The martial fine art Jiu Jitsu , originated inside the earlier twentieth century in Japan. It absolutely was brought to Brazil by the Japanese, Mitsuyo Maeda, who taught it to Carlos Garcia. He taught it to his four brothers. The youngest of the whole lot-Royce Garcia formulated the fine art as we perceive it currently. Prior to them, the Samurais used the fine art kind along with their weapons. They knew the submission strikes like: throws, strikes, joint lcks and choking. The art teaches you how to combat a strong and massive opponent despite becoming tiny. It teaches you the way to use the power and power of your opponent in your edge. It truly is just like Judo that originated in Japan in 1892.

The name Jui Jitsu means delicate art work. Royce Garcia formulated the fine art as every the requirement of your short and mild weighted particular person. He applied leverage in site of strength. He brought a lot of alterations and this would be the cause that Brazilians along with the globe know it by their brand. It really is regarded as because the mommy of all martial arts like judo, karate, aikido, etc. The major objective or method of the fine art is always to choose the opponent to your ground and also to implement possibly a joint manipulation or choke. The effectiveness from the artwork lies from the usage from the opponents aggression and strength in opposition to him.

In Jiu Jitsu the opponents strength, measurement and momentum is fit to great use. In such a martial artwork it is possible to choose aspect in both sparring or stay training of your artwork after every single session.

This prepares for yourself for conditions in authentic everyday life. A are living state of affairs is designed in each and every course. It is how it turns into an ideal martial art for defending yourself. It’s an art work form that involves really tiny knowledge while standing up as well as the complete martial art work is executed within the ground. More than power, the combat is depending on method. It’s a a person on one particular struggle process, the place the opponents pin straight down the other person by chokes, joint lcks and throws.

There is certainly no brutality or violence in Jiu Jitsu. It is a much disciplined type of martial artwork. Continuous coaching inside the fine art will provide you with physical health, agility and strength. It teaches you the way to do great time administration and also to coordinate time appropriately. Via self protection, you can get a appropriately toned and nutritious body. You’ll be able to enhance your talent, competencies and intelligence by means of it. It also allows in improving your health and fitness and amount of assurance. The strength in your character attains new heights. A feeling of excellent bonding and trust grows on account of practicing along.

Some modifications have already been brought about inside strategy of the art work, but the primary philosophy in the artwork even now remains exactly the same. Jiu Jitsu is divided into 5 various types for which there is usually a distinct colored belt that allows in distinguishing a single from the opposite. You begin aided by the white belt that will take roughly 2 years, when you are not in control of your actions. Soon after this you receive the purple belt through which without having hurting your self as well as your opponent you are able to defend your self. This means that that you are in complete handle of the fine art and also have set up a model of your respective very own. Then may be the brown belt, where you provide perfection within your art and lastly the black belt, from the place you get started your journey.

Ukiyo-e woodblock prints are probably the most well known of all the Japanese arts. This particular style of art thrived in Japan from the mid-seventeenth century to the mid-nineteenth century. The woodblock prints are referred to as ukiyo-e, the original Buddhist word meaning “sad world”. By the seventeenth century the meaning had evolved to stand for “floating world”. The world referred to was one of transient pleasures and freedom from the cares and concerns of the world. The prints and paintings that the merchants commissioned and bought, almost always depicted aspects of a carefree existence, and were therefore called ukiyo-e, “pictures of the floating world”.

To understand the prints, and gain respect for the art, we must understand something of the ukiyo-e, or at least those aspects of it which the printmakers were fond of depicting: theatre, life in the pleasure quarters and travel. In essence, ukiyo-e tells us much of the Japans rich history.

During the sixteenth century in Japan, long standing wars between the feudal lords came to an end and the country was unified. The resultant peace and unification gave birth to a renaissance in the traditional arts. The Samurai, the military class, began to beautify their castles which, until that time, had been little more than basic fortresses. Painters and decorators were commissioned to decorate sliding doors, ceilings and wood panels while weavers and seamstresses were commissioned to produce extravagant clothes. Every form of art and craft was vitalised by the aspirations of the powerful samurai to make their lives as luxurious as possible.

