Untitled Space Abstract -Supernova Series I

Untitled Space Abstract -Supernova Series I
Size: 60x90 cms,
Medium: Acrylics on canvas,
Year of Creation: 2011.
C P B Prasad, Artist, -Thanks.

I thought you all might like my new series of paintings, Paint flying out of the canvas.

Supernovae are extremely luminous and cause a burst of radiation that often briefly outshines an entire galaxy, before fading from view over several weeks or months. During this short interval a supernova can radiate as much energy as the Sun is expected to emit over its entire life span. The explosion expels much or all of a star's material at a velocity of up to 30,000 km/s (10% of the speed of light), driving a shock wave into the surrounding interstellar medium. This shock wave sweeps up an expanding shell of gas and dust called a supernova remnant.

Role in stellar evolution

The remnant of a supernova explosion consists of a compact object and a rapidly expanding shock wave of material. This cloud of material sweeps up the surrounding interstellar medium during a free expansion phase, which can last for up to two centuries. The wave then gradually undergoes a period of adiabatic expansion, and will slowly cool and mix with the surrounding interstellar medium over a period of about 10,000 years.[99]

The Big Bang produced hydrogen, helium, and traces of lithium, while all heavier elements are synthesized in stars and supernovae. Supernovae tend to enrich the surrounding interstellar medium with metals—elements other than hydrogen and helium.

These injected elements ultimately enrich the molecular clouds that are the sites of star formation. Thus, each stellar generation has a slightly different composition, going from an almost pure mixture of hydrogen and helium to a more metal-rich composition. Supernovae are the dominant mechanism for distributing these heavier elements, which are formed in a star during its period of nuclear fusion, throughout space. The different abundances of elements in the material that forms a star have important influences on the star's life, and may decisively influence the possibility of having planets orbiting it.

The kinetic energy of an expanding supernova remnant can trigger star formation due to compression of nearby, dense molecular clouds in space.[101] The increase in turbulent pressure can also prevent star formation if the cloud is unable to lose the excess energy.

Evidence from daughter products of short-lived radioactive isotopes shows that a nearby supernova helped determine the composition of the Solar System 4.5 billion years ago, and may even have triggered the formation of this system. Supernova production of heavy elements over astronomic periods of time ultimately made the chemistry of life on Earth possible.

http://www.meylah.com/prasad

Om -The Soul Doctor

Om -The Soul Doctor.
OM
The most sacred syllable in Hinduism is OM.

It stands for Brahman, both as personal and impersonal God. The passage below is one of the clearest of the
countless references to OM in the Hindu scripture. The goal which all the Vedas declare, which all austerities aim at, and which men desire when they lead the
life of continence, I will tell you briefly: it is OM. This syllable OM is indeed Brahman. This syllable is the Highest. Whosoever knows this syllable obtains all that he desires. This is the best support; this is the highest support. Whosoever knows this support is adored in the world of Brahma.
-- Katha Upanishad I, ii, 15-17 ¹

The sound OM is Brahman. The rishis and sages practiced austerity to realize that Sound-Brahman. After attaining perfection one hears the sound of this eternal Word rising spontaneously from the navel. "'What will you gain', some sages ask, 'by merely hearing this sound?' You hear the roar of the ocean from a distance. By following the roar you can reach the ocean. As long as there is the roar, there must also be the ocean. By following the trail of OM you attain Brahman, of which the Word is the symbol. That Brahman has been described by the Vedas as the ultimate goal."
-- The Gospel of Sri Ramakrishna


"The sandhya merges in the Gayatri, the Gayatri in Om, and Om in samadhi. It is like the sound of a bell: t-a-m. The yogi, by following in the trail of the sound Om, gradually merges himself in the Supreme Brahman."
-- The Gospel of Sri Ramakrishna ²


The Eternal Syllable
According to the Mandukya Upanishad, "Om is the one eternal syllable of which all that exists is but the development. The past, the present, and the future are all included in this one sound, and all that exists beyond the three forms of time is also implied in it".

