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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Sikh History & Heritage
Painting The Pain Of 1984
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<blockquote data-quote="Admin" data-source="post: 106046" data-attributes="member: 1"><p><span style="font-size: 18px"><strong><span style="color: #8f001a">G</span></strong></span>REATEST works of arts are inspired by sorrow. And the trauma of 1984 and the catharsis that followed set the canvas for Arpana Caur. Today one of the top names in Indian art, Caur had been caught in the crossfire of hatred that swept Delhi after Indira Gandhi's assassination. But she is a survivor. Rather a fighter. </p><p></p><p></p><p> Her family nearly lost everything, but remained undaunted. "My mother and I would pile up blankets and medicines in our car and go to the riot affected colonies and refugee camps. It was chaos everywhere, but we never thought of our safety."</p><p></p><p></p><p><span style="font-size: 18px"><strong><span style="color: #8f001a">T</span></strong></span>HE trauma of 1984, however, gave greater depth and life to Caur's creativity. Her series on the riots, <em>World Goes On</em>, captures the terrible self-absorption and imperviousness of the civil society to the horrors unleashed by mob violence. The series, perhaps the only one of the '84 riots, won her the Triennale award in 1986.</p><p></p><p> Caur has blended her passionate response to the violent political reality, with a philosophical approach. Simplicity is her mantra: an account of what happened carries a most effective message.</p><p></p><p></p><p> The series which begins with images of tortured bodies, heaps of corpses and inconsolable widows exhaust themselves in a stark comment: a man unaffected by the violence around him. The attitude of selfish self-absorption becomes the recurring image in the series.</p><p></p><p></p><p> "My paintings are an expression of my pain. It was so inexplicable, so barbaric" Caur says.</p><p></p><p></p><p> Set on a backdrop of vibrant red and orange on overwhelming canvases, the series does more than leaving you with an after thought.</p><p></p><p></p><p> But the dark images have some shades of light as well. Birds and trees in full bloom form the backdrop to many gruesome images. "Nature always runs its course, finishing a cycle. Gods don't participate in human tragedy, they just watch," Caur explains.</p><p></p><p><span style="font-size: 18px"><strong><span style="color: #8f001a">T</span></strong></span>HIS is not her first series on the riots. <em>The Missing Audience</em> captured the emotions running high amidst growing violence, immediately after the riots. The brutal beast that man becomes in such times is portrayed in terrible colours as are the reasons for it - violent repression.</p><p></p><p></p><p> Though the message is palpable, no lessons were learnt. "Even after all this time, there is no justice. It almost seems like that life has no value in India."</p><p></p><p></p><p> Caur, however, hasn't forgotten. Even in her 2003 series of <em>Nanak</em>, some latent messages of 1984 remain. "Why always depict something so tragic? We have to move ahead. Guru Nanak, Kabir and Buddha are who the world should look up to," she says.</p><p></p><p></p><p> So her portrayal of "the first medieval thinker" has novel interpretations that are entirely Caur. Moving away from the typical depictions of calendar art, Caur depicts a dancing Nanak in Baramaha, Nanak snipping a thread with scissors (a symbolic distancing from the established path); a foot symbolising the wandering ministrels and saints.</p><p></p><p></p><p> A dancing Lord Ganesha, Krishna Leela or Buddha have permeated art's pantheon. But how many gallery hoppers recollect seeing Guru Nanak, the founder of the Sikh religion, in a painting? "Communal violence and secularism are opposite forces. If they balance each other out, it might bring solace to the wounded," she adds.</p><p></p><p></p><p> Reams have been written about the 1984 riots, but Caur's canvas say more than what thousands of words could.</p></blockquote><p></p>
[QUOTE="Admin, post: 106046, member: 1"] [SIZE=5][B][COLOR=#8f001a]G[/COLOR][/B][/SIZE]REATEST works of arts are inspired by sorrow. And the trauma of 1984 and the catharsis that followed set the canvas for Arpana Caur. Today one of the top names in Indian art, Caur had been caught in the crossfire of hatred that swept Delhi after Indira Gandhi's assassination. But she is a survivor. Rather a fighter. Her family nearly lost everything, but remained undaunted. "My mother and I would pile up blankets and medicines in our car and go to the riot affected colonies and refugee camps. It was chaos everywhere, but we never thought of our safety." [SIZE=5][B][COLOR=#8f001a]T[/COLOR][/B][/SIZE]HE trauma of 1984, however, gave greater depth and life to Caur's creativity. Her series on the riots, [I]World Goes On[/I], captures the terrible self-absorption and imperviousness of the civil society to the horrors unleashed by mob violence. The series, perhaps the only one of the '84 riots, won her the Triennale award in 1986. Caur has blended her passionate response to the violent political reality, with a philosophical approach. Simplicity is her mantra: an account of what happened carries a most effective message. The series which begins with images of tortured bodies, heaps of corpses and inconsolable widows exhaust themselves in a stark comment: a man unaffected by the violence around him. The attitude of selfish self-absorption becomes the recurring image in the series. "My paintings are an expression of my pain. It was so inexplicable, so barbaric" Caur says. Set on a backdrop of vibrant red and orange on overwhelming canvases, the series does more than leaving you with an after thought. But the dark images have some shades of light as well. Birds and trees in full bloom form the backdrop to many gruesome images. "Nature always runs its course, finishing a cycle. Gods don't participate in human tragedy, they just watch," Caur explains. [SIZE=5][B][COLOR=#8f001a]T[/COLOR][/B][/SIZE]HIS is not her first series on the riots. [I]The Missing Audience[/I] captured the emotions running high amidst growing violence, immediately after the riots. The brutal beast that man becomes in such times is portrayed in terrible colours as are the reasons for it - violent repression. Though the message is palpable, no lessons were learnt. "Even after all this time, there is no justice. It almost seems like that life has no value in India." Caur, however, hasn't forgotten. Even in her 2003 series of [I]Nanak[/I], some latent messages of 1984 remain. "Why always depict something so tragic? We have to move ahead. Guru Nanak, Kabir and Buddha are who the world should look up to," she says. So her portrayal of "the first medieval thinker" has novel interpretations that are entirely Caur. Moving away from the typical depictions of calendar art, Caur depicts a dancing Nanak in Baramaha, Nanak snipping a thread with scissors (a symbolic distancing from the established path); a foot symbolising the wandering ministrels and saints. A dancing Lord Ganesha, Krishna Leela or Buddha have permeated art's pantheon. But how many gallery hoppers recollect seeing Guru Nanak, the founder of the Sikh religion, in a painting? "Communal violence and secularism are opposite forces. If they balance each other out, it might bring solace to the wounded," she adds. Reams have been written about the 1984 riots, but Caur's canvas say more than what thousands of words could. [/QUOTE]
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Painting The Pain Of 1984
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