anil Sherkhane (Pune)



51

S - 867 ARelation 1

Manish Kumar (West Bengal)

S - 868 ALandscape

Jyoti Kushwaha (Allahabad)

S - 870 AMan Greeds

Kiran Banewar ( Gondia)

S - 501 A (S)Untitled

Akshay Divate (Nashik)

S - 507 A (S)Portrait of a Horse

Thinley Gurung (West Bengal)


Hitesh Dhanmeher (Palghar)

S - 568 A (S)Relax

Sumedh Sawant (Kolhapur)

S - 570 A (S)Busy

Vijay Maske (Kolhapur) S - 571 A (S)Anushka

Abhijit Kumbhar (Kolhapur)



52

52

S - 599 A (S)The Tea Plucker

Mayuri Joshi (Nashik)

S - 656 A (S)Care

Ganesh Khutikar (Raigad)

S - 660 A (S)Bull

Rohit Powar (Ratnagiri)

S - 662 A (S)Squeeze

Sairaj Wadakar (Ratnagiri)

S - 678 A (S)Walking with thoughts

Gaurav Thakur (Ghaziabad - U.P)

S - 685 A (S)Aldrich

Yash Chaulkar (Mumbai)

S - 686 A (S)Sewing Machine

Rahul Tari (Mumbai)

S - 704 A (S)Transubstantiation

Yoginder Aggarwal (Ghaziabad -U.P)

S - 738 A (S)Boneless Face

Avinash Bhishnurkar (Vadodara)



53


Dhruv Patel (Vadodara )


Deepak Durge (Mumbai)

S - 800 A (S)Untitled 1

Ranjay Sarkar (West Bengal)

S - 812 B (S)The Force

Nayanjyoti Barman (West Bengal)

S - 856 A (S)Fishes of LifeSantosh Patel



54

54

Sr. Award Amount ` Entry No. Title Artist

1Late Smt. Cumi Dallas Award of Rs.25,000/-by Rabadi family.

Gold Medal for outstanding entry25,000.00 P 1155 A 'Ibadat-1'

Yash Pal Singh, Uttar Pradesh

2Late Shri. Gunawant H. Nagarkar Award by Shri. Vasant Nagarkar of Rs. 21,000/-

Silver Medal for outstanding entry21,000.00 P 1387 A 'Bhoora'

Ambrish Mishra, Allahbad

3

Late Kalamahashri S. L. & G. S. Haldankar Award of Rs. 21,000/- by Pandit S. S. Haldankar, Smt. Hema Joshi, Smt. Shree Kolhatkar, Shri. Mukesh Parmar, Smt. Mayuri Haldankar Parmar, Ms. Sooha M. Parmar

Bronze Medal for outstanding entry

21,000.00 P 1068 A (S) 'Untitled'Siddhant Pitale, Mumbai

4Late Shri. V. D. Joshi Award of Rs.9000/- for Realistic Painting by Young Artist.

Late Shri. Madhusudan Puranik Award of Rs.1250/- 10,250.00 P 1249 A (S) 'Akshay'

Pradeep Kumbhar, Kolhapur

5

Shri. Raobahadur M. V. Dhurandhar Award of Rs.3,000/-

H. C. J. Charitable Trust Award by Sir Hirji Jehangir of Rs.1000/- for Modern Painting.

Smt. Shanti Chopra Award of Rs. 2,000/- .

6,000.00 P 1458 A 'Recall'Jagjeet Rai, Lucknow

6Late Smt. Durgadevi Saraf Trust Award of Rs. 5,100/- for painting by a Lady artist.

5,100.00 P 1490 A 'Kumbhalgarh'Deepika Mali, Udaipur

7Karmayog Award of Rs.5000/- for an entry based on Social Cause or issue.

5,000.00 P 1357 A 'State of Mind' Tanvi Pujari

8Late Shri Raja Ravi Verma Award of Rs. 5,000/- for portraiture.

