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Aesthetic Criticism of “Longing for Love” by Syed Thajudeen

Maryam Khanahmadi& Sabzali Musa Kahn2

1 Cultural Centre, University of Malaya (Malaysia). Email: safa.khan.ahmadi@gmail.com

2Academy of Malay Studies, Director’s Office, University of Malaya (Malaysia). Email:  sabzali@um.edu.my

  Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.09

Received November 11, 2016; Accepted December 20, 2016; Published January 26, 2017

Abstract

With more than thirty years of creative output and a significant body of works to consolidate his reputation, Syed Thajudeen Shaikh Abu Talib, ranks as one of Malaysian’s eminent figurative and lyrical painters. Thajudeen fuses indigenous motifs and symbols with universal ideas and concepts, filtered through his Indian background and circumstance. Syed Thajudeen is one of visual artists, who has been successful in achieving universal appeal in his works by bringing together symbols and motifs in Malaysian with aesthetic and metaphysical elements of Indian’s arts. The theory has been used in this study is Art Appreciation by Harry Samuel Broudy. According to Broudy, Art Appreciation theory has been divided to two parts: 1) Aesthetic perception which is divided in four steps: sensory properties, formal properties, technical properties and expressive properties. 2) Aesthetic criticism which is divided in three steps: historical, re-creative and judicial. In this paper, the focus is on second part of art appreciation theory and in this aim, one master piece of artist’s artworks “Longing for Love” has been selected from five main collections of “Paintings of Love”. This research investigates the visual image in the painting of Syed Thajudeen Shaik Abu Talib; how it has been stirred inside the imagination? How it got stimulated by the figures and forms that are familiar to the transformations inside the artist’s mind? And how it was born again on the canvas?

Keywords: Art appreciation, Aesthetic criticism, Aesthetic perception, Aesthetic judgement

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Influence of Sikh lifestyle on Guler miniature paintings

Gurdeep Kaur & Rohita Sharma

Department of Business and fine arts, Lovely Professional University, Phagwara, Punjab, India.  Email. gurdeepkaur121@yahoo.in.

  Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.08

Received December 06, 2016; Accepted December 19, 2016; Published January 26, 2017

 Abstract

The scholars of Indian miniature painting observe the Sikh influences on Pahari miniature painting during Sikh dominancy but in actual, Sikhism and its associations with Hill aristocracy were very deep and prior then Maharaja Ranjit Singh and it should not be disremember that Lahore was one of the glorious art capital of Mughals in Punjab from the days of Emperor Akbar. So Sikhs were also not unaware of artistry and painting. Sikh paintings of 19th century reflect splendid lifestyle and fashion adopted by the Sikhs of Lahore during Sikh dominancy in Punjab Plains which reflected in the court paintings of Guler. But the study also focuses to grasp the Sikh lifestyle before, during and after Maharaja Ranjit Singh and its impact on the Rajput rulers of Guler as the results of Sikh-Rajput associations, which buried in Rajput culture of Guler; and later reflected precisely in paintings of Guler during 18th-19th century. The two different lifestyles under different cultures and ethos merged and influenced each other which reflected in surviving paintings. The study is based on data analysis and explorative method. The study concludes that Sikh lifestyle influenced imprecisely Rajput lifestyle in the beginning but with the expansion of Sikh power, it continuously increased till the last of nineteenth century A.D and emerged and reflected in later court paintings of Guler specifically.

 Key words: Rajput, Guler, Lahore, dress, Sikh influence, lifestyle.

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Viewpoints: ShopArt ArtShop (SA AS) Art Project

Modern Art meets Traditional Village

By Frank Schlichtmann
Gunehar, Himachal Pradesh
Email: fschlichtmann@gmail.com

 Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.07

The founder of the project Frank Schlichtmann was invited by the editor of the magazine to share his vision of the project in relation to the contemporary world of art. ShopArt ArtShop (SA AS) was started in 2013 with the aim of giving Indian artists the opportunity to relate to and work on arts in a wholesome manner outside the confines of usual, urban-centric art spaces. It is an inclusive, process-oriented conceptual arts event which takes place every 3 years in a small village, Gunehar, in the Indian Himalaya. The objective is to demonstrate openly the whole process of creating art from the inception of a concept to the creating of the actual art work.

