RAJ K U M A R MAZINDER

Assam University, Visual Arts, Faculty Member

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Dr. Rajkumar Mazinder was born in Assam in the year 1965 and completed B. Fine in Painting at Kala Bhavana, Santiniketan and M. A. (Fine) in Graphic Arts from M. S. University of Baroda and Doctor of Philosophy (Ph. D) in Visual Arts from Assam University, Silchar, 2015 for the thesis titled Impression Art and Artist: A Study of three Print Makers of Assam. He did three solo shows- State Art Gallery, Guwahati – 1990; State Art Gallery, Guwahati -1993; Siralu/ Furrow –Exhibition Hall, M.S. University, Baroda, 2000; Tribute to Mahatma – State Art Gallery, Guwahati – 2007. He has participated National online Art Exhibition-2020 on the theme of Covid-19 (during and after Lock Down Period) organized by Department of Fine Arts, Kurukshetra University, Haryana. He has participated 1993, 1994, 1995, 1997 & 2007: National Exhibition of Art, organised by Lalit Kala Akademi, New Delhi. He has got awarded “Europe Art Tour” of Paris, Venice, Florence and Rome in All India Art Exhibition 2014 and Eastern Region Art Exhibition at Academy of Fine Arts, Kolkata organized by Camel Art Foundation, Mumbai. His works are a part of the permanent collections of various institutions like San Antonio Art Institute, USA, Royal College of Art, London, Lalit Kala Akademi, New Delhi, Regional Lalit Kala Kendra, Kolkata, Delhi College of Art, New Delhi and many private collections. He has written a book on art “Shilpokala:Oitihya aru Adhunikota” (ISBN: 978-93-85230-67-3) in 2017. Recently he participated two days International Conference on Emotions- A Multidisciplinary Inquiry on 4th and 5th December, 2020 in Google meet jointly organized by St. Andrew's Educational Foundation & Grand Academic Portal- GAP in Association with Nalanda Nritya Kala Mahavidyalaya, Mumbai & University of Hindu, Indonesia with the research paper titled ”The Relevance of Emotion, Cognition and Creativity in Innovative Art Education and Pedagogy for the younger generation: A Study”, which has been published in the online journal GAP BODI TARU, A Global Journal of Humanities (www.gapbodhitaru.org) ISSN- 2581-5857, DOI 10.47968/gapbodhi.340026, http://doi.org/10.47968/gapbodhi.340026, Impact Factor: SJIF: 5.171, IIFS: 5.125, October, 2020, published by Grand Academic Portal, Ahmedabad, pages 117-120
Dr. Rajkumar Mazinder lives and teaches Department of Visual Arts, Assam University, Silchar.

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Papers by RAJ K U M A R MAZINDER

Impression art and artist _ a study of three print makers of Assam

Shodhganga, 2014

Great Heritage of Living Mask Making Tradition in Assam: A Case Study on Sri Sri Bor Alengi Bogiai Satra, Titabor, Jorhat District, Assam

ShodhKosh: Journal of Visual and Performing Arts

Masks are artificial faces or covering of partial and whole body for concealment, usually to assu... more Masks are artificial faces or covering of partial and whole body for concealment, usually to assume and to create various emotions and states of mind as love, anger, hate, fury, joy, fear, disgust, humour, sorrow etc. Sometimes people use mask to hide feeling or as layers or covers to conceal or safety shield of the person. The tradition of creating and utilizing masks in medieval Assam is thought-provoking, particularly wooden and bamboo masks. Neo-Vaishnavism or worship of Lord Vishnu/ Krishna was spread throughout Assam by the great saint Srimanta Sankaradeva (1449–1568) as part of the resurrection of unwavering devotion that occurred over all of India (bhakti). Sri Sri Bor Alengi Bogiai Satra is a renowned Neo- Vaishnavite monastery of Jorhat district, near the river Kakodonga. The particular Satra has lengthy and gorgeous tradition of the bamboo split made mask- making and its significant uses at the Vaishnavite Bhaona/ theatre based on Bhagavata- Purana texts and written by Sr...

