Iam artist

01/01/2025

Wishing you & your family a joyful and blessed New Year 2025!

24/12/2024

01/12/2024

https://x.com/nkfoundationorg

01/12/2024

🎨 Welcome to the 15th International Art Expo! 🌟 We're thrilled to announce the eminent artist Mr. Smruti Ranjan Nayak as our esteemed judge and mentor. With a profound impact on the art world, their expertise will undoubtedly elevate this competition to new heights.

Get ready for an inspiring journey, where creativity knows no bounds. Let the artistry begin!

Join us in celebrating the talent 🎉👏 Don't miss the chance to immerse yourself in a world of creativity at the 15th International Art Expo.

You can also purchase original artwork here to adorn your living space with emotive art.

Presented by Colour Wings & Associated with N.K.Foundation & N.K.Journal.

Visit & Explore grand vision on tiny Canvas.

Exhibition Date: 24th to 28th December 2024 (11 am to 7 pm)
🏆 Felicitation: 28th December 2024
📍Venue: Buddha Art Gallery, Bhubaneswar, Odisha, India

🔔REGISTER NOW📝
Last Date of Submission: 13th December 2024
👉 How to Register:
If you want to participate send your best artwork to our WhatsApp number or email for the selection process.
👉 You can exhibit a minimum of 2 and a maximum of 10 artworks.
👉 For any enquiry, please call and WhatsApp on 700 1296863.
Email id - [email protected]
🌐Visit: https://buff.ly/3IjQljr
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Blog: buff.ly/47C5uIx

23/10/2024

Hoysala Temple Architecture

The temples built during the Hoysala dynasty in the Southern Karnataka (Mysuru) region fused Vesara and Dravidian architectural styles to create a unique style known as the Hoysala School of Art.

Hoysala school of Architecture with many specialties which includes exquisite carvings of Bracket figures (Shila balikas- Female and Male dancers). In total there are 42 Bracket figures in this temple and 3 in Kappe Chennigaraya temple. We can observe the high degree of perfection in the sculptural art of the Hoysala dynasty in the carvings of these Bracket figures. These beautiful bracket figures are carved out of a special kind of stone locally called Balapada kallu (Soapstone. Chloritic schist). The stones used for the carving will be soft in nature in the beginning and later on it becomes hard. The main attraction of the bracket figures is that they are beautifully designed and ornamented. Generally the bracket figures are about two and half feet in height."

"Out of these exquisite and enchanting 'Shila balikas'. some of them resemble the typical lady form of Vishnu, who disguised as mohini to destroy the demon Bhasmasura. These shila balikas carved in various postures like dressing, dancing. singing, hunting etc: are the finest sculptures chiseled by expert sculptors of those days."
"The bracket figures are known for their beauty, grace. postures and design. It is an added attraction to the main temple. These structures also indicates contemplating mood and thoughts of Indian art of dancing which are nothing but gifts of Hoysala architecture to the world of art."

"The bracket figures are placed at a junction of pilasters and the beams below the roof at 45 degree angle. Usually the main image will be in the standing posture and around there will be an aureole of creepers (Prabhavali). On either side of the shila balikas just at the bottom we find the small idols of assistant artists and attendants."

"Almost all the bracket figures are adorned with the finest carvings of ornaments like bangles, armlets, bracelets, ear rings, necklace, the waist band. ornamental skirts. ornaments of the feet, anklets, rings of the toes and ornaments of shoulders, arms etc.. That is why it is said that this temple is an aesthetic paradise. By carving skillfully, sculptors of these Shila balikas' have exhibited the so called modern fashion which existed in those days it self, making the bracket figures extraordinarily beautiful."

This style evolved between 1050 and 1300 AD. Well-known locations such as Somanathapura, Belur, and Halebidu feature these temple complexes, which are included in the preliminary UNESCO World Heritage Site list. Most old temples, not just those in the Hoysala kingdom, are in ruins. Therefore, every visitor has the responsibility to conserve our rich cultural legacy. Travel responsibly and take the time to learn about the past.

