Wednesday, December 27, 2006
by Debashish on Tue 26 Dec 2006 10:41 PM PST Profile Permanent Link
by Rich on Mon 25 Dec 2006 10:18 AM PST Profile Permanent Link
Monday, December 25, 2006
by RY Deshpande on Sun 24 Dec 2006 08:16 PM PST Profile Permanent Link
Take the boutique paintings. The colours floating on the surface of water can at times elicit situations when some invisible eye starts seeing the wonders of creation from the depths below. The veil is penetrated and at once shines out the face of the indefinable. From the dark ocean of inconscience, salilam apraketam of the Rig Veda, a new world seems to take birth. This is what at times Champaklal achieved in his boutique paintings.
“Modern Art opines that beauty is functional! that is, whatever serves its function or serves a true purpose is artistic and beautiful—for instance, if a clerk produces a neat copy of an official letter without mistakes, the clerk and his copy are both of them works of art and beautiful!”
Creativity based on the unconscious process can be dangerous. The danger is of entering into the Dangerous Intermediate Zone so dreaded by the spiritual aspirants. And remember there is always a Mephistopheles waiting there to entice the gullible soul of man. To be a Mystic of the Unconscious can be self-glorifying, the lure of becoming important. But see how disastrous it turns out to be even for the accomplished. I will just quote a passage from Sri Aurobindo vis-à-vis the theosophists.
“From one point of view I cannot find praise warm enough to do justice to the work of Theosophy; from another I cannot find condemnation strong enough to denounce it. It has forced on the notice of an unwilling world truths to which orthodoxy is blind and of which heterodoxy is afraid or incredulous. It has shown a colossal courage in facing ridicule, trampling on prejudice and slander, persisting in faith in spite of disillusionment, scandal and a continual shifting of knowledge. They have kept the ﬂag of a past & future science ﬂying against enormous difficulties. On the other hand by bringing to the investigation of that science—not its discovery, for to the Hindu Yogin it is known already—the traditional European methods, the methods of the market-place and the forum, it has brought on the truths themselves much doubt and discredit, and by importing into them the forms, jugglery and jargon of European mystics, their romanticism, their unbridled imagination, their galloping impatience, their haste, bragging and loudness, their susceptibility to dupery, trickery, obstinate error and greedy self-deception, Theosophists have strengthened doubt and discredit and driven many an earnest seeker to bewilderment, to angry suspicion or to final renunciation of the search for truth. They have scattered the path of the conscientious investigators, the severe scientists of Yoga who must appear in the future, with the thorns and sharp ﬂints of a well-justified incredulity and suspicion. I admit the truths that Theosophy seeks to unveil; but I do not think they can be reached if we fall into bondage even to the most inspiring table talk of Mahatmas or to the confused anathemas and vaticinations hurled from their platform tripods by modern Pythonesses of the type of Mrs Annie Besant, that great, capacious but bewildered and darkened intellect, now stumbling with a loud and confident blindness through those worlds of twilight and glamour, of distorted inspirations, perverted communications and misunderstood or half-understood perceptions which are so painfully familiar to the student and seeker. If these things do not satisfy me, what then do I seek? I seek a light that shall be new, yet old, the oldest indeed of all lights.”
We have to have vibrancy, another vision of things, a gaze looking into the luminous spaces of spiritual calm that alone supports the expression of love and joy and sweetness and and beauty and happiness of form, even its assertive dynamism. That gives a real push to evolution.
O T Ravindran, an Indian painter of plants, once wrote about a cactus. “Plants, especially the natural ones (as opposed to those artificially made) have a vibrancy of their own. They only need our help to bring out the beauty in them. Even the weed growing unnoticed in the thicket is strikingly beautiful. Plant them, sketch them and arrange them and they become pieces of fine art. Art, whatever man may claim it to be, is nothing but his sincere effort to imitate the unattainable perfection that is Nature.” Imitate, ...well! But at least imitate it well!
