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Artist, Painter, Writer & Poet, Model, Counselor and Photographer. (France) For More Info: Googel Search by Kanchan Bagari.

Sunday, May 30, 2010

Interview & Photo





Interview with DD1





Thursday, May 20, 2010

"Story Of Vishnu Ka Varana Avtara"


"Vishnu Ka Varaha Avatar"
(Oil on Canvas)
Artist: Kanchan Bagari

The Veharah Incarnation Of Vishnu

The ten best known Avatars of Vishnu are collectively known as “Dasavtara”

{1} MATSYA, the fish-avatar who saved Manu- the progenitor of mankind from the great deluge and rescued the Vedic scriptures by killing a demon

{2} KURMA, the tortoise- avatar, who helped in the Samudra manthan- the churning of the ocean

{3} VARAHA, the boar- avatar, who rescued the earth from the ocean, by killing her kidnapper-damon Hiranyaksha

{4} NARASIMHA, the half man-half lion avatar, who killed the tyrant demon- king Hiranyakashipu, to rescue the demon’s son Prahlada, who was a Vishnu-devotee

{5} VAMANA, the dwarf-avatar, who defeated the demon-king Bali

{6} PARASHURAMA, sage with the axe who defeated the demon-king Kartavirya Arjuna

{7} RAMA, the king of Ayodhya, and the hero of the Hindu epic Ramayana

{8} KRISHNA, the king of Dwarka, a central character in the Bhagavata Purana and the Mahabharata and reciter of Bhagavat Gita

{9} GAUTAM BUDHA

{10} KALKI (“Eternity”, or “Time”, or “The Destroyer of foulness”), who is expected to appear at the end of Kali Yuga.

Here Vishnu’s 3rd incarnation is shown

A demon Hiranyaksha, had prayed for Lord Brahma and got awarded a boon that no beast nor man nor God could kill him. But somehow from the list of beasts the name of boar was missing. He pushed the world to the Pataal loka, or the under of the sea. He stole the Vedas, the holy scriptures from the Lord Brahma, while he was asleep and performed huge atrocities. To retrieve the Vedas from the under of the ocean, using its two tusks. It then killed Hiranyaksha and retrieved the Vedas from the asura and brought it back to the safe custody of the Lord Brahma.

Here, the same incarnation of Lord Vishnu in form of a Varaha has been exhibited. This incarnation of Varaha is one of the most significant incarnation out of the twelve incarnation of Vishnu.

It shows that goodess always emerges victorious from all the bad and ugly.




Story Of Tri Dev



“Tri Dev”

This painting named “Tri Dev” is related to Hinduism. By the time of the Guptas, the religious beliefs and practices had much changed from those of the Vedic time. Its most important aspects were the idea of the trinity of Gods, with Brahma- the Creator, Vishnu- the Preserver and Siva- the Destroyer. Most of the Hindus became devotees of Vishnu or Siva. It is important to remember that while we call this mythology, we are talking about a religion that is very much alive and active. In worship, Brahma is considered no longer active, and therefore does not have a large following. Shiva and Vishnu have competing temples, and their worship is spread throughout the land. The idea of devotion or bhakti to God also originated around this time and the cult of Krishna, who was identified with Vishnu, started developing.

In this painting on the one hand Brahma, Vishnu & Mahesha have been painted and on the other hand the creator has been shown in the center, who having created the world, left it, is now in the peaceful pasture. On the one hand, the protector has been shown who has been protecting the creation and He is now happy to observe whatever good in this world has been going on. Only due to this cause a slight happiness on his face has been shown.

On the other hand, in a wrathful pasture, the Annihilator (Destroyer) has been shown. Shiva represents destruction. This immediately makes us think of bad, angry, vengeful Gods! But Shiva is unpredictable and ambivalent in his position. He will destroy if it brings balance to the earth. Here Shiva, Who is anger having seen all sorts of evils going on in this world.

They also represent the three elements Earth, Water and Fire and the stages of Birth, Life and Death.

