The Rich Tapestry of Indian Art🎨

Greetings!

Namaste to all on this 11th International Yoga Day. We are reminded today of the Mother’s insights on the parallels between the discipline of Yoga and discipline of Art. We hope our readers enjoyed the offerings under the theme of 'Art as Yoga' in the Renaissance journal.

Since September 2024 we have been exploring different facets of 'The Spirit and Forms of Indian Art'. Several offline and online events have also been part of this exploration. We have touched upon a large number of topics and reflected on many dimensions of artistic traditions of India. This current issue of Renaissance comprising of 10 articles makes a total of 100 articles in the series.

From painting to poetry, from traditional to digital, from past to the future, like a rich Phulkari this issue presents a rich tapestry of creative expression.

Of Silken Threads that Bind Life and Art

Editorial - Beloo Mehra

The Mother says that "the greatest nations and the most cultured races have always considered art as a part of life" (CWM, Vol. 3, p. 108). India is perhaps the richest nation in terms of having a great diversity of art forms. These are often grouped -- somewhat ignorantly -- under the label of 'crafts' or 'folk art'. They include a rich variety of embroidery to ornate metal-craft, from pottery of different regions to elaborate painting styles.

Each of these traditional art forms has a unique aesthetic appeal. But more importantly, they are living and breathing examples of how art in India has always had deep connection with life. Only those parts of India "which are a little too anglicised have lost the sense of beauty," says the Mother (CWM, Vol. 5, p. 340).

How to 'See' Indian Painting - Two Examples by Sri Aurobindo

Editor's Note: Sri Aurobindo emphasises that to truly 'see' an Indian painting, we have to fully grasp its intention and aim, namely, the psychic suggestion or feeling that the artist is trying to express through form, line and colour. We feature two examples through which Sri Aurobindo himself teaches us how to 'see' an Indian painting. Before Sri Aurobindo's description of all that he 'sees' in the painting, we have given a general background of the narrative that is depicted in each of the paintings.

Yashodhara and Rahul meet the Buddha, Ajanta cave 17

(Sisirkumar Ghose - with 3 videos featuring Sri Aurobindo’s sonnets)

Editor's Note: In this concluding part, the author with the help of selected poems of Sri Aurobindo discusses that there have been few like Sri Aurobindo who, both by example and precept, has brought home to us the rationale of what he himself calls universal aesthetics, its principle, process and purpose, its poetry no less than its philosophy. (Read PART 1 and PART 2)

When Ustad Alauddin Khan Visited the Ashram

(Samir Kanta Gupta)

Editor's Note: In 1949, Ustad Allaudin Khan (8 October 1862 – 6 September 1972), the world-famous musician and sarod maestro from Bengal, founder of the Maihar gharana and guru of Ali Akbar Khan, Ravi Shankar and several others, spent a few days at Sri Aurobindo Ashram. He had Darshan of Sri Aurobindo and the Mother, who also graciously accepted his musical offering as he played sarod for them at a location within hearing distance from Sri Aurobindo’s room. In November 1949 issue of Mother India, Samir Kanta Gupta recounted his observations.

(Sunil Kumar)

Editor's Note: When art, beauty, silence, strength, wisdom and love come together, India's soul is revealed. In this meditative piece, the author weaves together some deep reflections inspired by what he experienced at Angkor Wat and Auroville, and brings to light the true work destined for Bhārata.

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