The mural depicting 'a flute recital' enters 8th day.
Rahul,Panini and Dr Reghuraj at the 'concert', while Sasi Gurukkal and Suraj look on
Sasi Gurukkal (standing) and Dr Reghuraj take a break at the end of day's session.
Sunday, February 28, 2010
Friday, February 26, 2010
Where have all the murals gone?
Know the real 'enemies of painting':
Some art historians attribute the decline of patronage to mural painting in Kerala to the Mysore Invasions(1766-1782) and the ascent of the British rule in 1807 and importantly the emergence of Raja Ravi Varma as the leading exponent of Western mode of painting followed by the advent of photography and printing presses.
Ravivarma is to Mural painting as Krishna is to Vedic Religion. Just as Krishna veered away everyone from worshipping Indra and Varun, RaviVarma gave new eyes to the audience that look into the eyes of the Gods and Goddesses, who in turn look directly into the eyes of the devotees, This is very much against the mural tradition. The new Gods and Goddesses communicate directly with the devotees and vice versa.
That was long ago.What happened to murals in post-independent India?
You are not to be faulted if you think that even the Gods are against Murals:
Pl follow the link and read carefully:
http://www.guruvayurdevaswom.org/htemple3.shtml
HISTORY OF GURUVAYUR
THE FIRE AND RENOVATION
On November30,1970,a massive fire broke out in the temple. It begin from the western chuttambalam and raged all around for five hours, but the Sreekovil , the Vigraha, sub-shrines of Ganapathy , Sastha , Bhagavathy and flag-staff remained unaffected. People from all walks of life, irrespective of age , caste, creed and religion fought the fire to set a glorious example. Later, the temple was once again built to the glory of the Lord.....Two committees were formed to undertake the renovation work. One committee was headed by the Devaswom Minister, Govt. of Kerala and another technical committee to advice on the renovation work. It had eminent engineers, astrologers and the Tantri as the members. The committee arrived at some general decisions ....
a) To attract more devotees, all possible alterations to remove inconveniences which are permitted according to tantric principles.
b) To increase the moving space for worshippers by reducing the height of Chuttambalam basement. To provide granite pillars instead of wooden.
c) To put granite wall against the Vilakkumatam.
d) To provide a passage around the Ganapathy shrine to eliminate congestion.
e) To reconstruct the Ganapathy temple in granite.
f) To put a granite engraved "Ananthasayanam" in place of the old "Ananthasayanam" (Mahavishnu lying over serpent) painting which was lost in fire.
g) To widen the gates at the north and east entrances.
h) To reduce the size of the Nivedyathara at the south of the Mandapam.
Eminent astrologers of Kerala were requested to attend the meeting and decide about the Lord's approval for above mentioned changes. Except the widening of two doors everything else were approved. The foundation stone for the renovation was laid by His Holiness Jagatguru Kanchi Kamakoti Matadhipathy Jayendra Saraswathy Swamikal....Incidentally, the dearth of mural painters to undertake the restoration of murals in the aftermath of the 1970 fire at Guruvayur temple , led to the establishment of a school for mural painting.
Beyond aesthetics : the technologies of art and enchantment :
Beyond aesthetics : the technologies of art and enchantment :
If SMS symbolises the death of language and meaningful expression,that pushes one back to the neanderthal age of communications,
Flex Printing ...is the SMS of Painting.
You don’t need to sign because you are not original. Just cut, copy and paste!
And ‘you will be famous for 15 secs...’(Andy Warhol)
Can we experience Satyaloka in 15 secs?
What, even Tipu, the Colonial rulers and Ravi Varma, and ravages of time could not,together , do to the Murals of Kerala, rich & mindless devotees now clad the wall surfaces of temples with sand -blast, aluminium, brass and copper & Gold causing immense damage to the future of Indian Art.
Poetry and painting,
Islam and Painting
‘The blind and the seeing are not equal’-
‘nor are the darkness and light
The shade and the light are not equal
nor are the living and the dead.”
Koran ,”The Creator”,19
‘Could the blind and the seeing ever be equal?”…
The great masters used this verse as a response to enemies of painting who warned that illustrating was forbidden by Islam and that painters would be sent to Hell on Judgement Day.
‘nor are the darkness and light
The shade and the light are not equal
nor are the living and the dead.”
Koran ,”The Creator”,19
‘Could the blind and the seeing ever be equal?”…
The great masters used this verse as a response to enemies of painting who warned that illustrating was forbidden by Islam and that painters would be sent to Hell on Judgement Day.
