State of the Art

The Saffronart Blog

Month: November 2012

The living tradition of Mithila paintings

November 6, 2012

Josheen Oberoi looks at the history and artistic practice of Mithila (popularly known as Madhubani) paintings

New York: Mithila paintings, sometimes referred to as Madhubani, originate in the region of Mithila from where they also derive their name (as is often the case in artistic traditions in India). This nomenclature is fitting since it is the geographical origin and medium of the artwork that unites this genre. Beyond that this tradition encompasses a diversity of aesthetic styles and content. As a living tradition, Mithila painting has had a dramatic trajectory over the last fifty years, and its evolution is crucial to understanding its value.

Mithila is the birthplace of Sita, located on the plains of Bihar. This mineral rich area plays into the aesthetics of Mithila paintings – the primary mediums for this tradition have always been natural vegetable dyes and mineral oxides. This accessibility of medium also tangentially relates to the original praxis of Mithila painting since it is the women of Mithila who had been the sole practitioners for generations creating ceremonial and devotional floor paintings (aripana) and wall murals (kohabar) for festivals and auspicious occasions like weddings using simple brushes made of bamboo and raw cotton. These paintings created sacred spaces for their domestic rituals.

Indrakala Devi
Shiv-Vivaha
1976
Earth and oxide colours on handmade paper
29.5 x 21.5 in
From: the collection “Colours of the Earth”, The Story by Saffronart

The first known recording of Mithila painting occurred in the 1930s. After an earthquake in Bihar in 1934, W.G. Archer, a British civil servant, found these wall and floor paintings in his survey of the area. He and his wife Mildred photographed and published their subsequent research over the next fifteen years. The 1950s and 60s saw a greater interest from Indian scholars. However, it was a 1966 drought in the area that led to its transformation from a localized and domestic art form to a national one. In the 1970s, the All India Handicrafts Board in an effort to provide economic assistance for the drought affected encouraged women of the region to transfer their wall paintings on to paper, for sale. The works in “Colours of the Earth” from the Story by Saffronart  primarily come from this early period, marking this critical chapter in the history of Mithila painting.

An art form independent of stylistic influences, Mithila painting was practiced by women from every caste. However, art historian Neel Rekha notes in her dissertation “Art and Assertion of Identity: Women and Madhubani Paintings” that one outcome of this change to paper as a medium in the 1970s was the emergence of different styles of painting. These can be broadly categorised as Geru, Bharni, Kachni, Tantric, Gobar (cow dung), and Godana (tattoo).

Untitled
Earthoxide, ink and gouache on paper
29.5 x 21.5 in
From: the collection “Colours of the Earth”, The Story by Saffronart

In the early 70s, most paintings were close to the Geru style, the folk art tradition, with an absence of ornamentation and thick black lines. While the Bharni (filled) style uses strong colours and mostly eschews lines, the Kachni (lined) style is marked by the intricate use of line to create dense, beautiful patterns. In content, Maithil artists also retain their autonomy – subjects range from mythological epics and celebrations of rituals and important events to snapshots of their daily life. Theirs is picture writing, and their ideas and experiences remain key to this art, as they were when this tradition was private to these women’s homes.

Importantly, the names of these women artists from the 1970s onwards, like Indrakala Devi, Annapurna Devi, amongst others are documented and attributed, creating a significant canon of Mithila art. Ganga Devi, a Karn Kayastha, Sita Devi, a Mahapatra Brahmin, and Jumna Devi, a Harijan, were important early painters in this tradition, each with a distinct aesthetic. Both Ganga Devi and Sita Devi have represented India at major cultural exhibitions in Japan, Russia, Europe and the USA.

Strong scholarship on Mithila paintings, from the 1970s onwards has been vital to building knowledge around the art form. Yves Vequad, a French novelist and journalist, produced a pioneering book and a film, The Women Painters of Mithila,in the 1970s. Another researcher, Raymond Lee Owens, set up the Master Craftsmen Association of Mithila in 1977 and the Ethnic Arts Foundation in 1980. This association, which is still active, provides the artists of the region with a regular source of income through exhibitions and sales. The Mithila Art Institute (MAI) was set up in 2003 at the bequest of the late Owens, and is an important source for the transmitting of techniques and the specific Maithil painting culture. In Tokamachi, Japan, the Mithila Museum exhibits about 850 Madhubani paintings at any given time.

