The Shantiniketan Express: At the Supreme Summit, the Observer creates His Own Ontology by Being there at that ‘Moment'(E-Ternity to I-Ternity)/Vector-Equlibrium

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‘A Thing of Beauty is a Joy Forever’, Endymion, John Keats /Photograph of a Rare Species of Blue Lotus at Shantiniketan, Bolpur

The 6 precepts of Tilopa are No Thought, No Reflection, No Analysis, No Cultivation, No Intention; let it settle itself. That is complete surrender to the Divine Mother’s Force and Grace. It exercises ‘Sahaja Mukti’ or ‘easy’ or ‘natural state’ of the liberated sage. Immediate Awakening and Naturalness are the same thing, it is the most direct way communicated not by the sutras but through direct contact with the Divine.

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Devi Maa Phullora, Labhpur (Blloming), Birbhum, one of 51 Shakti Peeths (Maa Sati’s Lower Lip fell here at this place (*Important Vortex Point, Birbhum)

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Lord Shiva Panchanana, Andra Pradesh circa 1720-1730 at National Library of France

Moments are eternized flying birds

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Inside Tribal Village at Shantiniketan, Bolpur

They are not subject to death and desolation

They carry with them scriptures on the stone

Worshipped for ages

By all sentient beings

By the wind and the seas

By the fireflies, the heron and the pike

Alone She stood like a red vermillion sun

That lights the stars in the spiral galaxies

Her tender lips kissed by the sky and the grass

She played as a child

In the wild

Like raindrops on the lotus leaf

Adumbrating the great design of her creation

Inside the heart her rhythm raptures the soul

There are no differentiating lines

But only a still centre

Where the lotus blooms

To delight her eyes

The inner rhythm manifesting the object of her Will

That cannot but be only from the naught

Adore every passing moment

By a touch without touching

Grace to the flying birds

That will become the frieze on a Grecian urn.

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Basuli  and other Temples that are associated with Medieval Bengali Lyrical Poet Chandidas circa 17th and 18th century, Nanoor, Birbhum

“There is nothing equal to wearing clothes and eating food. Outside this there are neither Buddhas and Patriarchs”. (Zenrin Poem)

At the center of the space b/w the 2 brows there is a Diamond Lotus of 2 petals presided by ‘Hamsa Devata’ and ‘Susumna Shakti’ -this in the morphological body is the Ajna Chakra that corresponds to Vijnana State and Anupama Vak and to the half mantra of Pranava.

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Sonajhuri Forest (Acacia Auriculi and the Slow Moving Kopai River, Shantiniketan, Birbhum

An old pond

A frog jumps in

Water’s sound. (Matsuo Basho, Zen Poet, Japan)

In the Zen, Being-Now State, it is not that moments change or that time flies but rather that the Observer is brought to the present, as if time is created by the presence of the observer who witnesses the event of the frog jumping into the pond. The spectator or observer being there at that moment creates its own ontology. Moments occur and perception follows it and its all Empty Cognizance.

-J

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ART AND MINDFULNESS:EXPRESSION OF THE TRANSCENDENTAL UNITY IN MAN by having a discourse with the Universe

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“Be reverent before the dawning day. Do not think of what will be in a year, or in ten years. Think of to-day.”
― Romain Rolland, Jean Christophe. Vol 1

“We are the music-makers

We are the dreamers of dreams”.

“The individual man must exist for Man the great, and must express him in disinterested works, in science and philosophy, in literature and arts, in service and worship”. (Rabindranath Tagore)

Mother and Sri Aurobindo

Divine Mother and Sri Aurobindo

“But if Art is to reach towards the highest, the Indian tendency must dominate. The spirit is that in which all the rest of the human being reposes, towards which it returns and the final self-revelation of which is the goal of humanity. Man becomes God, and all human activity reaches its highest and noblest when it succeeds in bringing body, heart and mind into touch with spirit. Art can express eternal truth, it is not limited to the expression of form and appearance. So wonderfully has God made the world that a man using a simple combination of lines, an unpretentious harmony of colours, can raise this apparently insignificant medium to suggest absolute and profound truths with a perfection which language labours with difficulty to reach. What Nature is, what God is, what man is can be triumphantly revealed in stone or on canvas.

