RAJIV GANDHI INTERNATIONAL PAINTING CONTEST ON ENVIRONMENT'

We are a product of our environment. So choose the environment that will best develop you toward your objective. Analyze your life in terms of its environment. Are the things around you helping you toward success - or are they holding you back?We generate our own environment. We get exactly what we deserve. How can we resent a life we've created ourselves? Who's to blame, who's to credit but us? Who can change it, anytime we wish, but us?
Here is an opportunity for all to express our feelings towards a safer and cleaner environment..

‎'RAJIV GANDHI INTERNATIONAL PAINTING CONTEST ON ENVIRONMENT'.
Join Right now..!!!

‘Rajiv Gandhi International Painting Contest on Environment’ is an online painting competition for kids, school students and adults around the globe on environment to spread the message ‘Save the Earth’ . The contest was inaugurated by Smt. Sheila Dixit, Hon'ble Chief Minister of Delhi State, India on 5th June 2010, ‘THE WORLD ENVIRONMENT DAY’ and will be ended o...n 3rd August 2010 (60 days online contest).

Join Right now..!!!

TERMS & CONDITIONS:

01. Entry to the online contest is free for all candidates and is open for all Citizens around the world.

02. The contest will be conducted in different ‘Groups’ for kids, school students and adults as follows:

Group A: Children - 4 to 5 years old. (Coloring with Crayons only)
Group B: Class I : (Coloring with Crayons only);
Group C: Class II : (Coloring with Crayons only);
Group D: Class III : (Coloring with Crayons only);
Group E: Class IV : (Coloring with Water Colors only);
Group F: Class V : (Painting with Water Colors only);
Group G: Class VI : (Painting with Water Colors only);
Group H: Class VII : (Painting with Water Colors only);
Group I: Class VIII : (Painting with Water Colors only);
Group J: Class IX : (Painting with Water Colors only);
Group K: Class X : (Painting with Water Colors only);
Group L: Class XI : (Painting with Water Colors only);
Group M: Class XII : (Painting with Water Colors only);
Group N: Adults above 18 years old : (Painting with Water Colors only);

03. The online painting contest was started at 5.30 PM (GMT) on 5th June 2010 (World Environment Day) and will be ended at 5.30 PM (GMT) on 3rd August 2010 (60 days contest).

04. The online contest will be conducted through www.facebook.com only. All interested participants must have an account in Facebook and join the ‘Group’ of ‘Congress South Indian Forum (Delhi State Committee)’

05. All interested participants are requested to send your paintings before 3rd August 2010 by e-mail to: facebook.painting@gmail.com.

06. Along with paintings, attach your photograph (PP size) and please write the following details in the e-mail:

Name of Participant:
Father / Guardian’s Name:
Age & Date of Birth:
Gender:
Name & Postal Address of School (students):
Class & Division (students):
Residence Address:
Mobile & Land Phone No.:
E-mail Address:
(Photograph is compulsory for participation)

07. Please don’t write your name or any other details in the painting.

08. One participant can send up to 3 paintings (together or separate) within the contest period of 60 days time. All these 3 paintings will be considered for competition with different Registration Nos.

09. All participants must send their ‘Original Paintings’ along with photograph and registration details by registered post / courier to our Delhi office immediately. All the paintings will be displayed in the venue of ‘Award Giving Ceremony’ which will be conducted in Delhi. Send your paintings to: Mr. Rajeev Joseph, 19/502, N.R. Complex, Srinivaspuri, New Delhi-110065, Mob: +91-9873278090.

10. We will upload your paintings with Registration Nos. to the contest page as soon as we received your paintings and other details by e-mail.

11. All paintings will be uploaded in the group page of ‘Congress South Indian Forum (Delhi State Committee)’.

12. If there is any malpractices in the paintings and registration, those participants will be disqualified from the contest any time.

13. Copyright of all paintings sent to this online competition is to be assigned to the contest organizers (Congress South Indian Forum).

14. Painting that have already been shown elsewhere or accepted for another contest will not qualify for this competition.

15. Paintings that show a particular person, an organization or a brand name will not be accepted in the paintings.

16. The management of ‘Congress South Indian Forum’ has the right to reduce the duration of the contest or extend the contest period, if necessary.

17. The ‘10 Member Team of Judges’ will be declared the winners of ‘Each Group’ on 7th August 2010.

18. The winners will be awarded with ‘Merit Certificates and Trophies’ in the ‘Award Giving Ceremony’ which will be conducted at Delhi on 20th August 2010, the 66th Birth Anniversary of Late Shri. Rajiv Gandhi, Hon’ble Former Prime Minister of India.

19. All the participants will be awarded with ‘Participation Certificates’ in the Award Giving Ceremony’ or it can be posted to the participants who pay the postal charges.

20. The organizers has the right to change the ‘Terms & Conditions’ any time for the smooth running of this contest.

21. If there is any disputes regarding contest results, timings, groups etc. the decision of ‘Congress South Indian Forum’ will be final.

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, we became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India 2008, 09 Mumbai and India Art Summit 2008 New Delhi.

Celebrated Odishan Master Painter Baladev Maharatha

 

His forefathers were operating with the weapons the Paik (warrior sect of Odisha) militia has been using in order to combat atrocities and to prevent intruders. The swords and daggers are still preserved in his household as the objects of worship which reminds the past warrior jugglery. But he left the weapons for worship and replaced them with paint, brush and palate. He also imbibed the nuances of the earthy smell of his village soil, the soil once smeared with the blood of the enemy. What he exactly imbibed? He osmoticised the forms on to his mind and his creative pursuit could metamorphose in to various realistic creations with the fluidity and mastermind. The outcome is nothing but his heightening of expressive capability. Periods of crisis especially seam to produce an artist like him and he could channel the anxieties of his time in to his work. Once the personality of an artist is admitted as a factor determining the character of his work of art is well defined. His creativity could function more and more openly as a means of self revelation though he opts for a formalist aesthetics, he could reverse the modernist evolution towards increasingly pure form. His realistic look towards his art is always having a postmodernist sub current within beyond. He is none other than art educator, painter, poet and visualizer. As Baladev’s paintings are having lucid lines and soothing paints some of his literary friends opined that his drawing and pointing are purely poetics so his creations are nothing but lucid poetry. One of his literary friends named him as Chitradev a befitting alias.

