Madhukali / Blog

Indian art has been labeled as impersonal; it has been considered as a medium for sublimation of self or soul (Atma) thus attaining union with oversoul (Paramatma). As fundamentals of all – music, dance, drama, sculpture – can be traced to originate from the same root, despite different pace and mode of evolution, Indian art followed the same general principle – to express the universal through individual. Ideas, similar and contrary, have taken contemplation of art beyond such simplicity. Past few decades have swept in a multi-pronged fluid evaluation (non-) system that changes stances unpredictably. The only certainty accorded to art is its inability to exist without purpose; such is the demand for Art as commodity that its relationship to anything intangible is no longer considered worthy of thought.
In its essence Art is intangible and is the best medium for contemplation, expression and carriage of intangible. When a young pupil learns a musical composition, ostensibly he learns arrangements of sounds; the laws governing the Raga are automatically passed. As he sculpts a lotus or chakra in the hands of a particular deity, the artiste passes a complete body of philosophy often without realizing it. The positive use of a not-so-politically-correct phrase is a reflection on the age and not on the poet. In the post-modern age the form of Indian artistic practice is definitely undergoing a sea-change. Today when Art is gradually losing its identity independent of its response to economic forces – in subservience or resistance – how safe and strong are the practices to preserve the traditional dedication to celebration of the intangible? Shall Indian Art be able to retain its fundamental rules and appeal? Is it possible to modify musical instruments without loss of innate musicality? How far does contemporary art succeed in harmonizing temporal with eternal?

Tags: Art, Conference, Intangibility, Khajuraho, Madhukali, Omenad

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