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  • āĻ…āϞāĻ•āĻžāύāĻ¨ā§āĻĻāĻž āϏ⧇āύāϗ⧁āĻĒā§āϤ
    āĻ­āĻžāĻ¸ā§āĻ•āϰ āĻŽā§€āϰāĻž āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿā§‡āϰ āĻœā§€āĻŦāύāĻļāĻŋāĻ˛ā§āĻĒ

    āĻŦāĻŋāĻļ āĻļāϤāϕ⧇ āĻ āĻĻ⧇āĻļ⧇āϰ āĻ­āĻžāĻ¸ā§āĻ•āϰāĻĻ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āϏāĻ°ā§āĻŦ āĻ…āĻ°ā§āĻĨ⧇āχ āĻ…āĻ—ā§āϰāĻ—āĻŖā§āϝāĻž āĻ›āĻŋāϞ⧇āύ āĻŽā§€āϰāĻž āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžā§ŸāĨ¤ āĻŦāĻŋāώ⧟-āĻ­āĻžāĻŦāύāĻžā§Ÿ āĻāĻŦāĻ‚ āĻĒā§āĻ°ā§Ÿā§‹āĻ—-āĻ•ā§ŒāĻļāϞ⧇ āϤāĻžāρāϰ āĻ•āĻžāϜ āĻāĻ•āĻĻāĻŋāϕ⧇ āϝ⧇āĻŽāύ āĻ–āĻžāρāϟāĻŋ āĻĻ⧇āĻļāϜ, āĻ…āĻ¨ā§āϝ āĻĻāĻŋāϕ⧇ āϤ⧇āĻŽāύāχ āϤāĻž āĻ¸ā§āĻĒāĻ°ā§āĻļ āĻ•āϰ⧇ āφāϛ⧇ āϏāĻ°ā§āĻŦāϜāĻžāϤāĻŋāĻ• āϐāϤāĻŋāĻšā§āϝāĨ¤ āĻļāĻŋāĻ˛ā§āĻĒā§€ āĻŦāĻž āĻ­āĻžāĻ¸ā§āĻ•āϰ āĻšāĻŋāϏ⧇āĻŦ⧇ āϤāĻŋāύāĻŋ āϝ⧇āĻŽāύ āĻ…āύāĻ¨ā§āϝ, āĻŽāĻžāύ⧁āώ āĻšāĻŋāϏ⧇āĻŦ⧇āĻ“ āĻ›āĻŋāϞ⧇āύ āϤ⧇āĻŽāύāχ āĻ…āϏāĻžāϧāĻžāϰāĻŖāĨ¤ āĻœā§€āĻŦāύ āφāϰ āĻļāĻŋāĻ˛ā§āĻĒ āϤāĻžāρāϰ āĻ•āĻžāϛ⧇ āφāϞāĻžāĻĻāĻž āĻ•āĻŋāϛ⧁ āĻ›āĻŋāϞ āύāĻž, āĻŦāϰāĻ‚ āĻĻā§ā§Ÿā§‡ āĻŽāĻŋāϞ⧇ āĻšā§Ÿā§‡ āωāϠ⧇āĻ›āĻŋāϞ āĻ…āύāύ⧁āĻ•āϰāĻŖā§€ā§Ÿ āĻœā§€āĻŦāύāĻļāĻŋāĻ˛ā§āĻĒāĨ¤ āĻāχ āĻŦāĻ‡ā§Ÿā§‡āϰ āϞ⧇āĻ–āĻŋāĻ•āĻž āĻ¸ā§āĻŦ⧟āĻ‚ āĻ­āĻžāĻ¸ā§āĻ•āϰ āĻšāĻ“ā§ŸāĻžāϰ āϏ⧁āĻŦāĻžāĻĻ⧇ āĻāĻ•āϏāĻŽā§Ÿā§‡ āϤāĻžāρāϕ⧇ āĻĻ⧇āϖ⧇āϛ⧇āύ āϖ⧁āĻŦ āĻ•āĻžāĻ› āĻĨ⧇āϕ⧇, āĻāĻŦāĻ‚ āϏ⧇āχ āϏ⧂āĻ¤ā§āϰ⧇āχ āĻŽā§€āϰāĻž-āϰ āĻ•āĻžāĻœā§‡āϰ āĻĒāĻĻā§āϧāϤāĻŋ āĻ“ āĻĒā§āϰāĻ•āϰāϪ⧇āϰ āĻĻāĻŋāĻ•āϟāĻŋ āϝ⧇āĻŽāύ āϤāĻžāρāϰ āĻ•āĻžāϛ⧇ āĻ¸ā§āĻĒāĻˇā§āϟ āĻšā§Ÿā§‡āϛ⧇, āϤ⧇āĻŽāύāχ āĻŽā§€āϰāĻž-āϰ āĻ•āĻžāĻœā§‡āϰ āĻŽāĻ°ā§āĻŽāϜāĻ—āϤāϟāĻŋāĻ“ āϤāĻžāρāϰ āĻ•āĻžāϛ⧇ āĻ…āϧāϰāĻž āĻĨāĻžāϕ⧇āύāĻŋāĨ¤ āĻŽā§€āϰāĻž-āϰ āĻ…āϏāĻ‚āĻ–ā§āϝ āĻ­āĻžāĻ¸ā§āĻ•āĻ°ā§āϝ⧇āϰ āĻ›āĻŦāĻŋ āĻĻāĻŋā§Ÿā§‡ āϏāĻžāϜāĻžāύ⧋ āĻ āĻŦāχ āĻāĻ•āĻĻāĻŋāĻ• āĻĨ⧇āϕ⧇ āĻ…āύāĻ¨ā§āϝāĨ¤

