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From: 6th to 12th December 2021
MESMERISING ART WORK
An Exhibition of Paintings & Sculptures By Dr.Shirish S. Ambekar & S. Kantha Reddy
VENUE: Jehangir Art Gallery, Hirji Gallery161-B, M.G. Road Kala Ghoda, Mumbai 400 001
A group of 2 contemporary artists – Dr.Shirish Ambekar and S. Kanta Reddy will present their latest work in an art exhibition at Hirji Jehangir art gallery, M.G. Road, Kala Ghoda, Mumbai 400 001 from 6th to 12th December, 2021 between 11 am to 7 pm. This show will be inaugurated by Chief guest Rajendra Patil – President of Bombay Art Society and director – Indian Art Festival, Mumbai at Hirji Jehangir art gallery on 6th Dec. 2021 at 5 pm in presence of Surendra Jagtap – eminent artist and principal J.K. Academy of art and design, Mumbai and many art lovers, collectors, patrons / connoisseurs and others. The exhibition will showcase the latest series of Dr.Shirish Ambekar in oil colours on canvas and sculptures by S. Kantha Reddy in fibre / metal casting under one roof.
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| Artist: Dr. Shirish S Ambekar |
(l) Dr.Shirish S. Ambekar – Recent work of a contemporary artist from Dr.BabasahebAmbedkar Institute of fine arts, Aurangabad, Marathwada, Dr.Shirish Ambekar in oil colours on canvas illustrates his unique presentation of water lilies series. These works mostly reveal the beauty of nature and aesthetics associated with water lilies in a pond and the impressive life of petals, flowers and other living organisms on leaves in pond full of still water. The aesthetic sense of beauty in each work reveals apt compositional skill and good colour combinations in his unique style and technique. The desired visual effects in each work are really astonishing and pleasantas well as amazing and tranquil. These works, in turn, create good visual impact on all viewers owing to their good aesthetic visual aspects and remind everyone of this divine beauty of nature in ponds having still water and incorporating numerous ingredients that make the artwork impressive and unique in its own way.
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| Artist: S. Kantha Reddy |
(2) S. Kantha Reddy – The recent head series in fibres and metal casting presented by an eminent artist S. Kantha Reddy truly reveals the different facets of the impacts of the outside environment and cultural events around on human mind and the overall personality. Various textures created by the artist on human head in different colour tones and textural finesse indicate the everlasting impacts of the happenings due to modern lifestyle in cities and their hazards on human personality and their impressions on free human beings which shape his life journey.
The sculptures are really very impressive and present a subjective analysis of various mindscapes of human mind and his psychology in relevant perspectives of arts.
From: 6th to 12th December 2021
MESMERISING ART WORK
An Exhibition of Paintings & Sculptures
By
Dr.Shirish S. Ambekar & S. Kantha Reddy
Jehangir Art Gallery Hirji Gallery 161-B, M.G. Road Kala Ghoda, Mumbai 400 001
Creativity was initiated with the very first step homo sapiens took on the surface of Earth. Ideas to create tools, food, shelter, and language evolved into the creation of civilization, writings, communities, and beliefs. When the human species moved from Africa and landed in India and its subcontinents, they encountered a land full of resources, opportunities, and benefit to attain livelihood. The thought of how the ancient inhabitants made arrangements for living and continuously were in process of progression is enchanting. People are not considered civilized unless they know how to write. The different forms of writings prevalent in India today are all derived from ancient scripts. This is also true for the language that we speak today. The language we use has roots in ancient times and has developed through the ages. Concluding, the words that we write and speak today came from the fingers of the early humans residing in the caves, where the art of hand prints signifies their identity and recites the story of their existence. Some formation of mutated figures of humans and animals suggests that they may have believed in extramundane powers and hence, it is never wrong to say that the actual potential to believe and create came from early humans in us.
The Indic or Indus culture is world famous for its town planning and ideas for smelting copper and tin to forge it into bronze, though not first, they gave us some fine artifacts to explain the dexterity of metallurgy. The seals and scriptures excavated exemplify their brilliance in creating a new language which is a collection of human and animal figures, innovative signs, and mythological characters. Not fond of paintings the Harappan people gave a major eye to sculptures and architecture. It is said that we have got the intelligence to build peculiar construction plans from the Indus civilization. Believing in powers that are way more compelling than human capacity is rooted in the culture of religion. Early or modern, humans are somehow connected to a force that makes them believe in customs, traditions, and religion. Art was the dominant way to carry forward the stories, platitudes, and epics in form of paintings, sculptures, scriptures, and architecture to the succeeding generations in ancient India.
