Lmst

Singapore artist Israfil Ridhwan

#artist #art #artworld #IsrafilRidhwan #singaporeartist #artaroundtheworld #asianart #southasianart #southasianartist #elhombre #elhombremasculino #themasculineman #fridakahlo #basquiat #oiloncanvas #oilandacrylicmarker #aceylicmarker #peinture #künstler #kunst #artista #painter #painting #pintor #pittore #maler #Dermännlichemann #männlichemänner

For #WorldElephantDay 🐘:
Drawing (Zoomorphic Calligraphy, #Elephant )
North India or Pakistan, possibly Lahore, late 19th c.
Black ink on paper
“Ornamental calligraphy in the form of a running elephant, saddled with a double-seated high saddle. The whole embodies the name and titles of a Nawab of Jasra.”
V & A IM.19-1916: https://collections.vam.ac.uk/item/O454588/drawing-unknown/
#SouthAsianArt #IslamicArt

“Drawing, in black ink on paper, ornamental calligraphy in the form of a running elephant, saddled with a double-seated high saddle. The whole embodies the name and titles of a Nawab of Jasra. (the name and designation of a Nawab of Jasra) Transliteration 'Janab Ahtsham-ud-Daula. Muhammed Ismail Khan Sahib Bahadur, Firoz Jung, Valiya Shahr Gulahan urf Jasra, Dam-i-Iqbal hum'” “See letter of Hendley to Caspar Purdon Clarke, December 31 1915 on NFMA/1/H1596, Hendley Family, where he notes that these were from 'the bazaar' and are the originals of those published by him and Chaubey Bisvesvar Nath of Jaipur in the Journal of Indian Art. Several of the calligraphic birds and animals reproduced in the Journal are signed and give their place of origin as Lahore, or the Lahore bazaar.”

For #TextileTuesday + #CowAppreciationDay 🐮🐄:
Pichhwai for the Festival of #Cows [Gopashtami]
India, Deccan, Aurangabad (?), late 18th c.
Painted & printed gold & silver leaf & opaque watercolor on indigo-dyed cotton
97 5/8 x 103 1/8 in. (248 x 262 cm)
Met 2003.177: https://www.metmuseum.org/art/collection/search/65576
#IndianArt #SouthAsianArt #HinduArt

official museum photo of the pichhwai, full front view on grey background

"Large painted cloths (pichhwais) were made to hang behind the main image in a temple. This textile was produced for the Festival of Cows (Gopashtami), which occurs in the late autumn to celebrate Krishna’s elevation from a herder of calves to a cowherd. Note the range of cows and frolicking calves that populate the flower-strewn field. The indigo ground and extensive use of gold and silver are typical of pichhwais that were made for a community of Sri Nathji devotees who moved to the Deccan during this period."

closeup of the textile design showing the ornamental border and primary design of a herder surrounded by gold and silver cows

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Rhythm & Red: These Statement Earrings Will Make You Feel the Beat.

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More from Virginia Museum of Fine Arts #SouthAsianArt collection:
Panjurli Bhuta Mask
India, Karnataka, Tulunadu, 18th-19th c.
Copper alloy & silver

head on view of mask and its sign in display case at museum

More from Virginia Museum of Fine Arts #SouthAsianArt #HinduArt:
1 Ganesha
India, S Rajasthan or NE Gujarat, Samalaji area,
mid-6th c.
Gray quartzite or schist
2 Ganesha Dancing
India, Madhya Pradesh, late 9th-early 10th c.
Buff sandstone with slight traces of pigment

Indian, Southern Rajasthan or Northeast Gujarat, Samalaji area Ganesha, mid-6th century Gray quartzite or schist Friends of Indian Art and Robert A. and Ruth W. Fisher Fund, 2001.12

sign: “The elephant-headed Ganesha is one of Hindu India's most popular divinities. Because he has the power to create and remove obstacles, Ganesha is invoked at the beginning of all undertakings. This early representation of the deity almost surely belonged to a set of images depicting the Mother goddesses (Matrikas), who are customarily accompanied by Ganesha. Shown seated on a cushion, he holds a radish in his right hand, and his trunk reaches for a sweet from the bowl in his left. The sacred thread (worn by Hindu males after initiation into the faith) draped around his torso is formed by a cobra, and a jeweled diadem decorates his brow. Grand stylized ears frame his face and form part of his large halo.”

Indian, Madhya Pradesh Ganesha Dancing, late 9th-early 10th century Buff sandstone with slight traces of pigment Nasli and Alice Heeramaneck Collection, Gift of Paul Mellon, 68.8.20

sign: “In his capacity as the remover of obstacles, the Hindu god Ganesha is invoked at the beginning of all significant undertakings. This elephant-headed deity is the son of Shiva, and like children everywhere he imitates the actions of his father. One of Shiva's most significant roles is King of Dancers, so it is not surprising that Ganesha performs his own playful and rambunctious version of his father's cosmic dance. Ganesha's eight arms, which hold various attributes, and swaying chubby-baby body move to an unheard rhythm. He is flanked by a pair of flying celestial figures above and by a small drummer and dancer at ground level. [photo] A similar sculpture of Dancing Ganesha is installed in a niche on the exterior of this 10ch-century Hindu temple. View from the south of Temple 1, Group 2, Kadwaha, Madhya Pradesh. American Institute of Indian Studies Center for Art and Archaeology, acc. no. 11776”

