|
|
|
|
After February 2025’s special offering which included the release of the first issue of Renaissance Redux, and the launch of Children’s Corner, along with rich content related to appreciation of Indian art and a book review, we are happy to bring for readers another special issue.
The focus of Renaissance, Volume VI, Issue 3 - the Mother as an artist. This beautiful side of her Divine personality can be seen as an expression of one facet of her Mahalakshmi aspect, an embodiment of Divine Beauty and Harmony.
|
|
|---|
|
|
|
The Mother did not give her personal career as an artist a primary importance. Hence it is not commonly known that she was an accomplished artist… In spite of her limited artistic activity in later years, she never lost the power of her observing eye nor the sureness of her hand. Nor did she allow her consciousness of beauty and her aesthetic vision to become diminished in the midst of her intensive spiritual endeavours and manifold responsibilities as the head of Sri Aurobindo Ashram.
The Mother loved to draw and paint from her childhood. Though art was only one of her many interests, it occupied a prominent place in her early life. She began to take drawing lessons at the age of eight. Two years later she started to learn oil painting and other painting techniques. By the time she was twelve she was doing portraits. In 1892, when she was fourteen, one of her charcoal drawings was exhibited at the International
“Blanc et Noir” Exhibition in Paris. |
|
|---|
|
|
Editor's Note: It must be remembered that even from childhood the Mother was conscious of a larger mission to which art and all other interests were subordinate. Art was for her a valuable part of life, but not the most important thing. It was a language which came naturally to her, and she used it as a means of expression and communication in the course of her work with people. For her, images could often reveal more than words. |
|
|---|
|
Editor's Note: The two conversations featured help us understand the evolutionary curve through which Art, like everything else, goes through in manifestation. The relation between Art and the changing aesthetic sensibilities is also explored in these passages. |
|
|---|
|
Editor's Note: In this concluding part of our ongoing series, the author through the use of two examples – Nataraja and Seated Buddha – explains the deeper purpose behind the continuity of an artistic tradition that expresses the highest ideal valued by Indian culture. |
|
|---|
|
BhāratShakti team members gave several invited talks at Kolkata, Delhi, Vadodara, Pondicherry, Auroville. |
|
|---|
|
|
Join us on this 5-week journey as we examine the nature of love and human relationships using a deeper psycho-spiritual view. No human experience is insignificant in the wider view of life and existence that has been given to us by great yogis, sages and seers such as Sri Aurobindo and the Mother. We find highly relevant insights on almost all aspects of life in their writings and teachings. Through this course we shall together explore and reflect on some of these insights as applicable to the topics of love and human relationships. |
|
|---|
|
|
|
|
|
|
|
|
|
We thank our donors for their valuable contribution. Your support helps us keep the journal free and organize meaningful educational opportunities through our workshops, talks and exhibitions. Please keep supporting the Renaissance. |
|
|---|
|
|
|
|
|
|
|
