Month: February 2019

Vietnam Art – The Complex Minimalism Of Le Thiet Cuong

Seeing paintings by Le Thiet Cuong at “Like a Nil” exhibition, many may think that it is very easy to copy his paintings, but that’s just a joke, the way to Le Thiet Cuong’s irreducibility is anything but simple.

In art, people often love complicated techniques and many lose themselves in that maze of complication their whole life. Only some can escape from the maze to define their own language of creativeness and most of them choose simplicity.

This simplicity may be seen as “bounds” in creativeness. It makes an easy way for the public to have access to artworks and the artists have to work hard to make that simplicity or “like a nil” to stir up obsessions or deep feelings in viewers.

Le Thiet Cuong’s paintings are deep of feeling and they don’t repeat themselves. “Lan’s Story” is not new in the arrangement because its motif is about the fate of women in the war but it is new for the feeling it brings to viewers.

Asking Le Thiet Cuong why he didn’t draw a story about someone else, for example a mother or a soldier, he said he drew “Lan’s Story” from his own experience. He has travelled to many areas to understand hidden corners behind the war and stories about women’s fates are the greatest obsession.

That was the reason for Le Thiet Cuong to display “Lan’s Story”, not “Hung’s Story”, a story about a soldier. He said “Hung’s Story” needs a larger space than “Lan’s Story” and he will bring “Hung’s Story” to an exhibition in the near future.

The painter said many people are very interested in “Lan’s Story” but nobody wants to buy these paintings. But he said he didn’t care about the sales of these paintings.

“Exhibitions are for my career, not for business. I’m very happy that many young people have visited my exhibition. I want these people to see my artworks because Vietnamese painting arts lack audiences,” Le Thiet Cuong said.

That’s a sad truth as schools don’t teach children how to appreciate art. That’s why Vietnamese people often neglect museums or traditional arts like ca tru (ceremonial songs), hat xam (blind musician’s songs) or don ca tai tu, etc.

“When I led my friends to the History Museum, I saw Vietnamese people went there to take photos, not to look at huge numbers of valuable objects. Paying VND70,000, museum staffs will open glass boxes for you to take photos of objects of thousands of years old. I felt terrible when I saw people carve their names on Champa towers in Nha Trang though these towers are built of terra-cotta. Invaluable vestiges are treated like toys because people don’t understand their value,” the painter said.

For this reason, Vietnamese paintings are not paid attention to by Vietnamese people. Painters like Le Thiet Cuong exist by selling paintings to foreigners. Some of his paintings are now hung up at a big museum in Singapore.

A painting by Le Thiet Cuong, which was displayed at “Like a Nil” exhibition.
“Are your paintings selling well?” Le Thiet Cuong said: “They sold well in the past, not now. I’m living on the past.”

“Are they expensive?” “Very expensive, because each painting is unique, and records the only moment of feeling in my heart,” the painter added.

“But you have your own gallery, why can’t you sell your paintings?” Cuong said his gallery is not for profit since he chooses and display artworks by young painters to help them take the first step in their careers.

“I’ve drawn paintings that I like, with my own style. I want to reach other fields like pottery, sculpting”

Le Thiet Cuong has a project that he plans to finalise in ten years: making a dictionary about Vietnamese craft villages. Three years have passed and he has finished researching art-related craft villages.

Deeply researching craft villages of Vietnam, he realised that hand-made products not only show the talents of Vietnamese craftsmen but also the cream of a society. Woodworks are currently made by machines but hand-made products are the most expensive because they are created by exquisite talents.

Pointing at a tea pot, Le Thiet Cuong said all of the patterns on the pot were drawn by hand, not by soulless machines. But Bat Trang pottery village now has only two craftsmen who can make patterns by hand in the traditional method.

Le Thiet Cuong can talk for hours and hours about such old things. “My friends say I love playing with old things but I understand their values and I love such values,” he said.

His house is an old one, which has been existing for many years, with bamboo-made handrails; most of the furniture is hand-made. All of it is very nice.

He loves rural cuisines. He can stay in his room the whole day to make small things or look at some old photos in his huge collection of photos. It seems that he is very satisfied with his current life and what he is doing.

Talents often have unhappy lives. For me, Le Thiet Cuong is a talent but he loses nothing. His children are very intelligent and his wife is very pretty.

“I have my own sadness. I haven’t had a meal with my whole family for tens of years. I love my mother most but she is now in a harsh situation, where money can’t help. I love her but I’m helpless!” he said.

“Is family the most important thing for a man like you, who is said to be gentlemanlike?” “I consider family as something that I must do. I have to do that job well so I can be assured to do other things,” Cuong said.

