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    5 views27 pages

    Fine Art-1 - 022916

    Uploaded by

    manvihaimeranaam

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    © All Rights Reserved
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    MARU RAGINI(A) SANMBDIN MEWAR (Udaipur, Rajasthan) 1 (CIRCA 18th CENTURY AD. MUOWUM TEMPERA (Water Colour) ON PAPER COURTESY: THE NATIONAL MUSEUM, NEW DELHI SUBJECT MATTER : Maru Ragini isa vertical painting from Ragamala series. It was painted by the painter of Mewar (Udaipur) namely Sahibdin, DESCRIPTION : In this vertical painting, the king with his queen is riding on a camel. Background is yellow but foreground is light green. ‘Two male escorts are running along the camel-riding couple. In the centre of yellow background and green foreground, a band of sky with blue colour has been shown, ‘The camel has been shown with full enthusiasm. One male attendant is leading the camel. A hunting dog is also running ahead of the two escorts. The sky is deep blue. The dresses of all the figures are in flat colour. Transparent white colour has been used in the painting. Camel is well decorated. The king is holding a flower in his right hand and looking at the queen. On the top of the painting Maru Shri Ragini is written, The samvat means circa 1885 century. It isa painting of Barah Masa. In the painting facial expressions are shown with Rhythmic lines, ‘The colours are bright and natural, which tell the story of heroines and heroes. MARU-RAGINI (B) SAHIBDIN RAJASTHAN (MEWAR) 1660 A.D. CIRCA, s 235 17em M PAPER WATER COLOUR (TEMPERA) COURTESY. |THE NATIONAL MUSEUM, NEW DELHI SUBJECT MATTER : This painting is based on RAGINI MARU, visual Uepiction of an Indian musical, sung to ignite sensuality and passion of Wve, manifest visually in a good complexioned and gold bejewelled maid ‘who, when at her evening meeting towards the end of Hemanta, the earlier half of winter, kisses her beloved. Thus MARU RAGINI is essentially ‘part of samhoga-shringara. This love story of Dhola Maru is very popular in Rajasthan and is narrated both in murals and miniature paintings. DESCRIPTION : This painting has two parts. In the upper part, both NAYIK and NAYIKA are sitting on carpet under a yellow canopy with & red curtain. Dhola is dressed in typical aristocratic attire complete with ‘weapons like sword and shield, facing his lover Maru in Rajasthani costume. We can see both are offering flower and a cup of drinks to each other On the both sides we can see a big tree with different leaves and flowers In the lower part of painting, the traditional nayika the artist seeks Maru who neither kisses nor rushes to her lover Dhola, but it is rather their Joyal camel which brings Dhola to Maru. Dhola has arrived as the camel is shown in this part. The camel's presence represents the arrival of Dhola, She offers to Camel the Paan (the betel leaf) and is feeding the camel with fresh tree leaves for its noble deed to carry Dhola to Maru. ‘The camel is in deep yellow colour with decoration of its back in red and blue colours. Pink flowers can also be seen behind the camel. Lines fare thick & sharp. Red, orange, yellow, black and dark green colours are used in both parts ‘of painting. Only light green colour can be seen in upper part of painti ‘Tilston Fapaal fom Menard wat pened by Soy Hsp Manca pe ast Ragman ane’ Te endy y infec: on Mewar punting ean be sec nts yniog a R DELHI. s trait of bravery. ‘The | the back of a 1 Bundi School of Att “ince, Aniraddha Singh NAME (CHAUGAN PLAYERS ARTIST DANA MEDIUM; TEMPERA (watercolour) ON PAPER PERIOD CIRCA, 18th CENTURY AD. SCHOOL; JODHPUR (RAJASTHAN) courr ‘THE NATIONAL MUSEUM, NEW DELHI SUBJECT MATTER : Chavgan Players is «horizontal painting in Soares te playing Polo with thee four mais, DESCRIPTION + The princesses are siting onthe back of two diferent aes RP TION sean ofthe Paiming andar facing each oer. While i sib tower section withthe maid are cuning in a tt rb he feces of mds ae on the same sie where on eigking, igre hve been perfexted against ed, yellow ered bacound Al ix Polo ses ae covering te bal wit tadice hav high rounded forcheads, faces ae profile, The eyes of ft Cotati upo ir tpl Thee aki ae spread onthe sass ck ie bel ine syed manner ‘The composition is against a flat green background. Colours are very bright. A light green landscape shows harmonious contrast to the g is ast to the painting. Ail the dresses are in contemporary Rajput constumes and well omamented = 7 OTHER AND CHILD MINIROY PMPERA (Water Colour) MODERN agtis MEDI" perio : This painting depicts a mother holding her child. The SUBIECT jst DESCRIPTION + This isa vertical painting by Jamini Roy. A mother is ‘totally withthe ttle ofthe painting, her son with her left hand on the left side on her waist. Face is cup vai eves are elongated, a stylized influence of the Pala School of Eastern Inds. The child also has similar eyes with thick eyebrows. Mother's head is ted towards the son, The childis totally naked