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| seeing the divine pahari painting of north india: Unknown Pahari Wall Paintings in North India K. C. Aryan, 1990 Five ever evolution and reproduction of rare Pahari murals in Northern region. |
| seeing the divine pahari painting of north india: The Artists of Nathadwara Tryna Lyons, 2004 A richly illustrated look at the lives and careers of North Indian artists |
| seeing the divine pahari painting of north india: Divine Pleasures Terence McInerney, Steven M. Kossak, Navina Najat Haidar, 2016-06-14 As one of the finest holdings of Indian art in the West, the Kronos Collections are particularly distinguished for paintings made between the sixteenth and early nineteenth centuries for the Indian royal courts in Rajasthan and the Punjab Hills. These outstanding works, many of which are published and illustrated here for the first time, are characterized by their brilliant colors and vivid, powerful depictions of scenes from Hindu epics, mystical legends, and courtly life. They also present a new way of seeking the divine through a form of personal devotion—known as bhakti—that had permeated India’s Hindu community. While explaining the gods, demons, lovers, fantastical creatures, and mystical symbols that are central to literature and worship, this publication celebrates the diverse styles and traditions of Indian painting. Divine Pleasures features an informative entry for each work and two essays by scholar Terence McInerney that together outline the history of Indian painting and the Rajput courts, providing fresh insights and interpretations. Also included are a personal essay by expert and collector Steven M. Kossak and an examination of Hindu epic and myth in Mughal painting, which lays important foundations for Rajput painting, by curator Navina Najat Haidar. Through their research and observations, the authors deepen our understanding and underscore the significance of Indian painting. Divine Pleasures presents a nuanced view of a way of life intimately tied to the seasons, the arts, and the divine. |
| seeing the divine pahari painting of north india: The Divine Within Asian Civilisations Museum (Singapore), 2007 The South Asia collection of the Asian Civilisations Museum, Singapore, is the most comprehensive in Southeast Asia. Begun in 1993 at the same time as the establishment of the Museum, the collection has grown steadily and is now over 250-object strong. Government grants, loans, donations from committed supporters and a dynamic team made it possible. Although the collections primary focus is south India because of its historical and cultural links with Singapore, it covers various regions and periods of South Asian history.This 288-page volume of detailed catalogue entries approaches the collection thematically weaving a web of interconnections. The catalogue covers a wide spectrum of artefacts from the ancient period to the 20th century, linking the threads of communication and historical development. Themes such as religion, architecture, festivals, rituals and visual and performing arts unveil the cultural richness and diversity of South Asia. Impressive stone sculptures and massive architectural fragments are set alongside exquisite textiles, jewellery and ritual objects. |
| seeing the divine pahari painting of north india: Poetic Visions Klare Scarborough, 2015-03-19 The exhibition Poetic Visions: Indian Art form the Permanent Collection showcases Indian miniature paintings. Most depict secular and religious scenes rendered by artists working in the North Indian painting schools of Rajasthan and the Punjab Hills during the 18th and 19th centuries. From portraits of noblemen and secular activities, to religious narratives illustrating Hindu gods and stories, the miniatures portray a range of subject matter and artistic styles. |
| seeing the divine pahari painting of north india: The Vision of Kings Michael Brand, National Gallery of Australia, 1995 Exploring the visual power of the Indian image, and useful approaches for engaging with Indian art, this publication features over 100 masterpieces created for Hindu, Buddhist, Jain and Muslim patrons over a 2000 year period. Under the headings of 'Gods and Goddesses', 'Enlightened Saviours', 'Auspicious Guardians' and 'The Royal Image' the book traces the history and achievement of Indian culture, reproducing paintings, statues, manuscripts, mandalas, panels and textiles from some of the world's great collections. |