Dharana-Dhyaana-Samadhi:from Patanjali’s Yoga Sutra
Patanjali’s Yoga Sutra
talks about the triad of Dhaarana(concentration): is binding the mind to a place.
Dhyaana(meditation):Continuity of the mind in an undisturbed plane
Samadhi: when dhyaana bears the fruit of knowledge which comes to shine forth as the object alone
Samyama:
The triad held at the one place is called Samyama.
Prajna:
From the mastery of that (samyama) , the light of knowledge (prajna),
From samyama on the Sun, knowledge of the seven worlds dawns,
culminating in the Satya-loka.
the rasika (connoisseur)
Bharata talks of stylization (nâtyadharmi) and it is important that the rasika (connoisseur), sumana or the sahridaya (the empathetic perceiver) should understand the artistic conventions, have sufficient detachment and a balanced state of mind; as well as deep inclination to share what is being communicated. A work must be competently executed and hence the artist’s genius comes into the picture.
( art) cannot be appreciated by the novice. Training and inclination are very necessary…to realise the potentials of achieving supreme bliss or ânanda through her deep relish of a work of art which takes her to a higher plane. It is also important to note that in chitrakalâ (fine art), dance (nritya) and music (sangita), the role of the perceiver is considered very important. A common expectation runs through all the art forms – the necessary competence and inclination in the perceiver.
( art) cannot be appreciated by the novice. Training and inclination are very necessary…to realise the potentials of achieving supreme bliss or ânanda through her deep relish of a work of art which takes her to a higher plane. It is also important to note that in chitrakalâ (fine art), dance (nritya) and music (sangita), the role of the perceiver is considered very important. A common expectation runs through all the art forms – the necessary competence and inclination in the perceiver.
The Artist
The artist and his or her genius (pratibhâ) is given a high place in Indian aesthetics. Yet, this alone is not sufficient. One must have training and skill. At its highest level, the artist is expected to achieve a certain degree of purity and to aim at spiritual transcendence. This aspect, interestingly, is highlighted more in the traditions of music, fine art, sculpture and architecture than in literature. Meditation and visualization through meditation play a very important role for the visual artist as well as the musician
“ Because I wasn’t able to draw the branches of a tree harmoniously,(Master Osman) would slap me so hard that amid bitter tears, forests would burgeon before me.”
from Orhan Pamuk’s ‘My Name is Red’
It is said in the Sri Maha Vajra Bhairava Tantra thus: “the painter must be a good man, no sluggard, not given to anger, holy, learned, self–controlled, devout and charitable, free from avarice- should be his character’’
“ Because I wasn’t able to draw the branches of a tree harmoniously,(Master Osman) would slap me so hard that amid bitter tears, forests would burgeon before me.”
from Orhan Pamuk’s ‘My Name is Red’
It is said in the Sri Maha Vajra Bhairava Tantra thus: “the painter must be a good man, no sluggard, not given to anger, holy, learned, self–controlled, devout and charitable, free from avarice- should be his character’’
Time and Memory in Art:
It is time that makes a picture perfect.
The only way to escape time is through abundance of skill.
A painter is always alone before the canvas.
Solely for this reason he is always dependent on memory.
The only way to escape time is through abundance of skill.
A painter is always alone before the canvas.
Solely for this reason he is always dependent on memory.
Pratibha: in Indian Poetics
The definition of Pratibha (literally “flash” of knowledge/experience/cognition) as
offered by Bhatta Tauta, the notable master of Aghinavagupta. ...
like the blooming of a flower ...
A great painter does not content himself by affecting us with his masterpieces;
ultimately, he succeeds in changing the landscape of our minds
Some Important Aesthetic Concepts:
Dhvani :the concept of rasa-dhvani. The significance of this theory for all art forms lies in the fact that visual arts (including gestural arts like theatrics and dance) also communicate through suggestion and can suggest both meanings and emotions .
Vjanjana : the peculiar potency of language which triggers the Dhvani experience literally means “revelation” as against mere suggestion.
the power of the unstated inner meaning:
the Rg Veda (X.71.4) it is stated that:
Many who see do not see language. Many who hear do not listen to it. It (language) reveals itself like a loving and well-adorned wife to her husband (to those who understands the true nuances of language).
Another important passage from Rg Veda (I.164.45):
Four are the definite grades of speech.The learned and wise know them.Three of them are deposited in secret.They indicate no meaning to common man.Men speak the fourth grade of speech Which is phonetically expressed.
