Saturday, January 31, 2015

Landscape after Night Rain Shower

Artist: Kuncan



A chinese painting is always less descriptive and more metaphorical. Here the creative act is not limited to exact imitation of nature.  It’s innovative linear and formal abstraction is used to connote the exact essence of the theme. The present example, a hanging scroll, done with ink and color on paper, is painted in 1660, by Kuncan (1612—c.1673) and is a perfect example of the symbology practised by these logician painters.
In the seventeenth century several Buddhist monks emerged as masterful and inventive painters.  His paintings display uninhibited brushwork, quantities of ink, quirky, dynamic compositions and recondite content.
Man’s presence is thus diminished like an ant in comparision to the magnitude of hills, thus reflecting his monastic thoughts.  The rising movement of hills and trees drawn sketchily yet retaining the character is met by the downward flow of Chinese script (which is an intrinsic part of Chinese art).  The writing seems like rain much in consonance with the subject of this work. Unlike a western artist, Kuncan has not split the earth bound elements from the ether. The regular depiction would be of a sky separated from hills or land something what the children draw with a typical setting of triangles set firmly on their flat base to the ground. But that is abstraction of, even if it is mostly ‘realistically’ finished. In nature we can face anything on the undulating curves of hills that would sometime appear higher than the clouds. So, here we see the left corner filled intricately right to the top with hills, foliage and huts.  A very subtle presence of a distant hill is achieved through a smoggy outline, a true watercolour effect.

The pristine delicacy and charm rendered in this work at once gives the feel of solemnity experienced in the lap of hills.

Art of seeing the Abstract Art


Artist: Raman B


Abstract art is now generally understood to mean art that does not depict objects in the natural world, but instead uses colour and form in a non-representational way.
 In the very early 20th century, the term was more often used to describe art, such as Cubist and Futurist art, that depicts real forms in a simplified or rather reduced way—keeping only an allusion of the original natural subject. Such paintings are often claimed to capture something of the depicted objects' immutable intrinsic qualities rather than its external appearance. Although this abstract art is nothing new but humans have made non-objective art since they first drew pictures in the dirt or on the cave walls.


But like we studied in the classes of Art history, “the pendulum of art goes from abstract to realistic and vice versa”. Be it an individual’s art or the Art movements of the world.
Now how to see abstract art?  What I mean is how to appreciate abstract art?  Renowned Art Historian Professor Goswamy once told all images remind us of something. So when you stand in front of an abstract painting trying to figure out its meaning try not to figure out the meaning but try to feel what it reminds to you. It might not always remind you of any object but it can remind you of a feeling. A feeling that aroused in you by meeting someone, reading something, touching or smelling or looking or hearing something. 
That's how abstract art acts on you.



woman sitting on panther

Artist: DANNECKER Heinrich


There is a popular belief that Britishers and other Europeans who came to India in the British Raj era found the images of Indian Gods and Goddesses horrifying and irrational!
How could a female ride a lion, they wondered taking Indian art as unreal. But a similar combination of a female with a feline has long been a part of Greek myth and art. And this is self-explanatory that thought patterns are repeated among individuals and even cultures irrespective of temporal and spatial differences. The purpose varies but the feelings remain same.
This masterpiece of Dannecker, “Ariadne on the Panther” (1812-14) is considered by some to be a modern classic, and is perhaps one of the best-known German sculptures of the 19th century. Dannecker follows none of the mythological precedents in his representation. He shows Ariadne riding, lying in divine nakedness on one of Dionysius' panthers. Overall, the pose creates a contour of extended repose, embracing the whole sculpture.
Ariadne was one of the many children of King Minos 2 of Crete. During her time, the naval power of her father decayed, and she contributed to it by providing aid to Theseus, prince of Athens. And it is when Theseus came to Crete that Ariadne came into the story. Eventually Theseus left her sleeping as he feared shame and the reproaches of the Athenians.
As an early Minoan Goddess her myth was centered around the joyous and sorrowful aspects of marriage and death.




Raman Bhardwaj