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  • Meera Mukhopadhyay (1923-98) is considered among the major sculptors of post-1947 India. She had traveled throughout her life in search of real people of our country, recorded their life and culture in detail, and made them immortal in her works in metal. We publish these drawings for the first time from our own collection.

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  • āĻĒā§āϰāĻ–ā§āϝāĻžāϤ āĻ­āĻžāĻ¸ā§āĻ•āϰ āĻŽā§€āϰāĻž āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ (ā§§ā§¯ā§¨ā§Š-ā§¯ā§Ž) āĻāĻ•āĻĻāĻž āύāĻŋāĻœā§‡āϰ āĻšāĻžāϤ⧇ āĻ›āĻŦāĻŋ āĻāρāϕ⧇ āĻ“ āϞāĻŋāϖ⧇ āĻŽā§‚āϞāϤ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāĻŽāύ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āĻŦāχ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύāĨ¤ āĻāϟāĻŋ āϏ⧇āχ āϏāĻŋāϰāĻŋāĻœā§‡āϰ āώāĻˇā§āĻ  āĻāĻŦāĻ‚ āĻļ⧇āώ āĻŦāχāĨ¤ āχ-āĻŦāχ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒā§āϰāĻĨāĻŽ āĻĒā§āϰāĻ•āĻžāĻļāĻŋāϤ āĻāχ āĻŦāχ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻšāϞ⧇āĻ“ āĻŦāĻĄāĻŧāĻĻ⧇āϰāĻ“ āϏāĻŽāĻžāύ āφāύāĻ¨ā§āĻĻ āĻĻ⧇āĻŦ⧇ āĻŦāϞ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŦāĻŋāĻļā§āĻŦāĻžāϏāĨ¤

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  • āĻĒā§āϰāĻ–ā§āϝāĻžāϤ āĻ­āĻžāĻ¸ā§āĻ•āϰ āĻŽā§€āϰāĻž āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ (ā§§ā§¯ā§¨ā§Š-ā§¯ā§Ž) āĻāĻ•āĻĻāĻž āύāĻŋāĻœā§‡āϰ āĻšāĻžāϤ⧇ āĻ›āĻŦāĻŋ āĻāρāϕ⧇ āĻ“ āϞāĻŋāϖ⧇ āĻŽā§‚āϞāϤ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāĻŽāύ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āĻŦāχ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύāĨ¤ āĻāϟāĻŋ āϏ⧇āχ āϏāĻŋāϰāĻŋāĻœā§‡āϰ āĻĒāĻžā§āϚāĻŽ āĻŦāχāĨ¤ āχ-āĻŦāχ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒā§āϰāĻĨāĻŽ āĻĒā§āϰāĻ•āĻžāĻļāĻŋāϤ āĻāχ āĻŦāχ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻšāϞ⧇āĻ“ āĻŦāĻĄāĻŧāĻĻ⧇āϰāĻ“ āϏāĻŽāĻžāύ āφāύāĻ¨ā§āĻĻ āĻĻ⧇āĻŦ⧇ āĻŦāϞ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŦāĻŋāĻļā§āĻŦāĻžāϏāĨ¤