while the mother is wearing @ tie, Border of saris shown at different places. On one side we can seea plant fkesiructure, Both mother and child are decorated with ornaments. There isa ‘small bun on top ofthe child's head similar to Roy's images of baby Krishna, The folk motifs in the background capture the simplicity of local and rural life. This mother is unmindful of everything other than her role as a mother. Such portrayal has.a rural simplicity where contentment comes easy. Lines are very sharp, thick and fully expressive. The figures are arranged in a single frontal plane in simple two-dimensional forms, with flat colour application and forceful lines. The flat colours on the flat planes have removed all unnecessary ornamentation from his work. The bold lines defining curves come alive with her feminine beauty. The bold-sweeping brush strokes at the contours* bring clarity into the composition. There is a sensitive moulding of the volume of figures with tonal gradations. The decorative motifs are inspired from Kantha and Alpana of Bengal. The overall treatment shows the influence of Kalighat Pat paintings. COLOR SCHEME : The artist's palette is limited to a few earthy colours, mostly green, red, yellow ochre, gray, verillion, blue and lampblack. The colour bands of varying thickness bring down the harshness of the black line, ‘Theartisthas limited himself to the basic white line drawing for omamentation. Jamini Roy was a modem artist more than anyone else who followed an entirely different path of expression, de f ssion, deeply inspired by tradition Hissiylehadaemendousimpactonsueccedngrainens gone “outer edges outline SRINDERS amt \ SHERGIL arts mer 1 102em sat SppitM CANVAS. a QLLECTION HONAL GALLERY OF MODERN ART, 0 DELHI resents an actual CT MATTER / THEME: The whole picture represents suBJECT MAT fousehold. The women are sitting and grinding held in @ pesCRIPTION: Amrita Sheri had great empathy and fascination oF rural ESCA enti India She caved withinher adeep sense of melancholy tha ‘ear jexpression inthe serious faces and still poses ofher subjects. ‘he punting is avery honest portrayal of a domestic Indian household. Js Penen doing a very routine chore of grinding turmeric, a common spice nor every Indian cuisine. Here we see the view through two tree trunks that Paar de main figures to bring them into focus. The two women siting crea in profile ae grinding ona stone grinder that is operated manually in ‘traditional style. Their heads are covered. and faces are dark with no emphasis tn facial features, There is a young gir sitting next to them with turmeric seeds felping them out. One more head is visible atthe far end of the composition which is again veiled and obscure(unclear). These are women who have Surendered to their fate and are comfortable as they are, Even the small git] is happy doing what women around her do without any different expectations from her future. ‘The female forms are simplified and abstract in a very modern style that she brought with herself through foreign upbringing and training. The trees, specially the details of leaves carry the influence of Rajput and Pahari ‘miniature paintings that she encountered after coming to India. Hence, this paintingisan extraordinary mix of Eastand West. cnet oe cary wih iene re, ocres browns, yellows and J ures expressed a new visual reality. It also reveals the artist's sense of scientific perspective and balance of composition. NAME ARTIST MEDIUM PERIOD ‘CourtEsy OF WALLS ANUPAM SUD 5 LITHOGRAPH fa 1982 A. ALL INDIA FINE ART;CRAFT SOCIETY, NEW DELHI i > reappear. They af id rectangles. The W% child that lives nt is etched in brown © « lady sitting on 2 or faceless lady man sleeping ne: he antist's keen power of s calism without any beauty. She could extract immense en realism focuses on the huma Society and the suffocating details of her works explore ‘epresent them as mortal fle: ery well defined in shades an Anupam Sud exposed the h Straightforward manner. She ‘picting women's depriv: Psyche. In this ¢ Vulnerability ati ase the { ia his Art work is a journey of the artist down her Xi. The subject is unconsciously lost in the mystery particular bu . a gliding image that has found place in i is often interpreted as a representation of poverty and forthe artist itis more ofa personal moment. DESCRIPTION + This horizontal Art work is in a new technique of print The artist Anupam Sud imagines in this etching, an she returned fo the house where she had spent her xperience she had wher ‘ldhood. In the background you can see the walls of the ‘haveli, the spacious stone house where she grew up. While many things have changed since that time, with her etching Anupam converts the memories of that time into solid and teal images, For instance, the wall drawings that she had made ssa ite girl reappear. They are all single line drawings with plane triangles, circles and rectangles. The wall stayed in the subconscious because it was ery big forthe child that lived there once, but now it