Modern art of Rajasthan (from 1960 to 2010)

Six decades from 1960 to 2010, the modern art of Rajasthan can be considered important for two reasons. One, that the work of many notable painters came out in this interval and the other that some of the painters here have also devised a fundamental, personalized dialectical language to make their identity at the national level. During these years, the study of teaching at the university level also started. Research and research in the field of art is also more visible in this period. Today there are probably more than three hundred painters in the small 'modern' style of Rajasthan, but sadly, such artists can be mentioned, whose compositions have their own ecosystems, if not in 'story', marking Of course.

Crafts of Transparent Flushing

There is not much number of such painters in India, who have only worked with geometric shapes in their entire art life, but undoubtedly Mohan Sharma was in such a place. The works of Mohan Sharma (1942-1988), born in the town of Nathdwara (Udaipur), in Chitre town, shook a shadowy 'utopian' urban system, which is illuminated by the fantasy divine light. By the time since 1966, Mohan Sharma made the basis of creation of the geometric patterns, to his last work, he managed to echo the transparent silence of the Rupnagar metropolis, whose blue-tone dream became very deep in the unconsciousness of Swanpilil Ambience Mohan Sharma.

The basic truths of the illustration, while continuously being aware of the length, breadth, depth, distance, light and shadow, the works of Mohan Sharma continued to form those pictorial geometric shapes-seeing that we can stand by the thieves. If you want to give a 'gross' identity to their work, then we can say that these works are finally the new transformation of 'Cubism'.

Since the beginning of 1970's and Mohan Sharma, who had painted the title 'Cosmic-Crystals', from the beginning of the excitement, we have come to see a world of imagination and workmanship in which today's metropolitan understanding has emerged from the brightness . This is not just a general or playful expression of the walls, intersections and alleys, but the living form of a magnificent metropolitan life filled with sizes. Here are the signs of highways, flyovers and bridges, where there is a strange dark flicker of light and darkness. Somewhere in the eyes of the eyes of the eyes of the eyes, the blurry light of our eyes starts suddenly and suddenly sinks, like all this is a mystical part, where we want to tie the mysteries of colors, the city-shapes. Keeping the acrylic colors 'fuse', keeping their flame and 'Divinity' in front of them and Mohan Sharma, who spread them on a panorama in the form of a colorful halo, was present in the form of a tilted craftman. The picture of Mohan Sharma is so embarrassing and numb that there is no formula of human vibrations, we are not thinking of thinking in this world full of imaginative beauty. After a border, the flushiness, inertia and beautiful solitude of his paintings, we are inundated from within, because there is no one on his decorated theater. Mohan Sharma was the architect of singular loneliness in this sense.

In the paintings of Mohan Sharma, the brilliance of the city-like illumination emerged - probably not in the compositions of any painter in Rajasthan. He tried to take the finger of the geometry in his small, but meaningful life and take us to the uppermost spirit of the metropolis. Mohan believed that now in the world of the village, when it is not possible near us to return to his holy past, then why can not the inspiration of the composition of the present day life and art of modern civilization for art? When the geometric world of Vaastu created by man is an indispensable reality for contemporary societies, then what is the kind of mental escape from 'Kalpanchal' village which takes the art towards?

It is also a strange thing that Mohan Sharma, as sensitive and optimistic as to the physical creatures of human beings, was equally ridiculous and unpleasant to him in the art-in-person presence. He considered the world of civilized human civilization as a great example of his creative abilities, but he never found the human presence in canvas. Mohan used to believe that the modern man is intimately selfish, cruel and ugly from within. Her best side is still her creation - whose patterns can be seen in various forms of urban-progressing tanks, stagnant dams, endless stretches of cement-concrete and touching the sky.

"It is not that I'm interested in 'man', but I am so tired of my own image, frustration and dissatisfaction that I am afraid that the presence of such a person in pictures should not make them ugly ... . "Mohan Sharma also wrote in one of his catalogs. Apart from the city experiences, there is also an enjoyable presence of 'Achal-jivan' - pictures of tea tablets, bouquets, cups, kettles, fruits and other things kept with the help of the windows, whose image also continues to grow in their canvas. It seems like 'solid' here is nothing but everything is transparent and glazed, within which there are beautiful times of light and shadow. In this sense, their abstraction is not 'formless' because they wanted to associate us with some spectacular truth. Souza wrote in Mohan Sharma - "There is a remarkable understanding of cosmological structures." By seeing his picture, Hemant Bala remembered the works of Lionel Finanzer (1871-1956) for the first time, but Souza believed that ' "The roots of Mohan Sharma's work, rather than the 20th-century German cosmology, are much closer to the sculptures of temple Baisoli of Chamunda Devi in ​​the sixteenth century."

Mohan Sharma's compositions have been praised for the 'workmanship' that is everywhere - the blueprint of the colors and the sharpness of geometric shapes. Some obvious signs of change in their works of 1976 and later can be seen. The greatest of all, their modus operandi was not as thick and dense as they used to be in the pre-art period. After 1976, the art of their compositions became relatively simple. For this reason, some new experiences of depth and perspective have arisen. The technique of fusion of colors is also here, but in later works, Mohan Sharma used to look towards a specific kind of simplification. Does this matter ultimately come in his paintings and not point towards deep 'maturity'?