Other Important Aesthetic Concepts:
Alamkâra Theory :poetic embellishments :
figures of speech (sabdalamkâra) and figures of sense (arthalamkâra)
In fine arts (chitrakalâ), sculpture (silpa) and architecture (vâstu), the form needs adornment. Thus, the essence of alamkâra can be said to pervade most art forms. In a still wider sense a building is adorned by painting and sculpture
Doshas and Gunas :A work of art, in order to be successful must avoid certain defects and display certain positive qualities. This applies to fine arts as well as to the other art forms
Riti or style :. Appropriateness of style to theme is its essential point, (its relative nature recognized by Dândin), and thus it pervades all art forms, consciously or unconsciously.
Style and Signature
If a painter signs his paintings, won’t he be unjustly taking credit for the techniques and styles of the old masters, which he has imitated? Moreover, if he signs his works, won’t he be saying,: ’ my paintings bear my imperfections’.
'Imperfection is the mother of style':
“He taught me how the hidden fault of ‘style’ isn’t something the artist selects of his own volition, but is determined by the artist’s past and his forgotten memories. He also showed me how these secret faults, weaknesses and defects, at one time such a source of shame they were concealed so we wouldn’t be estranged from the old masters, will henceforth emerge to be praised as ‘personal characteristics’ or ‘style’ because the European masters have spread them over the world.
Henceforth, thanks to fools who take pride in their own shortcomings, the world will be more colourful and more stupid and of course, a much more imperfect place.”
from Orhan Pamuk’s ‘My Name is Red ‘
Some more of Other Important Aesthetic Concepts:
Vakrokti the problem of differentiating poetic language from ordinary language.
Aucitya or appropriateness : In simple words, there must be a fit between theme and form and this is so in all aesthetic fields.
Vjanjana : the peculiar potency of language which triggers the Dhvani experience literally means “revelation” as against mere suggestion.
the power of the unstated inner meaning:
the Rg Veda (X.71.4) it is stated that:
Many who see do not see language. Many who hear do not listen to it. It (language) reveals itself like a loving and well-adorned wife to her husband (to those who understands the true nuances of language).
Another important passage from Rg Veda (I.164.45):
Four are the definite grades of speech.The learned and wise know them.Three of them are deposited in secret.They indicate no meaning to common man.Men speak the fourth grade of speech Which is phonetically expressed.
Alamkâra Theory :poetic embellishments :
figures of speech (sabdalamkâra) and figures of sense (arthalamkâra)
In fine arts (chitrakalâ), sculpture (silpa) and architecture (vâstu), the form needs adornment. Thus, the essence of alamkâra can be said to pervade most art forms. In a still wider sense a building is adorned by painting and sculpture
Doshas and Gunas :A work of art, in order to be successful must avoid certain defects and display certain positive qualities. This applies to fine arts as well as to the other art forms
Riti or style :. Appropriateness of style to theme is its essential point, (its relative nature recognized by Dândin), and thus it pervades all art forms, consciously or unconsciously.
Style and Signature
If a painter signs his paintings, won’t he be unjustly taking credit for the techniques and styles of the old masters, which he has imitated? Moreover, if he signs his works, won’t he be saying,: ’ my paintings bear my imperfections’.
'Imperfection is the mother of style':
“He taught me how the hidden fault of ‘style’ isn’t something the artist selects of his own volition, but is determined by the artist’s past and his forgotten memories. He also showed me how these secret faults, weaknesses and defects, at one time such a source of shame they were concealed so we wouldn’t be estranged from the old masters, will henceforth emerge to be praised as ‘personal characteristics’ or ‘style’ because the European masters have spread them over the world.
Henceforth, thanks to fools who take pride in their own shortcomings, the world will be more colourful and more stupid and of course, a much more imperfect place.”
from Orhan Pamuk’s ‘My Name is Red ‘
Vakrokti the problem of differentiating poetic language from ordinary language.
Aucitya or appropriateness : In simple words, there must be a fit between theme and form and this is so in all aesthetic fields.
Rasa theory:
Rasas are considered to be nine in number – sringâra (erotic), hâsya (comic), karuna (tragic), vira (heroic), raudra (furious), bibhatsa (disgusting), bhayânaka (terrifying), adbhuta (wondorous) and sânta (quietitude) which was added later.
