উদীয়মান ও অবক্ষয়ী পুঁজিতন্ত্রে শিল্প: একটি সংক্ষিপ্ত বয়ান

D`xqgvb I Aeÿqx cyuwRZ‡š¿ wkí: GKwU mswÿß eqvb

‡jLK: gvK© nv‡qm                       Abyev`: m g AvRv`

Òbqv wk‡íi weKv‡k, Gi mKj Drmvejx wPwýZKi‡Y, c‡_i GKwU mgv‡jvPbvg~jK D™¢vmb w`‡q me‡P‡q cÖMwZkxj cÖeYZvmg~n‡K mnvqZvKi‡Y gvK©wmq c×wZ GKwU my‡hv‡Mi ‡hvMvb †`q, wKš‘ GwU Zvi †_‡K †ewk wKQz K‡i bv| wkí‡K Aewk¨ Gi wb‡Ri c_ ˆZix K‡i wb‡Z nq Ges Gi wb‡Ri Dcvq Øviv|Ó (Îrw¯‹, wk‡íi cÖwZ KwgDwb÷ bxwZgvjv, 1923)

Òms¯‹„wZi me‡P‡q RwUj, me‡P‡q ms‡e`bkxj Ask n‡jv wkí Ges GKB mg‡q me‡P‡q Kg iwÿZ, ey‡R©vqv mgv‡Ri A‡avMwZ Ges cwiÿq (decline and decay) †_‡K GwU me‡P‡q †ekx †fv‡M|Ó (Îrw¯‹, Avgv‡`i hy‡Mi wkí I ivRbxwZ, 1938)

1| cyuwRZ‡š¿ wkí

cyuwRZ‡š¿i DÌvb Drcv`‡bi Af~Zc~e©, GLb ch©šÍ AKíbxq kw³mg~n AevwiZ K‡i †`q| GwU Aw¯ÍZ¡vqb K‡i bqv Abyf~wZmg~‡ni, bqv fvemg~‡ni, †m¸‡jv‡K cÖKvkKi‡Y wkíx‡`i Rb¨ bqv Dcvqmg~nmn| `ywbqvi mgMÖ f~c„‡ô Drcv`‡bi GB bqv ai‡bi m¤úªmviY Ges gvbe AwfÁZvi mKj †ÿ‡Î Gi cÖ‡ekb (penetration) RvZxq ms¯‹…wZmg~n Ges ¯’vbxq  AcwieZ©bkxj ÷vBjmg~‡ni ga¨Kvi cÖwZeÜKmg~n‡K Ae‡jvcb K‡i, GKwU GKK wek¦ ms¯‹…wZ m„Rb K‡i|

cÖwZwbqZ Drcv`‡bi wecøevqb Ges Drcv`bkxjZv e„w×KiY Øviv cyuwRZš¿ cyivZb, Abgbxq mvgvwRK m¤úK©vejx aŸsm K‡i Ges wkímn mewKQz cY¨vwqZ K‡i| G ch©šÍ ÔkÖ‡×qÕ I Ôm¤§vwbZÕ `ÿ KvwiMi whwb LwiÏv‡ii Rb¨ mivmwi m„Rb K‡ib, ‡mB wkíx Av‡iv †ekx K‡i †eZb‡fvMx gRywi kÖwg‡K iƒcvšÍwiZ nb hvi Drcv`mg~n mivmwi bvg‡MvÎnxb evRv‡i wbwÿß nq Ges cÖwZ‡hvwMZvi wbqgvejxi Aaxb¯’ n‡q c‡o|

wewb‡qvM wn‡m‡e Gi e¨envi A_ev e¨w³ cyuwRcwZi GKvšÍ Rxe‡bi AjsKi‡Yi evB‡i, cyuwRZš¿ mnRvZfv‡e wk‡íi cÖwZ kÎæfvevcbœ| KviY cyuwRi GKK cÖ‡Yv`bvg~jK ej n‡jv Gi wb‡Ri Rb¨ cyuwRi mÂqb, Zv †_‡K wkí wPËwe‡ÿcK| AwaKš‘, †kvlYKvix e¨e¯’v wn‡m‡e cyuwRZš¿ †gŠwjKfv‡e gvbeZvi ¯^v_©mg~‡ni cÖwZ ˆeixfvevcbœ Ges ZvB †miv wk‡íi gvbeZvev`x Av`k©mg~‡ni cÖwZI GwU ˆeix fvevcbœ| GB wkíwU hZB m‡PZb n‡e, ZZB GwU avweZ n‡e cyuwRZvwš¿K mgv‡Ri AgvbweKZvmg~‡ni weiæ‡× cÖwZev‡`| GBfv‡e, gnr wkíxMY Zuv‡`i hy‡Mi Ges †kÖYx Dr‡mi mxgve×Zvmg~n AwZµg‡Y mg_© nb Ges cyuwRZ‡š¿i Acivamg~n I gvbweK Uª¨v‡RwWmg~‡ni weiæ‡× kw³kvjx cÖwZev` M‡o †Zv‡jb (M¨vq‡U, evjRvK, Mqv)|

cyuwRZš¿ I gvbeZvi g‡a¨ GB ‰eixZv (antagonism) cy‡ivcywi `„k¨gvb nqwb Drcv`‡bi bqv ai‡bi cÖv_wgK ch©vqmg~‡n hLb ey‡R©vqv †kÖYx ZLb ch©šÍ mvgšÍZvwš¿K me©vZ¥Kev‡`i (feudal absolutism) weiæ‡× wecøex msMÖv‡g wb‡qvwRZ| gnr wkí GB bqv †kvlK †kÖYxi cÖMwZkxj ˆbwZK I Ava¨vwZ¥K g~j¨‡evamg~n cÖwZdj‡b mg_©| G‡`i kw³ I AvZ¥wek¦vm Ges D`vi c„ô‡cvlKZv ‡i‡bmuvi wkívR©b m¤¢e K‡i †Zv‡j Gi wb‡R‡`i kvmb cÖwZwôZ nIqvi A‡bK c~‡e©B|