The second major thing is that since 1976, their storyline has also changed slightly. Only by changing the walls and buildings from the repetition they chose- the sights and scenes of the natural world, the most important of which are the sea and the desert. Look at the artist's eye, there is no difference between sea and desert. They are synonymous for art-purposes. Both have an infinite sense. They both bind us with the pleasure of seeing. Here the expanse of the desert or the ocean extends to the horizon and many times it seems as if it is unimaginable or beyond the path of sight. The works of this period of Mohan Sharma are the signs of ships and ships.

It would be relevant to write here also that there was also a sense of interest in the picture. Here, an attempt has been made to use my texture of canvas. "I consider art to be an expression of mental peace and balance ..." Mohan used to say. In fact, in our mature artists, their compositions give them an opportunity to see something about the subject and its subsistence and to see it. The gentle use of colors and the perfect brushwork were Mohan Sharma's personal qualities - with the help of which he developed a different phrase. Perhaps that is why Souza saw Mohan Sharma in India as a 'sequel' of the art consciousness of the 'Pragish Artists Group' in India and has repeatedly appreciated.

It was unfortunate for contemporary painting that Mohan Sharma suddenly passed away from us. Fighting for a deadly disease like cancer, he was hopeful of life till his last breath, and more than that, he would be able to make a picture again. But this was not so. Even if Mohan Sharma is not present today, but whatever he has left in memory for his fans and acquaintances - they are some of the works whose hypnosis may be less than the best of the potentially new people, It can not happen. Mother of all colors - black

The name of Vidyasagar Upadhyay (born 1948, Paratapura-Banswara) is known in the Indian modern art field. He is recognized due to his ink-white intangible creations. Due to stylistic specialties, Vidyasagar has been among the creators who have created an art collective and observer class outside the state for their art. Vidyasagar started painting with pencil drawings, and from 1968 to 1976, she kept drawing only in pencil due to constant means and sense of meaning. During this tenure, his dear pencil was-3-B, when used intensively, he established a relationship with the soft saturation of his medium. Here the black-white spatial dispersion of paper is produced by the persistent strokes of the pencil, in which the nuances and obesity of the ladle are formed somewhere.

However, the display of pencil colors is not their sole purpose, but on many occasions, we get such a feeling as if it was trying to capture the pencil 'empowerment' and its rapidly changing moods in their works Be there Vidyasagar's pencil is also used to make the black reduction environment. He knows how effective black writing can be made on the continuously kneading paper. All the pencils that have been created in very large numbers, which have grown on paper, have been abreasted on paper - not just like the effects of worldly influences, but like those concrete phenomena of darkness, which are in the complex world of unconscious Produces reflections. Darkness and perseverance is the secret of these drawings. Through the black shapes, the Vidyasagar creates darkness and the transformation takes us into a strange kind of eloquence, mysteries and deep subliminal connotation. In their initial work, the composition of the panoramic images is artificial. Either in such works, we sit with sexual symbols or genitals, sometimes reaching them with the help of subdued symbolism.

The light does not stem from its compositions, but it is constantly being aware of its existence wherever it is present. The magical light of darkness, between the magical mystery of darkness, creates an attraction for itself as well - the brightness of empty white space in this way creates a special sympathy in their drawings. In order to use reasonably in the mold of their 'composition', they have to make the texture stand out from the back of the paper to make the observer in astonishing bliss. Therefore, there are many reasons for his interest in the textures - from internal demand of 'subject' to mere skill and self-determination. But it is noteworthy that technicians never encroached their boundaries in spoiling the inner discipline of their pictures. Wherever they are, they are gentle and courteous, and despite their 'being', there is not so much 'verbosity' that damage the inner strength of the pictures.

In series of pencil drawing, Upadhyay liked the path of geometrical structure for himself, just like many artists in Udaipur, and their early works were mostly made in 'Central-composition'. After 1976, Vidyasagar took away from the pencil and took the help of new color medium acrylic, and he is still working in this. The change in their medium (acrylic or oil color from pencil) gives the information that the feeling of becoming 'stereotype' was in their unconscious, but almost the same story, they are the same and the same central-combination gives us the paper in their pictures. Instead of getting landed on the canvas in the first few years. In this sense, till 1978, the medium change of Vidyasagar was not 'constructive' change. It was merely a change of art.

In 1978 and after that Vidyasagar was present in front of us with a new creation. The new thing that he brought from his stereotypes and plot was - nature Whether they are mountains, clouds, rivers and rocks, or other scenes, they have abandoned the pre-temporal system and geometry and underlined the hill and rocky typology - among whom they have long been.

"It is not necessary for me that any experience comes in art or used in the same shape. An experience connects with other experiences or a lot of experiences and is adapted. What and how it works in composition-karma - is a very tricky thing. I have told the same thing many times. Like 'Pebles', in many of his compositions, and after taking a full heart, then pick up another experience. Impressions of fishes, ship movements, 'flying birds' or 'flying rocks' have also come in my paintings. "Vidyasagar says.