| seeing the divine pahari painting of north india: The Intelligence of Tradition in Rajput Court Painting Molly Emma Aitken, 2010 The genre of Rajput painting flourished between the 16th and 19th centuries in the kingdoms that ruled what is now the Indian state of Rajasthan (place of rajas). Rajput paintings depicted the nobility and court spectacle as well as scenes from Krishna’s life, the Hindu epics, and court poetry. Many Rajput kingdoms developed distinct styles, though they shared common conventions. This important book surveys the overall tradition of Indian Rajput painting, while developing new methods to ask unprecedented questions about meaning. Through a series of in-depth studies, Aitken shows how traditional formal devices served as vital components of narrative meaning, expressions of social unity, and rich sources of intellectual play. Supported by beautiful full-color illustrations of rare and often inaccessible paintings, Aitken’s study spans five centuries, providing a comprehensive and innovative look at the Rajasthan’s court painting traditions and their continued relevance to contemporary art. |
| seeing the divine pahari painting of north india: Dictionary of Hindu Lore and Legend Anna L. Dallapiccola, 2002-11-17 Provides over 1,000 accessible, informative and authoritative entries that answer any major question about Hinduism, it's mythology, practices, customs and laws India is so vast that each of its regions is a land in its own right, with diverse languages, customs, and cultural traditions. Yet shared social systems, firmly grounded in religious beliefs, provide the cohesive force that unites over a billion people of different backgrounds. Hinduism is the main religion of India, and this new dictionary provides an unrivaled insight to all aspects of Hindu life, past and present. Some thousand illustrated entries elucidate the history of Hinduism, its mythology, art, architecture, religion, laws, and folklore. The development of Hinduism is presented from its ancient manifestations in local cults and epic poems to modern-day festivals and customs worldwide. The complex relationship between the multitude of gods, goddesses, and semi-divine beings is brought to light in the articles on religion and mythology, while its rich imagery is revealed in the entries on architecture, sculpture, painting, dance, and theater, including works of art illustrated here for the first time. Food and etiquette, the caste system, Ayurvedic medicine, love and marriage, and contemporary practices are just a few of the topics explored. Maps and entries on the major cities and places of pilgrimage in India, as well as a concise chronology and a list of principal dynasties, provide a clear overview of the geography, history, languages, and vibrant religious and cultural traditions of Hinduism. This volume will serve as a lively and indispensable guide for those preparing a visit to India, for Indians living in the West, for students, or for anyone interested in the subcontinent. 275 b/w illustrations. |
| seeing the divine pahari painting of north india: Image and Imagination Geeti Sen, 1996 This book, being an inquiry into the creative process, is based on interviews with five significant artists of our time: Meera Mukherjee, Jogen Chowdhury, Manjit Bawa, Arpita Singh and Ganesh Pyne. They articulate, through words and through images, their personal sensibility and a particular worldview. Their vision may find resonances from myth and archetype and technique; yet it is never imitative. Through exploration and experiment, these artists have each arrived at a language of expression uniquely their own; and this language has contributed in some seminal sense to contemporary art in India. These chapters explain the meaning of originality in its true sense: as the fusion of the new and the old, the forbidden and the familiar - to discover from the worn-out, new images that subvert the original implications - leading us to fresh insights on life and its values today.--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
| seeing the divine pahari painting of north india: Traditions of Asian Art National Gallery of Australia, 1995 An introduction to the Gallery's Asian collection, ranging from a Middle Joma period Japanese ceramic vessel (c2500 1500 BC) through to a self-portrait by the prominent 20th century Indonesian painter Affandi and the work of avant-garde Chinese printmakers post the events of Tian'anmen Square in 1989. Mediums include pottery, textiles, paintings and sculptures, palm-leaf strip manuscripts, Mughal manuscript paintings, calligraphy and religious hangings. Consideration is also given to the region's religious traditions, migration, and trade. |