2. ey‡R©vqv wecø‡ei hy‡M wkí

ey‡R©vqv MYZvwš¿K wecøemg~‡ni Kv‡j (1776-1848) wkí ZLb ch©šÍ mg_© wQj ey‡R©vqv †kÖYxi wecøex jÿ¨vejx cÖKv‡k, wKš‘ cyuwRZ‡š¿i †bvsiv ev¯ÍeZvmg~n B‡Zvg‡a¨ ¯úó cÖZxqgvb| ‡ivgvw›UKZvev` (‡eøK, M¨vq‡U, Mqv, cykwKb, †kjx, Uvibvi cÖgyL) cÖwZdwjZ K‡i GB Kv‡ji ci¯úi we‡ivax ˆewkó¨, GwU wk‡í mvgšÍ I AwfRvZ g~j¨‡evamg~nB †KejgvÎ cÖZ¨vL¨vb K‡i bv, m‡½ m‡½ wkí I e¨w³i Ici cyuwRZvwš¿K wkívq‡bi wbg©g djvd‡ji weiæ‡× Av‡ewMKfv‡e cÖwZev` K‡i| bqv †kvlK †kÖYxi Ô‡hŠw³KZvÕi (rationality) weiæ‡×, †ivgvw›UKZvev` hyw³ †`q welqxMZ AwfÁZv, Kíbv Ges cÖK…wZi gwngvgqZvi Rb¨, Gi cÖ‡Yv`bv A‡š^lY K‡i ga¨ hyM, cyivY I ‡jvK wkí †_‡K| GwU ivR‰bwZKfv‡e cÖvqB cÖwZwµqvkxj, ‡`L‡Z cðvrc` Avw½K (form) MÖnY K‡i, wKš‘ GwU mywbw`©ó wecøex cÖeYZvi Rb¥ †`q, †hwU AvšÍR©vwZKZvev`x, mvg¨ev`x iƒcKí cÖKvk K‡i (nvB‡b, ‡eøK, evqib, †kjx)| GB cÖeYZvi me‡P‡q cÖMvp KweZ¡gq AšÍ`„©wómg~n ‡_‡K G·‡cÖkwbRg I civev¯Íeev‡`i cieZ©xKv‡ji fvemg~n Ges gvK©mev` I g‡bvwe‡køl‡Yi ZvwË¡K weKvk m¤ú‡K© c~e©vfvm cvIqv hvq|

GKevi GwU ÿgZvq G‡j Ges cÖ‡jZvwi‡qZ HwZnvwmK i½g‡Â Avwef©~Z n‡j, ey‡R©vqv †kÖYx Gi cÖMwZkxj g~j¨‡ev‡ai †cvlvK Ly‡j †d‡j Ges wecø‡ei mvgwMÖK aviYv‡K Kei ‡`q Gi ‡kÖYx kvm‡bi cÖwZ cÖvYNvZx wec` wn‡m‡e| GB ch©vq †_‡K, ev¯ÍeZv Dcjwä‡Z Ges gvbeZvi cÖwZ AvMÖn cÖKv‡k wk‡íi cÖ‡Póvmg~n Awbevh©fv‡e cyuwRZvwš¿K fvev`‡k©i mv‡_ msN‡l© wjß nq|

3. AvaywbK ey‡R©vqv wk‡íi Rb¥

ey‡R©vqv AvaywbK wk‡íi mywbw`©óvwqZ ˆewkó¨ nj GB †h GwU `„k¨gvb nq wVK cyuwRZ‡š¿i Av‡iv cÖMwZkxj weKvk Zvi wkL‡i DcbxZ nIqvi Rb¨ kZ©vejx wn‡m‡e|

        BD‡ivc I Av‡gwiKvi me‡P‡q AMÖmi †`k¸‡jv‡Z ga¨ Ewbk kZK bvMv` wkí cyuwRZ‡š¿i wm×vwšÍK weRq cÖwZdwjZ nq weÁvb I `k©‡b hyw³ev`x, cÖZ¨ÿev`x I e¯‘ev`x (rationalist, positivist and materialist) fvev`k©mg~‡ni µ‡gvbœwZ‡Z, Ges wk‡í ev¯Íeev`x A_ev cÖK…wZev`x (realist or naturalist) `„wófw½mg~‡ni cÖmv‡i| gvK©m I G‡½jm mvwn‡Z¨ ev¯Íeev`‡K wek¦ wk‡íi †kÖôZg AR©b wn‡m‡e MY¨ K‡ib (Flaubert, Balzac, Elliot)| `„k¨ wk‡í (Courbet, Millet, Degas) ev¯Íeev` nj aªæc`x wkí, Ges †ivgvw›UKZvev‡`i ga¨Kvi fvev‡eMev` (emotionalism) I AvZ¥gvwÎKZvev‡`i (subjectivism) cÖwZ cÖwZwµqv| GwU cwie‡Z© mZ¨ I ï×Zvi (truth and accuracy) jÿ¨vejxi `„p †NvlYv †`q,  G ch©šÍ Ae‡nwjZ kÖwgK †kÖYxi Rxe‡bi wZ³ ev¯ÍeZvmg~n Ges cÖwZw`bKvi Rxe‡bi `„k¨vejx wPÎvqb K‡i| †h †Kv‡bv wkí †hwU cywRuZ‡š¿ Rxe‡bi K`vKvi ev¯ÍeZvmg~n wPÎvqb K‡i Zv msÁvbymv‡i ey‡R©vqv †kÖYxi wbKU wecøex Ges cÖZ¨vL¨vZ n‡Z n‡e|

        GB hyM Av‡iv cÖZ¨ÿ K‡i kÖwgK Av‡›`vj‡bi µge„w×, Ges Kv‡RB GwU †gv‡UB Abvðh©Ki bq †h ev¯Íeev` GKwU wecøex cÖeYZvi Rb¥ †`q| GB cÖeYZvwU mywbw`©ófv‡e kÖwgK †kÖYx Ges mgvRZ‡š¿i msMÖv‡gi m‡½ GKvZ¥Zv‡eva K‡i| d«v‡Ýi ev¯Íeev`x Av‡›`vj‡bi †bZv Courbet †NvlYv †`b: ÒAvwg †KejgvÎ GKRb mgvRZš¿xB bB, m‡½ m‡½ GKRb MYZš¿x I GKRb cÖRvZš¿x, GK K_vq, wecø‡ei GKRb cvwU©Rvb Ges, m‡e©vcwi, GKRb ev¯Íeev`x, A_©vr, cÖK…Z m‡Z¨i AvšÍwiK eÜz|Ó

