"What he paints now is not what the eyes sees Neopets Secret the ancient city, it is rather the response of the soul to the visual impacts. This impact has released the city scapes of the artist's inner world, a world build into the emotional psychological complex of the artist's personality, the only true world"-J.Swaminathan

"An artist shows the entry point to his creative world and the rest depends on the onlooker, what he sees, feels and interpret. He has to make an effort to find for himself what he is seeking and what artist wants him to see" - Mason Jar in his notebook

When one takes recourse in painting through a discipline, a certain ethics to paint and focuses more on structure and form than one is very rational and can not escape structuralism. Ramkumar is such a rational artist of our Indian modern art. Through discipline and painterly ethics he has been very much engrossed in the creation of forms perhaps it haunted him since force of life he could not see. He says, 'when one is Direct Insurance Life Quote Uk and beginning, one's work is dominated by content, by ideas-but as one grows older, one turns to the language of painting itself.' What is language of painting in Ramkumar's thinking? Isn't it form without substance; form that could be structured and restructured in isolation through meditation and discipline. Derrida says, 'form fascinates when one no longer has the force to understand force from within itself. That is, to create'. Formalization is subject of spiritual experience for Ramkumar it is form which is all powerful since art is all about visual effect nothing more as for as Ramkumar's thinking goes.

Through discipline in isolation Ramkumar organizes him self to create structure properly, here structure of painting is also a form since it is conceived as an effect of color, strokes, and geometrical shape. And for this a discipline is needed, a gesture and emotion is needed. Discipline itself is a gesture capable to express life. Isolation and feeling of loss is the gesture of Ramkumar which he forms through discipline -another gesture. Both are needed for experience in painting; discipline is needed to intensify the feeling of isolation and loss and the feeling of loss and isolation is needed to meditate on the form of painting. He is very honest to his feelings of loss and isolation since when one is grown old one must take recourse to this at least in order to have some confrontation to one-self. In European romantic tradition this kind of trend was existed it was called bohemian tradition. In this tradition it was believed that art can be approached only by being 'platonic'.

This sane undertaking was not irrational it had its own reason; it puts value in art work if not artistically than in market. Kermode gives a beautiful account of a British artist M.Bernard Buffet, about his exhibition a London evening news paper wrote in 1955: "three years ago you could have bought a Buffet for the cost of a meal but now the Buffet price is 300-500 pounds. He has just been voted France's leading young painter in a ballet run by a gloss art magazine.... Which says; one of the reasons of his success is that he painted the miseries of youth after war. Only 27 now he was 18 when critics first acclaimed him. At that time he was living the real, un-glamorized bohemian life, going without food to buy canvas. ... He works entirely from memory and imagination, and by electric light. The house he has built in Basses Alpes is specially designed to exclude the beautiful views that other people dote upon. Nothing must disturb his imagination." This recourse to eccentricity of artist is regarded by western bourgeois society. This estrangement enchants people too; see how a fakir is regarded in Indian society. To get the truth one must be a fakir, a self centered beast.

Modern artist often tends to proclaim them selves seers through estrangement and eccentricity. Ramkumar too falls in this pit. His loneliness, his cravings for going far away from his surroundings and absolute isolation has its own logic. It was deliberately constructed destiny if not for art's sake than for people who like this estrangement. He believes that through painstaking discipline of painting he could experience peace in painting. This peace which is the self of Ramkumar which has been lost (by what reason no one knows) can be found through 'absolute isolation'.

In absolute isolation he does not want to isolate Kind Creatief to paint since it is desire of painting through which peace is achieved. And you would see how his painting escapes human situation which was always considered against peace. In his figurative phase there was already this craving of 'far away from this surroundings'. Remember those gray, black, and white human figures surrounded by gloomy environment of the cityscapes. In the Defense Mechanism Roseville of industry, technology and metropolitan culture man was depicted lonely and lost. Ramkumar's man could not move with the progress of industrial development and society since he perceived the danger of being lost so his man became reactionary and bid good by to the human situation and craved for an isolated place-the nature.

Ramkumar's resort to nature was in reality not in nature as a whole rather barrenness of nature. Since in nature he found celebrations of life, trees were green laden with flowers, creatures were doing what they do, and there was life in movement. It was heavily populated by living beings so there he found limited possibility of peace which had to emanate from his constructed concept of isolation far away from the surroundings.

In his imagination surrounding means 'surroundings of beings' which he considers anti peace. He was against life force; the mystery of his landscapes lies here. His dull colors, his grays, black and whites evoke deadly peace which he might have been experienced. May be, in Laddak He wrote in his note book, "Laddak- barren and rugged. No vegetation, grey mountain ranges and black Drunk Driving Lawyer Rhode Island like bas reliefs jutting out of them and white monastries.....the landscape haunted me for quite some time. Later when I tried to paint my impression on canvas, I could not imagine any color to be used. Even blue sky and crystal blue water of the Indus had to be in black and white. The eternal silence of a wasted, barren earth which refused to compromise with man could not be visualized in any other color except grey and white and black ...". In his landscapes Laddak's barrenness and ruggedness found permanent place even when he painted Benaras landscapes. His image of Benaras is not live, he took his sadness there too, his sad memories through which he painted therefore the image of Benaras that appeared on his canvases has feelings of Sadness.

