March 17th, 2015 Written by dg140454 | Comments Off on Ramayana & Artstor
The painting I chose depicts the part of the story where the king dies and his wives are crowded around him. What really strikes me here is that when I was originally reading the story I envisioned women sobbing and crying on the floor around the kings bed with the exception of the one wife that caused his death, Kaikeyi. However, looking at the painting the only person that seems to have a frown on her face is the woman in the doorway. I am unsure of which wife is supposed to be which in the painting but the majority of the wives look like they almost have a smile on their faces. Two of the women at the foot of his bed have a hand up to their cheek, which is probably symbolic of something such as mourning. The scene itself seems to be from the outside looking in. There is what looks like a giant hole in the palace wall, which perhaps symbolizes that the citizens are unaware of what is going on inside the palace and all they know is that the king is dying. It has almost a frustrating feel to it in the sense that it seems to be a scene closed off to outsiders and the citizens are stuck not knowing what’s really going on inside the palace.
In the book this scene was a morbid and awful one, or at least, that’s the way I imagined it while reading. However, this painting shows a different scene. It is a peaceful depiction of what seems to be an old man passing in his sleep as his loved ones watch. In the book it is a very different situation when Kausalaya entered the dying kings bedroom and “Unable to bear the spectacle of an inert, lifeless husband she uttered a loud wail. Her cries were so loud that the guests in the assembly hall were startled, and requested Sage Vasishtha to go up immediately and find out the cause.” In the painting, there is no wailing woman and the atmosphere is far from despondent.
This painting depicts Rama saying his farewells as he is getting ready to leave his homeland to go to the forest due to Queen Kaikeyi’s wish. He is the one shown kneeled down, facing his father. His father has his eyes closed in despair due to his sons exile. Rama’s younger brother, Lakshmana, is behind him with his hands folded by his chest the way Rama’s are but he is standing. Lakshmana seems to be smaller in size, even though he is standing, compared to Rama. That could be due to age and the fact that Rama was the one who was meant to be King so he does hold greater importance. Their father is greater in size than both boys. The men around him, that are dressed in blue, are probably men of his council since they are of the same size as him. One of them could be Vasishtha, his spiritual mentor. However, the ones in green are the same size but they don’t seem to hold the same amount of value as the ones in green. One of them is holding an umbrella, which could possibly mean they are close servants of the King. Also, they are not touching the King whereas the men in green are. The men in white around the King and his house are mot likely townsmen. They too are shown in different sizes so I am assuming that the townsmen of greater size is of higher class. The men on the floor seem to be the smallest in size and could be untouchables or slaves (definitely the lowest class in society). They both are covering their faces which demonstrates distress. A lot of the men seem to have at least one hand out, which could be a sign of respect for the family.
As I was reading the story, I pictured chaos around the family and kingdom. Lakshmana is furious when he hears of Rama’s exile and he says “Rama shall be crowned, and whoever comes in the war will be annihilated. Let the whole world come, I’ll destroy everyone who opposes, and pile up their carcasses sky high. I’ll seize the crown and will not rest till I place it on Rama’s head. This I’ll achieve this very day, this very day.” (pg 51) I can feel his anger through his words but he seems to be calm in the painting and accepting of Rama’s fate. He does not have much choice. Also, by the way Rama’s exile was spread and taken around the kingdom seemed to be more dramatic than shown in the painting. On page 50, we are given an idea of how dramatic this was, “What a moment ago had been a world of festivities had become one of mourning.” Also, I don’t see the anger the people feel towards Kaikeyi and her actions that is shown in the book. People of the kingdom would say “Kaikeyo-the red-lipped prostitute. We never suspected that our King was so lost in infatuation (…) The world has suddenly gone mad!” (pg. 50) Also, the crowd was described as suffocating on page 54. On the contrast, the painting shows more of an accepting but mourning environment.
March 16th, 2015 Written by m.gorman1 | Comments Off on Ramayana post one
This artist is showing Rama going into exile. Through the faces of the people surrounding Rama, the artist is showing sorrow, confusion, love, and respect. The people surrounding Rama are wearing blue and he is wearing white so that the eye is drawn to Rama. The people surrounding the people in blue are mainly in white to provide the painting with contrast. The people in blue seem to have some sort of white article of clothing underneath the blue. White seems to be a big theme in this portrait. Every person in this portrait has some sort of sadness resonating in their facial expressions. All of the people seem to be quite close to Rama in this portrait, including Rama.