The Music of Om
Om is not a word but rather an intonation, which, like music, transcends the barriers of age, race, culture and even species. It is made up of three Sanskrit letters, aa, au and ma which, when combined together, make the sound Aum or Om. It is believed to be the basic sound of the world and to contain all other sounds. It is a mantra or prayer in itself. If repeated with the correct intonation, it can resonate throughout the
body so that the sound penetrates to the centre of one's being, the atman or soul.
There is harmony, peace and bliss in this simple but deeply philosophical sound. By vibrating the sacred syllable Om, the supreme combination of letters, if one thinks of the Ultimate Personality of Godhead and quits his body, he will certainly reach the highest state of "stateless" eternity, states the Bhagavad Gita.


The Vision of Om
Om provides a dualistic viewpoint. On one hand, it projects the mind beyond the immediate to what is abstract and inexpressible. On the other hand, it makes the absolute more tangible and comprehensive. It encompasses all potentialities and possibilities; it is everything that was, is, or can yet be. It is omnipotent and likewise remains undefined.

The Power of Om
During meditation, when we chant Om, we create within ourselves a vibration that attunes sympathy with the cosmic vibration and we start thinking universally. The momentary silence between each chant becomes palpable. Mind moves between the opposites of sound and silence until, at last, it ceases the sound. In the silence, the single thought—Om—is quenched; there is no thought. This is the state of trance, where the mind and the intellect are transcended as the individual self merges with the Infinite Self in the pious moment of realization. It is a moment when the petty worldly affairs are lost in the desire for the universal. Such is the immeasurable power of Om.

Mt.Kailash With The Golden Glow

Mt Kailash with the golden glow, It is the when the first rays of the sun touch this abode of GOD, This is one of the series of paintings i have been able to create of Mt.Kailash. I thought you might have a look at the painting of the Mighty Mt.Kailash and get blessed. C P B Prasad, Artist, -Thanks.

Mixed Media on 149 gsm paper, 50x75 cms, year of creation:2011.

Fine Art Archival prints available,A4-Rs.2500/$60.00, A3-Rs.5000/$110.00,
20x30 inches Rs.30,000/$670, 36x54 inches Rs.60000/$1300.
http://www.meylah.com/prasad

Souls on a Different Planes

Souls on a Different Planes

This painting depicts how souls are on different planes. It shows how souls are connected in their own planes but are on not connected in planes which they have not elevated by their good karmas.
C P B Prasad, Artist, -Thanks.

Original 50x75 cms, mixed media on 149 gsm paper. euros 3000.00,
Fine Art Archival prints available,A4-Rs.2500/$60.00, A3-Rs.5000/$110.00,
20x30 inches Rs.30,000/$670, 36x54 inches Rs.60000/$1300.

Soul of LORD VENKATESHA OF TIRUMALA -Fine Art Archival Print

I have created a painting of Soul of the Most Powerful GOD of India. The SOUL of LORD VENKATESHA OF TIRUMALA. Many a times, i was wondering how come more than 30,000 to 40,000 people visit the Temple and take the Blessing of the Almighty. The Common people just visit and take Darshan and Pray and go. If we look deeply, it is the LORD'S SOUL, which is energizing the people's Soul, they feel good when they visit the Temple. Hardly people think about their own soul, how will they know, how they are getting blessed. So have a look at the painting and get blessed,(It is like remembering the Almighty is also like a prayer). if  possible visit the Temple.  C P B Prasad, Artist, -Thanks.

Fine Art Archival Print is available.A4-Rs.2500/$60.00, A3-Rs.5000/$110.00,
20x30 inches Rs.30,000/$670, 36x54 inches Rs.60000/$1300.

Chennai hosts first-ever art summit, 20 to 26th March 2011.