We drank tea on a late afternoon in April. Cuong’s family grilled meat for dinner, and the aroma was sublime. Le Thiet Cuong said he feels comfortable on such afternoons.

His gallery at 39A Ly Quoc Su often closes early. And at that time it is Cuong’s house, his happiness and sadness, like a short story he wrote a long time ago “The House on an Old Street”. That house is older than him and it keeps his life.

The Art of the French Revolution

The art of pre-revolutionary France was decidedly frivolous in its subject matter and deliciously detailed in style. Paintings were commissioned by the wealthy for their grant chateaus and palaces in delicate pastel colors. This period of art was called “rococo,” from the French decorative term rocaille, and was highly ornamental. Common subjects of rococo art include young lovers, pastoral scenes, outdoor games, and then-fashionable portraits. Cherubs are omnipresent in rococo art, and more often than not are accompanied by scrolls, inexplicable clouds of flower petals, and swathes of fabric. One highly recognizable piece of Rococo art is a painting called The Swing by Jean Honor-Fragonard. It depicts a woman in a voluminous pink dress enjoying a ride on a swing, while two men look on cheerfully. The subtle sexual undertones of the painting – it’s implied that the woman isn’t wearing undergarments – made the painting a scandalous success when it debuted.

Rococo decorative art was exceptionally elaborate and very expensively made. Rococo pieces are the pride of decorative arts collections in museums worldwide. The palace of Versailles was decorated in the Rococo style. Versailles is ornately detailed, and can best be described as a palace of luxury overload. Floors are made of intricately tiled panels of marble. Mirrors are several feet tall, and many feature intricate cherub sculptures at the corners. Busts of Roman emperors are prominent as the classical period was very fashionable in the eighteenth century. Even sofas, upholstered in finest floral silk are trimmed by gilded wooden sculptures of leaves. Asymmetry was popular in Rococo designs, which meant that the leaves on one side of the sofa were unlikely to mirror exactly the leaves on the other side.

A shift in the political climate meant a shift in aesthetic preference. After the political upheaval of the French Revolution, the lower classes wanted nothing to do with the oppressively wealthy upper classes and their prissy art preference. The levity of Rococo art was abandoned in favor of emotional, intense imagery with a revolutionary energy about it. This period of art was known as Baroque art, from a French word describing irregularly shaped pearls. An easily recognizable piece of Baroque art is the cover of the recent Coldplay album, whatsthepaintingsname. In this painting, a rather disheveled woman is depicted leading fervent troops to battle. Enemy corpses are being trampled upon as the proud woman raises the French flag. This painting contains all the hallmarks of Baroque painting – excitement on a grand emotional level, with violent undertones.

While there certainly was nothing wrong with the art of the Rococo era, the lower classes understandably found fault with the unequal distribution of wealth in French society. Marie Antoinette famously had little regard for the welfare of her subjects. Rococo art represented to the French revolutionaries all that was wrong with French society at the time. It was no wonder then that the Revolutionaries set about hacking to pieces Rococo portraits of nobility as they stormed the estates of Paris.

Making That Perfect Arts And Crafts Dream Catcher

Being bothered by nightmares? Native Americans believe that bad dreams can become caught in the web of a dream catcher and destroyed in the morning light. Dream catchers are so beautiful and artistic that they have become one of the most popular mass marketed arts and crafts available. However, these lovely pieces can be made at home. In this article, we’ll demonstrate how to make a dream catcher yourself.

Dream catchers were originally made out of willow, sage and deer sinew. Modern dream catchers are made with wood or metal wrapped in leather strips and artificial sinew. The decoration of the web along with the shape, size and colors used is left to the artistic tastes of the individual.

Feathers attached to the dream catcher are meant to assist the flight of good dreams. Although selecting the materials is usually a matter of preference, typically to make a dream catcher you will need about 7 feet of thin suede, glue, a 6 inch metal or wooden ring, waxed nylon string, 12-16 pony beads, 12-16 feathers, scissors and a clothes pin. The colors of the beads and feathers can be any you choose.

The most difficult thing about the arts and crafts project of making dream catchers is making the web. Once you have covered the hoop with leather or suede and the glue has dried completely, tie a long strand of sinew or another piece of suede onto the hoop with a secure knot.

Carefully work your way around the hoop making a slip stitch at about every inch, or inch and a half. Ideally, the spaces should be uniform but don’t worry if they are not perfect. Once you get back to the top, slip stitch into the first loop that you made and repeat the process until you have just a small hole in the center. If you want to make your dream catcher more decorative, you can slip beads onto the web as you go. Tie a knot at the end and cut off any excess material.