In the portrait, Rama seems to be upset about his exile yet in the text he showed no sadness and was proud to do what his father asked of him. “…I am thrice blessed, to make my brother the Kind, to carry out my father’s command, and to live in the forests,” (46). In the text, a large crowd had gathered to join Rama but this crowd seems more intimate than large. In the text, Rama did not realize that the crowd was following him at first but in the portrait the crowd is so close to him that it would be impossible for him to not realize. One person is even holding an umbrella over Rama’s head while he weeps. In the portrait it seems as though some people are just observing from a distance and not joining Rama on his journey but I did not get that impression at all from the text. I got the impression that everyone that was observing was joining Rama on his journey.
The image illustrates the scene, when Rama was getting ready to be sending to the forest for fourteen years to fulfill his father promise and the wish of his mother Kaikeyi. The composition of the picture is very interesting, since its not only echoes the text of Ramayana itself, but also adds additional layers of meaning. We observe a broad perspective, which shows the empty streets, where random people either run towards the group depicted in the center of the composition or hide behind the corners of the houses. This moment is also vividly conveyed in a text “ What a moment ago had been a world of festivities had become one of mourning. Crowds thronged hither and thither, stood in knots at the street corners, watched the portals of the palace..” (p. 50) In the center of the image we could see the royal family surrounded by slaves dressed in white clothes. The slaves intentionally depicts proportionally smaller to royal family in order to emphasize the caste system in ancient India. They lie on the ground, crying and grieving. In the middle of the royal family we could see Rama’s father. He is inconsolable, half-conscious; surrounded advisers supporting his arms, since he is unable to stand by himself, he is almost dying because of his grief. The most remarkable figure, depicted on this picture is Rama itself. He is blue skinned, (same as Krishna), with a slight smile on his lips, down on one knee in front of his father. His pose is humble and quiet, his hands is in Namaste position. Right behind Rama, we could see the figure of his brother, who has the same facial expression as Rama does, and also holding his hands in Namaste position. Another interesting moment about this image, that the author’s use of color in a visual composition is conflicting with depicted situation, since colors are bright and festive, which is contradict to traditional, even western representation of dramatic scenes. For instance, if we evoke the visual from biblical texts we could notice that the illustrators using very dark, intensive colors, and sometimes frightening symbols to exemplify sensitive and tragic moments like this. So, how could we decode this unusual pallet of color for depiction of such a wretched moment? Since this vedical text suggests many layers of understanding, maybe we should take a closer look at this picture. This unusual use of color and dissonance with overall visual composition of the picture could signalize to the change of the literal perception to symbolic one; which suggests that Rama’s acceptance of his fate, willingness to pay off his karmic debts, and recognizing of his purpose is the greatest spiritual lesson to humankind. This is teaching people patience, self-sacrifice and humility. Since people are accepting their karma and understand the unavoidability of certain events, dramatization in this case is meaningless. Therefore, on this illustration we could not see any dramatic effects: dark colors or symbols.
Therefore, one of the main lessons of the Ramayana is that one should keep one’s promise at any cost. As we can see from the text, when Rama was told of the wish of his mother Kaikeyi, the prince who ready to ascend the throne did not even flinch. To Rama both positions held the same importance. “I will carry out his wishes without question. Mother, be assured, that I will not shirk. I have no interest in kingship, and no attachments to such offices, and no aversion to a forest existence”. (p. 45) On a picture we also can see this motive through Rama’s body langrage. He humbly kneels before his father, his face does not express any negative emotions, neither despair nor anger, or fear. His folded hands,“ Namaste”, means “the divine in me welcomes the divine in you” and literally translates as “Nama” – “bow”, “ste”- “you”, or “I bow to the divine in you”, which in this particular moment shows Rama’s respect to his father and admiration as well as his dedication to him and his will, his believe in karma or self-purpose, karmic debt that he has to fulfill. “Sometimes a river runs dry, and then it cannot be said to be the fault of the river – its dry because the havens are dry. So, also, our father’s change of mind, or the apparent hardheartedness of Kaikeyi, who has been so loving and kind, or Bharathas’ chance of succession…. There are really not our own doing, but some higher powers have decreed them. Fate…” (p. 52)
Same facial expression and body language showing the man behind Rama, his brother Lakshamana who has decided to follow Rama on his journey and showed his determination to Rama. “I know no mother and no father, other then you”. (p. 52)
In a way Rama was thankful to Kaikeyi for being instrumental in bringing about the journey to the forest where the main purpose of his life laid. “…my privilege is renunciation and the association of enlightened hermits of the forest.”(p. 52) “Rama’s main aim was to get rid of the demons that had been harassing the sages and his beloved devotees for years.”
Therefore, the illustration not only echoed the actual text, but at the same time adding something else to the traditional understanding of this story. For instance, the use of color in this illustration, which may seems odd, since the scene, depicted by this visual is tragic, but instead of using dark colors, the author use bright, to shows Rama’s acceptance, unavoidability of events, karma, and purpose. This situation is not punishment; it is lesson, or result of Rama’s own choice that will lead him to a higher level of spiritual development.