Seven days, 22 galleries, 27 art shows and close to 75 artists, curators, collectors, critics and historians. From March 20 to 26, the city will host Art Chennai, its first-ever art summit, where people can see the works of contemporary masters, watch artists at work, attend lectures by experts, and buy art at an auction.

Sanjay Tulsyan, convenor of Art Chennai and MD of Tulsyan NEC, is hoping that the show will become an annual feature, one that will rank alongside the Delhi Art Summit. "Right now, the Delhi Art Summit is rather commercial. Art Chennai is more about bringing artists face-to-face with the public and if we can sustain it, it can become an event on the international art calendar," says Tulsyan, who has been planning the summit for the past six months. "People find it difficult to grasp an idea like this. We have a well-developed music aesthetic in Chennai but not one for art," says Tulsyan, who has been collecting art since 1984.

Among the more exciting shows will be an exhibition to mark KCS Panicker's centenary year and a show of the original works of Rabindranath Tagore, his nephews Abanindranath and Gaganendranath Tagore, and their lesser-known but equally gifted sister Sunayani Devi. "The Bengal school of art had its own influence on the Madras Movement and we thought a special show on Tagore was important. It is also significant because it is Tagore's 150 anniversary," says Pradipto Mahapatra, one of the summit's advisors.

There will also be mixed media show, a video art exhibition and large installations, an art residency programme, seminars and lectures. The entire schedule is at www.artchennai.com.

"We're hoping this summit will bring contemporary art into everyone's lives. We have such a rich tradition of art starting with kolams. But somehow we do not pay enough attention to contemporary art," said actor Revathy, who is on the advisory board of the summit.

http://www.artchennai.com.

Information Courtesy: The Economic Times.

Treat for the virtual art lover

Roberta Smith takes us through 17 of world’s great art museums across Europe and America, which have been developed by the Google Art Project, a futuristic step to make art more accessible by putting it online.
If art is among your full-blown obsessions or just a budding interest, Google, which has already altered the collective universe in so many ways, changed your life last week. It unveiled its Art Project, a web endeavor that offers easy, if not yet seamless, access to some of the art treasures and interiors of 17 museums in the United States and Europe.

It is very much a work in progress, full of bugs and information gaps, and sometimes blurry, careering virtual tours. But it is already a mesmerizing, world-expanding tool for self-education. You can spend hours exploring it, examining paintings from far off and close up, poking around some of the world’s great museums all by your lonesome. I have, and my advice is: expect mood swings. This adventure is not without frustrations.

On the virtual tour of the Uffizi in Florence the paintings are sometimes little more than framed smudges on the wall. (The Dürer room: don’t go there.) But you can look at Botticelli’s Birth of Venus almost inch by inch. It’s nothing like standing before the real, breathing thing. What you see is a very good reproduction that offers the option to pore over the surface with an adjustable magnifying rectangle. This feels like an eerie approximation, at a clinical, digital remove, of the kind of intimacy usually granted only to the artist and his assistants, or conservators and preparators.

There are high-resolution images of more than 1,000 artworks in the Art Project (googleartproject.com) and virtual tours of several 100 galleries and other spaces inside the 17 participating institutions. In addition each museum has selected a single, usually canonical work — like the Botticelli Venus — for star treatment. These works have been painstakingly photographed for super-high, mega-pixel resolution. (Although often, to my eye, the high-resolution version seems as good as the mega-pixel one.)

The Museum of Modern Art selected Van Gogh’s Starry Night, and you can see not only the individual colors in each stroke, but also how much of the canvas he left bare. The Metropolitan Museum of Art’s star painting is Bruegel’s Harvesters, with its sloping slab of yellow wheat and peasants lunching in the foreground. Deep in the background is a group of women skinny-dipping in a pond that I had never noticed before.

