Akseli gallen-kallela Paintings(1865-1931)

Gallen-Kallela was a Finnish artist and designer closely associated with notions of National Romanticism, especially relating to the region of Karelia, also a source of inspiration for the Finnish composer Jean Sibelius. Of particular influence was the collection of folk poems formed in the middle of the 19th century by Elias Lönrot. Following a national competition in 1891 Gallen-Kallela illustrated this national epic known as the Kaleval, the vivid images of which soon became widely known throughout Finland. He also made a significant contribution to the Finnish Pavilion at the Paris Exposition Universelle of 1900 in which he painted frescoes on Kalevala themes in the main dome, as well as designing textiles and furniture. His furniture designs were made by the Iris company, founded by a close friend, Louis Sparre. Like many other ventures associated with Arts and Crafts, the Iris company was concerned with the production of well-designed, well-made furniture and ceramics. Gallen-Kallela's designs at Paris 1900 attracted considerable attention leading to the award of a number of Gold and Silver Medals at the exhibition. He worked in a wide range of design media, including ryiji rugs, which he modernized using geometric motifs derived from the Finnish landscape. His distinctive contribution to Finnish culture is preserved in the Gallen-Kallela Museum, which was originally built by him as a studio and family home between 1911 and 1913 and now contains a large body of his work, including paintings, graphics, textiles, jewellery, stained glass, and architectural designs.

Despite having studied and lived several times in France, made friends there, decorated the Finnish pavilion for the Exposition universelle of 1900 and participated in the Finnish exhibition for the Salon d’Automne in 1908, Gallen-Kallela has never enjoyed a retrospective in our country up to now. The bibliography is just as poor : there has not been a single publication on his work written entirely in French. This is indeed disappointing given the fact that he was, amid a very rich generation of Finnish artists (Enckell, Edelfelt, Simberg, Halonen, the sculptor Vallgren and many others), the most emblematic of them all. Even more, on certain occasions when some of the painter’s works were included in thematic exhibitions, they were not always welcomed accordingly : for example, and we omit the author’s name in an act of kindness, the statement made in 1998 by a "critic" during the exhibition Visions du nord at the Musée d’art moderne de la Ville de Paris, which presented some of Gallen-Kallela’s canvases : "The Finnish Gallen-Kallela, known for finding his inspiration in the ’national’ legends of the Kalevala, here, is just a painter of colour-prints [chromos] opposing the sensuality of ice cream of a frozen nature to big-game souvenirs brought back from Kenya". It goes without saying that the artist deserved much more than the indifference or pedantry shown until today. The remarkable exhibition at the Musée d’Orsay, which opened first in Helsinki and will then move on to Düsseldorf in June, finally pays due tribute to Gallen-Kallela’s work.
The curators have made a sound decision in restricting the selection to works of the highest quality ; as in the case of any prolific artist, the artistic level can sometimes fluctuate and a monographic exhibition of exhaustive range can dull the image of the painter by reducing the impact of the show’s theme (see the exhibition on Théo van Rysselberghe at the Palais des Beaux-Arts in Brussels, 2006). Here, as in the case of Willumsen or Hodler, the Musée d’Orsay and its partners have selected a series of masterpieces for each period and/or theme : almost 90 items (including decorative arts) illustrate the artistic itinerary and the painter’s unique personality.

Vedic Egypt

(This and more info on the Ancient World's Vedic Heritage can be found @ http://www.vedica.net/) Around four thousand years ago, the Hurrians (The Hari) controlled an important empire called Mitanni. It is principally among the Mitanni that Vedic Aryan names and words occur....In a famous treaty between the Hittite ruler Suppiluliuma and the Mitanni king, Mattiwaza,(Mattiraja) about 1370 BC, the Vedic gods Mithra, Varuna, Indra and the twin Nasatyas are mentioned. Thus in the Mitanni kingdom Aryan gods were worshipped as well as Mesopotamian deities, which proves an Aryan Vedic element." In a famous tablet, we have the seal of Prince Suttarna, son of Kirta, King of Mittani in which two lions are defeated by a central single human- headed lion-in bird costume;mid second millennium BC.

