The Divine Wave in Modern Art – The New Indian Express
Art is supercharged by spirituality as artists around the world draw on common heritages to make sense of the current crises of war, greed and faith with festival sculptures, surreal photographs and feminist statements
The soul of art is transcendence, interwoven with subtle meanings – mandalas in play. It both rejects and embraces time. Spirituality has permeated the art world in recent years, as the works of mystical and religious artists appear in galleries around the world long after their deaths, causing critics and critics to have a contemporary conversation. Indian art has long been influenced by religious motifs, metaphysics, epic and soul philosophy.
The ongoing India International Spiritual Art Festival, which lasts for 100 days and continues through November 8, is a spiritual explanation of such feudal splendor; dazzling temple elephant nettipattams created by Shobha Prem with gold-plated fiber – the glorious Trissur Pooram has been undervalued this year. The festival which exhibits more than 70 artists from India, Poland, South Africa and Oman is a creative confluence of spirituality and heritage. There’s aluminum and steel yoga, the animistic elaborations of Ishrath Humairah, and the calligraphic art of Australia-based Gautam Jhanjee who is culturally rooted in Indian idyll.
A world beset by war since the 1930s, religious violence, the enslavement of women by faith, the greed of empires, ecological crises and the industrial expansion of the wealthy West have forced artists to reexamine its cardinal points and theirs. They turn to spirituality in canvases, mediums, textures and colors. Perhaps it was a premonition of the devastation of body and mind by the pandemic – with all the wealth, technology, skill and will of governments, children were dying and families torn apart.
The first indication came during a posthumous exhibition by Swedish artist Hilma af Klint in 2018-19 at the Guggenheim Museum in New York City, which is still the most visited exhibit in the museum’s history. af Klint was a medium and theosophist when Annie Besant was active at the turn of the 20th century, a time of religious and scientific churning. Art was the tool of the nationalist examination. She received little attention during her lifetime, but the significance is that the Guggenheim found it relevant to exhumate her almost a century after her death. The following year, Agnes Pelton’s first solo exhibition after two decades was posthumously held at the Whitney Museum of American Art, New York. She belonged to the Transcendental Painting Group of Santa Fe, founded in 1938 during the Social Realism era of American art.
Anish Kapoor and Sandip Mukherjee owe a lot to the group; “Phaidon’s Speaking of Art: Four Decades of Art in Conversation” reproduced a conversation by Kapoor on the subject explaining: “For a long time now spiritualism has been a taboo subject … we have to sort of face it. It’s a treacherous path, between the senseless talk of the 1960s and real things. As human beings we have a conscience, and this has to be dealt with on some level. A recent interview quoted the Middle East’s most beloved artist, Parviz Tanavoli, as saying, “The resurgence of spirituality is more present than ever in contemporary art.
His studio “Kabood” in Tehran emerged as the “whenua” of the Iranian modernist movement of Saqqakhaneh – “the first culturally specific modernist group whose works have been influenced as much by Shia Muslim folk art as by pre-Islamic art. Islamic and international formal art “. strategies, âaccording to the Asia Society. The trend is a break with the precepts of establishing the ancient world where art was financially and culturally linked to religion.
The world is a rabid political space. Pakistani artist and photographer Nadia Waheed’s paintings in the group exhibition âShe Came to Stayâ are illusory journeys to alien worlds. His weltanschauung is a combination of the Buddhist philosophical concept of ‘nyat’, which represents spiritual exhaustion and kenosis which represents Christ turning into an empty vessel of God. There are also dissidents, like the feminist artist Ann Agee, whose handmade ceramic sculptures are derived from religious figures even though she denies their spirituality. Agee suggests that there is a moral aspect to spirituality that it does not want to be dictated by. Creativity is socially political. Indian art in the time of the Hindutva would have a problem with this.