| seeing the divine pahari painting of north india: Chakshudana or Opening the Eyes Pika Ghosh, Pushkar Sohoni, 2023-09-20 Chakshudana or rituals of opening the eyes are practiced across multiple South Asian communities by artists, sculptors, and priests. The ritual offers gods access to the mortal world. This practice, applied to the study of material and visual culture, offers a distinctive perspective to interrogate the complex engagements with paintings, sculptures, found objects, fragments, built environments, and ecologies. This volume takes the process of seeing as its focus—to look closely, remaining true to the object, but also to see widely—from multiple subjective stances and diverse bodily engagements such as walking to dreaming, glancing to looking askance, hypnotic stares, and to see beyond the visible. It examines art history through nuanced considerations of materiality, aesthetics, and regional specificities. The essays emerge from current research that builds on the contributions of Michael W. Meister, W. Norman Brown Distinguished Professor of History of Art and South Asia Studies at the University of Pennsylvania, whose works laid the foundations for the study of South Asian visual and material culture. The essays in this book underscore methodological resonances rather than privileging conventional categories of media or chronology, exploring artistic media including temples and paintings as well as Bengali-quilted textiles, manuscript ‘lozenges,’ and metal repousse. This volume, part of the Visual Media and Histories Series, will be of interest to students and researchers of history of art, religious studies, and history as well as the allied disciplines of anthropology and folklore studies. Chapter 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons (CC-BY-NC-ND) 4.0 license. |
| seeing the divine pahari painting of north india: Social, Cultural, and Economic History of Himachal Pradesh Manjit Singh Ahluwalia, 1998 There Is A General Impression Among Many That Before Its Formation (1948) Himachal Pradesh Had No Social Or Cultural Unity. The Present Work Clears Up These Misconceptions And Examines From Facts Of History The Constant, Rich And Fruitful Socio-Cultural History Of The State. |
| seeing the divine pahari painting of north india: Pahari Masters B. N. Goswamy, Eberhard Fischer, 1997 Pahari painting has long been acknowledged as one of the great achievements of India in the realm of art. The Pahari painter, however, has always been relegated to an indeterminate, anonymous background, seen mostly as a craftsman following pre-determined patterns. This book recovers these artists. Presented here is neither merely a history of Pahari painting nor yet another study of the art of the northern hill states, but a search for the makers of the images. The authors have chosen from the best work of fourteen Pahari masters, spanning three hundred years, from as many as twenty museums and private collections across the world. They have gathered as many facts as possible in an effort to bring the artists into sharper focus. From the vast number of paintings available, those included have been carefully selected in an effort to illuminate the range of each master's work and the processes of thought that may have been behind their art. |
| seeing the divine pahari painting of north india: Indian Court Painting, 16th-19th Century Steven Kossak, 1997 A catalogue to accompany an exhibit held at the museum from March to July 1997. Color reproductions of 83 paintings are presented chronologically rather than in the usual separate sections on Mughal, Deccani, Rijput, and Pahari traditions. Kossak, associate curator of Asian art at the museum, offers an introductory essay. Distributed in the US by Harry N. Abrams. Annotation copyrighted by Book News, Inc., Portland, OR |
| seeing the divine pahari painting of north india: Kingdom of the Sun Joanna Williams, Joanna Gottfried Williams, 2007-01-10 Published on the occasion of the exhibition Princes, Palaces, and Passion: The Art of India's Mewar Kingdom, presented at the Asian Art Museum- Chong-Moon Lee Center for Asian Art and Culture in San Francisco, February 2 through April 29, 2007. |
| seeing the divine pahari painting of north india: Asia , 1923 |
| seeing the divine pahari painting of north india: Encyclopaedia of Indian Paintings Rakesh Kumar, 2007 |