With these free and forbidden compositions, where their old content related dissociation has broken, these black-white graphs and oil paintings take us - in the mountainous experiences, which are tempted by their superficial and independent existence. . In addition to the pencil, in their pictures of acrylic colors, we go near the scenes - with the help of this experience that these mountains and rocks are intangible, while being dark, the sense of being able to bind us is preserved in them. Here we see the nature, which has been the latest topic - happened in a sensible space-combination. Here is also the skill to take and leave the white surface of paper or canvas for your holiday. Some times they seem immersed in their desire to express their lyrical or biological expression by a special kind of rosary. Gathering the rounded spots of the river banks, the skulls and the plateau of the sky, their works reveal the light or twilight of the background of nature other than the real-story. So, the things which have come to the original, Vidyasagar is also interested in marking her background as her role, and in fact she is the secret of the whole of these scenes.

It would not be irrelevant to mention another feature of Upadhyay's paintings. That is the specialty - the study of tones (tones). The taste of the monotony of black-white, which dissolves the unity of the canvas, they are-colors Many types of colors are in it - liquid, medium, deep and dense. Due to the colors, we engage in a variety of experiences in a variety of experiences in pictures. Those scenes make the feelings of relative distances between the perspectives and things only with colors.

This commentary of well-known storyteller and critic Ashok Atreya on the artworks of Vidyasagar Upadhyay is also important - ''. The location of Aravali-chains is not less important even in their childhood rites. It seems that the new pictures of Vidyasagar present an enticing view of intimate interviews of the mountains. They have the skills to create hypnosis. These images do not make any 'graphical' experience of the mountains at any level, but they appear to open the layers of their secret secrets at the level of utmost privacy. Somewhere it seems as if they were made by cutting shapes similar to those of a huge black night. They use a lot of their medium and rub on the paper until they get the desired satisfaction (hard earned). By placing the loyalty of a worker in his style, he gives the hypnosis that despite the fact that nature makes its huge currency, one is striving for a secret, a mystery .... In the Vidyasagar where there is a huge heart in the mountain, The sky also provide relaxation to its observer and it seems that she has left alone in such a journey, where her condition is to find 'halt'. Through the huge cylindrical, round, triangular, sharp, curved, straight and high-end pencils of pencils, through their craft indicate that the journey would seem to be tired or boiled .....

Once upon a time, why have they been making pictures only in black and white, Vidyasagar Upadhyay said, "I believe that only the colors do not make the personality of the artist. I do not use colors in the form that artists generally do, but I see black-white tones only as the colors of nature and experiment. The pencil initially had a kind of creative compulsion, but gradually the black white became an integral part of my expression. Even today the mind is not filled with it, so I am working in this. '' '

But later, the hypnotism of colors also pulled the painters like Vidyasagar, who had only considered black and white as their first expression. Though the Vidyasagar did not enter the discipline of color, it was like a major revolutionary change for them to reach shades of white and white. For example, in these colorful canvas we can see different currencies of nature, like an old hypnosis, descending on the picture plaque. In these paintings, Vidyasagar has converted trees, mountains, rocks, clouds and rocks. Here are the colors of brown, yellow, black and other light colors. Taking shelter like a liquid sensation, these colors lead an observer to nature's heritage and its constantly changing synthetic shapes.

Vidyasagar considers selection of colors to be very energetic for this new picture series. His view is that "In these colors I can find a fluid, transparent and sensitive creation, whose expression is probably difficult in some other medium."

He is fond of telling his old story in a new way in these pictures. One of the specialties of these pictures is that in this, the familiar pictures of Vidyasagar Upadhyaya, especially the black and white exploration, do not end here. They maintain their familiar visceral beauty and open the most liquid and light colors and their colors. He expresses the greatness of his specialty on the painting and natural forms of his greatness, by selecting those large canvas. This is a lot of leisure - like a vacuum, in which there are emerging forms of nature colors. They have shots of visible distance and incantular figures. The vast nature of nature has been summarized here. They can see the depth of perspective, the plot of the plot and the texture humidity.

In this colorful work, the Vidyasagar can remain quite poetic and sensational. The structure of these canvas is present in the structure - a geometric rhythm and motion, which is similar to the pre-notices of unhealthy changes in the sizes. Anurag has been in the mind of Vidyasagar for many years, who has shadow of his passion and nature towards eloquence. In his new paintings, he appears to be approaching closer to the same attachment. With the active presence of fine fibers and black lines, he also opens small, but fine and active sensations that appear in front of us in the modalities. Now their modalities are not as formal, they seem to be far away from the uninterrupted mobility of nature and its inner feelings.

In this type of free form where new levels have come up for expression of nature, many times their threats of becoming 'obscure' have also been revealed, but all these things in the form of a picture Are not of much importance. In continuous painters, Vidyasagar Upadhyay deserves our appreciation as a reputed artist. And we are hopeful of every new creation in their creations. There is no shape even of formless!

The oil paintings of Suresh Sharma, the colors of the same color and the very carefully crafted geometry are examples of it. He is the painter of colors, looking for his own meaning in the vast space of the canvas, whose extreme paranoia or prejudice is presently present for 'formless'. The geometrical inserts on the very same liquid hidden in the colors of the same or one of the colors of pure colors and colors made of spray, gives the pictures of Suresh Sharma a distinct personality. It is auspicious that even if they leave their portrayal with some well-known foreign painters, their work is different in modern painters living in Rajasthan and also 'bold'.