The great merchant families of the cities of Kyoto and Sakai, whose money had provided the Samurai with guns and ammunition, also endeavoured to improve the quality of their lives. Since they were of a lower social order than the military, the merchants did not pretend to be members privy to the aristocratic forms of art. They commissioned paintings depicting pretty courtesans, visited the new kubuki dances, and read popular books that were lavishly illustrated by hand. Some of these story books were produced as scrolls and some were bound. The demand for these illustrated manuscripts became so great that they could no longer be made by hand. The picture book printed from cut wood was born.

The technique of printing from wood blocks had been known in Japan for many centuries, but the first Japanese illustrated book printed from wood blocks did not appear until around 1650. The book was the Ise Mongatari which is a traditional tale. The illustrations in early printed books were crude and subordinate to the text. Very soon the pictures became more important and provided the masses with an affordable form of art. Even the illiterate bought books for the sake of the pictures.

The Japanese woodblock prints used in the books are said to be the work of the designer or illustrator. In actuality it is the combined efforts of three separate artisans: the artist, the woodblock cutter and the printer. A master artist first draws his design which is then pasted down on a finely prepared cherry woodblock. The woodblock cutter follows the lines with a sharp chisel. The finished block is a work of art in itself. After that the block is inked and a sheet of dampened paper is laid upon it. The back of the paper is rubbed until the impression is uniformly transferred on to it. This is called the key print which is then returned to the artist who chooses the colours he wants and where he wants them to go. A separate block is carved for every colour to be used in the print. The blocks then go to the printer, who, using a mulberry paper, rubs natural vegetable dyes on to the blocks and transfers each impression in register with absolute perfection. The mulberry paper alone can take three months to make.

Around 1660 there were many illustrators working under contract for publishers in Edo, Japans most important city (modern day Tokyo). One of them, Hishikawa Moronobu, persuaded his publisher to issue illustrations as single sheets and without text. These sold very well and from then on woodblock prints, as well as illustrated books, were widely available to the public. He not only signed each print in the woodblock, but his signature announced to the world that he took himself seriously as an artist. It was Yamato esho – master of Japanese painting.

By the sixteenth century a troupe of entertainers, led by a woman, became popular in Kyoto. It specialised in dances performed by men masquerading as women, and women as men. Many troupes emerged, some of which consisted only of women who were less interested in dancing than offering sexual favours for sale. The authorities soon prohibited them. The girls were then replaced by boys who were soon banned for the same reason. Finally adult males took over, and they begun to liven up the performances by acting out some of the popular stories of the day. The result was the form of the kabuki theatre that has endured, with very little modification, through to today.

In contemporary slang kabuku means ‘fashionable’, and it is thought that the name kabuki developed from it. The theatre was not only fashionable, it was also very popular, partly because it was the only outside entertainment to which respectable women might go. Not only the leisured wives and daughters of the merchants flocked to the theatre, but also, the ladies of the court. Some of these women were fortunate, or forward, enough to have actors as lovers. Most had to be content with portrait-prints of their favourites. Publishers were aware of the demand and commissioned artists to depict every aspect of the life of an actor and the kabuki theatre. They showed actors relaxing backstage, holding a dramatic pose or simply out taking a walk. They also produced single and group portraits. The theatre provided the print-makers with an inexhaustible supply of subjects, and the prints boosted the popularity of the actors and of particular plays.

There were as many male enthusiasts of the kabuki as there were female devotees. For the men, however, there was a more important place of entertainment – the brothel. The craftsmen and merchants possessed enough money and time to allow them to live large parts of their lives with courtesans and prostitutes. A large industry grew up to meet their needs. By 1627 all the whores and brothels in Edo had been concentrated in one place, called Yoshiwara, and were licensed for prostitution. After a disastrous fire, in 1657, which virtually destroyed Edo and caused the city to be replanned and rebuilt, another district was specified clear for prostitution, called the New Yoshiwara, which continued in its specialised trade until 1951.

The most accomplished of the courtesans provided the print-makers with many of their subjects. Although prints of explicit sexual activity were popular, the courtesan was frequently depicted showing off extravagant kimonos like a fashion model, demonstrating the latest hairstyle and enjoying her allegedly leisured way of life. She was a star, and her portrait bought by admirers and those who wished they could afford her, increased the demand for her and the profits of her house.