His mind never stepped in to endemic sphere, rather he is always exploiting the vastness and magnificence of Indian art, architecture and culture at large. He always creates the established notions and concepts that the piece of art achieves a universal appeal. His distinction is his Odishan flavor with the contemporary mullein and his strokes are dedicatedly distinct and meaningful.

The evolutionary process of Baladev Maharatha have passed through several phases like portraying the Shakti or Mother Goddess Durga on the suspicious day of Durga Mahastami in Dussehera festival day every year from which his creative pursuits could gather tremendous momentum. His profiles of Sadhus(sages), Mother’s with the supreme creations, transforming the verses of medieval poetry like Kalidas’s Ritu Samhara, the male chauvinistic attitude towards the devadasi cult and 108 forms of Lord Ganapati are some of his important series.

His training in art started with Khallikote Art college in Odisha and Then he made his masters in History from Utkal University. He had his special training in fresco painting from late Prof. Sukhamay Mitra, Viswabharati. But his first teacher in art is his mother who could allure him to lines and colors when he was only 5 years old. Her mother was her first admirer of his creation. When he topped the list of the entrance examination to be a student of art in khallikote Art College his family could fell his potency. As he was born and brought up in a rural set-up so his inclination towards the mundane things of life are acute and authentic. He observes conceives and depicts which are the three phases for any creativity, be it performing, visual or plastic art. His mindset could acutely imbibed the rural conceptual motifs and his depictions are always smelling earthy.

His Sadhu(sages) series is the outcome of his intimately intermingling with Indian and Odishan sages. It is not the iconography depicted it is the inner psyche culminated in to well crafted canvases.

His mother series transforms the motherly rearing in to a stupendous convention and his woman takes the form of Janani ( the mother), Bhagini (the sister) and Jaya (the wife).

Baladev is having deep acquaintances with Vedic literature, philosophy and medieval poetry. He took the finer elements from all these texts and transforms the calligraphy in to visual art. His renderings are so exact and soothing that the poetic lines are enlivened with paint and brush. The onlooker assimilates the jugglery of the poetry through the vibrantly colored canvases . He has transformed the poetic lines of Kavi Samrat Upendra Bhanja, the colossal medieval Oriya poet and his Kavya "Koti Brahmanda Sundari" could give vent to exclusively painted canvasses. With a deep sense of Kali Das’s poetry he could thought of the projection. So with magnanimously painted canvasses on Ritu Samhar and Meghadoota Kavya he had his solo exhibition in Orissa Modern Art Gallery where he had his mind and soul put together to provide vigor and strength to his superb creations from where one can feel the poetic fragrament. He is so meticulous that he portrayed the black mole on the check of the Nayika to the long drooping drapery so eloquently that the intricate poetry gets transformed to visual art from. Here the poetic nuances are bewitchingly depicted without any inhibitions. This transformation of these lyrical interpretations on to canvass was first of its kind for the viewers. Hence the literary personalities, intellectuals and critics had rave reviews for these creations as the interpretation is as powerful as the original Sanskrit verses created by great poet Kali Das

Baladev then looked in to portraying Ganapati on to the canvasses. He has manifested Ganesh with many a from in to his canvass on board. Here he has experimented with variety of textures, figures and forms taking the mythical antecedents in to account. Ganesh icons has not been transformed in to total abstraction rather the forms are akin to realistic but never realistic. The sources of inspiration for the painter are meticulously taken from the mythical renderings. So also the space at times encloses the artistic creativity quite effectively with the texture of the subject.

In the year 2007, Delhi based Ashok Art Gallery has showcased his works at the National Capital, in India Habitat Centre New Delhi entitled Dejected Dusk. The theme was Deva Dasi tradition taken as a symbol of femininity temple dancing tradition and a male chauvinistic attitude towards the Devadasis. In a review of the said exhibition, Thea Walstra from the Netherlands commented like this. Over all I am very much impressed by the art of this very talented artist. Hi is able to introduce the world with the symbols of the ancient, incredible India in a very interesting way. At the same time his work shows the globalization of the world and that times are changing, the world I understand and know. I think he has built a bridge in his art connecting, the present India with the modern world. At the same time he is introducing the rich tradition of the ancient India with all the symbols and visual glory.

In the human psyche the male chauvinistic attitude is a perennial concept. In the epical descriptions, the female has always been portrayed as a commodity of enjoyment and the beastly lust always engulfs the feminine sector. Never she has been regarded as the part and parcel of the supreme creation literally but regarded proverbially. But she is always forgotten as the sculptor of life embodiment. In the historical depictions, though there are feministic heroism still the exploitation is optimum. With this current bazaar culture femininity has been commoditized. So Baladev kept the above in mind and he could present the exhibition as a soothing heal for feminism and the real attitude is depicted with paint and canvasses. The exhibition got rave reviews.

Baladev is the only painter who had collaborated with the other avenues of art with his painting and the simultaneous process is known as Yugal Vandi. He had his brush swiftly draw the strokes on canvas while Pandit Hariprasad Chaurasia had his music recital with flute. Baladev also painted to the recitation of the popular odia poem Kadanba-Katual by Prof. Dr.Ajay Swain. Then he also painted to the recitations of the poems of Vidyapati a Medieval poet of Mithila in Bihar. It made the spectators spell bound by seeing the use of the brush with quite speedy acceleration. As spiritualism is his soul, he also had another Jugalbandi with Odishi dance recital by eminent dancers and vocal music of "Gita Govinda". on the stage, the visual art form slowly but caringly transformed the performing Art on to a huge canvas in a very limited span of time in the esteemed presence of Gajapati Divyasingh Dev and Sri T.K.Mishra, The chief Secretary, Govt. of Orissa and the huge gathering could applaud this joint venture of creativity.