*************************************

Wednesday, May 19, 2010

"Balram"
(Oil on Canvas)
Artist: Kanchan Bagari

Bal Ram

From the Kumbhaswami temple, this painting has been done, from among the statues there. It is the finest example of sculpture, and revive the memory of the Khajuraho.

The ruined face is itself narrating its sad tale.

Story Of Nymphs



Menka, Urvashi, Rambha, Nartki

These Nymphs are from the Samadhishvara temple. It appears that the artists of that time might have seen these Nymphs with their own eyes and engrave them exactly as they were. As these Nymphs, who from the time immemorable, have been the symbol of boundless beauty, and even today, though in demolished state, possess the same beauty and grandeur and still teaching man the art of living, that having lost everything. We should not be hopeless in our life. The way in which these Nymphs standing in demolished state, retain their beauty, in the same way our life is full of beauty.

Thus these icons of Menka, Urveshi and Rambha teach us to have a positive thinking in our life.

"Sat-Bis-Diori"

"Sat-Bis-Diori" figure-2
(Oil on Canvas)
Artist: Kanchan Bagari

"Sat-Bis-Diori" figure-1
(Oil on Canvas)
Artist: Kanchan Bagari

Sat-bis-Diori

Built of twenty-temples, these two statues have been repeatedly carved out, but nobody knows as to whose statues are these and why the sculptors have carved them out.

Every creation of an artist has a tale to tell us, but our sensual ears are unable to listen to them.

Story Of Dancing Figures



Postures of Dance, the Dancer and the Dancing body

In 1428 A.D an artist attempted to exihibit one art through the medium of an other art and the same effort has been repeated here.

That time the sculptors exhibited Dance through the sculpture. Today an artist has attempted to enliven the same art on the Canvas.

All the arts are entwined together.

"Balram"

"Balram"
(Oil on Canvas)
Artist: Kanchan Bagari

Bal Ram

From the Kumbhaswami temple, this painting has been done, from among the statues there. It is the finest example of sculpture, and revive the memory of the Khajuraho.

The ruined face is itself narrating its sad tale.

Vishnu ka Varaha Avtar

"Vishnu Ka Varaha Avtar"
oil on canvas
Artist: Kanchan Bagari

The Veharah Incarnation Of Vishnu

Lord Vishnu, in order to free this earth from the bondage of Hiranyakasha, the Devil of king of the underworld, incarnated himself in the form a pig. The Varaha from, killed The devil and brought the earth out of the underworld.

Here, the same incarnation of Lord Vishnu in form of a Varaha has been exhibited. This incarnation of Varaha is one of the most significant incarnation out of the twelve incarnation of Vishnu.

It shows that goodess always emerges victorious from all the bad and ugly.


Story Of Painting by Kanchan Bagari

“Tri Dev”

In this painting on the one hand Brahma, Vishnu & Mahesha

have been painted and on the other hand the creator has been shown in the center, who having created the world, left it, is now in the peaceful pasture. On the one hand, the protector has been shown who has been protecting the creation and He is now happy to observe whatever good in this world has been going on. Only due to this cause a slight happiness on his face has been shown.

On the other hand, in a wrathful pasture, the Annihilator (Destroyer) has been shown. Who is anger having seen all sorts of evils going on in this world.

Tuesday, May 18, 2010

Story Of Painting"

Story Of Kala Sangam
by
KANCHAN BAGARI

“Kala Sangam” In this painting all four arts have been put together. They are- dance, music, sculpture and painting and a happy concourse of these is shown, to emphasize that all the Indian Arts are one and the same and in India, they are worshiped as Goddess.

Music

Since Vedic times, Indians had been required to correctly recite, the Vedas. The correctness in recitation was very important as the Vedas were, in those days, transmitted through memory (Smriti) and were learnt through hearing (Shruti). This v so, as writing was absent in early Vedic times. Even today the Vedas are traditionally learnt through oral studies.

