The visitor to the nation of Georgia continually encounters images by Niko Pirosmanashvili (1862-1918), known as Pirosmani and considered a master of naïve painting. His portraits of Georgians enjoying daily life a century ago—peasants, fishermen, musicians, even millionaires—pop up everywhere as restaurant murals and tourist mementos. And even occasionally as the original artwork.
It is noteworthy, then, that Pirsomani’s sense of the ordinary extended to a man in oriental costume holding the tether of a Bactrian camel. Tartar Cameleer evokes the Silk Road, suggesting that the commonplace extended to caravans passing through Tiflis (now Tbilisi). In view of the painting’s 1914 date, the cameleer image may have been nostalgic, but it is a vivid, if rustic, indication of Georgia’s longstanding role as trade junction between Central Asia and Europe.
From the perspective of global investment strategy, Pirosmani’s portrait of the camel driver conveys the cosmopolitan nature of the Georgian economy. His worldview prevails into the present day as Georgia looks both East and West to affirm its progressive identity.
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Calcutta Madrassah: Portfolio Management in a Post-Crisis World
by Douglas Clark Johnson
16 October 2009
The Calcutta Madrassah is a proud building, sensibly designed. It opened in 1824 off Haji Mahammad Mohsin Square, some 50 years after the founding of the original Islamic college. On approach through the compact urban turmoil surrounding it, the building looks like some sort of Alexandrine temple complex. Overpowering Doric columns flanking the main entrance direct you inward, where two floors of classrooms surround a courtyard. At the far end of this attempt at a grassy space, there is a lone water hand-pump. Despite its somewhat topsy-turvy condition, the Calcutta Madrassah is a haven of peace in the tightly-knit urban landscape.
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Tags: global investment, institutional investors, intellectual tradition, islamic college, legacy reasons, madrassah, opportunities
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