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Rare 1800s Erotic Condom with Erotic Art Showcased at Museum

June 4, 2025, 4:22 pm

A rare 19th-century condom, made from a sheep’s appendix and featuring an inciting image, is finally on public view for the first time at Amsterdam’s Rijksmuseum. Not being a sculpture or painting like most art, the unusual artefact has attracted as much interest.

Curator Joyce Zelen, responsible for prints at the Dutch museum, told CNN that the condom, measuring less than eight inches, is in ‘mint condition’. She said it has been confirmed by UV testing that it was never even used.

Dating to approximately 1830, the condom is believed to be a luxury souvenir of a bordello. “It makes it more of an object to giggle with your mates than an object in fact,” Zelen described.

The photograph printed on the condom is graphic and satirical. It shows a nun with spread legs, bordered by three clergy members lifting their vestments to show erections, with the French “Voila mon choix” (This is my choice). The graphic depiction is intended as a scathing parody of religious chastity and, in the opinion of Zelen, recalls the Judgment of Paris scene from Greek mythology.

“It has something of a parody of religious celibacy, but the painting is obviously also a jest on the Judgment of Paris [the Prince of Troy], in which he is selecting the most beautiful of the three Greek goddesses presenting themselves before him,” she said to Hyperallergic. “To me, that underscores the intended clientele for such a luxury condom with a print. They were likely an affluent and literate individual.”

The method of printing utilized a copper plate pressed on the flattened gut of a goat or sheep. Though this specific condom was never utilized, others from the same time period utilized similarly using animal membranes were used with poor effectiveness to block pregnancy or sexually transmitted infections like syphilis, which was a prominent issue during that period.

The museum purchased the artifact for 1,000 Netherlands Euros (around Rs. 98,000) at an auction in Haarlem six months back. Zelen remembered the funny quandary about buying the work: “We got to the point where we had to make a decision: ‘Who is going to call our boss to see if we can purchase a condom?’ And yeah, that was me.”

The condom now serves as the centerpiece of the museum’s new exhibition, Safe Sex?, which explores 19th-century themes of prostitution, health, and eroticism. It will be on display in the museum’s Print Room through the end of November.

Miyazaki Calls AI-Generated Animation “Insult to Life” Amid Rising Popularity of AI Art

March 27, 2025, 6:36 pm

As the latest AI-generated art trend takes social media by storm, a viral video of Studio Ghibli co-founder Hayao Miyazaki has reignited a debate about artificial intelligence in animation. Miyazaki, known for creating beloved films such as Spirited Away and My Neighbour Totoro, expressed his strong disapproval of AI-generated animation in an old video. While the digital art world embraces AI innovations, Miyazaki’s comments have sparked a reflection on the emotional depth and human experience that artificial intelligence fails to grasp.

Miyazaki’s Strong Opposition to AI Animation

Recently, a viral video has resurfaced showing Hayao Miyazaki sharing his thoughts on AI in animation. In the video, Miyazaki reacts to a demonstration of AI-generated animation. The animation in question depicted a bizarre zombie-like figure, with unnatural movements, including head-based dance motions that the presenters claimed AI could create beyond human imagination.

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Miyazaki, who was visibly unimpressed, expressed his thoughts on the animation’s lack of human emotion and connection. He recalled a friend of his with a disability who struggles with simple movements like giving a high five due to muscle stiffness. He shared that the bizarre movements in the animation reminded him of his friend’s struggles. Miyazaki criticized the AI-generated content for failing to understand the pain and effort involved in real-life movements, stating, “Whoever creates this stuff has no idea what pain is whatsoever.”

Miyazaki further explained that he found the animation “creepy” and expressed his disgust, saying, “I am utterly disgusted. If you really want to make creepy stuff, you can go ahead and do it. I would never wish to incorporate this technology into my work at all.”

He then went on to call the AI-generated animation an “insult to life itself,” emphasizing his belief that technology should capture and express authentic human emotion, something AI was incapable of achieving.

AI-Generated Art’s Rising Popularity and ChatGPT’s Role

Despite Miyazaki’s criticism, the popularity of AI-generated art continues to rise. OpenAI’s latest update to ChatGPT, integrated with a new image generator, has taken social media by storm. The tool has allowed users to create stunning Ghibli-inspired artwork, leading to a wave of creativity and fascination among social media users. The art generation model, known as GPT-4o, has impressed people with its ability to generate unique art pieces in the distinctive style of Studio Ghibli.

The widespread excitement over AI-generated Ghibli-style artwork has caught the attention of many, including OpenAI CEO Sam Altman, who even changed his profile picture to an AI-generated Ghibli-style image. However, while some celebrate the possibilities of AI art, others, like Miyazaki, question its authenticity and connection to human life.

Inside Sanjay and Shalini Passi’s 20,000 sq ft Luxurious Art Haven in Delhi’s Golf Links | See Pics

October 25, 2024, 6:48 pm

“Art collector. Art connoisseur.” This is how Maheep Kapoor describes Shalini Passi, the latest addition to her Netflix reality show Fabulous Lives of Bollywood Wives. Although there may have been a hint of mockery in Maheep’s tone, she accurately captures the essence of this prominent figure in Delhi’s art scene.

An Architectural Marvel

Art is woven into every aspect of Sanjay and Shalini Passi’s luxurious home, located in the prestigious Golf Links area of Delhi. This architectural gem rivals many museums and serves as an ideal backdrop for a woman showcasing the “fabulous lives” of Delhi on Netflix.