This kind of an emphasis on recitation the correct pronunciation lead to studies in phonetics and sound manipulation. This was the birthplace of Indian Musical Raga (metre) and Swaras (rhymes). That Music in ancient India was given considerable recognition is illustrated by the fact that Saraswati, the Indian goddess of learning is shown to be holding a musical instrument (Veena) in her hand.

Traditionally, vocal music in India has tended to be devotional music (Bhakti-geet), and temples have been places (as they still are) where musicians used to practice music to please the deity and the devotees. Indian vocal music is broadly divided into two schools viz. the Hindustani or north Indian school and the Carnatic or South Indian school. As far as instrumental music goes there is a general identity of instruments that have been used.

The main Indian musical instruments are the Sarod, the Veena, the Sarangi, the Tambora, the Harmonium, the Ghata, the Tabla, the Tanpura, the Satar, etc., As compared to art and architecture Indian music has had less impact on the outside world. This was so as most of Indian musical instruments require specialized material and craftsmanship for their manufacture. And in the absence of transmission of these skills and the absence of trade in musical instruments, Along with the necessity of long and arduous practice which was required to master these instruments, made the transmission of music a difficult task.

However, as far as, devotional vocal music goes, Indian musical traditions did travel to the countries of South east Asia. The instrumental and vocal music of Korea has many elements of Indian music, which it received along with the Buddhist invocative and devotional songs and slokas (religious couplets). Along with Buddhism, some Indian musical instruments like the flute (bansi), temples bell (Ghanta), etc., went to the countries of south-east Asia. Even Europe owes certain instruments to India.

Two popular European musical instruments namely the flute and violin are believed to be of Indian origin. Though we do not know about the process of transmission of these instruments, however in India the flute (bansi) and the violin (a variant of the Veena) are definitely indigenously Indian.

A pointer to the fact that these instruments have been in usage in India since a very long time is that the bansi is associated with Sri Krishna and the Veena with the goddess Saraswati.

This apart, in modern times the western musical instruments like the Tambourin and the Tambour are adaptations of the Indian Tambora and Tanpura. The names Tambourin and Tambour are also derived from the word Tambora. The Saralngi, another Indian musical instrument has also found its place in western music. The acceptance of these musical instruments in the west is also evident from the fact that the words Tambora, Sarangi and Tabla are mentioned in the Oxford Dictionary.

Dance

Apart from Shiva even Ganesha and Srikrishna are associated with dance and music. India has many classical dance styles. The oldest text dealing with aesthetics covering various art forms including dance is the Natyashastra which is authored by Bharatamuni.

All the Indian classical dance styles viz. Bharata Natyam, Kuchipudi, Kathak, Odissi, Mohiniattam, Kathakali, Manipuri, etc., are derived from the Natyashastra. Some of these dance styles have evolved from folk dances and are intimately connected with the art of story telling. Most of these stories are drawn from our epics like the Ramayana and Mahabharata, tales from collections like the Panchatantra, Hitopadesha, Katha Sarit Sagara, etc., also from the subject matter of these dance styles. In fact the Kathak and Kathakali from U.P. and Kerala respectively, derive their names from the term Katha which in Sanskrit means a story. As the story is told in the form of dance, these dance styles can actually be called dance-dramas, the only difference is the absence of dialogues.

The Charkul dance-drama of Central India revolves around a story generally from the Indian epics like the Ramayana and the Mahabharata. Similar traditions of dance-dramas are prevalent in other parts of India too. In Maharashtra, you have the Dashavatara, in Karnataka you have the Yakshagana The Kathak dance of North India and the ktha*ali dance of Kerala also originated as dance dramas and derive their names from the Sanskrit work 'Katha' which means a story.

The story has to be told solely through actions and hence an elaborate pattern of facial expressions (Mudra), movement of hands (Hasta) and the simulation of various moods like anger (Krodha), envy (Matsara), greed (Lobha), lust (Kama), ego (Mada), etc., have been evolved. The mastery of perfect expression of these feelings by subtle movement of the lips and eyes forms the root of all the classical Indian dance styles.