To make the loop to hang your Dream Catcher, use a 12″ piece of suede lacing. Fold it in half and tie a knot in the open end. At the top of the ring, attach the lacing and slip the loop end through the ring and then around the ring and over the knot. Pull the lacing tight to secure it in place.

To make the hanging sections, cut three 8″ pieces of suede. Tie two 8″ pieces of suede lacing about one third of the way up each side of the ring using a double knot. Slip 3 colored pony beads onto each piece of lacing and secure with a knot. Tie the last 8″ piece of lacing to the top middle of the ring. Slip three pony beads onto each piece of lacing. Finally, push two feathers up inside the beads on each piece of lacing.

Arts and crafts make wonderful presents and a homemade dream catcher is an especially thoughtful present. It make take some practice to get the weaving right, but the effort is worth it.

As you get more experience with the craft of making dream catchers, you can experiment with different colors of suede and leather, beads, feathers and ring sizes. As with all of the artistic craft projects you may undertake, no two pieces need to look the same.

Shashidhar Kote Being As Junior Yesudas (kote Music And Arts Foundation)

Bengaluru Ratna, Gayana Mantrika, Vishwamanava, Gana Gandharva, Kannada Saarathi…that’s Shashidhar Kote for you.

The Kannada singer talks to Shruti Indira Lakshminarayana about his journey from Dakshina Kannada to Bangalore and being called ‘Junior Yesudas.’

How did music happen to you?

I was exposed to music and Yakshagana at a very young age. As years passed, I realised that I wanted to be a singer. With my father Kote Vasanthkumar’s support I came to Bangalore to live my dreams.

Did you give up your career as a teacher to become a singer?

Yes, I used to teach literature at Mangalore University. But lecturing to a large class meant straining my voice. I couldn’t afford to do that as I wanted to pursue music. It is my lifeblood. In fact, when I was on a past-life regression reality show recently, I saw that even in my previous birth, I was a singer. Apparently I was a singer in the Mysore maharaja’s court and had been honoured by him.

Did you go through formal training?

After coming to Bangalore, I took classical music training from Vid Gurudutt. Before that, I had trained with Satyabhame and Gopalkrishna Iyer. However, it is Balamuralikrishna and Yesudas who have inspired me a lot. Listening to them has been an education in itself.

Have you interacted with your idols?

I met Yesudas 15 years ago. He had liked my voice. I’m yet to meet Balamurali. S P Balasubramanyam is also one of my favourites and I’ve interacted with him when I went as a judge on Yede Tumbi Haduvenu.

How does being called ‘Junior Yesudas’ feel?

God has gifted me with a good voice, but I’m no match for a legend like him. People think I resemble him because I sport a beard too and sing a lot of his songs. But even though the songs are his, the style is mine.

What is Kote style?

Be it Kannada, Telugu, Tamil, Malayalam or Hindi, when I sing a song, I make it mine. I place utmost importance on presentation. I judge the audience and present songs accordingly. There is always a variety in my programmes — from film hits to folk songs and classical pieces. You’ll find a Vaatapi, Hendati Obbalu and Kuladalli Kilyavudo, all in one programme. I try and make my presentation lively. Also, people feel my pronunciations are clear.

Your ‘Geetha Chitra’ is also unique…

‘Geetha Chitra’ is the coming together of music and painting. Lending support to this concept is B K S Verma. He paints the subject of the song I sing. Take for instance Vaatapi. He’ll paint a picture of Ganesha as I am singing. We are a popular pair in Bangalore, Chennai and Mumbai [ Images ].

You have received several accolades. Which would you rate as your best?

I have given over 4,000 concerts. The compliments I’ve got for them are the true awards. I have had elders falling at my feet. Another unforgettable incident is that of a beggar giving me the alms he had collected. He was that impressed with the programme. It is the love of the people that matters at the end of the day.

Are you saying awards and titles mean nothing to you?

Awards are bought these days. If anything, awards should come looking for you. But recognition pleases me. It encourages me to perform better.

While you have given many stage shows, you are not all that visible in the film circles. Why?

I have lent my voice to Shivaleele and Aiyappa. But today’s music directors want singers to approach them and I have too much self respect for that. Also, I am busy and don’t consider playback singing my ultimate destination. But Kannada youngsters should be given a chance. Why bring Hindi singers when you have so much talent here? Even singers like S P Balasubramanyam have not been utilised properly. How long will Hindi singers remain a trend? Even their Kannada numbers sound so Hindi!

What do you think of the current film music scenario?

Most songs are not backed by good lyrics. Rhythm is ruling over melody. Everyone wants an instant formula. In this bid, capable music directors, singers and lyricists are being ignored. We are not coming out with evergreen songs like Ellelu Sangeethave or Kuladalli Kilyavodo any longer. In comparison, the Malayalam industry manages to churn out tasteful music even now.