Suresh Sharma (born 1937, Kota) has also created sculptures and graphic raids in addition to oil paintings and the experience of working in these three mediums in the development of their art travel is linked in such a way that It's hard to see However, for the last few years, they are making only oil paintings. (And today his image is not only in the form of a sculptor or graphic raid but in the form of a painter) but what he has done in graphic work in the early years, he is interested in some new exploration of interest and trends in this medium. is. The art of Suresh Sharma is different from many other contemporary artists living in Rajasthan in their meaning and influence. Their creative autonomy is their most notable capital - although the onus of being a 'non-political' is to be blamed - the reason being that in view of the compositions of them, the new American art-stream, Ad Renheard and Joseph Albers The memory of the works of artists like suddenly comes suddenly. This effect is perhaps so transparent and clear that he has been in the USA for some time. Obviously the impression of art trends there is deep on them. The good thing to remember of his paintings is that they do not have an abstraction of abstractions or distortion - but by forming a formless form, they open the door for a second sense of understanding through an infinite moment.

There are two more features of its pictures. One, that's a relatively large picture-holiday here (because their canvas sizes are usually large in size), secondly they work only on 'colors'. The style of 'using' colors also differs in these acrylic paintings. These canvas targets are different from others on these characteristics. His paintings have sensations filled with sympathy, which are strewn across all the panels produced by the color spray, such as fog blowing in December. They can be of any color- blue, black, purple or some other dark color, but they keep a small empire installed on the canvas. There is a bustling and churning sense inside them. It seems that as soon as the clouds change their shapes - maybe these colors of canvas are also in the same process. There is constant vibration and vibration in it. Sometimes they want to 'climb' on the entire screen, like a liquid sheet of smoke.

Suresh Sharma wants to save on the canvas (with the support of the salo-tape) by looking at a very light and carefully look at the jyotik-pattern seen, and save us from the monotony of colors, but these geometric panicles are so rare And it is indicative that the burden on the liquid sensation of the picture is not formed. There is no concept like background and mainland (foreground) in his work. The background is also present in front of us in the same pan. There is no difference between who is ahead who is behind This is because it is not an abstraction of any 'size'. Suresh Sharma wants to get a philosophical zero interview with the help of meaningful effects of colors. Therefore, standing in front of its canvas, we often expect it to happen that some 'bold' color-incidence will be reduced or we will see some 'solid' on the colors - but this never happens. All their pictures take us to another kind of silence. It is silence made by the gradation of colors, on which no color phenomenon emerges, just like the haze, the flying colors rotate on the canvas. The biggest achievement of Suresh Sharma or the "adventure" is that he has only used colors as a model.

It would probably have seemed to them that suddenly he 'jumped' on his current art idiom. Some of his journeys are behind this formless, graphic and acrylic, where in the beginning initially, like other artists, we were engrossed in trying to take it into a 'shapely person' abstraction. The currency might have been more vocal in their graphic impressions. But gradually the color schemes, forms and their sensations that were seen from their canvas gradually began to disappear - and replaced them - only the colors and the colors, the colors that have been sprayed on the whole canvas, through them, a subtle Perhaps 'we' think of awakening within us. Maybe many of us may find this world of Suresh Sharma simplified to a great extent, but in my own opinion this simplification is a special type of abstraction. An abstraction that is not so simple and not normal in the first place, we can appreciate it by moving or running a 'casual aproche'. In order to do this, we will have to flirt with their imagery, sometimes parallel, sometimes beyond and beyond. Like all existentialist thinkers in all their compositions, they do not consider the presence of the other (other) as important. It is clear from this that why all their art is personal and subjective? Why is he not insensitive to any sizeive abstraction like most painters?

As far as the existence of geometric signals in Suresh Sharma's work, as we said earlier, its real intention is that the color of these squares, square or parallel lines (beams) canvas denounces monotony and Secondly, he is also an indicator of a conscious relationship with the artist towards painting. Art is not an accidental phenomenon here, but it creates an effort to create the art of creation. These lines, squares and geometric signs are not so clear and not convincing that they all come out on the entire creation, but their obscurity and symbolism often aroused the hypnosis of a different flavor in us. As much as we try to move away from their presence, this rare, transparent geometry yields equally curiosity in us, so it is difficult to appreciate this picture-person directly in a flat way, because it has visualization, especially the gross patterns There is no urgency now and as we have said, their conscious paranoia towards 'formless' only makes them the art of different idioms of their kind.

