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    Ganga Avataran

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    Aman Chaudhary
    Ranjit Hoskote gave a seminar discussing how to properly analyze a painting. He used Atul Dodiya's painting "Ganga Avataran after Ravi Verma" as an example. The painting includes depictions of Ravi Verma's painting of the same name, Marcel Duchamp's "Nude Descending a Staircase", and Duchamp's "With My Tongue in My Cheek". Hoskote explained how Dodiya grew up seeing Ravi Verma's paintings and was influenced by Western art movements. Dodiya's painting comments on the history and influences represented in its various layered images. However, the speaker questions whether paintings should only be interpreted in certain prescribed ways

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    Ganga Avataran

    Uploaded by

    Aman Chaudhary
    300 views3 pages
    Ranjit Hoskote gave a seminar discussing how to properly analyze a painting. He used Atul Dodiya's painting "Ganga Avataran after Ravi Verma" as an example. The painting includes depictions of Ravi Verma's painting of the same name, Marcel Duchamp's "Nude Descending a Staircase", and Duchamp's "With My Tongue in My Cheek". Hoskote explained how Dodiya grew up seeing Ravi Verma's paintings and was influenced by Western art movements. Dodiya's painting comments on the history and influences represented in its various layered images. However, the speaker questions whether paintings should only be interpreted in certain prescribed ways

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    see ganga avataran painting and learn some good artist skill.

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    ganga avataran

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    Ranjit Hoskote gave a seminar discussing how to properly analyze a painting. He used Atul Dodiya's painting "Ganga Avataran after Ravi Verma" as an example. The painting includes depictions of Ravi Verma's painting of the same name, Marcel Duchamp's "Nude Descending a Staircase", and Duchamp's "With My Tongue in My Cheek". Hoskote explained how Dodiya grew up seeing Ravi Verma's paintings and was influenced by Western art movements. Dodiya's painting comments on the history and influences represented in its various layered images. However, the speaker questions whether paintings should only be interpreted in certain prescribed ways

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    300 views3 pages

    Ganga Avataran

    Uploaded by

    Aman Chaudhary
    Ranjit Hoskote gave a seminar discussing how to properly analyze a painting. He used Atul Dodiya's painting "Ganga Avataran after Ravi Verma" as an example. The painting includes depictions of Ravi Verma's painting of the same name, Marcel Duchamp's "Nude Descending a Staircase", and Duchamp's "With My Tongue in My Cheek". Hoskote explained how Dodiya grew up seeing Ravi Verma's paintings and was influenced by Western art movements. Dodiya's painting comments on the history and influences represented in its various layered images. However, the speaker questions whether paintings should only be interpreted in certain prescribed ways

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 3

    How to read a painting is so necessary for a viewer?

    This was the topic of an evening seminar by Ranjit Hoskote at IIC Annexe, New Delhi. Hoskote chose Atul Dodiya's painting Ganga Avataran after Ravi Verma as a visual hypothesis. Hoskote begins his talk that there are two poles of looking at visual art. One is value of art to the artist and another is the economic value connected to the art. However he thinks there is an intermediate space between these two phases. There are all kinds of interpretations possible for the viewers, and that according to Hoskote, is most important aspect of viewing art or rather reading art.

    Atul Dodiya is a very significant name in the Indian art circle. His paintings are critique of the socio-political state in present India. Haskote has chosen one of Dodiya's most brilliant compositions Ganga Avataran after Ravi Verma as reference to the context of his discourse. He interprets the painting as artist recreating the history linking other history to it. This reading explains the conceptual meaning of the visual requisites of the painting. Hoskote talked about four layers of images deployed in this painting. The painting of Dodiya illustrates Raja Ravi Verma's painting Ganga Avataran replacing Ganga with Marcel Duchamp's famous painting Nude descending the staircase and Duchamp's With my Tongue in my Cheek. And finally in the foreground we can see the shadow of Dodiya himself with raised hands. Hoskote gradually opens up different stages of Dodiya's life to illustrate his relation to these layers of visuals in the painting. Like all of us, Atul Dodiya also grew up looking at the oleographs of Ravi Verma and their replicas in calendars, etc. on the walls of his house in Ghatkopar in suburban Mumbai. Ravi Verma is an important figure in formation of modern iconography of religious and mythological characters. According to Hoskote, Dodiya in his work has successfully blended western realistic paintings with Indian mythological characters when he chose the oleograph, Ganga Avataran, as the main body of the painting. But instead of painting Ganga he used Duchamp's painting Nude descending the staircase. The artist did go a step further to paint With my Tongue in my Cheek again a painting originally done by Duchamp at top left corner of the image. Dodiya encountered European art practices while studying at Art School in Mumbai. Like many art student western art movements influenced Dodiya intensely. Finally, one can see the artist's own shadow in the foreground of the painting as if he is appreciating the view of the event constructed on the canvas. It is very interesting to see so many layers of paintings and as Hoskote says, they are not just quotes rather almost authored by Dodiya as new avatar of the older ones. But what it conveys is not very clear to me. Is it a comment on Ganga, or is it a comment on Ravi Verma or any social condition? It brings to the problem I encounter when I hear something like informed' viewers. For me this is a complicated category. People see paintings through their own lenses. What is the marker for a person to be classified as informed' viewer? If some one doesn't read' painting in a certain method does the viewership loose its legitimacy? I am afraid this kind of affirmation might lead to monolithic way of viewing paintings. Second, I am not ready to accept the dismissal of pleasure in viewing art in formalistic manner by calling it as childish way of viewing art. Similarly, what is the marker for the artist to be classified as informed' artist while invoking the history or mythology? In the present world of conceptual art' this question is becoming more and more significant. If mythological or religious imageries are invoked to comment on certain kind of political practice then we need to understand that, though political platforms deploy religiosity, but it is not inversely true.

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