Behind a few figures, a few trees and rocks the supreme Intelligence, the supreme Imagination, the supreme Energy lurks, acts, feels, is, and, if the artist has the spiritual vision, he can see it and suggest perfectly the great mysterious Life in its manifestations brooding in action, active in thought, energetic in stillness, creative in repose, full of a mastering intention in that which appears blind and unconscious. The great truths of religion, science, metaphysics, life, development, become concrete, emotional, universally intelligible and convincing in the hands of the master of plastic art, and the soul of man, in the stage when it is rising from emotion to intellect, looks, receives the suggestion and is uplifted towards a higher development, a diviner knowledge.”

– Sri Aurobindo, The National Value of Art, 1909

ART IS AN ORGANIC EXPRESSION OF THE TRANSCENDENTAL PERSONALITY OF MAN; IT MIRRORS HIS SOUL THAT EXTENDS TO BECOME THE UNIVERSE AND THE UNIVERSE IS HIM IN ALL ITS LUMINOSITY. THEREFORE, HIGHEST ART IS A SYNERGY BETWEEN MAN AND THE UNIVERSE THAT IS MANIFESTED AS AN EXPERIENCE OF AWARENESS. THE PRIMAL MIND ALONE GIVES BIRTH TO ART, ITS THE STORY OF THE UNIVERSE, ITS THE VIBRATION OF THE COLOURS OF COMPASSION, OF LOVE AND FRIENDSHIP,OF STRUGGLE FOR EXISTENCE WHICH FINALLY CONSUMMATES IN THE BLISSFUL STATE OF ‘ANANDA’ – THIS IS PERHAPS THE INDIA STORY – THE STORY OF MANY LIVES TRANSMUTING INTO ONE, FOREVER AND FOREVER….

PRESS RELEASE
Exhibition Dates: 20th October – 23rd October 2016
Timings: 11am – 9pm
Venue: Swabhumi The Heritage, Kolkata
INDIA STORY ART EXHIBITION PRESENTED BY LATITUDE 28 Gallery, New Delhi
niyeti-chadha-untitled-3-5-x-6-inches-isograph-pen-and-water-colour-on-paper-2015

Niyeti Chadha, Untitled, 3.5 x 6 inches, Isograph pen and water colour on paper 2015

In the context of South Asia, with histories of colonialism, ethnic divisions, communal tensions,marginalization, border disputes, living indigenous traditions whose needs and demands contest impositions of political power, urbanization, language politics, and centuries of conquests and border fluidity, maps have been imposed upon maps. Such projects are often ‘carto-histories’ or ‘carto- biographies’ written by agents of power. The irony remains that despite attempts at ‘harmonious’assimilation of parts into a whole, maps are instrumental only when inferred in parts. Lived experience of these inscribed spaces present an entirely different vocabulary of social relations, cultural differences

and particularities, unfamiliar landscapes, and even quotidian symptoms of political and diplomatic relations.
waseem-ahmed-untitled-pigment-colour-silver-leaf-on-archival-vasli-paper-14-x-11-inches-2015

Waseem Ahmed, untitled, Pigment colour, Silver leaf on archival Vasli Paper 2015

Waseem Ahmed’s delicate use of the miniature style, explores the politically charged terrain of issues and identity. The works visit myths and anecdotes to critique the current, often media generated, caricaturing of the Islamic identity.

Thisath Thoradeniya, who is based in Sri Lanka, picks up the figure of the joker, who occupies the margins of society and has no ostensible relevance except as an entertainer. Yet his comical acts mirror his context and becomes a narrative of testimony. The joker becomes an appropriate channel for the artist to articulate the anxieties stemming from his own personal experiences. Niyeti Chadha is preoccupied by the transient topographies of urban spaces – ever climbing skylines, buildings under construction and the whir that entwines them. Her abstract works enmesh these various geographies, often hyperbolically, giving primacy to the experience of these landscapes and necessarily
escape fidelity to actual architectural spaces in urban India.
The Gond artist Bhajju Shyam invokes the folklore of his village in Madhya Pradesh in his art, creating a contemporary idiom infused with traditional style and content. As a storyteller, his works capture rural and marginalized histories in a form that is disappearing from mainstream, globalized art contexts.
These works which will be exhibited as part of The India Story (TIS), capture narratives that are alternative to media and political narratives, overturning imposed collective identities within South Asia.