Baladev Maharatha teaches in B.K. College of Art and Crafts in the capacity of a Professor. He is the head of department Painting in Indian Style. Many a students of his are now established artists. He takes his pupils as friends or brothers and under his tutelage the pupils get a chance to learn the intricacies from their Master Teacher. Many a students of his are not beyond his super influence.

Baladev, not only a lover of poetry, but he is a poet himself. His flowing lines of poetry could allure his readers like his paintings.Baladev is a person with a love for nature and he has planted number of trees and also participated in many a plantation programmes

He believes in. hard work as there is no substitute for hard work, "One needs to have dedication, inspiration and love for the work, make it a way of life and most importantly – seek divine blessings to be an artist. I am inspired by God and my studio is my home" he says.He has received Odisha Lalit Kala Academy award and also many golden feathers have been added to his silvery Cap.

The philosophers say that to paint is nothing but a yogic practice. The superb elevation of Baladev is due to his embracing the spiritual milieu intimately. His creations are therefore having the concealed spiritual norms and for which his paintings are noting beyond soul searching. A spiritual mind can only achieve this type of supreme creativity, he believes.

Baladev is a super human being who cares for all the living things and nonliving in this universe and passionately he loves the human being most. So his creation is always collectively humanitarian. His works are available at Ashok Art Gallery and next solo show will be organized at Delhi on December 2010.

Suresh Balabantray

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi

The objective of this workshop Renewed Intensity was to reach out to the urban mass in a meaningful manner, involving the public and their useful connect in Art

 

B.K.College of Art and Crafts, is an art institution that is responsible to bring innovative curriculum into art education in Odisha. Along with art education it has considerably propagated art in the state and beyond. The college is celebrating its Silver Jubilee on the completion of 25 years of its inception in the state. To commemorate this event, a national workshop on Public art and Site Specific art was curated by Jagannath Panda, alumni of the college and illustrious artists of Odisha.  

The objective of this workshop Renewed Intensity was to reach out to the urban mass in a meaningful manner. Many such attempts are made in recent years, involving the public and their useful connect in art, but here, Bhubaneswar is approached with intent to interact rather than reach out alone by artists those, in some way, relate to the situation. The approach was to evolve and propagate providing the continuum in mind to mind overplaying the skill. Renewed intensity is all about focusing on the creative passion and commitment to art by the artists, who once were trained here and practiced art in the national and international forum. They are purposefully brought back to their home (Odisha), re-inventing themselves and re-locating their art in the changed situation.             

The participants of the workshop focused on the collective ideology in expressing the content of theme in context. Paribartan Mohanty, Pratik Sagar were invited to the workshop while the BKCAC alumni was represented by Anjan Kumar Sahoo, Helen Brahma, Kanta Kishore Moharana, Nityananda Ojha, Sudarshan Biswal, Sujit Mallick, Sambit Panda and Veejayant Dash. 

Anjan Sahoo proposed a site specific work on the eternal journey: a physical transformation with help of clay pots, 108 in number, defining the sahatsra ghatak [pots] with filled water as sent that passes through to attain moksha while Nityanand presented the search for a golden bone referring to simultaneous death of two artists few years back, one at Bhubaneswar and other at Baroda. The memory and pathos were compared quite near to the rituals with incense sticks put around the grave.  

Helen Brahma intelligently dealt with a subject on woman nexalites titled `surrender’ that clearly reflected the psychological and physical torture leading to surrender of the self and the male counterpart. The happiness of the familial unity is mentioned in undertone. Kanta Kishore Moharana’s incarnation was a video projection/presentation, allowing the public to pass through the light on screen emphasizing the internal body matter reflected in projection, thereby re-inventing the human body, few subjects with designated choreography.                       

Sudarshan Biswal and Veejayant Dash performed public art on Green devastation [Rickshaw] and once there was a true respectively. Both of them caught the public attention by motivating common man through participatory dialogue. Sudarshan’s concern of conversion of farm land to growing property enclosure and the harmonic disorder found effective viewers while Veejayant had a radical and direct message. Tree or no tree, infrastructure and life, both are need of time. His concern focused on planning rather than preaching lone. A truncated tree space in form allowed the public to pass through and experience the space-form relationships. Sambit presented a chappal, common man’s footwear pressed against defined garbage, including housefly. House fly is a common fault finder and thus ignored in life. His concern of `can me follow’ seems meaningful through philosophical transformation of the subject. Sujit Mallick, a young artist was a little shy for his appearance in public was for the first time. But he carried a dynamic subject, `hati ne ghoda ne mo pehenkali bajei de’, reflecting the mood of a village shrine and its durative terracotta horse and elephants, commonly found in Orissa and inspires people to forget the communal bias that divide people.    

The guest artist Pratik Sagar has successfully experimented in site specific art in the past and his work True sad space God was just another trial in the continuity. The most interesting part lies in his in-definitive result, which increases the curiosity. He tried to definitive/predictable this time involving natural interception. Paribartana Mohanty’s imagery based on a novel titled `Dasyu’. The composition is a transformation of verbal to visual-re-looking at the city that has grown up to the day. The characters, infrastructures, mentality of city as one of the character have witnessed the change-a critical depiction.                     

The evening of 25th January was devoted to a critical discussion and presentation by artists. All the participants presented themselves through video art, art documentation in AV and announcing their concept. The artist presentation began with initiator Dr. Pradosh Mishra briefly questioning the curator of workshop Jagannath Panda about the origin of concept and its transformation in the urban context. Prof. Deba Patanik, a veteran literature and art connoisseur discussed the public and site specific art in the global context. Dr. Ramkrishna Vedala, Shri Ramhari Jena and Adwaita Gadanayak presented their views on the emerging art trends and local adaptability. The public-artist interaction was ably coordinated and initiated by Dr. Pradosh Mishra introducing the local young artists to a fresh mode.  

