मधुबनी चित्रकारी

मधुबनी चित्रकारी, जिसे मिथिला की कला (क्‍योंकि यह बिहार के मिथिला प्रदेश में पनपी थी) भी कहा जाता है, की विशेषता चटकीले और विषम रंगों से भरे गए रेखा-चित्र अथवा आकृतियां हैं। इस तरह की चित्रकारी पारम्‍परिक रूप से इस प्रदेश की महिलाएं ही करती आ रही हैं लेकिन आज इसकी बढ़ती हुई मांग को पूरा करने के लिए पुरूष भी इस कला से जुड़ गए हैं। ये चित्र अपने आदिवासी रूप और चटकीले और मटियाले रंगों के प्रयोग के कारण लोकप्रिय हैं। इस चित्रकारी में शिल्‍पकारों द्वारा तैयार किए गए खनिज रंजकों का प्रयोग किया जाता है। यह कार्य ताजी पुताई की गई अथवा कच्‍ची मिट्टी पर किया जाता है। वाणिज्यिक प्रयोजनों के लिए चित्रकारी का यह कार्य अब कागज़, कपड़े, कैनवास आदि पर किया जा रहा है। काला रंग काजल और गोबर को मिश्रण से तैयार किया जाता हैं, पीला रंग हल्‍दी अथवा पराग अथवा नीबूं और बरगद की पत्तियों के दूध से; लाल रंग कुसुम के फूल के रस अथवा लाल चंदन की लकड़ी से; हर रंग कठबेल (वुडसैल) वृक्ष की पत्तियों से, सफेद रंग चावल के चूर्ण से; संतरी रंग पलाश के फूलों से तैयार किया जाता है। रंगों का प्रयोग सपाट रूप से किया जाता है जिन्‍हें न तो रंगत (शेड) दो जाती है और न ही कोई स्‍थान खाली छोड़ा जाता है।

प्रकृति और पौराणिक गाथाओं के वही चित्र उभारे जाते है जो इनकी शैली से मेल खाते हों। इन चित्रों में जिन प्रसंगों और डिजाइनों का भरपूर चित्रण किया गया है वे हिन्‍दू देवी-देवताओं से संबंधित हैं जैसे कि कृष्‍ण, राम, शिव, दुर्गा, लक्ष्‍मी, सरस्‍वती, सूर्य और चन्‍द्रमा, तुलसी के पौधे, राजदरबारों के दृश्‍य, सामाजिक समारोह आदि। इसमें खाली स्‍थानों को भरने के लिए फूल-पत्तियों, पशुओं और पक्षियों के चित्रों, ज्‍यामितीय डिजाइनों का प्रयोग किया जाता है। यह हस्‍तकौशल एक पीढ़ी को सौंपती आई है, इसलिए इनके पारम्‍परिक डिजाइनों और नमूना का पूरी तरह से सुरक्षित रखा जाता है।

कृषि के अलावा आमदनी का एक साधन बनाए रखने की दृष्टि से अखिल भारतीय हस्‍तशिल्‍प बोर्ड और भारत सरकार महिलाओं को हाथ से बने कागज़ पर अपनी पारम्‍परिक चित्रकारी करके उसे बाज़ार में बेचने के लिए प्रोत्‍साहित करते रहे है। मधुबनी चित्रकारी अनेक परिवारों की आमदनी का एक मुख्‍य साधन बन गया है। पूरे विश्‍व में इस कला के चलने बाजार मिथिला की महिलाओं की उपाय कुशलता के लिए एक प्रशस्ति है, जिन्‍होंने भित्तिचित्र की अपनी तकनीकियों का कागज़ पर चित्रकारी के लिए सफल प्रयोग किया है।

M.F. Hussain’s Controversial Paintings

M F Hussain’s Hypocrisy

Judge for yourself : Hussain’s paintings below.

Goddess Durga in sexual union with a Tiger	Muslims ladies fully clothed
Goddess Lakshmi naked on Sree Ganesh’s head	M.F. Hussain’s mother fully clothed
Naked Saraswati	Mother Teresa fully clothed
Naked Sree Parvati	Hussain’s daughter well clothed
Naked Draupadi.	Well clothed Muslim Lady.
Naked Lord Hanuman and Goddess Sita sitting on the thigh of Ravana	Muslim poets Faiz are Galib are shown well-clothed
Fully clad Muslim King and a naked Hindu Brahmin. The above painting clearly indicates Hussain’s tendency to paint a Hindu in the nude and thus openly expose his hatred for Hindus.	Naked Bharatmata – Hussain has shown a naked woman with names of states written on different parts of her body. He has used the Ashok Chakra of the Tri-colour in the painting. By doing this he has violated the law & hurt the National Pride of Indians. Both these things should be of grave concern to every Indian irrespective of his religion.

