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Dream researcher | https://nitter.cf/t.co/UDkcp2Er84
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ALT A FOLIO FROM THE MEWAR SAKUNAVALI (BOOK OF OMENS) MEWAR, CIRCA 1720 Opaque watercolor on paper; Image: 7 1/2 x 6 3/4 in. (19 x 17.1 cm); Folio: 10 x 8 1/4 in. (25.4 x 21 cm) Footnotes A handbook for interpreting dreams, the Sakunavali was a unique commission from the Mewar court. It promised to unveil the mysteries of seemingly inexplicable phenomena. Described in the text above, this omen of a tree full of parrots (in front of a night sky and behind a lotus pool) is one of the most auspicious one could receive: For good fortune and financial gains, a progeny is also promised for constant prosperity and foreign travel, pay homage in the direction of the parrots (34).
ALT Venus Verticordia (1864–1868) by Dante Gabriel Rossetti is a semi-nude depiction of the goddess Venus, portrayed as a young woman with a golden halo and flowing auburn hair, surrounded by pink flowers in a dark, lush green garden. Her left breast is visible, while the right is obscured by the golden apple she holds in her left hand. In her right hand she holds an arrow, the point directed towards her own heart, and on which rests a small yellow butterfly. Other similar butterflies ring the halo surrounding her head, and another sits on top of the apple she holds. The title, meaning 'Venus, Changer of the heart', derives from Latin and refers to Venus's ability to turn women's hearts towards virtue.
ALT GAVIN DELAHUNTY writes about Marc Chagall's "Homage à Apollinaire 1911–12" for Tate: "Even for an eclectic artist such as Marc Chagall, his painting Hommage à Apollinaire 1911–12 is something of an anomaly in terms of its intensity and complexity. A man and a woman whose bodies are joined at the hip are caught in an impossible vortex that spits out fragmented geometric shapes in rose gold, olive, crimson, blue, pink, amber and maroon; several poets’ names; part of a clock face; and the author’s name. The last is inscribed twice – once in its entirety and once as a linguistic amalgamation of Latin and Hebrew. The overall impression is of something that was once whole splitting into parts."
ALT Lakshmi Kalighat School, Late 19th Century watercolour and body colour on paper, showing the four-armed Goddess seated on a lotus throne flanked by two elephants -- 21.4 x 21.2cm
ALT Manjit Bawa pared figuration to its most essential elements, giving primacy to line by evoking elements of Kalighat painting while exploring the saturated and gem-toned hues of miniature painting. The artist's style was further inspired by his experience as a silk screen printer during the mid-1960s, focusing on broad color planes and uncluttered forms. Bawa's oeuvre demonstrates a preference for line and form over narrative, eliminating extraneous detail in favor of an ambiguous, horizon-less space. Gaja Lakshmi is a manifestation of the goddess of wealth, flanked by two elephants lustrating her with devotional ardor. Since the elephant is emblematic of royalty and vigor, this imagery reinforces connections between divine and earthly power. The auspicious iconography of Lakshmi being bathed by elephants is derived from the story of the sea of milk being churned by the gods (devas) and demons (rakshas) to discover all of its gifts, and is depicted on a grand scale in the present work.
ALT Manjit Bawa pared figuration to its most essential elements, giving primacy to line by evoking elements of Kalighat painting while exploring the saturated and gem-toned hues of miniature painting. The artist's style was further inspired by his experience as a silk screen printer during the mid-1960s, focusing on broad color planes and uncluttered forms. Bawa's oeuvre demonstrates a preference for line and form over narrative, eliminating extraneous detail in favor of an ambiguous, horizon-less space. Gaja Lakshmi is a manifestation of the goddess of wealth, flanked by two elephants lustrating her with devotional ardor. Since the elephant is emblematic of royalty and vigor, this imagery reinforces connections between divine and earthly power. The auspicious iconography of Lakshmi being bathed by elephants is derived from the story of the sea of milk being churned by the gods (devas) and demons (rakshas) to discover all of its gifts, and is depicted on a grand scale in the present work.
