Purpose –Literary locations may be defined in diverse methods, however principally they gather that means from links with writers and the settings of their novels. Such locations magnetize vacationers and form part of the landscape of heritage tourism. Numerous key standards regarding heritage are applicable to literary places, and empirical research sanction a extra preponderant information in their pertinence how applicable problems of authenticity and conservation are to this revel in on area . Recognising the articulated aims, we explore how a cultural festival, and more specifically contemporary art, may positively influence the residents and visitors. paper examines, whether the city educate visitors about Indigenous cultures of the Tamils. The paper argues Further, aspects of infrastructure and hygiene are also reviewed.
Methodology -The research study includes both the primary and secondary data sources. The major data and information pertaining to the research study have been accumulated from the primary sources. The main sources of primary data were used is content and descriptive analyses of archival documents, contemporary literary works and inscriptions, in the Tamil language related to the social history of Tamils in classical period, personal visits to Kumbakonam and their observation.
Findings – The paper concludes by arguing that festivals’ engagement with tourism needs to be carefully managed in the interests of promoting the socially sustaining function of festivals and of encouraging sustainable approaches to tourism development.
Originality/value –The paper explores spirituality and tourism in the context of kumabkonam city where there is very little formal research in this area. The paper serves as a stepping stone towards future research on overlooked religious site and their management
The scientists, from Galileo to Newton, interested in arts and history, always have had some collections where there was everything; from the Unicorn’s bone to the sphere for premonitions, the potions to feel good to the alchemical texts.
The exhibition of Damian Hirst, which opened Thursday at Palazzo Grassi and Punta della Dogana, is in this framework, in the mass of a thousand things that any intellectual retained, in the times when it was thought that culture was universal, that each of us, individually, could collect all the knowledge the world was offering.
A huge amount, of uneven objects, that have little to do with each other.
Damien Hirst, the father of the young British artist, after years puts himself out there with this giant exhibition completely changing himself and his work. There are no provocations, animals, drugs, colored dots. In this sense, the bet is high, because it takes the scene abandoning what made him famous, refusing to repeat itself, if not for the wealth. It seems that like the Gagosian of 20 years ago, even the good Pinault has provided unlimited funds.
The story is simple: in 2008 it was discovered that the wreck of a ship sank off the east coast of Africa, belonged to Cif Amotan II, a freedman of Antioch who lived between I and II century AD. He freed himself from slavery and gathered an immense fortune among art works, jewelry, antiques, and spoils of war. This treasure was loaded onto his ship to be brought to a temple, but it never arrived at its destination. Then the recent discovery, the re-emergence of encrusted artifacts from the sea, sometimes very damaged. That this story is a complete fabrication is unimportant. The story holds in the exhibition beyond the inconsistencies.
So triune works: sculptures rebuilt as new, falsely sculptures subjected to spend time on the seabed, video or picture of their recovery. Here, size matters: from tiny gold sculptures to the 18 meters of the giant’s height that fills the courtyard of Palazzo Grassi (Demon with Bowl). Also the materials: gold, silver, bronze, black and white granite.
The challenge is to create, provide the public with a story, a fairy tale. Herein will lie the success or failure of this exhibition. Beyond the technical expertise, the cost of production of this enormity similar to a collection, the impression that is created is truly to enter in a strange archaeological museum. And this also serves the ornaments, such as the caskets with the collections of fake rare shells, which are a fall in the tension of the exhibition. They certainly will not be sold at a high price, but they offset, creating the image of the museum. Basically in any discovery there can be the wonderful, but also the tool, the consumer good, the shell.
The materials are conventional ones; the works have an aspect that can be ambiguously connected to experiences already lived. We are surprised for the size of the caskets, in a much elaborated fictional language that makes this surplus of fantastic syncretism, between myth and cartoon, surrealism and jewel, gods and monsters in a credible collection of the wonders of an invented world. So much so that a toy, a robot, put into glass case, all of gold, with its excellent caption, can certainly represent a deity and the incredible abilities in aging of works with rust, sponges, algae and shells, just as fake, which makes it plausible marine finds.
The fairy tales, the stories, at the dawn of humanity was needed to recognize, ritualize and defeat the real and imaginary dangers, to reconnect with nature. Even with the advent of the novel, the narrative has maintained, according W.Benjamin, its function: “on the one hand the meaning of life, the other the moral of the story”. Damien offers this in the exhibition, a fairy tale and a game, that ridiscute a large part of contemporary art that instead brings to the concept, to the minimalism of the artistic gesture and of the space that contains it. Here is the provocation of the treasures from the wreck of the unbelievable, the real controversial point and the novelty. Certainly coming out of this experience, the public cannot say, “This I could do it myself.” It may pleasure at the Market?