About Frank Schlichtmann

Frank was born near Hamburg, Germany, and came to India for the first time when he was barely 4 years old and has been coming back to India on a regular basis. Before a set of coincidences would have him settle down permanently in Gunehar with his little son, Frank has worked and lived in 3 continents: Europe, Asia and America. He has been part of numerous projects related to the Arts, Culture and Hospitality but it was through his settling down in Gunehar and the founding of the 4tables project that he could start putting his vast experience into cohesive practice. Frank chose the village because of its relative ‘unspoiltness’ and also because he believes that in a truly globalized and interconnected world, a small village can be as valuable as any other place. To know more, read interview with Frank.

—Editor

The recently concluded second edition of the conceptual arts event, ShopArt ArtShop 2, held outside the confines of usual city-centric art spaces in a small Himachal village, caught the imagination of a broad public and the national media. It is a welcome indication that India’s artists as well as art enthusiasts are hungry for innovative and holistic, process-oriented and open art concepts emanating from a parallel arts scene. At the same time, the empirical SA AS Method exposes some of the fault-lines of the art system. Here, Frank Schlichtmann, the founder and curator of the event, writes about the motivation for creating an event such as this as well as some of the outcome…FULL TEXT PDF>>

Future Visions of the Asian City: Scenario Art and the Utopian-Dystopian Spectrum

Nanthawan Kaenkaew1, Wiporn Kanjanakaroon2, Kanang Kantamaturapoj2, Wannipol Mahaarcha2, *Alan Marshall2, Thamakorn Siritorn2, Patranit Srijuntrapun2, and Yanna Somnas2

1Computer Science Program, Faculty of Science and Technology,  Suan Sunandha Rajabhat University, Bangkok, 10300, Thailand.
2 Environmental Social Sciences Program , Faculty of Social Sciences & Humanities,
Mahidol University , Salaya, Nakhon Pathom, 73170, Thailand.
*Corresponding Author: alan.mar@mahidol.ac.th

Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.06

Received September 01, 2016;
Accepted October 19, 2016;
Published October 22, 2016.

Abstract

 The futures of four different cities, from around Asia, are outlined via visual means using scenario art and interpretive written support. These four cities are: Dhaka (Bangladesh), Altay (Mongolia), Chongqing (China), and Bangalore (India). Their futures are presented in utopian terms, whereby each city aims to be something of an example of an ‘ideal city’ exhibiting widely-shared, socially-benevolent characteristics along with a marked degree of environmental welfare plus an abundant array of city-transforming mega-technology. In the vein of many previous utopian expressions, we offer some explanation about the way each of these four city arrive at a utopian status (by the start of the 22nd Century) along with a description about the social, technological and economic background that may be present then and there. What emerges from this study are four versions of future Green cities that span the spectrum from ‘ecotopia’ to ‘technotopia’ and from ‘utopia’ to ‘dystopia’. This process ends up outlining, via art and design, some of the choices that many future Asian cities may have to involve themselves with as they work to survive the global environmental crisis and become more livable and more sustainable.

 Keywords: Eco-City, Smart-City, Future, Asia, Utopia, Sustainability

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Craft Documentation of Flexible Brass Craft of Bellaguntha, Ganjam, Odisha, India

Santosh Kumar Jha
School of Leather Goods & Accessories Design, Footwear Design & Development Institute, Noida.
Email: handicraftdesigner@gmail.com

 Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.05

Received September 15, 2016;
Revised October 15, 2016;
Accepted October 20, 2016;
Published October 22, 2016.

Abstract

Documentation of a traditional craft is important for preserving its identity and to communicate its details to the audience. So, this was important to document different aspects of the flexible brass craft of Bellaguntha. This paper is based over a set of field visits to these craft clusters, located in and around Bellaguntha block area in Ganjam district of Odisha state in India, by this researcher. The purpose of this paper is to prepare a literature database about the flexible brass craft of Bellaguntha, which may help for further research activities by encouraging researchers, who are willing to contribute in the areas of craft studies, traditional knowledge, conservation and preservation of indigenous technologies, design research etc. not only in India, but also in other developing and underdeveloped nations of our beautiful world; where a number of countless traditional crafts and indigenous knowledges are still under waiting and attracting researchers to explore further studies, documentation and publication, so that their glorified existence can be recognized by the world community.