Once Hishikawa Moronobu had signed his prints and had called himself a master, other artists followed suit. Master-pupil relationships soon developed. Schools of print-making, each with its preferred subjects and characteristic style, emerged. They were known as families because the head pupil often married into his master’s family and established a true blood relationship. In the early eighteenth century families such as the Hisikawa (Moronobu’s followers) the Torii (who specialised in actor prints) and the Kaigetsudo (masters of the full-lengths of women) were especially prominent.

The early eighteenth century was a period of development in print-making. The quality of the paper improved: shapes and sizes of prints became varied and polytychs were introduced. Techniques of printing became more sophisticated. The urushi-e, lacquer print was developed in which certain areas of black are made to shine by mixing glue with the printing ink.

The greatest innovation in technique was the use of colour. From the earliest times, deluxe editions of print had been richly coloured by hand, and by the middle of the eighteenth century Okumara Masanobu (a publisher as well as an artist) was experimenting with the use of more than one block to produce beni-e, or ‘red pictures’ which employed up to three colours. These colours, however, were not contained by the contours of the design. The first truly polychromatic print (nishiki-e or ‘brocade picture’ in Japanese) appeared around 1769. An Edo artist, Suzuki Harunobu, published a series of prints in which the colours were either enclosed by an outline, or formed hard edges of their own. These prints were an instant success and Harunobu, until his death six years later age 46, was the most popular artist in Edo, producing prints of ethereal, identical looking young men and women, posing with exquisite grace.

During this time of innovation Japan was still virtually cut off from the rest of the world. It wasn’t until Admiral Perry came to Japan in 1854 that Japan’s doors were opened to other countries. Then the beautiful Japanese ukiyo-e prints became popular throughout the world. Unfortunately with the ravages of time, fire, earthquakes, few of these priceless sheets of beauty have survived but there are still many for us to enjoy.

Chris Sabian is an artist with http://www.kutefineart.com and co-owner of http://www.paragonprints.co.uk and blogger http://chris-sabian.blogspot.com

Most forms of Asian arts are deeply- rooted in eastern philosophy and values. Images of community, nature, family, worship and praise are found in all forms- paintings, sculptures, literature and calligraphy. Most of these forms symbolize distinct and truly Asian values such as preference for social harmony, respect for the collective well-being of the community and loyalty to family.However, even though the Asian arts scene is colorful and vivid, not unlike its people and culture, the field of arts is still besotted with different concerns and issues. One issue would be the never- ending fund-raising troubles for several museums and galleries across the continent. For poverty- stricken and most often, third-world Asian countries, funding for the arts would be not be given as much thought as let’s say, funding for education or economy. Therefore, citizens would not give time or even the slightest attention to visit museums and galleries, much to the dismay of the curators and art followers. The value of arts is diminishing in countries such as Philippines and Cambodia where food in the table is far more important than buying sculptures or paintings. Others can even define arts as a luxury or an unwanted commodity. A well- known curator from the Philippines who manages a privately- owned museum, complained that locally, art tends to be a copy of western influences. Most Filipinos are not aware of long and hard-earned traditions that were passed from the ancestors down to the current generation. They chose not to be involved since some of them would rather use their money for something more important- things that would satisfy their physiological needs. Art masters and teachers often see Philippines as a colony of Spain, America and Japan and have “overarching history and development”. Because of these, museums in the Philippines are downgraded, being subjected to commercial eradication and possesses confused identity. On the other hand, wealthy Asian countries such as Japan have documented efforts to preserve their arts. These processes are well- known and Western counterparts undoubtedly praised. The Japanese national identity and image were present in their carefully- cultivated art forms such as ikebana, or ukiyo-e, a major art form where beautiful prints are made out of woodblock. This tradition has been present even during the Edo period and was passed from one generation to another. Sculptures in Japanese cultures are also associated with religion and its form in traditional Buddhism. Designs on the Japanese ceramics are also the finest in the world. Japanese architecture on the other hand, has a wonderful fusion of both interior and exterior spaces in which both worlds are clearly expressed. Gardens and houses from Europe and America are slowly using Japanese and Zen method of landscaping. Modern arts are shifting and slowly changing. Nowadays, there is a shift from the traditional arts to photography in Southeast Asia. Social networking sites and the vast world of internet provide a more distinct and convenient way on making art aficionados post and see works of arts. There are also websites that act as an classified ads to post paintings for sale and artwork for sale. Photography is no longer a simple mean of taking pictures and documentations but the shift in the use of camera- both still and moving, is becoming a practical passion for Asians. With these monumental changes in the art scene in Asia, the world patiently awaits for artists and artisans who will be shaping the world of arts. Fusion in both Eastern and Western influences has long been experienced and is quietly taking over the world by storm. It is only a matter of time when the next wave of art revolution will pass and transform Asia.