Ramakrishna Paramahamsa quotes Kabir: The formless Absolute is my Father, and God with form is my Mother. That’s it. RYD
Sunday, December 24, 2006
by RY Deshpande on Sun 24 Dec 2006 06:19 AM PST Profile Permanent Link
Tuesday, December 19, 2006
Saturday, December 02, 2006
Finally, Mathilde and her husband Maurice Alfassa, who became a French citizen in 1889, have had, after losing a son Max, two children: Matteo, who entered the colonial service on graduating from the Ecole Polytechnique and married Eva Brosse, and Mirra, who married the well known painter Henri Morisset; I knew his father, and it was I who first took her to their home. They have had a son, André.
Thursday, November 30, 2006
Friday, November 17, 2006
Sunday, October 29, 2006
1998 Sept onwards Canadian School, Bangalore.
3 days in a month with students of class IV to VII (Students from various parts of the world).
1992 Jan/Feb Aurobindo Integral School, Parlakhemundy
Students 5th and 6th
1991 Sept-Dec Bagusala, Orissa
With village children of Bagusala, Age 4 to 12
Saturday, October 28, 2006
Tuesday, October 24, 2006
Sunday, October 22, 2006
- Is this different from if an Art Historian were to do something similar?
- Or would an Art Historian do something else with a similar effect/intention in mind?
I think these days it’s an artificial distinction to make between Artists and Art Historians, the roles are interchangeable. This probably has some effect on the argument itself. 1. Taken from Donald Preziosi ed., The Art of Art History: A Critical Anthology, OUP, Oxford, 1998, but also used to describe the course by the tutor, Astrid Schmetterling. Technorati Tags: art, art history, course, hegel, winckelmann This entry was posted 8 hours, 8 minutes ago on Saturday, October 21st, 2006 at 14:30 and is filed under Art, Writing, CORE course
Saturday, October 14, 2006
Wednesday, October 11, 2006
Auroville has come a long way since. At present, many Aurovilians are involved in one or more art forms. A multitude of expressions in dance, visual arts, poetry, music, theatre, and sculpture, enhanced by the rich interaction of eastern and western cultures, have become a normal part of the daily life. More than sixty Aurovilians are pursuing the arts either on a full-time or part-time basis. Kalamitra (Friends of the Arts) formed by a group of Aurovilians to stimulate cultural life in Auroville by promoting a wide range of events and workshops has brought many top artists over the years to perform in Auroville. More recently there have been two initiatives - Khala Koj and the Visiting Artists Residency project - which aim to bring artists from all over the world to Auroville for brief or extended periods of time and to promote artist exchange programmes. To this purpose Kala Khoj has become affiliate member of the international 'Res Artis' network which is represented in over one hundred and twenty countries .These positive developments notwithstanding, resident artists often complain about the almost complete lack of community support. The Maintenance Fund, struggling as it does to provide a minimum maintenance to those working for community services, has hardly any artists on its maintenance lists. Neither is there a support system to help artists to sell their works.
What, then, attracts many artists to Auroville, or, as is often the case, turns Aurovilians into artists? For the majority, the vision of Sri Aurobindo and Mother is the most powerful inspiration - the vision of a new world based upon a new consciousness. In fact, many Auroville artists view their work of artistic creation as a vehicle of their yoga. Mother spoke of an ideal place where the exigencies of existence would be removed in order to allow the individual the freedom to discover him or herself, and this is another important factor. As one artist puts it, "One of the greatest things that happened to me was finding this place and environment where I can spend time and space to search for the inner self, in my case through the arts." Another attraction is the sheer diversity of cultures and individuals represented here which, through the cross-fertilization of ideas and perspectives, creates a ferment of creativity. And Auroville also offers the possibility of continually reinventing oneself, of taking up new ideas and activities without having to conform to social or 'professional' norms.