About Latitude 28
Through curated shows, careful strategizing and discovering emerging artists with exciting practices, Latitude 28 over the years has become synonymous with cutting edge art coming out of the country, seeking out fresh perspectives in its attempt to stimulate commercial interest in new waves of art- making. The establishment aims to cultivate a space where collectors and art enthusiasts can interact with younger artists and their practices.It provides a horizontal environment where younger artists are
able to contextualise their work alongside the masters of Indian art, experiment with medium, material and institutional critique. We have supported Kartik Sood, Anindita Dutta, and Shweta Bhattad in their innovative practices, exhibiting them alongside veterans such as Anupam Sud and Baiju Parthan. The gallery collection consequently includes cutting edge contemporary alongside modern masters.
Latitude 28 has been imagined as an incubation space, generating ideas through curatorial projects, site-
specific artworks, artist talks and curated walks. Exhibitions such as ‘In You Is The Illusion Of Each Day’
(curated by Maya Kovskaya, 2011), ‘Slipping Through The Cracks’ (curated by Meera Menezes, 2012),
‘Crossing Over’ (curated by Ambareen Karamat, 2013) and ‘Sacred/Scared’ (curated by Nancy Adajania,
2014) tried to initiate renewed readings of artworks within art historical/socio-political contexts.
Latitude 28 frequently travels to International art fairs, and supports our artists’ presence at biennales
around the world. The gallery has been part of Art Gwangju (2012), Art HK (2013) [solo booth project by
Prajakta Palav], Dhaka Art Summit (2014), and most recently Art Dubai (2015) [solo booth project by
Dilip Chobisa]. Latitude 28 is also committed to generating discourse on contemporary art through
projects that are not-for-profit, interact with the public sphere, and commission research articles and
critical writing from critics, curators and researchers. We also partner with similar initiatives, facilitating
several special projects at the India Art Fair over the years.
This investment in the discursive prompted Latitude 28 to organize TAKE on Writing | Critic-Community:
Contemporary Art Writing in India with TAKE on art (its sister publication), an intensive destination workshop in Goa to cultivate dialogue among peers on art criticism. Most recently, the gallery supported

 

 

Trascending the Great Void, the Practitioner becomes Eternally Free from ‘Coming and Going’/The Wheel of Birth and Death: Understanding The Full Spectrum of Kaalchakra

as-mother-of-skanda-or-kartikeya-maa-parvati-or-maa-durga-is-known-as-skandmata

Maha Gauri Mother riding a white Vrishaba, the bull 

“That which you see as other than righteousness and unrighteousness,

other than all this cause and effect, other than what has been and what is to be

-tell me That”. – Katha Upanishad

The Mundaka Upanishad states that when the Brahman is realized

“the fetters of the heart are broken and all doubts are resolved”.

“He does not linger where the Buddha is, and where there is no Buddha

he passes right on”. (Zenrin Poem)

In the Zen teaching of Huang Po (translated by John Blofeld) it is said

“When you practice mind-control (Zazen or dhyana), sit in the

proper position, stay perfectly tranquil, and do not permit the

least movements of your minds to disturb you”.

“PLACE BEFORE YOU THE UNSHAKABLE VAJRA OF NO DISSUASION”.

-Lord Atisha

The Supreme Equipoise

shiva-dances-as-parvati-plays-music-19th-c-india

Shiva Dances as Parvati Plays Music circa 19th Century India

Where in the crest of Love

All forces are exacted to millennial perfection

At levels that are much beyond human perception

The Mother of the Holy Trinity

Sits on her resplendent seat

Adumbrating the future sequence of events

That will map the destiny of a new yuga

By turning the wheel 9 times and 1

“Complete as one-Everything is complete with awakened mind.

All the phenomena of samsara and nirvana are completed”./Dzogchen Tantra

Gadhule aranye samayer shaisab simha dwar hate mare uki

Dekhe agnir tapashay samudra tate kampan

Bramhaputra, kaveri jyotsnar aloy arati kare maha-bharater etihash ke

Samantabhadrer bakhya hate subhro jyoti haridwar theke alokanandar pathe

Nijeke utshorgo kariyache

sri-anandamayi-maa-and-paramhamsa-yogananda

Sri Anandamayi Maa and Paramhamsa Yogananda

Kal sesh o agomanir noton mantre

Dikhito hay ei jagat bishwa…

As the age ripens

And rivers ceaselessly flowing to the sea

Observe the silence in the vast void of speechless ocean

The naked sun will be the pilgrim of thy soul

Rising and churning

Bringing chaos to the point of surrender

Love conquering all opposites

By the force of the Mother of the Holy Trinity….

