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The emergence of a new patrimonial art

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Kovach Imre Barna* and Murray Hunter

Metaphorically, new art trends are like volcanoes. They erupt along the tectonic fault lines of colliding and shifting cultures. No one can predict when an eruption will occur. Nor can the length and magnitude be known until after the event.

Art goes through violent changes when cultures shift, leading to new trends and paradigms, due to the tectonic nature of cultural vista.

Today’s art world is a very well mapped out universe consisting of a few thousand leading galleries, museums, a few hundred influential curators and art fair organizers, writers and critics, wealthy collectors and institutions, and of course, the artists themselves.

The artwork is a USD 64 billion a year industry. It mirrors socio-economic trends and itself has become globalized, with different regions within.

Contemporary art is considered a financial asset class, where the promotion, investment, and protection of this asset has taken on priority within the art industry.

Art has become financialized. Financial institutions and fund managers have joined art collectors in creating their respective portfolios of art. Today’s definition of good art is that it is saleable and the definition of a good artist is that he or she is marketable.

The prices of contemporary art have grown to spectacular heights, where the million dollar range for art pieces is very common, and some artists sell their works for tens of millions dollars.

However, if somebody buys a painting for millions dollars, what they are actually buying is a stretched canvas and paint. The actual material value of a painting is a tiny fraction of the purchase price. The price of the art work is based on and justified by opinions within the art community which give a certain value and importance to the artist as a brand. The artist becomes a brand with a price tag.

Within the art world, stability is an important factor because nobody wants a cultural shift which can suddenly devalue art assets. However such devaluations happen from time to time and affect whole periods of historical art.

The large difference in valuation cannot be justified by artistic quality. Its real cause is the pressure on the existing paradigm for change. Certain periods of arts and their paradigms can “fall out of favour”, where the drop in interest leads to falling prices for that particular category. Consequently, art works from this category which were highly priced in their period of popularity can be bought today at ‘give away’ prices. At the same time artists whose work in some way is compatible with the emerging paradigm change, may see their art receive much greater appreciation. This would result in revaluation, resulting in the acknowledgement of their importance and higher price for their works. For instance academic painters, who are almost completely forgotten today, were well known and popular in the 19th century, where they commanded praise and high prices for their works.

The impressionists were not considered to be serious artist in their time. For example, Manet’s painting caused a scandal at the annual exhibition in Paris. However, today Manet, Monet, Cezanne, Pisarro and other impressionists (and post impressionists) command sky high prices. The once so famous academicians then lost their prestige, where their prices went down. Consequently, there is no real interest in them from collectors, art writers and museums. They wait for the moment of rediscovery if it ever happens.

The authors believe that within the art world today, innovation is carefully contrived to keep the market buoyant to make sure that the ‘stars’ of yesterday are the ‘stars’ of today.

From the beginning of the 20th Century there was a revolt against the academic style, where the concept of art for art prevailed. The modernists added two more concepts, that of creating art from art and art about art.

Today’s contemporary artists don’t really look at nature or reflect upon their inner feelings. Rather, they are much more interested in the global dialogue than taking a look at the inner world.

A new tectonic shift is coming

The familiar images of today’s modernist art works which are art for art, art about art, and art from art creations will soon be seen in a new perspective. A tectonic shift in culture and globalization will stir up art movements based upon traditions, scared philosophies and teachings, with its symbols and colours embedded within cultural themes. Patrimonial art which is embedded within cultural themes of traditional lifestyles and beliefs will collide with contemporary art, the art of global capitalism.

By patrimonial art, we mean contemporary art with the intent and knowledge of transmitting sacred tradition.

However, the two art paradigms are not compatible.

Sacred tribal patrimonial art most often consists of thousands of year old symbols and teachings which provide advice and guidelines for all aspects of life.

Patrimonial art is not art for art. It has a much higher goal of seeking to maintain the heritage of harmony and balance of traditional rite, rituals, and spirituality. Patrimonial art is embedded within nature itself. Patrimonial art has a teaching and healing function and establishes the values of humanistic community.