Back from Richmond with more Virginia Museum of a fine Arts photos to share!
1st up, boar-headed duo Varaha & Varahi:
1 Vishnu as the Boar Avatar (Varaha)
Indian, North Bengal (Bangladesh), 10th c.
2 Varahi [Matrika, shakti of Vishnu’s boar avatar]
Indian, Madhya Pradesh, 9th c.
#SouthAsianArt #HinduArt

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More dancing #Ganesha sculptures from the Met for #WorldElephantDay 🐘:
1. Nepal, Kathmandu Valley, 16th-17th c., wood with traces of polychrome
2. India, Pala period, 12th c., schist
3. India, Madhya Pradesh, Kalacuri dynasty, ca. 10th c., red sandstone
#SouthAsianArt

Standing Ganesha
Nepal, Kathmandu Valley, 16th-17th century
Wood with traces of polychrome
Seymour Fund, 1961 (61.39)
This animated sculpture shows Ganesha with the svelte body of a dancer. The artist has enhanced the figure's dynamic pose by eliminating most connection points with the framing halo and by carving the forearms separately and then attaching them with pegs (as evidenced by the socket of a now lost arm). X-rays of the figure reveal a consecratory deposit in its chest.
In Nepal, Ganesha is revered by both the Hindu and Buddhist communities. In Buddhist temples, his image is often placed at the entrance, along with the great protector Mahakala.

Dancing Ganesha
India, Pala period, 12th century
Schist
Lent by Steven Kossak, The Kronos Collections
Standing on the back of his rat vehicle, Ganesha lifts one leg and tilts his shoulders in an exuberant dance. Two celestial musicians at his feet accompany him with cymbals and drums. Following Pala artistic conventions, he stands on a double lotus that grows out of swirly foliage. At lower left and right are a pair of small donor figures holding their hands together in a gesture of veneration (anjali mudra). The dance of creation and the destruction of corruption performed by his father Shiva to renew the universe is echoed in this exuberant figure of Ganesha.

Dancing Ganesha
India, Madhya Pradesh, Kalacuri dynasty, ca. 10th century
Red sandstone
Gift of Florence and Herbert Irving, 2007 (2007.480.2)
This ten-armed dancing Ganesha holds his broken tusk, weapons, a pot with sweetmeats, and many other attributes that have broken away. Two snakes-one stretched above his head, the other drawn across his chest as a sacred thread-are attributes that connect him to his father, Shiva.
Unlike smaller portable images cast in metal, this large, sandstone example would have been placed in a temple niche to remove obstacles standing between the worshipper and the divine.
As leader of the ganas (nature deities), Ganesha stands in a pose that emphasizes his playful and rambunctious nature-in contrast to his father Shiva's cosmic dance of creation and destruction. As remover of obstacles, Ganesha clears a path to access Shiva while also bestowing wealth and prosperity.

For #WorldElephantDay 🐘:
Dancing #Ganesha sculptures at The Walters Art Museum:
1. India (Bihar), 1st half 11th c., stone (Muscovite biotite schist)
2. India (Uttar Pradesh), 9th-10th c., sandstone
3. Nepal, 15th-16th c., gilded copper alloy
#SouthAsianArt

Ganesha
India (Bihar), first half 11th century
Stone (Muscovite biotite schist)
The elephant-headed Ganesha is best known as a god of new beginnings and remover of obstacles. His image is often found at the entrance to Hindu temples. This sculpture was inserted into the niche of a brick temple. Devotees worship Ganesha at the beginning of an activity, speaking words of praise and offering flowers, coins, or his favorite sweets. Ganesha, here in his six-armed form, dances to the tune of the musicians seated at his feet.
Gift of J. Gilman d'Arcy Paul, 1967, acc. no. 25.49

Dancing Ganesha
India (Uttar Pradesh), 9th-10th century
Sandstone
Devotees are likely to have encountered this sculpture at the outset of their visit to a temple. Ganesha, the popular elephant headed god, is best known as a remover of obstacles. Devotees often worship him at the beginning of an activity, speaking words of praise and offering flowers, coins, or Ganesha's favorite sweets, some of which he eats here. Hindu deities are believed to inhabit the images that depict them. By directing their praise and offerings toward this sculpture, devotees worship Ganesha himself.
Gift of John and Berthe Ford, 2004, acc. no. 25.253

Dancing Ganesha
Nepal, 15th-16th century
Gilded copper alloy
The Hindu popular elephant-headed god
Ganesha, the remover of obstacles, is generally worshiped at the beginning of an activity, such as visiting a temple. Ganesha is associated with abundance and wealth, as his well -fed body suggests. His favorite sweets, held in a bowl in his lower left hand, are always in plentiful supply, and the radish held in his lower right hand carries associations with fertility and abundance. Ganesha holds a snake in his upper left hand. A second serpent encircles his waist, echoing the shape of the trunk that reaches into the bowl of sweets.
This sculpture may have been made for a Hindu or Buddhist devotee; both traditions worship Ganesha.
Gift of John and Berthe Ford, 2002, acc. no. 54.3011

For #Woodensday:
Brackets with #Elephants and Riders
Western India (Gujarat), 18th century
Wood with pigment
@brooklynmuseum 1999.99.14, .15
#IndianArt #SouthAsianArt

photo of bracket #1 mounted on wall on display at museum

photo of bracket #2 mounted on wall on display at museum

Sadaf Padder’s online exhibition aims to map a topography of South Asian futurisms, rendering visible the multiple strategies used by artists to adapt and develop new concepts.

#Art #Futurism #SouthAsianArt

https://hyperallergic.com/810814/coasting-the-topography-of-south-asian-futurisms/

#southasianart

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