On a more prosaic level, for a community of 1500 people there are a surprising number of venues at which artists can perform or present their work. Visual artists can exhibit at the Savitri Bhavan, the Centre for Indian Culture, at Pitanga Hall, the Information Centre, or at the Solar Kitchen. Musicians and other performers can use the open-air stage at the Visitors' Center, the large auditorium at Bharat Nivas, the dance room in Pitanga Hall, or the recently opened music salon Salle Auropax.On the flipside, Auroville artists have to deal with a number of discouraging factors. There are, of course, climatic factors which play havoc with musical instruments and other sophisticated or sensitive equipment and materials. Then again exhibitions, while frequent, are not always well-attended. Additionally, few Aurovilians have the means to act as patrons or supporters of the arts through purchasing or commissioning new work, although a few commercial units have commissioned public art. Consequently, full-time artists have to market their work outside Auroville in order to survive, a job for which most artists are badly equipped. Some Auroville artists also resent the fact that their work only gains public recognition when it is used to promote Auroville at a public relations event or for fund-raising efforts.Another problem is the fact that only a small number of outstanding artists or aficionados of the arts reside here - after all, artistically we are still a very young and undeveloped culture. For artists like musicians, it is hard to achieve greater perfection or explore new territory without regularly playing with other musicians of high calibre. For visual artists it may be difficult to see things in new ways if one is not able to challenge one's own thinking through seeing the works and conversing with numerous others.One possibility is for them to draw upon the experience of the many visiting artists who come to Auroville for brief or extended periods of time. They often regard Auroville as a kind of paradise and are eager to share with other artists and to impart specialised skills.
It would be wrong to blame all the disincentives to artistic creation on the community at large: the artists themselves must also take some responsibility. Indian art in all its forms has wonderful potential for expanding one's artistic horizons, yet this source remains largely unexplored by Auroville artists. Again, it is quite common in artist communities and centres of the arts elsewhere for artists to come together frequently to discuss and critique each other's work in a spirit of artistic collaboration. Yet here such forums hardly exist. Another criticism of the arts produced in Auroville is that many artists are reproducing Western definitions of "high art". In this concept art is seen as separate from the mundane world, to be viewed in galleries, or heard in auditoria. The commitment to this orientation explains why so few artists have experimented, for example, with the use of everyday materials or performances that break with the tradition of the proscenium stage.
An Auroville culture?
Is a distinct Aurovilian culture or form of artistic expression emerging, something different from what is happening elsewhere? The majority of Auroville artists are cautious about making any such statement, pointing out that a specific culture may take many years to evolve. However, there are at least two indications that something specifically 'Aurovilian' in artistic expression may be in the first stages of birth. Firstly, Auroville artists who exhibit or perform together outside Auroville are often seen by outsiders to be expressing something 'different' from the norm. Secondly, there is increasing evidence, particularly in the realm of music, that Auroville artists are no longer merely drawing upon existing material or trends but are increasingly experimenting with new forms.This raises the question of what Aurovilians expect from the community's artists. A few years ago when Beckett's play Waiting for Godot was staged, some members of the theatre going audience expressed disapproval, stating that the play was inherently irrelevant to life here. A similar verdict was pronounced on a performance of Japanese butoh dance a few years later. The suggestion is that only certain subjects are appropriate to be worked on and viewed in Auroville - presumably those which can somehow be described as 'spiritual' art. But how do you define 'spiritual' art? The more one thinks about it, the more impossible it becomes, for almost any form of expression can be a means of evoking or exploring the subtler realms in the hands of an inspired artist.
Though there are many concrete and mental stumbling blocks to artistic creation in Auroville, there is a definite sense of the tremendous potential this place has for the creative process, and there is little question that the overall quality of artistic work is steadily improving. With the diverse population and beautiful environment, one may expect that Auroville will not only attract many fine artists, but produce more and more of them itself so that, together, they will make of the city and its greenbelt one gigantic work of art.
