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According to a critic, \"Jaya stands apart and single-mindedly continues to paint the kind of pictures that distinguishes her from being a mere performer. This is due to her commitment and serious approach to her work.\" More than any other thing that one can notice about Jaya is that she represents a generation which confronts contemporary art with individuality and daring. Her pictures bring into view her own style and she has her own imperatives. In the world of art, Jaya\'s work stands out for its obvious concern with the aesthetics in art rather than commercial success. She is rated as one of the top painters and front-runners of the Bengal art scene that has produced some of country\'s finest talent. Powerful and enigmatic figures that brim with earthy energy, raw and powerful. Jaya works with broad and sure brush strokes done in a spectrum of rich colors. The sure color strokes stand out and her work evokes the feeling that the world is full of organic tones that seem to breathe with a life force of its own. The figures look massive and primitive, voluminous and these qualities give her figures a distinctive character. Dark men and women sitting in a closed world of their own seem to brood, looking into themselves with an enigmatic air. Her figures have structural compositional values and they seem to be full of tension and force. Jaya Ganguly asserts that she is not a hard-core feminist, but being a woman she looks at the world with a woman\'s point of view. Her work seems to be about men and women both, as one cannot be without the other. Women from orthodox and bourgeoisie backgrounds, women who survive a monotonous and placid existence are a part of her pictures. They not only show women are oppressed, but also the men who live around them are suppressed with outdated beliefs, rituals, convention which bind the bourgeois society with high walls all round. The depth, intensity and even wisdom of the ordinary subjects living ordinary lives in her paintings have been commented upon. Jaya attracts and repels at the same time, her figures are lethargic, unfathomable and deep, victims and survivors. Her canvas radiates volumes of energy. Her color, line, form and moving mass, thick and voluminous figures. The physical energy felt with excessive overtone turns into primitive force. Jaya Ganguly\'s multiple laying of line and color is interesting. An element of surprise in her work is the quasi-abstract quality. Black and indigo add dynamism and highlight the work. Jaya says her paintings are a strand of thought. A product of Indian Art College of Kolkata, she has had a number of shows in New Delhi, mumbai and Kolkata including the festival of India in Sweden in 1987.
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Jogen Chowdhury is known for his ability to successfully marry traditional imagery with the zeitgeist of contemporary painting, in a skillful blend of an urbane self-awareness and a highly localized Bengali influence. His early works show an attention to figuration that carries through in his current pieces. In an interview, Chowdhury commented that, in his early works, "the space projected a simple iconic presence. A spatial sequence was worked out but the space was not complex. The background seemed to vanish." Anshuman Dasgupta describes these works as more iconic and more dramatized; per contra, Chowdhury describes his later works as "now more personalized and subtle". During his college days, Chowdhury took part in leftist literary circles, the members of which dismissed Rabindranath Tagore as a bourgeoisie and became interested in the works of Russian authors. But by and large, Chowdhury kept himself apart from cultural movements: though a friend of the members of the Hungry Generation, his imagery was drawn from his cultural background more than his intellectual milieu. Born in 1939 in Faridpur, Bengal, Chowdhury studied at the Government College of Art and Crafts, Kolkata, from 1955-60, followed by a stint at L'Ecole Nationale Superior des Beax-Arts, Paris, in 1965-57 on a French Government Scholarship. His recent solo exhibitions include 'A Calligraphy of Touch and Gaze', presented by Kalakriti Art Gallery at ICIA, Mumbai, in 2008; and ‘Abahoman: Flowing Life’ at Vadehra Art Gallery, New Delhi, in 2007. Chowdhury has also had solo exhibitions at Gajah Gallery, Singapore; Gallerie Foundation for Indian Artists, Amsterdam; and the Fine Art Resource, Berlin. In 1966, Chowdhury was awarded the Prix le France de la Jeune Peinture in Paris, and, in 1986, received an award at the Second Biennale of Havana, Cuba. He was presented the Kalidas Sanman by the Government of Madhya Pradesh in 2001, Banga Bivushan 2012.