Psychology is a science because it analyzes human behavior and the human mind. Art is free of rules and totally based on subjective conceptions. Science is based on the objective analysis of facts that belong to our reality, studies, and comparisons. Art is based on talent and intuition.

As a psychologist and literature writer, I clearly recognize that there is great difference between science and art. However, because I’m an artist, I could understand the meaning of dreams better than Carl Jung, who was only a scientist. There is an artistic side that characterizes psychology in many ways. For example, the dream language is poetical and philosophical. The unconscious mind that produces our dreams helps us develop our sensitivity.
Psychology is a science that studies human emotions and feelings. Our psyche is very sensitive. Thus, a psychologist must be able to penetrate into a sensitive world that works based on feelings. It requires a different approach that surpasses the limits of science.
The unconscious mind that analyzes our psyche and produces our dreams is an artist, a psychologist, a teacher, a priest, and our best friend. This is why the unconscious psychotherapy also works like a spiritual transformation.
By translating the meaning of our dreams, we understand that the meaning of life is not based on our daily routine. We live in order to become real human beings instead of being selfish monsters. This is why the unconscious mind is also responsible for our religious inclinations.
Religion is a form of psychotherapy. It teaches us the meaning of spirituality, helping us understand that we must cultivate goodness in our hearts in order to evolve. Goodness is the only antidote against craziness and terror.
Our wild nature must be tamed by our sensitivity and our goodness. This is the meaning of human life, and at the same time, a psychological necessity. If we won’t fight against the absurdity imposed by our wild and evil anti-conscience, we will be dominated by craziness. The various crimes, wars, and many other horrors that characterize our world prove that we are very violent creatures.
Thus, psychology is an art because it penetrates into the sensitive field of the human psyche, looking for answers and solutions. This is an unpredictable field, where emotions and fears must be comprehended and transformed into positive reactions. However, psychology is basically a very serious science that fights against absurdity, trying to maintain our mental stability.
Absurdity is a terrible enemy that human beings are not able to eliminate alone. This is why the divine unconscious mind produces our dreams, sending us many important messages that work like psychotherapy. The unconscious guidance is constantly helping us fight against the destruction of our human conscience by the evil anti-conscience.
When our human conscience is alive, we feel compassion. We understand that human beings are imperfect creatures who make many mistakes, forgiving our enemies. However, when the anti-conscience dominates our mind and controls our behavior, we cannot forgive anyone. We become murderers, killing not only our enemies, as well as many innocent people who live around them, or who depend on them, like their children.
Psychology is a science that analyzes our mind and behavior in order to help us find mental health and happiness. Mental health depends on balance. Happiness depends on wisdom.
Christina Sponias continued Carl Jung's research into the human psyche, discovering the cure for all mental illnesses, and simplifying the scientific method of dream interpretation that teaches you how to accurately translate the meaning of your dreams, so that you can find health, wisdom and happiness.
Learn more at:

http://www.scientificdreaminterpretation.com

http://www.squidoo.com/psychology-today 

Is Graffiti Art?

The question of whether graffiti is art or vandalism is one I see often, and usually from students working on school reports … and have fairly strong opinions about. This is really a two part question: Part 1. Is Graffiti Art? and Part 2. Is Graffiti Vandalism?

Part 1 >>> Is Graffiti Art?

I think it’s first important to understand that “art” itself is tough to define. But if you move past formal definitions, art is typically an expression of oneself or a message that an artist is trying to give to the viewer … and it may or may not appeal to other people. Others think art is perhaps an expression of the artist using colors, textures, sounds, etc. to convey the message. Let’s look at a few of pieces of well known art.

1. The Mona Lisa by Leonardo DaVinci. It is painted on a piece of wood and is framed. Why is this art? Shading, the depth, the landscape, the enigmatic smile, etc. Would this be art if it were painted on a brick wall on a side street in Italy? Of course. What makes it art is the picture, not the medium.