Keywords: Craft and Design Studies, Languishing Traditional Metal Craft, Handicraft Artisan, Craft Studies, Conservation of Indigenous Technical Knowledge, Craft Documentation

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Interface between Dance and Design: Concepts, Dimensions and Illustrations

Ojasi Sukhatankar
Independent Researcher
Email: ojasidances@googlemail.com

 Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.04

Received October 06, 2016;
Revised October 16, 2016;
Accepted October 19, 2016;
Published October 22, 2016

Abstract

The discipline of dance is not as narrow as one usually tends to suppose. Its interdisciplinary study with other non-dance disciplines such as design can open new insights of creativity for dancers as well as designers. This article explains how both dance and design make use of four core concepts, namely body, space, time, and aesthetics. It also explains how aesthetic experience, its creation, expression and communication made via a dance-item, is analogous with that of a designed artifact. Taking one illustration from each discipline, the article further reveals how both dance and design are a mode of non-verbal communication to viewers. Lastly the article shows that a conscious embedding of design in every dance-pose and dance-movement brings in it one of its most important factors, the aesthetics, without which dance cannot be complete. The author believes that the interdisciplinary research undertaken in this article will enhance theoretical and practical understanding of aesthetics to benefit students, teachers and researchers of both disciplines while they work creatively in their individual fields of work.

Keywords: Aesthetics, Body, Communication, Dance, Design, Expression, Space, Time

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Evolution of Bhumija Shikhara and Distribution of Bhumija Shrines in India

Maulik Hajarnis & Bhagyajit Raval
Faculty of Architecture, Parul University, Waghodia, Vadodara, Gujarat, India
Email: hajarnismaulik@gmail.com

 Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.03

Received August 26, 2016;
Revised October 15, 2016;
Accepted October 17, 2016;
Published October 22, 2016

Abstract

The present paper begins with a brief on the meaning and essence of a Hindu temple. It talks about the types of classification of the Hindu temples in India, on the basis of its physical attributes. The authors then try to trace the evolution of the Bhumija shikhara chronologically. The paper examines the Bhumija mode with respect to its meaning and references in literature. Finally the paper mentions various Bhumija shrines in various states of the country chronologically. The description ends with maps showing spatial distribution of Bhumija shrines across India and a graph showing state wise Bhumija shrines with respect to their time-line.

 Keywords: Temple, Bhumija, Shikhara, Shrine, India

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A Brief Study of Cupules of a Few Megalithic Sites in Jharkhand

Subhashis Das
Individual Researcher, Hazaribagh, India
Email: subdas.hzb@gmail.com

 Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.02

Received October 03, 2016
Revised October 20, 2016
Accepted October 20, 2016
Published October 22, 2016

Abstract:

Cupules have been reported from most of the states in the country. Not much is known about them, profound study is relentlessly being carried out by scholars across the country to unravel the mystery of these enigmatic relics of our ancestors. Albeit abundant study of cupules on rock surfaces continues much effort is essential to untangle their obscurity on megaliths. Jharkhand has an abundance of cupmark sites in caves, rock shelters, and rock arts and even on prehistoric megalithic sites that lie strewn all over the state. The paper in question comprises a study of cupules on four megalithic sites in and around Hazaribagh district of the Jharkhand state that are his personal discoveries. No excavation of these sites has been undertaken neither any tool nor flake has been recovered from the sites that could establish the monuments’ and the cupules’ possible age. The paper is not only a study of cupmarks but basing on certain belief systems of the megalithic tribes of Jharkhand it also attempts to seek various possible causes that may have prompted people in hoary antiquity to create these inscrutable indentations. Furthermore the paper also delves into the author’s study how cupule making having gone through a transition still continues in an unrelenting manner among the present day peasants; the surface only having changed.