In fact the combination of the three qualities viz. expression, rhyme and rhythm i.e. Bhava, Raga, and Tala go into the determination of the term Bha-Ra-Ta, which is used as the name of one dance style viz. Bharata Natyam.

The integration of Indian classical dance with the physical exercises of Yoga and the breath control of "Pranayam" has perfected the dance styles. Yoga especially had given the dance styles an excellent footwork which is called Padanyasa and Padalalitya. Another feature of these dance styles is that they are integrated with theology and worship.

Traditionally these dances were patronized by the temples. During festivals and other religious occasions, these dances were performed in the temple premises to propitiate the deity. Thus the dance came to combine both art and worship. Even today every recital of any Indian classical dance begins with an invocation to Nataraja or Nateshwara the god of dance.

In Indian folklore and legend, the God of Dance is himself shown to be dancing in a form called the Tandava. This has also been depicted in the statues and carvings in temples like, Khajuraho and Konark in Northern India, and at Chidambaram, Madurai, Rameshwaram, etc. in the South.

Indian dances have also evolved styles based on the Tandava like the Urdhra Tandava, Sandhya Tandava, etc. Indian classical dance found its way outside India, especially to the countries of Southeast Asia. The dance styles of Thailand, Indonesia, Burma, etc., have so heavily borrowed from the Indian classical dance traditions that to a casual observer there would seem to be hardly any difference between the two. While Western dance has not directly borrowed anything from Indian classical dance, it has borrowed from Indian folk dance through the medium of the Gypsies

Painting


The very first works of visual art created in the Indian sub-continent were primitive cave or rock paintings. Many are assumed to exist, but the largest number of discoveries are in Central India, on sandstone rock shelters within a hundred mile radius around Bhopal in Madhya Pradesh. these paintings are dated at around 5500 B.C. i.e. they are 1500 years old. Some of these paintings have been overlaid with later paintings and graffiti.

The paintings generally depict animals, in scenes such as hunting. Human figures are also shown with bows and arrows, and swords and shields. The colors used An intricately carved pillar at Ellora in Maharashtra dating back to the 7th century. are made up of natural minerals and are in various shades of red and orange. These paintings are the forerunners of the frescos of a later age which are seen at Ajanta, Ellora and elsewhere in India. But unfortunately no well preserved art remains, to document the period between the coming of the Aryans i.e. 1500 B.C. to about the time of Buddha i.e. 550 B.C.

We are told by the literary sources that the art of painting was practiced. In the Buddhist texts, elaborate palaces of kings and houses of the wealthy are described as being embellished with wall paintings. But actual evidence about this art is lost. How this art could have been, can be guessed from the paintings on stone surfaces found at Ajanta and Ellora which are said to have been done in around 400 A.D.

These paintings at Ajanta and Ellora depict Buddhist tales from the Jatakas. Though the paintings are today 1500 years old, the paint has not only retained its color but also much of its luster.

The technique of painting has been thus described by a student of Indian Art, ³The surface of the stone was first prepared by a coating of potter's clay, mixed variously with cow dung, straw, and animal hair. Once this was leveled to a thickness of half an inch to two inches, it was coated with a smooth fine white lime plaster which became the actual painting surface. On the still-damp wall, the artist first laid out his composition with a red cinnabar line and then defined the subjects with an undercoat of grey or terre verte.

This was followed by the addition of local colors, and once the whole wall was completely colored, a brown or black line restated the drawing to finish the composition. A last burnishing with a smooth stone gave it a rich lustrous surface. The colors which were natural and water soluble, consisted of purple, browns, yellow, blue, white, green, reds and black."

Thus it is evident that the technique of painting had developed to an advanced level This monumental bull was carved in marble in the 3rd century B.C. It stood on a column built by Emperor Ashoka, which was inscribed with Buddhist edicts. of sophistication due which the paintings could survive for 1500 years.

