In The Garden: Work of Sumakshi Singh (original) (raw)
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Garden and Metaphor, 2023
In this book, landscape architects, sociologists, architects, artists, philosophers and historians illuminate different aspects of the garden in the Anthropocene in six chapters: the garden as a place of community, garden as art, garden as a place of enchantment and rapture, opening up questions of what garden as a model could stand for.
Between Presence and Perception: the landscape phenomenology of Sundar Nursery, New Delhi, India
Since opening as a public park in 2018, Sundar Nursery has captured the imagination of the public, and is estimated to receive nearly one million visitors annually. Often featured in popular media, it is one of New Delhi's most iconic public parks. Its' complex brief includes the painstaking conservation of 12 monuments from the pre-modern historical period that are woven into a masterful tapis espace-a metaphorical carpet of intricate design that organizes and extends its' space into elaborate pleasure gardens and groves. Though the Park has received wide acclaim as an evocative contemporary work of landscape architecture, the work has not yet received adequate attention in scholarship. The park's vividness challenges conventional readings and is not explained by facile emphases on formal aspects. Due to the difficulty of finding similar examples for comparison, or suitable aesthetic concepts and categories, this paper employs a framework of concepts from Dufrenne's influential work on phenomenology [1], and Sennett's semantics of craft [2]. The paper argues for an appreciation that goes beyond the specific arrangements of diverse elementsnatural and built-constituting Sundar Nursery instead, as an aesthetic experience by employing Dufrenne's aesthetics to explain its' phantasmagorical ensemble.
UNVEILING THE MYSTIC REALMS OF NATURE-ARTIST PREM SINGH
Granthaalayah Publications and Printers, 2022
This research paper truthfully and systematically analyses the creative journey of artist Prem Singh spanning over seven decades, tracing and chronoclising the roots of his motivation and the role of socio-cultural and traditional environment, which played a significant role in nurturing his artistic sensibilities. The organic growth of his forms and elements points towards an inclination to unveil the mystic metaphors and presence of the immortal in his works of great artistic merit. It also recognizes his love for the everchanging new ideas, techniques, and use of materials to make his art vibrant and pulsating with emotions. Series after series, he has poignantly touched upon sensitive issues facing the mankind and also finds solace in mystic contemplation. Despite all odds, how this artist a lover of Nature, carved a niche for himself in the field of art, is an inspiration in itself. Today, he is considered as one of the doyens of Contemporary art in Punjab and India.
2013
The core of the philosophy of Fakir Lalon Shah, a mystic poet and spiritual practitioner of Kushtia, Bangladesh talks of self-containment and to look for answers within self; to connect Soneself to the cosmic energy and understand, over everything, self. This thesis is an attempt to explore those personal spaces that unite to be a whole. Like in Fakir Lalon Shah's lyrics-'the individual enlightened ones are not the fully ripen entities, but all the enlightened ones that light up the regal lamp altogether," the oneness of humankind free of class-differences achieved through personaljourneys is the force that inspired this project to become physical. Physical representation of a philosophy, a lifestyle, an education requires putting up an eyeglass for atypical of genre in architecture while at the same time a lot of real issues needed to be accommodated within the short range of intervention. The journey is much spiritual and exploratory in nature. Any kind of designed space will be interpreted differently, individually. For that reason an analysis of the mediums of art which carry the message of the philosophy had been tried to incorporate to start with something tangible; may it be verbal (the songs and lyrics) or visual (architecture). At the end, a set of contemplative spaces have been derived from the essence of the lyrics to extract the philosophy which was intended to serve as an education towards a lifestyle restructuring the urban tissue around Fakir Lalon Shah's shrine in Cheuria, Kushtia.