An artist has all freedom to see anything in anything to express as he thinks but there should be an authentic experience. Only authentic experience transforms nature as in Kafka's short story metamorphosis experienced truth of the writer transforms the protagonist. Ramkumar Lottery Result In Nj have experienced a dead and illogical but not the reality of Benaras. Benaras is liveliest city it may look illogical for outsiders but it has its own logic of life. To see Benaras you have to enter in the illogical logicality of Benaras. It is Puranic city; Puran means always existent with the same spirit. Benaras is the city of Lord Kasi Viswanath the only God who's every deed looks illogical like an Avadhoot . But since Ramkumar was seeking form for his landscape he could not see Puranic form of Benaras, the aura of ancient in which something immortal has been flowing unbound. His longing for form led him far away from life and led him towards feeling of sadness. He became stranger to beauty of life thus stranger to himself. The stranger Ramkumar became sentimental in the longing of form. And this sentimental longing of form could be satisfied in creation of harmony of form and color. Peace is found in harmony of form, in a strange lyricism which excludes the entire world with all its actions and events. In the harmony of form and lyricism longing finds rest and reduced to silence. It is a tragic end of longing of form. This elevation of artistic consciousness through depreciation of life is Ramkumar's achievement.

In his dull and lifeless landscapes there is peace captured, you feel it in order to elevate your consciousness which has lost peace. Ramkumar landscapes gives you hope that amidst unbound development of materialism peace still can be found in the aesthetics; aesthetics of asceticism which rejects life and liveliness. This aesthetics considers that truth is inside and can be found by negation of life (out side) as orthodox religions do believe. Most of our abstract painters do follow this aesthetic approach. Inside enchants us because we don't want to see expanse of truth outside. We have been taught for centuries that truth is inside of outside therefore for a valid experience we escape from outside. In this inside-outside duality an estrange conception of life is formed this that for a divine life which lies hidden inside desire must be renounced. Where there is desire there is unhappiness we proclaim. We don't consider desire as an opening and freedom. We believe that with desire relationship with 'other' can not be formed. Relationship with other Free Gallery Gay Movie Sex from the depth of solitude and this solitude is always found in the inside of soul. Naturally this leads us to the philosophy of eschatology whose first step is the feeling of sadness this that in this world of desire since desire is the world there is no possibility of ecstasy in truth.

This metaphysics has been always our light. Aesthetics of mystical revolves around it, even after the dawn of modernism which rebelled against theosophical way of life and art it was growing there mystically. It came out in open with the aesthetics of expressionism. Enlightenment which was based on rationalism saw truth outside, it said there is no inside though it never left believing in inside. Adorno rightly said, Guyana Tourism Travel is always accompanied by the fear that truth, which sets enlightenment in motion, is going to be sacrificed in its progress. Thrown back upon itself, enlightenment moves farther and farther away from its goal, which is some kind of objective certainty. Hence under the strain of its ideal of truth, enlightenment is forced to retain what it tends to discard in the name of truth". Modernism's return to inside was already inherent in modernity's consciousness of freedom that showed confident belief in reason and it's method of truth.

It is because that modernity could not resolve the dialectics of inside-outside, Copperfield David In Las Vegas individual and social. This dichotomy is also evident in modern art. Ramkumar is a one victim of western modernism. Ramkumar seeks freedom in asceticism which contradicts modernity's consciousness. Modernity's consciousness is defined by being in the world (being in surroundings), only by being in the world Being finds its Household Bank Master Card Modernity conceives transcendental not in subjective consciousness rather existential-ecstatic temporality of Being here as Heidegger would say. Art finds its immanence not in asceticism rather in temporality, in 'now of time'. In Indian metaphysics it was considered most important, it rejected past and future. Indian Vedanta philosophy situates it self in the 'Now of time' since only Now is in hand and only in this 'Now of time' one can find transcendence. Those philosophies that put life above any thing reject memory since memory is always in the past. Concept of awareness in Buddhism and Vedanta is about 'here and now' that is in presence in present. It was considered most original than any kind of cognition.

Ramkumar's landscapes do not attract us much because his landscapes are lifeless. He escaped from the immanence of life therefore from his canvases life fled. it is true and no one can reject it that the modes that a human being is consists of exist within the ' attributes' of thought and extension.

Author is an art critic and writer of three books ' contemporizing Buddha', ' Hindu Tantra Yoga' and 'Concerning The Spiritual In Art-an Indian modern art perspective'. He has been awarded with 'Lalit kala Academy Scholarship Award' for art criticism in 2005. Currently working on a book 'Buddhist tantra yoga'. He lives and works in Delhi India.

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