Journal of Bengal Art: Volume 17

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Susan L. Huntington.1. Bengal’s artistics legacy at home and abroad: Atisa and other connections with Tibet/Susan L. Huntington. 2. Towards understanding the Buddhist environment in two Brahmanical settlement zones from some unpublished Buddhist antiquities of erstwhile West Dinajpur, West Bengal/Ranjusri Ghosh. 3. Residential Madrasa cim mosues in Mughal Dhaka and their characteristic features/Ayesha Begum. 4. From Candragupta II to Kumaragupta I: styles in the patterning of Gupta coin designs/Ellen M. Raven. 5. Understanding glimpses from the Caryapadas on cotton carding and their probable bearing on seaborne trade and commerce of early medieval Bengal (c.9th/10th century C.E. to 13th)/Krishnendu Ray. 6. Sunga pots from Chanraketugarh: masterpieces of ancient Bengal/Gourishankar De. 7. Picturing deities and everyday life: Kantha, embroideries from rural Bengal/Helmut F. Neumann and Heidi A. Neumann. 8. Harikela coins: study of the bull depiction/Amit Kumar Upadhyay. 9. The rural woman of Kalna and their syncretic fair of Majlis Sahib Art and culture/Shamir Isha. 10. The Mandala temples in Paharpur, Mainamati and Vikramasila: a new interpretation/Adelheid Herrmann Pfandt. 11. The representation of Goddess Tripurasundari in Bengal in the context of the formation of Vaisnava and Bengal identity/Madhu Khanna. 12. Woman and tree motif in Chandraketugarh art/Subhradip De. 13. Contribution of the polished thin section method to investigate the surface coating technology of archaeological pottery/Dilruba Sharmin and Fumio Okada. 14. Did Magaradhavaja Yogi ever visit Bengal? a case study of three image inscriptions from Bangladesh/Susmita Basu Majumdar and Vishi Upadhayay. 15. Animal mammals representation in Somapura Mahavihara in Situ Terracotta plaques/Muhammed Shohrab Uddin and Sharmin Rezowana. 16. The unpublished Balarama Ekanamsa Vasudeva image from Patnitola/Mokammal H. Bhuiyan. 17. Qut buddin A’zam, Nasiruddin Ibrahim and Ghiyasuddin Nusrat, three new rulers of Sultani Bengal: their identification and chronology/M. Rezaul Karim. 18. Ten representative houses of Panamnagar, Sonargaon: an aesthetical analysis/Shikoa Nazneen and Syed Mohammad Kamrul Ahsan. 19. Bell and chain decoration in Sultanate architecture of Bengal/Khoundkar Alamgir. 20. Nari Kunjara motif in Bengal art/Shyamalkanti Chakravarti. 21. Art and culture: a study in Persian manuscriptology/Syed Ejaz Hussain. 22. Excavated Buddhist monasteries of Bangladesh: status of measurement records and their mode of constructions/Nasir Uddin Mobin.

ABOUT THE AUTHOR Enamul Haque

Professor Enamul Haque had his M.A. in History (Archaeology Group) from Dhaka (1960), Diploma in Museology from London (1964) and Doctorate in South Asian Art from Oxford (1973). For three decades since 1962 he served the Dhaka Museum and rose to be the Founder Director General of the Bangladesh National Museum, developing it to be the largest Museum in the Third World. He was for a year (1990) Secretary-in-charge of the Ministry of Culture of Bangladesh. He also taught Art History, Museology and National Heritage in the universities of Dhaka and Jahangirnagar, Bangladesh University of Engineering & Technology, and the Independent University at Dhaka. An organizer of exceptional ability, he is the Founder Chairman (since 1995) and Academic Director of The International Centre for Study of Bengal Art (ICSBA) at Dhaka, convened four International Congresses on Bengal Art (1976, 1997, 1999 and 2001) and edits the Journal of Bengal Art. He was honoured by the Asiatic Society of Calcutta with the award of the Rama Prasad Chanda Birth Centenary Medal (1993) for his "conspicuous contribution in art and archaeology of Bengal". Earlier, the Asia Society of New York honoured him by electing as their Honorary International Councilor (1986-92). He served as the President of the International Council of Museum (ICOM) Asia Pacific Organization (1983-86). Among his publications, notables are Islamic Art Heritage of Bangladesh (1983) and Bengal Sculptures: Hindu Iconography (1992), the latter being a quantitative assessment of nearly two thousand sculptures now preserved in different parts of the world.