In contrast, contemporary modernist art is a financial asset class. Its goal is to establish a saleable brand, being the artist’s name, which creates a high valuation based upon a consensus between the players of the art world.

There is also a mythology about contemporary art. The assumption that contemporary art is one of the highest social achievements of people within society. Thereby placing the discipline on a cultural plane that is viewed as something pure and uncorrupted.

Contemporary art is consequently seen as being one of the most valued artefacts of society, being collected in art galleries, museums, and in private collections around the world, unquestionably considered to be at the pinnacle of human prowess.

In such an environment of closely connected curators, critics, gallery owners, artists, and fund managers, value is created and maintained in the interests of small select groups.

In contrast, patrimonial art doesn’t yet have a plane of entry into the art establishment. The deep meanings contained within and the sacredness of patrimonial art may not help in creating financial value. However a patrimonial art work may have deep cultural value within the community, religion or spiritual schools it originates from. Ultimately, this may translate into monetary value as well.

An eruption is coming from within the ranks too. Many contemporary artists are not completely signed up to the modernist paradigm. Many have interest in art outside the bounds of modernism. They often admire sacred patrimonial art influenced by it and resort to embedding the ideas of patrimonial art into their own works.

One example here is Picasso and his fancy of African tribal art.

There are also indicatory trends in the culinary arts and gastronomy which have parallels to the art world. Australia is going through a small renaissance of traditional bush foods and fusion gastronomy, bringing together food influences from different culinary cultures, is now the order of the day within restaurants and food malls all over the world. Traditional herbal remedies are now more popular than ever.

There are many modernist artists now working within Indian, Asian, African, and South American indigenous communities , where local artists are influencing them with intellectual and style inputs within modern art pieces.

A special case which should be followed is Australia. Community artists have transformed sacred ancient patrimonial designs into modern art where gallery valuations went through the roof in recent years.

There were many ‘natural nations’ in existence before colonialism and its child globalism. Many of the natural nations are still here upholding their culture and art traditions which influenced contemporary art. Working within these two paradigms requires contemporary artists to start looking within once again.

This is beginning to affect the appearance of modernism.

A new patrimonial art is emerging with global outreach nurtured by sacredness and cultures of ‘natural nations’, like the indigenous communities in the Americas, Africa, Asia, and Australia. This trend will meet modernism and collide with it.

When these two tectonic plates collide, a process happening now, sacred patrimonial art will break the plate of modernism. Along the break lines a number of eruptions will occur in the form of new patrimonial art centres emerging across the globe.

This will cause a paradigm shift in the art world similar to the one which happened when modernism started.

The result will be a new patrimonial art paradigm that will incorporate the values and sacredness of many cultures that have been unable to express themselves in the globalized community of today. Art in the not too distant future will reflect some of the old traditions of the past and present.

The age of modernism is barely more than 100 years and thus has a minuscule timeframe when compared to patrimonial art. Patrimonial art has been in existence for thousands of years.

When we see modernism reflecting age old patrimonial art, we will come to our senses. We will stop believing that art is for art, art is about art, and art is from art. This will challenge the concept of art as a financial asset, that the best pieces of art are the ones that sell for the most.

Every artist knows deep down that his or her talent and dedication is not for developing financial assets.

The greatest art ever produced by humankind was never produced for sale or profit. Art was not pegged down by its potential of creating value, except for the intrinsic values of perfection, culture and spirituality.

The tectonic shift in the art world and the emergence of new patrimonial art styles across the globe carries with it the potential to make art free once again by unshackling creativity.

Ultimately the reason for making art and owning art will be rethought. The concept of branding and price tags developed by the organized artists of the modern era who have reverted into factory production of their pieces for profit will be challenged.

The new patrimonial art will provide a venue for valuable traditions, spiritual and aesthetic that are quickly disappearing off the face of the earth today due to globalization. By serving the community providing it with its symbols, identity and self-esteem, by making a people’s tradition alive and active again new patrimonial will have a much wider acceptance and more functions than modernist art could ever have.