5,000.00 P 1424 A 'Self'Prathamesh Golipkar, Raigad

9 M/s. Kokuyo Camlin Ltd. Award of Rs. 5000/-. 5,000.00 P 956 A 'Age of Nature'Tribhuvan Kumar, Chatissgarh

10 Tao Art Gallery Award of Rs. 5,000/-. 5,000.00 P 1289 A 'Impression-1'Vikrant Bhise, Mumbai

11

Late Smt. B. Prabha-B. Vitthal. Award of Rs.750/-.

Late Shri. V. A. Mali Memorial Award of Rs.1000/-.

Prof. L. B. Chavan & Late Shri. V. A. Mali Award of Rs.,750/-.

Late Shri. Vadilal Pitambar Sanghavi Award of Rs. 2,500/- by Studio Bahar for modern Sculpture.

5,000.00 P 1463 A (S) 'Pieta'Rakesh Sadhak, Kolkata

12

Late Shri. V. D. Joshi and Late Shri. R. B. Patil Award of Rs.1,000/-.

Smt. Rekha Shah Award of Rs. 500/- for Realistic Landscape.

M/s. Savani Transport Ltd. Award of Rs.500/- .

Late Smt. Cumi Dallas Award by Shri. D. B. Billimoria of Rs. 500/- for Landscape/Indian style figurative Painting.

Shri. N. D. Naik Award of Rs.1000/- for an entry by Goan Artist (In case of no suitable entry, entries by non Goan artists will be considered.)

3,500.00 P 1449 B 'My Partner'Ajay Dharmadhikari, Sangli

13Late Shri. G. S. (Bhai) Haldankar Award of Rs.750/- by Studio Bahar for Realistic Portrait.

Late Shri. Vajubhai D. Bhagat Award of Rs.2000/-.2,750.00 P 1014 A

'Towards the culture'

Sagar Kamble, Mumbai

List of Awards - Professional Category


55

P - 1249 A (S)Akshay

Pradeep Kumbhar, Kolhapur

P - 1458 ARecall

Jagjeet Rai, Lucknow

P - 1490 AKumbhalgarh

Deepika Mali, Udaipur

Awarded Entries - Professional Category


56

56

P - 1424 ASelf

Prathamesh Golipkar, Raigad

P - 1357 AState of Mind

Tanvi Pujari, Mumbai

P - 956 AAge of Nature

Tribhuvan Kumar, Chhatisgarh

Awarded Entries - Professional Category, contd.


57

P - 1289 AImpression 1

Vikrant Bhise, Mumbai

P - 1449 BMy Partner

Ajay Dharmadhikari (Sangli)



58

58

P - 1014 ATowards the culture

Sagar Kamble, Mumbai)

P - 1463 A (S)Pieta

Rakesh Sadhak (Kolkata)