Out of the four leaders, M. Gandhi is decapitated and Hitler is naked. Hussain hates Hitler and has said in an interview 8 years ago that he depicted Hitler naked so as to humiliate him as he deserves it ! How come Hitler’s nudity caused humiliation when in Hussain’s own statement nudity in art depicts purity and is in fact an honour ! This shows Hussain’s hypocrisy and perversion.

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Conclusion M.F. Hussain depicts the Deity or person he hates as being naked. He shows the Prophet’s mother, his own mother, his daughter, all the Muslim personalities fully clothed, but in contrast Hindus and Hindu Deities along with Hitler are shown naked. This proves his hatred for Hindus. For other obscene paintings, click here

Disclaimer – These obscene paintings have been given space here, only with an intention to highlight the hurt Hussain has caused to Hindus. It is painful otherwise to reproduce this work. It is not our intention to further hurt the sentiments of Hindus.See what people think and voice your opinion

Important Verdict: Why does Delhi High Court think Hussain is wrong but could not be punished ?

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M F Hussain selected for the Raja Ravi Varma Award

M F Hussain has been selected for the Kerala government’s prestigious Raja Ravi Varma Award. Announcing this year’s award, education and culture minister M A Baby said the award comprising Rs.1.25 lakh in cash prize, a citation and a plaque would be presented to Hussain on his birthday on September 17. (Source: Zee News)

Latest Update: Kerala HC stays Raja Ravi Varma award to MF Hussain (12-Sept-07)

Does Hussain deserve an award or punishment?

Paintings by Raja Ravi Varma	Paintings by MF Hussain
Goddess Lakshmi	Goddess Lakshmi naked on Sree Ganesh’s head.
Famous Saraswati Painting	Naked Saraswati
Ravan, Sita and Jatayu (As per Ramayana)	Naked Lord Hanuman and Goddess Sita sitting on the thigh of Ravana

Source: Book – Hussain: Drawing, painting, water colour, graphic, sculpture, architecture, photography, tapestry

By Daniel Alan Herwitz
CALIFORNIA STATE UNIVERSITY

It is time to unite and act together. Let us unite as Hindus. Join hands with HJS! HJS invites you to a Dharma Jagruti Sabha

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Opinion Poll: Does Anti-Hindu M F Hussain deserve any respect ?Many politicians including Prime Minister, Vice President and many ministers and other so-called ‘eminent’ personalities from various fields have termed death of Anti-Hindu M F Hussain as ‘National loss’, ‘loss to the art and creativity and Loss of a noble soul’. Hindu-hater Hussain took the citizenship of Qatar, leaving India, then how it can be a National loss. He has also drawn nude paintings of Hindu Deities and Bharatmata then how it can be a loss of noble soul ?

AJANTA is world's greatest historical monument recognised by UNESCO located  just 55 kms from Jalgaon city and 105 kms from Aurangabad City of Maharashtra, India. There are 30 caves in Ajanta of which 9, 10, 19, 26 and 29 are chaitya-grihas and the rest are monasteries. These caves were discovered in AD 1819 and were built up in the earlier 2nd century BC-AD. Most of the paintings in Ajanta are right from 2nd century BC-AD and some of them about the fifth century AD and continued for the next two centuries. All paintings shows heavy religious influence and centre around Buddha, Bodhisattvas, incidents from the life of Buddha and the Jatakas. The paintings are executed on a ground of mud-plaster in the tempera technique.

For more details, follow the link below:

http://ajantacaves.com

Congratulations.....

Prafulla Dahanukar Art Foundation

Congratulations to Santanu Nandan Dinda on winning the ‪Jharkhand‬ State level award in the ‎Painting category.

Prafulla Dahanukar Art Foundation

Congratulations to Sunita Dinda on winning the ‪Jharkhand‬ State level award in the ‎Painting category.