In the case of Van Gogh’s famous Bedroom, the star painting chosen by the Van Gogh Museum in Amsterdam, I was able to scrutinize the five framed artworks depicted on the chamber’s walls: two portraits, one still life and two works, possibly on paper, that are so cursory they look like contemporary abstractions. And I was enthralled by the clarity of the star painting of the National Gallery in London, Hans Holbein’s Ambassadors, and especially by the wonderful pile of scientific instruments — globes, sun dials, books — that occupy the imposing two-tiered stand flanked by the two young gentlemen.

Google maintains that, beyond details you may not have noticed before, you can see things not normally visible to the human eye. And it is probably true. I could make out Bruegel’s distant bathers when I visited the Met for a comparison viewing, but not the buttocks of one skinny-dipper, visible above the waves using the Google zoom. Still, the most unusual aspects of the experience are time, quiet and stasis: you can look from a seated position in the comfort of your own home or office cubicle, for as long as you want, without being jostled or blocked by other art lovers.

At the same time, the chance to look closely at paintings, especially, as made things, really to study the way artists construct an image on a flat surface, is amazing, and great practice for looking at actual works. And while the internet makes so much in our world more immediate, it is still surprising to see what it can accomplish with the subtle physicality of painting, whether it is the nervous, fractured, tilting brush strokes of Cezanne’s Château Noir from 1903-04, at the Museum of Modern Art, or the tiny pelletlike dots that make up most of Chris Ofili’s No Woman No Cry from about a century later at the Tate Modern in London (the only postwar work among the 17 mega-pixel stars).

The Ofili surface also involves collaged images of Stephen Lawrence, whose 1993 murder in London became a turning point in Britain’s racial politics; along with scatterings of glitter that read like minuscule, oddly cubic bits of gold and silver; and three of those endlessly fussed-over clumps of elephant dung, carefully shellacked and in two cases beaded with the word no. Take a good look and see how benign they really are. (You can also see the painting glow in the dark, revealing the lines “RIP/Stephen Lawrence/1974-1993.”)

Another innovation of the Art Project is Google’s adaptation of its Street View programme for indoor use. This makes it possible, for example, to navigate through several of the spacious salons at Versailles gazing at ceiling murals — thanks to the 360-degree navigation — or to get a sharper, more immediate sense than any guidebook can provide of the light, layout and ambience of the Tretyakov Gallery in Moscow. It also means that if your skill set is shaky, you can suddenly be thrown from the museum onto the street, as I was several times while exploring the National Gallery.

Keep in mind that usually only a few of the many, many works encountered on a virtual tour are available for high-res or super-high-res viewing. And those few aren’t always seen in situ, hanging in a gallery. The architectural mise-en-scène is the main event of the virtual tours in most cases, from the Uffizi’s long, grand hallways to the gift shop of the Rijksmuseum in Amsterdam and the modest galleries of the Kampa Museum in Prague, where the star paintings is Frantisek Kupka’s 1912-13 Cathedral, the only abstraction among what could be called the Goggle 17.

The Art Project has been hailed as a great leap forward in terms of the online art experience, which seems debatable, since most museums have spent at least the last decade — and quite a bit of money — developing Web access to works in their collections. On the site of the National Gallery, for example, you can examine the lush surface of Velázquez’s Rokeby Venus with a zoom similar to the Art Project’s. Still, Google offers a distinct and extraordinary benefit in its United Nations-like gathering of different collections under one technological umbrella, enabling easy online travel among them.

When you view a work by one artist at one museum, clicking on the link “More works by this artist” will produce a list of all the others in the Art Project system. But some fine-tuning is needed here. Sometimes the link is missing, and sometimes it links only to other works in that museum. Other tweaks to consider: including the dates of the works on all pull-down lists, and providing measurements in inches as well as centimetres.

Despite the roster of world-class museums, there are notable omissions: titans like the Louvre and the Musée d’Orsay in Paris, the Prado in Madrid and the Kunsthistorisches Museum in Vienna, not to mention most major American museums, starting with the National Gallery in Washington. Without specifying who turned it down, Google says that many museums were approached, that 17 signed on, and that it hopes to add more as the project develops.