In particular treaty, between the Hittite King Shuppilulima and Mattiwaza (Mattiraja), king of the Hurrian (Hari)kingdom of Mitanni circa 1350 BC, listed among the divine witnesses "Mitra-ash, Uruwana, Indra, and the Nashatiyanu gods, the very Mithra, Varuna, Indra, and the Nasatya gods of the Vedic pantheon"

Another treatise from the State Archives of the Hittite Empire was discovered in Boghaz-keui in modern Turkey. It is a treatise on chariot racing and it uses Sanskrit words such as "Aikavartana=One Turn, Teravartana=Three Turns, Panchavartana=Five Turns, Sattavartana=Seven Turns."

Excavations in El-Amarna in Egypt have yeilded the fact that about the middle of the 2nd millennium B.C., Kings and Princes with typical Vedic names were ruling in the region of modern day Syria. Some of the names are Artamanya, Aryavirya, Yashodatta and Suttarna.

From Mitannian proper names such as Shuwardatta one can also infer the presence of the Vedic Sun God Surya in the Mitanni pantheon. Surya was also worshiped by the Vedic Aryan Kings of Babylon, the Kassites, by the name of Suryash.

According to ancient records, 3400 years ago,Egyptian Emperor Menkheperura or Thutmose the IV, married a daughter of King Artatma. Artatma was the King of the Vedic Mittani Kingdom, situated in the Upper Euphrates river area. As mentioned before, the Mittani are universally recognized as Sanskrit speakers and followers of Vedic Dharma and Culture. This is evidenced in the various ancient tablets etc. that have been found by archeologists.

We know from a letter addressed by Dushratta, king of Mitanni- Artatama's grandson,-written to Akhnaton,that six times had Thotmose the Fourth made his request, but all in vain. Mitanni was a small kingdom; nothing to be compared with the mighty Egyptian Empire. Some suggest concerns about the Egyptian King's lack of Vedic culture was the basis for King Artatama's repeated refusal to give his daughter in marriage to the most powerful monarch of his times.Not until the seventh asking, did King Artatma agree to the marriage proposal.The Ancient records state, "after the seventh asking,the king of Mitanni gave his daughter to the king of Egypt."

The new Queen outwardly forsook her Vedic/Sanskrit name and adopted an Egyptian one, more in keeping with her new position- Mutemuya, or "Mut in the sacred bark"-and is styled upon the monuments as "hereditary princess, Great Lady, presiding over the South and over the North." Of her personality and actual influence nothing is known. It can only be surmised that she would, in her new home, feel herself drawn to Vedic dieties such as the Sun-God Surya,which the Greeks were one day to call Heliopolis-to Ra- Horakhti of the Two Horizons.The Egyptian's called the Sun-God Atem or Aton. Most probably, she could relate to the fiery Disk of Aton,-much like her native Aryan gods Mithra and Surya, rather than replace their worship with the exalted Amon, the tribal god of Thebes. Her real, undeniable contribution to the further history of Egypt (and of religious thought) lies however in the fact that she gave birth to King Amenhotep the Third or Amenhotep the Magnificent.

Amenhotep the Third, married one of the most remarkable feminine characters of Antiquity, Tiy, daughter of Yuaa and of Tuau, or Tuaa. Although Yuaa was a priest of the age-old Egyptian fertility-god, Min, he was a foreigner "from North Syria" or, to be more precise, from the Vedic Mitanni Kingdom.During this time in Egyptian history, the ruling aristocracy of Egypt,including the king, were of mixed Egyptian and Mittani ancestry. Sir Flinders Petrie holds Yuaa to have been one of those numerous allied or vassal princes that were then brought up at the Egyptian Court.

Scholars are not sure whether Queen Tiy's mother, Tuau or Tuaa, who, according to most scholars, was of royal descent, was a full- blooded Egyptian or partly or wholly Mitannian inspite of her Egyptian name. In a letter sent by Dushratta, king of Mitanni, to Akhnaton, Tiy is called my sister, which would indicate that she herself was, through one of her parents at least, if not through both, was of royal Mitannian blood.