Attributed to Rudhan Devi
Man on Bull
c. 1970s
Earth and oxide colours on handmade paper
21.5 x 29.5 in
From: From: the collection “Colours of the Earth”, The Story by Saffronart

Works by Maithil artists are also in the permanent collections of Crafts Museum, New Delhi, Syracuse University, New York, and the Philadelphia Museum of Art. At the latter two institutes, important exhibitions of Mithila paintings were held in 2002-03. Another significant exhibition was held at the Janakpur Women’s Development Center; their website has an incredible diversity of work available for viewing, while a documentary made on five Mithila artists by the University of Wisconsin-Madison documents the diversity of practices within this oeuvre.

Interestingly, the predominance of international exhibitions vis-a vis domestic suggests an appreciation for this tradition abroad that has been somewhat lacking in India. However, the government of Bihar stated early this year that plans are underfoot to open a school for teaching Mithila.

Sashikala Devi
Snake Gods
c. 1970s
Earth, oxide colours on handmade paper
22 x 30 in
Image courtesy: Saffronart’s Indian Folk and Tribal Art and Objects Auction (Aug 21 – 22, 2012), Lot 16

The shared history of Mithila paintings and the intuitive understanding of pictorial language is a constant within the diversity of the visual aesthetics that this tradition represents. Key to the economic independence of women from the region from the 70s onwards, it continues to be dominated by women artists, although now not exclusively so. The early works from the 1970s began this chapter of contemporary Mithila painting and have shown a consistent demand, even as newer artists emerge. In a recent Saffronart auction in August 2012, works by artists like Bachi Devi, Sashikala Devi (the image above) and Kali Devi, all from the 1970s, received a strong response.

“Mithila painting is part decoration, part social commentary, recording the lives of rural women in a society where reading and writing are reserved for high-caste men” (Arminton, Bindloss & Mayhew, 2006, p. 315). The suggestion  that these paintings empowered women by providing them tools of communication and documenting their lives has remained central to its narrative. The aesthetics and vibrancy of this artistic tradition has persevered in the independent voice that each Mithila artist represents.

Montblanc: Written over Time

November 6, 2012

Manjari Sihare explores the history of Montblanc, the world’s best pen makers

New York: Montblanc was founded over a century ago, in 1906. When you buy an authentic Montblanc writing instrument, you are ensured of a long tradition and well-established standards of quality few other pen makers can guarantee. In recent years, as the company celebrated various major anniversaries, it released several special limited edition writing implements. The one released in 1999, commemorated the Meisterstuck, the model that made Montblanc famous over the world. In 2006, the firm’s 100th anniversary was celebrated, marking the year that three Germans, Claus Johannes Voss, Alfred Nehemias and August Eberstein united to found the ‘Simplo-Filler Pens Company’, which later gave birth to the Montblanc brand.

The name Montblanc was supposedly hit upon at a card game involving the industrialist Carl Schalk. When the question of an apt name for a new pen was raised by Claus-Johannes Voss, Schalk said, “Why not just call it Montblanc? After all, it’s also black at the bottom, white at the top and the greatest among its peers.” Each Montblanc has a cap with the white star representing the snowy peak of Montblanc – the highest mountain in Europe. The nib of each of their pens is engraved with the figures 4810, specifying the height of Montblanc in meters. Browse through this chronology of the company’s history for more information.

MEISTERSTÜCK Solitaire Mozart Coral Fountain Pen, Montblanc
Written in Time, The Story by Saffronart

The firm’s platinum jubilee celebrations were marked by the release of Montblanc Mozart 75th special anniversary edition, of which the fountain and ballpoint pens are part of The Story by Saffronart”, time-limited collections of hard-to-find, beautiful and significant objects available for sale everyday. The 75th anniversary Mozart Edition pens are amongst the most coveted Montblanc products. Our collection titled Written in Time  also includes other limited edition pens such as the Edgar Allan Poe Set and the Dostoyevsky.

Montblanc: ‘Dostoevsky’ Limited Edition Writers Series Fountain Pen
Written in Time, The Story by Saffronart

It is important to know that Montblanc produces only two lines of pens: Meisterstuck (started in 1924) and Boheme (since the 1990s). All Montblanc models are part of one of these lines, or special limited editions. The production of specially designed pens, accompanied by eye catching packaging began soon after Parker launched its first limited editions such as Spanish Treasure 75 (1965), Queen Elizabeth (1977) and Charles and Diana (1981). In 1992 Montblanc followed suit, adopting themes such as writers, art patrons and historical events, or producing pens to commemorate important events. Dostoyevsky (1997) and Edgar Allan Poe (1998) are part of the firm’s ‘Writers Series’. Other authors honoured by Montblanc include Agatha Christie (1993), Earnest Hemingway (1992), Oscar Wilde (1994), Voltaire (1995) and Alexandre Dumas. These pens usually have silver trims, while a select few have gold trims.