The young artists assisting the participants were felicitated by alumni BKCAC, while Prof. Deba Patanik did the honor. The AlumniBKCAC also handed over a contributory amount of Rs.5000/- to Shri Ashok Das(class-3 employee at B.K.Art college) who is undergoing treatment after a heart surgery. Shri Subrat Mallick, the secretary AlumniBKCAC presented the formal vote of thanks. The workshop was coordinated by Dr. Pradosh Mishra, Ashok Nayak (Ashok Art Gallery, New Delhi), Sudarsan Biswal, Veejayant Dash, and Anjan Kumar Sahoo. The workshop was supported by the Foundation for Indian Contemporary Art, Gallery Sanskriti , Lalit Kala Akademi, New Delhi and stage sponsored by Ashok Art Gallery, HYTONE and Immagery. The event continued from 20th to 27th January 2010 at the Lalit Kala, Regional Centre, Kharvela Nagar, Bhubaneswar.

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi

Several aspects of creative communication were discussed with regard to literature and art, Silver Jubilee celebration of B.K.Art college a Review

B K College of Art and Crafts has completed its twenty-five years creative journey in Odisha and its existence resulted in the paradigm shift in art education and propagation both within the state and beyond. To commemorate the success, AlumniBKCAC and B.K. College of Art and Crafts are celebrating its silver Jubilee in Bhubaneswar.

The celebration begun with the inauguration of a public art and site specific art workshop, curetted by Jagannath Panda on the 20^th of January 2010. This National workshop was organized at the Lalit Kala Regional centre, Bhubaneswar along with various other public sites by the participating artists. The participating artists are Paribartan Mohanty, Prateek Sagar, Anjan kumar Sahoo, Helen Brahma, Kanta Kishor Moharana, Nityananda Ojha, Sudarshan Biswal, Sujit Mallik, Sambit Panda and Vejayant Das. This workshop would continue up to 27^th of January 2010.

The college event started with a national Symposium on Creative Communication. Prof. Kanchan Chakraverti, Art Historian from Santiniketan, inaugurated the symposium on 22^nd January 2010. Prof. Ganeswar Mishra, Prof. Sourindra Barik, Dr. Dinanath Pathy and Convened by Dr. Pradosh Mishra. Several aspects of creative communication were discussed with regard to literature and art. The participants focused on methods of communication and its relevance to art and how art needs to be communicated to the audience/viewer. The afternoon session was devoted to the audio-visual presentation by select artists like Ashish Pahi and Kanta Kishore which was coordinated by Dr. Pradosh Mishra.

On the 23^rd of January, an exhibition by the alumni of BK College of Art and Crafts was organized at the college campus on the foothills of the ancient site Khandagiri and Udayagiri. The Chief Minister of Odisha, Shri Naveen Patnaik, who not only thoroughly viewed the works, but also had an intimate dialogue with the artists, inaugurated this exhibition. Dr. Pradosh Mishra briefed the Chief Minster about the displayed art works, present state of art and trends, while Jagannath Panda explained him of the national and international issues related to art. The curator of the show, Sovan Kumar assisted the Chief Minister to release the Exhibition catalogue. Ashok Nayak accompanied the Chief Minister to the annual Art Exhibition of the College. He also felicitated the Former Principal, Kala Bhawan, Santiniketan, Prof. Kanchan Chakraverti, for his contribution to the art historical studies in the eastern subcontinent, Dr. Dinanath Pathy, the first Principal of the college and Shri Adwaita Prasad Gadanayak, President, AlumniBKCAC for collaborating to the cause of art in Odisha. In his address, he emphasized on the rich cultural and art heritage of Odisha and its application in the contemporary art, defining a new approach of continuity. He appreciated the effort of the AlumniBKCAC for the entire event.

This programme was followed by an interaction by the faculty and alumni of the college, with the students under training, under the event title, My College: My Art. Dr. Dinanath Pathy, Shri D N Rao, Shri Baladev Maharatha, Shri Ramahari Jena, Shri Siba Panigrahi, Shri Adwait Gadanaik, Shri Jagannath Panda and Shri Ashok Nayak. As a continuation to the event, many of the passed out students and participating artists showed their creative video short documentations. Both the academic sessions was coordinated and convened by Dr. Pradosh Mishra.

In the evening, His Excellency the Governor visited the exhibition hall and was accompanied by the participating artists. His keen interest in art motivated the young and dynamic students for an intimate interaction. The Governor also felicitated the Teachers and staff of the college for their valuable contribution to the art education. The Governor graced the cultural programme at the college campus at the newly prepared amphitheatre, where Sakhinata, a traditional dance form of Odisha, Odishi, the classical dance form, and Sambalpuri, another folk dance form was presented before him.

The Silver Jubilee functions were supported by Subrat Mullick, Anjan Sahoo, Tarakant Parida, Veejayant Dash, Meenaketan Patnaik, Pratap Jena, Aparna Ray, Bidyutlata Patasahani, Sangeeta Mohapatra, Ramakanta Samantray, Sangram Moharana, Sudarshan Biswal, Projesh Mohapatra, Kirti Kishor Moharana and many other well wishers of AlumniBKCAC.

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi

‘Renewed Intensity’ is an idea to bring back serious passion and attitude towards a new art form, public and site specific art.

Renewed Intensity

On the occasion of the silver jubilee celebration of BK College of Art & Crafts, we are attempting to broaden our own horizons by re-introducing some of young and talented artists who are earlier graduates and have earned recognition. Some guest artists are also participating the event by invitation.

The city of Bhubaneswar has become a busy metropolis where both modern and traditional art and culture co-mingle. It has undergone vast developmental changes, shifting the historical & ecological map of the city in the last few years. The point here is to understand the coexistence of the past and the present.