| seeing the divine pahari painting of north india: Maharaja Ranjit Singh Jean Marie Lafont, 2002 In Addition To The Political, Military, And Economic Aspects Of Ranjit Singh`S Administration, The Book Also Throws Light On Some Of The Little-Known Yet Fascinating Cultural Achievements Of His Rule. |
| seeing the divine pahari painting of north india: Painting in the Kangra Valley Vijay Sharma, 2020 - A detailed survey of the painting styles of Guler and Kangra in the 18th and 19th centuries - Analyses the impact of the Bhakti movement and of Mughal painting on the painting traditions of the region - With more than 150 images of paintings, the book is a visual treat for scholars as well as general readers Painting in the Kangra Valley is an attempt to survey the painting styles of Guler and Kangra, which flourished in the 18th and 19th centuries. The painting activity began with Kashmiri painters, who started receiving royal patronage during the reign of Raja Dalip Singh (1695-1741) of Guler. But it attained culmination during the long reign of Maharaja Sansar Chand (1776-1823) of Kangra. The royal atelier of Kangra produced a large number of paintings covering diverse subjects. The advent of the Bhakti movement in north India had a tremendous impact, resulting in a preference for Krishna themes for the artists of Guler and Kangra. The sentiment of love is the main subject of Guler-Kangra paintings. They illustrate the finest specimens of various kinds of nayika described by the Hindi poets of the riti genre. The female figures seen in these paintings are depicted as graceful and beautiful idealizations, handled by the painters with utmost delicacy and tenderness. Vijay Sharma's analytical approach, based on facts, gives new insights into the origin and development of the Guler school and the marked influence of later Mughal painting on the styles of Manaku and Nainsukh. Featuring around 160 images this book is a significant read for researchers as well as connoisseurs. |
| seeing the divine pahari painting of north india: Arts of Asia , 2006 |
| seeing the divine pahari painting of north india: Asia and the Americas , 1923 |
| seeing the divine pahari painting of north india: Devi Vidya Dehejia, Thomas B. Coburn, 1999 Devi, the Great Goddess of India, is beautiful, beneficent, terrifying, all-powerful, and glorious. Ubiquitous in India's social and spiritual fabric, she has, over the millennia, been painted, sculpted, carved, and wrought from silver and bronze in myriad shapes and forms. Devi: The Great Goddess brings together 120 of these diverse examples of Devi and a group of distinguished essayists who explore facets of Devi worship and tradition, including ritual, architecture, literature, history, and contemporary issues such as feminism and gender politics. The book appeals to readers compelled by the exploration and interpretation of the art, religion, and history of India.--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
| seeing the divine pahari painting of north india: Indian Folk Art Heinz Adolf Mode, Subodh Chandra, 1985 |
| seeing the divine pahari painting of north india: Realms of Heroism Brooklyn Museum, Amy G. Poster, 1994 Illustrations: Numerous b/w and colour illustrations and 1 map Description: This volume is an important contribution to the scholarship in the field of Indian art collections. It covers Pre-Mughal Painting - Mughal Painting - Deccani Painting - Rajasthani Painting - Punjab Hills - Other Schools. Number of illustrations in B&W and colour, condition like new.Paperback Used Book |
| seeing the divine pahari painting of north india: Visions of Courtly India International Exhibitions Foundation, 1976 |
| seeing the divine pahari painting of north india: International Books in Print , 1979 |
| seeing the divine pahari painting of north india: Raja Balwant Singh Nainsukh (Pandit), 2000 Paintings in the collection of the Prince of Wales Museum of Western India. |
| seeing the divine pahari painting of north india: A Mystical Realm of Love Jeremiah P. Losty, 2017 A Mystical Realm of Love' is an important addition to the study of Pahari painting. Eva and Konrad Seitz have put together over many years an outstanding collection of some of the most famous and important of all 18th century Pahari paintings, including miniatures commissioned by the Rajput rulers of the Punjab Hill states (1650-1850). This profusely illustrated book with meticulous research by J.P. Losty (curator emeritus British Library), designed by Misha Anikst and published by Francesca Galloway, London, gives the reader the opportunity to see the collection in its entirety. |