Human nature at Mystic perspective Garden in Hafiz perspective
Manzar the scientific journal of landscape, 2016
|To better interpret the position of garden from Hafiz' s perspective and to show how the relationships between the garden and poetry is established in an artwork, we need to scrutinize how these terms have been conceptualized. Comparing these two arts based on visual attributes, or rational spending is not possible and subjective nature of the flow of Persian poetry must be Considered. The purpose of this paper is to explore the interrelationship and to show significant use of words related to garden in poetry and to explain the relationship of artistic creation in relation to the wisdom of creation in the poet's view. The Companionship of gardening affinity and poets in the external world, which is derived from the relationship in subjective nature, is of crucial importance. the garden in his poetry and in general nature, specifically is used not to describe objective materials, but to understand the poet's worldview and scrutinizing it. To understand the mystic world, we need to look at nature and investigate the evolution of the concept of asceticism in the history of Sufi and mystics and it is necessary to pay special attention to it. A trip in the centuries after Islam, admonishing the nature in one of the upper and lower ends of the world has been made. From this perspective, a different interpretation of the verses of the Holy Quran by mystics is received, nor the attributes of God as omnipotent glory executioner, who attributes his beauty in perspective, a mystic, described the beloved. In the meantime, the Sufi ascetic tries to suppress feelings and emotions more hands-on with the poetic life in him grows more freedom of his affections into immediate relation with nature and brings its nature as a manifestation of man and the mirror reveals nature's beauty. In such a vision is the earthly paradise of heaven and earth. artist knows nature as the foundation of both the subject and object. Its agent means an artistic creation in the form of poetry, garden and ... it comes to the ethics of the art. Art begins the nature and ethics are interwoven with one another. As to the mixed nature of morality whose existence cannot be imagined without it, art is the same sense of fun. Nature in art, ethics has its own inner logic and follow. The synthesis of morality and nature, soul consciousness that is the origin of aesthetics arise. In this struggle, as the nature of the arrangement is the language, the poet finds, rebellious nature out of the hands of New Beauty finds the wild it is driven and nature are arranged by man for man, in other words, garden is a human in nature.
Plant-Art: The Virtual and the Vegetal in Contemporary Performance and Installation Art
Resilience: A Journal of the Environmental Humanities, 2015
Whether as paintings, sketches, textiles, or craftwork, plants have been integral to Western art through the ages. Florilegia, herbals, botanical illustrations, pressings, and other renderings of whole plants and, very often, of their flowers comprise part of the tradition of plants in art. Closely related to these visual forms are tactile and sensory practices engaging plant materialities and involving, for example, natural dyes from roots, resins turned into adhesives, figurines sculpted from fine wood, and leaves incorporated into the texture of an artwork. A third dimension of the plants-as-art tradition regards the vegetal (the tree, herb, orchid, flower, trunk) as an intrinsically living work of art-a complete botanical form not requiring visual rendering or material manipulation by humans to become an artwork. As such, a plant is a priori a paragon of natural beauty and an expression of harmony, symmetry, color, and other aesthetic qualities in itself. This latter aspect involves the appreciation of botanical nature on its own terms-in its raw state-without the intervention of an artist. These three elements of the tradition of plants in art-let us call them "visual plant art, " "tactile plant art, " and "plants-as-art"-have been transformed by the introduction of digital technologies into creative practices since the 1990s. Hence, there is presently a need to articulate a fourth element of the plants-and-art tradition-the subject of this article-which I will call
Training the artist, training the viewer: Vegetal control of human movement in
The viewer: Exhibition attendees. Gestell: Philosopher Martin Heidegger's term for a relationship to technology and the earth associated with calculative, reductive thinking. In human interactions with entities, i.e. the earth's raw materials, the earth issues a challenge to reveal it as a resource, through technologies of production (1977 p. 19-21). Standing reserve: Under Gestell, the revealing of entities as resources leads to their stockpiling as standing reserve, available to be called on at any time to serve a predefined instrumental purpose (1977 p. 16-17). The storing, regulation and distribution of entities within such a structure means they are defined by their orderability and substitutability, as stock. This defining obscures other ontological possibilities and opportunities for self-determination (1977 p. 27). Gelassenheit: A meditative-contemplative thinking (Heidegger 1966) and counter to the disconnected existence Gestell engenders. It involves the non-willing, letting or enabling of entities (here, plants), to reveal themselves as they are, outside of instrumentally determined representations (1966 p. 63-65, 76). Duration: Philosopher Henri Bergson's term for the phenomenological experience of time passing, characterised by its indivisibility and the subjective perception of things in motion. Jacobus Capone's durational artworks are a key influence on this research, particularly Act 2 of the ongoing project Forewarning, undertaken over 6 weeks in a plantation forest in Shiga prefecture, Japan, in 2019. Meditative-contemplative thinking (state, space): The highly focussed, free thinking associated with Perennial series' nourishment ritual. It is informed by Gelassenheit, where the incalculable aspect of thought is central to it being a counterpoint to Gestell.