Today we can see astonishing examples of Buddhist-influenced architecture and art mainly from the Mauryan Empire and Shunga dynasty to the late periods of the Kushan empire, sometimes Gupta and Pala eras, where not only Stupas, samba, Chaityas, and Viharas, but paintings and scripts were also added to the Indian patronage. Vakataka dynasty and Rashtrkutas further gave Buddhism a gleaming light by putting their contribution to the development of Ajanta and Ellora rock-cut caves and murals. Hindus and Jains also imitated the method of hewing caves to suit their purpose mainly at Badami, Aihole, Ellora, Elephanta, Aurangabad, and Mamallapuram under the patronage of Chaulakya, succeeding Rashtrakutas and Pallavas. The period under Gupta’s patronage fully deserves the name ‘the golden age’ of Indian art and culture as they added some magnificent architectural designs, majorly Hindu temples, and sculptures to Indian heritage. With the continuous evolution and progression of dynasties, architectural designs also got distinguished, mainly for temples, into Nagara styles in the Northern parts and Dravidian and Vesara styles in the southern parts of the country.
Indian art was advancing at a good pace with diverse influences from numerous regions, i.e., Rajasthan in the West to Odisha in the East, from Kashmir in the North to Tamil Nadu in the south, when the Indo-Islamic culture stepped into Indian lands, carrying a totally new style of art and architecture and hence a mutation was born, with the name Mughal art. Mughal art and architecture soon spread widely, especially during the period of Akbar and Shahjahan. Earlier Indian dynasties never focused much on paintings but on carvings and cuttings, after the Mughal's arrival, Indian paintings got an elevation, showcasing the miniature style of works, being merged with Rajasthani, Rajput, and Pahari styles of miniatures. Soon after the boon of Indo-Islamic culture, the Europeans came into the lands. The East India Company, though fascinated by Indian art favored their European appeal of works. They rooted many art schools to indulge a European allure to Indian art and to satisfy their artistic desires. Indians soon adapted their former cultural themes with a new blend of style stepping aside the European admirers, hence giving birth to the modern and contemporary forms of art. Though culture and heritage have always played a central role in Indian art, the techniques and styles kept on evolving from generation to generation. The prints laid by early humans have always been in our DNA, the Influence of which can be seen in the form of language, visual arts, performing arts, religious or cultural arts, and in ourselves as well.
Text by
Sanchita Sharma@Art Blogazine
1 Image: BULL during various periods and times. Bhimbetka caves, Indus valley, Maurya era, Shunga dynasty, Ajanta caves, Chandella dynasty, Nandalal Bose, M.F. Hussain, Subodh Gupta.
2 image http://jameelcentre.ashmolean.org/object/LI118.86, Source: google/image / no copyright image fron art blogazine
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Featuring in 18 Dimensions, Ram’s works will be on display alongside works by 17 other contemporary artists at Bikaner House from 28th November through 6 December. |
Head to http://www.paletteartgallery.com/exhibition/current to learn more. @rajeshram05 @bikanerhousedelhi #PaletteArtGallery #18Dimensions #SculpturalManifestations #SaveTheDate #SculptureShow #GroupShow #IndianContemporaryArt #IndianArtists #IndianSculptors |
Jai Bhim, a Tamil language film, has been rated the top film by users on IMDb, beating classics such as The Shawshank Redemption and The Godfather. It's the latest in a line of hard-hitting Indian movies telling stories of repression against Dalits who are at the bottom of a rigid Hindu caste hierarchy, writes film journalist Aseem Chhabra.
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| Suriya as Advocate Chandru Tamil star Suriya plays the role of a crusading lawyer in Jai Bhim |
At the beginning of Jai Bhim, police officers are shown separating a group of suspects based on their caste.Those who are from the dominant castes are asked to leave, while others who are Dalits (formerly untouchables) or belong to tribal communities are asked to stay back. Later, police file false charges against those in the second group.It's a stark, disturbing scene, with frightened men standing in the corner, somewhat aware of their fate - a reminder that such activities occur routinely, and how precarious are the lives of the marginalised, especially Dalits, in small towns and rural India.Dalits make up about 20% of India's population, and despite laws to protect them they continue to face discrimination and violence.
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Jai Bhim's title translates to "Long Live Bhim", a slogan made popular by the followers of BR Ambedkar, a Dalit scholar and leader, who was the chief architect of India's constitution and also the country's first law minister.