19/10/2024

Master Signature Artist: MORTON E. SOLBERG (1935-2022)
Born: Cleveland, Ohio
Education: West Technical High School, Cleveland Institute Of Art

Morten E. Solberg is Internationally known for his work.He is versatile in all mediums. He paints in oil, acrylic and watercolor and his techniques range from photo-realism to total abstraction. He has devoted over 60 years to pursuing his craft via design studios, commercial art and his own fine art painting.

Mort attended The Cleveland Institute Of Art nights studying painting and design. He shed his commercial ties and concentrated on fine art and has been painting full time since 1970. After moving to Southern California's Orange County in 1968, he firmly established himself in the art world, living in Running Springs, Carmel, Santa Barbara and Sonoma and San Diego, gaining memberships in the American Watercolor Society, the National Watercolor Society, the Society of Animal Artists, Wildlife Artists of the World, Knickerbocker Artists and the Society of Master Impressionists.

19/10/2024

Ksh*tindranath Majumdar, born on 31 July 1891 in Jagtai village of Murshidabad in West Bengal, is often referred to as a saint-artist who considered art as a form of devotion.

Strongly influenced by Vaishnavism as propounded by the fifteenth century saint, Chaitanya Mahaprabhu, Majumdar trained in hymn singing, interpreted legends from Indian epics, and acted in productions of the theatre group owned by his father.

It was on the advice of the zamindar of the neighbouring village of Nimtita that Majumdar came to Calcutta and joined the Government Art College in 1905. His paintings reflected the style of his master Abandindranath Tagore; he carried Tagore’s delicate, romantic style further by investing his figures with dresses and drapery that carried suggestions of the Ajanta frescos and Rajput paintings.

In 1912, along with Nandalal Bose, Majumdar took over the responsibilities of teaching at the Indian Society of Oriental Art and continued till 1930. Later, at Santiniketan too, he engaged himself with teaching the aesthetic principles inherited from his mentor.

Majumdar’s subject matter comprised mythological narratives, Puranic stories, and Vaishnav gods and saints. He charged his paintings with his own perception of bhakti (devotion) and aimed at a transcendental expression. One of the most significant Bengal School artists, Majumdar continued the trend of revivalism by evolving an art form rooted in traditional Indian modes of image-making and reflecting the spiritual world.

Awarded an honorary D.Litt. by Rabindra Bharati University, Calcutta in 1963, the artist passed away in 1975.

19/10/2024

Mughal Emperor Shahjahan in the Marriage Procession his Eldest Son Dara Shikoh (1740) was painted more than a hundred years after the event it depicts. Painted in mid-18th century Awadh by Haji Madani, the work is almost like a collage of the works of the master artists of the previous century from the Mughal atelier, almost as a watered-down version of Murar’s work. In fact, several painters named themselves after the great artists from the previous century, (like Kalyan Das/Chitarman II, the iconic painter from Muhammad Shah Rangiley’s court, who named himself Chitarman after the great artist from Shah Jahan’s time). Certain parts, like the equestrian portrait of Shah Jahan (including the halo), are a direct copy of Payag’s masterpiece Shah Jahan on Horseback (1630).

Madani’s work weds the selective naturalism of classical Mughal miniatures with the aesthetics of contemporary 18th-century Indian miniature art. A Tilly Kettle and a Johann Zoffanny are yet to visit Awadh, and the points of reference are still very Indian/Mughal. Yet, the characters of the painting look like cutouts set together on a plane. Unlike a Chitarman II (from almost around the same time), Haji Madani doesn’t visualise the characters as originals, even though they remain individual and distinct. Haji Madani’s work becomes a collage, as if, of previous masterpieces by Chitarman (I), Payag, Murar, and Manohar.

Abanindranth’s Marriage of Nuruddin, painted around 1930, almost three centuries after Murar’s masterpiece (1635) and two centuries after Haji Madani’s work (1740)— can be seen as a continuing thread (and yet a break) in the light of these two works. The characters are not cutouts from a previous art style, yet a collage of sorts. They are definitely not like the stiff Art Nouveau illustrations of his European contemporaries. The characters stand organically, as originals. In fact, the world of the Arabian Nights series of Abanindranath is a world of its own and all the characters reside as real characters. There is a sense of irreverence to the stories. The drunk, wasted British soldier with an annoying nose plays the dhaak with his bottles, while still in uniform. The cook and the bhisti are probably having their own chat, which might have little to do with Nuruddin. The bhisti, unlike in Murar’s painting, isn’t doing his job. The jesters, with their playful masks, aren’t exactly dancing around. The torchbearer, at the end of the procession (on the edge of the right side of the painting), seems miffed, and not particularly interested in torch-bearing. A group that sits inside the mosquito net, wondering, is also essentially jobless. Except for the two women at the right bottom corner of the painting, and the minstrels at the top, everyone else seems to be not doing much.