‘Renewed Intensity’ is an idea to bring back serious passion and attitude towards a new art form, public and site specific art. Worth noting inherent in local culture lies this notion. This is first of such a workshop that we have planned: where artists will create the works with multiple approaches and u different medium, exploring art out of unconventional forms or ideas. It will also explore the possibility of varied aesthetic influences and expressions based on Interactive, Performance, Installation and so on. These artistic activates will attempt to understand inter-relationship of nature, culture, city, politics, fictional text and vital inner life. This workshop will create an environment of diverse art forms for the new viewer/audience. In these eight days, artists will produce art works in relationship between ecology and art in public spaces.

While engaged in the workshop, the participating artists will respond to collective cultural needs, developing active roles in environmental and social issues. Some artists will focus on the role of art in encouraging ecological awareness and social activism amongst local people. We sincerely hope our efforts will bring about a constructive change in the art situation in Odisha.

Jagannath Panda

Public art fits a much broader definition than art in a gallery or a museum. In simple terms, public art is any work of art or design that is created by an artist specifically to be sited in a public space. It can tower several stories high, or it can call attention to the pavement beneath your feet. It can be cast, carved, built, assembled or painted. Whatever its form, public art attracts attention. By its presence alone public art can heighten our awareness, question our assumptions, transform a landscape, or express community values, and for these reasons it can have the power, over time to transform a city’s image. Public art helps define an entire community’s identity and reveal the unique character of a specific neighborhood. It is a unifying force.

The impact of public art on a community is priceless and immeasurable and once experienced it only appreciates. Public art has the power to energize our public spaces, arouse our thinking, and transform the places where we live, work, and play into more welcoming and beautiful environments that invite interaction. It enhances the quality of life by encouraging a heightened sense of place and by introducing people to works of art that can touch them and generations to come.

Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork.

More broadly, the term is sometimes used for any work that is (more or less) permanently attached to a particular location. In this sense, a building with interesting architecture could be considered a piece of site-specific art.

In 1966 Robert Barry said:

“(site installation) is made to suit the place in which it was installed. They cannot be moved without being destroyed.”

In 1989 Richard Serra said:

“The works become part of the site and restructure both conceptually and perceptually the organization of the site.”

But later, the concept and relevance of the artwork in relation to the site have evolved.

The artwork in a specific site still explores themes and relationships with its surroundings. However its site can be moved and the artwork can still be relevant.

It’s a battle between ‘what is Public Art’ and ‘what is Site Specific Art’. The art can become site relevant in a conceptual way, yet it doesn’t have to be physically nailed to that exact place. The concept plays a big part, because it can be a very wide subject/theme, which could be relevant in many places. Most importantly it involves the viewer of the work, as they are present on this ’site’. Site Specific Art then becomes audience relevant.

But, this workshop intend not to define the meaning of the terms but more relevant to the celebration and prepare and produce work of art along with the community.

Participating Artists:

Guest:

Paribartana Mohanty (Delhi)

Prateek Sagar (Delhi)

Alumni of BKCAC:

Sujit Mallick (Delhi)

Sudarsan Biswal (Delhi)

Veejayant Dash (Bhubaneswar)

Assisted by

Satyabhama Majhi,

Samarjeet Behera,

Niroj Satpathy,

Satyajeet Das

Nityananda Ojha (Baroda)

Anjan Kumar Sahoo (Bhubaneswar)

Bujing Rao (Bhubaneswar)

Kanta Kishor Moharana(Bhubaneswar)

Assisted by

Smrutisai Mishra,

Manas Moharana,

Somnath Rout

Sambit Panda (Delhi)

Helen Brahma (Bhubaneswar)

Information:

Activity: Public Art and Site-specific Workshop

Commemorating Silver Jubilee Celebration of B.K. College of Art and Crafts (BKCAC)

Concept: “Renewed Intensity”

Date: From 20th to 27th January 2010

Artist Presentation: 25th January 2010 at 5.00 pm

Initiator: Dr. Pradosh Mishra

Chief Guest: Prof, Deba Patnaik and Dr. Dinanath Pathy

Guest of Honor: Ramakrishna Vedala,Ramahari Jena, Adewata Gadanayak

Public Display: 26th to 27th January 2010, 11am to 8pm

Venue: Lalit Kala Akademi Regional Centre, Unit III, Bhubaneswar,

Coordinators: Sudershan Biswal, Veejayant Dash, Pradosh Mishra, Ashok Nayak, Anjan Shaoo,

Curator Jagannath Panda

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi

Review: Commentary in Three Dimensions by Himali Singh Soin

KANTA KISHORE MOHARANA

Ashok Art Gallery

D-1/31, Rear Portion, Model Town-II, 110009 New Delhi, India

December 11, 2009 - January 11, 2010

Eerily realistic, thought-provoking, rebellious and skillfully crafted: Kanta Kishore Moharana’s mixed-media installations refreshingly bridge conceptualism and formalism, birthing work whose message is embossed within the geometry of the marble, fibre, and bronze of which it is made.

The magic of Moharana’s works is its uncanny realism despite his use of permanent, heavy materials to depict that which is perishable, light, and functional. He sculpts, for example, newspapers from marble—an everyday, perishable item made permanent, heavy—and chisels out real headlines to shape a commentary on society’s ills: words literally ‘set in stone.’ In ‘Restoration,’ he carves a cardboard box being eaten by cockroaches from marble. The weightless, disposable quality of paper and cardboard is ironically effaced by its own depiction as the artist crafts immovable objects from perishable subjects.

This confrontation of our conventional perception of material objects urges the viewer to come closer. But this is an online exhibition, thus hindering the interested from really finding the desired detail in form. Kanta Kishore remarkably does not see this as a disadvantage. “I think it makes my work universal,” he says, “and accessible worldwide.” His background is humble: born to a family of stone carvers in Orissa, he has learned form and technique from his forefathers, yet injected his own ideas to appropriate the work into today’s socio-political and artistic context.

