CHITRAKALA
चित्रकला
A series of 5 paintings inspired by the works of Raja Ravi Varma and his depiction of Apsaras and Gandharvs.
|| Chapter One ||
SHRINGAR
शृंगार -‘To adorn oneself ’
Veiled in her innocence, unaware of us, she protects herself with amulets and motifs cascading down her body. Gold to attract positive energy, taveez (protection amulets worn on neck) to protect her from our evil eye and pearls to symbolise her purity.
Inspired by 16th Century jewellery Indian women wore in the nude, A whole set of shringar was created in henna from hand harnesses, bangles, armbands, waist belt, breast plate, anklets, toe rings etc. The act of shringar was an art and performance which women would partake in daily for themselves or for their lover. As per traditions, these rituals were just for beatification but also served ancient medical purposes for women, e.g. wearing toe rings on certain toes was said to regulate periods.
|| Chapter Two ||
NRITYA
नृत्य -‘To dance’
Awestruck in her dance, the apsara narrates literature to the masses allowing the arts to pass down and flourish. The act of dance can hold many forms and meanings depending on the performer’s intentions. Unaware of us, she brings upon divinity through her dance and shringar.
Gold to bring about positive energy and a spiritual battery for storing the energy, round motifs of lotus flowers showing divinity and purity. These round motifs in the centre of the palm would allow spiritual channels to open up to let positive energy flow from one side to the other when your hands were in certain positions such as Anjali.
|| Chapter Three ||
SURILA
सुरीला -‘To be melodious’
Lured in by the notes of his tunes, the gandharv serenades the positive energies, inviting them to continue their magic as Indian beliefs link sound with divinity.
His hands adorned in traditional Indian instrument’s (tabla and sitar) and lotus flowers to represent the divinity and purity at the tips of his fingers whilst playing and how he has become one with the instruments through his practice. Furthermore, accordingly to ancient texts, music and arts were attributes people seek to learn and develop in order to attain higher levels of spirituality depending on the path of Hinduism they followed.
|| Chapter Four ||
SUNDARI
सुन्दरी -‘Pleasing to the senses’
Draped in pink, an embodiment of a pink lotus in full bloom, she shows enlightenment. Her jasmine shringar helping to maintain her serenity though ayurvedic principles, these energies to stay and sit with her as she prepares and offers bhog to the higher powers.
Bhog, a term which can be defined as a preparation of offerings to delight and please these energies. These offerings can be a perperation of different foods from fruits, vegetables and cooked dishes.
|| Chapter Five ||
PREYASI
प्रेयसी -‘To be a lover’
Don’t stare for too long, you will fall in love, she unintentionally is loved by whoever she crosses paths with but this love is of higher power as she isn’t of this realm.
The representation of Kama Dev (Hindu god of love) sitting on her shoulder and cascading down her hands, she is the embodiment for true and eternal love in which you become selfless and surrender to this devine power. Lotuses show the purity of this energy.
Photo & Set : AJ Hamilton (the togfather) | Styling: Krunal | Jewellery : Kastur Jewels & Red Dot Jewel | Muses : Luna , Ananya Vasudha Bolar , Riya Tailor , Darshana Tailor | Vocals: Ivy Banerjee | Music Production: Mainak Nag Chowdhury