Though the colors used are supposed to have been derived from minerals and vegetables they had been treated to last long. The above description also illustrates how, complicated procedures of preparing the surface to be painted had evolved in India.

This technique of painting had also spread to central Asia and South-east Asia. Some strains of Indian painting can even be identified in western church paintings and mosaics. Indian influence is clearly evident in the paintings at Bamiyan in Afghanistan and in Miran and Domko in Central Asia. Not only do these paintings depict the Buddha but also Hindu deities such as Shiva, Ganesha and Surya

Sculpture

The story of Indian art and sculpture dates back to the Indus valley civilization of the 2nd and 3rd millennium BC. Tiny terra-cotta seals discovered from the valley reveal carvings of peepal leaves, deities and animals. These elemental shapes of stones or seals were enshrined and worshipped by the people of the civilization. Two other objects that were excavated from the ruins of the Indus valley indicate the level of achievement that Indian art had attained in those days. The bust of a priest in limestone and a bronze dancing girl show tremendous sophistication and artistry.

Hindu Art

The 4th, 5th and 6th centuries AD witnessed a tremendous resurgence of Hinduism when it became the official religion of the Gupta Empire. Consequently, this era was also marked by the emergence of innumerable images of popular Hindu Gods and Goddesses. Images of Vishnu, Shiva, Krishna, the Sun-God and goddess Durga evolved in this period. The Udaigiri caves in Madhya Pradesh house a colossal image of Vishnu. Here he is presented as the great savior who rescued 'mother earth' from the depths of the ocean, in his incarnation as a varha (boar). Other statues of this period found in various temples and museums are indicative of the various dimensions of early Hindu art and sculpture.

The link between dance, drama, literature and art became crucial to aesthetic expressionism in centuries to come. This new era in art and sculpture witnessed a unique fusion, a synthesis embodied in the caves at Ajanta and Ellora and the temples of central and South India.

In this way "Kala Sangam" is a perfact example of Indian Art.

"Paintings Of Indian" by Kanchan Bagari

“Kala Sangam”

In this painting all four arts have been put together. They are- dance, music, sculpture and painting and a happy concourse of these is shown, to emphasize that all the Indian Arts are one and the same and in India, they are worshiped as Goddess.

Indian Paintings

PAINTING


The very first works of visual art created in the Indian sub-continent were primitive cave or rock paintings. Many are assumed to exist, but the largest number of discoveries are in Central India, on sandstone rock shelters within a hundred mile radius around Bhopal in Madhya Pradesh. these paintings are dated at around 5500 B.C. i.e. they are 1500 years old. Some of these paintings have been overlaid with later paintings and graffiti.

The paintings generally depict animals, in scenes such as hunting. Human figures are also shown with bows and arrows, and swords and shields. The colors used An intricately carved pillar at Ellora in Maharashtra dating back to the 7th century. are made up of natural minerals and are in various shades of red and orange. These paintings are the forerunners of the frescos of a later age which are seen at Ajanta, Ellora and elsewhere in India. But unfortunately no well preserved art remains, to document the period between the coming of the Aryans i.e. 1500 B.C. to about the time of Buddha i.e. 550 B.C.

We are told by the literary sources that the art of painting was practiced. In the Buddhist texts, elaborate palaces of kings and houses of the wealthy are described as being embellished with wall paintings. But actual evidence about this art is lost. How this art could have been, can be guessed from the paintings on stone surfaces found at Ajanta and Ellora which are said to have been done in around 400 A.D.

These paintings at Ajanta and Ellora depict Buddhist tales from the Jatakas. Though the paintings are today 1500 years old, the paint has not only retained its color but also much of its luster.

The technique of painting has been thus described by a student of Indian Art, ³The surface of the stone was first prepared by a coating of potter's clay, mixed variously with cow dung, straw, and animal hair. Once this was leveled to a thickness of half an inch to two inches, it was coated with a smooth fine white lime plaster which became the actual painting surface. On the still-damp wall, the artist first laid out his composition with a red cinnabar line and then defined the subjects with an undercoat of grey or terre verte.