59


P - 914 B Sujata Humane (Pune) Memoriabilia 43000.00P - 918 A V.Vasandan (Pondicherry) Journey towards the life-spirit 25000.00P - 922 C Rohan Dumbre (Mumbai) Split Personality 15000.00P - 923 A Dr.Kusum Sharma (Bhopal) Lake city 30000.00P - 930 A Sandeep Suneriya (Surat) Life of Journey 55000.00P - 931 B Seema Ghiya (Pune) AURORA 50000.00P - 933 A (I) Venus Sanghvi (Mumbai) Reel of Emotions 36000.00P - 943 A Tabassum Khan (Bhopal) Top View 70000.00P - 948 A (S) Deepak Thopate (Pune) Janni 25000.00P - 953 B Umesh Kavale (Palghar) The last Hope 21000.00P - 955 A Poorva Indani (Pune) By the seashore 10000.00P - 956 A Tribhuvan Kumar (Chhatisgarh) Age of Nature 65000.00P - 957 A Rabi Gupta (Chhattisgarh) Dilemma - II 52000.00P - 958 A Rishi Kumar (Rajnandgaon) Life 28000.00P - 966 A Amol Khade (Satara) Need 25000.00P - 968 A Divahar Manohar (Tamil Nadu) Blind Man 1 8000.00P - 972 A Chandan Agrawal (Lucknow) Elements - A - 2 40000.00P - 976 A Jalajakshi Kulkarni (Kalaburgi) Women with nature 20000.00P - 995 A (S) Pradeep Kamble (Mumbai) The Desire to survive-inside-outside 150000.00P - 996 B Anirban Sheth (West Bengal) Do not destroy nature - III 12000.00P - 997 A Gauranga Bariki (Odisha) Kumarsambhav 70000.00P - 999 B (I) Shivangi Gupta (Bhopal) Artists' Book 25000.00P - 1002 A (S) Mahua Ray (Mumbai) Delight 62000.00P - 1002 B Mahua Ray (Mumbai) Amily - Moh.Pakhi 15000.00P - 1009 A Shailesh Dabholkar (Goa) News 45000.00P - 1013 B Avijit Naha (Kolkata) On my boat 15000.00P - 1014 A Sagar Kamble (Mumbai) Towards the culture 35000.00P - 1017 B Ashok Hinge (Thane) Untitled - 1 40000.00P - 1028 B Jitendra Thorat (Pune) Addiction -2 27000.00P - 1038 A Arif Tamboli (Satara) Museam 25000.00P - 1047 A (S) Mahesh Anjarlekar (Thane) Withered Valor - I 27000.00P - 1047 C (S) Mahesh Anjarlekar (Thane) Battered by time 27000.00P - 1049 A (S) Khushboo Pandit (Mumbai) Movement of Lines 15000.00P - 1051 B Bhakti Gala (Mumbai) Imaginary Head 2 10000.00P - 1061 A Mahesh Soundatte (Kolhapur) Tehrim 40000.00P - 1068 A (S) Siddhant Pitale (Mumbai) Untitled 48999.00P - 1075 C Sanjay Dhawale (Thane) Wet Mumbai 25000.00P - 1087 A (S) Nidhi Mahajan (Panchkula) Makhan Chor 40000.00P - 1092 A Kshitija Bhamre (Kalyan) Untitled 20000.00P - 1097 A Radhika Kadam (Badlapur) Untitled - 1 60000.00P - 1110 B Sanjay Kumar (New Delhi) Meditative 25000.00P - 1120 C Tushar Shinde ( Mumbai) Together 175000.00P - 1123 B Vivek Dahiwale (Pune) Warmth 30000.00P - 1128 C Dhruti Ghedia (Ahmedabad) Treasure in nature 18000.00P - 1139 A (S) Nandakumar Kulaye (Mumbai) Sculpture 70000.00P - 1144 A (S) Rohan Pawar (Mumbai) Celebration 30000.00P - 1147 A Gayatri Deshpande (Pune) Innerscapes 47000.00