The house’s design sets it apart from the typical rectangular structures prevalent in modern cities. As noted by Architectural Digest, it features a “sweeping curve,” resembling a gentle boomerang that overlooks a beautifully manicured lawn. Dominating this landscape is a striking 25-foot Buddha head sculpture by celebrated artist Subodh Gupta, which Shalini regards as one of her three most treasured pieces of art.

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Shalini’s Art Treasures

In addition to the Buddha sculpture, Shalini treasures Bharti Kher’s “Four Bindi panels” and SH Raza’s Germination, an acrylic work on canvas that has been featured in her Instagram posts. Her Instagram account celebrates her passion for art, showcasing a selection of sculptures, paintings, installations, and even her tastefully curated furniture.

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“I’m an artist,” Shalini told Architectural Digest. “I’ve always had an eye for art and meaningful objects. When I encounter something beautiful or interesting, I research it extensively. I visit museums, explore antique shops, and appreciate the textures and provenance of various materials. One should possess an eye for refinement.” This artistic identity is a recurring theme in her appearances on her Netflix show.

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Shalini and her husband, Sanjay Passi, chairman of Pasco Group, began their art collection over two decades ago. Her collection is a blend of Indian Modern and Contemporary art, which she describes as “eclectic but very personal.”

A Diverse Collection

Inside her home, one can find a mix of lavish items: thick Persian carpets, an Ado Chale table, a Flemish cabinet from the 18th century, an Andre-Charles Boulle table, Dutch flower paintings, and contemporary pieces from renowned artists like Jeff Koons and Damien Hirst.

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The curving corridor of the Passi residence has become a popular backdrop for Shalini’s photographs, showcasing some of her prized artwork. The brass mirror frames lining this corridor are her own design, and a bamboo grove in the garden serves as another photo spot, symbolizing “strength, flexibility, and health”—qualities she aspires to embody.

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Luxury and Comfort

The Passi residence is a luxurious space, spanning 20,000 square feet and featuring 14 vastu-compliant rooms. Shalini viewed 20 other houses before settling on this one.

“People often ask me what I love most about this house or which artwork is my favorite, and I always say it depends on the season and my mood,” she shares.

Reviving the Art of Poetry: My Journey with Micro Poetry

August 30, 2024, 2:34 am

In an age where the clamor of daily life often drowns out moments of quiet reflection, I have rediscovered the profound impact of poetry through the lens of micro poetry. This minimalist form of poetic expression, characterized by its brevity and depth, has allowed me to capture fleeting emotions and thoughts with precision and grace.

The Power of Brevity
Micro poetry thrives on its capacity to distill complex ideas into a handful of words. In a world where attention spans are shrinking, this form resonates with those who may not have the luxury of time for longer literary works. Through my micro poems, shared with a growing audience on social media, I strive to offer glimpses of beauty and insight that speak directly to the heart. Each micro poem is a complete universe in miniature, crafted with deliberate care. The challenge—and thrill—lies in making every word count, every line impactful. This form of poetry demands a disciplined approach, yet it opens up a realm of creative freedom where deep emotions and themes can be expressed succinctly and powerfully.

Championing a Revival
With over 1,000 micro poems to my name, I am dedicated to reviving poetry’s relevance in today’s fast-paced world. Poetry should be accessible to all, not confined to academic circles or literary elites. My mission is to demonstrate that poetry can be both profound and approachable, a part of everyday life rather than an esoteric pursuit. Social media has been instrumental in this effort, offering a platform where poetry can reach diverse audiences quickly and directly. Platforms like Instagram and Twitter enable me to engage with readers across the globe, fostering a community where poetry is celebrated and shared widely.

Innovating Through Fusion
My exploration extends beyond micro poetry into the fusion of prose and poetry within my novels. This blending of narrative and lyricism pushes the boundaries of traditional storytelling, creating a reading experience that is both immersive and contemplative. By integrating poetry into prose, I aim to enhance the emotional resonance of my stories and invite readers to engage deeply with the language and its rhythms.

ART OF GIVING: A PATH TO SELF-FULFILMENT

August 21, 2024, 3:55 am

Let the rich satisfy the poor implorer, and bend his eye upon a longer pathway,
Riches come now to one, now to another, and like the wheels of cars are ever rolling,
The foolish man wins food with fruitless labour: that food – I speak the truth – shall be his ruin,
He feeds no trusty friend, no man to love him. All guilt is he who eats with no partaker.
— Rigveda, X.117

We are human beings. We are social animals. We live in a society driven by consumerism, where taking is the norm. Every second, we take. We take from nature- air, water, wood, fruits, vegetables, shade, beauty, liveliness, and many more, yet we deplete its resources. What are we giving it back? That we all know. On the other hand, we take from human relationships- love, respect, happiness, motivation, purpose of life, and much more, we keep on expecting more and more than we give. We take from our own selves, constantly seeking fulfillment outside of ourselves with no contentment and limitations. But what if we shift our focus to the art of giving? Giving without any expectations to nature, human, ourselves..

The act of giving is often misinterpreted, as it is more than simply offering a material gift such as a costly smart watch or a diamond necklace. And if we offer such things to someone, surely we seek something in return. The interest is vested. But art of giving is all about a mindset, a way of life, and a philosophy that nurtures generosity and responsiveness either it is towards human or nature. When we engage in the art of giving, we begin to understand the immense joy and fulfillment that can be found in contributing to the world around us.