-J

Press Release 

THE NEW YORK TIMES LAUNCHES NEW ‘LUXURY TRAVEL’ CONFERENCE

Soneva’s Sonu Shivdasani, NIHI Sumba Island’s James McBride, Four Seasons’ Rainer Stampfer,  Capella Hotel Group’s Neil B. Jacobs and Virgin Galactic’s Beth Moses among the diverse and influential experts and decision-makers to join NYT journalists on December 1-2

LONDON, OCTOBER 6, 2016 – The New York Times has today unveiled a line-up of leading figures set to join New York Times editors Monica Drake, Sam Sifton and Ching-Ching Ni at its inaugural Luxury Travel conference this December 1-2 in Singapore.

The invitation-only event will explore the dramatic ways the luxury travel and hospitality industry is evolving in its quest for the hearts and minds of consumers around the world. The event will bring together the most influential hoteliers, restaurateurs, influencers and experts to provide the insights needed to succeed in this fast-moving and dynamic industry.

The speakers, with more to be announced, include:

  • Sonu Shivdasani, founder and CEO, Soneva

  • Neil Jacobs, CEO, Six Senses Hotels Resorts Spas

  • Beth Moses, chief astronaut instructor, Virgin Galactic

  • James McBride, managing partner, NIHI Sumba Island

  • Nicholas M. Clayton, CEO, Capella Hotel Group Asia

  • Rainer Stampfer, president, hotel operations – Asia Pacific, Four Seasons

  • Yann Debelle de Montby, founder, Debelle de Montby Associates

  • Petter Neby, founder and CEO, Punkt.

  • Loh Lik Peng, founder and director, Unlisted Collection

  • Lionel Ohayon, founder and CEO, ICRAVE

  • Simon Thomas, head concierge, The Lanesborough

  • Eddie Teh, general manager, Belmond Road to Mandalay and Belmond Orcaella

  • Professor Ian Millar, METRO Innovation chair and senior lecturer, École Hôtelière de Lausanne

For the agenda and speaker lineup, please visit the official Luxury Travel conference website and keep up to date with further speaker announcements by following @NYTLive. The hashtag for the conference is #NYTLT.

The New York Times Luxury Travel conference is supported by the Singapore Exhibition & Convention Bureau.

Notes to editors

Media accreditation for The New York Times Luxury Travel conference is currently open. Accreditation requests must be submitted to press@nytluxurytravel.com by Friday, November 25th. Please note that there will be no on-site accreditation. All accreditation requests are subject to final confirmation by The New York Times.

The New York Times Company

The New York Times Company (NYSE: NYT) is a global media organization dedicated to enhancing society by creating, collecting and distributing high-quality news and information.  The company includes The New York Times, International New York Times, NYTimes.com, INYT.com and related properties. It is known globally for excellence in its journalism, and innovation in its print and digital storytelling and its business model.  Follow news about the company at @NYTimesComm.

 

 

 

 

Creation as a Digital Semantic Print Indexer:From the Stupa of Silence in the Abode of Endless Prayers

durga-worshipped-by-brahma-vishnu-and-shiva-place-of-origin-india-or-pakistan-date-1850-1900-materials-opaque-watercolors-on-paper

Devi Durga worshipped by Bramha, Vishnu and Shiva circa 150-1900 Materials: Opaque watercolours on paper 

The ESSENCE is free of conceptual thinking and at the same time, its expression is conceptual thinking. Do you understand this?

The profound Knowledge of Brahman has been described in the Bhagavad Gita as the ‘Sovereign Science’.

“By realization of the Self, my dear, through hearing, reflection, and meditation, all this is known”. (Brihadaranyaka Upanishad)

SARVAM HYETAD BRAMHA AYAM ATMAA BRAHMA SAYAM ATMAA CHATUSHPAAD- MADUKYA UANISHAD

The inner miracle of art

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Nav Durga Art Vintage Collection, India

Binds space and time

Through fluted minstrelsy of ‘prana’

The world is revisited again

Through the body

Pervading a vast field of awareness

The junction

Where signal loops coincide

And text, image and sound

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Goddess Durga led by Sri Hanuman, Pahari Art circa 1730

Appear from the Indefinable

All that exists is this and not

Beyond it, we learned to pray

Immeasurable eons of a vast mandala of prayers

Is our body…

It is laid bare like a monolith

Tortured through the ages

Canonized and crucified

Yet, wise like a night owl

It enjoyed a charade among autumnal flowers

Perspiring like a log

Kalida in between the Lights

Yogishwar Sri Kalipada Guharoy

And burning like a flame

For the consolation of words

That became a stupa of silence

In the abode of endless prayers…

-J