| seeing the divine pahari painting of north india: Oriental Art William Cohn, 1957 |
| seeing the divine pahari painting of north india: Wonder of the Age John Guy, Jorrit Britschgi, 2011 Dispelling the long-held view of the anonymity of Indian artists, this fascinating publication identifies over 40 painters of masterpieces spanning eight centuries. |
| seeing the divine pahari painting of north india: Pahari Masters B.N. Goswamy, Eberhard Fischer, 2012-07-23 Pahari painting - the name given to Rajput paintings made in Himachal, Pradesh and Jammu & Kashmir states of India - has long been acknowledged as one of the great achievements of India in the realm of art. The authors of this book draw attention to fourteen Pahari Masters, whose work spans a period of three hundred years. The paintings come from as many as twenty different museums and private collections, the effort being to select such works as illuminate each master's range as well as the processes of thought from which his art is likely to have sprung. Carefully, the essay on each master presents the evidence available on him, the known extent of his work, and an analysis of his style. Pahari Masters is a pioneering work of great significance. |
| seeing the divine pahari painting of north india: Mala Ke Manke Aaron M. Freedman, 2003 |
| seeing the divine pahari painting of north india: Goddess Jackie Menzies, 2006 The all-powerful Goddess has been a source of inspiration and guidance to followers for centuries. This lavish, engaging book, published to accompany the major exhibition in Sydney, explores the many imaginative manifestations of the divine female in the art of India, Tibet and Nepal. Tapping into the recent huge surge in interest in eastern religions and philosophies, this volume is the ultimate survey of a complex and fascinating topic. |
| seeing the divine pahari painting of north india: The Great Mysore Bhagavata B N Goswamy, 2020-01-06 This book from Mysore, stands out, not only because of the splendour of its illustrations but also because it engages with that great and sacred text, the Bhagavata Purana, in a manner that is completely different from almost anything else that one sees. There are leaps of imagination here that take one's breath away, and the episodes picked up by its great but unnamed illustrators are explored in dense, brilliant detail. At each step the painters seem to have been aware of the importance of the text itself. For the Purana they were engaging with has a very special place in the heart of devotees, there being the belief that the Bhagavata 'is equal in status to the Veda'. The scope of the volume is restricted to the second half of the Tenth Book of the Purana. Here the city of Dwarka is founded, a fierce contest with the bear king Jambavana is fought; the Khandava forest is burnt down, the great fortress of Narakasura is vanquished, the city of Hastinapura is dragged to the waters, great pilgrimages are undertaken, hordes of enslaved princes are freed, Shishupala is slain, Jarasandha is riven. Wide-eyed, one sees wonders piling upon majestic wonders. |
| seeing the divine pahari painting of north india: Encyclopedia of India Stanley A. Wolpert, 2006 A four-volume survey of the history, cultures, geography and religions of India from ancient times to the present day. Includes more than 600 entries, arranged alphabetically. For students and general readers. |
| seeing the divine pahari painting of north india: Punjab Painting R. P. Srivastava, 1983 Painting In Punjab Is A Doctoral Thesis Approved By Meerut University, Meerut (India). It Is A First Comprehensive Survey Of Visual Arts (Miniature Painting, Illustrated Manuscripts And Mural Painting) Which Flourished In The Land Of Five Rivers Governed By The Lion Of Punjab, Maharaja Ranjit Singh (1780-1839) As Also The Area Reigned By East Punjab Rajas Known As Ruler Of Cis-Sutlej I.E. Malwa States; Maharaja Narinder Singh (1845-1862) Being The Prominent Among The Patraons Of Art And Learning Whose Contribution Excelled All In This Respect. The Present Study Covers Miniatures, Illuminated Manuscripts As Well As The Mural Painting Done In Both The Areas Of Punjab Thus Discovering And Establishing For The First Time A Definitive Movement Of Visual Arts Which Existed In Punjab Of Nineteenth Century. This Brings To The Attention Of Scholarly World A Rich Style Of Painting Known As Punjab Painting Hitherto Unknown Just Like Other Indian Schools Of Painting Viz