        wkíKviLvbv I bMi mgv‡Ri µge„w×, bqv cÖvhyw³K weKvkmg~n Ges ˆeÁvwbK Avwe®‹vimg~n (d‡UvMÖvwd I AcwUKm), evwb‡R¨i wek¦vqb (Rvcvwb wcÖ‡›Ui cÖfv‡ei †ÿ‡Î ‡`Lv hvq) Ges bqv wk‡íi Rb¨ c„ô‡cvlK wn‡m‡e ga¨ †kÖYxi e„w×Ñ GB cÖcÂwbP‡qi cÖwZ wkívwqZ cÖZz¨Ëi nj B‡¤úªkwbRg (Pissaro, Manet, Degas, Cézanne, Monet)| GwU mZ¨ I ky×Zvi cÖwZ A½xKvi Ae¨vnZ iv‡L, Av‡›`vjb I Av‡jvi welqx Dcjwäi (subjective perception) Ici Av‡jvKcvZ K‡i: ÒhLb cyivZb GKv‡Wwgq ÷vBj e‡j ÔGB n‡jv wewamg~n (A_ev B‡gRmg~n) †h¸‡jvi mnvqZvq cÖK…wZ‡K Aewk¨ wPÎvwqZ Ki‡Z n‡eÕ, Ges cÖK…wZev` e‡j ÔGB n‡jv cÖK…wZÕ, ZLb B‡¤úªkwbRg e‡j ÔGB n‡jv Kxfv‡e Avwg cÖK…wZ †`wLÕ| B‡¤úªkwbq w_g I cÖfve m½x‡Z (Debussy, Ravel) Ges mvwn‡Z¨I (Lawrence, Conrad) †`L‡Z cvIqv hvq|

        GKwU h_v_© AvaywbK ey‡R©vqv wkí Av‡›`vjb wn‡m‡e, B‡¤úªkwbRg nj GKwU Ø›ØvZ¥K weKvk| †i‡bmuvi aªæcw` wkí cÖKvk K‡i GKwU H‡K¨i ‡gŠwjK †eva (an underlying sense of unity) hv D™¢~Z nq wecøex ey‡R©vqv †kÖYxi iƒcKí I AvZ¥wek¦vm (vision and confidence) †_‡K, Ab¨w`‡K B‡¤úªkwbRg cÖwZdwjZ K‡i cyuwRZ‡š¿i weRq Ges wkí mgv‡R e¨w³i GKKvqb (atomisation)| wb‡R‡K welqx A_ev ms‡e`bvZ¥K Dcjwäi Dci wfwË K‡i GwU m½wZc~Y©fv‡e ev¯ÍeZvi cÖwZwbwaZ¡ K‡i ‡RvovZvwji welq wn‡m‡e:

ÒGes myZivs B‡¤úªkwbRg wQj, GK A‡_©, cwiÿq, cwiLÛvqb I `ywbqvi wegvbweKi‡Yi jÿY| wKš‘ GKB mv‡_ GwU wQj ey‡R©vqv cyuwRZ‡š¿i `xN© ÔcÖwZ‡hvwMZvnxb mgqÕ (close season) . . . ey‡R©vqv wk‡íi GKwU ‡MŠiegq Pig cwiYwZ, GKwU †mvbvwj kir, GKwU wej¤^vwqZ dmj (late harvest), wkíx‡`i wbKU cÖvcYxq Awfe¨w³i Dcvqmg~‡ni cÖPÛ mg„w×|Ó   

4| cyuwRZvwš¿K Av‡ivn‡Yi mgvcwb‡Z wkí   

1890 I 1914 ga¨Kvi mgqKvj AwfwnZ Kiv nq Z_vKw_Z Ô†mvbvwj hyMÕ ‘Belle Époque’ or ‘Gilded Age’ wn‡m‡e| GB hyM cyuwRZš¿‡K `„k¨Z cÖZ¨ÿ K‡i Gi me‡P‡q Avkve¨ÄK I cÖvhyw³Kfv‡e AMÖmi Ae¯’vq, we‡klZ kw³kvjx A_©‰bwZK cÖe„w× mnKv‡i †hwU wkívwqZ I ˆeÁvwbK weKvkvejxi De©i kZ©vejx m„Rb K‡i (d«‡q‡Wi Ae‡PZb ZË¡, †Kvqv›Uvg I Av‡cwÿK ZË¡)| wKš‘ c„ôZ‡ji wb‡P GwU nj hš¿YvKi AwbðqZv I msk‡qi hyM, GwU‡Z mgiev` I mv¤ªvR¨ev`x D‡ËRbvi DÌvb N‡U, mgv‡R ivóªxq n¯’‡ÿ‡ci cÖmvi N‡U Ges e¨vcK kÖwgK †kÖYxi msMÖvg ‡`Lv ‡`q: G meB cyuwRZ‡š¿i Mfx‡i µge„w×gvb msK‡Ui mKj jÿYvejx|

            GB hy‡M D™¢~Z wkí Av‡›`vjb (wKDweRg, G·‡cÖkwbRg, wm¤^wjRg) Awbevh©fv‡e GB Ø›Ømg~n cÖwZdwjZ K‡i, GwU GKB mv‡_ cÖMwZkxj ey‡R©vqv wk‡íi PzovšÍ cÖùzUvqb Ges Gi mgvwßi cÖv_wgK jÿYmg~nI cÖKvk K‡i| wKDweRg (Picasso, Braque) cÖ`k©b K‡i me©‡kl ˆeÁvwbK I `vk©wbK ZË¡wbP‡qi cÖfve, GKwU `„wó‡KvY †_‡K welqmg~‡ni eY©bv cwiZ¨vM K‡i GwU Zv‡`i we‡køwlZ, wehy³ K‡i weg~Z© iƒ‡c cybmwbœweó K‡i eûgvwÎK `„wó‡KvYmg~n ‡_‡K| G·‡cÖkwbRg m¤ú~Y©Z ev¯Íeev`‡K cwiZ¨vM K‡i, †fŠZ ev¯ÍeZvi ‡_‡K eis eY©bv K‡i welqx A_© (subjective meaning) A_ev Av‡ewMK AwfZÁZv| GwU cÖfvekvjx mvwn‡Z¨ (KvdKv), m½x‡Z (Schoenberg, Webern, Berg) †hLv‡b GwU HwZwn¨K my‡ijv fve‡K cÖZ¨vL¨vb K‡i †emy‡iv fve I Awg‡ji Rb¨| inm¨ev` I Kíbvi c‡ÿ, ev¯Íeev` I cÖK„wZev‡`i wec‡ÿ cÖZxKev` (Baudelaire, Verlaine) n‡jv GKwU Kvwe¨K cÖwZwµqv, hv‡K cieZ©x‡Z eY©bv Kiv nq Òwejywßi w`‡K avweZ welqmg~‡ni w`‡K GKwU ¯^cœvwqZ cÖZ¨veZ©bÓ wn‡m‡e|