In Hinduism, the practice of ‘dana’ (selfless giving) is deeply rooted in one’s ‘dharma’ (spiritual responsibility). Dharma encompasses a broad spectrum of principles, including universal harmony, moral obligations, righteous conduct, and ethical behavior. Every individual has a unique dharma that extends beyond personal boundaries, accepting responsibilities towards family (loved ones), society (community), the world (environment), and all living beings (compassion).

In the past, various forms of generosity, giving wholeheartedly or ‘dana’, existed, including ‘Bhudaana’ (gifting land for the greater good), ‘Vidyadaana’ (sharing knowledge and skills through teaching), ‘Aushadhadana’ (providing healthcare and support to the sick and afflicted), ‘Abhayadana’ (offering protection and freedom from fear), and ‘Anna dana’ (nourishing the hungry and welcoming all visitors with food) etc. These timeless acts of kindness continue to inspire selfless giving and compassion in modern ways now.
In the ancient Hindu epic, ‘Mahabharata’, a profound wisdom is shared in the ‘Vana Parva’, Chapter 194 that advocates for the transformative power of generosity, urging us to conquer the mean by giving.

In Chapter 17 of the ‘Bhagavad Gita’, Krishna also emphasizes the importance of consistent and selfless giving, advocating for steadfastness in ‘sattvikam dana’, the purest form of charity. He teaches that cultivating this noble practice brings greater benefits, while cautioning against ‘tamas’, the destructive force of selfishness and ignorance. Krishna guides us to embrace the elevated path of giving with generosity, letting go of egoistic tendencies, and embracing the transformative power of selfless giving.

Many theories have explored the concept of giving and its impact on our lives. One such theory is the Universal Law of Reciprocity, which suggests that we receive what we give. It says that all that is sent is need to be reciprocated. It is one kind of ethics called ‘ethics of reciprocity’ that can be comprehended in this way that one should reciprocate to others how one would like them to treat him or her. In essence, the more we give, the more we receive, not just in material possessions but also in emotional fulfillment and personal growth. This theory aligns with the idea that giving nurtures our souls and allows us to connect with others on a deeper level and promotes kindness and fairness.

In the words of renowned philosopher and writer Ralph Waldo Emerson, ‘The purpose of life is not to be happy. It is to be useful, to be honorable, to be compassionate, to have it make some difference that you have lived and lived well.’ He emphasizes the significance of giving and the impact it has on our sense of purpose and overall fulfillment. By dedicating ourselves to the art of giving, we realize that true happiness lies in selflessness and making a positive difference in the lives of others.

Similarly, Mother Teresa, a symbol of selflessness and compassion, legendarily believed, ‘It’s not how much we give, but how much love we put into giving.’ This sentimentality strengthens the idea that quality outdoes quantity when it comes to giving. It is not the monetary value of a gift that matters; rather, it is the intention and love behind it.
This philosophy of Mother Teresa encourages us to give with an open heart and genuine care for others. For example- a gentle offering of bananas, ‘Daal-Roti’, and ‘Lassi’, filled with love or affection, surpasses the grand opus of exotic and expensive cookeries such as the rarefied allure of Chinese Shark Fin Soup, the indulgent luxury of Australian Sevruga with traditional garnishes and Blini, and the refined elegance of branded wine Jeroboam of Chateau Mouton-Rothschild 1945. For in the act of giving, it is not the extravagance of ingredients or the prestige of presentation that truly sustains, but the tender touch of compassion, the warmth of generosity, and the sincerity of the heart.

In his book ‘The Art of Giving,’ philanthropist Charles Bronfman explores ‘the Power of Giving’ as a means of self-fulfillment. Bronfman argues that true fulfillment comes from recognizing the needs of others and actively working to meet them. He emphasizes that giving has the ability to transform individuals and communities alike, fostering a sense of unity and interconnectedness.

When we embrace the art of giving, we begin to realize that our happiness and fulfillment are not solely dependent on what we receive, but rather on the positive impact we have on others. By shifting our focus from taking to giving, we break free from the cycle of dissatisfaction and constantly seeking more.

The art of giving opens our eyes to the beauty of human connection and the profound joy that comes from making a difference, no matter how small. Through acts of kindness, generosity, and compassion, we can create a ripple effect, inspiring others to do the same.
Amid the pursuits of materialistic gains, as individuals and community, we need to learn and embrace the art of giving to achieve the goal of collective happiness, transforming lives and sustaining a culture that celebrates selflessness and empathy.

Dr. Shalini Yadav is a Professor, Writer and Columnist hailing from Jaipur, Rajasthan.

The Call of the Mirror

August 12, 2024, 6:20 am

Viraya Eko, curated by Rohit J Kapoor, presents “The Call of the Mirror” at Travancore Palace, New Delhi, on August 11th from 12 noon to 7 pm. This group exhibition features diverse artworks that challenge perceptions and encourage self-reflection.

Highlights include Asha Thadani’s social commentary photography, Suvajit Mondal’s ceramics, and the innovative metalwork of Nitush and Aroosh. The show also features Nandini Jhabua’s Gond Art, Kopal Seth’s MFA work, and performance by Khulem Tennyson.

“The Call of the Mirror” invites viewers to explore personal introspection through a rich tapestry of artistic expressions.

