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Ahalya: The Woman Who was Cursed Into a Stone

Ahalya: The Woman Who was Cursed Into a Stone
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Ahalya, one of the most tragic characters in Indian mythology has been a subject of several serious debates. When Brahma created her as the most beautiful woman no one would have predicted how agonising her future life would be. The tragic story of ‘Ahalya’ and Indra’s lust and subsequent revenge appears in the Valmiki Ramayana. Married to the great sage and a much older Gautama, Ahalya’s story has been recounted over and over again due the epic proportions of hardships, sacrifice and spousal devotion. A princess of the Puru dynasty, Ahalya, was seduced by Indra by treachery, was cursed by her husband to turn into a stone. Indra was besotted by Ahalya’s beauty and was intent on seeking her companionship. So, Indra disguised himself as Gautama and Ahalya allowed Indra into her home. Several texts narrate her ordeal of how the king of gods, Indra, came disguised as her husband, and Ahalya accepted his advances falling prey to Indra's trickery. Later when Gautama arrived and saw Ahalaya and Indra, he cursed both of them possibly reserving the harsher one for his wife. In all the popular retellings developed over time, Ahalya was cursed to become a stone and regained her human form after she was brushed by Lord Rama's foot. As she was eventually brought back to life by Lord Rama who was on his way to Janakpuri for Sita’s Swayamvar, Ahalya was said to have attained moksha (liberated from the cycle of rebirth). With a god like Rama, appearing as the eventual agent of her liberation and redemption, Ahalya was never regarded as an adultress but always a pious woman of divine birth who remained dedicated to her husband’s wishes both before and after being cursed.

Like Shakuntala nad Damayanti, Ahalya too reappeared in Raja Ravi Varma’s oeuvre as one of his several Nayikas or heroine with her story and different moments of her life retold again and again. Printed at the Ravi Varma Press Picture Depot, this oleograph portrays Ahalya in a forest possibly near to Gautama’s hermitage. Two different versions of Ahalya’s story were adapted into lithographic prints in the Ravi Varma Press. In this first depiction, Ahalya is dressed in a white saree and seen in the forest with a basket of flowers in her hand. As she blissfully looks directly at her viewers one is made aware of her naivety and innocence as she stands amidst wilderness. The white represents a virtuous and pious woman, and the forest serves as an idyllic setting for Ahalya whose life was about to be turned upside down. In one of the other oleographs titled Ahalya Shaap Vimochan or Ahilyodhar (The Release of Ahalya) (c. 1910). Ahalya can be seen bowing in front of Lord Rama with folded hands after being brought back to life. Along with Rama we also see the great saint Vishwamitra and Rama’s sibline Lakshmana. The landscape around Ahalya has now changed drastically. However, it is the other oleograph called Ahalya Indravalokan (c. 1910), that marks the beginning of the torturous chapter in Ahalya’s story. Here we see Ahalya carrying a basket of flowers and plucking flowers off a tree in her garden and Indra appears far in the background flying on a horse styled like a unicorn called an Uchchaihshravas. 

Often glorified as the first of the Panchakanya (lit. ‘five virgins’) Ahalya is considered an epitome of feminine purity. Other than Ahalya, the Panchakanya group includes Draupadi, Sita, Tara and Mandodari, extolled as archetypes of female chastity whose names are believed to dispel sin when recited. Unlike other Ravi Varma heroines, Ahalya is both simplicity and modesty personified. Her quiet strength and tenacity is palpable in the way she holds the gaze of the onlooker. Full clothed with her hair untied, the slightly bashful Ahalya’s boldness differs from that of a Mohini or Shakuntala, as we see here a married woman who is aware of her beauty but is aware of her role as a wife and the sheer strength of her character. 

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Ravi Varma, Hamsa Damayanti Samvad, Ravi Varma Press Picture Depot

Image courtesy: Raja Ravi Varma Heritage Foundation

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Ravi Varma, Ahalya Shaap Vimochan (The Release of Ahalya), Ravi Varma Press

Image courtesy: www.columbia.edu

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Ravi Varma Press, Ahalya Indravalokan, Ravi Varma Press

Image courtesy: Wikimedia Commons

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Don’t miss out and collect them all by clicking here. https://art.rtistiq.com/en/auction/raja-ravi-varma-nft-drop2/lots 