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  • āĻĒā§āϰāĻ–ā§āϝāĻžāϤ āĻ­āĻžāĻ¸ā§āĻ•āϰ āĻŽā§€āϰāĻž āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ (ā§§ā§¯ā§¨ā§Š-ā§¯ā§Ž) āĻāĻ•āĻĻāĻž āύāĻŋāĻœā§‡āϰ āĻšāĻžāϤ⧇ āĻ›āĻŦāĻŋ āĻāρāϕ⧇ āĻ“ āϞāĻŋāϖ⧇ āĻŽā§‚āϞāϤ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāĻŽāύ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āĻŦāχ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύāĨ¤ āĻāϟāĻŋ āϏ⧇āχ āϏāĻŋāϰāĻŋāĻœā§‡āϰ āϚāϤ⧁āĻ°ā§āĻĨ āĻŦāχāĨ¤ āχ-āĻŦāχ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒā§āϰāĻĨāĻŽ āĻĒā§āϰāĻ•āĻžāĻļāĻŋāϤ āĻāχ āĻŦāχ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻšāϞ⧇āĻ“ āĻŦāĻĄāĻŧāĻĻ⧇āϰāĻ“ āϏāĻŽāĻžāύ āφāύāĻ¨ā§āĻĻ āĻĻ⧇āĻŦ⧇ āĻŦāϞ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŦāĻŋāĻļā§āĻŦāĻžāϏāĨ¤

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  • āĻĒā§āϰāĻ–ā§āϝāĻžāϤ āĻ­āĻžāĻ¸ā§āĻ•āϰ āĻŽā§€āϰāĻž āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ (ā§§ā§¯ā§¨ā§Š-ā§¯ā§Ž) āĻāĻ•āĻĻāĻž āύāĻŋāĻœā§‡āϰ āĻšāĻžāϤ⧇ āĻ›āĻŦāĻŋ āĻāρāϕ⧇ āĻ“ āϞāĻŋāϖ⧇ āĻŽā§‚āϞāϤ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāĻŽāύ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āĻŦāχ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύāĨ¤ āĻāϟāĻŋ āϏ⧇āχ āϏāĻŋāϰāĻŋāĻœā§‡āϰ āϤ⧃āĻ¤ā§€ā§Ÿ āĻŦāχāĨ¤ āχ-āĻŦāχ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒā§āϰāĻĨāĻŽ āĻĒā§āϰāĻ•āĻžāĻļāĻŋāϤ āĻāχ āĻŦāχ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻšāϞ⧇āĻ“ āĻŦāĻĄāĻŧāĻĻ⧇āϰāĻ“ āϏāĻŽāĻžāύ āφāύāĻ¨ā§āĻĻ āĻĻ⧇āĻŦ⧇ āĻŦāϞ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŦāĻŋāĻļā§āĻŦāĻžāϏāĨ¤

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  • āĻĒā§āϰāĻ–ā§āϝāĻžāϤ āĻ­āĻžāĻ¸ā§āĻ•āϰ āĻŽā§€āϰāĻž āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ (ā§§ā§¯ā§¨ā§Š-ā§¯ā§Ž) āĻāĻ•āĻĻāĻž āύāĻŋāĻœā§‡āϰ āĻšāĻžāϤ⧇ āĻ›āĻŦāĻŋ āĻāρāϕ⧇ āĻ“ āϞāĻŋāϖ⧇ āĻŽā§‚āϞāϤ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāĻŽāύ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āĻŦāχ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύāĨ¤ āĻāϟāĻŋ āϏ⧇āχ āϏāĻŋāϰāĻŋāĻœā§‡āϰ āĻĻā§āĻŦāĻŋāĻ¤ā§€ā§Ÿ āĻŦāχāĨ¤ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻšāϞ⧇āĻ“ āĻŦāĻĄāĻŧāĻĻ⧇āϰāĻ“ āϤāĻž āϏāĻŽāĻžāύ āφāύāĻ¨ā§āĻĻ āĻĻ⧇āĻŦ⧇ āĻŦāϞ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŦāĻŋāĻļā§āĻŦāĻžāϏāĨ¤