seems to have shrunk, ‘The prin i etched in brown colour and line drawings are in white colour. A poor faceless lady sitting on a pavilion of the wall on one side is clad in an untidy looking sari and is bare feet. In the foreground two legs and a foot are visible, ofaman sleeping near the wall The artst’s keen power of secing the ordinary and then transferring that realism’ without any beauty or glamour onto the etchings is extraordinary. She could extract immense emotive and visual details out of her medium. Her realism focuses on the human body that is exposed to the harshness of the society and the suffocating walls of prejudices. The almost photographic details of her works explore the physical reality of humans and objects and represent them as mortal flesh, texture, volume and form. The contours are very well defined in shades and shadows of prints Anupam Sud exposed the hidden face of the society and presented it in a straightforward manner. She was always interested inthe feminine subjects, depicting women's deprivation and exploitation and explored the nature ofher psyche. In this case the faceless figure of the woman represents her vulnerability and emptiness in continuous, endless time. The work is thoughtful haunting and indistinct with the deep monochromes enhancing the overall affect (DREN MINATH HORE ETCHING AND AQUATING 1955-1970 AD. ‘THE NATIONAL GALLERY OF MODERN ART, NEW DELL (MATTER : The print is a visualization ofthe artist's emotional the pain and suffering of the poor and deprived ~ the wounded Ttisabout the physical suffering ofthe vietimized and the wounded, ‘of rescue in this world, or the other. ION : This etching with aquatint in black and white is a ‘work symbolising the artist’s protest against the injustice towards poor people. Its a composition of five standing figures grouped All victims of starvation. The thin, worn out children have bloated! ‘and thin rectangular ribeages showing the effects of prolonged ads are enormous skulls with small bony faces resting on rickety” Jimbs. Eyes are white horrifying hollows. Their mother, standing hem, has put her protective hands on their shoulders. In the fa semi dressed child is standing wearing a necklace. The tallest {op with hands on both sides ofthe head appears ghostly. with towards the viewer is standing on the left vertical plane. The human divided into cubist style geometric planes. Different tones of blue fare used in linear texture in the background as well as thes (bodies for depicting the under nourished children from the poor society. } waded part Iwork was deeply influenced by the 1943 Bengal famiite which shook. ly. His subjects are the neglected poor people who suffer in social or natural. His symbolic abstraction in art cries of suffering left with no hope 2 say det por best ia gant grist wal rer!00 yen HE NATIONAL GALLERY OF MODERN ART, NEW DELHI counts SUBJECT MATTER ; This etching print shows Devi as a power of v enipand the hidden power of Kundalini (a form of feminine shakti or ie ealenerey” that weall possess). The Yoga Upanishads describe that nian is lying coiled atthe base of our spine, represented as either a soddessorasleeping serpent waiting to be awakened. DESCRIPTION : The composition is a combination of two rectangles {rounded at corners) made with a coiling and spiraling serpentine form of Kundalini, The upper rectangle has a bold face in its centre and the lower one has two circles with one human figure each, separated by a tail. The figures are curled within the dimensions of the circles. There are small birds and other small motifs of folk art as well in these circles. On the forehead of the face on the upper rectangle a brilliant vermilion (Red) Bindi catches the eye. The wide open eyes are typically like that of Durga idol. Tones of sap green are used on each side of Devi’shead in the shape of decorative pendants. There is interesting writing on both pendants, one has artist’sname on itand the other has “Pseudo Tantrik Kundalini” written on it. Deep linear etching gives an interesting texture to the serpentine form. ‘The flowers drawn on the checks and the earrings are part of Bhatt’s stylization of the goddess face. As per the tantra philosophy, kundalini has a counterpart that resides in bain where power of Shiva resides. The powers of shiva and shakti unite bytherise of Kundalini whichthen leadsto piitualawakening. Jyoti Bhatt’s work falls into the explored a personal lan; genre of pop art that explored and re- guage of symbols taken fro lized Indian gods and village designs canbe seeninhis work in differen m Indian culture. goddesses and tribal and Variations, a N AND TREE NATIONAL GALLERY OF MODERN ART, NEW DELHI c life basing on artist's gupIeCT MATTER : Its a depietion of villa cemories of rural and tribal liveliness presented rustic version of am A native of an Andhra an, awoman anda tree. This vertical graphic print has four trees in the DESCRIPTION : hree trees on the right side of

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