Seeing their work, we feel that one thing of modernity in art is perhaps that apart from the current rhetoric, we enter the grammatical world of colors, and the formlessness of colors and colors will have its own meaning Let's explore. Mithabat burning in darkness

Shabbeer Hassan Kazi (born 1946, Ajmer) has no stance on the work - it does not seem that because he is now engaged in the process of recognizing his picture world. He is counting among the constantly working painters who are seriously undergoing creative disorganization to find a clear path for themselves. His effort is to inspire us to talk about his art. He has been working since 1969 and has been the subject of his interest in origin till now - the concepts of mechanism or geometry Dark colors love them most. He was the painter who used to open red, black and green at a time on the canvas. In the pictures surrounding the seventy, he had only a dense use of green. The gravity of all the panels on the pan was used, on which some 'cycadalic' with white-black and other dark letters were an independent pattern of black-band and wave-like pattern. The work of introducing Shabbir was mostly an abusive 'business' appeal appeal to most eyes, which was very close to the danger of being 'design' somewhere. He was so careful of the shapes in his works that the geometric figures were held on the canvas with a reluctant use. In many of his early works, he was making sense of a certain kind of mystery, confusion and hesitation, and at times it seemed that his anxiety, less than the painting in the interior of the image and fulfilling his obligation, 'There is more to find. Shabbeer, playing with a double-threat of old themes like graphic paintings and geometry or mechanism, but Shabir had entered the art by doing a completely new and original look, which can be beautiful and attractive. Like many young painters of Udaipur-school, Shabbir too should have started talking about geometry in the beginning. Although the geometry attraction is still kept in its own shape - but the geometry to this work are not old-they may be changed and enhanced. Her inertia is breaking down and now she sees only part of the world of pictures.

In Shabbeer's compositions of 1975 and surrounding years (in the name of tech-painting) there are some of the most familiar symbols of work and spirituality - lotus, feminine, moon, eye, darkness, etc., which were thrown in the discipline of geometry is. In these paintings, Shabbir used sexual symbolism to create or change its composition of the picture. Sometimes the memory of the old system of paintings of Ghulam Rasool Santosh came fresh after seeing them. But all these things usually happen with a drawing artist. A craftsman's skill is everywhere in these paintings made by Shabbir Hasan Qazi's Tantric symbols. They have a planning and a mansion. He favors to put hard colors. The patterns in their pictures are more solid and rectangular than before. They are set up between sharp colors in geometric structures. Among them is the role of light and Ujas somewhere. It looks like some concrete thing is gray and liquid. In this work of Shabbeer, it will be very difficult to find any clear images, but if you imagine, some shapes of patchy birds or flying aircraft can be identified. These neat parts of 'hard-edge' are somewhat poetic. Despite the presence of warm colors in them, there is also a poignant fluid. Shabir Hassan and Mohan Sharma are definitely behind the artists in fusion or coloring of colors, but they are also engrossed in the attempt of the fact that in the stability or inertia of well-filled canvas with deep or original colors, To create a stir, light, but sensitive pink or yellow colors are 'grown up'. These colors can be the indicators of light while taking any shape for us, which is capable of attracting our attention even when it is low. Apart from green and red, Shabbir has done a lot of work in black and purple.

Perspective-consciousness is not as vulgar in the beginning of their work, but in the later period, they begin to feel aware of this artistic reality. After the initial use of the folk-ornamentation of the folk-ornamentation or the cycladic use of black white squares and straps, the pictures took a different turn and wanted to set a mystery, sadness or blackout through black. 'Blackness' is also very much in the painter like Vidyasagar, but the dark shines of Shabbir's pictures are very romantic and colorful. Seeing their pictures, it seems like there is a burning sensation in the dark room. Similar scenes exist in their picture series 'Shamon'.

It is also interesting to see the style of the canvas that were designed in the style of the canvas here. Earlier, they were associated with any of the straps or floors of the photographs - between the art periods (1974-1980), they remained independent and independent from each other; now again they combined with caligraphic or script-signals Are happening There are two particular tendencies in their new compositions - one is that the Persian's caligraphy is entering here and the second is that the mood of the colors has changed a lot. The color is not as bold and straightforward, but it is a combination of a dense sadness. This process is somewhat similar, for changing the bright light of the stage, the gelatin paper is put in front of the arclamp in the theater.

This change in Shabbir can be seen in the continuation of the mood of the small images. It is natural and natural to change after the change, working in a particular idiom in the artist, and embarking on its prospects. Even the changes here are slow and ordering and the pictures are behind it, but it is also easy to understand easily. Especially for those who have ever seen Shabbir as an artist who produces chaotic geometry and 'optical illusion' and has come to know.

"..... This calligraphy of Persian did not come in pictures like caligraphy only, but some of my other experiences behind it are also associated. I have tried to recognize the world of spirituality in the past years. Like a 'bandade', I am excited to see the life-style and personality of Sufi peer closer. "" Shabbir says. "I do not know suddenly how to develop a deep interest in religion and spirituality and in this passion I have been in the sannyasins of Sufism in this period ... all the 'Feeling' of Sufism is abstract '' ... .. is the idea of ​​Shabbir Hassan He appears to be moving closer to this 'perception' in some of his paintings. The green color has already been present in the form of Islamic religious compositions in their works, but in one of its pictures series, it used green and black to its full blaze and originality; now the brightness of the colors gradually By reducing it, he is taking the story closer to the depth of the plot. Darkness, according to them, is a symbol of creation or 'ignorance' in pictures, in which divine light (divine light) is hidden. "The black color of my creations is not negative, but there is life in it too." Shabbir is of the opinion that even after working in pure geometry, he did not enjoy the happiness which was made by the religious or 'Sufi' The pictures were in. After getting acquainted with the boundaries of geometry, now there is no excitement in Shabbir to use it in the old sense and he is bringing quite free forms to his canvas.

