第63集 投稿規程

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4号 表紙 目次

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第26集表紙

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The Revival of Kalighat Paintings and the Transformation of Pat Paintings

In Bengal, India, the Patua or Chitrakar caste has traditionally made a living by painting picture scrolls and narrating stories through images. Some members of this caste continue to practice this unique art form. Pat paintings come in two types: picture scrolls (jorano pat: long pictures) and single-panel pictures (chouka pat: square pictures). While they serve different purposes, picture scrolls were originally intended for storytelling, while single-panel pictures were designed to decorate altars or rooms. The painters of picture scrolls often depict fragments of Hindu mythology from the great epics Ramayana and Mahabharata, as well as stories of divine miracles. They also illustrate Islamic saint (pir) worship, the life of Jesus Christ, and various historical and social events. While picture scrolls are not sold, single-panel pictures, such as Kalighat paintings, are created for commercial sale. As door-to-door storytelling has declined, picture scrolls are now primarily produced for sale.　Kalighat paintings became popular in the early 19th century, created by painters who migrated from central and southwestern Bengal to the Kalighat Temple area in Kolkata. Initially, these paintings served as souvenirs for worshippers and visitors. However, in the latter half of the 20th century, demand for Kalighat paintings sharply declined due to the rise of modern printing technology and oil paintings, leading to their eventual fall. After a long hiatus, Kalighat paintings were revived around 1995 by K. Chitrakar, an artist from the Murshidabad district. Today, many painters in N village in the Medinipur district produce and sell them. This paper, based on materials from my recent survey, examines the background of this revival and the transformation of Kalighat paintings. Early Kalighat paintings were made using handmade pigments on rough, handmade paper. Over time, artists began using imported watercolors and factory-made paper, which enhanced productivity. Kalighat paintings are easily distinguishable from picture scrolls. While some subjects overlap, Kalighat works often satirize the changing lives of urban residents and the decline of traditional morals under Western influence, showcasing a unique and humorous style.　Distinctive features of Kalighat paintings include the use of shadows, rounded forms, and the absence of background paintings and borders. In contrast, picture scrolls typically depict detailed backgrounds and bordered forms without shadows. Painters in N village understand these stylistic differences; however, rather than strictly replicating traditional Kalighat art, they often incorporate background paintings and borders that are not part of the original style, sometimes omitting shadows, which are an important element of Kalighat paintings. This indicates a transformation of Kalighat art, as some styles of scroll painting have been integrated. Today's artists appear more focused on self-expression than on mere imitation of their predecessors. Many contemporary painters find themes of satire and wit in modern society, suggesting that Kalighat painting can articulate numerous contemporary issues. As a result, it is likely that new themes will emerge in the future, leading to further transformations in Pat painting.departmental bulletin pape

Research into the life stories of people committed to third places 1 - Focusing on the process of building third places-

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【資料紹介】 ロシアにおけるホーム・エデュケーション：K.N.ポリヴァノヴァ、D.R.アフメジャノワ、K.A.リュビツカヤ、D.S.ストルーコヴァ著 「ロシアにおけるオルタナティブ教育の選択: 家庭の動機と社会的特徴」（解説と翻訳）

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【Special Report】The Current Situation and Challenges of Citizenship Education in Primary and Secondary Schools in Hong Kong

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Focus on "Amae" in Clinical Practice:Consideration from Doi's View of Treatment and the “Torokashi” Technique by Heisaku Kosawa

This study aims to determine the nature of Takeo Doi’s clinical practice, which is centered on the “Amae” Theory. In this study, the articles discussing Doi’s treatment of “Amae” in his clinical practice were reviewed and his theory of treatment was organized. As a result, a therapeutic mechanism was observed in the early Doi, whereby the patient is put into a state of “wanting to be spoiled but not being spoiled,” thereby restoring a sense of “self” and overcoming “Amae.” This observation was significantly different from the treatment theory and “torokashi” technique of Heisaku Kosawa, which Doi criticized. However, Doi’s theory of treatment has changed along with his changing sense of “Amae.” It became clear that the aim of Doi’s treatment theory in his later years was to address the conflicts and emotions contained in “Amae” by finding them while the therapist identifies with the patient.departmental bulletin pape

第63集 目次

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ホームスクーリングの現状とグローバル化の影響

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