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A true Bengali poly-math, Jyotirindranath was all in one; a brilliant playwright, a musicologist, a lyricist, a composer, a painter, an editor, anda scholar. Born in Jorosanko, Calcutta, in the year 1849, Jyotirindranath was elder to the prodigy of the generation, Rabindranath Tagore. Jyotirindranath was home-schooled by his elder brother Hemendranath, when he began his education. He pursued Fine Arts and then gradually became drawn to the performance arts section of the stream. He pursued studying theatre and began to practice and stage plays that he wrote, at his family home, in Jorosanko. Jyotirindranath and Rabindranath’s cousin, Ganendranath, established the Jorasanko Natyasala in 1865. The first play that was staged there was not writter by him. It was the celebrated play “Krishnakumari” by another stalwart of the time, Michael Madhusudan Dutta. Jyotirindranath’s taking part in the play in the role of Ahalyadevi, a brave queen, drew him closer to the stage and ever since he had the aspirations to become a playwright. His works include plays like Purubikram (1874), Sarojini (1875) – both of which features songs written by Nobelauriet Rabindranath— other than that, Ashrumati (Woman in tears, 1879), and Swapnamayi (Lady of Dream, 1882). Jyotirindranath moved to his elder brother Satyendranath’s Ahmedabad recidence in 1867. He spent most of his time there learning to play the sitar, and trained in his artistic practices, including learning to paint and draw. During this time, he produced around 2,000 sketches. These works by Jyotirindranath Tagore are preserved at Rabindra Bharati University. He also learnt two languages, French and Indian. Jyotirindranath was a brilliant scholar and translator as well. While he spent his days with his elder brother in Ahmedabad, he completed translating several books, among which Shakespeare’s Julius Caesar and Marcus Aurelius’ Meditations were notable. He translated many other novels, as well as publications on plays, philosophy, history. He translated from English and French to his mother-tongue, Bengali. His language skills were impeccable, be it English or French or Bengali. Gradually he worked with many Sanskrit dramas as well, and translated the works. Among them is Kalidasa’s Shakuntala which he translated from Sanskrit into Bengali. He was celebrated for his satires on social evils. Jyotirindranath is notable for another breakthrough work in Bengali literature, he founded the celebrated “Bharati” magazine with with his brother Dwijendranath. He was a brilliant musiologist. He played the piano bautifully. He was especially skillful with playing harmonium, violin and sitar. He was majorly responsible for Jorasanko’s musical atmosphere. He would always compose a music to which his friend Akshay Chandra Chaudhuri would find the words and later on, his dear brother ‘Rabi’. Jyotirindranath once, from 1869 to 1888, held the position of the secretary of Adi Brahmo Samaj. And he helped organising the Hindu Mela in Kolkata. He also wrote the opening song for the occasion, titled ‘Udbhodan,’ in 1868. Moreover, he was claimed to have instituted the secret society called Sanjibani Sabha in the year 1876. The nationalistic approach of the secret society was dedicated for the betterment of the country.
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K G Subramanyan was prolific in his art. In his personal life he is an quintessential writer, scholar, teacher and art historian. He is someone who spanning the spectrum of mediums from painting to pottery, weaving, and glass painting. He believed in the value of Indian traditions and incorporated folklore, myth and local techniques and stories into his work. He was an inspiration to generations of students as a member of the Baroda M S Fine Arts Faculty. His focus there in later years was on terracotta and pottery. Subramanyan was one of the leading artists who was part of India’s post-Independence search for identity through art. He was born in Kerala on 15 February 1924, He completed his Bachelor’s Degree in Economics from the Presidency College in Chennai. In 1948, he graduated from Kala Bhavan in Santiniketan, where he studied under the tutelage of Benode Behari Mukherjee, Nandalal Bose and Ramkinkar Baij. In 1955, he received a British Council Research Fellowship to the Slade School of Art at the University of London. He has been exhibited over fifty solo shows, including exhibition by the Seagull Foundation for the Arts in collaboration with the Jehangir Art Gallery, Mumbai, and the Harrington Street Arts Centre, Kolkata.
