Why does a particular art-form flie ? The answer to the question is to be sought in the changed nature of the patronage it enjoyed earlier, in the rise of new technology, in the cultural influences or domination from outside, and in the new economic formations that usher in a new cultural milieu and social aspirations of the people. 1. S.N. Mukherjee, Calcutta : Myths and Reality. Subamarekha, Calcutta, 1977, p. 86. 2. Ibid., p. 87, quoted by Mukherjee from Gerald Breese, Urbanisation In Newly Developing Countries, Princeton, New Jersey, 1966. 3. Karl Marx, Frederick Engels, On Colonialism, Progress Publishers, Moscow, 1969. 4. V.I. Pavlov, Historical Premises/or India's Transition to Capitalism: Late 18th To Mid-19th Century, Central Department of Oriental Literature, Moscow, 1978, p. 239. 5. Ibid., p 242, quoted by Pavlov from R.C. Dutt, Economic History of British India: From the Rise of the British Power in 1757 To The Accession of Queen Victoria in 1857, Vol. 1, London, 1902. 6. Santo Dutta, 'Kalighat Pats and Ukiyo-e Prints : Reflections of Changing Societies, Indian Horizon, Vol. xxxi. No. 3, New Delhi, 1982, p. 11. 7. Mukul Dey, 'Which Way Indian Art ?\ Centenary: Government College of Art & Craft, Calcutta, 1964. 8. Ibid., p 59. 9. D.N. Jha, Temples As Landed Magnates in Early Medieval South India (c. A.D. 700-1300)*, Indian Society: Historical Probings, In Memory of D.D. Kosambi, ed. R.S. Sharma, People's Publishing House, New Delhi, 1974. •10. See Preface, Bettina Baumer, ed.,Rupa Pratirupa: Alice Boner Commemoration Volume, Biblia Impex Private Ltd., Delhi, 1982, p vii. 11. Heinrich Zimmer, The Art of Indian Asia, Princeton University Press, New Jersey, 1955, plates 284, 326. 22 Number 9