List of Selected Entries - Professional Category


60

60


P - 1151 A (S) Ranjit Deshmukh (Solapur) Maditation 60000.00P - 1152 A Mansi Sagar (Nashik) Moonlit 30000.00P - 1155 A Yash Pal Singh (Uttar Pradesh) Ibadat - 1 45000.00P - 1157 A Darshan Mahajan (Thane) Two Figures 17000.00P - 1169 A Rahul Shedbale (Kolhapur) Lazy Noon 80000.00P - 1180 C Ganesh Shinde (Latur) Untitled 30000.00P - 1185 A Nihar Sutar (Mumbai) Aai 10000.00P - 1187 A Praveen Gaokhadkar (Thane) Dead Dream 75000.00P - 1200 B Prachee Batara (Mumbai) Untitled 48000.00P - 1206 B (S) Sandesh Mhashelakar (Mumbai) Aquarium 35000.00P - 1212 A Mukhtar Ahmed Sardar (Mumbai) Untitled 25000.00P - 1223 A Jagdish Pol (Mumbai) The Man with crossed fingers 30000.00P - 1231 C Himanshu Joshi (Bhopal) Hope 65000.00P - 1234 A Saurabh Dingare (Solapur) Elfinstan 27000.00P - 1249 A (S) Pradeep Kumbhar (Kolhapur) Akshay 90000.00P - 1255 A Laxman Ahire (Thane) Untitled 35000.00P - 1262 A Sachin Pakhale (Pune) Untitled I 112000.00P - 1267 B Vinay Mhatre (Thane) Nashik Ghat 27000.00P - 1281 A (S) Abhijit Salunke (Mumbai) Tatvamasi 65000.00P - 1284 A Tejashree Khanvilkar (Pune) Krishan Series 30000.00P - 1288 B Suraj Dhavade (Ratnagiri) Untitled I 15000.00P - 1289 A Vikrant Bhise (Mumbai) Impression 1 80000.00P - 1291 A Charlee Corriea (Mumbai) Vibration in Mind 72000.00P - 1296 B Pramod Brahmania (Mumbai) No Time for Siesta 23000.00P - 1302 A Prasad Niwate (Kalyan) Nature 25000.00P - 1313 A Vaibhav Kharjul ( Nashik) Morning Landscape 20000.00P - 1323 B Renudas Chaudhari (Mumbai) Holiday IIP - 1324 A Nikhil Mulkutkar (Navi Mumbai) Maditation 27000.00P - 1332 C Rajesh Raibhar (Mumbai) The Q 76000.00P - 1340 A Vaibhav Kshirsagar (Kalyan) Aajoba 35000.00P - 1342 A Gopal Paitha (Mumbai) Untitled 20000.00P - 1344 B Raka Panda (West Bengal) Stronger,taller,faster….. 40000.00P - 1354 B Mangesh Shevate ( Satara) Untitled 18000.00P - 1357 A Tanvi Pujari (Mumbai) State of Mind 48000.00P - 1361 B Anand Walde (Gondia) Untitled 15000.00P - 1372 A Anand Rai (Chhatisgarh) Glimpse of Happiness 25000.00P - 1376 A Shashikant Dubey (Delhi) Untitled 1 51000.00P - 1378 A Prem Singh (Dhar - M.P) Genesis 48000.00P - 1379 A Divya Khare (Gwalior) Countdown 50000.00P - 1387 A Ambrish Mishra (Allahabad) Bhoora 80000.00P - 1388 A Ramchandra Pokale (New Delhi) Freedom 3 50000.00P - 1398 B Chandana Kankaria (Chennai) Solitude 18000.00P - 1399 A Natasha Sachdeva (Delhi) Removal Successful 20000.00P - 1402 B Sunil Kumar (Uttar Pradesh) Untitled 4 28000.00P - 1403 B Vikas Kushwaha (Uttar Pradesh) Light Upside 2 50000.00P - 1406 A Karan Sawnani (Lucknow) Can't Fly here 85000.00P - 1407 A (S) Shailesh Patne (Mumbai) Cock 35000.00P - 1418 A Rais Saiyyed (Nadurbar) Untitled 51000.00

List of Selected Entries - Professional Category, contd.