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K. Muralidharan (b.1954) An alumnus of the College of Arts & Crafts, Chennai (post Diploma in Painting), K. Muralidharan has over the years evolved a highly individual style of painting. His works are constantly in demand by art galleries and art lovers. He has been awarded multiple grants and scholarships: Govt. of India Cultural Fellowship – Senior; “Guest Artist” Glasgow School, Scotland; “Guest Artist Student” at the Stockholm College of Art, Sweden from Swedish Institute; Lalit Kala Akademi Research Grant; Govt. of India Young Artist Cultural Scholarship in Painting. He is the recipient of the National Award 1994, Tamil Nadu State Lalit Kala Akademi Award 1979 & ’86, Chitrakala Parishad, Bangalore and Orissa Lalit Kala Akademi 1987. A participant in numerous art camps including Prof.Paul Lingren’s graphics camp in India and in China, Malaysia and Thailand, he has also held solo shows. Muralidharan has taken part in several prestigious group shows such as VII Triennale India 1991, I & II Bharat Bhavan Biennale 1985/87, National Exhibitions 1980-94, in India, and Sweden and Scotland. His paintings find place in the collections of many important institutions like Lalit Kala Akademi, NGMA and galleries and art lovers.
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K. S. Radhakrishnan born in 1956 and studied at Kottayam and later joined Kala Bhavana at Visva Bharati University, Santiniketan. Awarded a national scholarship from the Government of India, he took a Bachelor of Fine Arts from Santiniketan. Winning Calcutta’s Birla Academy of Art and Culture’s annual exhibition, Radhakrishnan won the award for best sculpture and was awarded a research grant from Lalit Kala Akademi, New Delhi, to work at Garhi Studios, New Delhi. He has exhibited extensively and several of his sculptures are installed around the world – two open air sculptures at Bikaner in Rajasthan, a sculpture at India House, London, among others. He has worked at Studio Obsonvile, France and also participated in the Triennale organised by Lalit Kala Akademi, New Delhi. In 1983, he held a solo exhibition at the Jehangir Art Gallery, Mumbai. Over the years, Radhakrishnan has experimented with alternate sculpting mediums,working in molten bronze, beeswax and plaster of paris, where the tactile,physical process of working with the material becomes an essential part of the creation process.
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Born in 1937, in erstwhile Bengal, Lalu Prasad Shaw received a Diploma in painting from the Government College of Arts and Crafts, Kolkata, in 1959. He has exhibited extensively in India and abroad since 1956, and some of his most recent solo shows include ‘Looking in’ at Galerie 88, Kolkata, in 2011-12; ‘Graceful Silence’ and ‘Sepia Notes’ at Art Musings, Mumbai, in 2011 and 2007; ‘The Myriad Minded Artist’ at Gallery Sanskriti, Kolkata, in 2008; and ‘Painting’ at the Centre for International Modern Art (CIMA), Kolkata, in 1995. His work has also been featured in several group shows, and he has participated in art festivals and fairs all over the world since 1956. Shaw has received many awards, including the West Bengal State Lalit Kala Akademi Award in 1959, and the Birla Academy Award, Kolkata, in 1975-78. The artist lives and works in Kolkata.
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Madhvi Parekh is an eminent self taught artist. She was born in 1942 in Sanjaya - a small village in GujaratIn 1957, at the age of fifteen, she married Manu Parekh, an Indian artist who studied at the JJ School of Art. They moved first to Ahmedabad, then Mumbai where she did a course in Montessori training. In 1964, they then moved to Kolkata where they lived to 1965 before moving to New Delhi.She started painting in the 1960s.n 1968, Madhvi exhibited her work for the first time at the Birla Academy in Kolkata. One of her paintings was selected to be in the annual show of Lalit Kala Akademi and then purchased by the national institution helping to launch her career.he explored the possibility of depicting her childhood memories through her paintings, where images of fantasy and early days are woven into her entire work, which lend it a surreal, dreamlike quality. Her contemporary style of work get inspiration from rural India. Beginning with many solos, Madhvi participated in notable group shows such as, Play Turkey and Yugoslavia in 1985, Watercolours by Four Women Artists, Bharat Bhavan, Bhopal in 1987 and Jahangir Art Gallery, Mumbai in 1987.