The image illustrates the scene, when Rama was getting ready to be sending to the forest for fourteen years to fulfill his father promise and the wish of his mother Kaikeyi. The composition of the picture is very interesting, since its not only echoes the text of Ramayana itself, but also adds additional layers of meaning. We observe a broad perspective, which shows the empty streets, where random people either run towards the group depicted in the center of the composition or hide behind the corners of the houses. This moment is also vividly conveyed in a text “ What a moment ago had been a world of festivities had become one of mourning. Crowds thronged hither and thither, stood in knots at the street corners, watched the portals of the palace..” (p. 50) In the center of the image we could see the royal family surrounded by slaves dressed in white clothes. The slaves intentionally depicts proportionally smaller to royal family in order to emphasize the caste system in ancient India. They lie on the ground, crying and grieving. In the middle of the royal family we could see Rama’s father. He is inconsolable, half-conscious; surrounded advisers supporting his arms, since he is unable to stand by himself, he is almost dying because of his grief. The most remarkable figure, depicted on this picture is Rama itself. He is blue skinned, (same as Krishna), with a slight smile on his lips, down on one knee in front of his father. His pose is humble and quiet, his hands is in Namaste position. Right behind Rama, we could see the figure of his brother, who has the same facial expression as Rama does, and also holding his hands in Namaste position. Another interesting moment about this image, that the author’s use of color in a visual composition is conflicting with depicted situation, since colors are bright and festive, which is contradict to traditional, even western representation of dramatic scenes. For instance, if we evoke the visual from biblical texts we could notice that the illustrators using very dark, intensive colors, and sometimes frightening symbols to exemplify sensitive and tragic moments like this. So, how could we decode this unusual pallet of color for depiction of such a wretched moment? Since this vedical text suggests many layers of understanding, maybe we should take a closer look at this picture. This unusual use of color and dissonance with overall visual composition of the picture could signalize to the change of the literal perception to symbolic one; which suggests that Rama’s acceptance of his fate, willingness to pay off his karmic debts, and recognizing of his purpose is the greatest spiritual lesson to humankind. This is teaching people patience, self-sacrifice and humility. Since people are accepting their karma and understand the unavoidability of certain events, dramatization in this case is meaningless. Therefore, on this illustration we could not see any dramatic effects: dark colors or symbols.
Therefore, one of the main lessons of the Ramayana is that one should keep one’s promise at any cost. As we can see from the text, when Rama was told of the wish of his mother Kaikeyi, the prince who ready to ascend the throne did not even flinch. To Rama both positions held the same importance. “I will carry out his wishes without question. Mother, be assured, that I will not shirk. I have no interest in kingship, and no attachments to such offices, and no aversion to a forest existence”. (p. 45) On a picture we also can see this motive through Rama’s body langrage. He humbly kneels before his father, his face does not express any negative emotions, neither despair nor anger, or fear. His folded hands,“ Namaste”, means “the divine in me welcomes the divine in you” and literally translates as “Nama” – “bow”, “ste”- “you”, or “I bow to the divine in you”, which in this particular moment shows Rama’s respect to his father and admiration as well as his dedication to him and his will, his believe in karma or self-purpose, karmic debt that he has to fulfill. “Sometimes a river runs dry, and then it cannot be said to be the fault of the river – its dry because the havens are dry. So, also, our father’s change of mind, or the apparent hardheartedness of Kaikeyi, who has been so loving and kind, or Bharathas’ chance of succession…. There are really not our own doing, but some higher powers have decreed them. Fate…” (p. 52)
Same facial expression and body language showing the man behind Rama, his brother Lakshamana who has decided to follow Rama on his journey and showed his determination to Rama. “I know no mother and no father, other then you”. (p. 52)
In a way Rama was thankful to Kaikeyi for being instrumental in bringing about the journey to the forest where the main purpose of his life laid. “…my privilege is renunciation and the association of enlightened hermits of the forest.”(p. 52) “Rama’s main aim was to get rid of the demons that had been harassing the sages and his beloved devotees for years.”
Therefore, the illustration not only echoed the actual text, but at the same time adding something else to the traditional understanding of this story. For instance, the use of color in this illustration, which may seems odd, since the scene, depicted by this visual is tragic, but instead of using dark colors, the author use bright, to shows Rama’s acceptance, unavoidability of events, karma, and purpose. This situation is not punishment; it is lesson, or result of Rama’s own choice that will lead him to a higher level of spiritual development.