61


P - 1419 A Samruddha Purekar (Kolhapur) Study I 25000.00P - 1424 A Prathamesh Golipkar (Raigad) Self 15000.00P - 1433 B Pavan Kavitkar (Chennai) Valnerable II 60000.00P - 1441 A Ritesh Bhoi (Thane) Political Clouds 11000.00P - 1449 B Ajay Dharmadhikari (Sangli) My Partner 50000.00P - 1450 A Prasenjit Das (Kolkata) Freedom 120000.00P - 1454 B (S) Rajeev Kumar (New Delhi) Composition 190000.00P - 1455 A (S) Ravi Prakash (New Delhi) Untitled - IV 115000.00P - 1458 A Jagjeet Rai (Lucknow) Recall 50000.00P - 1458 B Jagjeet Rai (Lucknow) Today ….(VI) 50000.00P - 1459 A Ganesh Hire (Ambernath) Rainy Evening 80000.00P - 1460 A Kumawat Dahima (Udaipur) Aatank 20000.00P - 1461 B Chhaya Dubey (Bhopal) Untitled 32000.00P - 1463 A (S) Rakesh Sadhak (Kolkata) Pieta 60000.00P - 1464 A Gautam Das (Kolkata) Fossil 20000.00P - 1465 A Abdul Salam (Kolkata) The Man in Dream V 25000.00P - 1467 A Atesh Patil (Belgaum) Untitled 25000.00P - 1468 A Binay Sinha (Delhi) Returning Home 40000.00P - 1470 A Akash Suryavanshi (Ratnagiri) Untitled 1 40000.00P - 1482 A Shiffali Wadhawan (New Delhi) Discernment 200000.00P - 1484 A (S) Tapasya Gupta (Noida) Tale of Two Fates 250000.00P - 1485 A Surbhi Rathi (Surat) Germination 2 20000.00P - 1487 A Nrusingha Ojha (Odisha) Family V 15000.00P - 1490 A Deepika Mali (Udaipur) Kumbhalgarh 67000.00P - 1492 A Ramchandra Mestri (Kolhapur) Struggle of Life 80000.0P - 1494 B Pratap Kore (Latur) Samaaj 110000.00P - 1496 A Padma Karmakar (New Delhi) Confession 30000.00P - 1497 A Akbarali Sunasara (Vadodara) Navjivan Flour Mill 15000.00P - 1504 A Jayesh Shrimali (Gujrat) My Childhood 75000.00P - 1505 A Prashant Kulkarni (Kolhapur) Yellow Market 29000.00P - 1507 B Shahed Pasha (Gulbarga) Baal Krishna 60000.00P - 1508 C Yogesh Powale (Mumbai) Family 2 25000.00P - 1510 A Goutam Pramanick (Kolkata) Pressure 30000.00P - 1511 C Amit Dhane ( Satara) The Descendants - Orrisa 45000.00P - 1512 B Sourav Garai (Bolpur) Untitled 50000.00P - 1517 A Rajesh Choudhari (Pune) Relations 80000.00P - 1518 B Sameer Gorde (Pune) Suffering 30000.00P - 1525 B Dipmple Chandat (Udaipur) Willing 50000.00P - 1529 B Jintu Kalita (New Delhi) Life 25000.00P - 1531 A Nakshdeep Singh (Punjab) Crawfort Market 15000.00P - 1532 B Mandeep Singh Matharu (Ludhiana) Untitled 15000.00P - 1534 A Manojkumar Sandha (Jodhpur) Bachpan 30000.00P - 1536 A Ashok Shatke (Gulbarga) The King 45000.00P - 1541 A Dilip Sharma (Delhi) After Some Time 60000.00P - 1542 B Anukumar Singh (Uttar Pradesh) The Dog 80000.00P - 1548 A Arvind Sharma (Haryana) Mesemrizing Dream 15 55000.00P - 1553 C (S) Ritu Arora (New Delhi) Fauves 12000.00P - 1557 B Rakhee Aradkar (Kankavli) Ek Koliyan 6

List of Selected Entries - Professional Category, contd.


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62

P - 914 BMemorabilia

Sujata Humane (Pune)

P - 918 AJourney towards the life-spirit

V.Vasandan (Pondicherry)

P - 922 CSplit Personality

Rohan Dumbre (Mumbai)

P - 923 ALake city

Dr.Kusum Sharma (Bhopal)

P - 930 ALife of Journey

Sandeep Suneriya (Surat)

P - 931 BAURORA

Seema Ghiya (Pune)

P - 943 ATop View

Tabassum Khan (Bhopal)

P - 953 BThe last Hope

Umesh Kavale (Palghar) P - 955 ABy the seashore

Poorva Indani (Pune)

Selected Entries - Professional Category


63

P - 956 AAge of Nature

Tribhuvan Kumar (Chhatisgarh)

P - 957 ADilemma - II

Rabi Gupta (Chhattisgarh)

P - 958 ALife

Rishi Kumar (Rajnandgaon)

P - 966 ANeed

Amol Khade (Satara)P - 968 A

Blind Man 1Divahar Manohar (Tamil Nadu)

P - 972 AElements - A - 2

Chandan Agrawal (Lucknow)

P - 976 A Women with nature

Jalajakshi Kulkarni (Kalaburgi)

P - 996 BDo not destroy nature - III

Anirban Sheth (West Bengal)

P - 997 AKumarsambhav

Gauranga Bariki (Odisha)

Selected Entries - Professional Category, contd.