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Manish Pushkale was born in Bhopal in 1973. Inspite of being a trained geologist, he also studied art at the Art College in Bhopal, and receives his Master’s degree from there. His art is intrinsically linked with the mythological, without making overt references to the same. A subdued colour palette lends a lingering calm to his works. However, on a closer examination, the motifs and symbols in his art come to light, giving it different meanings. Subtle brush strokes and shading create multi-layered meaning. He has done several solo shows include 'Serendipitous Encounters' at Aicon, Palo Alto, in 2009; ‘Unveiling’ at Bodhi Art, Mumbai, in 2007; and ‘Japa’ at Bodhi Art, New Delhi, in 2006. His work has also been featured as a part of several group exhibitions including 'Vicissitudes of the Constructed Image' at Tangerine Art Space, Bangalore; 'Think Small' at Art Alive Gallery, New Delhi; 'Entity' at MEC Art Gallery, New Delhi; 'Deep In Black' at Galerie Muller and Plate, Munich, all in 2009; 'Empty and Full' at Aakriti Art Gallery, Kolkata; and 'Point and Line to Plane VI' at Gallery Beyond, Mumbai, both in 2008. Pushkale was also a recipient of the S.H. Raza Foundation Award in 2003.
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He has born in 1939 in Ahmedabad, Gujarat, and completed his Diploma in Drawing and Painting from the Sir J.J. School of Art, Mumbai, in the year 1962. His early work portrays the relationships between man and nature. The artist also points out that, since then, contradictions have formed the basis of his artistic practice, no matter the subject or genre of his works. Initially he has been acting on stage in Bombay, also worked as a stage designer in Ahmedabad. Joined Weaver’s Service Centre, Bombay,as an Art Designer, 1963. Design Consultant for Handicraft and Handloom Export Corporation of India in Culcutta, 1965-74 and in Delhi, 1974-1989. Banaras plays an important role in his life and also in his work after his first visit there following his father’s death. This holy city of hope, of faith, of tourists offered him a vast number of contradictions in one location. Parekh also highlights his relationship with his wife Madhvi, who is a self taught artist. One can find Picasso's influences on his works. His first solo exhibition of graphics and paintings in Ahmedabad in 1968. His most recent solo shows have included ‘Banaras – Eternity Watches Time’ presented by Saffronart and Berkeley Square Gallery, London, at Jehangir Art Gallery, Mumbai, in 2007; 'Banaras' at Vadehra Art Gallery, New Delhi, in 2004; 'Portraits of Flower and Landscapes of River' at Jehangir Art Gallery and Tao Art Gallery, Mumbai, in 2003; 'Ritual Oblations' at Rabindra Bhavan, New Delhi, Sakshi Gallery, Bangalore, and Sakshi Gallery and Jehangir Art Gallery, Mumbai, in 1999; and 'Small Drawings' at Sophia Duchesne Art Gallery, Mumbai, in 1991. Parekh has also had solo shows at Bose Pacia Modern in New York and at ARKS Gallery in London. He has received the President of India's Silver Plaque and the All India Fine Arts and Crafts Society Award, New Delhi, in 1972; the National Award from the Lalit Kala Academy, New Delhi, in 1982; and the Padma Shree from the Government of India in 1992.