Not enough has been written about the probable Vedic influence of the many Mitannians who lived at the Egyptian Court. In particular, not enough is publicly known about the influence of the Vedic Mittani in Amenhotep the Third's "house of women"-upon the education of the young prince who was to ascend the throne as Amenhotep the Fourth. He has become immortal under the name of Akhnaton, the well known father of King Tutankamen.

What has been virtually ignored are the deep Vedic roots of Akhnaton. On his Father's side, his Grandmother was Mittani, and his Father was half Mittani. On his mother's side, his Grandfather was Mittani, his Grandmother at least half Mittani and his own Mother was half or maybe a full blooded Mittani. Since there is no doubt as to the Vedic/Aryan identity of the Mittani, we can be confidant of the fact that Akhnaton was strongly influenced by Vedic Culture. This explains the many similarities between his religion of the Sun and Vedic Spirituality.

His devotion to One Supreme Godhead has also been recognized to have impacted Moses and the religion of Judaism and Christianity. What is not very well known, is the Vedic Basis and nature of Akhnaton's philosophy and religion.This is another very important link between Vedic Culture, Judaism, Christianity and Islam.

Akhnaton was born in the beautiful Charuk palace, in Thebes, in or shortly after1395 B.C.,-(some scholars place his birth a few years later.)At the young age of 12, Akhnaton was crowned King of Egypt. Records show that in the beginning, he merely reigned, while his Mitanni Mother, Queen Tiy, governed.The King of the Mitanni, King Dashratha (Dushratta),writing to congratulate him on his accession, addresses himself to Queen Tiy, not to Akhnaton directly. Even in later letters of this period, Dashratha writes to Akhnaton advising him to"refer to his mother" about important matters.

The evidence proving the Vedic influence-via the Mitanni- on Akhnaton is beyond questioning. In fact, not only were a majority of his relatives Mitanni, his wife was also a Mitanni princess, the daughter of King Dashratta, the famous Nefertiti. It is a well known fact that she, along with Akhnaton, were acting in the role of High Priest and Preistess in the religion of Aton. It has erroneously been stated that Aton's worship was"invented" by pharaoh Amenhotep IV/ Akhenaten. However, beginning with Akhenaten's father, Amenhotep III, Aten enjoyed a higher level of worship.

At the age of eighteen years, he came into complete power of the Kingdom. It was at this time that he proclaimed his faith in One God- The Sun, which he designated by the name of Aton, ie. The Disk or Fiery Orb. He publicly proclaimed his faith in Aton, as the God of Gods. Some have claimed that as a Sun worshipper, Akhnaton was more of an Animist Nature worshiper rather than a devotee of a Supreme Godhead. However Akhnaton's own words confirm that this is not the case. Akhnaton spoke of the Sun disk as being the Eye of Aton and a representative of Aton's Power. In the Bhagavad Gita, the Sun is described as one of the unlimited eyes of God's Universal Form. In the Brahma-Samhita the Sun is also described as the Eye of God.Akhnaton's reverance of the Sun is properly understood in this context.

The symbol of Aton, as presented by Akhnaton, was an image of the Sun Disc with many sunrays extending out, ending in hands, in a kind of triangle shape. Some scholars have also pointed out that the shape of the Pyramids represents the Sun's beams shining down to Earth, in a triangle shape, with the top being the Source and spreading out ever wider as it reaches the Earth.

The similarity between Akhnaton's Aton and Surya is indeed striking. The Sanskrit description of the Divine source of light corresponds perfectly with the picture of Aton given in the Egyptian King's hymns.

"As the Vivifier and Quickener, He raises His long arms of gold in the morning, rouses all beings from their slumber, infuses energy into them, and buries them in sleep in the evening."(From a Vedic prayer to Sun God.) This description also fits perfectly with the carvings of Aton as the Solar disc extending its golden arms to the Earth. Archeologists have confirmed that all these images and engravings were covered in gold at one time.

Also according to Akhnaton, Aton as the Supreme Godhead, was imbued with both the male and female principles. He says to Aton,"Father and Mother of all that You have made." This paralels with the Vedic terms for the Sun,Savita(male) and Savitri(female)or the Sun and the Sun's energy.