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64

P - 1002 BAmily - Moh.Pakhi

Mahua Ray (Mumbai)

P - 1009 ANews

Shailesh Dabholkar (Goa)

P - 1013 BOn my boat

Avijit Naha (Kolkata)

P - 1014 ATowards the culture

Sagar Kamble (Mumbai)P - 1017 B

Untitled - 1Ashok Hinge (Thane)

P - 1028 BAddiction -2

Jitendra Thorat (Pune)

P - 1038 AMuseum

Arif Tamboli (Satara) P - 1051 BImaginary Head 2

Bhakti Gala (Mumbai)

P - 1061 ATehrim

Mahesh Soundatte (Kolhapur)



65

P - 1075 CWet Mumbai

Sanjay Dhawale (Thane)

PL - 1092 AUntitled

Kshitija Bhamre (Kalyan) PL - 1097 AUntitled - 1

Radhika Kadam (Badlapur)

P - 1110 BMeditative

Sanjay Kumar (New Delhi)

P - 1120 CTogether

Tushar Shinde ( Mumbai)

P - 1123 BWarmth

Vivek Dahiwale (Pune)

P - 1128 CTreasure in nature

Dhruti Ghedia (Ahmedabad)

P - 1147 AInnerscapes

Gayatri Deshpande (Pune)

P - 1152 AMoonlit

Mansi Sagar (Nashik)



66

66

P - 1155 AIbadat - 1

Yash Pal Singh (Uttar Pradesh)

P - 1157 ATwo Figures

Darshan Mahajan (Thane)

P - 1169 ALazy Noon

Rahul Shedbale (Kolhapur)

P - 1180 CUntitled

Ganesh Shinde (Latur)

P - 1185 AAai

Nihar Sutar (Mumbai) P - 1187 ADead Dream

Praveen Gaokhadkar (Thane)

PL - 1200 BUntitled

Prachee Batara (Mumbai)

P - 1212 AUntitled

Mukhtar Ahmed Sardar (Mumbai)

P - 1223 AThe Man with crossed fingers

Jagdish Pol (Mumbai)



67

P - 1231 CHope

Himanshu Joshi (Bhopal)

P - 1234 AElfinstan

Saurabh Dingare (Solapur) P - 1255 AUntitled

Laxman Ahire (Thane)

P - 1262 AUntitled I

Sachin Pakhale (Pune)

P - 1267 BNashik Ghat

Vinay Mhatre (Thane) P - 1284 AKrishan Series

Tejashree Khanvilkar (Pune)

P - 1288 BUntitled I

Suraj Dhavade (Ratnagiri)

P - 1289 AImpression 1

Vikrant Bhise (Mumbai)

P - 1291 AVibration in Mind

Charlee Corriea (Mumbai)



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68

P - 1296 BNo Time for Siesta

Pramod Brahmania (Mumbai) P - 1302 ANature

Prasad Niwate (Kalyan)

P - 1313 AMorning Landscape

Vaibhav Kharjul ( Nashik)

P - 1323 BHoliday II

Renudas Chaudhari (Mumbai) P - 1324 AMeditation

Nikhil Mulkutkar (Navi Mumbai)

P - 1332 CThe Q

Rajesh Raibhar (Mumbai)

P - 1340 AAajoba

Vaibhav Kshirsagar (Kalyan)

P - 1342 AUntitled

Gopal Paitha (Mumbai)

PL - 1344 BStronger, taller, faster…Raka Panda (West Bengal)



69

P - 1354 BUntitled

Mangesh Shevate ( Satara)

P - 1357 AState of Mind

Tanvi Pujari (Mumbai)

P - 1361 BUntitled

Anand Walde (Gondia)

P - 1372 AGlimpse of HappinessAnand Rai (Chhatisgarh)

P - 1376 AUntitled 1

Shashikant Dubey (Delhi)