Montblanc: ‘Edgar Allan Poe’ Limited Edition Writers Series Three-Piece Set
Written in Time, The Story by Saffronart

My personal favorite is the Edgar Allan Poe – a crushed velvet, midnight-blue resin barrel, with a gold trim, and the white Meisterstück star. What I like most about this pen is the narrative it embodies. The pen has a raven engraved on the nib. Raven was Edgar Allan Poe’s most celebrated poem about a talking raven’s mysterious visit to a distraught lover. The poem has a constant repetition of the word “Nevermore” to convey the distress of the subject. When asked whether Montblanc will make more when the edition is sold out, the company said that they can only repeat the raven’s succinct answer: “Nevermore”. Only 3,000 sets were produced making this one of the more difficult ‘Writers Series’ sets to find.

Marg – A Path Less Trodden

November 6, 2012

Nishad Avari of Saffronart explores the history of India’s pioneering art and architecture magazine

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Mumbai: Over the last 66 years, Marg magazine and its associate publications have lived through several logos and avatars. Soon after Marg was founded as a not-for-profit publisher in 1946, with the support of industrialist and philanthropist J.R.D. Tata, Marg became a division of Tata Sons Ltd. In 1986, it was moved under the umbrella of the newly established National Centre for the Performing Arts (NCPA), and finally, in 2009, the Marg Foundation was created as an independent Public Charitable Trust.

Marg, established as a magazine dedicated to art and architecture, was first published in October 1946, a year before India’s independence. The publication was founded by novelist and writer Mulk Raj Anand, who served as Editor for several of its volumes. As the Marg website notes, “With ‘seven ads and two rooms’ provided by the visionary industrialist J.R.D. Tata, it took up the massive task of identifying, cataloguing, and publicizing the nation’s heritage in the built, visual, and performing arts.”

Over the next decades, Anand, along with Assistant Editor Anil de Silva and Art Advisor Karl Khandalavala, led and firmly established this independent quarterly journal as one of the country’s most well-regarded publications in the fields of art and architecture. Following Anand’s long and celebrated tenure as editor, Saryu Doshi and Pratapaditya Pal led the publication, and this year, Vidya Dehejia took over the post.

Saffronart’s Words & Lines III Auction, held earlier this year, featured two issues from the very first volume of the magazine, published in January and April 1947 respectively, which included articles contributed by Frank Lloyd Wright, Karl Khandalavala, Herman Goetz, John Terry, Martin Russell and Kekoo Gandhy among others. A treasure trove of information and a collector’s delight, this set sold for more than four times its estimate.

An excellent resource for the study of ancient Indian art and culture as well, early Marg magazines have included some of the most pioneering scholarship on sites like Ajanta and Ellora, Khajuraho, Hampi and Konark. Saffronart’s collection From the Library of a Collector, features several early Marg publications on these subjects, as well as on the Heritage and Splendours of India.

Today, from its headquarters at the historic Army & Navy Building in Mumbai’s Kala Ghoda art district, Marg publishes quarterly issues of its magazine (currently in its 63rd volume) and four hard bound books each year. The Marg Foundation also collaborates with various entities to publish several single author books and other special publications, and has produced a few documentary films as well.

Timeless Elegance: The Cartier Tank

November 6, 2012

Amy Lin of Saffronart introduces the classic Cartier Tank wristwatch

Must de Cartier Tank Vermeil Wristwatch
The Story by Saffronart

New York: The Cartier Tank is easily one of the most iconic watches of the 20th century.  Ever since its debut in 1917, it has never stopped evolving and continues to be celebrated today.

Louis Cartier developed the blueprint for the legendry Tank watch during the Great War. Inspired by patriotism and the Renault tanks used on the Western Front, the case consists of a rectangular bezel encasing a square crystal, resonating with image of a WWI ‘tank’. This watch elegantly resolved the problem of combining timepieces with wrist bands by hiding the lugs under the case’s elongated sidepieces. Cartier later presented the design to General John Pershing of the American Expeditionary Force. With its classic design, the Tank instantly became a favourite among celebrities throughout the decades, with patrons such as Yves Saint Laurent, Truman Capote, and even Michelle Obama.

