Mani Nandini Sharma & Ila Gupta
Department of Humanities and Social Sciences, Indian Institute of Technology, Roorkee, Uttarakhand. India. Email: firstname.lastname@example.org.
Volume 6, Number 3, 2016 I Full Text PDF
Article DOI: 10.21659/chitro.v6n3.10
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
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Dr. Lopamudra Maitra, Symbiosis Institute of Media and Communication (SIMC- UG), Pune
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As the torrential rain gushes down the plastic and tarpaulin sheets of the narrow alleys in Kumartuli, covering the half-made clay idols, the smell of wet earth emanates, reverberates, encircles and rises up to announce the arrival of the auspicious occasion— Durga Puja. Finally, as the dawn of Mahalaya announces the arrival of the Devipaksha and the last ablutions are offered to seek blessings from one’s forefathers on the banks of the sacred river Ganga, the artisans of Kumartuli pronounce the occasion through invoking the powers of the female goddess by painting the eyes of the idols of Durga, famously known as Chokkhudaan or bestowing of the eyes. A popular and annual sight in the region every year, this relatively small, yet largely famous and well-renowned region of Kumartuli stands tucked within the narrow lanes and by-lanes of Sovabazar area of the northern region of the present city of Kolkata (West Bengal, India) and the relatively recent construction of the underground metro-railway station of the same name. A busy place for idol-makers, the kumbhars, their small and narrow workshops, aligned against their crowded tenements, hum with the buzz of activities at most times of the year, especially during the time of the Durga puja. Over the years, the region has experienced a surge and witnessed changes in the style of the clay idols, their expression and depictions, especially the ones made for Durga puja. Carrying forth a string of history within itself, as these depictions represent a strain of continuity of the famous worship of female deities of the region, the changes and alterations in visual depictions of the idols made in Kumartuli also help to reflect new ideas and ideologies in the age of new-media, forming an important part of Visual Anthropology. Based on an extensive fieldwork in the region of Kumartuli and various parts of Kolkata throughout the month of Aswina (September-October) between 2011-2012, this paper tries to look into the significant aspects of the representations of the idol-making formats of Kumartuli, their changing presentations and new reflections and how the local history, oral traditions and lores still manifest themselves through these changing representations.