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My work directly reflects my background. The Sundarbans area of West Bengal, is my birth place and in that deltaic landscape it is difficult to travel on foot. One has to cross several rivers as a means of daily commuting. As a boy on my way to school, I was fascinated by the reflections of objects, boats, people, falling on the placid water of the creeks and inlets and ponds in this area. During this time of the ebbing and flowing of the tides, the shadows that fell on the water surface fascinated me. So, when I began to work as a full-fledged artist, all I wanted to depict was this phenomenon of shadows falling on the water surface. But the challenge before me were how to reflect a hollow pond and the character of the water? The reflection of the tree, so that one could see the change in the contours of the form? Also the depicting quivering effects of reflection on the surface was another of my concerns. In course of time, I also began to link the physical phenomena with my philosophical reflections. I related the quivering surface to a man’s chetana (thinking power). I found that the unrest of questioning minds, the gentle nature of the challenge, and the tenderness of thought could only be reflected thought this technique, where as the blooms on the banks could form the mirror images quivering in the water below. Before long I improved upon this idea and created the lapping of waters around the plants through a slide bend in the forms. I generally use bronze as a medium, it is impossible to depict the landscape in another medium. My initial attempts to depict the scene was through forms such as boats, children swinging from mangrove branches, roots, lotus blooms etc. Now my space has move beyond the physical dimensions and serves as a commentary on the unrest in society and the vulnerability of man within that surrounding. MrinalKantiGayen Asstt. Professor Govt. College of Art & Craft, Calcutta Born on: 18 Jan, 1971, at Kakdwip, West Bengal EDUCATION 1996 Graduate (B.V.A.) in Modelling & Sculpture, Govt. College of Art & Craft, Calcutta, 2003 Post Graduate (M.V.A.) in Modelling & Sculpture, Govt. College of Art & Craft, Calcutta,
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Nikhil Biswas was born in Kolkata, he was an art activist and a firm believer in collective action. A founder member of the Calcutta Painters Group and The Society of Contemporary Artists. He has completed his diploma in Fine Arts from the Government College of Arts and Crafts, Kolkata. ate artist dealt with reality per se and portrayed images that showed the essential loneliness of the human spirit.orking as an illustrator for Bengali news weeklies Darpan and Janasebak Saptahik, and in search for significant images to express the political and social turmoil of his time, Biswas proclaimed humanist preoccupations. His work was a testimony to humanistic ethics. Filled as much with gestures of struggle or pain, as they were with the rebellion against the very suffering they depicted, the paintings were deeply related to his moods. His quest for the root of our existence led him to a point where he felt that dehumanization became the natural order of things. He removed himself from the decorativeness of contemplative Indian art. His monumental rolling pictures show his interest in murals. With all its contemplation, his work is very powerful and intense. Though concerned with having to earn his living, he was keen on creating a body of realistic art that was national in its scope and color. His works travelled abroad and were exhibited in Europe. Some of his drawings are in the permanent collection of the Halle Museum in Dresden, Germany. Despite a very short life span the artist produced around ten thousand works, mostly black and white drawings on paper.
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Partha Shaw is a painter who schooled in Santiniketan - a place steeped in artistic tradition and history, generated by masters like Nandalal Bose and the Tagores, and enhanced by modern and contemporary artists like K.G. Subramanyan, Sunil Das and DharmanarayanDasgupta. It was in Santiniketan that Partha Shaw developed his imagination and creative vision. But even though Shaw had this rich and overflowing background to borrow from, he like most of the other artists there, decided to create a style of his own and add to the heritage he learnt of, rather than make use of it. Here, he could also closely study nature and the works of the great Indian masters. Taking off from the unique Indian miniature, Shaw gave shape to his personal vocabulary of artistic expression, which is characteristically Indian and at the same time is loaded with modernity. Shaw works mainly with landscapes, but handles them in a very contemporary fashion. Instead of using abstract methods of representation, Shaw, along with some other Bengal artists, has used figures in his paintings to represent what he wants. This movement has very aptly been termed \"Figurative Symbolism,\" a conscious effort to exhort the virtues of the non-abstract. Shaw explains his work and inspiration, \"Born in the decaying, overcrowded, bustling Kolkata, the profound stillness of shabbily ornamented, architectural remains, that seems to be lost with the upcoming of modern times traverses through my subconscious thus forcing an emergence of mystery and fantasy conjugated in the human presence. The glory that the Indian miniatures carried lost its importance with the roll of time. My searches always tend to glorify this lost gold on a surface that dictates a torn survival in somber darkness. Nowadays I am trying to incorporate traditional Indian miniature art with contemporary modern art. My medium of painting is acrylic. To portray the architectural loneliness I also use some graphical qualities.\" Partha Shaw was born in Kolkata in 1971, and received his BFA and MFA from the VisvaBharati University, Santiniketan. So far most of his showings have been in his own city, the exceptions being a couple of exhibitions in New Delhi. Shaw`s first solo show was held in 1995, and hopefully this young artist, who already has an artistic movement to his credit, will see many more years of fruitful career awaiting him.