This was followed by the addition of local colors, and once the whole wall was completely colored, a brown or black line restated the drawing to finish the composition. A last burnishing with a smooth stone gave it a rich lustrous surface. The colors which were natural and water soluble, consisted of purple, browns, yellow, blue, white, green, reds and black."

Thus it is evident that the technique of painting had developed to an advanced level This monumental bull was carved in marble in the 3rd century B.C. It stood on a column built by Emperor Ashoka, which was inscribed with Buddhist edicts. of sophistication due which the paintings could survive for 1500 years.

Though the colors used are supposed to have been derived from minerals and vegetables they had been treated to last long. The above description also illustrates how, complicated procedures of preparing the surface to be painted had evolved in India.

This technique of painting had also spread to central Asia and South-east Asia. Some strains of Indian painting can even be identified in western church paintings and mosaics. Indian influence is clearly evident in the paintings at Bamiyan in Afghanistan and in Miran and Domko in Central Asia. Not only do these paintings depict the Buddha but also Hindu deities such as Shiva, Ganesha and Surya.



"Indian Art by Kanchan Bagari"


Indian art is also an art of social, political and religious influences. It changed and evolved with the evolution of a civilization which was full of remarkable innovations in all areas of artistic expression. The cultural policy of the Government of India has three major objectives - preserving the cultural heritage of India, inculcating Indian art consciousness amongst Indians and promoting high standards in creative and performing arts.

Western scholars have often had difficulty understanding the complex cultural and philosophical systems that gave birth to Indian art tradition. The story of Indian art is also the story of the oldest and the most resilient culture on earth. It is seen as an amalgamation of indigenous and outside influences, yet having a unique character and distinctiveness of its own.

Indian art features spirals and curvaceous lines, vines and tendrils, round-figured goddesses, circular amulets, colored gemstones, arches and domes, haloed deities, crescent moons, and the globe of the sun. Indian sculptures and paintings depict the diversity, colour and spontaneity of this country and are representations of the all-encompassing nature of Indian culture.

The story of Indian art is also the story of the oldest and the most resilient culture on earth. It is seen as an amalgamation of indigenous and outside influences, yet having a unique character and distinctiveness of its own. Art is also an art of social, political and religious influences. It changed and evolved with the evolution of a civilization which was full of remarkable innovations in all areas of artistic expression. Indian art features spirals and curvaceous lines, vines and tendrils, round-figured goddesses, circular amulets, colored gemstones, arches and domes, haloed deities, crescentmoons, and the globe of the sun. Indian sculptures and paintings depict the diversity, colour and spontaneity of this country and are representations of the all-encompassing nature of Indian culture.

The most endearing aspects of Indian art and architecture prior to colonization has been the strong impact of folk idioms and folk art on courtly art. Although folk art received little encouragement during the period of colonization, independence brought forward a renewed interest in folk paintings.

Monday, May 17, 2010

Question Of Artist by Kanchan Bagari


Question of An Artist

The whole world says that the Goddess of Art is worshiped in India. As a result, works of Art as well as the Artist creating them are also appreciated here.

People all over the world come here to see the different expression of Art from time immemorial, but has the relevance of Art and culture been lost in India now?

It is said that Rajasthan has Art in its existence which is expressed historically though its myriad monuments, sculptures and paintings. But now its seems that the unparalleled and unique art and sculptures of Rajasthan has lost its relevance and sacredness.

Sculpture which are hundreds of years old are being ‘Stolen’ and are allowed to ‘decay’ due to lack of care. If the Artistic heritage of Rajasthan is being destroyed in such a way by theft and carelessness, won’t such a rich tradition become extinct?