This implies an understandable wait-and-see attitude from many institutions, including some of the participants. The Museum of Modern Art, for example, has made only one large gallery available — the large room of French Post-Impressionist works that kicks off its permanent collection displays — along with 17 paintings that are all, again, examples of 19th-century Post-Impressionism. (Oh, and you can wander around the lobby.)

On first glance, this seems both unmodern in focus and a tad miserly, given that several museums offer more than 100 works and at least 15 galleries. But MoMA is being pragmatic. According to Kim Mitchell, the museum’s chief communications officer, the 17 paintings “are among the few in our collection that do not raise the copyright-related issues that affect so many works of modern and contemporary art.” In other words, if and when the Art Project is a clear success, the Modern will decide if it wants to spend the time and money to secure permission for Picasso’s Demoiselles d’Avignon and the like to appear on it.

This might also hold true for the Museo Reina Sofia in Madrid, which owns Picasso’s Guernica, but has so far limited its participation primarily to 13 paintings by the Cubist Juan Gris and 35 photographs from the Spanish Civil War. Needless to say, the works and galleries that each museum has selected for the first round of the Art Project makes for some interesting institutional psychoanalysis.

From where I sit, Google’s Art Project looks like a bandwagon everyone should jump on. It makes visual knowledge more accessible, which benefits us all.

In many ways, this new Google venture is simply the latest phase of simulation that began with the invention of photography, which is when artworks first acquired second lives as images and in a sense, started going viral. These earlier iterations — while never more than the next best thing — have been providing pleasure for more than a century through art books, as postcards, posters and art-history-lecture slides. For all that time, they have been the next best thing to being there. Now the next best thing has become better, even if it will never be more than next best. Check out the details in the link below.

http://www.googleartproject.com

Information Courtesy : The New York Times

Color of the Souls

I have inserted an painting image titled Colour of the Souls. I think

1.When we are born, we have/no connection with any of our family member, it all agiain depends upon our previous births karmas.
2.Once we are born we get attached to all these relationships of father, mother, wife, brother, sister, son, daughter. Invariably are of different souls. All of us are born on some purpose (That is what i feel).
3.Each soul has a different colour and shape of its own. (These means that each soul thinks differently.
4.By chance we happen to borrow money from one person, or cheat a person, i think we need to fix this in this life altogether, otherwise we are reborn again to fix the mistake we have done. (I plan to return all the money i have borrowed from my family/friends before i die).
5.In the relationship between two people -Maybe a Man and Woman, i think that we should look at celebrating this life to the fullest extent possible without thinking about who and with whom, may be two people like each other, than what is there to stop to have a experience of love. (Birds have sex, Elephants have sex, than should we think they are not blessed by GOD, than we are really ignorant of life).

I hope you all enjoy a painting of souls. Let all your souls celebrate this beautiful life.

Options of Fine Art Archival Prints/Fine Art Canvas Prints of this painting is available.

www.meylah.com/prasad

Chitra Sante, Bangalore, January 30, 2011.

I am planning to exhibit my paintings in Chitra Sante, Bangalore, January, 30, 2011, another solo exhibition. It would be a nice way to start the new year. I am also planning for another solo exhibition in 2011, venue is not yet thought, but it would be a reality. Depending upon my financial position, may be for a week/one month. Any other artists want to exhibit in Chitra Sante should contact the office of KCP. The contact details are given below.

Karnataka Chitrakala Parishath
College of Fine Arts
Art Complex,
Kumara Krupa Road,
Bangalore 560 001.
Ph: 2226 1816, 2226 3424,
e-mail: chitrakala@mantraonline.com, info@karanatakachitrakalaparishath.com
Website: www.karanatakachitrakalaparishath.com

http://www.karnatakachitrakalaparishath.com/parishath/index.html