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Contemporary Women Art and Artists: A Study on Few Female Visual Artists of Assam

ShodhKosh: Journal of Visual and Performing Arts

Art has always been an open filled for women artists and an important tool for social and politic... more Art has always been an open filled for women artists and an important tool for social and political articulation from a gender perspective, so they have expressed many forms of repression and discrimination by using various media and by incorporating both traditional and modern-day motifs. A large number of them have been active even in the pre-independence era of India, as the visibility of women-made art production grew, which can be contributed to the prominence of Sunayana Devi of famed Jorasnako Tagore residence of Calcutta and Paris educated painter Amrita Sher-Gil with their pioneering works. My objectives are to study contemporary women artists in Assam in specific of recent time of last 30 years and their concerns on globalization, gender politics and ecology of Assam.

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Assam Toil by Harekrishna Deka

Art & Deal Magazine, New Delhi, 2012

The first painting of the Assam Toil series by Raj Kumar Mazinder was an acrylic on canvas of the... more The first painting of the Assam Toil series by Raj Kumar Mazinder was an acrylic on canvas of the same title, which was done in 2004. I saw this painting much later. The first work that had come to my notice in this series was the 2005 linocut titled Selling Assam Toil, which was exhibited at the Gauhati Artists' Guild gallery. The same impression was repeated on it-three images above and three below. Each of the impressions was rectangular, but together they formed a square-as if the work sought to create an illusion of symmetry by transcending the difference between length and breadth. But the entire work brimmed with irony. There was also little difference among the printed images. A major difference, though, lay in the social implications carried by the work through the repetition of images. What did the image, repeated six times close to one another on the same plane, contain? Only the artist would be able to properly explain as to what was on his mind when he did it. But behind the reason why this work attracted me or evoked a reaction in my mind was the social significance that it carried. I would not comment upon the 'painterliness' that the work contained. I would only say a few words about the thoughts that it triggered in me by mocking a certain stage of Assam's socio-political situation. From now on, I would simply call it a painting rather than a printed image.

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Contemporary scenario of film art practices in Assam

ABSTRACT The article deals the film art in deal and elaborate the film art practice in North East... more

The Orunodoi and Nineteenth-Century Wood-block Prints from Assam

During the first half of the nineteenth century known as the 'Orunodoi Era' in Assam, mec... more During the first half of the nineteenth century known as the 'Orunodoi Era' in Assam, mechanical printing was introduced and began to flourish in Assam. But this particular topic has not yet been discussed by artists, writers and scholars extensively. it will be relevant to begin with a short account of some fundamental definitions and the origin of graphic art in Assam, and that in the context of the mainstream of traditional art and culture.

Contemporary scenario of film art practices in Assam

The article deals the film art in deal and elaborate the film art practice in North Eastern India... more

The Poet Who Scribbled His Mindscape; a Painterly Evolution

It's a descriptive study on art works of Nobel laureate poet Rabindranath Tagore and his jour... more

Volume 3 Issue 1 by RAJ K U M A R MAZINDER

CONTEMPORARY WOMEN ART AND ARTISTS: A STUDY ON FEW FEMALE VISUAL ARTISTS OF ASSAM

by Shodh Kosh and RAJ K U M A R MAZINDER

ShodhKosh: Journal of Visual and Performing Arts, 2022

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Volume 4 Issue 1 by RAJ K U M A R MAZINDER

GREAT HERITAGE OF LIVING MASK MAKING TRADITION IN ASSAM: A CASE STUDY ON SRI SRI BOR ALENGI BOGIAI SATRA, TITABOR, JORHAT DISTRICT, ASSAM