According to Bharata, it is from a combination of bibhâvas (antecedents or causes within the work of art), anubhâvas (consequents or the effect of those causes in the work) and sanâcaribhâvas (diverse emotions that are indirectly communicated through various physical manifestations) that some single emotion persists (sthâyibhâva) in the work and gets communicated to the perceiver. This aesthetic emotion is called rasa.
According to Bharata, it is from a combination of bibhâvas (antecedents or causes within the work of art), anubhâvas (consequents or the effect of those causes in the work) and sanâcaribhâvas (diverse emotions that are indirectly communicated through various physical manifestations) that some single emotion persists (sthâyibhâva) in the work and gets communicated to the perceiver. This aesthetic emotion is called rasa.
The rasa -experience- 'rasaanubhuti'
Art, for the Indian mind, is capable of affording a special kind of joy or ânandam, which has been characterized as rasa-experience. .. as it is considered proximate to the experience of the Ultimate Reality (Brhamanubhuti).
AnandoBrahma.
AnandoBrahma.
Yashodhara ‘s ‘Shad-anga’ :the six limbs of the art of painting
Rupabhedāh pramānāni bhāva lāvanya yojanam I
Sādrisya varnikābhanga iti citra shad-angakam II
rupa-bheda, or the distinction of forms and appearances.E. B. Havell (he inspired artists like Nandalal Bose to travel to Ajanta to re discover our art heritage) draws a parallel to the famous parable in which Arjuna, on being asked by his teacher Drona to describe the bird to be struck down, replied that he saw only the bird’s head .
mind’s eye:rupa-bheda is like the revelation of the divine or Sruti
while the remaining five principles, namely, proportion, expression, beauty, resemblance, and use of material are like Smriti, the knowledge of which is handed down by tradition:
Pramânam, which stands for measurement, proportions etc have been dealt with in various other Silpasâstras. Sukraniti, lays down that one should design for all the limbs a grace that is suited to it. In Mayâsâstra and Pratimâmana -Laksanam, a great deal of importance is given to the eyes and to the proportions of other limbs. According to Sukraniti, an image made as per the principles laid down by Silpasâstras is beautiful.
The principles of bhâva and lâvanya yojanam, that is, feeling and beauty or grace are linked to the heart or soul of the artist. Intense devotion on the part of the artist finds its expression in terms of bhâva and lâvanya yojanam.
varnikābhanga is understood in terms of the use of the medium or tools.
Sādrisya is not imitation, but rather as what bears a reference to something in the world of senses, in the phenomenal world
The artist, through a process of severe mental discipline, is taught to discriminate the essentials in forms and appearances, and to see clearly with his mind’s eye before he takes up brush or chisel.
Sādrisya varnikābhanga iti citra shad-angakam II
rupa-bheda, or the distinction of forms and appearances.E. B. Havell (he inspired artists like Nandalal Bose to travel to Ajanta to re discover our art heritage) draws a parallel to the famous parable in which Arjuna, on being asked by his teacher Drona to describe the bird to be struck down, replied that he saw only the bird’s head .
mind’s eye:rupa-bheda is like the revelation of the divine or Sruti
while the remaining five principles, namely, proportion, expression, beauty, resemblance, and use of material are like Smriti, the knowledge of which is handed down by tradition:
Pramânam, which stands for measurement, proportions etc have been dealt with in various other Silpasâstras. Sukraniti, lays down that one should design for all the limbs a grace that is suited to it. In Mayâsâstra and Pratimâmana -Laksanam, a great deal of importance is given to the eyes and to the proportions of other limbs. According to Sukraniti, an image made as per the principles laid down by Silpasâstras is beautiful.
The principles of bhâva and lâvanya yojanam, that is, feeling and beauty or grace are linked to the heart or soul of the artist. Intense devotion on the part of the artist finds its expression in terms of bhâva and lâvanya yojanam.
varnikābhanga is understood in terms of the use of the medium or tools.
Sādrisya is not imitation, but rather as what bears a reference to something in the world of senses, in the phenomenal world
The artist, through a process of severe mental discipline, is taught to discriminate the essentials in forms and appearances, and to see clearly with his mind’s eye before he takes up brush or chisel.
Essential nature of Indian Art
Satyam-Sivam-Sundaram
We are obsessed with truth and essential nature of things:
Satyamevajayate is our national motto
as against,’In God we trust’ of the Americans or , for that matter “God save the King” of the Brits and allahu akbar of Islam.
An Indian artist is eternally teased by endless questions viz.
What is dharma? What is ahimsa? What is truth?
What is self-realisation? What is revelation?
What is faith? What is Bhakti?
