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Vasantika: Flame of the Forest

Vasantika: Flame of the Forest
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Raja Ravi Varma, the pioneering 19th-century artist is credited with many firsts - the first artist to use oil as a medium, one of the earliest Indian artists to have been exhibited abroad, rendering Indian subjects in the western academic style, and opening the nation’s first lithographic printing press. Along with these many feats, Ravi Varma gave us the “ideal Indian woman” and thus came to life goddesses, nymphs, queens, and so many other feisty women. 

Amongst his many avatars was Vasantika, an apsara (a celestial nymph) who appears in the middle of a forest. As her name indicates, Vasantika represents the oncoming of the Vasanta ritu or the spring season, The Ravi Varma Press printed lithographs of three ‘nymphs’ based on original oil paintings created by the master artist. They were ‘Padmini’ ‘Varini’ and ‘Vasantika’. Hindu, Jaina and Buddhist mythology define an apsara as a supernatural celestial being possessed of eternal youth, inconceivable beauty mastering different kinds of arts. These mysterious and seductive apsaras wander between earthly and heavenly realms, enchanting gods, demons and humans alike. The other two Raja Ravi Varma lithographs featuring Padmini and Varini come close on the heels of Vasantika in terms of iconography and composition. While Padmini, or the lotus nymph, is draped in a diaphanous pink saree as she stands amidst a pond of lotuses. Similarly, Varini, the third nymph in this series appears in a forest where her face is turned away from the viewer, one can only see her in partial profile. A pink saree is draped around her lower torso while her upper torso is bare. These three lithographs which celebrate the fluidity of Raja Ravi Varma’s strokes in a brilliant manner stand as a testament to his penchant for depicting female forms in diaphanous drapes. All the three nymphs are in one or the other way associated with nature.

In some mythological texts, Vasantika is described as having similar qualities as that of the forest goddess Aranayani. The Rg Veda defines Aranayani as elusive, fond of quiet glades in the jungle, and fearless of remote places. Ravi Varma, who was fluent in the textual traditions imparted his Vasantika with these qualities of Arnayani. In this oleograph, the beautiful nymph can be seen standing amidst a dense grove draped in a translucent pink saree clutching a bunch of flowers in her hand. The ‘Flame of the Forest’ tree is clearly visible behind the nymph. With her long flowing hair untied, Vasantika is adorned in jewellery made of flowers. A combination of a goddess and a nymph, the apsara playfully looks at the viewer as she stands in striking contrast to the wilderness of the forest behind her. Away from the prying eyes, she roams in the virgin forests far removed from civilization leaving the abundance of spring in her wake. 

This lithograph of Vasantika symbolises spring or the season that heralds blossoms and nature. The artist has represented her divine beauty as the ultimate temptress — someone whose charms are impossible to ignore. In a rare and unlikely juxtaposition, Ravi Varma willfully combined the ethereal beauty of a goddess with the playfulness of a nymph in Vasantika. Something must also be said about the saree and its effect on the onlooker - a cool tone of pink that is diaphanously draped over the nymph’s body. The wispy cloth almost melts away in the breeze becoming one with it, while the silken folds of the saree barely cover enough to let the viewer’s imagination run wild. This quintessential temptress shows enough skin here and there to make the most erudite mortals mesmerised. 

In Vasantika, Raja Ravi Varma turned a goddess-nymph into a mortal but immortalised the ideal female form. Moving away from the archetypal depictions, the legendary artist celebrated the beauty of the nymph by keeping her as close to reality as possible while imparting an ethereal radiance that comes out in this powerful, moving and ever-so lyrical depiction. 

RtistiQ brings to you the Raja Ravi Varma Phygital NFT art auction that will be held between the 28th- 31st July’22. 

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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Ravi Varma Press, Vasantika, 1890

Image courtesy: Google Arts and Culture; Raja Ravi Varma Heritage Foundation

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Ravi Varma Press, Padmini, 1890

Image courtesy: Google Arts and Culture; Raja Ravi Varma Heritage Foundation

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Ravi Varma Press, Varini, 1890

Image courtesy: Google Arts and Culture; Raja Ravi Varma Heritage Foundation

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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

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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. 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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

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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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