March 11th, 2015 Written by SHERSHINOW | Comments Off on Analyzing Images: The Ramayana
For this assignment, we’ll think about the ways that visual art interprets a story through particular meaningful choices just as literary adaptations do. The assignment will also get us comfortable with the major figures of The Ramayana.
The assignment has three parts. As always, I encourage you to begin early in case you run into any technology trouble.
1) Explore Artstor, an incredible database of images that Baruch has special access to this month. You’ll go to this library site and click on Artstor. (You may need to log in with your Baruch email/password if you’re using the site from off campus.) Once there, you’ll need to register at the top right corner of the page so that you have access to all of the site functions; it’s quick. Then, explore a bit! For the assignment, you’ll want to search for “Ramayana” in the search bar, but I encourage you to look around the site at other art you might be interested in. The range and quality of the images are better than you’ll find on, say, Google Images. After searching for “Ramayana,” you might also limit your search to a particular character (like Hanuman or Laksmana) depending on your interests. You’ll choose just one image for this assignment, but you should look at at least ten before deciding. Get a sense of the variety of visual representations inspired by this text: across time, media, and culture.
Once you’ve decided on an image you’d like to analyze, click on it and then, on the top bar, click “Share” and then “Generate Image URL.” At that point, you can follow these directions to insert the image into your blog post.
(Here’s an example of an image inserted with HTML. If you click—and you’ve disabled AdBlocker—it will come up in a separate window.)
2) In one paragraph, analyze the image carefully, pointing to details of composition that strike you as crucial to this artist’s interpretation of the story. Here are some questions to consider (though you may not choose to answer them all): Does the image suggest movement or action? How so? What stage of the story is depicted? How does the image use color/contrast of light and dark/texture/composition/the impression of depth? Note repeated images, lines, curves, or motifs and try to explain their significance. How does the piece use scale (the size of various components) to indicate value (how important something is)? (As always, aim to be as specific as possible in your paragraph, even though this will likely mean that you’ll need to focus on only a few important aspects of the image. Your analysis needn’t be thorough—that would take far more space than you have here—but it should be deep. You should be focusing on how, not just what.)
3) In a second paragraph, compare the visual representation you’ve chosen to that of the story we’re starting to read (remember: you should be reading up to pg. 61 in The Ramayana for Tuesday). How do the two interpretations of the story show different values or emphases? Which details are highlighted in each case? You should quote from the text at least once in this paragraph. The aim here is to think about the ways in which images are not “just” illustrations but are, like literary texts, offering a thoughtful interpretation of a source.
Your primary concern right now should be to work on your essay. Remember, I’ll have extended office hours on Tuesday from 12-5PM. (If you want to save a particular slot, there’s a sign-up sheet on my door; otherwise, just pop by. If those times don’t work, email to arrange another appointment or just email to ask questions.)
Our plan for Thursday is now a bit different, since last week’s weather slowed us down a bit. Instead of meeting at the Rubin Museum (as indicated on the syllabus), we’ll meet in class as usual. We’ll continue our discussion of Lysistrata (be sure to finish the play by Thursday), and I’ll give you a preview of our next text, Ramayana.
For Tuesday, take a look at the following productions of Aristophanes’ Lysistrata. I mentioned last Thursday that almost all productions of the play take great liberties when adapting it; in fact, Aristophanes’ play was likely not feminist and not pacifist. But, of course, one thing that happens to cultural artifacts that survive for thousands of years is that they change! Adaptation keeps texts alive, in part, by bending them to modern concerns. They may be timeless, but they aren’t changeless.
First up, here’s a production put on at Baruch last year:
You needn’t watch the entire production, but watch enough to get a feel for the choices that are being made. You might also jump around to see how they deal with certain scenes.
Here’s the trailer for a Broadway musical adaptation, Lysistrata Jones, which was set in a high school:
This is just a short preview of a production, but you can see that this one is set in the 1940s, in the shadow of World War II:
Finally, take a look at this production of The Oresteia, a tragedy by Agamemnon, to get a feel for how masks may have been used in ancient Greek productions. (It’s quite jarring! But, remember, you would have needed to see and understand the action in a 10,000-person theater with no electronic amplification.)
(Again, no need to watch the whole thing.) You might also poke around YouTube or other platforms to find more examples. It’s a very commonly staged play, so the examples are almost endless.
By Tuesday evening, leave a comment on this post (no need to write your own post) about how you would stage an adaptation of Lysistrata. What kinds of choices would you make? You might think about the setting (historical? modern?), casting (feel free to cast celebrities!), how you would confront particular challenges in the play, etc. You needn’t address all of these concerns, but you should take the time to explain why you would make those choices.
As always, let me know if you have any questions! See you on Thursday.
