Fun Hobby Art Classes

Hi, I am an artist, i conduct Art classes for kids & adults (basic drawing, elementary, intermediate & diff types of painting, sketching.) can u come to prabhadevi to learn? or make group around 4-5 students than i can come to ur place...contact me on 9223298213, i also teach oil painting, acrylic painting, portraits, tanjore painting, stainglass painting, knife painting, cold ceramic, clay modelling, carving on pop, calligraphy, Fashion Illustration (basic & advance) Digital fashion illustration (corel draw / Photoshop ), accessory Designing & sketching for fine art / interior/ technical drawing. i taught in institutions like lemark, b.d. somani, istituti calligari milano, sasmira, garodia fashion school etc. It's my pleasure to help you with your need.

Hi, I am an artist, i conduct Art classes for kids & adults (basic drawing, elementary, intermediate & diff types of painting, sketching.) can u come to prabhadevi to learn? or make group around 4-5 students than i can come to ur place...contact me on 9223298213, i also teach oil painting, acrylic painting, portraits, tanjore painting, stainglass painting, knife painting, cold ceramic, clay modelling, carving on pop, calligraphy, Fashion Illustration (basic & advance) Digital fashion illustration (corel draw / Photoshop ), accessory Designing & sketching for fine art / interior/ technical drawing. i taught in institutions like lemark, b.d. somani, istituti calligari milano, sasmira, garodia fashion school etc. It's my pleasure to help you with your need.

Dancing Celestial Deity (Devata)

early 12th century
India (Uttar Pradesh)
Sandstone

Imagine posing as a model for this dancing female figure. You'll soon realize that this striking pose is anatomically impossible. Yet the sculptor has captured the essence of continuous, whirling motion.

This 12th-century figure ornamented a north Indian Hindu temple, in what's now Uttar Pradesh. She represents one of many celestial or semidivine attendants, dancing reverently for the main deity of the temple. Some temples kept troops of real women who danced for the god to please him.

You can see a stylistic shift away from the plain surfaces of the Gupta era. The eye-catching jewelry and costume emphasize surface ornament-especially as a contrast to the smooth, abundant flesh. The exaggerated pose focuses attention on the figure's lively contours. The spikes on the crown, the swaying necklace, and tassels around the waist amplify the impression of rhythmic, dancing movement, and lend verisimilitude to the abstract body.

Text and image credit:
© 2000–2016 The Metropolitan Museum of Art

Nizar Ali Badr expresses his thoughts through the ordinary media which can be found just under feet – pebbles. It is naturally for the artist living in a port city of Syria – Latakia to work with rocks and stones. Taking into consideration the difficult situation that has developed in his country – war, refugee movements, loss of loved ones – all this could not but affect the work of the Syrian sculptor. He recreates the events taking place in the country through pebbles – here, in the ancient city of Latakia he transmits the pain of the people who have to die, to suffer, to leave the country, but also there is a hope for the revival of the country, the return of human values – love, home, family.

“The cries came out of the uterus of the holy Syrian land. The stones screamed so loudly that all resounded… the cries of the needy, the oppressed and the fugitives,” he says.

And, indeed, Nizar Ali Badr’s work speaks volumes to the vast suffering of the Syrian people. Despite their simplicity, the sculptures are imbued with so much raw emotion that their impact is devastating. There are images of refugee families, bent under the weight of their belongings as they flee their homes. There are images of mothers comforting their children and neighbors holding each other in despair. And there are images of violence and death.

There are also images that depict happier times — children playing under a tree or flowers in a vase. Perhaps they are Nizar Ali Badr’s way of staying connected to a time when life was not so difficult. Or maybe they are a prayer for the future. It’s hard to know.

One thing is certain, however. And that is Nizar Ali Badr’s commitment to communicating the vastness of Syria’s suffering to the rest of the world.
“My human message is the spreading of happiness, amity and love,” he explains. “Inside of the war, destruction, death, migration, exodus, chaos, poverty, injustice, there are screams and yells of human beings as pain and suffering gripped them. Through my creations one can hear the stones screaming and yelling in desperate imploring: ‘Stop killing human beings, stop destruction, do not abandon your humanity!'”

Regardless of one’s political affiliation or beliefs, it is impossible to look at the work of Nizar Nizar Ali Badr and not feel the same way.