2. Guernica by Pablo Picasso. This may be Picasso’s most well known piece of art. Painted mural size on a piece of canvas. Of course, this is art. Would it be art if Picasso painted directly on a wall on the side of a street? Yes. What if he did it without permission? Still art … but illegally painted. You like it? … well it doesn’t matter if you do or not, it’s still art.

3. Sistine Chapel ceiling by Michangelo. It’s art and it’s on a ceiling.

Graffiti art (aka Street Art) is a style of art. It “fits” the bill for art and often expresses a very distinct message from the artist (as an example, check out the political messages of Banksy) Street art painted in this style is still art. It can be painted on wood, on canvas, on ceilings, on brick walls, on sidewalks, etc. It is still art regardless of the medium.

Part 2 >>> Is Graffiti Vandalism?

If the street art (graffiti) is painted legally, meaning on property owned by the artist or with permission from the owner, then it is legal street art.

If the street art is painted illegally, meaning on property not owned by the artist, and without permission, then it is still art … but the artist has committed the crime of vandalism.

So, if DaVinci, Picasso, and Michaelangelo were hanging out on 115th Street one Tuesday night and throw up the Mona Lisa, the Guernica, and the Sistine Chapel art work on the side of a laundromat … It is art. But it’s also vandalism. It can be both … it is not an “either / or” question.

Hope this helps you guys if you’re doing a report on”Graffiti Art or Vandalism” or”Is It Street Art or Vandalism”.

The Internet has become a worldwide marketplace where virtually everything is peddled online ranging from books, movie tickets, and kitchen gadgets to automobiles, luxury cruises, and fine art. No matter what youre in the market for, youll find it online. When it comes to browsing online art galleries, youre likely to come across examples of both fine art and digital art. But whats the difference? And is digital art real art?

To better understand the differences between fine and digital art, lets first define fine art. According to Merriam Websters Collegiate Dictionary, Eleventh Edition, fine art is defined as: Art (as painting, sculpture, or music) concerned primarily with the creation of beautiful objects.

Now, lets define digital art. The Columbia Electronic Encyclopedia explains that digital art is a contemporary art form where computer technology is manipulated to create distinctive works.

With those definitions in mind, a beautiful oil painting is considered fine art while a breathtaking collage of electronic images would be considered digital art. While you may be able to reach out and touch the brushstrokes on a painting or feel the contours of a sculpture, digital art tends to be less tangible, often appearing on a computer monitor or video display. Thus, the question often arises as to its legitimacy as a real art form.

Digital art also suffers from a perception that, because the artwork is created on a computer, it has less value than a one-of-a-kind object of fine art. Photographers encountered these same perceptions as a single photographic negative or slide is capable of creating countless identical copies of the image. While a digital artist could theoretically mass produce digital art, many digital artists have adopted the same techniques that photographers and lithographers have used successfully: limited editions.

The way that viewers interact with fine art and digital art is different as well. For the most part, looking at fine art is a static experience. Sure, the piece may evoke strong emotions as you look at it, but the experience is primarily visual. Digital art often incorporates multiple images, transitions, audio, and video; the artwork may change based on the viewers actions or movements, especially if touch screens or integrated video cameras are involved.

While fine art is displayed on walls, book shelves, pedestals, and other areas where you can enjoy it, digital art often requires electronic displays. Static digital artwork can be printed on paper or canvas and hung like traditional fine art paintings while multimedia artwork needs a suitable display such as a computer. Digital picture frames and flat panel TVs with suitable inputs open digital artwork display possibilities that didnt exist just a few years ago.

Clearly, fine art and digital art have their differences. But is digital art real art? To answer that question, ask the following questions when looking at a piece of digital art: Is it beautiful? Does it evoke emotions? If you answer yes to either of these questions, the digital art is indeed real art.

Some of the most valuable early artwork comes from a point of time before the Renaissance had begun, and going on through the early Middle Ages, referred to as the period of Gothic art. During this particular time in history, the artwork took on telling narrative stories through pictures, and much of these pieces were Christian and secular in nature. Some of the earliest examples of Gothic art are sculptures found on cathedral and abbey walls, and the first real form of Gothic artwork began as architectural works in fact, even becoming the subject matter for many stained glass windows at the time.