As the next ladder of similar pictures, Shabbir has probably once again started showing his interest in nature, drawing trees, flowers and other such shapes. If the subject matter of these pictures is nature, then here they try to combine the geometric and independent modes of expression for them. Just like his spiritual subjects created in the past, the urgency of his introduction to geometry, though weak, has not been completely free from geometry. In these canvas prepared for nature, geometric shapes with base-colors are also displayed in vain. These geometric shapes in the canvas are just a base for the main amphitheater, it is not their intention to search the beauty of geometry. There is a deeper graph of colors, but with a skill. In these pictures of Shabbir Hassan, we see black, green, red, blue and similar warm colors, whose qualities are important in the preparation of a regular background and then giving it a suitable place for its storyline. It seems that he wants to work only with the original colors. The shape of the figure is employed and fixed in these pictures. Shibbeer-made flowers or trees, which are part of the color, can not possibly appear in direct. It may seem like we are seeing these flowers in a dark dream or a deep sleep.

This is a remarkable change and in the canvas of theirs, there is now a paradigm shift. The fragmented figures of human figures have come in their recent work. Succeeding in the fascinating color-experiment and technique, there are remarkable characteristics of this, with which we can keep deeper hopes from painters like Shabbir Hasan Qazi. Amorphism

Fluency is also a big inspiration for art like literature. Probably because people can find their best past in life. The primitive roots of our city-conscious tree are ultimately in villages, so in the pictures and drawings of Bhavnashankar Sharma (birth of 1945, Vanasthali), we have to interfere with some scenes of rural-world scenes, No unnatural event.

He has changed the eyes of the villagers of the village of Rajasthan. They can be: the peacocks, the huts, their ornate doors, the enclosures and trophies, nails, windows and trees. For the past few years, Bhavnashankar has been associated with a creative momentum towards 'village' - by simplifying his graphic, he urges us to take at least colors (mostly ink) in the omnipresence of the zodiacal scenes.

They underline the canvas with black ink directly. They fill the painted white canvas space in a relatively large size with the active graphs of the ink. Here is the presence of flora or tangled typical vines and vineyards, which are participants in the production of scenes, there are gestures of artists towards huts and hedgeal terrain: a fluid expression of rural scenes, which can be identified in some way Is composed of well-known symbols.

Bhanwani Shankar's picture-intentions are very different from PN Chowal of Udaipur, another familiar senior artist who portrays the villager. In PN Chowal's zodiacal world, the huts, the oldest rain-shaped walls, trees and doors are mixed together, and they come together in a strange colorful twilight. They stay somewhere, they are melting and flowing. They have a textural humidity, but Bhavneshankar is not as emblematic and obscure. He wants to instantly realize the realm of life in very few lines.

Bhavnashankar has also prepared graphic raids which are mostly studying morons. In these impressions created in the 1970s and the surrounding years, we do not see things as they are, but instead of coming out through their personal composition-sight, they are seen to be slightly changed. But not even to the extent that they start becoming beginnings or strangers. These impressions with limited distortion include shapes of peacocks and poultry, their speed and various currencies. In the forest area, where he lived and worked-peacock is very much. Peacock is a part of the Ashram culture of Vanasthali University. In the drawings, Bhavani tries to capture every 'Ada' of Shankar Moras. He dances, drows, loves, fights, and stops the movement of the moors. His study of peacocks is slightly different from his father-painter Devakinandan Sharma (1919- 2005) in some sense. In these compositions, he expresses the non-conventional style in the least possible and meaningful lines, apart from his art master and father, chalk-chowk, fly-by-flight, or dog attacks. These compositions have been abstractly portrayed in a large disguise manner, in aching, offsite, lithograph, or woodcut techniques. Simplicity of the lines and the simplicity of the techniques can be described as the specializations of these impressions.

One significant change can be seen in the works of Bhavnashankar in 1975 and thereafter. It is that in his interest not only have some subject been filed, but in addition to graphic in this period, he also makes oils a medium of his picture biography. Although the presence of peacock is also very rare in the compositions of this era, but it also brings shades and light of the colors of the lives of the people of Rajasthan, the fairs and the zodiacal world.

There is an important feature of the pictures of this era - use of Chitrawakash Bhavnashankar does not compose holes on the entire screen. He also leaves part of it incomplete for the audience's imagination. This emptiness of the canvas is not emptiness, but there is also a hidden composition in it, which is the spread or extension of the tangible vision. We can also hide the hidden views within the empty space. Just as in the pictures related to the fairs of Rajasthan, manuscripts for them have actually remained only in color. There the crowd gathered in the fair has been grown with little red-blue yellow and black spots. After standing at the back of a fair on a river-side, like a cinematographer sees the whole scene with 'Wide Angle', he wants to create the inflated images of Rajasthan fairs indicating 'distances'. In such a few pictures, the whole part of the canvas was not used, but in 'vacuum' the expression of 'happening' is embodied. It is a creative capital of its picture.

In the past, Bhavnashankar Sharma had started work on another series, in which he is still making compositions. Here, they present a combination of two opposite revelations. Nature, as we said earlier, is a very meaningful concern near modern painters. Bhavnashankar also energizes his own structures of vegetation or nature. Just as the jungle vines and free twigs do not stop the huge and rigid boulders from moving ahead, the same way they break the solid inertia of hard-edged from inside and enter their presence in moving vegetation images continuously.