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ARTICLES ON ART INSIGHT

How to Tell a Lithograph from a Painting: A Comprehensive Guide

ART INSIGHT

How to Tell a Lithograph from a Painting: A Comprehensive Guide

Art enthusiasts and collectors often come across various forms of visual art, including lithographs and paintings. While both mediums have their own unique appeal, it is important to understand the differences between them. This article aims to provide a comprehensive guide on how to differentiate between a lithograph and a painting, considering their techniques, materials, and characteristics. By gaining insights into these key factors, you'll be equipped with the knowledge to identify and appreciate these art forms more effectively. Understanding Lithographs A lithograph is a type of printmaking technique that involves the process of drawing or painting on a stone or metal plate. It is based on the principle of oil and water repelling each other. The artist creates an image on the stone using specialized tools, and then applies ink to the stone's surface. The ink adheres to the image while being repelled by the wet areas, and a piece of paper is pressed onto the plate to transfer the image. A more detailed article on Lithographs can be referenced in the article What Is A Lithograph. Analyzing Painting Techniques Painting, on the other hand, involves the application of pigments onto a surface, typically canvas, using various tools like brushes, knives, or even fingers. Paintings can be created with different types of paints, such as oil, acrylic, watercolor, or gouache. Artists have greater freedom to manipulate the paint, creating textures, layering colors, and incorporating various brushstrokes, thereby resulting in a unique and original piece of artwork. There are a few key differences between lithographs and paintings that can help you tell them apart. Paper: Lithographs are typically printed on high-quality paper, such as rag paper or watercolor paper. Paintings, on the other hand, can be painted on any type of paper, including newsprint, canvas, or wood. Ink: Lithographs are printed with ink that is specifically designed for lithography. This ink is water-based and has a high viscosity, which means that it is thick and does not flow easily. Paintings, on the other hand, can be painted with any type of paint, including oil paint, acrylic paint, or watercolor paint. Printing process: Lithographs are printed using a process called intaglio printing. This process involves pressing the plate against the paper in a very controlled manner. Paintings, on the other hand, are painted by hand, and there is no such control over the application of paint. Texture: Lithographs typically have a smooth, even texture. Paintings, on the other hand, can have a variety of textures, depending on the type of paint and brushstrokes used. Signature: Lithographs are typically signed by the artist. Paintings, on the other hand, are not always signed. Examining the Surface One of the key ways to differentiate between a lithograph and a painting is by examining the surface closely. Lithographs typically have a flat, smooth texture with even ink distribution. Due to the nature of the printing process, the lines and colors in lithographs tend to be more uniform and consistent. In contrast, paintings often exhibit varied textures, visible brushstrokes, and an overall three-dimensional quality. The presence of texture is a strong indicator of an original painting. Inspecting the Signature Another important aspect to consider is the presence of an artist's signature. In most cases, lithographs are signed in pencil, usually at the bottom margin, while paintings are typically signed in paint directly on the artwork itself. Examining the signature can provide valuable insights into the authenticity and origin of the piece. Additionally, lithographs may have edition numbers or impressions indicating the total number of prints made from the original plate. Assessing the Color Saturation Color saturation is another distinguishing factor between lithographs and paintings. Lithographs tend to have more consistent color saturation throughout the print, with an absence of subtle variations that are commonly seen in paintings. Paintings, on the other hand, often exhibit subtle color shifts, gradients, and nuanced tonal variations, showcasing the artist's hand in mixing and applying the pigments. Considering the Frame and Glass The framing and glass used can also provide clues about whether you're looking at a lithograph or a painting. Paintings are usually framed with a mat and glass, which helps protect the artwork and enhance its presentation. In contrast, lithographs are typically framed without glass, as the glass can cause unwanted reflections and interfere with viewing the image. 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Singapore Art and Artists: Exploring the Rich Cultural Tapestry and Creative Expression

ART INSIGHT

Singapore Art and Artists: Exploring the Rich Cultural Tapestry and Creative Expression

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He along with Chen Wen Hsi, Georgette Chen and Liu Kang founded the Nanyang style of art, one of the most important movements of Singapore's cultural History. After migrating to Singapore in 1946, he took up Art teaching at the Nanyang Academy of Fine Arts, and began his fervent amalgamation of Western and Chinese pictorial styles. Best known for his stylized depictions of Malay and Balinese women, he worked in a unique aesthetic that blended Hindu, Chinese, and Modernist European influences. Lim Tze Peng (born 1921) is a Singaporean painter known for his Chinese ink paintings. He is considered one of the most influential artists of his generation in Singapore. His masterpieces have been exhibited in many local and international exhibitions and prominent art centers in Singapore, including the Singapore Art Museum and Nanyang Academy of Fine Arts.. 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Exploring the Intricate Techniques of Islamic Art