Seema Pandey’s Art: ‘Between These Lines’

August 12, 2024, 6:15 am

Artist Seema Pandey presents a compelling solo exhibition, “Between These Lines: In This Space I Root and Grow,” at Delhi’s Shridharani Art Gallery, Triveni Kala Sangam. This collection, showcasing nearly 100 pieces, includes works in various mediums such as acrylic, ink on canvas, and gouache on paper. Pandey’s exhibition explores the nuanced contrasts of black and white, inviting viewers into her unique personal and environmental landscapes.

In her statement, Pandey describes the artistic process as beginning long before the final composition takes shape. It starts with selecting the canvas and tools, creating a stage where creativity unfolds. In the midst of an urban setting, where serenity is scarce, Pandey’s work offers a visual retreat into tranquility and contemplation. Her artworks reflect resilience and the human spirit, weaving together moments, memories, and dreams.

The exhibition is characterized by its exploration of minimalism and the use of everyday materials like thread and needle. These elements are not merely decorative but serve to decode deeper narratives about nature, symmetry, and personal experiences. Pandey’s approach contrasts starkly with the often loud and bold statements in contemporary art, instead presenting a quiet, introspective journey through black and white contrasts.

The exhibition captures Pandey’s ability to merge disparate elements—vertical and horizontal perspectives—into a cohesive artistic narrative. It transcends conventional boundaries, offering a fresh angle on minimalism and the essence of tranquility through art. “Between These Lines” is a testament to Pandey’s skill in transforming the simplicity of black and white into a profound exploration of inner and outer worlds.

Hemraj: The Maestro of Contemporary Indian Art and His Spiritual Kinship with Buddha

August 3, 2024, 3:16 am

Hemraj stands as a colossus in the domain of contemporary Indian art, revered for his monumental oil abstract paintings that encapsulate the quintessence of his unparalleled artistic vision. Esteemed for his expansive canvases, Hemraj’s oeuvre is a testament to his profound comprehension of abstraction and the intricacies of human emotion. His artistic journey, suffused with philosophical and spiritual undertones reminiscent of Buddha’s teachings, imbues his work with an ethereal depth.

For Hemraj, abstraction transcends mere stylistic expression; it epitomizes a profound mode of existence. He avers that to engender abstract art, one must embody abstraction itself. This philosophy is a direct corollary of the Buddhist precept of inner emptiness and detachment from the corporeal. Hemraj frequently articulates his mental and emotional state as being “blank as the sky,” a metaphor akin to the Buddhist notion of śūnyatā (emptiness). This state of pure receptivity permits him to channel his most intimate thoughts and emotions onto the canvas, unencumbered by preconceived notions or extraneous influences.

Hemraj propounds a potent symbiosis between the artist and their creation, asserting that “painting is the reflection of the artist.” This tenet resonates profoundly with the Buddhist teaching that the external world is a mirror of our inner state. Hemraj’s paintings act as reflective surfaces, mirroring his inner cosmos and personal experiences, analogous to how meditation unveils the inner consciousness. The deep interconnection between the artist and his art engenders a visceral resonance with the audience. Each brushstroke, chromatic choice, and compositional element is an unadulterated manifestation of his identity, convictions, and emotions, paralleling the way Buddhist art reflects the practitioner’s inner serenity and enlightenment.

Hemraj’s artistic journey is a relentless quest to explore the frontiers of abstract art, mirroring a spiritual pilgrimage towards enlightenment. His works, distinguished by their audacious use of color, dynamic forms, and intricate textures, beckon viewers into a realm where the tangible and the imaginative coalesce. Through his artistry, Hemraj challenges the orthodox perceptions of reality and beckons his audience to delve into their own abstract contemplations, much like Buddha’s exhortations to transcend superficial reality and apprehend deeper existential truths.

Hemraj’s canvases are not merely visual spectacles; they are meditative landscapes inviting introspection and spiritual awakening. His ability to distill complex emotions and abstract thoughts into visual form creates a dialogue between the viewer and the painting, encouraging a profound engagement with the work.

In the annals of contemporary Indian art, Hemraj’s contributions are unparalleled. His large-scale oil abstract paintings not only exemplify his technical virtuosity but also encapsulate his profound philosophical and spiritual insights, drawing inspiration from the timeless wisdom of Buddha. For Hemraj, abstraction is more than a visual lexicon; it is a modus vivendi, a profound reflection of the artist’s essence, and a spiritual odyssey towards enlightenment.

As he continues to transcend the boundaries of abstract art, Hemraj remains a beacon of inspiration for both nascent artists and seasoned connoisseurs worldwide. His work, suffused with the essence of Buddhist philosophy, stands as a testament to the enduring power of art as a medium for spiritual and emotional expression. Hemraj’s legacy is one of artistic brilliance intertwined with spiritual profundity, a true maestro whose paintings are the sublime reflections of his innermost self.

Ancient Strokes, Modern Mediums: How Women Artists Are Driving The Global Popularity Of Madhubani Paintings

July 25, 2024, 3:57 pm

“It happened in front of me,” recounts Padma Shri award-winning artist Manu Parekh to indianexpress.com, reflecting on the transformation of Madhubani paintings from traditional wall art to paper. This shift began in 1965 when Bhaskar Kulkarni, an Indian government aid worker, traveled from Delhi to the Mithila region in Bihar.