Black solid geometric blocks are symbols of 'mater' or physical objects here, in which the symbols of indestructible life from the cracks are taking shape automatically. Vegetation insults consciousness or 'Consciousness' in this place. Such dynamic consciousness, whose continuity and power are embedded in it, that it can maintain its survival, despite all the obstacles! Pictures of this series are in mixed-medium, in which the use of inks and oils on a canvas is a mixed use.

In one part of the canvas, where they mark the texture of the vegetation with the most skillful ink graphs, on the other hand, they use unbroken and dark colors on the brushes directly from the brush. From this the traditional romanticism of the structure breaks, whereas it is also an attempt to keep two different poles of composite together.

Bhavnashankar is not as insensitive towards human figures in these compositions, but on attempts, the observer can find images of man surrounded by birds surrounded by people in their modes, like birds and figures of trees. Just like the workmanship done in the mini-picture, she often makes graphs with black ink on the canvas. In each other like dense and confused amarbels, the gutthians want to climb on the entire tree, as well as in their pictures, the trees and the branches of the trees seem to be moving forward. They seem to be engrossed in spreading their patterns mostly. So if the title of this series is 'Flying of form' then it is not inconsistent.

"I start my talk with the patterns found in nature. The modalities vary according to the inner need of the composition. I also simplify or abstraction them in accordance with picture-sharing ... "Bhavani Shankar says." Village, Sun, Jungle and Weather

While highlighting the contemporary art trends here, the discussion of such painters may not be irrelevant, which is the creator of Impressionist Sights and Natural Scenes. Self-In Techniques Moni Sanyal, Self. Suresh Rajoria, Ram Jaiswal, O. P. Agarwal, Rajiv Garg Raghunath and Pradeep Verma etc. have been holding various moods of nature and its sensitivity in an impressive manner, which have the availability of visual dimensions. 'Moni Sanyal ((1912-1989)) has also been such an extraordinary painter of the senior generation, whose compositions have a lot of humorous portrayal of earth, trees, mood and seasoned women, but extremely picturesque.

Self. Suresh Rajoria used to create simple trees of trees, clouds, rocks, grass and rain in the drawing and watercolors. There are brown mountains in their creations, then there is a lush green farm, flowing streams, somewhere deep forests and sunlight yellow spots! Rajoria tried its best to bring the paper on the palm with the help of sloping grass, working villages, low stratified streets of the town and leaves in the mud in March.

In the watercolor paintings of story writer-painter Ram Jaiswal (1937) (with the influence of Bengal style), they take different forms of nature. Writing, especially in the field of story, he is the author of five story collections and a poem collection. In his early teacher round, he first went to Meerut, later joined the teaching of Lucknow's College of Art. After studying art at the level level in 1964, he came to the position of Professor at Dayanand College, Ajmer, at the post-graduate level level in Rajasthan and then he came here to visit the seasons, vineyards, local mountains, houses, animals, markets, streets and everyday scenes. Depicted in the wash-style. He not only brought Indian gods and goddesses but also made imaginative paintings based on some poems of Jayashankar 'Prasad'. With respect to their personalities, they got special place and recognition in the art world. In Ajmer, Jaswal touched the many nuances of watercolor illustrations, but the effect of marking traditional Bengal and Lucknow houses on the talent of Ram Jaiswal was very vocal. He is always alert to provide a beautiful screen viewer to the viewers, even if in the name of the so-called modernity they also have some pictures like 'Street Singer' or 'Niti'. Memories, city and building geography

Conversion to new and ways of tradition, here is a remarkable feature of the current art trends. This feature can also be seen in pictures of Shell Choyel (1945). If we want to make classical classification, we get to see the creative transformation of the Mewar style in their works. He wants to take down the traditional pens of the buildings, the vegetation and their innerness (and even the characters if necessary). From the beginning it has done such an act that can make the eyes look good while developing a lasting affection for miniatures and the scenery, which we have used as the 'use' of the tradition, as well as other painters (like Sumhendra, Charan Sharma, Prabha). Shah, Kiran Murdiya, Lal Chand Chadda, etc.).

The fascinating color scheme and combination capability of their work is that the Shell has used the tradition as a ladder. The characteristic and weakness of Shail Choyal's paintings is that they also want us to bundle with a 'gross' eye-catching pleasure, just like traditional styles of miniature style. Whether it is not commercially as a continuous artist in traditional paintings (like Sumehendra), Shell Choyle leads us to most of the new business decisions based on the cosmicity of the miniatures, sensual charm and synergy.

As we said earlier, the mandatory condition of their pictures is - visualism. Whether they are convergent moments of hero-heroine or their bedroom intimacy; Shell Choyel often appears in his paintings as an expansive, but narrative artist. This self In the cosmopolitan sculptures of painters like Mohan Sharma, the meditation of Saturna or Prabah Shah's medieval palaces was not solitary, but the inner silence of Shell Choyal, the scarcity of windows of Mewari windows and the vicinity, the convergence of the palaces and the green-intensive vegetation That is what we have seen in parody even in the miniature tradition.