Children At Play 1  
Acrylic On Canvas
H30" x W19"
Price INR 1,00,000


Published in 'Reader Digest' April'15 edition

Syed Haider Raza

Born: 22 February 1922 (age 92), Babaria, Central Provinces and Berar, British India
Nationality: Indian
Known for: Painter
Awards: Padma Vibhushan 2013, Padma Bhushan 2007
Fellow: Lalit Kala Akademi 1981

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Brief Biography: 

Early life and education:
Syed Haider Raza was born in Babaria, Mandla district, Madhya Pradesh, to Sayed Mohammed Razi, the Deputy Forest Ranger of the district and Tahira Begum, and it was here that he spent his early years and took to drawing at age 12; before moving to Damoh also in Madhya Pradesh at 13, where he completed his school education from Government High School, Damoh.

After high school, he studied further at the Nagpur School of Art, Nagpur (1939–43), followed by Sir J. J. School of Art, Bombay(1943–47), before moving to France in October 1950 to study at the École nationale supérieure des Beaux-Arts (ENSB-A) in Paris, 1950-1953 on a Govt. of France scholarship. After his studies, he travelled across Europe, and continued to live and exhibit his work in Paris. He was later awarded the Prix de la critique in Paris in 1956, becoming the first non-French artist to receive the honour.


Early career: Syed Haider Raza, has his first solo show in 1946 at Bombay Art Society Salon, and was awarded the Silver Medal of the society.
His work evolved from painting expressionistic landscapes to abstract ones. From his fluent water colours of landscapes and townscapes executed in the early 40's he moved towards a more expressive language painting landscapes of the mind.
1947 proved to be a very important year for him, at first his mother died, and this was also the year when he co-founded the revolutionary Bombay Progressive Artists' Group (PAG) (1947–1956) along with K.H. Ara and F.N. Souza (Francis Newton Souza), which set out to break free from the influences of European realism in Indian art and bring Indian inner vision (Antar gyan) into the art, the group had its first show in 1948, the year his father died in Mandla and most of his family of four brothers and a sister migrated to Pakistan, after the partition of India.
Once in France, he continued to experiment with currents of Western Modernism moving from Expressionist modes towards greater abstraction and eventually incorporating elements of Tantrism from Indian scriptures. Whereas his fellow contemporaries dealt with more figural subjects, Raza chose to focus on landscapes in the 1940s and 50s, inspired in part by a move to the France.
In 1959, he married French artist, Janine Mongillat, and three years later, in 1962, he became a visiting lecturer at the University of California in Berkeley, USA. Raza was initially enamored of the bucolic countryside of rural France. Eglise is part of a series which captures the rolling terrain and quaint village architecture of this region. Showing a tumultuous church engulfed by an inky blue night sky, Raza uses gestural brushstrokes and a heavily impasto-ed application of paint, stylistic devices which hint at his later 1970s abstractions.


The 'Bindu' and beyond: By the 1970s Raza had grown increasingly unhappy and restless with his own work and wanted to find a new direction and deeper authenticity in his work, and move away from what he called the 'plastic art'. His trips to India, especially to caves of Ajanta - Ellora, followed by those to Benaras, Gujarat and Rajasthan, made him realise his ro and study Indian culture more closely, the result was 'Bindu', which signified his rebirth as a painter. The Bindu came forth in 1980, and took his work deeper and brought in, his new-found Indian vision and Indian ethnography. One of the reasons he attributes to the origin of the 'Bindu', have been his elementary school teacher, who on finding him lacking adequate concentration, drew a dot on the blackboard and asked him to concentrate on it.
After the introduction of 'Bindu' (a point or the source of energy), he added newer dimensions to his thematic oeuvre in the following decades, with the inclusion of themes around the Tribhuj (Triangle), which bolstered Indian concepts of space and time, as well as that of 'prakriti-purusha' (the female and the male energy), his transformation from an expressionist to a master of abstraction and profundity, was complete.The unique energy vibrating with colour in his early landscapes are now more subtle but equally, if not more, dynamic. Raza abandoned the expressionistic landscape for a geometric abstraction and the 'Bindu'. Raza perceives the Bindu as the center of creation and existence progressing towards forms and colour as well as energy, sound, space and time.

His work took another leap in 2000, when he began to express his increasingly deepened insights and thoughts on Indian spiritual, and created works around the Kundalini, Nagas  and the Mahabharat.


For more details, pl. visit the link below:
http://en.wikipedia.org/wiki/S._H._Raza

http://artistofthemonth2015.weebly.com

Raza's Paintings:

Quotation by great artists....

Syed Haider Raza

"My work is my own inner experience and involvement with the mysteries of nature and form which is expressed in colour, line, space and light"........Syed Haider Raza