ey‡R©vqv AvaywbK wk‡íi ga¨Kvi GKwU i¨vwWK¨vj cÖeYZv n‡jv GwU wb‡R‡`i‡K †`‡L GKwU bqv wkívwqZ g~j¨‡eva mnKv‡i cÖMwZkxj mgv‡Ri Avfuv Mv`© (avant garde) wn‡m‡e| Zviv hyw³ †`b †h cyuwRZvwš¿K mgv‡Ri AvaywbKvq‡b wk‡íi f~wgKv i‡q‡Q| ‡fZi †_‡K cyuwRZ‡š¿i ms¯‹vivq‡bi m¤¢vebvwbPq wn‡m‡e Dcw¯’Z GB ÔAvaywbKZvev`xÕ Avfuv Mv`©I cÖvq mgvwßi w`‡K| we‡klZ BZvwj I ivwkqv‡Z wek kZ‡Ki cÖ_g fv‡M wdDPvwiRg (Marinetti, Mayakovsky, Malevich) wPÎKjv, KweZv, ¯’vcZ¨ I m½x‡Z cÖfve`vqx wQj| GwU †hŠeb, `ªæwZ, MwZkxjZv Ges ÿgZvi gZb cyuwRZvwš¿K cÖMwZi w_‡gi cÖZxKmg~n †MŠievwqZ K‡i| wKš‘ we‡klZ Rvgvwb©‡Z, Ab¨ AvaywbKZvev`x aviv (Munch’s ‘The Scream’) cyuwRZvwš¿K ÔAvaywbKZvev`ÕGi AwaK mgv‡jvPbvq gyLi Ges ey‡R©vqv mgvR Rxe‡bi ciKxKiY Awfe¨³ K‡i|        

5| ey‡R©vqv AvaywbK wk‡íi mgvwß

cÖ_g wek¦ hy‡×i cÖvi‡¤¢ GB AvaywbKZvev`x Avfuv Mv`©MY wef³ nb| GKwU Ask cyuwRZvwš¿K cÖMwZi gwngvwš^ZKvi‡K cwiYZ nb, †hgb gvwi‡bwË I BZvwjq wdDPvwi÷MY, Giv Drmvne¨ÄKiƒ‡c ee©iZvev‡`i (Ges c‡i d¨vwmev‡`i mv‡_) cÿ †bb| iæk wdDPvwi÷MY I Rvg©vb G·‡cÖkwb÷M‡Yi gZb AwaKZi i¨vwWK¨vj cÖeYZvmg~n hy‡×i we‡ivaxZv K‡i, Ges Kg-‡ekx wØavwš^Zfv‡e I AvswkKfv‡e cÖ‡jwZvwiq Av‡›`vj‡bi mv‡_ m¤úwK©Z nIqv ïiæ K‡i|      

        hy‡×i cÖwZ cÖ_g mywbw`©ó wkívwqZ cÖwZwµqv nj `v`v| GKwU AvšÍR©vwZK hy×-we‡ivax I cuywRZvwš¿K Av‡›`vjb wn‡m‡e `v`v hyׇÿ‡Î nZ¨vKvÛ‡K †`‡L mKj ey‡R©vqv ms¯‹…wZi †`Iwjqv‡Z¡i cÖgvY wn‡m‡e| Gi ÔKg©m~PxÕ ˆbivR¨ev‡`i wbKUeZ©x: ms¯‹…wZi aŸsm Ges wk‡íi D‡”Q`, Ges Gi Abykxjb wek„•Ljv I A‡hŠw³KZv‡K (chaos and irrationality) Avwj½b K‡i (msev`cÎmg~n †_‡K KvUv G‡jv‡g‡jvfv‡e ms‡hvwRZ kãvejx w`‡q m„wRZ KweZvejx, BZ¨vw`)| evwj©b `v`vev`xMY (Heartfield, Grosz, Dix, Ernst) kÖwgK †kÖYxi hy×-we‡ivax msMÖvgmg~‡ni Av‡iv wbKUeZ©x| Zviv GgbwK wb‡R‡`i ivR‰bwZK `j MVb K‡i Ges Rvg©vb wecøe‡K mwµqfv‡e mg_©b †`q|

                  A‡±vei 1917 iæk wecøe wQj hy‡×vËi wecøex Zi½ Ges Avfuv Mv`©MY KZ…©K gyw³ wkí m„Rb cÖ‡Póvmg~‡ni me‡P‡q DuPz ch©vq| ‡mvwf‡qZ KZ…©K ÿgZv `L‡ji c‡i mswÿß mgqKv‡ji Rb¨ wecyjvqZ‡b ˆkwíK wbixÿv I Kg©KvÛ †`Lv hvq, Gi AwaKvsk wb‡Riv mywbw`©ófv‡e wecø‡ei mv‡_ GKvZ¥ nq| ZiæY †mvwf‡qZ iv‡óªi ZË¡veav‡b Ges ej‡kwfK cvwU© †_‡K mgv‡jvPbvg~jK mg_©‡b iæk Avfuv Mv‡`©i GKvsk (wdDPvwi÷, †cÖvWvw±wf÷, Kb÷ªvw±wf÷) gvqv‡Kvfw¯‹i ‡NvlYv ÒivRc_ Avgv‡`i eªvk, †¯‹vqvi Avgv‡`i c¨v‡jUÓ Øviv AbycÖvwYZ nb Ges Ôweï×Õ wkí cwiZ¨vM K‡ib, Gi cwie‡Z© Zuviv ¯’vcZ¨, wkí bKkv (industrial design), Pjw”PÎ, weÁvcb, AvmevecÎ, c¨v‡KwRs I e¯¿m¤¢vi MÖnY K‡ib ˆ`bw›`b Rxe‡bi iƒcvšÍi‡Y wkí e¨enviKi‡Yi ewY©Z jÿ¨ mn| ms¯‹…wZ I wk‡íi fwel¨‡Zi Ici DËß weZK© cwijwÿZ nq| mKj c~e©eZx© ms¯‹…wZ cwiZ¨v‡Mi cÖeYZv cÖ`k©bKvix cÖfve`vqx ‡cÖv‡jZKvë Av‡›`vjb (Proletkult movement,) GKwU bqv wecøex, cÖ‡jZvwiq bv›`wbKZv m„Rb Ki‡Z Pvq, Ab¨w`‡K Îrw¯‹i gZb Ab¨iv cÖ‡jZvwiq ms¯‹…wZi mvgwMÖK aviYv‡K cÖZ¨vL¨vb K‡i GKwU bqv wecøex wk‡íi DÌvb mg_©b K‡ib, Ges GwUi Avmbœ `„k¨gvbZv cÖZ¨vkv K‡ib|