The style of painting that further defined Gothic art wasnt produced until nearly fifty years after Gothic architecture and sculptures, and even though the break between Romanesque artwork and the Gothic styles has remained imprecise at best, the beginnings of Gothic artwork seems to occur in various areas at different but related intervals. The artwork began in England and France around 1200, and in other areas like Germany and Italy between 1220 and 1300. The paintings stayed just as narrative as the architecture on church walls during this time, and has stayed the territory of secular storytelling for a long time afterwards.

Though Gothic art in paintings has had a relatively short time as the medium of choice amongst the artists, there is evidence that the artwork falls into four particular styles of these paintings, and these were the most common forms during this time period. The fresco, the panel painting, the illuminated manuscript, and the artwork done on stained glass are all depictions of Gothic painting. Of these particular types, stained glass artwork had remained a strong reminder of those ages long past, and is still created by master artisans that learned their trade skills from these dark ages.

In the case of the other three particular forms of Gothic painting, frescoes continued to be used as the pictorial narratives on church walls in southern Europe, and were a consistent incorporation of early Christian and Romanesque traditions. In Italy, during the 13th century, the panel painting began and spread throughout Europe. With this proliferation, panel paintings became even more predominant by the 15th century, and becoming even more popular than stained glass at the time. Since not all monumental works have survived, illuminated manuscripts are the most complete record of Gothic painting, and provide a comprehensive account of styles that would otherwise perished.

As the state of the world began to change, so too did the interpretations of the artwork as a reflection of these changing times and attitudes, and the movement became known as International Gothic by the late 15th century. From there, it had evolved into an art form depicting not just secular stories and allegories, but also resulted in the occurrence of more illuminated manuscripts and paintings as increased trade and the rise of cities and universities grew. With this proliferation of growth, more people were literate, and lead to better records kept with this occurring. Leading up to many of the well-known medieval artists today.

The International Gothic style of artwork was developed in Burgundy, Bohemia, and northern Italy in the late 13th and early 14th centuries. During this period in Gothic art, artists traveled widely around the civilized world at the time creating a common aesthetic among the aristocracy of the time, and removing the concepts of contrary artistic styles. The main influences for this period in artwork were derived from northern France, the Netherlands, and Italy. It was during this time, that aspects of rational uses of perspective and setting became a common feature, and other features included flowing lines and rich coloring.

In the case of Gothic sculpture, it had evolved from the elongated forms of the Romanesque style, and became a more naturalistic expression in the early 12th and late 13th centuries. Influences from Greek and Roman statuary were incorporated into drapery, facial expressions, and poses. The sculptor Claus Sluter and the changing tastes for more naturalistic styles became a harbinger for the end of the Gothic period of art, and signaled the beginning of the evolution into Renaissance period at the end of the 15th century.

In a time period where upheaval was the normal occurrence of many of the people then, Gothic art fell into the broad scope of medieval artwork that included such disparate elements and styles as Viking art and Celtic art, but in varying degrees relied upon the artistic heritage of the Roman Empire and the early Christian Church. In fact, much medieval artwork has the history of these elements conjoining and converging into the remarkable artistic legacy we read about today, and have contributed over time to the outcome of many other forms of art from the Renaissance to the present day.

Not so long ago I spent a fabulous lunchtime with Fabian Perez at a gallery in Derbyshire. The gallery was full to capacity with collectors driving from far and wide to see this great artist. Everybody took the chance to get their favourite pieces personalised by Fabian and pick up some rare original Perez paintings and sought after limited edition prints.

A collection of original paintings and limited edition prints took over every square inch of wall space in the gallery. Fabian was a true gent as he signed paintings and books and had his photo taken with customers who had formed an orderly queue. But what makes this man so popular? The answer ofcourse was on the walls of the gallery. It is very rare that any number of peices can stop you dead and mesmerize you with its beauty. Each painting has so many feelings and emotions that you cannot take your eyes off them and you just stare and stare feeling the energy. The use of colors, highlights, and shadows to express passionate feelings is quite intoxicating. In his latest collections he expresses his love for the female form through some of the most romantic and sensual impressionist paintings you will find anywhere. Fabian’s style is unique. He likes to paint with acrylic because it dries quickly and this allows him to follow his impulses. Fabian paints with his emotions and each painting reflects his drive and energy. His art is simply the passionate expression of his strong romantic feelings. 2009 was a triumphant year for Fabian. In addition to a sell out world tour, he has been named as official artist to the 2010 Winter Olympics and the 2012 Olympics, and most recently to the 10th Annual Latin GRAMMY Awards. Fabian’s superstar status has made his work increasingly collectable and his new limited editions illustrate why he has achieved this extraordinary level of success. And that ladies and gentlemen is why I have bought some of his prints.
 
