Baladev Moharatha has been quite meticulously transforming many of the great poetic lines on to his canvasses, Bucking Ford Paper and the poetry is heard to mind and soul of the viewer, with jugglery of colors and balanced space. His iconology is as per the lines of the poetry and at places, the same surpasses the lines even. He is not a novice to this type of transformations. He had already so many magnums opus poetic work from Kalidas to Kavi Samarat Upendra Bhanja the pioneer of medieval Oriya Poetry.
Famous for rendering myth and literature in Indian classical art forms, he is perhaps the only painter who had collaborated with the other avenues of art with his painting and the simultaneous process. He stepped into the particular avenue by vividly osmotizing the finer elements of imagery, iconography and form and the essence would provide him to paint the woman, the Nayika in so called poetics.
The medieval poetry has been mostly embracing the ‘Bhakti Bhaba’ and “Shringari Bhaba” (State of Amorous passion) and are so touchy and lively by depicting the lucidity in love, the ballad of parting for love, exile for love, punishment for love and even death for love that the master painter has been deeply moved by all these descriptions. So the outcome is creation of visual poetry from poetics through palate to paintings.
The painter compares the gracefulness and the aesthetics and femininity as depicted in the medieval poetics with the psyche prevalent with the feministic attitude of the contemporary women. ‘Sringar’ happens to be the first ‘Rasa’ for which it is known as the ‘Aadi Rasa’. Beauty and Sringar are having tremendous impact on human mind from times immemorial. The medieval poetics has profusely embraced them.
The painter conglomerates all these nuances to classic contemporary visual art. The aesthetics is a perennial phenomenon with the humanity which connotes the “Bhava” the psychic emotion and the soul which intermingles with the classicism attaining contemporarily. In the contemporary Creativity the depiction at times becomes individualistic but with the conventional themes it caters to vast socio-cultural canvases.
The pictorial theme which one can conceive form Indian medieval literature must be acknowledged globally. So he looks to glorify the great poetic elements through his paintings. The poetic depict the creative pursuit gracefulness, ability, surrender, sensitivity, generosity, love for nature changing life style, spiritualism, envy, revolutionary mind, wisdom and the eternal love of womanhood.
Famous for rendering myth and literature in Indian classical art forms, he is perhaps the only painter who had collaborated with the other avenues of art with his painting and the simultaneous process. He stepped into the particular avenue by vividly osmotizing the finer elements of imagery, iconography and form and the essence would provide him to paint the woman, the Nayika in so called poetics.
The medieval poetry has been mostly embracing the ‘Bhakti Bhaba’ and “Shringari Bhaba” (State of Amorous passion) and are so touchy and lively by depicting the lucidity in love, the ballad of parting for love, exile for love, punishment for love and even death for love that the master painter has been deeply moved by all these descriptions. So the outcome is creation of visual poetry from poetics through palate to paintings.
The painter compares the gracefulness and the aesthetics and femininity as depicted in the medieval poetics with the psyche prevalent with the feministic attitude of the contemporary women. ‘Sringar’ happens to be the first ‘Rasa’ for which it is known as the ‘Aadi Rasa’. Beauty and Sringar are having tremendous impact on human mind from times immemorial. The medieval poetics has profusely embraced them.
The painter conglomerates all these nuances to classic contemporary visual art. The aesthetics is a perennial phenomenon with the humanity which connotes the “Bhava” the psychic emotion and the soul which intermingles with the classicism attaining contemporarily. In the contemporary Creativity the depiction at times becomes individualistic but with the conventional themes it caters to vast socio-cultural canvases.
The pictorial theme which one can conceive form Indian medieval literature must be acknowledged globally. So he looks to glorify the great poetic elements through his paintings. The poetic depict the creative pursuit gracefulness, ability, surrender, sensitivity, generosity, love for nature changing life style, spiritualism, envy, revolutionary mind, wisdom and the eternal love of womanhood.
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