PHOTOGRAPHS OF KALA GHODA ARTS FESTIVAL 2017 – Art (1)

The Kala Ghoda Arts Festival is held in the Kala Ghoda area of South Mumbai, India.

img_2563-copy

The Kala Ghoda Arts Festival is a nine days long festival, held in the Kala Ghoda area of South Mumbai, India; this festival always commences on the first Saturday of February.

img_2588-copy

Friends posing for a selfie, at the backdrop is the installation Ashva

Ashva is the Sanskrit word for a horse, one of the significant animals finding references in the Vedas as well as later Hindu scriptures.  This installation is done with hanging charcoal. Charcoal has been used since earliest times for a large range of purposes. This hanging installation depicts the qualities of horse and indicates movement. 

The Cube of Hope: Artist – Abha Talesara

img_2592-copy

img_2586-copy

This installation is inspired from the Cube Personality test where each of the elements represent an aspect of one’s personality. For example the horse represents the spirit while the cube represents the ego. The particular way in which the elements are set in this installation is representation of the artist’s personality.

Topiary of Kalaghoda: Artist-  Rinkal Pravin Chheda

img_2613-copy

Topiary is the ancient art of clipping shrubbery and trees into shapes.

Dhai Chaal ki Gati: Artists – Anushka Karnawat, Chirag Agarwal  (cagarwal56@gmail.com), Kavin  Rao, Parth Parikh, Vaishali Kataria

img_2602-copy

img_2603-copy

img_2604-copy

‘Dhai Chaal ki Gati’ or ‘The Speed of the Knight’ (the character represented by a horse’s head in the game of Chess) is our take on the theme of this year’s Kalaghoda Art Festival: The Speed of Light.

An abstract idea that combines the mathematical expression of the speed of light  (3.0 x 108 m/s) with the checkered pattern of a chess board to create an installation that aims to commemorate the return of Kalaghoda.

When viewed from the front, one can see the three legs of the number ‘3’ which can be used to sit upon. The next part of the expression, ‘x’, is stretched to form a slide and with a step at its base. Further on , ‘10 raised to the power of eight’,  is symbolised by the ten steps leading to reach the massive high, ‘8’, from which one can enjoy everything that the Kalaghoda promenade offers from an elevated view point. The last part of the equation, ‘m/s’ becomes a low seating. When viewed from the designated ‘x’ mark one can experience the mathematical expression unfold. 

PHOTOGRAPHS OF KALA GHODA ARTS FESTIVAL 2017- The Enthusiasm

Kala Ghoda Arts Festival is the country’s largest multicultural festival …

img_2562-copy

Kala Ghoda Arts Festival is the country’s largest multicultural festival, taking place in February each year since 1999. The Festival has grown in stature and popularity, attracting visitors and participants from other parts of the country, and the world. The festival sections are visual arts, dance, music, theater, cinema, literature, workshops, heritage walks, urban design and architecture, food, a dedicated section for children, and a vibrant street section including stalls selling eco-friendly, handmade arts and crafts wares.

img_2567-copy

This year was my first time at Kala Goda Arts festival, and henceforth I plan to visit this festival every year, the reason is the enthusiasm of the crowd. I photographed some splendid moments on the street section.

The Wishing Tree adorned with 1000 LED bulbs, put up by Bajaj Electricals,

img_2569-copy

img_2573-copy

With wishes for a brighter future … and ideas on energy conservation.

Love & Friendship notes:

img_2595-copy

img_2596-copy

img_2597-copy

The white window with red wall:

img_2628-copy

img_2630-copy

img_2624-copy

BOMBAY TO MUMBAI (2)

DOOR OF THE EAST WITH ITS FACE TO THE WEST

 

CHHATRAPATI SHIVAJI MAHARAJ VASTU SANGRAHALAYA 
(THE PRINCE OF WALES MUSEUM OF WESTERN INDIA)

img_2057-copy

 

img_2258The Mausoleum of Bawa Rahan, near Baroche: By Major Robert Pouget.

 

img_2264The Upper Caves, Salsette: By William Daniell, published in The Oriental Annual, or Scenes of India, Comprising Twenty-two Engravings from Original Drawings from  William Daniell, and a Descriptive Account by Hobart Caunter, London, 1834- 38, Vol. 3, pl. 21.

 

img_2266On the Island of Elephanta: By William Daniell, published in The Oriental Annual, or Scenes of India, Comprising Twenty-two Engravings from Original Drawings from  William Daniell, and a Descriptive Account by Hobart Caunter, London, 1834- 38, Vol. 3, pl. 14.

