The enduring mystique, beauty and majesty of the banyan tree
Brooding in serene silence like a Yogi, Beauty unruffled with the aid of the elemental fury and onslaughts of time, the banyan tree has interested majesty storytellers, philosophers, and spiritualists for the while.
Roofing in serene silence like a Yogi, unruffled with the aid of the fundamental fury and onslaughts of time, the banyan tree has interested storytellers, philosophers, and spiritualists over the ages. The knotted roots cascading down from its expansive girth to include earth while branches accomplishing out to the skies in cosmic stability has constantly seemed with a number of the reference.
The long-lasting mystique and majesty of the tree have now inspired an Indian artist to rustle up more than a few evocative artworks that resonate with a meditative, even magical, pleasant, underpinned by using a terrific aesthetic sensibility and lifestyles philosophy.
Indore-based artist Aparna Bidsaria’s paintings, displaying the tree in its splendorous spectacle over seasons in particular mild reflections, might be displayed at an exhibition, titled Time and Being, at the Shridharani Artwork Gallery, Triveni Kala Sangam, Delhi.
Curated through cited scholar and critic Uma Nair, the ten-day exhibition, beginning April 17, capabilities a total of 30 paintings performed in monochromes, shades, and impressionist colorings.
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“The banyan (Bargad) tree has interested me because my youth; that enduring fascination is now embedded in my inventive sensibility and craft,” says Aparna, who makes use of clay, charcoal, pastel, ink, and acrylic as a medium to seize the calm and quiet of the tree’s shadows as well as the depth of sun rays filtering through its dense leaves.
“For me, the banyan is a symbolism of the dance of existence and time. The tree spreads throughout eons of time and acres of space — personifying the majesty and electricity of Nature. But, there’s gentleness in it. Its swish sprawl invitations you to swing on its roots, to rest in its color and revel in the cool breeze of its leaves,” observes the artist, who works from a studio in Indore.
The individuality of the exhibition lies within the truth that every one of the artwork on the show is based on a single object (banyan), which the curator describes as “meditations on the banyan tree.”
“The tree has many more testimonies to tell us, and through my colorings, I try to catch the magic that it has,” says Aparna, whose works were exhibited at AIFACS, Delhi; India Art Competition, Mumbai; Bharat Bhavan, Bhopal; and Pritam Lal Dua Gallery, Indore. Her works embellish personal collections of Art connoisseurs in India and overseas.
Curator Uma Nair says it is an alternative uncommon to locate an artist who spends days and months just painting the banyan tree in one-of-a-kind reflections of mild.
“Aparna imbues the portray with an important stillness, concord, and stability. It also brings back her early fascination with the Indian concept wherein the banyan is taken into consideration, each sacred and profane. From autumnal gold to ochre and amber, her use of warm, shiny hues of orange and yellow stand out as a product of her earlier experimentation, marked via abstract expressionism and minimalism,” she notes.
Notably, the ivory and amber series is the most excellent of these paintings. So is the collection in “Contemplative Quietude?”
“The splendor banyan is an exceedingly refined instance of Aparna’s career, and fruits of her artistic adventure across styles, techniques, and subjects,” factors out Uma Nair. “It’s also a metaphor for her feelings about being an artist, her aspirations for the religious odyssey, as well as her sense of isolation and solitude.”
The exhibition, first held at Bharat Bhavan in Bhopal in February, concludes in Delhi on April 26. it’s far slated for a Mumbai replication, with more significant additions, on the Jehangir Artwork Gallery, from 14 August.
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