Kulkarni proposed the innovative concept of transferring traditional wall paintings to paper. To support this transition, the government supplied artists with paper and colors at no cost. At that time, Parekh was working for Pupul Jayakar, an Indian cultural activist and art historian, at the All India Handicrafts Board (AIHB). Jayakar had directed Kulkarni to Mithila following a suggestion from then Prime Minister Indira Gandhi to “do some artwork in Bihar.” The resulting artwork was marketed and sold through government-run handicraft stores across India, thereby broadening the audience for Madhubani art, as noted by the Madhubani Art Centre.

Today, Madhubani paintings have expanded beyond their traditional mediums to include canvas, paper, fabric, and digital formats.

Predominantly created by women, this art form has not only endured over centuries but has also adapted to remain relevant in the modern art scene. “Madhubani art is not merely a form of expression but a crucial cultural asset of the Mithila region. It embodies the region’s rich traditions, folklore, and mythology, serving as a living repository of Mithila’s cultural heritage,” comments Madhubani artist Vidushini Prasad. By continuing this artistic tradition, artists ensure that these cultural narratives and practices are preserved for future generations.

Madhubani painting plays a vital role in preserving and promoting the cultural heritage of the Mithila region. “Women have been the primary custodians of Madhubani painting since its inception. This art form was passed down from mothers to daughters, with each generation adding its unique touch while maintaining traditional techniques and motifs,” explains Manisha Jha Mishra, a national award-winning Mithila painter.

Historically, Mithila women adorned the walls and floors of their homes with intricate designs for special occasions and festivals. Today, women continue to lead the field, earning national and international recognition and overcoming social barriers to establish themselves as prominent artists and entrepreneurs. Madhubani painter Ganga Devi is a notable example. “Ganga Devi became a celebrity,” says Mishra, particularly after Tokio Hasegawa, director of the Mithila Museum in Japan, visited India in 1972 and was impressed by one of her paintings.

“Women artists like me promote Madhubani art through workshops, exhibitions, and social media, making it accessible to a global audience. I manage one of the largest Facebook communities dedicated to Madhubani art, with over 35,000 members, most of whom are women from India and abroad,” Prasad shares.

She also notes, “Women have embraced technology, creating and sharing their paintings on social media. Many rural women are now also making reels, which has empowered them. During Covid, when events and exhibitions were halted, many artists used social media to sell their work and sustain themselves.”

Balancing tradition and innovation is one of the key challenges for Madhubani artists today. According to Mishra, it is essential to understand both symbolism and cultural context to advance this art form. Many artists have successfully integrated traditional motifs and techniques with contemporary issues and aesthetic preferences. “The culture remains constant, but the world around us changes. My work reflects the connection between these two worlds,” Mishra explains.

Some artists experiment with new color palettes and materials while retaining Madhubani art’s distinctive style and symbolism. Prasad highlights, “I preserve traditional themes and techniques while incorporating vibrant colors and modern designs to attract urban and global audiences.”

Parekh offers a different view: “Madhubani art is folk art deeply rooted in tradition. There is no need for additional variety when a woman sees her mother’s work. They are not modern painters.” He emphasizes the importance of understanding cultural roots for artistic growth: “The more one comprehends their mother’s art, the greater their advancement. It’s individual-dependent, reflecting our profound cultural heritage.”

Madhubani art faces several challenges in the contemporary art market, including a tendency to be undervalued compared to modern or contemporary art. “Most galleries don’t showcase folk art, making it difficult to display in galleries,” Prasad notes.

Ridhima Srivastav, founder of Weave Hand, an online marketplace supporting artisans of handmade products, observes, “Balancing traditional methods with the demands of the commercial art market can be challenging. There is a risk of losing authenticity and cultural significance in the pursuit of profit.”

“Segregation” is a significant issue, according to Mishra. “Outside India, Madhubani paintings aren’t categorized as folk art but as simply art. When viewed as art, they are appreciated for their artistic merit without labels or classifications.”

Despite these challenges, there are significant opportunities. Madhubani art has evolved into a global phenomenon, transcending caste distinctions and geographic boundaries. “The increasing global interest in indigenous art forms has created new markets for Madhubani paintings. E-commerce platforms have facilitated direct connections between artists and global customers, bypassing traditional intermediaries,” says Srivastav.

Exhibitions, workshops, and collaborations with international artists and institutions have enhanced awareness and appreciation of Madhubani art. This global presence has opened new markets and opportunities for Madhubani artists, as noted by Mithila painter Yanshika Priya.

Intresting Facts About Tibetan Culture

July 14, 2024, 4:13 pm

Tibetan culture is a rich and diverse tapestry woven from the threads of Buddhism, art, festivals, music, dance, architecture, cuisine, language, and script. This article delves into the fascinating aspects of Tibetan culture, highlighting its unique features and contributions to the world.

Buddhism in Tibetan Culture

Buddhism is the cornerstone of Tibetan culture, deeply ingrained in every aspect of life. Tibetan Buddhism, also known as Vajrayana Buddhism, is a distinct form that evolved from the teachings of Buddha Shakyamuni. The Dalai Lama, the spiritual leader of Tibet, is a prominent figure in Tibetan Buddhism. The religion emphasizes the importance of compassion, wisdom, and spiritual growth. Monasteries and temples are central to Tibetan Buddhist practice, serving as hubs for meditation, prayer, and spiritual guidance.