19/10/2024

The Wedding procession of Prince Dara-Shukoh (1635) was painted by Murar. Painted at the height of the Mughal era, Murar worked during the reign of Shah Jahan, from around 1628. The painting itself is an iconic event, the first grand celebration after a year of mourning the death of Mumtaz Mahal. Several legends talk of the large unthinkable sum spent and the extravagance of the event, which the painting only gives a glimpse of. The painting (even though completed much after the event) captures a particular time, a particular moment, in a form that belongs (with all its details) only to that period itself. It captures grandness, with elegant subtlety, which might even be termed as minimal and muted, considering how centrally Dara Shikoh’s portrait is positioned and how it is isolated with a lot of blank space around. It is clear that the painting is about him. Everyone in the painting is doing their work. The bhisti is anxiously wetting the ground, the attendants are lighting up the oil lamps, the state sword is being held by a bearer. Everything is as it should be.

12/10/2024

Happy Dussehra!
May this festival bring you joy, success, and the strength to overcome all challenges. Let's celebrate the triumph of good over evil together!

09/10/2024

ARTIST: Susmita Mandal, Ranchi, Jharkhand
Title: Durga, Acrylic on Canvas

The word "Durga" is not just a name it means "impassable, invincible, or unassailable" in sanskrit. Durga is a powerful goddess who represents protection, strength, and divine energy. She is also a symbol of the triumph of good over evil. Durga means "Ma", she is present in our society in different forms like as daughter , wife , sister etc. They are backbone of our society.
"worship" we all do right?, and worshiping means respect. do we really respect ? if we had genuinely respect "Ma durga" then we would not have to do candal march today. societal devils wants to scare us by there deeds , and we get scared. we should raise our weapons and armours rather than coming up in roads holding candals being called "obola nari". when "Ma durga" can take up weapons in her ten hands. why can't we . we have
ample energy and strength , we just need to ignite the fierceful fire within and fight ,fight, fight and defeat. we all need to strong be enough to defend ourselves from any situation.
The creature named "asur" doesnt teleport from any other planet, they are present in our community and surroundings .

07/10/2024

18-September-1867
Ganganendranath Tagore, great painter, patriot and artist, was born in Calcutta.

The true pioneer of cubism in India and acclaimed for his satirical works of art, Gaganendranath Tagore was born on 17 September 1867.

Along with his Nobel-laureate uncle Rabindranath Tagore, and brother Abanindranath Tagore, he was at the forefront of cultural revival in Bengal in the early twentieth century; the brothers established the Indian Society of Oriental Art, Calcutta, in 1907.

A self-taught artist, Tagore began painting late, at the age of thirty-eight. He learnt Japanese brushwork from visiting Japanese artists at Santiniketan. Initially, he painted Puri landscapes, portraits and other figurative sketches, scenes of Calcutta and illustrations for Rabindranath Tagore’s My Reminiscences, consisting of early known works Sibu Kirtania and Crows. In 1914, six of his paintings were sent to London, and then to the Pavilion Marson exhibition in Paris. Following this, cubism was introduced in his works. From 1917, he also published portfolios of cartoons, titled Birupa Bajra, Adbhut Lok, and Baba Hullod, which were merciless satires on contemporary Bengal society.

He was also the driving force behind the Vichitra club at the Tagore residence, even acquiring a lithographic press for it. He tried his hand—to enormous success—at each popular style of painting—watercolour landscapes, haunting night scenes, several Bengal School washes and Japanese brushwork.

His 1923 exhibition in Berlin and Hamburg received praise from German critics. He used form as a medium to communicate his feelings, and emphasised the structural quality in his works through semi-abstraction.