P - 1378 AGenesis

Prem Singh (Dhar - M.P)

P - 1379 ACountdown

Divya Khare (Gwalior)

P - 1387 ABhoora

Ambrish Mishra (Allahabad)

P - 1388 AFreedom 3

Ramchandra Pokale (New Delhi)



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70

P - 1398 BSolitude

Chandana Kankaria (Chennai)

P - 1399 ARemoval Successful

Natasha Sachdeva (Delhi)

P - 1402 BUntitled 4

Sunil Kumar (Uttar Pradesh)

P - 1403 BLight Upside 2

Vikas Kushwaha (Uttar Pradesh) P - 1406 ACan't Fly here

Karan Sawnani (Lucknow)

P - 1418 AUntitled

Rais Saiyyed (Nadurbar)

P - 1419 AStudy I

Samruddha Purekar (Kolhapur)

P - 1424 ASelf

Prathamesh Golipkar (Raigad)

P - 1433 BVulnerable II

Pavan Kavitkar (Chennai)



71

P - 1441 APolitical Clouds

Ritesh Bhoi (Thane)

P - 1449 BMy Partner

Ajay Dharmadhikari (Sangli) P - 1450 AFreedom

Prasenjit Das (Kolkata)

P - 1458 ARecall

Jagjeet Rai (Lucknow)

P - 1458 BToday ….(VI)

Jagjeet Rai (Lucknow)

P - 1459 ARainy Evening

Ganesh Hire (Ambernath)

P - 1460 AAatank

Kumawat Dahima (Udaipur)

P - 1461 BUntitled

Chhaya Dubey (Bhopal)

P - 1464 AFossil

Gautam Das (Kolkata)



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72

P - 1465 AThe Man in Dream VAbdul Salam (Kolkata)

P - 1467 AUntitled

Atesh Patil (Belgaum) P - 1468 AReturning HomeBinay Sinha (Delhi)

P - 1470 AUntitled 1

Akash Suryavanshi (Ratnagiri)

P - 1482 ADiscernment

Shiffali Wadhawan (New Delhi)

P - 1485 AGermination 2

Surbhi Rathi (Surat)

P - 1487 AFamily V

Nrusingha Ojha (Odisha)

P - 1490 AKumbhalgarh

Deepika Mali (Udaipur) P - 1492 AStruggle of Life

Ramchandra Mestri (Kolhapur)



73

P - 1494 BSamaaj

Pratap Kore (Latur)

P - 1496 AConfession

Padma Karmakar (New Delhi)

P - 1497 ANavjivan Flour Mill

Akbarali Sunasara (Vadodara)

P - 1504 AMy Childhood

Jayesh Shrimali (Gujrat) P - 1505 AYellow Market

Prashant Kulkarni (Kolhapur)

P - 1507 BBaal Krishna

Shahed Pasha (Gulbarga)

P - 1508 CFamily 2

Yogesh Powale (Mumbai)

P - 1510 APressure

Goutam Pramanick (Kolkata) P - 1511 CThe Descendants - Orrisa

Amit Dhane ( Satara)



74

74

P - 1512 BUntitled

Sourav Garai (Bolpur)P - 1517 ARelations

Rajesh Choudhari (Pune)

P - 1518 BSuffering

Sameer Gorde (Pune)

P - 1525 BWilling

Dipmple Chandat (Udaipur)

PL - 1529 BLife

Jintu Kalita (New Delhi) P - 1531 ACrawford Market

Nakshdeep Singh (Punjab)

P - 1532 BUntitled

Mandeep Singh Matharu (Ludhiana)

P - 1534 ABachpan

Manojkumar Sandha (Jodhpur)

P - 1536 AThe King

Ashok Shatke (Gulbarga)



75

P - 1541 AAfter Some Time

Dilip Sharma (Delhi)P - 1542 BThe Dog

Anukumar Singh (Uttar Pradesh) P - 1548 AMesemrizing Dream 15Arvind Sharma (Haryana)

P - 1557 BEk Koliyan 6

Rakhee Aradkar (Kankavli)