Keywords: Cupules, Hazaribagh, tribals, Megalith, Daraki Chattan,  Gurua, Napo, Raja Gosain.

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Evolving Medusa

Miguel Ángel Medina[1]

  Volume 6, Number 2, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n2.09

Received on August 28, 2016.
Accepted on August 29, 2016.
Published on August 30, 2016.

 Abstract

This essay describes a proposed framework to better understand the artistic production of Pablo Picasso in the not well known period between two masterpieces, namely, The Three Dancers (1925) and Crucifixion (1930).

Introduction

The overwhelming artistic attraction of Florence was even increased in the turn from 2014 to 2015 with the great exhibition Picasso and Spanish Modernity at the Palazzo Strozzi, showing some ninety works by Picasso and other Spanish artists, ranging from painting to sculpture, drawing, engraving and even film, thanks to the new joint venture of Fondazione Palazzo Strozzi and the Museo Nacional Centro de Arte Reina Sofía in Madrid. This is somehow a natural sequel after the success of the previous exhibition Picasso, Miró, Dalí. Angry Young Men: the birth of Modernity, which took place at the Palazzo Strozzi between March 12th and July 17th, 2011. Eugenio Carmona was co-curator (with Christoph Vitali) of that previous exhibition and is also the curator of Picasso and Spanish Modernity. Eugenio Carmona is full professor of Arts History at the University of Málaga and is currently one of the leading experts on the huge artistic work of Picasso. In his extensive academic work, Professor Carmona has devoted many studies to different aspects of the Picassian artistic work. Although Picasso is one of the artists with more studies, monographies, and articles devoted to his art, most of this bibliography turns around the best known topics, leaving in the shadow most of his production during the second part of his life. Perhaps the most relevant academic contributions made by Eugenio Carmona are related to his efforts to make understandable some dark periods in the artistic production of Picasso. This is the case of his proposed framework to better understand the Piccasian artistic production in the period 1926-1929 through what Professor Carmona calls the iconographies of disquietude (Carmona, 1994, 2002). The aim of this essay is to review this framework and the evolving meanings of these iconographies of disquietude.

[1] Miguel Ángel Medina is a Doctor in Biology and a Graduate in History of Arts currently working as Full Professor of Biochemistry and Molecular Biology at the University of Málaga (Spain). Email:  medina@uma.es

Balarama of Boro: Unique Specimen of Bengal Sculpture

Sanjay Sen Gupta[1]

 Volume 6, Number 2, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n2.08

Received on July 21, 2016.
Accepted on July 30, 2016.
Published on August 30, 2016.

The folk-tribal tradition of Bengal sculpture, unlike the hieratic genre, has always remained virile without any promotion from the elite class of the society or the royal state. Hence it had to limit itself, while making divine images, mostly within cheaper mediums like clay and natural pigment. Lavish exploration of wood, stone and metal could only be done by the patronized artists of hieratic genre. However, things started to change – suddenly and with immediate effect – following the Islamic invasion in early-thirteenth century AD.

Bakhtiyar Khalji, the Turk military general of Qutb-ud-din Aybak, defeated King Lak?ma?a Sena and founded the Islamic rule at Lakshmanavati or Gaur. The kingdom became known as the Sultanate of Bengal – being ruled at regular intervals from Delhi. Hindu political identity thus got limited to mere Chieftainships and Baronships under the new rulers.

The renewed circumstances changed the royal religion, whose patrons were firmly against all sorts of image-worship. They withdrew and thus stopped the funding of five-hundred odd years – resulting into several works being left in the midway. The highly-skilled artists of P?la-Sena idiom were appointed in carving royal furniture and accessories, while many of them took refuge to the neighboring courts Hindu kings. Worshipping of idols became a secret activity in Bengal and investments were stopped on large-scale quality works. Quick use of clay and natural pigment became the most suitable alternative – even for the making of hieratic deities.

[1] Sanjay Sen Gupta is Assistant Professor (Fine Arts) at School of Fine Arts, Amity University, Kolkata, India. He did PhD (Fine Arts) in Visual Arts from the University of Calcutta (Government College of Art & Craft, Kolkata), India, 2014. Email: sanjaysg1974@gmail.com

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