Akhnaton's Hymn to Aton also shows a remarkable scientific understanding of the Sun's role in the functioning of life on the planet as a whole. Some see his religion as " a philosophic and scientific revolt against religion," rather than a new religion. One scholar, H.R.Hall sees Akhnaton as "History's first scientific mind," due to his scientific understanding of the Sun and its relation with the organic world. However, those versed in Vedic Spirituality know that true religion is based on scientific principles of reality. As a follower of Vedic Dharma, Akhnaton was aware of this and many other scientific and spiritual facts.

Accompanying Akhnaton's name in every inscription of his reign, apart from the early ones, is the term "Ankh-em-Maat" or "Living in Truth." In a tomb of one of his followers an inscription was found, "The King has put the truth into me, and to lie is an abomination." (From the tomb of a courtier named Ay.) As we know Satya, or Truth, is also one of the main points in Vedic culture. To this very day the motto of India/Bharat is "Satyam Eva Jayate."

I see it as a powerful affirmation of the truth, that the most spectacular and famous find in Egyptian history was the discovery of the tomb of Akhnaton's son, Tutankhamon. The Universe has a wonderful way of bringing Truth and Justice to light. After Akhnaton's death, the priests of Amon, did their best to obliterate the memory of Akhnaton and his religion of Aton. All his monuments and inscriptions were torn down and the stones were all reused. However this very act of desecration is the very thing that has preserved Akhnaton's story for thousands of years.

When all of his inscriptions and carvings were reused, they were hidden away from not only the eyes of the Egyptian people, but also from the erosive effects of the environment. The newly carved inscriptions and carvings of his enemies soon withered away under the effects of the sun, wind and rain.

Another important point to remember, is that modern scholars, though able to understand Egyptian hieroglyphics, they are only guessing at the pronunciation. They have no way to ascertain the vowel sounds as spoken by the ancient Egyptians. Thus we come across such a variety of spellings of terms like Ra or Re, Ikhnaton, Akhnaton, Akhnaten, Aten, Aton, Yiten etc. The fact is, it was only through the discovery of the Rosetta stone,that scholars were able to finally understand the hieroglyphics. They were able to compare them with the other two known languages on the stone. IF ONLY THE SCHOLARLY WORLD COULD UNDERSTAND AND ACCEPT THAT THE VEDIC RECORD IS THE ROSSETA STONE TO ALL THE MYSTERIES OF HISTORY, SCIENCE AND CULTURE, HUMANITIES IGNORANCE OF ITS OWN PAST WOULD BE LIFTED.

சர் சந்திரசேகர வெங்கட ராமன் (Chandrasekhara Venkata Raman)

முழுமையாக இந்தியாவிலேயே படித்த ஒரு அறிஞருக்கு 1930ல் நோபல் பரிசு கிடைத்தது முதல் முறையாகும். - சர் சந்திரசேகர வெங்கட ராமன் (Chandrasekhara Venkata Raman)

ஒரு தமிழன் பெற்ற சிறப்புகள்:-:-

இவருக்கு லண்டனிலுள்ள ராயல் சொசைட்டியின் ஃபெல்லோசிப் 1924 ஆம் ஆண்டில் வழங்கப்பட்டது.

பிரிட்டிஷ் அரசு இவருக்கு 1929 ஆம் ஆண்டில் "நைட் ஹீட்" எனும் பட்டம் வழங்கிச் சிறப்பித்தது.

1929ல் ஆண்டில் இங்கிலாந்து அரசியாரால் சர் பட்டம் அளிக்கப் பட்டது.

இத்தாலி நாட்டின் உயர்பதக்கமான "மேட்யூச்சி" பதக்கம் வழங்கப்பட்டது.

மைசூர் அரசர் "ராஜ்சபாபூசன்" பட்டத்தை 1935 ஆம் ஆண்டில் வழங்கினார்.

பிலிடெல்பியா நிறுவனத்தின் "பிராங்க்ளின்" பதக்கம் 1941 ஆம் ஆண்டில் வழங்கப்பட்டது.