            cyuwRZ‡š¿i wfwˇZ SuvKzwb †`qv 1917-23Gi wecøex Zi‡½i †cÖÿvc‡U GwU‡K Aev¯ÍweK e‡j cªZxqgvb nq bv| mKj ey‡R©vqv ms¯‹…wZ I wkí m¤ú‡K© `v`v KZ©„K †`qv wee„wZ wek¦ ‡cÖv‡jZvwi‡qZ KZ©„K Rvg©vwb, weª‡Ub, Av‡gwiKv BZ¨vw`‡Z cvjbK…Z n‡e e‡j g‡b nq|

            wKš‘ iæk `y‡M©i wew”QbœKi‡Y, Ges BD‡iv‡c ‡cÖv‡jZvwi‡q‡Zi wecøex cÖ‡Póvmg~‡ni civR‡q AvaywbKZvev`x wbixÿ‡Yi Rb¨ ej‡kwfK‡`i cÖ_g w`‡Ki mg_©b cÖwZ¯’vwcZ nq wfbœg‡Zi cÖwZ wbh©vZb Ges ewa©Z ivóªxq wbqš¿Y Øviv hLb ¯Ívwjwbq cÖwZwecøe Gi ÿgZv‡K cvKv‡cv³ K‡i| AvšÍR©vwZKfv‡e, cÖwZwµqvkxj ivóªxq cyuwRZvwš¿K †iwRgmg~n †hgb ¯Ívwjwbq, d¨vwmev`x (we‡klZ BZvwj‡Z) A_ev ‡mvk¨vj †W‡gvµvwUK-G‡`i Øviv AvaywbKZvev` Ae‡k‡l GKwU miKvwi ¯’vcwZ¨K ÷vBj wn‡m‡e AvZ¥xK…Z n‡q wbt‡kwlZ nq|      

                

6| wkí Ges cyuwRZvwš¿K cÖwZwecøe                

MfxivwqZ ey‡R©vqv cÖwZwecø‡e, wU‡K _vKv KwgDwb÷ we‡ivax‡`i gZb wkívwqZ Avfuv Mv`© g~jZ GKB cQ‡›`i m¤§yLxb nq: Gi ÔmgvRZvwš¿K ev¯Íeev`Õ Kvh©KiKiY mn ¯Ívwjwbq mgMÖZvev‡`i wbKU AvZ¥mgc©b, wbieZv A_ev wbe©vmb| d¨vwmev‡`i DÌv‡b BD‡ivwcq wkívwqZ Avfuv Mv`©MY ewa©Zfv‡e wbe©vm‡b eva¨ nq Ges/A_ev GKwU ¯úó ivR‰bwZK we‡ivaxZvg~jK `„wófw½ MÖnY K‡i|

            civev¯Íeev` (Breton, Aragon, Ernst, Péret, Dali, Miró, Duchamp) DwÌZ nq `v`v †_‡K, wKš‘ †KejgvÎ GKwU ¯^Zš¿ Av‡›`vj‡b cwiYZ nq hLb wecø‡ei Rb¨ ev¯ÍweK my‡hvMmg~n B‡Zvg‡a¨ Acm„qgvb| GwU GKwU ¯úó wecøex wkívwqZ Av‡›`vjb †hwU ¯Ívwjbev‡`i ivR‰bwZK we‡ivax‡`i mv‡_ Nwbôfv‡e mn‡hvMxZve×| civev¯Íeev` Gi aviYvejx AvniY K‡i d«‡qwWq g‡bvwe‡kølY I gvK©mev` †_‡K Ges Ae‰PZb¨‡K gy³Ki‡Y gy³ msNe×vqb (free association), ¯^cœwe‡kølY, mgvšÍivjZv (juxtaposition) I ¯^qswµqZvi (automatism) e¨env‡i ¸iæZ¡v‡ivc K‡i| Mfxi civR‡qi mg‡q cyuwRZ‡š¿i Af¨šÍ‡i Gi GKwU ¯’vqx wecøex ˆkwíK Abykxjb eRvq ivLvi cÖ‡Póv GwU‡K cwiÿq I cwiYvg¯^iƒc cybiæ×vi cÖeY iv‡L| wKš‘ civev¯Íeev`x aviYvejxi wecyj cÖfve we`¨gvb i‡q‡Q `„k¨-Kjv, mvwnZ¨, wdj¥, I m½x‡Z, GgbwK `k©b Ges ivR‰bwZK I mvgvwRK Z‡Ë¡|

            1930Gi `k‡K ey‡R©vqv cÖwZwecø‡ei weR‡q wf³i mvR© wjwLZ ÒkZvãxi ga¨ivwÎÓ-‡Z (Midnight in the century) Avgiv cyuwRZvwš¿K ms¯‹…wZ‡Z Aeÿ‡qi mKj aªæc`x jÿYmg~‡ni c~Y© cÖùzUvqb (full flowering) †`wL:

