Describe the important contribution of different people who represented the renaissance of Bengal and the change of the social system of that time
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Answer:
Hey mate
Explanation:
The Bengali Renaissance or simply Bengal Renaissance, was a cultural, social, intellectual and artistic movement in Bengal region in the eastern part of the Indian subcontinent during the period of the British Indian Empire, from the 19th century to the early 20th century dominated by Bengali Hindu community.[1]
Historian Nitish Sengupta describes the Bengal Renaissance as taking place from Raja Ram Mohan Roy (1772–1833) through Rabindranath Tagore (1861–1941) Shiv Chandra Sarkar (1872 - 1958).[2] According to historian Sumit Sarkar, 19th century Bengali religious and social reformers, scholars, literary giants, journalists, patriotic orators and scientists were revered and regarded with nostalgia in the early and mid 20th century. In the early 1970s, however, a more critical view emerged.
Answer:
Explanation:
For the noble and wealthy merchant-banker popolo grosso families, artistic patronage
was a means of achieving and maintaining social status and political power in a society
where there was a strict social hierarchy. In Florence, the economic prosperity of the city
had enabled the merchant-banker families like the Medici to control the government.
These newcomers were very eager to demonstrate that they belonged as a ruling class in a
world of kings, princes, and popes. In addition, Baldassare Castiglione’s Book of the
Courtier stressed the importance of the cultured noble, one who appreciated the finer
things in life like music, art, sculpture, and literature. Furthermore, civic humanism
taught that the educated elite should involve themselves in public service. For these
reasons then, during the Renaissance the upper class became avid patrons of artists,
sculptors, musicians, and intellectuals. Commissioning a piece of sculpture which would
be put on public display would not only beautify the city but would also enhance the
reputation of the patron. Besides using the arts to promote their own interests, it is fair to
say that most patrons were genuine lovers of the arts. The Medici, for instance, spent
huge sums commissioning paintings and sculpture for the privacy of their own palace in
Florence. Lorenzo de Medici was well versed in the classics and enjoyed private dinners
with the humanist Pico della Mirandola.
There were two main systems of artistic patronage in Renaissance Italy. A patron could
take an artist into his or her household and in return the artist would supply the patron’s
artistic needs. Or a patron could commission a single work from an artist and employ
him until that work was finished. If the commissioned work was particularly complicated
the artist could be on the patron’s payroll for years. As well as individual patronage there
was also corporate patronage. Guilds, monasteries, convents, and city councils
frequently commissioned artists and sculptors. For instance, it was the Florence city
council that commissioned Michelangelo to sculpt David which was then placed in the
Piazza della Signoria, the main square in Florence where the Palazzo Vecchio (city hall),
was located.
This trend was also present in Northern Europe where the New Monarchies, nobilities
and wealthy bankers and merchants also embraced patronage. Henry VIII, for instance
appointed the humanist Thomas More as his Lord Chancellor and granted a generous
stipend to Erasmus. Francis I was made even more magnificent by Leonardo da Vinci.
During the Renaissance, therefore, a small, highly educated minority of literary
humanists and artists created the culture of and for an exclusive elite. They cared little
for the ordinary people, the popolo minuto.