 

img_2272View in the Bore Ghaut: By Robert Melville Grindlay, published in Grindlay’s Scenery, Costumes and Architecture, Chiefly on the Western side of India, London, 1826-30, Vol.1, pl.9.

 

img_2276Scene in the Garden at Vezelpoor, near Baroche:  By James Forbes, published in Forbes’ Oriental Memoirs: Selected and Abridged from a Series of Familiar Letters Written during Seventeen Years’ Residence in India, London, 1813, Vol. 2, fig.13.

 

img_2280View of the Water Temple in the Gardens of the DilGusha, or ‘Expansion of the Heart’, at Cambay: By James Forbes, published in Forbes’ Oriental Memoirs: Selected and Abridged from a Series of Familiar Letters Written during Seventeen Years’ Residence in India, London, 1813, Vol. 3, pl. 10.

 

img_2284Temple of ‘ MahaDeo in Bombay’: By Maria Graham, published  from her Journal of a Residence in India, London,1812, pl.2.

 

img_2288Interior of Carli Cave in the Western Ghats: By Henry Salt, published in Voyages and Travels to India, Ceylon, the Red Sea, Abyssinia and Egypt, in the years 1802-06, by George Annesley, Viscount Valentia, London,1809, Vol.2, fig. 25.

 

img_2290Front View of the Cave of Kenneri: By Henry Salt, published in Voyages and Travels to India, Ceylon, the Red Sea, Abyssinia and Egypt, in the years 1802-06, by George Annesley, Viscount Valentia, London,1809, Vol.2, fig.27.

 

img_2292View of Panwell: By Henry Salt, published in Voyages and Travels to India, Ceylon, the Red Sea, Abyssinia and Egypt, in the years 1802-06, by George Annesley, Viscount Valentia, London,1809, Vol.2, fig.24.

 

img_2293-copy-2

 

BOMBAY TO MUMBAI (1)

DOOR OF THE EAST WITH ITS FACE TO THE WEST

CHHATRAPATI SHIVAJI MAHARAJ VASTU SANGRAHALAYA 
(THE PRINCE OF WALES MUSEUM OF WESTERN INDIA)

img_2293-copy

Some of the drawings from this gallery:

img_2209Bombay, on the Malabar Coast, belonging to the East India Company of England: By Jan van Ryne, published by Robert Sayer as no. 2 in the series View of the Early Settlements, London, 1754.

img_2212Approach to the Bore Ghaut: By Robert Melville Grindlay, published in Grindlay’s Scenery, Costumes and Architecture, Chiefly on the Western side of India, London, 1826-30, Vol.1, pl.8.

img_2219Gateway of Aurungzeb’s Daughter’s Tomb at Aurangabad: By Sir Harry Francis Colville Darell, published in China, India, Cape of Good Hope and Vicinity: A Series of Thirteen Treble-Tinted Views from Sketches by Lieut. -Col. Sir Harry Darell, London and Brighton, 1852.

img_2223Fishing Boats in the Monsoon, Northern Part of Bombay Harbour: By Clarkson Stanfield from a sketch by John Johnson, published in Grindlay’s Scenery, Costumes and Architecture, Chiefly on the Western side of India, London, 1826-30, Vol. II, fig.21.

img_2227Parell, the Government House, Bombay: By Sir Harry Francis Colville Darell, published in China, India, Cape of Good Hope and Vicinity: A Series of Thirteen Treble-Tinted Views from Sketches by Lieut. -Col. Sir Harry Darell, London and Brighton, 1852.

img_2244The GhatSeele, Tooljapoor: By Weld Taylor, published in The Sketches in the Deccan by Captain Philip Meadows Taylor, London, 1837.

img_2246Cave Temple of Rameswur, Ellora: By Weld Taylor, after James Wales, published in The Sketches in the Deccan by Captain Philip Meadows Taylor, London, 1837.

img_2250Shah-Bhaug, a Summer Palace, Built by the Emperor Shah Jehan, on the Banks of the Sabermatty: By James Forbes, published in Oriental Memoirs: Selected and Abridged from a Series of Familiar Letters Written during Seventeen Years’ Residence in India, London, 1813, Vol. 3, pl. 9.

img_2252The Rajapoor River, Southern Concan: By Major Robert Pouget, published in A Series of Views in India and in the Vicinity of Bombay, London, 1843.

img_2254

Garden-House in a Village near Baroche, in Guzerat: By James Forbes, published in Forbes’ Oriental Memoirs: Selected and Abridged from a Series of Familiar Letters Written during Seventeen Years’ Residence in India, London, 1813, Vol. 2, fig. 11.