Tagore passed away on 14 February 1938.

07/10/2024

Developed over 400 years ago in a small town near Udaipur, Rajasthan; Nathdwara, Pichwai is traditional Indian art. Artists use this intricate Indian art form to recreate the incidents from Shrinathji’s life. According to Hindu mythology, Shrinathji is Lord Krishna at the age of seven.

In 1672CE when the Shrinathji temple was established, Vitthalnath the chief priest and son of the Push*tmarg sect founder Vallabhachrya, employed artisans under the temple administration to create pichhwais. These were traditionally made by the artisans only on commission by the chief priest for religious worship and ceremonies.However in the coming centuries, as the sect grew to various part of India such as Gujarat and Mathura, the art styles reached those places as well. Pichhwais were made to be taken by pilgrims from Shrinathji temple but were also commissioned by wealthy families. The heavy and intricate nature of this art also led to its favour by theatre companies, with production companies commissioning as backdrops for productions.

The word Pichwai is derived from combining two different words; pichh which means back and wai means cloth hanging. Thus, Pichwai means cloth hanging at the back, which is how traditionally Pichwai paintings were used, hung behind Shrinathji’s idol in temples. Originally, Pichwai was exclusively used to decorate the walls of Shrinathji temples at Nathdwara and were used to portray and celebrate the different incidents and festivals in Krishna’s life. However, over the years, this traditional art form has been admired by numerous art lovers, who wanted a little piece of Krishna’s life in their homes, hence, these days artists also make Pichwai paintings for personal and commercial collections.

Conventionally Pichwai paintings are painted by a group of artists instead of a single artist. Hence, it is difficult to find a signed Pichwai painting. However, recently, some professional artists have started recreating these traditional paintings of Shrinathji, who also sign them. Owing to the extremely detailed and intricate artwork, it often takes months to complete a single piece of artwork by a group of artists.

The artists need immense prowess and tenacity to paint the gorgeous paintings of Shrinathji. Apart from the delicate work the artists have to pay attention to the details such as the expressions and articulation that Krishna and the Gopis carry on their faces, along with their friends and animals. Though these paintings are depictions of Krishna when He was seven years old, His other companions such as Radhika, other gopikas i.e. the milkmaids, Krishna’s friends, the cowherd's men, and the plants and animals such as lotuses, peeple trees, cows and peacocks form an important part of these exquisite paintings.

07/10/2024

Rare sculpture of Ganesha,
1200 – 1300 C.E. – Odisha
British Museum

THIS 13TH-CENTURY STONE SCULPTURE
OF GANPATI.
Seated stone figure of Gaṇeśa in lalitāsana posture, with the goddess Lakṣmī on his lap (Lakṣmī Gaṇapati). The god is depicted with five heads (pañcamukha) and ten hands, holding, on the right side, a discus (cakra), trident (triśūla), bow (dhanur), club (gaḍā) and fruit (jambhīra); on the left side are, a lotus (padrna), noose (pāśa) whisk (cāmara) and tusk (danta). He wears a sacred thread consisting of a snake (sarpayajñopavīta). In his trunk Gaṇeśa holds an upturned water-pot, while on his knee, the goddess Lakṣmī grasps a lotus stalk bearing a large bloom. Beneath the throne is an opulent floral spray flanked by small figures of devotees, and an elephant and a rat, the respective vehicles (vāhana) of Lakṣmī and Gaṇeśa.

01/10/2024

Happy Gandhi Jayanti 2024
"I will not let anyone walk through my mind with their dirty feet"

15/08/2024

Celebrating
7th Annual National Online Art Exhibition
on the occasion of
78th INDEPENDENCE DAY
15th-30th August 2024
“FREEDOM IS OXYGEN FOR ARTISTS
I believe in myself... IAM ARTIST”
www.iamart.ist
Curated by: Smruti Nayak, INDIA

26/07/2024

With eminent artists, Mr. Him Chaterjee, Chairman, Dept of Visual Arts, Himachal Pradesh University, Shimla, Prof Adwait Gadanayak, former DG, NGMA, New Delhi & my dearest brother Mr. Ranjan Mallik, Dean, Chitkara University.