            Òfvev`k© †f‡½ c‡o, cyivZb ˆbwZK g~j¨‡evamg~n wbt‡kwlZ, wkívwqZ m„RbkxjZv wbðj n‡q c‡o A_ev we`¨gvb mvgvwRK e¨e¯’vi wecix‡Z KvR K‡i, A¯úóZvev` I `vk©wbK nZvkvev‡`i (obscurantism and philosophical pessimism) weKvk msNwUZ nq| . . . wkí †ÿ‡Î, Aeÿq ¯^qs cÖKvkK…Z nq we‡klZ Zxeª Dcv‡q (particularly violent way)| . . Aeÿ‡qi Ab¨vb¨ hyMmg~‡ni gZb, wkí hw` AZx‡Zi Avw½Kmg~‡ni GKwU wPišÍb cybive„wˇZ ¯’wei bv nq, Z‡e GwU we`¨gvb k„•Ljvi weiæ‡× (against existing order) GKwU `„wófw½ A‡š^lY K‡i, A_ev GwU cÖvqB ‡KejgvÎ wefxwlKvi wPrKv‡ii Awfe¨w³ n‡q `uvovq|Ó

Aeÿq GKwU h_v_© gyw³Kvgx wk‡íi Rb¨ AwaKZi Riæix cÖ‡qvRb m„wó K‡i, wKš‘ e¨e¯’vwUi Mfxivwfg~Lx msKU Ges ey‡R©vqv mgv‡Ri Ici Gi cÖfvemg~‡ni A_© n‡jv GB †h G ai‡Yi wk‡íi Avwef©~Z nIqvi Rb¨ b~¨bZg kZ©vejx µgvMZfv‡e `ye©jvwqZ, hLb i¨vwWK¨vj †cwUey‡R©vqv †kÖYx‡Z wk‡íi HwZwn¨K  mvgvwRK wfwË GgbwK Av‡iv ÿqK…Z Ges kÖwgK †kÖYxi MYRxeb †_‡K wew”Qbœ|

GB Ae¯’vmg~‡ni †cÖÿvc‡U †h wkí Ôwe`¨gvb k„•Ljvi weiæ‡× GKwU `„wófw½ MÖn‡Y A‡š^lYiZÕ Zv wb‡R‡K ewa©Zfv‡e wew”QbœK…Z †`‡L, A_ev GKwU ev Ab¨ †Kv‡bv cÖwZwµqvkxj ivR‰bwZK †Mvôx KZ©„K GwU cybiæ×viK…Z nq †cÖvcvMvÛv wn‡m‡e e¨env‡ii Rb¨ (wcKv‡mvi Ô¸‡qiwbKvÕ)| †h wkí cyuwRZvwš¿K ee©iZvi cÖwZ wewfwlKvgq wPrKvi K‡i Zv GKBfv‡e wb‡R‡K cyuwRZ‡š¿i b„ksmZvmg~‡ni m¤ú~Y© gvÎv w`‡q ewa©ZgvÎvq bcysmK wn‡m‡e cwi‡ewkZ n‡Z †`‡L: wØZxq wek¦hy× (1914-18-‡Z `yB †KvwUi Zzjbvq Qq †KvwUi Ici g„Zz¨, AwaKvsk †emvgwiK), bvrwm g„Zz¨ wkweimg~n, wn‡ivwkgv I bvMvkvwK, nvgeyM©, †Wªm‡Wb, ¯Ívwj‡bi ¸iæZi Acivamg~n . . .| A¨vWv‡b©vi fvlvq ejv hvq, ADmDB‡Ri c‡i B‡Zvg‡a¨ we`¨gvb ee©i ms¯‹…wZ‡Z cybivq Ae`vb e¨wZ‡i‡K KweZv †jLv Am¤¢e n‡q c‡o|

wKš‘ cyuwRZvwš¿K Aeÿq GB A_© K‡i bv †h Drcvw`Kv kw³mg~n ¯’wei n‡q c‡o| DØZ©‡bi Rb¨ e¨e¯’vwU‡K Aewk¨ Drcv`b‡K wecøexKiY Ae¨vnZ ivL‡Z nq Ges Drcv`bkxjZv‡K evov‡Z nq| eis, Avgiv ewa©Zfv‡e hv †`wL Zvn‡jv gvK©‡mi fvlvq Ôcwiÿq wn‡m‡e weKvkÕ (development as decay)| GKBfv‡e wk‡íi †ÿ‡Î Avgiv wkívwqZ ¯‹zjmg~‡ni GKwU AMÖMwZ envj †`wL, AskZ bqv cÖvhyw³K weKvkmg~n I mgv‡R cwieZ©‡bi cÖZz¨Ë‡i, wKš‘ GwU‡K ewa©Zfv‡e ˆewkó¨vwqZ Kiv hvq c~e©eZ©x ÷vBjmg~‡ni GKwU wÿß cybiveZ©b, Avkv I wbivkvi ga¨Kvi Zxeª gvbwmK Ae¯’vi Av‡jvob, LÛvqb, Ges Gi mvgwMÖK weKv‡ki c~‡e©B cÖ‡Z¨KwU ¯‹z‡ji fv½b I Aejywß w`‡q| gvbe m„RbkxjZv KL‡bv wbt‡kwlZ nq bv, wKš‘ GwU wb‡R‡K ewa©Zfv‡e †`L‡Z cvq `wgZ, LvZK…Z (channelled), cÖwZeÜKvwqZ (blocked) Ges `yb©xwZMÖ¯’ wn‡m‡e| Avgiv GL‡bv wkívwqZ weKvkmg~n (R¨vR), Ges bqv †UKwbKmg~n I ÷vBjmg~‡ni cÖeZ©b †`wL, wKš‘ ewa©Zfv‡e GB weKvkvejx GKwU mgv‡Ri cwiÿ‡qi cÖwZdjb, †hwU Gi Kei Lb‡Ki mv‡_ mvÿvr cwinvi K‡i Ges †KejgvÎ wb‡R‡K fÿY K‡i wU‡K _v‡K (survives by cannibalising itself)|