* Kovach Imre Barna is an independent spiritual teacher, thinker, calligrapher, painter, and sculptor.

Innovator and entrepreneur. Notable author, thinker and prof. Hat Yai University, Thailand Contact: murrayhunter58(at)gmail.com

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UNGA76: Giant eco-friendly artwork set to inspire world leaders

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An aerial view over the UN headquarters in NY shows the giant 11'000 square meters (118'000 sq ft) biodegradeable ephemeral fresco "Work in Progress II". Valentin Flauraud for Saype

A new 11,000 square metre ‘ephemeral fresco’ created by Swiss artist Saype, has set the stage at UN Headquarters in New York, to welcome world leaders for the General Assembly High Level Week. It shows two children building the world of the future using origami, highlighting the participation of young people. 

World in Progress II is perfectly suited to our time and place. First, it is, in all senses, a big picture.  Both its execution and its subject are monumental and ambitious.  We have to take several steps back, just to view it in its entirety.  Then we understand that it shows two children, designing their ideal world together”, said on Saturday UN Secretary General during the unveiling ceremony.

Antonio Guterres explained that, just like the artwork, the United Nations’ mission extends far beyond what we can see around us. “Most of it lies out of our view. Our work is multilateral, and multi-generational. And each of us plays an essential part in creating the whole”, he added.

Earth-friendly art

Guillaume Legros, or “Saype”, an artist name inspired by the contraction of the words “say” and “peace”, is famous for its invention of an eco-friendly painting process. His special technique allows him to create huge frescoes directly on the grass.

“In two weeks, there will be nothing left due to the regrowth of the grass. This makes the work disappear, even more than the rain”, he explained to UN News, adding that he spent more than a year finding the right pigments for his ephemeral art.

Saype had already shared one of his creations at UN premises before. Last year, World in Progress I was unveiled during the commemoration of the UN’s 75th anniversary in Geneva, Switzerland.

“In the centre, there is a dove that symbolizes peace. The basic idea is that on the one hand when talking about children, we ask ourselves what responsibility we have towards them. But, on the other hand, they are the ones who will have the world of tomorrow in their hands. This means that we must really learn to live together in a world that is also hyper-connected”, he said.

A call to world leaders

For the UN chief, the children depicted in World in Progress II are designing our shared future. 

“This year’s General Debate will take up this theme, focusing on the world we are building together. My recent report on Our Common Agenda recommends new ways for today’s decision-makers to better serve both young people, and future generations”.

Mr. Guterres said he was hopeful that world leaders will take inspiration from Saype’s art to consider how “we can look beyond our immediate surroundings, while respecting nature and our planet”.

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Bengal’s Thriving Cotton Handloom Tant Textile Crafts Looming

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India being a diverse nation endorses and nourishes indigenous ethnic crafts. Every region of India has to offer thriving cultural heritages, a few of those receiving the attention of the mainstream population, while several are failing to do so. Once glorified Bengal’s Handloom Tant Textile Crafts falls into the second category, as it’s lost the place to be under the spotlight. Even though “Every Handloom Tant Textile Crafts has a unique story to tell—as it is inheriting one of the finest and ancient weaving mechanisms that sprouted in nowhere other than Bengal. Dating back to the 15th century and leaving remarkably earliest trace from Nadia District of West Bengal Handloom Tant Textile Crafts received Royal patronage and retained popularity throughout centuries. Its uniqueness lies in design which mostly includes the depiction of ancient Bengali cultural influences and reflection of Bengali flair. In that sense, Handloom Tant Textile Crafts are very much connected to the soil of Bengal and utterly reflects sustainable, indigenous initiative within the millennials weavers of Bengal, who still feel connected to the ancient essence.  

Origins

The word ‘Tant’ indicates the cotton-based Handloom Textile Crafts, includes Handloom weaved Textiles including Saris, Cloth pieces, Dupattas, Bed Sheets etc.