Directed by TJ Gnanavel, and backed by Tamil star Suriya, the film tells the true story of a crusading lawyer - played by Suriya - who fought for a petition filed by a pregnant woman whose husband was placed in police custody and later declared missing.Jai Bhim is part of a new movement in Tamil cinema where a number of young filmmakers are narrating stories of repression against Dalits."In the last 30 years, beginning with the observance of Ambedkar's centenary in 1991, the Dalit movement has been growing in Tamil Nadu," said film historian S Theodore Baskaran."Forgotten Dalit ideologues of the 20th Century were redeemed from history. The ideas of [social activist and politician] Periyar and Ambedkar spread through the writings of many Dalit writers. In the last decade, some of the writers moved to cinema and made films. But they used the usual ingredients like songs, fights and melodrama."
Now, Dalit narratives have also found space in independent or indie films in other Indian languages, including Anhey Gorhey Da Daan (Punjabi), exploring the lives of Dalit Sikhs; Masaan (Hindi), a romance between a young man from a family of crematorium workers and an upper caste girl; and Fandry and Sairat (both in Marathi). The last two films were directed by Nagraj Manjule, a Dalit himself.
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Fandry narrates the story of a young boy whose family catches pigs in the village, and his unrequited love for an upper caste girl. Sairat, an inter-caste romantic musical, was a huge box office success. Also in this group is the Tamil indie, Pebbles (Koozhangal), India's official entry for the 2022 Oscar for Best International Film.But now there are many filmmakers in mainstream Tamil cinema whose protagonists are Dalits - who after a long period of discrimination fight for their rights. And when the legal recourse does not end their suffering, they are willing to take the fight to a physical level.The directors include veteran filmmaker Vetrimaaran, who made Visaaranai, a 2015 film about the plight of Tamil migrants in neighbouring Andhra Pradesh, and Asuran, a plot inspired by a massacre of Dalits. Mari Selvaraj and Pa Ranjith, both in their late thirties, are two key directors who have created narratives where the Dalit man is the central character.
Sarpatta Parambarai
Sarpatta Parambarai, deeply influenced by Mohammad Ali, explores boxing culture among Dalits
"The representation of Dalit characters was painful," Dalit filmmaker Ranjith, often referred to as the Spike Lee of the Tamil film industry, told The Wire in a 2020 interview, referring to earlier Tamil films. "Either they were written out, or just their inclusion in the story was considered 'revolutionary.'""In this context, I had to reflect on what my stories could say," he added. "I wanted to show that my culture itself is based on discrimination and violence…Today, directors are more conscious when they write Dalit characters."Ranjith produced director Mari Selvaraj's first film Periyerum Perumal. The film opens with a card that reads "caste and religion are against humanity." The film's protagonist wants to become a lawyer like Ambedkar.
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Towards the middle of Periyerum Perumal, Selvaraj has a group of men dancing to a 1983 film song Poradada. Composed by Ilaiyaraaja, a legendary musician and a Dalit himself, the song's lyrics include: "We will take over your throne/… Our cry for victory will be heard/ Our light will fill up this world/ We the proletarians will fight back."The song also plays in the background in Selvaraj's Karnan (2021) and is now referred to as a Dalit anthem.
Ranjith's films were boosted with the support of Rajnikanth, the superstar of Tamil cinema. The actor was moved by the stories narrated to him and agreed to play the lead in Kabali (the tale of a violent gangster world of Tamil migrants in Malaysia) and Kaala (set in Dharavi, Asia's biggest slum located in Mumbai, with a large Tamil migrant population).And in his latest film, the nearly three-hour-long Sarpatta Parambarai, Ranjith explores the boxing culture among Dalits in Chennai city, deeply influenced by Mohammad Ali, and his activism, whether it was against the Vietnam war or racism in the US.
There are some who feel that the representation of Dalit characters in Tamil cinema does not deserve all the praise that it receives. Leena Manimekalai, director of the 2019 film Maadathy: An Unfairy Tale - a disturbing story about a young woman from an ostracised Dalit community - feels the new cinema has not exactly moved the needle."It is feeding into the same hero, hyper masculine, omnipresent, 'larger than life' saviour narratives," Manimekalai said."I still see women characters portrayed as mere props or cheerleaders to their husbands/lovers and the underprivileged communities 'waiting' for their heroes to save them with their axes, guns and sickles, from generations of discrimination."
But it is clear the audience is watching the new cinema. Jai Bhim did not open in theatres so there are no box office numbers to support its popularity. But its 9.6 user rating on IMDb has propelled it to the number one slot on the online database.
With inputs by Sudha G TilakAseem Chhabra is a freelance film writer and author, most recently, of Irrfan Khan: The Man, the Dreamer, the Star.
source: https://www.bbc.com/news/world-asia-india-59219595
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