|
|
|
|
 |
|
 |
|
|
|
|
Ladies and Gentlemen:
As we all are aware, Indian Arts & Antiques are the rare jewels of one of the oldest and richest of civilizations in the world. I suppose it would be prudent on my part to therefore bring forth some historical facets in reference to India’s past. Lord Curzon, Viceroy of India once hailed India’s Antiquities as “The Greatest Galaxy of Monuments in the World”. In tune with such praise, I wish to guide your attention towards the Company period – the golden era of the British Raj, a subject endearing enough to have captivated generations of collectors and public over the years. Spanning a period of two hundred years or more, it is one of the most vibrant epochs of Indian history, keenly researched and documented by historians in India and abroad. It presents a wide panorama of sociological and aesthetic contexts exemplified by the affluent lifestyles of the Rajas and Nawabs, the Native sects like the Palki bearers, Pankhawalas, Soldiers, Nautch Girls and the Englishmen.
The leisurely passions and hardships endured by the Colonialists in the Indian subcontinent remain a subject of much interest even today. The European’s zeal for documentation found its scope through the production of innumerable series of books/albums of prints and later photographs (hand-colored) commissioned by Colonial officers and prosperous merchants. These albums encapsulated in minute detail the lush abundance of the tropical flora, fauna, scenic landscapes, native lifestyles and local architectural marvels. Over the years these albums enthralled the audience abroad and gained such popularity that they became cherished family collectibles and heirlooms. They remain invaluable today in their significant documentation of the Colonial era.
Similarly the Indian context of documentation from the olden days was when benevolent rulers and wealthy merchants patronized Art and Literature to glorify their political heroics and cultural heritage. This resulted in the construction of some of the finest monuments of Indian heritage. The descendants, inspired by the examples of their Colonial counterparts, ensured the precise visual representations of these glorious memorials. Initially huge paintings were commissioned for the inner sanctum of their households followed by copies of the same in the form of prints and photographs which were widely circulated and displayed worldwide to be known, popularized and admired. A small collection of these Paintings, Prints and Photographs fortunately survive to this day with a few descendants of the erstwhile royalties and wealthy merchants while some adorn the various Government Museums of the country presented for public viewing.
As you all might know our indigenous master like Raja Ravi Varma, the pioneer of Indian Art, painted primarily for the Royalties all over India till 1906. Maharajas and Zamindars eagerly sought after his talent to commission him to paint portraits of their family. Upon completion, the paintings remained exclusively reserved for viewing within the palace precincts. A new era in the history of Indian Art commenced with the establishment of Ravi Varma Fine Arts Lithographic Press in Bombay in 1894.
Langston Hughes an American Poet once commented that “Money & Art are Far-Apart”
I beg to differ and state that “Art & Money” are two sides of the same coin / currency. To understand the close relationship of both Art & Money, one has to just take out a currency note and look carefully. It is surprising that we always carry a piece of art with us unconsciously, I am sure many of us may not have bothered to observe the intricacy of artwork that each currency note contains. Similarly we don’t observe the intricate technique and artistic skills, which has gone into making a simple print when there was no high-end printing technology available. What better example do we need to demonstrate the “Affinity between Money & Art.” It’s art that makes the highly intricate currency notes rare and appreciates its value over the years.
Yet, due to our own ignorance and negligence, we unfortunately find Indian Antiques more in Western Museums and private collections than in India itself. In the revised scenario of economic prosperity, we are now seeking to acquire and preserve our own heritage, when sadly majority of our collections are now in the hands of private and corporate collectors of western nations. Every year they reap huge profits by offering these Indian marvels at various international auctions where they fetch record prices in comparison to other works of art.
Antiquarian Books, Maps, Prints, and Photographs have always been a favorite subjects for collectors. Due to their reasonable valuation it is possible to assemble a qualitative and quantitative collection to suit the most modest of resources also. A large print when framed and hung could command a huge wall space with its classic presence, while a series of small prints could be nicely framed and lined up in a series. Prints have their own variations depending on the editions and strength of the image. Collectors could gradually improve upon their knowledge by relating to their technique, antiquity and historical significance.
I look forward to welcoming you in the Regency on 17th Aug 2010.
Thanking You.
M. Maher Dadha
|
|
|
|
|
 |
|
 |
|
|