Shantipur of undivided Bengal, now in Nadia district of West Bengal having earliest record of Handloom Tant Crafts weaving back to 15th century. It remained dominant cultural tradition from 16th to the 18th century and received extensive royal patronage along with the world-famous Muslin and Jamdani Sari of the same genre. In 1947 after the partition of Bengal, a hefty number of weavers migrated especially from Tangail Bangladesh to India and received rehabilitation in different regions including Phulia, Shantipur. Weavers bore their lineal Handloom Tant Textile weaving Crafts with them. Residual weaver communities got settled in the Hooghly and Bardhaman regions of West Bengal. Since then, each region has developed its signature style.

The weaving Technique

Handloom Tant Textile Craftsare woven with locally produced Bengal cotton. The kind of fine handspun yarn being used for Weaving of Handloom Tant Textile Crafts once applied in weaving soft, feather-light Muslin and Mulmul textiles that have been exported and adored globally for ages. The fineness of weaved cotton depends on the yarn quality and it is on the yarn that the textile is fine (combed cotton) or coarser (regular cotton).

Cotton being deftly woven to the thread is further being woven by craftsmen to Tant Textile. It is customary to use shuttles. Though nowadays handlooms have largely been replaced by power looms to weave Tant Textiles, which compromising the quality of Tant Textiles pushing environment-friendly, electricity-saving Handloom on the verge of extinction.

Popular motifs in use

The most popular Handloom Tant Textile Crafts product is Sari. The handloom Tant Textile crafts products other than Sari also depict motifs like Sari. A quintessential six-yard Tant Sari is distinguished by a thick two-to-four-inch border and a decorative Aanchal. Weavers use fine cotton yarn to manifest a variety of floral, paisley, and artistic motifs, attached to the culture of Bengal. Some of the most adored time-honoured motifs of West Bengal’s Handloom Tant include bhomra (bumblebee), tabij (amulet), rajmahal (a royal palace), ardha Chandra (half-moon), chandmala (garland of moons), ansh (fish scales), hathi (elephant), nilambari (blue sky), ratan chokh (gem-eyed), benki (spiral), tara (star), kalka (paisley) and phool (flowers), etc. Apart from these regional trends are being followed.

Why Handloom Tant Textile Crafts losing the interest of the mainstream population and what are the way forward?

Because of the advertisement and marketing industry the youth generations are mainly inclined towards high-shine clothing, heavy silks and zari, ignoring or being unaware of clothing science and technology. Handloom Tant Textiles, in comparison, is a modest, soothing clothing based on environment-friendly technique which add real charm to Tant. Elderly people are not even aware of the positive aspects of Handloom Tant Textile Crafts, due to no such promotion leading the Crafts to evade.

What is in particular in Tant to rethink its revival?

Handloom Tant Crafts comes under the range of heritage textiles of West Bengal. Sari-loving Indian women would certainly like to acquire collection of handloom saris from across India. While Handloom Tant Textile Sari would certainly give the blended feeling of heritage and comfort. Most of the Sari-wearing Indian women find themselves particularly attached to Bengal’s Handloom Tant and Jamdani Sari. Jamdani Sari belongs to the same genre of Handloom Tant. Tant Jamdani from Dhaka and Shantipur is exceptionally lightweight, characterized by intricately designed motifs that seem to float on the surface of the translucent ultra-fine textile, giving it an almost mystical grace in appearance.

Moreover, Handloom Tant Textile Crafts are comfortable to wear in tropical climatic zones of the world. Tropical, subtropical climates of the Indian subcontinent are exceptionally fine to wear and use such textiles. While most of the raw material being used and the technology being followed in Handloom Tant Textile Crafts is nature friendly and indigenous for the subcontinent. Revival, then on the restoration of the lost glory of Handloom Tant Textile Crafts of Bengal will certainly promote environment-friendly sustainable textile technology basing on the growth of the home-based cottage industry of West Bengal. Employing Indian youth in the process may revamp the initiative in the way Handloom Tant Textile Crafts would get a modern outlook and that will generate youth entrepreneurs to promote indigenous industries and a lot more positive things would happen in this row.