Thangka Art

Thangka art is a significant aspect of Tibetan culture, originating in the 11th century. Thangkas are portable, silk or cotton fabric scrolls depicting Buddhist deities, scenes, or mandalas. These intricate paintings are used for meditation, instruction, and decoration. Thangkas often feature the Eight Auspicious Symbols, such as lotus flowers, banners, and fish, which symbolize enlightenment and spiritual purity. The creation of thangkas requires years of training and adherence to strict rules, ensuring the accurate depiction of deities and their attributes. Thangkas are highly valued and can be found in monasteries, temples, and private collections worldwide

Thangka Painting

Festivals

Tibetan festivals are vibrant celebrations of their cultural heritage. One of the most significant festivals is Losar, the Tibetan New Year. This festival is marked by elaborate rituals, prayers, and feasting. During Losar, Tibetans engage in traditional activities like making butter sculptures, performing sacred dances, and offering prayers to the gods. The festival time is utilized by people for family gatherings and community bonding.

Traditional Music and Dance

Tibetan music and dance are integral parts of their cultural heritage. Traditional music features instruments like the dranyen (a stringed instrument), the damaru (a drum), and the gyaling (a wind instrument). These instruments are used in various forms of music, including sacred and secular compositions. Tibetan dance is characterized by intricate movements and costumes, often performed during festivals and rituals. The dances are meant to evoke spiritual energies and convey stories from Buddhist mythology.

Tibetan Music

Architecture

Tibetan architecture is characterized by its unique blend of Buddhist and traditional styles. Monasteries and temples are built with intricate wood carvings, vibrant colors, and intricate designs. The Potala Palace in Lhasa is a prime example of Tibetan architecture, featuring a mix of Buddhist and traditional elements. The palace once served as the Dalai Lama’s winter residence and is currently recognized as a UNESCO World Heritage Site. Additional prominent landmarks in the area encompass the Jokhang Temple and the Norbulingka Palace.

Cuisine

Tibetan cuisine is known for its hearty, spicy, and flavorful dishes. Popular dishes include momos (steamed dumplings), thukpa (noodle soup), and tsampa (barley flour). Meat dishes like yak meat and beef are common, often served with traditional spices and vegetables. Tibetan cuisine is influenced by the region’s harsh climate, with dishes designed to provide warmth and sustenance. Traditional Tibetan tea, made from butter tea and salt, is a staple beverage.

Language and Script

The Tibetan language is written using the Tibetan script, which evolved from the Indian Brahmi script. It is a complex writing system with numerous letters and diacritical marks. Spoken by over 6 million people worldwide, Tibetan is an official language in Tibet and is renowned for its rich literary tradition, encompassing sacred texts and historical documents. The Tibetan script is also employed in other regional languages like Ladakhi and Sherpa, serving as a vital component of Tibetan culture, essential for religious texts, literature, and everyday communication.

In conclusion, Tibetan culture is a rich and multifaceted tapestry that combines Buddhism, art, festivals, music, dance, architecture, cuisine, language, and script. Each of these elements contributes to the unique identity and heritage of the Tibetan people. From the intricate thangkas to the vibrant festivals, Tibetan culture is a treasure trove of spiritual, artistic, and cultural riches.

Where Art and Science Converge: Translation in the Age of AI

June 29, 2024, 5:08 am

Translation, a realm touched by divinity, has emerged as a mystical conduit, breaching the imposing walls of cultural and linguistic barriers. Its nimble spirit has crafted bridges, allowing for the harmonious exchange of wisdom and knowledge, spanning boundaries and frontiers in recent decades.

Through the prism of translation, the stirring tales and celestial scriptures of bygone eras have embarked on journeys along rivers of comprehensions, conquering realms both near and far. The enchantment of translation has unfurled its benevolent wings, liberating the imprisoned whispers of marginalized societies that yearned to be heard. Once confined within the archives of regional languages, these voices have now ascended to national and global acclaim through the alchemy of translation.

‘Since the end of World War II, translation has become extremely important as an instrument of inter-lingual communication,’ says Wolfram Wilss, a scholar deeply acquainted with the subject, highlighting the requirement of a delicate balance between the artistic nuances of language and the scientific precision of transferring meaning across diverse cultures.

As we embrace the “technological turn” and the advent of Machine Translation (MT) and Artificial Intelligence (AI), the backcloth of translation underwent substantial alterations. This invites us to question whether the surge in the use of MT and AI, with their technical know-how, poses a threat to the essence of the translated text, or if the original fragrance can sustain itself after undergoing the mechanical process.

In this context, postmodern theorists view translation as a cultural agency intertwined with power structures, cultural codes, sexual politics, and factors such as language, syntax, semantics, period, and the translator themselves. They assert that literal translation falls short of fulfilling its purpose. Even during Roman times, Cicero opposed the “word-to-word” translation that AI performs today and instead endorsed the idea of “sense-for-sense” translation.

Undoubtedly, advancements in MT and AI have enhanced productivity in translating simpler or routine texts. However, an overwhelming majority would admit that reliance on technology stems from the fast-paced demands of publishers and agencies, seeking to meet ever-looming deadlines. This shift towards an engagement with translation technologies, including MT and AI, may be irresistible, but it diminishes the value of human translation.

Hans-Christian Oeser, a renowned literary translator, speaks to this concern, declaring his intention to utilize electronic tools while remaining aware of the dangers they pose to his artistic autonomy. He emphasizes the need for translators to resist and reject any publishers that transform the human-aided machine translation into machine-aided human translation solely as a cost-minimizing measure. We must all embrace the spirit of the Humanities and be the Luddites of our profession!