Yves Saint Laurent photographed wearing a Cartier Tank watch, Paris, 1983
Photograph by: Irving Penn
Image Credit: http://www.obsessionphoto.com/news/623,irving-penn.html

There have been many Tank iterations over the last 95 years. The Tank Francaise, for example, has a metal bracelet that mimics the caterpillar tracks on army tanks while the Tank Chinoise has a case that echoes a temple doorway.

The Cartier Tanks featured in our The Story by Saffronart are from both Cartier and Les Must de Cartier, a sub-brand that was established in the mid-seventies.  It’s said the line was inspired by a staff member who said, “Cartier, it’s a must.”  These Tank watches are significant for many reasons. They were the first large scale commercial watches to use vermeil (gold-plated silver) casing for a vintage accent. In addition, they became Cartier’s most affordable items during the eighties and nineties in an effort to combat counterfeits. The many editions of the watches feature various Arabic and Roman numerals with colourful bands, but always retain the classic “tank” design.

Cartier Silver Tank Wristwatch
The Story by Saffronart

Pierre Rainero, Cartier’s style director says it best in Franco Cologni’s book,“ The evolution of design of the Tank is never whimsical; it goes together with the original intentions of the design to create the purest shape possible. The Tank watch, for us, is the purest shape ever created. It has ‘essential design,’ design that looks for the essence of things. We don’t like useless décor but we are not just talking about function. The features, a sense of proportion, the volume, and colours, everything is considered and everything belongs where it should.” In essence, the Tank perfectly fuses simplicity with elegance, combing both mechanical ingenuity and artistic design. Tanks may not be the most elaborate watches available, but their Cartier heritage and timeless design make them a must for watch collectors and lovers.

An encounter Between two Artists: William Shakespeare and Salvador Dalì

November 6, 2012

Elisabetta Marabotto of Saffronart explores Dalì’s series of prints inspired by the works of Shakespeare

Salvador Dali' and Gala Eluard.

Salvador Dali’ and Gala Eluard.
Image Credit: http://thedali.org/about_the_museum/about_dali.php

London: Two Dali prints soon to be available on The Story by Saffronart are a great example of one artist’s response to the work of another. Here, William Shakespeare, centuries after his death, manages to inspire the imagination and creativity of the great surrealist artist Salvador Dali with his words and poetry.

Dalì, mostly known for his surrealist works which he created using several different media, from painting to sculpture and film, also demonstrated great skill with more ‘traditional’ forms of art like the present prints. He joined the surrealist group in 1929 of which he was one of the most outstanding and controversial members. There he met his future wife and muse Gala. In 1939 he left the Surrealist group and fled to America with Gala where he adopted a different approach to art, rejecting modernism and experimenting different art traditions.

The artist said: “A true painter is one who can paint extraordinary scenes in the middle of an empty desert. A true painter is one who can patiently paint a pear in the midst of the tumults of history.”

Given the link of Surrealism with literature, Dalì’s interest in Shakespeare’s oeuvre is not surprising. In fact, the artist also illustrated other literary masterpieces such as “The Divine Comedy” by Dante and Cervantes’ “Don Quixote”.

Salvador Dali, The Tempest (From Shakespeare I)
The Story by Saffronart

One of the prints on offer is an illustration of Shakespeare’s “The Tempest” written around 1610-1611. In this print, Dali represents the main scene of the play, where Prospero conjures up the tempest. He is depicted on the right hand side of the print, while in the background, a boat struggles against the blowing winds and stormy sea.

Salvador Dali, Henry IV from Much Ado about Shakespeare (Shakespeare II)
The Story by Saffronart

The second print is an illustration of the play “Henry IV” which belongs to a series of four historical dramas. Written between 1596 and1599, this play tackles mirrors the political situation of the time and the problems around the succession after Queen Elizabeth I.

Shakespeare, Salvador Dali.

Shakespeare, Salvador Dali.
Image Credit: http://thedali.org/exhibits/upcoming.php

William Shakespeare (1564-1616) is considered the greatest playwright in the history of English literature, and in the 19th century his work became the canon for western literature.

An exhibition on Shakespeare prints by Salvador Dalì titled “Much Ado About Shakespeare” will be held at the Dalì Museum, Florida, in January 2013.

So why not enjoy one of the Shakespeare inspired prints from your own collection? It is an occasion to not be missed!