What is your take on fusion music?

I see it more as confusion rather than fusion! Half-baked knowledge on part of musicians is responsible for this state.

And what about reality shows?

The SMS-voting system is playing spoil sport. The judges’ words should be final. I have judged shows like Little Star Singer, Sangeetha Lahari, Hadondu Haduvenu and Sangeetha Sambrahma and I can say that what we need is opportunity and not competition, more so in the case of children. It would also do good if the channels popularised folk and classical music, not just film songs through these shows.

Speaking of young talent, both you and your wife are artistes. Is your son Saagar also aspiring to be one?

My wife Seetha is a dancer and a television actor. But that doesn’t mean we expect our son to tread the same path. He has shown interest in music, but he seems more inclined towards direction. As parents, our duty is to support him. All that I tell him is to learn and respect his language — Kannada.

Any word of advice for aspiring musicians?

First of all they should understand that just by singing on S P Balasubramanyam’s show they don’t become SPBs! There is no short cut to success. Dedication and a good teacher are the key words. They should be well-informed about musical notes and grammar, and make music that touches people. Money will follow.

What are your other interests?

I act in television serials. I also endorse products occasionally. Going out with my family and watching movies and cricket with them keep me relaxed. I also follow news keenly. Listening to songs set to my favourite ragas Kalyani, Anandha Bhairavi, Hindola, Karaharapriya and Abhogi also keep me going.

What’s the flipside of being an artiste?

Any artiste’s life is complex and unpredictable. There is too much tension and running around to do. For a singer, maintaining his/her voice is a task in itself. But all the effort seems worth it when you are on stage.

What’s next from your side?

There are a few music albums. One will be a collection of Dasara padas and another of devotional songs. I also want to make an album of Bharatanatyam dance numbers. My big dream is to start a music and dance academy along with my wife and brother.

Tinga Tinga Paintings- Widely Represented form of Tourist-Oriented Art

Tinga tinga is a painting style developed in the second half of the 20th century in the Oyster Bay area in Dar es Salaam (Tanzania) and afterward spread to most East Africa. Tinga Tinga paintings are one of the most widely symbolized forms of tourist-oriented fine art in Tanzania, Kenya and adjoining countries. The genre is named after its creator, Tanzanian painter Edward Said Tingatinga.

Tinga Tinga paintings are conventionally made on mazonite, using numerous layers of bicycle paint, which makes for luminous and highly statured colors. Many fundamentals of the style are associated to requirements of the tourist-oriented market; like the paintings are usually small so they can be easily transported, and subjects are proposed to appeal the Europeans and Americans. In this sense, Tinga Tinga paintings can be deemed as a form of airport art. The drawings themselves can be portrayed as both youthful and sketch, and humor and irony are often precise.

In past times, this African art was well thought-out as the black art but, then the variation in times and the change in thinking pattern of people has influenced this art very much and it has completely altered now. Paintings of this art represent the African culture and its nature, various painters in Tanzania are taking pains to try new things with rich African culture and this art is quickly gaining popularity. Tinga Tinga paintings are beautiful form of expression which has given birth to exclusive style of impressionism. This art form depicts natural surroundings and life of Africa.

Local artists of Tanzania have been functioning for tourists to accomplish special requirements of long-distance travelers, including size. The paintings are one of the most renowned categories of paintings in Africa. However, following four paintings themes are highly admired among art lovers.

Couple Theme Founders of the community are represented through this theme of painting. This theme is very popular among people as it implies power and proud. Shrines and sculptures were only used for special occasions.

Mother with her children- This theme is popular because it portrays the importance of a relation between the mother and her child.

Man along with weapon or animal- This theme represents the power and status of being individual and admiration for ancestors. This also represents strength and opulence.

Stranger- This theme represents the hospitable nature of the community and the country.

It is an art form which is widely acknowledged and art collectors endow huge amount of money to procure the Tinga Tinga paintings. This helps local artists of Tanzania in discovering, gaining recognition and receiving good amount of money. This also helps in preserving and conserving the local art of the country.

By filling facade as completely as possible, with one or more of the animals, Tinga Tinga artists often utilize the motifs as if they were a part of the Swahili tradition anyway. Animal figures are drawn so that they in their whole fit into the frame of masonite, or two animals are decoratively positioned next to each other, as if they were tangled calligraphy letters from an old Nordic textile design – or, rather, a selection out of a creatively rendered, striking Arabic Koran verse. Numerous Tinga Tinga paintings demonstrate both the genesis of and the reunion between east and west in eastern Africa.