Etchings, Timeless

Spirit steeped in ancient folklore

That fell like gentle showers of yore

I waxed at own wayward pace’s flow

Itinerant word of mouth shavings

That weaned from gleaned life’s tree

These hungry spirit lapped up, greedily

Swimming in mystical waters

Deep and shallow I often embark on fact

Finding, inwardly channeled voyages

Linkages to my ancient beginnings and

Wind teased rising dusts Kundalini, beckon

Tantalizingly, involuntarily drawing me

Holy mantras soothe, salve, life mauled

Inner being, as I contemplate the sacred daily

Etched art forms, with no beginnings or endings

~~Rangoli –etchings as called in North India was especially an important part of my childhood.

Rangoli is an ancient ephemeral artform practiced throughout India. It is a form of sandpainting decoration. Designs are drawn onto the ground,  usually in chalk or colored powder and embellished with sand, rice, candles  or flower petals and is found outside homes and is commonly followed in Indian culture to invite god (Lord Lakshimi-god of wealth). By Tradition. Rangoli started as a religious art work, and in modern times, Rangoli is drawn for decorating the house.Rangoli is an expression of the creative self, often viewed as a form of  self-portraiture. Designs are composed of geometric and curvilinear patterns,  usually derived from nature. After the Rangoli is complete, the image is simply allowed to blow away with the wind – serving as a metaphor for the impermanence of life.    It is the street art of India and comprises of math,s science, history, tradition and spirtuality too.    History of rangoli is Chola rulers made extensive use of floor paintings.

They are known by different names in different parts of the country;

Alpana in Bengal, Aripana in Bihar, Madana in Rajasthan, Rangoli in Gujarat, Karnataka and Maharashtra, Chowkpurana in Uttar Pradesh and Kolam in Kerala and Tamil Nadu, Muggu in Andhra Pradesh. Some of these terms, especially many of the North Indian ones like Aalpana, more often refer to floor painting with traditional wet colour than to the powder rangoli more conventional in South India. Some artists use the 3-D effect for borders alone, while others create complete designs using grains and beads entirely. One important point is that the entire pattern must be an unbroken line, with no gaps to be left anywhere for evil spirits to enter. Rangoli can be improvised into diverse visual art forms.

It is called Kolam in south India- here is the writeup on Kolams by Chitra Ganesh

Chitra Ganesh watched her grandmother make kolams, which Ganesh describes as “line drawings made of rice flour, traditionally created on the floor at the beginning of each morning.” She draws on this traditional practice to inspire her art. In this exhibition, she created kolams in the manner passed down to her. “Their creation is a daily practice specific to South Indian culture, and are most often the work of women and girls. A kolam invites Mahalakshmi (wealth and fortune) into the home, or protects a space from the evil eye. The crows are our ancestors, and they are invited to feed on the rice flour in a kolam’s lines. These drawings are set at the thresholds of homes and spiritual spaces to mark a boundary between inside and outside, private and public, secular and sacred. I am drawn to how the form is culturally specific and abstract at the same time, and to its ephemeral and site-specific nature. As the day unfolds, the image comes undone, and its traces vanish when the ground is moistened and prepared for the next day’s creation.” (source – Kolam Views | 2004 | dimensions variable | rice flour and water | site-specific drawing at Apex Art, NY)

KUNDALINI: means “the coiled power,” a force which ordinarily rests at the base of the spine, described as being coiled there like a serpent

** Images are from internet only -disclaimer


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