இந்தியாவின் உயர் விருதான பாரத ரத்னா விருது 1954 ஆம் ஆண்டில் அவருடைய வாழ்நாளிலேயே அளிக்கப்பட்டது.

1957 ஆம் ஆண்டில் அகில "உலக லெனின் பரிசு" அளிக்கப்பட்டது.


- இப்படிப்பட்ட தமிழனை தான் நாம் மறந்து வாழ்கிறோம்.....

- கிஷன்....

Vladimir Karnachev Paintings

Vladimir Karnachev was born on March 12, 1953 in Rustavi, Georgia. From early childhood, he was very fond of drawing. Love to draw moulded gradually the future of his profession. In 1976 he entered the M. B. Grekov Art College at Rostov-on-Don, which graduated in 1980 with a diploma of the painter-designer. Already during his studies he began to exhibit his work at urban and regional exhibitions. In the 80-s years, he regularly participates in regional, republican and all-Union exhibitions. In 1989 he was admitted to the Union of Artists of the USSR. Since 2000, he pays more attention to the solol exhibitions (Rostov-on-Don, Moscow, Birmingham).

Vladimir Karnachev is one of the few artists of modern Russia, whose paintings attract permanent interest of the most exacting European galleries. His works are two years running selected by co-coordinators of the Royal Academy of Arts in London for its summer exhibition - the most prestigious exhibition of contemporary living artists.

Vladimir Karnachev lives and works in Rostov-on-Don. He paints in oil on canvas, sometimes on paper. He is equally close to all genres of painting - still life, landscape, portrait, nude, genre. However, a special place in his work occupy the women's images. Here his painting reaches, perhaps, the maximum intensity and expressiveness.

He has written more than 600 works, among them such as "Tanais", "Old Sofa", "Touch to the Muse," "Angel", "Mashkin bicycle", "Fishing ", "Amazon", "To deceased Azov Sea is dedicated" and many, many others
It would be misleading to say that the pictures of Karnachev are easy to understand, but thanks to their high energetic effect, characteristic only for true works of art, they are admired not only by the gallery owners and collectors, but also by ordinary visitors to exhibitions and websites around the world.

In 2008, the Foundation of Culture of Russia (Rostov Branch) pays a tribute to Vladimir Karnachev awarding him a special diploma and the title of "Artist of the Year”.

He exhibited with his contemporaries:

1983. Nalchik. 1st Zone exhibition "The Land of Grain-Growers"
1984. Nalchik. 6th Zone exhibition "The Soviet South”
1987. Rostov-on-Don. "Young Artists of the Don – to orphanages"
1987. Rostov-on-Don. The Young artists of Don
1988. Moscow. All-Union Exhibition of works of young artists
1989. Rostov-on-Don. The exhibition "50 years of Rostov Organization of the Union of Artists of Russia
Rostov-on-Don. Exhibition Hall of the Union of Artists of Russia. Regional exhibitions in different years
Moscow. Manege. Republican and All-Union Exhibitions of different years (Three works from these exhibitions were purchased by the Ministry of Culture, Russia)
1989. Gera (Germany). Exhibition of works by Soviet artists
1990. Krasnodar. Regional Exhibition "South of Russia-90". (In this exhibition, the Ministry of Culture of Russia purchased a triptych "Tanais")
1995-2001. Rostov-on-Don. Exhibition Hall of the Union of Artists of Russia (three exhibitions of artgroup "Green Island")
1998. Zurich (Switzerland). Exhibition - Auction “Rudolf Mangus "(All four exhibited works were sold at auction)
2007. Moscow. Exhibition of four Russian artists “Four sides of color"
2008. Rostov-on-Don. Gallery ART L, "6 views on the still life"
2008. Rostov-on-Don. Gallery ART L, "Sonatas and Partitas"
2008. Rostov-on-Don. Gallery ART L, "Myth"
2008. Rostov-on-Don. Gallery ART L, "Great summer exhibition"
2008. Rostov-on-Don. Gallery ART L, "Figures"
2008. London (United Kingdom). Royal Academy of Arts. Summer exhibition. (Exhibited work was sold on the opening day of exposure)
2009. London (United Kingdom). Royal Academy of Arts. Summer exhibition. (Exhibited work was sold on the opening day of exposure)