Kanta Kishore’s work with marble is not a traditional sculptural practice that mimics reality. Instead, he utilizes other media to make installations that comment directly on poverty, globalization, exploitation, hunger, and revolution. In his piece, ‘Exploitation,’ Kanta Kishore presents tiny bronze men who are trampled by a giant, red, 6-foot long, ornamented, Arabian shoe. The bright scarlet shoe comments on our contemporary classist society, on capitalism’s fissures in distribution, and on the inhumane manner in which workers, children and adults are treated. Compositionally, each element is carefully balanced in geometry, size, space, weight, color and concept. The specifically Arabian identity of the shoe, however, also implies a potentially provocative interpretation of crowds trodden under the force of the Muslim world.

“There are two aspects in nature:/ The perishable and the imperishable./ All life in this world belongs to the former;/ The unchanging element belongs to the later,” says the Bhagvat Gita. In flipping our perceptions of that which is permanent and that which is temporary, Kanta Kishore provokes us to think more deeply about the meaning and importance of the Absolute in a cruelly relativist world.

-- Himali Singh Soin

(Images from top to bottom: Raw Vision 3; Truth 1; Exploitation. All images courtesy of Ashok Art Gallery and the artist.)

SOURCE: Art Slant


The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi

Nicholas Forrest's prediction is that art investment will continue to gain credibility and new avenues to invest in art will open up

I have been watching the art market very closely over the last year and have to say that I was actually quite pleased with what I saw. The more scholarly and connoisseurial approach to fine art that emerged in 2009 has temporarily re-focused people’s attention on the historical, cultural and artistic value of art as opposed to the social and financial values that dominated the contemporary driven market of the boom period. I say temporarily, because although the glitz and glamour of the contemporary art market has taken a huge hit, and there is no doubt in my mind that the phenomenon that is contemporary art will shortly return to the position of power that has made it a force to be reckoned with in the past. Perhaps sooner than we may think!!

The scholarly and connoisseurial trend of 2009 still has a bit of juice in the tank and should continue to play a major role in the 2010 market. Take for the instance, the work of the rather mysterious Dutch Baroque still life painter Adriaen Coorte, whose work is little known outside the scholarly world and went largely unrecognized until he was rediscovered by a Dutch art historian in the 1950s. Works by Coorte rarely comes to market so when two small paintings came up for auction at Sotheby’s on the 2nd of December of 2009, it was predicted that there would be considerable interest, but not anywhere as much interest as there ended up being. The first painting, a still life of strawberries in an earthenware bowl was fought over by six bidders who pushed the sale price to 1,520,750 Euro which was not only more than ten times the 150,000 euro high estimate but was also a new auction record for the artist. Next on the block was the second work by Coorte which broke the auction record set by the previous painting when it sold for 1,576,750 Euro against the same estimate of 100,000-150,000 Euro. Both paintings were acquired by the same European collector.

Marcus Aurelius Root, Anthony Pritchard, 1850, quarter-plate daguerreotype

Another artist whose work is little known outside the scholarly world is that of Marcus Aurelius Root. An early work by the renowned Philadelphia daguerreotypist of Anthony Pritchard was a feature of the October 8 Miller-Plummer Collection of Photographs sale and reached the astonishing world auction record price for the artist of US$350,500 against an estimate of $20,000 – $30,000. The sale of this work by Root is another example of the current trend that has seen connoisseurs and scholars drive up the demand for works of cultural and historical significance. Root’s photo of Anthony Pritchard is not the only example of antique/vintage photography that has exceeded price expectations; the whole market for antique/vintage photography has experienced a continuing surge of interest as the importance of photography in an art historical context is further realised. 2010 should see a continuation of the interest in antique/vintage photography as collectors and museums vie for the top works in a niche that is still in it’s infancy, and that still presents opportunities for collectors and connoisseurs to acquire works of major cultural and art historical significance at potentially bargain prices.

As a result of the reduction in the demand for contemporary art, emerging markets such as South Africa, Indonesia, Turkey, Poland, Singapore, Iran, Greece, etc. have become a focus of dealers and auction houses in an attempt to generate new revenue streams. A deciding factor in the decision of which emerging market to penetrate has been whether or not there is a strong enough force of wealthy European/Western expats to fuel demand for souvenirs of their temporarily adopted homeland. Former expats of emerging markets are also being targeted by market forces in an attempt to encourage a sense of nostalgia that will result in the purchase of a memento of their time abroad. 2009 saw a concerted new ground being broken with region specific auctions, particularly with those of emerging markets such as Greece and Turkey – a trend that I predict will continue gaining momentum in 2009.

With owners of what are considered to be the most desirable and valuable works of art tending to sit on their assets while the art market bottoms out I predict that 2010 will see the slow return of those modern and contemporary works that tend to send the market into a flurry of excitement. Another prediction I will make is that art investment will continue to gain credibility and new avenues to invest in art will open up. A sign of the continuing acceptance of art as a viable alternative asset is the fact that Israeli billionaire Arnon Milchan recently told Forbes magazine that art is the best investment to own. In his words “If you have triple-A art, I’ve never seen it really go down. Great art is the best thing to own. We’ve seen recently the art market picking up fast. The last Sotheby sale broke records.”

Wishing everyone a great 2010 !!

Nic Forrest

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi.

‘Elite Collectors of Modern and Contemporary Indian Art’ opens a window onto a wonderful world of passionate collectors

Driven by their desire to chart a unique course, authors Purrshottam Bhaggeria and Pavan Malhotra have conceptualized and penned this captivating coffee table book. They take the readers along onto a fascinating journey into the exclusive world of discerning collectors and their eclectic collection. The book makes a honest attempt to highlight their definitive aesthetic vision, deep-rooted philanthropy, support and commitment to Indian art and artists.