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She is a practicing artist, a facilitator, and an art consultant. Piu has her way with words and she perfectly translates her thoughts into the imageries she uses. She is a frequent columnist writing about diverse topics on Art Education and her articles are published in various magazines across India as well as in Virginia, United States. She is an enthusiast of children’s illustrations and she likes to write for her younger audiences and readers. Piu Mahapatra is an alumna of Kala Bhavan, Shantiniketan. Presently living in United States, Virginia, she frequents her hometown in Kolkata.
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Prabhakar Kolte's early work shows the strong influence of Paul Klee. Indeed, Klee`s influence was felt by many of Kolte`s classmates studying at the J.J. School of Art in the late 1960s. Kolte`s debt to Klee can be seen in his technique of weathering his stronger colors, adding touches of white to age the effect of an otherwise bold hue. Initially, his canvases are characterized by a single, dominant color in the background, on which lighter and more complex forms are placed, both geometric and organic. He acknowledges his early debt to Klee, he stated - "In those days people used to call me the Indian Paul Klee. It didn`t really bother me because I was busy searching for myself." In the early 80s, his work took a new direction as Kolte began experimenting with installation and several art pieces. In one piece, he covered a car with newspaper; in another, he painted a volunteer black and entitled him "A Man Without Shadow". Such off-the-canvas experiments allowed him a free space to play with abstract ideas of color and form outside the shadow of Klee`s influence. On working on canvasses, he sought to "immediately cover up any identifiable image, making sure that my forms would function as pure colour in space." His most recent works show a glossier, finished approach to his early themes in paintings. The strong ground colour remains, but this time both it and the forms overlaid onto it retain a crispness in line and colour: the "weathering" inherited from Klee has dropped out in favor of more finished - and thus more abstracted - fields of colour. Kolte spent twenty-two years teaching at his alma mater, the .J. School of Art. He retired in 1994, and now he devotes his time mostly to painting.
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Born in Kolkata, 2nd October, 1971.
Studied : Govt. College of Art & Craft, Kolkata
Kala Bhavana, Visva-Bharati, Santiniketan
Scholarship : National Scholarship (1996-98)
Solo Exhibition : Academy of Fine Arts, Kolkata (1998)
Art World, Chennai (2005)                                
Major Participations : (Total more than Seventy five)
* 42nd and 45th Lalit Kala National Exhibition (2000 & 2002)
* Biswa Banga Sammelan (2000)
* Annual Exhibition of Birla Academy of Art & Culture,Kolkata(1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010)
* Rabindra Bhavan, Lalit Kala, New Delhi (1999, 2002, 2003, 2004, 2007,2013)
* Guild Art Gallery, Mumbai (1998)
* ‘in-art’ Gallery, Germany (2007)
* ‘Distance Window’, Dhaka, Bangladesh (2009)
* Art Mosaic, Singapore (2005)
* ‘Figure in Nature’ (2006) and ‘Agony and Astasy’ (2007) group show organized by Birla Academy of Art & Culture
* ‘Legend of India’,I.C.C.R. Kolkata (2008)
* Kolkata Town Hall (2009) 
* Jehangir Art gallery,Mumbai(2005,2011)
* Nehru Centre, Mumbai (2006,2008)
* Emami Chisel Art Pvt. Ltd. Kolkata.(2011,2013)
* I.C.C.R.Kolkata (2012)
* Gallery La mere, Kolkata(2002,2013)  
Present Position : Assistant Professor in Painting, Govt. College of Art & Craft, Calcutta since 2000.                                          
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