Ôhy‡×vËi mg„w×Õi mg‡q  Avwef©~Z me‡P‡q cÖfvekvjx wkívwqZ ¯‹zj A¨ve÷ªv± G·‡cÖkwbRg (wb‡`b c‡ÿ wPÎv¼b I fv¯‹‡h©) Øviv GwU wPÎvwqZ nq| 1930Gi `k‡Ki mvgvwRK ev¯ÍeZvi ¯úóvwqZ ivR‡bwZK Avav‡ii (wi‡fiv) cÖwZ  A¨ve÷ªv± G·‡cÖkwbRg AskZ GKwU cÖwZwµqv| civev¯Íeev` I BD‡ivwcq Avfuv Mv`© Øviv cÖfvevwš^Z n‡q weg~‡Z©i bvbvgvwÎK B‡gRmg~n m„R‡b GwU  ¯^ZtùzZ©, mnmvK…Z (improvisatory) ev ¯^qswµq †UKwbKmg~‡ni gva¨‡g GwU Am‡PZb aviYvejx  cÖKv‡k ¸iæZ¡v‡ivc K‡i (Pollock, Rothko, Newman, Still)| wØZxq wek¦hy‡×i wefxwlKv Ges gvwK©b hy³iv‡óªi `gbg~jK hy‡×vËi cwi‡ek w`‡q cÖfvweZ n‡q, GwU D¤§y³ ivR‰bwZK Avavi cwinvi K‡i, Ges Aby‡cÖiYvi Rb¨ Avw`g wkí, cyivYZË¡ I giwgev‡`i (mysticism) w`‡K Szu‡K c‡o| GwU Ges Gi LuvwU weg~Z©‡bi KvR  VvÛv hy‡×i mg‡q gvwK©b hy³ivóª KZ…©K Gi iæk mv¤ªvwR¨K cÖwZc‡ÿi ÔmgvRZvwš¿K ev¯ÍeZvÕi weiæ‡× GKwU mvs¯‹…wZK A¯¿ wn‡m‡e A¨ve÷ªv± G·‡cÖkwbR‡gi cÖea©b mnRZi K‡i|  

wkí Ges Ôms¯‹…wZ KviLvbvÕ

hw`I ga¨-wek kZK bvMv` wkí mKj †kÖYx mgvRmg~‡ni Aeÿ‡qi aªæc`x jÿYmg~n cÖ`k©b K‡i, Zvic‡iI we‡klZ Ôhy‡×vËi ‡ZRxfveÕGi mg‡q wKQz mywbw`©ó weKvkvejx †`Lv hvq| cyuwRZvwš¿K mgv‡R wkí †h c×wZ‡Z Drcbœ I e›UbK…Z nq Ges †gnbwZ †kÖYxi RbMY Kxfv‡e Zvi ÔAwfÁZvÕ jvf K‡i- GB welq¸‡jvi iƒcvšÍi msNwUZ nq GB weKvkvejx Øviv| GB weKvkmg~‡ni µgea©gvb cwiYwZ n‡jv: wecøex wk‡íi DÌv‡bi Rb¨ `iKvix cvwicvwk¦©KZvi µgvMZ `ye©jvqb Ges wU‡K _vKv wkívwqZ Avfuv Mv‡`©i AšÍa©v‡bi Zivwš^ZKiY| GB weKvkmg~‡ni A‡bK¸‡jvB n‡jv Aeÿ‡qi jÿY A_ev cyuwRZš¿ KZ…©K Gi HwZnvwmK msK‡Ui Ø›Ømg~n wbim‡b cÖ‡Póvejx| †m¸‡jv‡Z AšÍf©~³:

·         Ôms¯‹…wZ KviLvbvÕi weKvk Ges Gi Øviv Drcbœ cY¨-`ªe¨vw`‡Z MY-Drcv`b †UKwbK Ges A¨v‡m¤^wj jvBb bxwZgvjvi cÖ‡qvM (m½xZ, wdj¥m, wUwf Abyôvbgvjv, BZ¨vw`)|

·         †gnbwZ †kÖYx‡K AwaKZi wbqš¿Y Ges we‡`ªv‡ni †h‡Kv‡bv jÿ‡Yi cÖkg‡b ivóªxq cyuwRZ‡š¿i Ges we‡klZ m~² fvev`wk©K nvwZqv‡ii weKvk|

·          hy‡×vËi Kv‡j †gnbwZi †kÖYxi cÖK…Z gRywii Av‡cwÿK e„w×i Ici wfwË K‡i Ô‡fvMev`x mgvRÕ Gi DÌvb Ges e¨vcK ‡fv‡Mi Rb¨ cY¨`ªe¨vw`i ewa©Z Drcv`b (AskZ FY m¤úªmviY Øviv A_©vqb K‡i)|

·         Abyrcv`bkxj  e¨q I Kg©Kv‡Ûi e„w×, †hgb wecY‡b I weÁvc‡b|             

d‡j, BwZnv‡m cÖ_g ev‡ii gZb cyuwRZš¿ wkívwqZ cY¨-`ªe¨vw` (m½xZ, PjwPÎ, BZ¨vw`) m¯Ívq Drcv`‡b mg_© nq kÖwgK †kÖYxi RbMY KZ…©K †fv‡Mi Rb¨, GwU Ki‡Z ‡h‡q, mÂq‡b GwUi cÖ‡Yv`bv †_‡K GKwU AcÖ‡qvRbxq MwZcwieZ©b wn‡m‡e wk‡íi cÖwZ Gi mnRvZ kÎæZv Rq Ki‡Z nq| GwU e¨vcKfv‡e mnRZi K‡i †`q fvev`wk©K D‡Ï‡k¨i Rb¨ wkívwqZ cY¨`ªe¨vw`i e¨envi, †KejgvÎ kÖwgK‡`i ÔAeKvk mgqÕ-G Ôwe‡bv`bÕ-Gi Dcvqmg~n †hvMvb Øviv kÖ‡gi cyiærcv`‡bi wbðqZv cÖ`v‡b mnvqZvKiY bq, m‡½ m‡½ wfbœg‡Zi ‡h‡Kv‡bv wkívwqZ cÖKv‡ki AvZ¥xKi‡YI e¨envi mnRZi K‡i †`q|