The Chitrolekha Journal on Art and Design is a scholarly platform for discussions on the evolution and intercategorial development of art and design. The journal explores arts both as a mode of signaling as well as being in an ontological sense. The mystery of the first arts of our ancestors intrigues us today, from a scientific as much as an aesthetic perspective. Similarly the future of arts leads us to think of things quite unknown to us. The scope of the journal therefore, will be open-ended so as to be able to incorporate and address emerging areas in human arts and sciences. Research papers on any of the following broad areas can be submitted:
History and Prehistory of Art
Art and Religion
Art and Technology
Design and Culture
Art, Ecology, Environment
Commercial design aesthetics
Textiles, Fashion, Perishable Arts
Handicrafts and Heritage Preservation & Management
Publication Schedule: We follow Continuous Publication model and we start publishing articles once the reviews are complete. In every quarter the articles will be clubbed together as an issue under a year (as Volume).
Submission Deadline: There is no deadline as we follow Continuous Publication model. Once the article is reviewed and passed, we will publish it.
Contact: Send your submission the Section Editors at ttm1974 [AT] gmail.com and/or editor [AT] chitrolekha.com
This paper covers the dynamics of Soapstone Craft of Dhakotha. Broadly this paper can be divided into two parts, i.e., crafts study part and product design intervention part. The crafts study part includes- research methods, craft introduction, crafts location, craft history, available raw materials, craftsmen and existing skill sets, tools under use, involved craftsmanship processes, existing product ranges etc. On the basis of understandings developed during crafts study, this researcher had explored different market specific and end-user focused product design possibilities. The product design intervention part includes different product design interventions and collections developed by researcher with a holistic approach. There are two different soapstone clusters, with different skill sets, i.e., Soapstone carving cluster and Soapstone ????? ????? or Patthar Kundo cluster; are practicing in same geographical area, so studying and exploring interventions in joint mode was an interesting experience for this researcher. This craft study cum design intervention initiative was conducted during 2010-2011 by this author.
Keywords: Stone Craft of India, Craftsmanship, Crafts & Design, Craft Excellence, Carving Crafts
From centuries, our tangible and intangible cultural heritage is considered as an inspiration for life which passes down from one generation to the next. Cultural heritage has its value and place in the heart of society. In cultural heritage, architecture is a showcase of our rich tradition which is our legacy from the past to the present world. Concerning this, Saharanpur is internationally famous for wood carving and closely associated with the socio-economic life of the district. These particular art forms have evolved for centuries as an inseparable and intimate part of its culture. Moreover, the other significant feature of Saharanpur is old havelis (mansions) which were constructed with imperial influence. Old havelis of Saharanpur demonstrate the glimpse of Mughal art and architecture, a characteristic Indo-Islamic-Persian style. Gradually, old havelis of Saharanpur are slowly losing its authenticity due to unawareness of people and their lack of knowledge about the cultural ethos which is attached to it. The art and crafts of these havelis are slowly fading away due to lack of proper infrastructure and initiatives for maintenance. Government has not yet taken enthusiasm for protection against slow demolition of this cultural heritage. Therefore, most of the havelis of this area have torpedoed and rests of the old havelis are on verge of vanishing. Hence, government must take preventive measures and initiatives for restoration and preservation of these havelis. The aim of heritage conservation is to ensure that the cultural significance of heritage places is retained for future generations. This paper makes an effort to create an overview of the architectural heritage buildings (havelis) of Saharanpur and highlights the certain recommendations for safeguarding these old havelis.
Keywords: Haveli, Saharanpur, Cultural Heritage, Conservation
Received December 02, 2016; Accepted December 25, 2016; Published January 26, 2017
Cezanne is a painter who existed in the era of discoveries, there was law of relativity as well as discontinuous travel of light. Despite all the scientificised discoveries and inventions, Cezanne was seeking inspiration from nature. Nature was the sole inspirer of him. Nature, he wanted to tap, the structure of, underneath in his paintings. During the times earlier to mid nineteenth century, symmetry was essential aspect of art as understructure, as in Piero della Francesca’s artworks. During mid nineteenth century art was paving way to new paradigms. Painters display emotion, sentiment, capturing of form, structure, composition with line, color or form to fathom their artistic instincts. Here in this paper I display the luminous use of color by Cezanne and use of hidden geometry in the painting of Mont Sainte Victoire to elucidate his traits to capture nature to its truest form, asymmetry. In understructure also, this asymmetry is vocal in the pentagon formed at the focal point of painting. Our earth is the worthy example of asymmetry. As nature (earth) is asymmetrical so we find traits of asymmetry in Cezanne’s understructure of painting. The inspiration of the artist lay in nature, so was his treatment of painting.
Keywords: Font Geometry, Symmetry, Asymmetry, Pentagon, Nature
Received November 11, 2016; Accepted December 20, 2016; Published January 26, 2017
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
Received December 06, 2016; Accepted December 19, 2016; Published January 26, 2017
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.
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.
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>>
Received September 01, 2016;
Accepted October 19, 2016;
Published October 22, 2016.
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.
All materials contained on this site are copyrighted and may not be reproduced, distributed, transmitted, displayed, published or broadcast in any form for commercial purpose without our prior written permission. In the case of third party materials proper permission from the owner of the content must be acquired. Users can use, share, distribute and display contents for non-commercial, academic and personal use. Please contact us for issues relating to copyright, use of materials and reprint permission at email@example.com.