Mughal, Rajput And Pahari Painting With All The Salient Features Of Any Art Movement Inherent In It. Special Feature Of The Book Lies In The Fact That It Sheds Light On The Social Life Of The Painters Who Made Creative And Beautiful Environments-Royal And Private Both-But Thus Far Remained In Oblivion. Simultaneously It Seeks To Trace The Presence Of Amour Artists In Both Regions And Their Family Genealogies Which Help Us To Track Down The Movement Of Art From One Princely Center To Another. One Such Family Was Chughtai Family Which Came From Heart (Persia) And Settled In Lahore, And Its Members Were Responsible For Significant Contribution To Creative Arts Of Punjab Specially During The Life Time Of Maharaja Ranjit Singh In The Capital Town Of Lahore. Unique Feature Of The Book Is That It Offers To The Reader An Opportunity To See The Flowering Of Vaishnavite Art In The Courts Of Tolerant Sikh Rulers Of Both Trans-Sutlej As Well As Cis-Sutlej Areas Of Punjab. |
| seeing the divine pahari painting of north india: Centres of Pahari Painting Chandramani Singh, 1981 |
| seeing the divine pahari painting of north india: The Physiology of Love and Other Writings Paolo Mantegazza, 2007-01-01 Physician, anthropologist, travel writer, novelist, politician, Paolo Mantegazza (1831-1910) was probably the most eclectic figure in late-nineteenth century Italian culture. A prolific writer, Mantegazza can be seen as a forerunner of what has come to be known as cultural studies on account of his interdisciplinary approach, his passionate blend of scientific and literary elements in his writings, and his ability to transcend the boundaries between 'high' and 'low' culture. Though extremely popular during his lifetime both in Italy and abroad, Mantegazza's works have not been made available in a significant English language compilation. This volume is a representative overview of Mantegazza's key works, many of them translated into English for the first time. In addition to the unabridged Physiology of Love (1873), a veritable best-seller at the time of its initial publication, this compilation features selections from Mantegazza's writings on medicine, his travelogues, his epistolary novel One Day in Madeira (1868), and his treatise on materialistic aesthetics. Replete with an extensive and informative introduction by the editor, The Physiology of Love and Other Writings also excerpts Mantegazza's works of science fiction, memoir, and social and cultural criticism. As an anthology of the works of Paolo Mantegazza, a writer of diverse topical orientations, this volume is also an account of the circulation of ideas and cross-fertilization of disciplines that defined a crucial period of Italian and European cultural life. |
| seeing the divine pahari painting of north india: Horse of Karbala D. Pinault, 2016-04-30 Horse of Karbala is a study of Muharram rituals and interfaith relations in three locations in India: Ladakh, Darjeeling, and Hyderabad. These rituals commemorate an event of vital importance to Shia Muslims: the seventh-century death of the Imam Husain, grandson of the Prophet Muhammad, at the battlefield of Karbala in Iraq. Pinault examines three different forms of ritual commemoration of Husain's death - poetry-recital and self-flagellation in Hyderabad; stick-fighting in Darjeeling; and the 'Horse of Karbala' procession, in which a stallion representing the mount ridden in battle by Husain is made the center of a public parade in Ladakh and other Indian localities. The book looks at how publicly staged rituals serve to mediate communal relations: in Hyderabad and Darjeeling, between Muslim and Hindu populations; in Ladakh, between Muslims and Buddhists. Attention is also given to controversies within Muslim communities over issues related to Muharram such as the belief in intercession by the Karbala Martyrs on behalf of individual believers. |
| seeing the divine pahari painting of north india: Indian Books in Print , 1988 |
grammar - When is it ok to use "seeing"? - English Language …
We use the word "seeing" when it's a gerund or verbal noun: Seeing the mistake, she corrected it immediately. I remember seeing her. Fancy seeing you here. Seeing is believing. when you …
"See" or "Seeing"? - English Language Learners Stack Exchange
Mar 29, 2017 · "I'm seeing what exactly you are trying to do here." is incorrect. "I'm seeing exactly what you are trying to do here." could be grammatical, but is non-native. "I see exactly what …
Looking forward to see you vs Looking forward to seeing you?