Editors Home > Journals & Media > Journals > Auroville Today > Art in Auroville Current issue Archive copies Auroville Adventure
Wednesday, September 27, 2006
THE architecture of Kerala is unique not only in India but in the world. The extraordinary wooden temples spread across the State reflect a great simplicity of form and materials. Glimpses of Architecture in Kerala is a book that attempts to bring out their special quality of design through images. It portrays a number of major temples that represent Kerala architecture at its finest. The delight with which designers of a different era were able to build and create space in harmony with their surroundings is worth experiencing.
Kerala's waterways, greenery and architecture are experiences that are now becoming scarce in other parts of the country. I had this experience for the first time in the early 1980s, while designing a house for a friend. We were visiting the backwaters when a fisherman offered us his catch. We liked the idea and negotiated a purchase. Before we knew it, a local gardener quickly cleaned the fish, plucked a couple of raw mangoes from a tree close by, and made a chutney with fresh chillies and salt. She fried the fish over a fire built from broken twigs and produced a delicious dish; its taste is still fresh in my memory. This small gesture has always symbolised to me the abundance and self-sufficiency of Kerala.
THE TEMPLE AT Peruvanam.
Many of Kerala's magnificent temples are hidden in the countryside, along its rivers or high up in the hills. In every instance, the location is chosen carefully and the setting is invariably beautiful. Temples in this land are the focus of the lives of people who follow the Hindu faith. Unlike the grand edifices of the more famous Indian temples, these places of worship are low in profile and offer a tranquility and space for prayer that is rare in today's world of intense activity.
THE RAMA TEMPLE at Thripprayar.
Older temples usually have streets leading to them on four sides, each becoming an axis of settlements surrounding the temple. At Peruvanam, one of the streets leads to a temple tank, which in this instance is situated at a distance and the houses on both sides become an extension of the vista. A temple becomes a meeting point where philosophy and politics are discussed. It is also the centre for theatre and traditional dance performances and the main venue to celebrate major festivals.
The temple's roof.
In a town or city, a temple can play a pivotal role in the manner in which the Vadakkunnatha temple in the middle of Thrissur town does. The temple at Mannar, a small town near Kottayam that specialises in making brass lamps, is extraordinarily simple, its sand-covered outer court typifying the style of a Kerala temple.
A PANEL AT the Kaviyur temple depicting Krishna's encounter with demons.
The Kaviyur temple at Kaviyur near Thiruvalla and the Sri Vallabhaswami temple at Thiruvalla are my personal favourites. In scale and detail, they are representative of Kerala temples. These two are masterpieces of their workmanship in timber and the intricate sculpture is a joy to experience. Oil lamps light up the woodwork at the entrance to the Sri Vallabhaswami temple and illuminate the beautiful interior.
A bird's eye view of the temple.
The theatres attached to a temple are known as Koothambalams and provide a space for other activities related to the temple. These are magnificent timber structures with high roofs and give the designer and the builder a chance to work on a larger scale than is available to them when making temple shrines. Decorative elements within the Koothambalams are areas where the sculptor and the painter are given more opportunities to use their skills. The temple tank is another major feature of the complex. Used for bathing before entering the temple, these water bodies are able to give a balance to the architecture.
THE KOOTHAMBALAM AT the Vadakkunnatha temple in Thrissur.
In northern Kerala, there is a kind of austerity to both the landscape and the design of temples. The Rama temple at Thripprayar has very few frills, but it blends in with the natural landscape. The Ananthapadmanabhaswami temple near Kumbla in Kannur district is surrounded by water. Close to it are the ruins of a once prosperous settlement, a lone oak tree conveying the desolation of the place.
Light filtering in through the trellis work in a wall of the Koothambalam.
Designers of these extraordinary structures were able to soften the sunlight; yet there is enough natural light to illumine and enhance the interiors, the play of light and shade adding a special quality to the way the architecture is experienced. The murals and wooden sculptures, portraying events in the lives of gods, complete the design. Episodes from the life of Krishna are depicted in the elaborately carved panels surrounding the Srikovil (main shrine). The panels also tell stories of the Ramayana and the Mahabharata. The dark confines of the garbha griha (sanctum santorum), which houses the deity, is lit up with oil lamps.