What defines our concept of beauty?
Who is an artist?
‘A master artist has also to be a master technician’
(Some of the ancient) murals that survive now date from the pre-christian era. Their survival ,inspite of centuries of neglect and depredations, eloquently speaks of the soundness and excellence of the technical methods and processes employed by our artists of old.’
-Prof S.K.Saraswathi (in foreword to Jayanta Chakrabarti’s ‘Techniques in Indian Mural Painting’
-Prof S.K.Saraswathi (in foreword to Jayanta Chakrabarti’s ‘Techniques in Indian Mural Painting’
Writers on Aesthetics (with focus on Poetics) of Ancient India:
Bharata Nâtya Sâstra 5th century B.C. – 3rd century A. D.
Discussion on all art forms present in theatre and on the purpose and essence of art
Commentators on Bharata
Lollata A. D. 9th century
Sankuka 9th century
Bhattanayaka 9th – 10th century
Abhinavagupta Abhinvabhratai Locana 10th – 11th CAD Commentaries on Nâtya Sâstra and Dhvanyâloka. Most influential commentary on almost all art forms with special focus on rasa and dhvani
Texts on The Alamkâras Theory
Bhâmaha Kâvyalankâra 7th – 8th century
First comprehensive work on poetics, on alamkâras ,
also the concept of vakrokti
Dândin Kâvyâdarsa 8th century Highlights guna-riti. Alamkâras theory articulated more cogently; shows some influence of
Nâtya Shâstra.
Udbhata Kâvyâlankârasarasangrahah 8th – 9th centuryAlong with focus on alamkâras s, he also discusses rasa and doesn’t seem convinced about dhvani
Rudrata Kâyvâlankâra 9th century Again focus on alamkâras as well as brief discussion of rasa
The Riti Theory |
Vâmana 8th – 9th century
The first to ask questions about the soul of poetry – and focuses on riti or style
Anandavardhana Dhvanyâloka:9th
CAD:Focuses on the role of suggestion – dhvani – in poetic language. Also links rasa to dhvani.
Abhinavagputa Locana:11thCAD:Comments on Dhvanyâloka. Establishes rasa-dhvani as a very powerful concept.
Miscellaneous Writers on Poetics
Râjasekhara Kâvyamimamsâ 10th CAD Different aspects of poetics discussed
Dhanamjaya 10th CAD Different aspects of poetics discussed
Kuntaka Vakroktijivita 10th – 11th CAD Elaborates the theory of vakrokti or poetic language of indirection
Kshemendra Aucityavichâracharcâ 11th CAD Elaborates the concept of appropriateness or aucitya
Sringâra Prakâsa Samarangana-sutradhara 11th CAD Rasa theory, different types of plays, performanceMusic, art and architecture
Mahimâbhatta 11th CAD Important commentator on earlier theories
Hemacandra Kâvyanusâsanam 1088-1172 Handbook of poetics discussing earlier theories
RuyyakaAlankârasarvasva 12th CAD Important commentator on earlier theories
Visvanâtha Sâhityapardna 14th CAD Handbook of poetics discussing earlier theories. In addition, it deals with performance as well
Appayyâ Diksita Kuvalyanandah 16th – 17th CAD Important commentator on earlier theories
Jagannâtha Rasagangâdharah 17th CAD This too deals with the entire field of poetics
Other Major Works/Critics on Aesthetics
Bruhatsâmhita Varâhamihira Chapters on iconography and silpaNâtya Sâstra - Significant contribution to dance
Vâstusutra Upanisad Part of Paiplada samhita, a very important treatise that deals with the philosophy of architecture and discusses rasa in this context
Abhinaya Darpana Nandikeswara3rd century (?) ADMost significant treatise on dance after Nâtya Sâstra
Vishnudharmottara Purâna 7th cent. A purâna with chapters on architecture, painting, music, dance, poets, etc. attributed to the late Gupta period.
Nâradasilpa - On architecture and art
Prajâpati Silpa - On architecture and art
Abhinavabhârati SamaranganasutradharaBhoja11th century Discussion on music, painting, sculpture and architecture
Sangitaratnâkara Sârangadeva Simha Bhopala and Kâlinath13th century14th & 15th centuryEncyclopedic treatise on music Commentators
Râgatarangini Locanakavi Râmamatya15th century Treatise on musicCommentator
Silpasâstra Mandana15th century
Saraswati Silpa - On architecture and art
Silparatna 16th centuryOn architecture and art: Very popular in Kerala
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