Nov 12, 2015 · I look forward to seeing you. I look forward to meeting you. I'm looking forward to dogsledding this winter. Each of these sentences are acceptable, and use a gerund (verbal …
To see vs Seeing - English Language Learners Stack Exchange
May 10, 2021 · It felt really nice seeing all the things fall together into place. It felt really nice to see all the things fall together into place. There is no real difference in meaning or nuance. …
prepositions - Seeing/ on seeing...difference - English Language ...
Mar 10, 2016 · On seeing that the robber was walking at his direction slowly, he turned around, and ran for his dear life. Seeing that the robber was walking at his direction slowly, he turned …
phrase usage - Starting a sentence with "seeing as" - English …
Apr 24, 2017 · "Seeing as how..." means something like "for the reason of" or "because". means something like "for the reason of" or "because". So you see how it doesn't quite make sense …
Difference between "what do you see" and "what are you seeing"
"What are you seeing?" implies that the seeing has been occurring for a while. For that reason, it's much less common. If you've been spying on someone with binoculars, your spy buddy might …
Which one must I use "see/am seeing" and what is your reason?
Mar 22, 2014 · When we say John is seeing Mary, we don’t mean John perceives Mary, we mean John is dating Mary. to express change of state (or potential change of state) — With see, for …
is there any difference between saw or was seeing in this example?
Jun 11, 2018 · If additional information was provided, it is possible that the meaning of "he was seeing" could change slightly. e.g.: Fred was seeing a psychiatrist until his psychiatrist retired. …
"See somebody do" and "see somebody doing" - English …
Feb 21, 2014 · My grammar book says that if you saw the complete action you use do/get/drive: "I saw him fall off the wall." Otherwise you use -ing: "I saw him standing at the …
grammar - When is it ok to use "seeing"? - English Language …
We use the word "seeing" when it's a gerund or verbal noun: Seeing the mistake, she corrected it immediately. I remember seeing her. Fancy seeing you here. Seeing is believing. when you …
"See" or "Seeing"? - English Language Learners Stack Exchange
Mar 29, 2017 · "I'm seeing what exactly you are trying to do here." is incorrect. "I'm seeing exactly what you are trying to do here." could be grammatical, but is non-native. "I see exactly what …
Looking forward to see you vs Looking forward to seeing you?
Nov 12, 2015 · I look forward to seeing you. I look forward to meeting you. I'm looking forward to dogsledding this winter. Each of these sentences are acceptable, and use a gerund (verbal …
To see vs Seeing - English Language Learners Stack Exchange
May 10, 2021 · It felt really nice seeing all the things fall together into place. It felt really nice to see all the things fall together into place. There is no real difference in meaning or nuance. …
prepositions - Seeing/ on seeing...difference - English Language ...
Mar 10, 2016 · On seeing that the robber was walking at his direction slowly, he turned around, and ran for his dear life. Seeing that the robber was walking at his direction slowly, he turned …
phrase usage - Starting a sentence with "seeing as" - English …
Apr 24, 2017 · "Seeing as how..." means something like "for the reason of" or "because". means something like "for the reason of" or "because". So you see how it doesn't quite make sense …
Difference between "what do you see" and "what are you seeing"
"What are you seeing?" implies that the seeing has been occurring for a while. For that reason, it's much less common. If you've been spying on someone with binoculars, your spy buddy might …
Which one must I use "see/am seeing" and what is your reason?
Mar 22, 2014 · When we say John is seeing Mary, we don’t mean John perceives Mary, we mean John is dating Mary. to express change of state (or potential change of state) — With see, for …
is there any difference between saw or was seeing in this example?
Jun 11, 2018 · If additional information was provided, it is possible that the meaning of "he was seeing" could change slightly. e.g.: Fred was seeing a psychiatrist until his psychiatrist retired. …
"See somebody do" and "see somebody doing" - English …
Feb 21, 2014 · My grammar book says that if you saw the complete action you use do/get/drive: "I saw him fall off the wall." Otherwise you use -ing: "I saw him standing at …