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  • āĻĒā§āϰāĻ–ā§āϝāĻžāϤ āĻ­āĻžāĻ¸ā§āĻ•āϰ āĻŽā§€āϰāĻž āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ (ā§§ā§¯ā§¨ā§Š-ā§¯ā§Ž) āĻāĻ•āĻĻāĻž āύāĻŋāĻœā§‡āϰ āĻšāĻžāϤ⧇ āĻ›āĻŦāĻŋ āĻāρāϕ⧇ āĻ“ āϞāĻŋāϖ⧇ āĻŽā§‚āϞāϤ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāĻŽāύ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āĻŦāχ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύāĨ¤ āĻāϟāĻŋ āϏ⧇āχ āϏāĻŋāϰāĻŋāĻœā§‡āϰ āĻĒā§āϰāĻĨāĻŽ āĻŦāχāĨ¤ āϛ⧋āϟāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻšāϞ⧇āĻ“ āĻŦāĻĄāĻŧāĻĻ⧇āϰāĻ“ āϤāĻž āϏāĻŽāĻžāύ āφāύāĻ¨ā§āĻĻ āĻĻ⧇āĻŦ⧇ āĻŦāϞ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŦāĻŋāĻļā§āĻŦāĻžāϏāĨ¤

     20.00
  • āĻļā§āϰāĻŽ āφāχāύ, āĻļā§āϰāĻŽāĻŋāĻ•āĻĻ⧇āϰ āĻŦāĻŋāĻˇā§Ÿā§‡ āϝ⧇-āϏāĻŦ āφāχāύ āφāĻŽāĻžāĻĻ⧇āϰ āĻĻ⧇āĻļ⧇ āϚāĻžāϞ⧁ āφāϛ⧇, āĻ›āĻŋāϞ, āϏ⧇ āϏāĻŦ āĻāĻ–āύ āĻŦāĻĻāϞāĻžāύ⧋ āϚāϞāϛ⧇⧎ āĻŦāĻĻāϞāĻžāύ⧋āϰ āĻĒā§āϰāĻ¸ā§āϤāĻžāĻŦ āĻ•āϰāĻž āĻšāĻšā§āϛ⧇⧎ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϰāĻžāĻœā§āϝ⧇ āĻāĻŦāĻ‚ āϕ⧇āĻ¨ā§āĻĻā§āϰ⧇⧎ āĻŦāĻĻāϞ⧇ āĻĻ⧇āĻ“ā§ŸāĻž āĻāχ āϏāĻŦ āφāχāύ, āĻĒā§āϰāĻĨāĻŽā§‡ āĻāĻ•āϟāĻž-āĻāĻ•āϟāĻž āĻ•āϰ⧇ āĻāχ āϞ⧇āĻ–āĻžā§Ÿ āĻŦāϞāĻž āĻšā§Ÿā§‡āϛ⧇āĨ¤ āϤāĻžāϰāĻĒāϰ āĻĻ⧇āĻ–āĻžāύ⧋ āĻšā§Ÿā§‡āϛ⧇ āĻāχ āϏāĻŦ āφāχāύ āĻŦāĻĻāϞ⧇ āĻĢ⧇āϞāĻžāϰ āϜāĻ¨ā§āϝ āϕ⧀-āϕ⧀ āϝ⧁āĻ•ā§āϤāĻŋ āϏāĻžāϜāĻžāĻšā§āϛ⧇ āϏāϰāĻ•āĻžāϰ⧎ āφāϰ āϏ⧇ āϝ⧁āĻ•ā§āϤāĻŋ āϕ⧇āύ āĻ—ā§āϰāĻšāĻŖā§€ā§Ÿ āύ⧟āĨ¤ āϏ⧇āχ āϏ⧂āĻ¤ā§āϰ⧇āχ āĻŦā§‹āĻāĻž āϝāĻžāĻŦ⧇ āϕ⧇āύ āĻāχ āĻŦāĻĻāϞ⧇āϰ āĻŦāĻŋāϰ⧋āϧāĻŋāϤāĻž āĻ•āϰāĻž āĻĻāϰāĻ•āĻžāϰāĨ¤ āϤāĻžāχ āĻļ⧇āώ⧇ āĻŦāϞāĻž āĻšā§Ÿā§‡āϛ⧇ āĻāϰ āĻŦāĻŋāϰ⧋āϧāĻŋāϤāĻžā§Ÿ āĻļā§āϰāĻŽāĻŋāĻ•āĻĻ⧇āϰ āϕ⧀ āĻ•āϰāĻŖā§€ā§Ÿ, āϤāĻž-āχ āύāĻŋā§Ÿā§‡ā§ˇ āϏ⧁āĻ–ā§āϝāĻžāϤ āĻŦāĻŋāĻļā§āϞ⧇āώāĻ• āĻļ⧁āϭ⧇āĻ¨ā§āĻĻ⧁ āĻĻāĻžāĻļāϗ⧁āĻĒā§āϤ⧇āϰ āĻāχ āϛ⧋āĻŸā§āϟ āĻŦāχāϟāĻŋ āĻ āϏāĻŽā§Ÿāϕ⧇ āĻŦ⧁āĻāϤ⧇ āϜāϰ⧁āϰāĻŋāĨ¤