As Indian contemporary art shines globally, ‘Elite Collectors of Modern and Contemporary Indian Art’ by authors (Publishers: Elite Media; Price: Rs 15,000 for a limited edition of 2,000 numbered copies) has turned the spotlight on renowned collectors such as Parmeshwar Godrej, Suresh Neotia, Tina Ambani, Harsh Goenka, Rajshree Pathy, Sangeeta Jindal, Abhishek Poddar among others), some are less well known Rakesh Agarwal, Mahesh Chandra, Mahinder Tak, Ashwani Kakkar, Malvinder Mohan Singh, Prashant Tuslyan, Sanjay Lalbhai, Rajiv Jehangir Chaudhuri and Dinesh Thacker.

Then there are some international collectors like Masanori Fukuoka and the late Chester Herwitz who find a mention in this first comprehensive tome on art collectors. Barring a few notable exceptions like Anupam Poddar, Lekha Poddar, Nitin Bhayana, Priya Paul, and the de Boers, this attractive coffee table book reflects the passion of avid art collectors.

The publication is a sincere and research based exercise to provide a glimpse into the rich collections of some of India’s top collectors, and their associations with the artists. ‘Elite Collectors of Modern and Contemporary Indian Art’ opens a window onto a wonderful world of passionate collectors. It introduces the readers to their eclectic and engaging collection.

‘Elite Collectors of Modern and Contemporary Indian Art’ is worth collecting for it showcases selected and favorite works of art of each collector, symbolizing their discerning eye and eclectic tastes.



The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi.The Best art place on this globe.

Dr. Manmohan Singh: Prime Minister of India @ United Nations climate change summit in Copenhagen

Before leaving, Dr. Manmohan Singh: Prime Minister of India said, I am leaving today to attend the 15th Conference of Parties of the United Nations Framework Conference on Climate Change in Copenhagen (UNFCCC).
The UNFCCC and its Kyoto Protocol embody the international agreed regime for addressing the global challenge of climate change. The UNFCCC is founded on the principle of equity and common but differentiated responsibilities and respective capabilities. At the 13th Conference of Parties in Bali, the Parties had agreed to launch an Action Plan to enhance the implementation of the UNFCCC. The Bali Action Plan seeks to ensure full, effective and sustained implementation of the UNFCCC through long term cooperative action of the Parties upto and beyond 2012.

It is India’s view that global warming is taking place and taking place here and now and its adverse consequences will impact most heavily on developing countries like India. As a responsible member of the international community, India is therefore fully committed to working with the rest of the world to preserve and protect our environment. This is our common heritage, and this is what we must bequeath to our succeeding generations.

At the same time, climate change cannot be addressed by perpetuating the poverty of the developing countries. Every citizen of the globe has equal entitlement of the global atmospheric space. It is in keeping with this principle that I had earlier announced in Heiligendamm in 2007 that we will maintain our per capita emissions at a level lower than the average per capita emissions of developed countries.

We have, as a responsible member of the international community, announced that we will reduce the emissions intensity of our growth by 20-25% in 2020 as compared to 2005. India has also launched a comprehensive Action Plan on Climate Change and the eight National Missions have been set up. We are willing to do more provided there are credible arrangements to provide both additional financial support as well as technological transfers from developed to developing countries.

I look forward to constructive deliberations in Copenhagen which meet the collective aspirations of all humankind and enable us to move forward in the global efforts to combat climate change.

December 18, 2009
Copenhagen
Ladies and Gentlemen,I would like to thank Prime Minister Rasmussen for his efforts in trying to build a global consensus on highly complex issues, involved in climate change, attempting to balance divergent and varied interests.
We have all worked hard to reconcile our different points of view. The outcome may well fall short of expectations. Nevertheless, it can become a significant milestone. I therefore support calls for subsequent negotiations towards building a truly global and genuinely collaborative response to climate change being concluded during 2010.
Ladies and Gentlemen, As we embark on future negotiations, we would do well to take stock of what we have learnt from our efforts over the past two years. I draw three lessons, which should guide us in the task ahead. Firstly, the vast majority of countries do not support any renegotiation or dilution of the principles and provisions of the UNFCCC, in particular the principle of equity and common but differentiated responsibilities and respective capabilities.Further, the need for action on our part is more and not less than what was envisaged at the time of the Rio Convention or the Kyoto Protocol. That is why the Bali Action Plan commits us to enhancing the implementation of the UNFCCC.To settle for something that would be seen as diminished expectations and diminished implementation would be the wrong message to emerge from this Conference. We should therefore reaffirm categorically that our negotiations will continue on the basis of the Bali mandate.Secondly, the Kyoto Protocol should continue to stand as a valid legal instrument.
Parties to the Protocol should deliver on their solemn commitments under the Protocol. It would go against international public opinion if we acquiesce in its replacement by a new and weaker set of commitments.Finally, it is clear that any agreement on climate change should respect the need for development and growth in developing countries. Equitable burden sharing should underlie any effective global climate change regime. Any new regime will have moral authority and credibility only if it acknowledges that every citizen of the globe has an equal entitlement to the global atmospheric space.India has a vital stake in the success of the negotiations as we are among the countries most likely to be severely impacted by climate change.We have therefore adopted and started to implement a major National Action Plan on Climate Change, relying upon our own resources.
Our targets include installation of 20,000 MW of solar energy capacity by 2022, improving energy efficiency by 20% by 2020 and adding an additional 6 million hectares of forests over the next several years.Excellencies, each one of us gathered here today acknowledges that those worst affected by climate change are the least responsible for it. Whatever emerges from our negotiations must address this glaring injustice, injustice to countries of Africa, injustice to the Least Developed Countries, and injustice to the Small Developing States whose very survival as viable nation states is in jeopardy.
We in India, too, are vulnerable, but nevertheless as responsible citizens of the globe, we have agreed to take on a voluntary target of reducing the emission intensity of our GDP growth by around 20% by 2020 in comparison to 2005. We will deliver on this goal regardless of the outcome of this Conference. We can do even more if a supportive global climate change regime is put in place.Excellencies, we have a difficult task ahead of us. I hope we will all play a positive and constructive role so that we can bridge differences and come up with a balanced and also an equitable outcome during the coming year. India will not be found wanting in this regard.Thank you.
Remarks by PM at the Informal Plenary of HOS/Gs at the 15th COP at Copenhagen

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi.