How important the present time is to preserve Handloom Tant Crafts? what could be the way forward?

As an economic industrial activity, the ‘Tantshilpa/Tant Crafts’ (the art of weaving handloom Textiles) is second only to agriculture in providing a livelihood to the people of certain regions of West Bengal. Ravaging the hope of business in Bengali New Year on April 14, 2020 the ongoing pandemic and ensuing lockdown have led to insurmountable losses to Textile Industry. Handloom Tant Textiles also facing a tremendous challenge for decades losing the interest of younger generations owing to its traditionalism and maintenance cost.  The need of the hour is to activate retail for existing stock using e-commerce and involving youth to regenerate the work chain and boost business. The genesis of interest towards such heritage and endangered craft like Handloom Tant Textiles can restore the sentiment and attachment of weavers’ communities. 

Organizing regular workshops with the weavers offering creative concept and textile design expertise in developing an ongoing collection of modern Tant saris and textiles that can bring the Handloom Tant Industry on-trend. While Tant is a versatile and comfortable fabric especially suited in the climate of India and considerable places of the world and also lends itself well to soft furnishings home decors cum comfortable garments.

Classified Handloom Tant Textile Crafts are being picked by authentic celebrities, dignified women. To revive the Indian Economy in the post-pandemic global crisis, promotion of indigenous Industries based on the authentic handmade, handloom, and traditional crafts are the way out, which is also environment friendly. ‘Make in India’ and ‘buy local’ is more relevant now than ever before, as each locally-made purchase directly supports indigenous industry, regional to global work circle, in turn, funds its makers, that is, the craftsmen/women in every level.

The hands that nourish tradition, indigenous crafts need to be celebrated. Direct connection of remote areas Handloom Tant Textiles weavers with well-structuredHandloom Tant Textile Craftswork chain is the way forward that less known regions areas of West Bengal like Santipur, Phulia, Nadia, and Dhaniakhali get counted in the global map of Textile industry representing the glorious Handloom Tant Textile Crafts of Bengal.

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Copenhagen named UNESCO-UIA World Capital of Architecture for 2023

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The city of Copenhagen has been officially designated as World Capital of Architecture for 2023 by the Director-General of UNESCO, Audrey Azoulay, on the recommendation of the General Assembly of the International Union of Architects (UIA).

This decision is in keeping with the partnership agreement established between UNESCO and the UIA in 2018, through which UNESCO designates the host cities of UIA’s World Congress as World Capitals of Architecture. “We are very happy to see the torch of the World Capital of Architecture title pass to Copenhagen from Rio de Janeiro,” Audrey Azoulay said. “The inaugural World Capital of Architecture in Rio was a real success, underlining the important role of urban planning, notably in the pandemic context”, she noted, adding that “Copenhagen will build upon Rio’s achievements, by continuing to show the way in which architecture and culture can respond to the challenges of our time, especially in the environmental field.”

UNESCO and the UIA launched the World Capital of Architecture initiative to highlight the key role of architecture, city planning, and culture in shaping urban identity and sustainable urban development. Every three years, the city designated as World Capital of Architecture becomes a global forum at the forefront of discussions on contemporary urban planning and architectural issues.

As the World Capital of Architecture for 2023, Copenhagen will host a series of major events and programmes on the theme “Sustainable Futures – Leave No One Behind.” In cooperation with the Danish Association of Architects and various Nordic professional bodies, the municipality will examine how architecture and urban design contribute to meeting the 17 United Nations Sustainable Development Goals.

From 18 to 22 July 2021, Rio de Janeiro will host the World Congress of Architects online. Following Copenhagen in 2023, Barcelona and Beijing are the two contenders looking to claim the World Capital of Architecture title in 2026 and host the next World Congress. The official decision will be made later this year.

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