He wants to give us a colorful 'neo-monumental' world, while keeping the viewership, stairs, monkeys and floor views in their oil paintings and graphic impressions. By looking at his compositions, it seems most likely as if you want to search for hidden views within the scenes from the exchange of perspective. In definition, he is not the only painter of excursions or scenes, but while expressing the connivance of mountains, trees and flora on the canvas, Shell Choyl marks the traditional Mewadi buildings, the Rajput umbrellas and the elaborate door-slabs.

Around the same subject, Prabah Shah's oil painters bring to the observer - dignified dome, umbrellas and Nafis royal palaces! Imaginary use of geometry is in Pahra Shah. Using more or more colors of one or two colors they construct- Rajasthan, which is unrivaled in terms of its crafts, heritage and architecture. Somewhere Udaipur is definitely hidden in his deep unconscious. He only raises the rings of the traditional umbrellas, palaces and buildings of Rajasthan, in the oil ranges. Prabah Shah's paintings are lost in the colors of Prasad and Bhavan, Prashant and Shaggy. He has not shown any work in the show for some years.

Udaipur has inspired the painting of as many painters as a painting city. Kiran Murdia is also influenced by 'Bhawan-Geography' of her native-city Udaipur, like Paramanand Choyal, Chhotulal, Prabha Shah, Shell Choyal, Abha Muria, Charan Sharma, Hemant Painters and many others, but the remarkable thing is that From the point of view of every painter, differentiating from each other. To say, there is also the presence of Mewadi ranges, paths, trees and palaces in the pictures of Kiran Murdia, but the sensation of the ray is not as 'simple'. In pictures, Kiran Murdia is very informal, constructive and indigenous. In the portraits of the mountains and the settlement of buildings on them, in the depiction of mangled trees and scenes, they are different from chhotulal, shell choyal or Prabha Shah and others with dense, chilly, modern ornithography. >

In the same way, as Shailo Choyal is not as clean as Udaipur, but yes, in the very artistic and sensitive painters of the old generation, his artist father P.N. Choyal (1924). In contrast to the commercial-decoration of Shail Choyal's paintings, his paintings include father P.N. In the compositions of Choyle's 1970s and beyond, the venture wasted in the form of colored liquidity.

Among the painters who were born outside of Rajasthan, Narayan Acharya, Prabha Shah, Sapna Sharma, P. Mansaram (Canada), Chintan Upadhyay, Charan Sharma (Mumbai) and the only modern style of cyber media. Parivartan Deorshi (Delhi), who is portraying, is the chief.

'p. MNSARAM is also born in Rajasthan and is in such talented and well-known painters who have been told a lot in the contemporary art world. In many areas, P. Mansaram has created a special place in his work, in collage, geometry, sculpture, cinematography and creative writing. Mansaram not only satisfied the use of colors of the colors on the canvas, he gave his painter a chance to look deep into other mediums too. It is interesting to see that he started a permanent workshop painter-housing as a couple of years ago in his birthplace-Mount Abu. Panchal Monsaram displayed the best compositions about India in country and abroad with the use of colors, photography, graphic, computer and photocopy machine. Apart from the Aravalli mountains of Mount Abu, the crowd of Mumbai, the Ganges of Benares etc, they have embraced the common images of Hindustan with very skill and imagination.

Monsaram has painted various colors on Aravali's huge cliffs with the help of his artisan wife Taurika, and has transformed his house 'Mit' built in Mount Abu from a very distant place to a worthwhile sight-seeing place. . Every year, he comes to his own country and takes long trips to keep himself connected with the latest activities of contemporary Indian art.

Narayan Acharya has graphic raids and others have made oil paintings, then P. Mansarama's art form is relatively broad. Narayan Acharya (Delhi) 's contribution can be said to select the graphic medium for his expression, because when he had accepted this medium, it was not as' popular'.

Charan Sharma used ink and other mixed mediums in his early works, but in his later works, he appears in a very large size of acrylic colors and took a lot of interesting memories of the craft of Rajasthan. We do not see Charan Sharma in his latest work, something related to his city's monuments, in the way that it is in the compositions of Prabah Shah and Shell Choyal. Charan's Ardhangini Nimisha Sharma is a very capable modern artist.

Charan Sharma's introductory sketches and oil paintings were also present in Nathdwara sign. The surrounding world is an integral part of the painter's sense of humor - this thing is intuitive and natural, and by this we can see in the initial work of Charan Sharma, in Mewadi-Baba, Kunda and Chhathas settled land. Just like in the pictures of Bhavnashankar, there are Rajasthani fairs or bananas peacock.

In the initial work of Charan Sharma there are many memories of Rajasthan. Charan Sharma initially used to work in graphs and watercolors, later he landed in oils and acrylic medium. In his later work, Charan has conveyed the ascetic images of Gautam Buddha with a singular depth. With his wife Nimisha Sharma of Rajasthan origin, she has been living in Mumbai for several decades now, making huge canvas which is also a creative transformation of her experience of photography and as a matter of fact, from the gross reality of the world of Rajasthan His pledge to go forward.

The work and name of Chintan Upadhyay is famous in the young painters of the state who live in Mumbai. He wants to change his old work and create a new composition. His paintings and installation towards formality and innovation are different from others. In an installation-series called Tentua Taba-II, Chintan made a remarkable comment on the typical Indian mentality of girl child-embryonic killing.

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