by Shodh Kosh and RAJ K U M A R MAZINDER

Granthaalayah Publications and Printers, 2023

Masks are artificial faces or covering of partial and whole body for concealment, usually to assu... more Masks are artificial faces or covering of partial and whole body for concealment, usually to assume and to create various emotions and states of mind as love, anger, hate, fury, joy, fear, disgust, humour, sorrow etc. Sometimes people use mask to hide feeling or as layers or covers to conceal or safety shield of the person. The tradition of creating and utilizing masks in medieval Assam is thought-provoking, particularly wooden and bamboo masks. Neo-Vaishnavism or worship of Lord Vishnu/ Krishna was spread throughout Assam by the great saint Srimanta Sankaradeva (1449-1568) as part of the resurrection of unwavering devotion that occurred over all of India (bhakti). Sri Sri Bor Alengi Bogiai Satra is a renowned Neo-Vaishnavite monastery of Jorhat district, near the river Kakodonga. The particular Satra has lengthy and gorgeous tradition of the bamboo split made mask-making and its significant uses at the Vaishnavite Bhaona/ theatre based on Bhagavata-Purana texts and written by Srimanta Sankaradevaa and his followers. It is relevant to note that Jorhat district including River Island Majuli (now a district) is the prime centre of Neo-Vaishnavism in Assam, where significant tradition of mask making is sustained in several Satras. The paper has examined the history of the Sri Sri Bor Alengi Bogiai Satra as well as the economic, social, cultural, and aesthetic relevance of the masks and its great heritage of living tradition.

Download

Impression art and artist _ a study of three print makers of Assam

Shodhganga, 2014

Great Heritage of Living Mask Making Tradition in Assam: A Case Study on Sri Sri Bor Alengi Bogiai Satra, Titabor, Jorhat District, Assam

ShodhKosh: Journal of Visual and Performing Arts

Download

Contemporary Women Art and Artists: A Study on Few Female Visual Artists of Assam

ShodhKosh: Journal of Visual and Performing Arts

Download

Assam Toil by Harekrishna Deka

Art & Deal Magazine, New Delhi, 2012

Download

Contemporary scenario of film art practices in Assam

ABSTRACT The article deals the film art in deal and elaborate the film art practice in North East... more

The Orunodoi and Nineteenth-Century Wood-block Prints from Assam

Contemporary scenario of film art practices in Assam

The article deals the film art in deal and elaborate the film art practice in North Eastern India... more

The Poet Who Scribbled His Mindscape; a Painterly Evolution

It's a descriptive study on art works of Nobel laureate poet Rabindranath Tagore and his jour... more

CONTEMPORARY WOMEN ART AND ARTISTS: A STUDY ON FEW FEMALE VISUAL ARTISTS OF ASSAM

by Shodh Kosh and RAJ K U M A R MAZINDER

ShodhKosh: Journal of Visual and Performing Arts, 2022

Download

GREAT HERITAGE OF LIVING MASK MAKING TRADITION IN ASSAM: A CASE STUDY ON SRI SRI BOR ALENGI BOGIAI SATRA, TITABOR, JORHAT DISTRICT, ASSAM

by Shodh Kosh and RAJ K U M A R MAZINDER

Granthaalayah Publications and Printers, 2023

Masks are artificial faces or covering of partial and whole body for concealment, usually to assu... more Masks are artificial faces or covering of partial and whole body for concealment, usually to assume and to create various emotions and states of mind as love, anger, hate, fury, joy, fear, disgust, humour, sorrow etc. Sometimes people use mask to hide feeling or as layers or covers to conceal or safety shield of the person. The tradition of creating and utilizing masks in medieval Assam is thought-provoking, particularly wooden and bamboo masks. Neo-Vaishnavism or worship of Lord Vishnu/ Krishna was spread throughout Assam by the great saint Srimanta Sankaradeva (1449-1568) as part of the resurrection of unwavering devotion that occurred over all of India (bhakti). Sri Sri Bor Alengi Bogiai Satra is a renowned Neo-Vaishnavite monastery of Jorhat district, near the river Kakodonga. The particular Satra has lengthy and gorgeous tradition of the bamboo split made mask-making and its significant uses at the Vaishnavite Bhaona/ theatre based on Bhagavata-Purana texts and written by Srimanta Sankaradevaa and his followers. It is relevant to note that Jorhat district including River Island Majuli (now a district) is the prime centre of Neo-Vaishnavism in Assam, where significant tradition of mask making is sustained in several Satras. The paper has examined the history of the Sri Sri Bor Alengi Bogiai Satra as well as the economic, social, cultural, and aesthetic relevance of the masks and its great heritage of living tradition.

Download

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Papers by RAJ K U M A R MAZINDER

Volume 3 Issue 1 by RAJ K U M A R MAZINDER

Volume 4 Issue 1 by RAJ K U M A R MAZINDER

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