            ‡g 1968Gi msMÖv‡g BwZnv‡mi i½g‡Â hLb †cÖv‡jZvwi‡qZ cÖZ¨veZ©b K‡i, ZLb Avgiv i¨vwWK¨vj wkí Av‡›`vjbmg~‡ni (AvwZ© †cv‡fiv) DÌvb †`wL wKš‘ cÖZ¨vwkZ gvÎvq bq| cwie‡Z©, BD‡ivwcq wkívwqZ Avfuv Mv‡`©i me‡P‡q i¨vwWK¨vj DËimyix wmPz‡qkwb÷MY (the Situationists) ¯^Zš¿vwqZ nq Zuv‡`i ‘the society of the spectacle’-Gi wµwUK w`‡q, ‡hgb AvgjvZvwš¿K cyuwRZš¿ Øviv ms¯‹…wZi cY¨vqb Ges bvkKZvg~jK aviYvejx cybiæ×v‡i Gi MYgva¨‡gi e¨envi, ÒRxeb, ivRbxwZ, I wk‡íi GKwU wecøex cybtk„•Ljv Avbq‡bÓ e¨envwiK K‡gv©‡`¨vMmg~‡ni Rb¨ cÖ¯Ívevejx Øviv| wmPz‡qkwb÷MY wVK Ggb GKwU gyû‡Z© GB ‘spectacle’-Gi ÿgZvi AwZiÄY K‡ib hLb cyuwRZ‡š¿i HwZnvwmK msK‡Ui cÖZ¨veZ©b msNwUZ nq, wKš‘ cybiæ×vi cwinviKi‡Y GgbwK me‡P‡q i¨vwWK¨vj wkívwqZ Kg©Kv‡Ûi Amg_©Zv wPwýZKi‡Y Zviv ev¯ÍeZvi wbKUeZ©x, hw` bv GwU mywbw`©ófv‡e ivR‰bwZK nq, A_©vr, GB mg‡q, wecøex|     

7| wkí Ges cPb (Art and decomposition)            

Gi PzovšÍ ce©, A_©vr cP‡bi c‡e© cyuwRZ‡š¿i cÖ‡e‡ki mv‡_ mv‡_, wkímn mKj gvbe ms¯‹…wZi aŸs‡mi LyeB ev¯Íe m¤¢vebv we`¨gvb, Îrw¯‹i fvlvq, hv Awbevh©iƒ‡c c‡P hv‡e Ò‡hfv‡e wMÖK wk‡í cPb msNwUZ n‡qwQj `vm‡Z¡i Ici wfwË K‡i cÖwZwôZ ms¯‹…wZi aŸsm¯‘‡ci Mfx‡iÓ|

            Av‡gwiKv I BD‡iv‡c 1970Gi `kK bvMv` AvaywbK wkí miKvwi ivóªxq cyuwRZvwš¿K ms¯‹…wZi Ask n‡q c‡o| K‡c©v‡ikbmg~n I miKvwi G‡RwÝmg~n Øviv GwU mgw_©Z I fZ©ywKK„Z nq Ges hv`yNimg~‡n wbivc‡` ivLv nq| 1989-91G iæk eø‡Ki wVK Aemvb ch©šÍ kÖwgK †kÖYxi msMÖv‡gi AvbyµwgK Zi½wbPq m‡Ë¡I Avgiv †KejgvÎ wk‡íi Av‡iv cwiÿq †`wL| wk‡íi GB cwiÿq 1980 `k‡Ki †gwK A_©‰bwZK †ZRxfve Øviv Zivwš^Z nq Ges BÜbK…Z nq F‡Yi AvKw¯§K e„w× Øviv †hwU wniY¨iƒ‡c wk‡í dvUKvwqZ wewb‡qv‡Mi `ªæZ Pvwn`vi w`‡K avweZ nq| cÖwZwecøe, hy‡×vËi †ZRxfve Ges Ôwkí KviLvbvÕ ‡hwU ïiæ K‡i‡Q Zv evRv‡ii evovevwo KZ…©K aŸsm nq|

we‡klZ 1980Gi `kK †_‡K ÔDËivaywbKZvev`ÕGi DÌvb n‡jv GK A‡_© AvaywbKZvev‡`i GB `xN© mgvcwb AwfgyLx hvÎvi PzovšÍ Awbevh© ¯^xK…wZ| ÔMYZš¿vqb cÖKíÕ (democratising project) wn‡m‡e evgcš’x eyw×Rxwe‡`i (‡`wi`v cÖgyL) Dli f~wg‡Z ÔDËivaywbKZvev`ÕGi DrcwË wbwnZ| wk‡íi Rb¨ Avfuv Mv‡`©i f~wgKv Ges ¯^qs BwZnv‡m  AMÖeZ©x Av‡›`vj‡bi aviYvi cwiZ¨vMKiY‡K GwU ZË¡vqb K‡i| 1990Gi `k‡K ÔKwgDwbR‡gi AemvbÕ Ges ÔBwZnv‡mi AemvbÕ m¤úwK©Z mKj ey‡R©vqv fvev`wk©K cÖPvivwfhv‡bi m‡½ GwU wbLyuZfv‡e mvgÄm¨c~Y©, Ges †KejgvÎ mvwe©K we‰bwZKZvqb I nZvkv e„w× K‡i|

Aeÿqx cyuwRZš¿ Zvi PyovšÍ ch©vq A_©vr cPb ch©v‡q cÖ‡e‡ki c~‡e©B, Avgiv wk‡íi AvMvg cPb m¤ú‡K© g‡bv‡hvM AvKl©Y Ki‡Z cvwi, ‡hgb Ò mKj ÔwkívwqZÕ m„wóKg© (artistic production) Gi k~b¨Mf©Zv I A_©‡jvjycZv (vacuity and venality): D‡ØM, nZvkv, cÖvÄj wPšÍvi fv½b, k~b¨Zv e¨wZ‡i‡K Avi wKQz cÖKv‡k Aÿg GB mvwnZ¨, m½xZ, wPÎKg©, ¯’vcZ¨| cÖK…Zc‡ÿ GB eY©bv †ekx `~i †h‡Z cv‡ibv| wk‡í Gi wb‡R‡K aŸsmKi‡Yi GKwU cÖeYZv wPwýZ K‡i Avgiv G‡Z hv ‡hvM Ki‡Z cvwi, Zvn‡jv GwU Rvg©vb wkíx A¨vb‡mj&g KvBdv‡ii fvlvq ÔcÖwZ-wkíÕ| cPbkxj cyuwRZ‡š¿ cÖwZ-wkíI GgbwK wkí: Òwkí Ggb GKUv wKQz hv Gi wb‡Ri ‡mjmg~n‡K aŸsm K‡i| †Wwg‡qb nv÷© GKRb gnvb cÖwZ-wkíx| my_evBm-G (Sothebys) wM‡q Avcbvi wkíKg© weµq n‡jv mivmvwi Avcbvi wk‡íi aŸsmvqb| wKš‘ GwU AwZiwÄZ gvÎvq Kiv n‡j GwU wkí n‡q `uvovq . . . NUbv n‡jv GB †h 2008Gi g›`vi `yw`b c~‡e© GwU Kiv n‡j Av‡iv fv‡jv n‡Zv|Ó

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