     20.00
  • Shyamali Khastgir (1940-2101) was an artist and one of the leading social activists in the sphere of environment, anti-nuclear campaign, and other important concerns of life and nature.
    This series of drawings is the first one of the twin e-albums of Shyamali from a personal collection, presented here for the first time.

     45.00
  • Shyamali Khastgir (1940-2101) was an artist and one of the leading social activists in the sphere of environment, anti-nuclear campaign, and other important concerns of life and nature.
    This series of drawings is the first one of the twin e-albums of Shyamali from a personal collection, presented here for the first time.

     45.00
  • AMRIT GANGAR
    cinema. culture. capital context: india

    This book examines and reflects upon a wide range of issues relating to Indian cinema, including the filmosophical ones that have never been touched upon before. The book will appeal to students and scholars of film and cultural studies as well as the general reader interested in reflecting upon the Indian cinema differently.

     225.00
    Version : ebook - hardcopy
  • NIKHIL BISWAS
    Men Women and Other Drawings
    second part: Men

    Compilation of over 50 unseen drawings and related writings from the unpublished diary of this powerful painter, known to be one of the theoreticians and organizers of art movement in 20th century Bengal.

     40.00
  • NIKHIL BISWAS
    Men Women and Other Drawings
    first part: Women

    Compilation of over 50 unseen drawings and related writings from the unpublished diary of this powerful painter, known to be one of the theoreticians and organizers of art movement in 20th century Bengal.

     40.00
  • Sarat Chandra Das
    My Himalayan Journeys

    Sarat Chandra Das was one of the greatest pioneers of exploration and discovery in Tibet in nineteenth century. In 1879 – 82, when Tibet was a forbidden land for foreigners, Das went to Tibet twice in the disguise of a Buddhist lama crossing passes higher than 20,000 ft without the aid of modern mountaineering equipment and surveyed unknown regions of Kangchenjunga massif and Tibet on behalf of British Government of India. Apart from a remarkable contribution on the geographical research, Das, a scholar of Tibetan language and Buddhism, collected and later dispersed huge information on the cultural and social life, religion and politics of Tibet. This book presents Das’s rare travelogues, on how he crossed the Himalayas in both the journeys he made to Tibet. Edited by Tapas Moulik.

     

     50.00
  • PEGASUS Volume on
    Reading and Writing Difference: Gender and Literature

    The present volume offers a rich variety of critical essays on Gender and Literature written by senior teachers as well as young scholars. These essays give the reader an amazing look into the nuanced negotiation of the multifaceted field that is English Studies in India today through the prism of the critical discourse of Gender.

     150.00
    Version : ebook - hardcopy
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