Indeed, the human touch is irreplaceable when it comes to capturing the sensitivities, passions, and cultural intricacies that mechanical means may overlook. I firmly believe that human translators are indispensable for complex or creative works, ensuring the cultural and ethical essence is preserved.

The concern about losing the essence of a text is valid when relying solely on MT and AI. Linguist Anthony Pym reminds us in his work “Exploring Translation Theories” that translation is fundamentally an ethical discipline. There is a real danger that an overreliance on machines may cause a loss of cultural richness, poetic beauty, or historical references that are essential for fully understanding a text.

Translation, as philosopher Walter Benjamin puts it, is an art that entails taking a message from one language and rendering it comprehensible in another language, while maintaining its linguistic, cultural, and emotional impact. Nevertheless, famed translator and linguist Eugene A. Nida strives to establish translation as a science within the realm of academia.

While translation is undoubtedly an art, it also relies on scientific methodologies. Umberto Eco, a renowned semiotician, describes translation as the “art of failure,” acknowledging the challenges in capturing the precise essence of a text in another language. Linguists emphasize the importance of grammar, syntax, and semantic accuracy in effectively conveying the message.

MT and AI have made remarkable progress in automating the translation process. They employ algorithms, neural networks, and vast amounts of data to generate translations that are often swift and cost-effective. However, these technologies have limitations.

Although they excel at providing literal translations, they often struggle to grasp semantic nuances, cultural references, and context, which only human translators can truly master.
When it comes to literature in India, it is fair to say that the entire corpus of Indian literature in various languages has experienced numerous avatars of translation, including transcreation, migration, adaptation, and appropriation. In the multilingual milieu of India, “translation consciousness” and “translation culture” are deeply rooted, having also been influenced by the power dynamics of the colonial British Raj.

From the Jataka and Panchatantra Tales to epics like the Ramayana and the Mahabharata, or the Vedas and Puranas, machine translation can never fully do justice to these masterpieces. While MT or AI may prove helpful for technical texts, the rich literature of India, with its diverse cultures, will always require the human mind and heart to transfer its quintessence.

Therefore, as we embrace technological advancements, we must strike a balance that leverages the strengths of machine translation while preserving the artistry and human creativity necessary to capture the essence of a text. Translator Lawrence Venuti eloquently captures this sentiment, reminding us that translation aims to communicate something more than mere information – it seeks to transmit something that goes beyond the facts.

Dr. Shalini Yadav is a Professor, Writer, and Columnist from Jaipur, Rajasthan.

The National School Of Drama Presents Annual Summer Theatre Festival

May 26, 2024, 5:16 pm

Dive into a world of captivating performances as the National School of Drama hosts its highly anticipated Summer Theatre Festival, showcasing a vibrant array of theatrical masterpieces.

The National School of Drama (NSD) in Delhi, established in 1959, stands as a cornerstone institution dedicated to the rich tapestry of theatre arts in India. Initially operating under the aegis of the Sangeet Natak Akademi, NSD gained autonomy in 1975, falling under the purview of the Ministry of Culture.

At NSD, aspiring artists undergo a comprehensive three-year diploma course in Dramatic Arts, delving into various facets such as acting, direction, stage design, and scriptwriting. The curriculum encompasses both classical and contemporary theatre practices, fostering hands-on experience through workshops, productions, and collaborations with seasoned professionals.

Renowned for its rigorous training programs, NSD has nurtured some of India’s most illustrious talents, including Paresh Rawal, Naseeruddin Shah, Om Puri, and Anupam Kher, among others. The institution’s alumni stand as testament to its commitment to excellence in theatre education.

NSD annually hosts the Bharat Rang Mahotsav, one of Asia’s largest theatre festivals, showcasing a diverse array of theatrical performances from across India and around the world. This festival serves as a platform for artists to showcase their creativity and celebrate the art of storytelling.

In addition to the Bharat Rang Mahotsav, NSD organizes the Summer Theatre Festival, further enriching India’s cultural landscape. This year, the festival commences on May 23rd and runs until June 15th, offering audiences an opportunity to immerse themselves in an eclectic mix of theatrical productions.

From timeless classics like ‘Andha Yug’ to contemporary gems like ‘Abhigyan Shakuntalam’, the festival’s lineup promises something for every theatre enthusiast. Performances are scheduled from 3:30 to 7:00 PM, providing ample opportunity for attendees to indulge in their passion for theatre.

Tickets for the Summer Theatre Festival are priced affordably, starting at just ₹50 and ranging up to ₹400, ensuring accessibility for all. Through initiatives like the Bharat Rang Mahotsav and the Summer Theatre Festival, NSD continues to uphold and promote the vibrant tradition of Indian theatre, fostering a love for the performing arts across generations.

The future of Carnatic music is secure: Jayanthi Kumaresh

May 22, 2023, 2:43 am

Jayanthi Kumaresh is an Internationally renowned Saraswati Veena artist. Jayanthi comes from a direct unbroken lineage of disciples of Saint Thyagaraja who have been practising Carnatic music for six generations.

In a candid conversation she gives her insights about her journey with the Veena. Excerpts:
Q. Even though your family has been into music for generations, what influenced you to take up music? Is it by choice or by accident?
A. I come from a family where music has been the life breath for over six generations now. But most of them were violinists. Only one aunt on my mother’s side played the Veena. She was also pretty much self-taught and developed into a fine vainika. It was my mother who started me off on Veena from the age of three.