Clearly, the Art market is on the threshold of an upswing in terms of investor confidence

Art analysis firm ArtTactic’s confidence indicator for the Indian art market has more than doubled, sending positive signals to investors.

In fact, recovery in the Indian art market could occur earlier than expected, according to the latest research report released by the London-based art market analysis firm. The report suggests there is renewed confidence evident in the market that incidentally had dipped to an all-time low only six months ago.

The report holds significance since ArtTactic, set up by Anders Petterson almost a decade ago, is an internationally reputed agency. It comes up with research and commentary by combining both quantitative and qualitative tools. Its studies are backed by an in-depth knowledge of the art market’s .

ArtTactic employs analytical frameworks and methodologies for the art market often employed by economists and the financial experts. Anders Petterson, ArtTactic managing director, elaborates, “The survey sample is a cross-section of key players in the Indian art market many of whom have a long-term interest in it, and hence their answers are not driven by short-term decisions.”

Its confidence indicator for the Indian art market is now pegged just under the 50 mark, at 49. The 50 mark importantly, suggests there are an equal number of negative and positive responses on the outlook for the art market in the near term. In May, the indicator was well in the negative territory, pegged at an abysmally low number of 20.

Clearly, the market is on the threshold of an upswing in terms of investor confidence. This really is a positive indicator coupled with the Indian economy that is showing early signs of revival.

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, we became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit New Delhi.

If this decade in human civilization has presented us with any resonant knowledge about our world, it is that energy is culturally precious.

From vertical farms to solar forests, neutralizing the carbon footprint of urban centers is one of the most popular trends in design.

Los Angeles firm Emergent Architecture has come up with a concept that combines public art with creating biofuel. Called a "photobioreactor," the aquarium-like structure would contain green algae colonies, also known as pond scum, which produce an oil that can be processed into a biodiesel fuel that can replace petroleum-based diesel fuel.

Even better, green algae consumes carbon dioxide, which is the leading driver of human-propelled global warming.

The system would use "tuned LED lights which vary in color and intensity to support algae growth at different stages of development, maximizing output," according to Emergent. (I'm not quite sure what this means, but suspect it has something to do with recent developments in using nano-materials to create LEDs that surpass their conventional cousins in the colors of light they can produce.)

A thin-film solar array strung into the branches of nearby street trees would collect energy during the day; stored in batteries, it would power the bioreactor's systems at night.

The firm has imagined a Los Angeles-based installation of bioreactors into the sides of buildings, as well as a public art piece for a Perth, Australia involving freestanding bioreactors built to evoke the shapes of cellular structures.

Rather than just stand and symbolize something, say the designers, the installation would also be doing something useful: using and creating clean energy. "Now, one could argue that artwork shouldn't actually do work," they acknowledge. But "if this decade in human civilization has presented us with any resonant knowledge about our world, it is that energy is culturally precious, that it is possibly the ultimate medium.

"Energy may indeed be one of the most timely mediums for art."
by Emily Gertz


The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists,we became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit New Delhi.

Indian art heritage , its rich tradition of Art and Culture

Indian art heritage is as rich as most of the established art based countries like Egypt, Greek, China, Japan, France, Italy and Spain etc. It has a specific manifestation in the field of Indian society, art, religion and human sentiments. It touches every sphere of human being and its adaptation is so wider even simple palm leaf and rock wall speaks its merits of beauty, aesthetics and pleasure. Each part of the whole nation express the spectromic echoes of art pleasure. It links urban to a rural, layman to a super human, poor to rich but not tired of to lubricate the long passed echoes of Indian artists spirituality, rather has become an integral part of our everyday lives.Indian Traditional Art was remained in the hands of the rural artisans. They used to deal with the indigenous materials, organic and inorganic materials readily available in their locality. Art activities were well linked with our religion, ritual and everyday lives. A group of people accepted art activities as their main profession who were well known as Kalakaras, they accepted the profession from father to the son, mother to the daughter without much variation in form, style, color, pattern, design and the subject matters. They were not only the painters, sculptors and architects but had good depth on literature, texts and allied grammatical resources.

Indian art is understood through its own grammar of Rasa theory, Sadanga(six principles of Indian art), attitude to Indian art principles of image making etc. It was based on India mythology, poetry of romantic love stories, raga-raginis on the value of Indian society, religion. beauty aesthetics and pleasure. Art education is completely based on ones attachment to the process and entirely not accomplished through an art institution said Sir Baladev Moharatha, Head of Deptt. Painting (Indian Style), He said, “ Broadly speaking, there are two kinds of LIVES-LIFE of values and life of valuables, values are left aside and when values are ignored the person concerned gets devalued. While the commodification of art is a slogan all-around, some people are still there experimenting with the values of art which is beyond commercialization”.

Smt. Sailabala Nayak, Instructor Deptt. Of Painting(Indian Style) said, “ The Tradition and culture are the real identity of a civilized status or of a family. Now in the process of globalization it is difficult to protect and preserve the tradition and culture. Likewise when the student of an art institution displays a picture or submits for exhibition or competition, interestingly enough, the beholders or jury members search for modernity, then in facing the remark that the pictorial language is not readable. Such contrast opinion compels a student, sometimes, to be confused and express him/her- self in a vaguely modern way. But this should not happen”.

It seems reasonable to assume that the Indian art has the potential in terms of both artists and buyers to rival the recent gains made in the Chinese art market and to present itself as a real global participant in the international art market. However, there are some key issues that concern the potential players. These issues have to do with India’s moribund art market infrastructure, which is simply not robust enough to support a major art market. India must develop structures and professionals who can bring order to what in many cases is seeming chaos. Its rich cultural heritage should be come out in form of art works. If this chaos is allowed to continue unchecked, the long term credibility of both India's art and its artists could be irrevocably undermined.