Chris Sabian is an artist with http://www.kutefineart.com and co-owner of http://www.paragonprints.co.uk and blogger http://chris-sabian.blogspot.com

The Indian contemporary art has indeed able to showcase the complexities that India has lived with and continues to brave still today. Here, it is worth asking what constitutes Indian contemporary art for it to represent an India as truly as possible and also, what constitutes the India, for its people to produce the art that truly represent the India that they live in. These questions would certainly able to explain what the Indian art up to certain level, if not entirely. In fact, the very effort the profile the whole gamut of Indian art is fraught with uncertainties. But to understand the art of a certain country, we first need to understand its people and of course the land itself in its true essence, including the natural features and seasonal attributions.
If art itself is the manifestation of human intellect in the forms of creations and imitations that arouse our esthetic senses for a better understanding of life and its deeper meaning, then the collective Indian art has always been the perfect representation of a vibrant India through its civilizations to present day India. More importantly, these very complexities have able to nourish various art forms. These art forms, in a way have become the living embodiment of India’s connection with the other major civilizations. In fact, studying Indian history will never be complete without knowing Indian art. More so with the Indian art imbued with both the Western and Oriental art forms and movements, it has become the perfect representation of what constitutes the India. And rightly so, the Indian art constitutes every aspects of a vibrant India; in its truest colours, that Indians have able to preserve through the ages.
The importance of Indian art is evident in the scores of modern art galleries flourishing in Indian cities. What keeps alive these galleries alive and relevant in today’s world is in itself the answer to its own question. The differences, the values and the very notion of a nation that bound India as a cultural entity would have never been able to capture without art. And it would have been gross injustice to its people had there been only a single art form to represent what India actually looks like and what Indian feels. Thus, we have these numerous art forms occupying very important positions in our society. This fact, partially answers what constitutes Indian art. Indian art is what Indians feels. This, in a way, helps each of us to appreciate the Indian art as we have never able to understand the complexities that we live with for being an Indian. This is the esthetics that we seek to understand through the art.
But there is a worrying fact that’s haunting Indian contemporary art scenario like never before. With the flourishing of the modern art galleries, and the variety of art forms making headway in Indian art market, brings the insanity that drives both the art aficionados and creators to extreme. With everyone associated with the arts vying for their share of limelight and profit, the very fine line that differentiates an artist from the common man has virtually erased. Today, anyone can become an artist by creating collage of colourful or morbid strokes. The fine arts of painting, sculpture, caricature, etc. have reduced to mere crafts, for the selling’s sake. It would be a crime to even ponder about the art for art’s sake’ in such a scenario. We have art exhibitions solely meant for selling. At times, it seems that the rich and the affluent can only cherish the art, whichever form it employs to represent life.

Today, the financial sector and the extravagant art galleries are playing counterparts in ensuring high stakes for Indian art in the stock market trading. Indian art has grown into a major brand and the artists have become the brand ambassadors like never before. There has been a complete change in the gears with the domestic as well as the international market finally noticing it as an investment option.

Earlier, art was purchased as a luxury commodity to add to your stylized home dcor and even office dcor for that matter. But in the recent times, Indian art has become an investment in every sense of the word. There are investors flocking the Indian art scene and investing in the works of art. These artworks now also possess a strong resale value due to their demand and valuing in the market.

There are major business tycoons and corporate biggies offering and working closely with the stalwarts from the art industry. The pooling of capital and resources has been a mutually benefitting situation for the business owners as well as the art lovers and artists.

With the India art industry on its ascending curve, the increasing number of investors only spells more funds and an even better platform for the upcoming artists. The leading name in the initiation of investments and promotion of the upcoming art, Copal Art plays a significant role in bringing funds to Indian art and fortunes turn in the favor of the Indian artists. Moreover, it offers a diverse range of services to both the upcoming as well as established artists from the Indian art industry.