P - 933 A (I)Reel of Emotions

Venus Sanghvi (Mumbai) P - 948 A (S)Janni

Deepak Thopate (Pune)

P - 995 A (S)The Desire to survive-inside-outside

Pradeep Kamble (Mumbai)

P - 999 B (I)Artists' Book

Shivangi Gupta (Bhopal)P - 1002 A (S)

DelightMahua Ray (Mumbai)



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76

P - 1047 A (S)Withered Valour - I

Mahesh Anjarlekar (Thane)

P - 1047 C (S)Battered by time

Mahesh Anjarlekar (Thane)

P - 1049 A (S)Movement of Lines

Khushboo Pandit (Mumbai)

P - 1068 A (S)Untitled

Siddhant Pitale (Mumbai)

P - 1087 A (S)Makhan Chor

Nidhi Mahajan (Panchkula)

P - 1139 A (S)Sculpture

Nandakumar Kulaye (Mumbai)

P - 1144 A (S)Celebration

Rohan Pawar (Mumbai)

P - 1151 A (S)Maditation

Ranjit Deshmukh (Solapur)

P - 1206 B (S)Aquarium

Sandesh Mhashelakar (Mumbai)



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P - 1249 A (S)Akshay

Pradeep Kumbhar (Kolhapur)

P - 1281 A (S)Tatvamasi

Abhijit Salunke (Mumbai)

P - 1407 A (S)Cock

Shailesh Patne (Mumbai)

P - 1454 B (S)Composition

Rajeev Kumar (New Delhi)P - 1455 A (S)Untitled - IV

Ravi Prakash (New Delhi) P - 1463 A (S)Pieta

Rakesh Sadhak (Kolkata)

PL - 1484 A (S)Tale of Two Fates

Tapasya Gupta (Noida)

PL - 1553 C (S)Fauves

Ritu Arora (New Delhi)



78

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� Shri. Mangal Prabhat Lodha for accepting our invitation and inaugurating the 100th Annual Art Exhibition.

� Shri Dilip Ranade for giving us an opportunity to felicitate him for his valuable contribution to visual arts.

� The Judges Shri Arvind Hate, Shri Prakash Rajeshirke & Shri Ajinkya Chaulkar for sparing their valuable time and selecting best works for the exhibition.

� The prize-donors for encouraging the artists.

� The advertisers for their valuable contribution towards the success of the souvenir.

� Participating artists for sending their creative works for the exhibition.

� Authors of the informative and enlightening articles in the souvenir.

�Shri Ravindra Kapadia for making his office premises available for our judging activity.

� Prof. Vivek Das for designing the Award Medals

� Shri Prakash Kharkar for presentation used for the Judging of the entries.

�Shri Nitin Chitnis for photographic documentation of all the Demonstartion Paintings in the society's collection.

The Managing Committee of The Art Society of India expresses sincere thanks to…

� Smt. Prajakti A. Shankardas & Mangesh Sable, our staff members for their sincere efforts to make this event successful.

� Shri Dilip Shivshivkar for his helpful assistance throughout the exhibition.

�Shri Rajesh Kamble for photography during various events.

�Shri Mukesh Puro for making the Memento.

� Our members for getting valuable advertisements in the souvenir.

� Shri Suresh Deshmukh, Shri Ramchandra Dhond, and all our artist friends for helping & co-operating us at various stages of the exhibition to make it a grand success.

� Shri. Ganesh for tempo service, Shri. Gaikwad for Sound arrangements and Shri. Karmali for stage arrangement.

� Press & Media world for projecting us to the public.

� Sachetan Digital for timely printing of souvenir, prospectus, and Invitation cards.

� The Jehangir Art Gallery and the entire staff for their co-operation.

� Everybody who has directly or indirectly helped us to make this event successful.


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Vote of thanks !

The Managing Committee of The Art Society of India expresses sincere thanks to…

84

100th Annual Art Exhibition 1 -22 Jan 2018 Jehangir Art allery

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Transcript of 100th Annual Art Exhibition 1 -22 Jan 2018 Jehangir Art allery