Recent solo exhibitions:

Novoshakhtinsk. Three personal exhibitions in different years
2000-02. Rostov-on-Don
2003-04. Moscow. "Art-21"
2004. Rostov-on-Don. Gallery "Montmartre"
2004. Birmingham. (United Kingdom). "Number Nine the Gallery"
2005. Rostov-on-Don. Gallery “Exposition"
2006. Rostov-on-Don. Gallery “Exposition"
2007. Birmingham. (United Kingdom). "Number Nine the Gallery"
2009. Birmingham. (United Kingdom). "Number Nine the Gallery"
2009-10. Rostov-on-Don. Gallery "Champs Elysees"

Tilottama

The apsara who brought about Sunda and Upasunda's demise.

The apsara named Tilottama is described in the Mahabharata as a divine being created by the transcendental architect, Vishwakarma. Lord Brahma asked Vishwakarma to take all the best qualities of everything as ingredients, and to create an apsara accordingly. The Sanskrit word tila means 'sesame seed', and uttama, better or higher. Tilottama, therefore, was the name given to one whose smallest particles are composed of the finest and highest qualities.

Tilottama was such an attractive personality that even Lord Shiva and Indra became enamoured of her. In Adi Parva it is described that Shiva (Sthanu) became so desirous of seeing her that as she circumambulated him, he grew heads on both of his sides and another on the back of his head, so he could see her constantly. Lord Indra developed a thousand red eyes on his body with which to see her. Employing her great charm and beauty, Tilottama eventually brought about the mutual destruction of the asuras, Sunda and Upasunda.

There are several narratives about the personality, Tilottama. One states that in a prior life she was the ugly widow Kubja, who underwent auspicious ceremonies for eight years. Finally, due to the performance of Magha-puja, she gained birth as the apsara Tilottama.

Another says that she was cursed by the great sage Durvasa to be born as a daitya, and thus took birth as Usha, the daughter of Banasura and wife of Aniruddha, Krsna's grandson. The Brahma Vaivarta describes how Sahasika, grandson of Bali, disturbed sage Durvasa's penance by engaging in amorous pastimes with a woman. The sage turned him into a donkey and cursed the woman (Tilottama) to be born as the daughter of the demon king Bana.

In the Adi Parva of Mahabharata, the great sage Narada tells the Pandava brothers the story of destruction of the demon brothers Sunda and Upsunda, whose end was brought about by the apsara, Tilottama. Narada warned the Pandavas that their common wife, Draupadi, could be a source of quarrel between them, and the pastimes of Sunda and Upsunda were given to illustrate this.

Sunda and Upasunda were the sons of the demon Nikumbha. They are described as inseparable siblings who shared everything: their kingdom, their house, their bed, even the food they ate. At one time, the brothers went to the Vindhya mountains to perform severe austerities, and this compelled Lord Brahma to grant them a boon. They asked for great power and immortality, but the latter was denied. Instead, Brahma gave them the boon that nothing but they themselves could hurt one another.

Departing the Vindhyas with the prize of their boon, the demons soon began to attack the demigods, driving them out. Conquering the whole universe, the demons then began harassing sages, thus creating havoc in all quarters of society. The demigods sought refuge and relief from Lord Brahma, who then ordered Vishvakarma to create a beautiful woman.

Vishvakarma set about collecting all beautiful things from the three worlds, including all the gems. When the work was done, Tilottama was an unrivaled beauty, and Brahma directed her to go and seduce the demon brothers, to the extent that she would create a great deal of contention between them.

One day, as Sunda and Upasunda were lounging along a river bank in the Vindhya mountains, enjoying their senses with women and intoxication, Tilottama appeared, gathering flowers. The brothers were instantly bewitched, and each one took hold of one of Tilottama's hands. They began to argue about which one would be the better husband for her. Grabbing their clubs, they attacked one another, and beat each other to death.

The grateful demigods congratulated Tilottama, and Lord Brahma granted her a boon -- the right to roam freely in the universe. Brahma also decreed that for a long time to come, no one would be permitted to look up her, due to her great luster.