When I was very young, I felt that all my cousins were playing on that compact instrument called the ‘Violin’ whereas I was given this humongous Veena for which I had to traverse from one end to other. Yet I felt that there was a connection between me and Veena. Like they say, I did not choose my instrument. I think my instrument chose me. Then I learnt in a Gurukul system with my maternal aunt Smt. Padmavati Ananthagopalan, Lalgudi Jayaraman’s first sister, and stayed with her for over twenty years to pursue and master the art of Veena playing.

Q. Have you adopted any particular trait /style in your rendition and the influence of which reflects in your music?
A. The playing style of every musician is a process of growth and the journey of a musician is always continuous and ever evolving, ever changing. As a child, my musical pedagogy was influenced by my gurus and my uncle and Violin Maestro Lalgudi Jayaraman Ji. I was also influenced by my other guru Dr. S. Balachander, the Veena virtuoso, who helped enhance my perception of Ragas and technique. The different collaborations in musical journey helped expand the horizons of my musical idiom and altered my presentation as the journey progressed. I was influenced by several giants of the Hindustani music like the Tabla wizard Ustad Zakir Hussain ji who motivated me to find my own style. He encouraged me to find my own identity and style of music other than that of my gurus because each person is a product of the experiences that they have in their life. My husband Violin Maestro Vidwan Kumaresh is a great pillar of strength in my life.

Q. Can u share some memorable moments in your musical journey?
A. There have been many memorable moments in my musical journey. The one that comes to my mind right now is the first concert I performed with Ustad Zakir Hussain ji more than 15 years ago. Zakir ji was playing with a veena player after a long hiatus. He played with my guru S. Balachander when he was himself very young. I was quite excited yet nervous and was wondering how Zakir ji would react to my music. The ease and comfort of the melody with the rhythm in harmony was unbelievable. That was a life changing moment for me. Since then, we have performed together at many prestigious venues. Recently we had a 19-city tour of the United States and the Esplanade at Singapore in a featured production called TRIVENI along with Hindustani Violinist Kala Ramnath ji.

Q. How do you perceive your music journey thus far? How do you wish to contribute to the society for the cause of music?
A. My journey of music spanning almost 40 years has been to promote propagate and popularise the Saraswathi Veena, the National instrument of India across the globe. In my roles as a Pioneer, Performer, Educator and researcher, I have aimed at having the single-minded focus to be an ambassador of the Saraswathi Veena. Carnatic Music is over 2000 years old and I believe that it is my responsibility to preserve and pass it on to the younger generations. This rich cultural heritage needs to spread to different strata of this society so that they can benefit from the joy of our music. My web series Cup O Carnatic aims at bringing this highly sophisticated system of music to the society especially children and adults, in friendly and easy to understand segments. There are so far 8 seasons on social media garnering a cumulative viewership of over 3 million.

Q. What do you hope audiences take away from your music, and how do you see the role of Carnatic music in the world today?
A. In today’s world, the lines between genres of music have become blurry. For any instrumentalist, the language of music is universal as it becomes a completely sonic experience and instrumentalists do not have to deal with the language, region or religion. But speaking of Carnatic music, the next crop of musicians is ready to take on the baton. The future of Carnatic music is secure with a great number of young musicians showing immense talent. Art is a remembered experience and each concert must leave an indelible impression on the listener. There must be something for the mind and something for the soul in every presentation. Each musician aims at creating that solace in the listener and a thirst for more such musical moments.

Suman Doonga is an educationist and social worker with a passion to preserve and promote Indian art and culture.

First Indian craftsman to combine traditional felting with Australia’s “Nuno Felting Technique” to make Kashmiri Namda

November 26, 2022, 1:46 pm

Farooq Ahmed, a master artisan from Srinagar, has given the industry new life by integrating it with contemporary technology. He has created a brand-new craft that is unparalleled in the entire globe by fusing traditional handicrafts with the Australia-based “Nano Felting Technique.”

Farooq Ahmed is the only artist in India who has merged this with conventional felting as a result. Using this method, new handicrafts, silk carpets, and scarves are being produced.

The general public enjoys the goods they produce.

It is important to note that the Kashmir valley is home to numerous ancient crafts, including paper mashi, shawl and carpet weaving, handloom, khatband, wood carving, namda sazi, and gaba sazi.

In this situation, combining these crafts with contemporary methods is thought to be beneficial.

In an interview, Farooq Ahmed stated that it took him at least two years to learn this skill, during which time he was able to produce these cutting-edge products only after nonstop workdays and nights. He claimed that a Delhi-based designer assisted him in learning this novel technique.

“He helped me a lot. When he told me this technique, I didn’t think that I would be able to learn it, but Alhamdulillah, after a lot of hard work, I succeeded in it.”

Remember that Farooq Khan’s family has a long history in the textile business, and that he is considered to be the last hope for the Kashmiri textile sector. Additionally, he has been honoured on both a national and local level. As a result of their efforts, the traditional art of Kashmir is now incorporating numerous new designs and techniques. They claim that by revitalising Kashmir’s traditional handicrafts with these goods, they are attempting to revive the glory of this dying craft.

While developing this new method with a private craft company, Farooq Khan is not pleased with government initiatives to support artisans.

“There is no support at the government level to promote this craft while raw materials are also not available in the valley,” he said.

Farooq Khan claims that he is the only artisan who creates new products using this technique.
“To the best of my knowledge, I am the only craftsman to create a new product with such a technique.”