ART INSIGHT

Exploring the Intricate Techniques of Islamic Art

Islamic art is a rich and diverse artistic expression shaped by centuries of cultural and religious influences. From calligraphy to geometric patterns, this guide explores Islamic art's various styles and techniques and how they have evolved over time. What are Islamic Art styles and techniques in the contemporary art market? Islamic Art encompasses various styles and techniques, some of which have been adapted and incorporated into contemporary art markets. Here are some examples: Calligraphy: Islamic calligraphy is one of the most recognisable art forms in the world. It involves the writing of Quranic verses or other Islamic phrases in a decorative way. Contemporary artists have experimented with this style by incorporating it into paintings, sculptures, and installations. Calligraphy is also used to decorate buildings, textiles, and other objects, and is often combined with other forms of Islamic art, such as geometric patterns and floral motifs. 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Contemporary artists have continued to use metalworking techniques to create modern pieces that are both functional and aesthetically pleasing. Ceramics: Islamic ceramics are often decorated with intricate patterns and designs. Contemporary artists have continued to use this technique, creating modern ceramics that are both beautiful and functional. Islamic art styles and techniques have a rich history that inspires contemporary artists worldwide. By blending traditional Islamic techniques with modern styles and materials, these artists are creating a new and exciting form of Art that celebrates both the past and present. The influence of nature and floral motifs Nature and floral motifs are also commonly found in Islamic art. These motifs are often used to symbolize growth, renewal, and the beauty of the natural world. Islamic artists often use stylized versions of flowers, leaves, and vines in their designs, incorporating them into geometric patterns or using them as standalone elements. The use of nature and floral motifs in Islamic art reflects the importance of nature in Islamic culture and the belief in the interconnectedness of all living things. Working across various disciplines, Mobeen Akhtar details her fondness for arabesque by using natural pigments extracted from minerals, rocks and earth as she aims to practise the traditional methods so they may be recognised and enjoyed today, as they were in the past. The role of color and symmetry in Islamic art Color and symmetry are two important elements in Islamic art. The use of vibrant colors, such as blues, greens, and reds, is common in Islamic art and is often used to create a sense of harmony and balance. Symmetry is also a key feature of Islamic art, with many designs featuring intricate geometric patterns that are perfectly balanced on both sides. This symmetry is believed to reflect the order and balance found in the natural world and is a reflection of the Islamic belief in the unity and harmony of all things. Is Islamic Art a religious-only Art? Islamic Art is not solely religious but strongly connects to the Islamic faith and culture. Islamic Art encompasses various artistic forms and styles, including calligraphy, geometric patterns, miniatures, textiles, ceramics, metalwork, and architecture. Multiple cultures and regions have influenced these art forms throughout Islamic history and have been used for religious and secular purposes. Islamic Art can be found in various settings, from religious spaces like mosques and madrasas to secular areas like homes, palaces, and public buildings. In addition, Islamic Art has been appreciated and collected by people of various faiths and cultures throughout history. While Islamic Art often incorporates Islamic themes and motifs, it is not limited to religious subjects. Many Islamic artists throughout history have drawn inspiration from the natural world, human figures, and other non-religious subjects. In contemporary Art, Islamic art styles and techniques continue to inspire artists of all backgrounds and beliefs. By blending traditional Islamic techniques with modern styles and materials, these artists are creating a new and exciting form of Art that celebrates both the past and present. Is Islamic Art only practised by Muslims? Islamic Art has its roots in the Islamic faith and culture, but it is not limited to only Muslims. Islamic Art encompasses various artistic forms and styles, including calligraphy, geometric patterns, miniatures, textiles, ceramics, metalwork, and architecture. Multiple cultures and regions have influenced these art forms throughout Islamic history, and they have been appreciated and practised by people of different faiths and backgrounds. Many non-Muslim artists and artisans have contributed to the development of Islamic Art throughout history. In medieval Spain, for instance, Christian and Jewish artists worked alongside Muslim artisans to create some of the most stunning examples of Islamic Art and architecture. And in modern times, many contemporary artists and designers from diverse backgrounds have been inspired by Islamic Art and its techniques, incorporating them into their works. Furthermore, many Islamic art forms have been used for religious and secular purposes. Islamic architecture, for example, is often used for public buildings and private homes, regardless of the faith or background of the owner. Similarly, Islamic calligraphy and geometric patterns are often used in various artistic and decorative contexts, from book design to interior decoration. Final Thoughts! In conclusion, Islamic art is a form of art that is enjoyed by people of all backgrounds, cultures, and faiths. Its beauty and significance can be appreciated by anyone with an appreciation for art and culture. Head on to a very special collection of Islamic Art from Artists across different part of the world on RtistiQ - Cultural festivity Art Collection

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