Sunday, May 16, 2010

"Kala Ki Pukar"-Call of Art


22 May to 28 May 2010

New Delhi

“Kala Ki Pukar”- The Call Of The Art

Theme:

An Art of Customs and Inspiration:

This exhibition of paintings named as “Kala Ki Pukar”, all the statues of Rajasthan have been painted on the canvas through the oil colours. A strange and unique concourse of Art has been exhibited.

Through these paintings homage has been given to all those unknown Indian Artists who have left this great unique legacy for us. No written record is available as to who created these marvelous statues and nobody knows about them.

These statutes are our precious legacy, which should carefully be preserved.

Along with this “Paintings Exhibition” and through it, I (Artist Kanchan Bagari) have also conved the message to every common people- “The Art Of Living”. I have somewhere given the expression of the song of life among these painted status and somewhere tried to lay bare the mysteries of life. In many of my paintings, the statues have been shown in their demolished form. The cause of this is that there occur many happenings in our life which kill our desire for living. Under such moments of frustration, instead of crumbling down, we should learn the art of living. The way, a statue looks beautiful inspite of demolition, in the same way there lie many colours hidden in our life. As T.S.Eliot say’s-“Life is lost in living.” But these paintings teach us “the art of happy living.”

About those unknown Artists I can only say-

“Full many of gem of purest say serene,

The dark unfathomed cover of ocean bear,

Full many a flower is born unseen,

To waste its sweetness to the desert air.”

Saturday, May 15, 2010


Hello!

My name is Kanchan Bagari, I am an Artist.
Since last 7years I am doing practice in Art. I am from a small town. Since childhood I have been visiting the Chittorgarh Fort in my state. It is the fevourite holiday destination of my tourists. I am particularly attracted by the exquisite sculptures. Though the artisans have done brilliant work, they are unknown figures. I am concerned about the insensitive attitude of some visitors who have mutilated the sculptures in the temples. The sculptures inspire people to live life positively. Though some of the sculptures have been mutilated, they still appeal to the discerning art lovers.
For five years I have been so absorbed in trying to bring alive the sculptures on canvas. For that I had completely isolated myself from my neighbours and friends. What started as a hobby became a full-fledged passion after I graduated from Bikaner University in 2004.
To create public awareness about the need to preserve the country's dilapidated monuments, I am going to exhibite my Paintings at the All India Fine Arts & Crafts Society gallery in New Delhi on 22 May to 28 May 2010.
Through my solo exhibition , "Kala Ki Pukar"-part 1, I wants to pay tribute to the unremembered and unsung Indian Artists who built the magnificent temples and sculptures in India.

I appeal to each and every human being, who have any respect for Indian Artists, please come in my solo paintings exhibition- "Kala Ki Pukar"-part 1 at All India Fine Art & Crafts Society in New Delhi on 22 May.


Sunday, May 9, 2010

Good Day

A Very Good Day


Fighting our battles with confusion each day,

Routines are established to keep befuddlement at bay.

We watch for stress and avoid mental fatigue,

harmonious striving to make mind and body agree.

We can still make decisions and want to interact

With those called normal; but it's a balancing act.

Simple is much better and less is okay -


Our motto is only one to have A Very Good Day.

Mother's Day

Mother's Day

Saturday, May 8, 2010

Mother's Day


M - For the MILLION things she gave me,
O - For she’s growing OLD,
T - For the TEARS she shed to save me,
H - For her HEART of purest gold,
E - For her EYES, with love-light shining,
R - For she is always RIGHT and always be.

Make for me a place within your heart
On which I can depend. For only you
Touch the ancient wellsprings of my tears,
Home through all the wanderings of my years,
Eden that no other can renew,
Root I cannot rend through rage or art.

I luv u mom
having u makes me feel safe & calm
I miss u mom
Missing touches 2 my face with ur chapped palm
u r the greatest
because u r my mom


Friday, May 7, 2010

THINK ABOUT IT

"Each moment in a day,has its own value,
Morning brings hope,
Afternoon bring faith,
evening brings luv,
Night bring rest,
Wish You find them all today n forever"

----------Live Life Happily---------