Inside the Koothambalam.
The basic form of the temples has remained unchanged for centuries, yet each temple is unique. Inside the temple, one is either alone with oneself or one with the gathering of devotees. It is a space that allows the individual to become aware of his/her being. Sri Aurobindo observes that Indian architecture is built in relation to its surroundings and the sky.
KRISHNAPURAM PALACE IN Kayamkulam near Kollam.
He also says that "the buildings should be seen in loneliness, in the solitude of one's self, in moments when one is capable of long and deep meditation and as little weighted as possible with the conventions of material life". Kerala temples, as the images illustrate, are reflections of this kind of architecture and bring balance back to one's life. Ramu Katakam can be contacted at firstname.lastname@example.org , Joginder Singh at email@example.com
Wednesday, September 20, 2006
This celebration of Italian art will be on from September 22 to October 7 at the gallery, which is located at Jony Castle, off Wodehouse Road in Colaba.
‘‘The show is intended to give viewers a slice of Italy. I’ve always felt that Italy and India have so many things in common. This show is an attempt to exchange as much of our beautiful ancient cultures as we can,’’ says La Franca, a well known fashion photographer, known for the D’damas campaign.
While Pino Marchese and Lucia Pescador will unfortunately not be able to make it for the opening night, their works will speak for them. Marchese is ‘an architect by education and photographer by passion’, who now lives in Auroville, Pondichery and his photographs of India delve into the vibrant relationship between the people and the architecture surrounding them.
Franca has worked with Pescador in Milan and is of the opinion that she is one of the ‘best Italian painters, who lives in a world of dreams, inspired by her home and her immediate surroundings.’ She is well known in Italy for her vibrant colours and her works are collected by many. This is not the first time that Pescador is showing in India, she had an exhibition here last year, too. The photographs are for sale and priced between Rs 5,000 to Rs One lakh.
The inaugural night will wind up with Italian elan, with opera singer Claudine rendering Le Figaro. The evening is organised by COHO, and is open to all.
Sunday, August 13, 2006
Monday, July 31, 2006
Alex Grey is a psychedelic visual artist whose works have been admired by Wilber and others.
Stuart Davis is an eclectic musician whose works include the concept album Bright Apocalypse. Mystical and integral themes feature large in his lyrics.
Saul Williams is a hip-hop artist who is associated with the Integral Institute.
Wilber is a big fan of the Wachowski brothers. He considers the Matrix series to convey important philosophical truths, and has done a DVD commentary track on them with philosopher Cornel West. Art Integral Blog - Matthew Dallman
Sunday, July 30, 2006
I should have replied you earlier, but I was a bit disturbed and busy otherwise for the last one week, as a result of which I could not proceed ahead with my Blogs and I could not also reply you. But anyhow, finding you back, in a far greater perspective, is indeed a matter of great joy!
Regarding the comment by gnat, I will post a comment later in your Blog. Thanking your for remembering me. I have began another Blog in Blogspot : The New Vision. With the best wishes, for you and for your family-members, Barin 28-07-2006 From Barindranath Chaki The New Horizon - http://www.freewebs.com/barinchaki/ , http://barin.zaadz.com
Saturday, July 29, 2006
Tuesday, July 25, 2006
Sunday, July 23, 2006
Saturday, July 22, 2006
Saturday, July 15, 2006
Sunday, July 02, 2006
Institutionalised religion troubled Van Gogh. But the life of Christ remained his ideal. To a fellow painter he writes: ‘‘Christ alone—of all the philosphers—has affirmed, as a principled certainty, eternal life, the infinity of time, the nothingness of death, the necessity and raison d’etre of serenity and devotion. He lived serenely, as a greater artist than all other artists, despising marble and clay as well as colour, working in living flesh.’’