 

img_2068-copy

 

 

Art & Artist

“I love making art… It’s largely how I see myself. I’m an artist; therefore I have to make art.” …

I love making art… It’s largely how I see myself. I’m an artist; therefore I have to make art.” ~Chuck Close

I was at Phoenix Marketcity located at Kurla in Mumbai for a concert, however for some reason was not able to attend the musical show; and then I thought of exploring the mall for creative art through photography.

For a while I was at awe viewing the glamour of India’s largest shopping mall; the map below will justify its magnitude to an extent for strolling around is the much better way to explore its massiveness and, of course, its glitziness.

img_2496-copy

I found:

This attention-grabbing display window,

img_2481-copy

Contemporary art sculpture of a bottle,

img_2494-copy

img_2493-copy

And these contemporary piece of huge, golden, bell shaped chandeliers.

img_2495-copy

This photograph captures the 3 levels of the mall, and you can spot a musical group performing at the ground floor.

img_2480-copy

This musical group belongs to Happydemic

img_2488-copy

You are invited to watch this singer’s mesmerising performance in two very short video, please visit my Facebook page: https://www.facebook.com/MyOfficialDiary

INCENSE-BURNER FROM JAPAN

An incense burner or perfume burner is a vessel made for burning incense or perfume in some solid form …

A censer, incense burner or perfume burner is a vessel made for burning incense or perfume in some solid form. These vessels vary greatly in size, form, and material of construction, and have been in use since ancient times in many cultures, in both secular and religious contexts. They may consist of simple earthenware bowls or fire pots to intricately carved silver or gold vessels, small table top objects a few centimetres tall to as many as several metres high. (Source: Wikipedia)

img_2064-copy

img_2071-copy-2

Bronze

Sir Ratan Tata Art Collection

 

Photographed at: CHHATRAPATI SHIVAJI MAHARAJ VASTU SANGRAHALAYA
(THE PRINCE OF WALES MUSEUM OF WESTERN INDIA)

 

 

Sculpture Gallery (2)

Sculpture is the art of the intelligence …

“Sculpture is the art of the intelligence.” – Pablo Picasso

CHHATRAPATI SHIVAJI MAHARAJ VASTU SANGRAHALAYA 
 (THE PRINCE OF WALES MUSEUM OF WESTERN INDIA)img_2130-copy

 

img_2101-copy

 

img_2133-copy

 

img_2134-copy

SADASHIVA

Buff Sandstone

Madhya Pradesh, 10th century CE

 

img_2138-copy

UMA MAHESHVARA ON GAURIPATTA

Dolerite

Karnataka, 11th century CE

 

img_2149-copy

BRAHMA

Pink Sandstone

Ceiling slab from Huchchappaiyya Gudi Temple

Karnataka, 7th century CE

 

img_2151-copy

SHESHASHAYI VISHNU

Pink Sandstone

Ceiling slab from Huchchappaiyya Gudi Temple

Karnataka, 7th century CE

 

img_2158-copy

VISHNU

Basalt

Maharashtra, 11th century CE

 

img_2162-copy

SAURA PITHA (Symbol of astronomical concepts)

Dolerite

Andhra Pradesh, 13th century CE

& straight ahead

BRAHMA

Basalt

Maharashtra, Mid-6th century CE

 

img_2172-copy

GARUDA (Eagle, Vehicle of Vishnu)

Dolerite

Gujarat, Late 11th century CE

 

img_2167-copy

DVARAPALA YAKSHA

Basalt

Maharashtra, 2nd century BCE

 

img_2174-copy

UMA MAHESHVARAMURTI

Pink Sandstone

Ceiling slab from Huchchappaiyya Gudi Temple

Karnataka, 7th century CE

 

img_2179-copy

GANESHA, VAMANA AND VISHNU

Rajasthan, 12th century A.D.

 

img_2193-copy

SCULPTURED PANEL

Maharashtra, 1060 A.D.

 

img_2195-copy

SCULPTURED PANEL

Maharashtra, 1060 A.D.

 

img_2200-copy

SHAIVITE DVARAPALA

Maharashtra, 12th century CE

 

img_2165-copy

 

img_2170-copy