The document summarizes artist Harald Schole's temporary installation "Tribute" created during an international artist residency in Gelawas, India. The installation used locally sourced recycled fabrics to depict the Ganges River in a temple, representing the balance between water's positive and negative aspects. Schole found the residency short but intense, learning much about local culture through open collaboration with villagers. He wished to have more time to learn crafts and observe daily life. The installation reflected his goal of using only local materials to create site-specific art in India.
This document provides an overview of various folk arts, crafts, and cottage industries in Bangladesh. It discusses different art forms like Alpana floor paintings, Nakshi Kantha embroidery, wood carving, metal crafts, and more. It describes the raw materials, tools, motifs, categories and regional variations of these art forms. Traditional folk arts are often community-based and serve religious, social or aesthetic needs, while some crafts like those of blacksmiths and weavers also provide livelihoods.
This document contains Swati Sawaldiya's midterm submission for a graphic design course on Rajasthan. It includes brainstorming and concept notes for a new Rajasthan tourism logo depicting the intricate castle designs and rangoli patterns of the state's culture. Several logo exploration designs and packaging ideas incorporating elements of Rajasthani culture like colors, decorations, and miniature paintings are presented. The concept is for the logo and packaging to welcome visitors from around the world while representing the warmth, royalty, richness, and spirituality of Rajasthan.
Rajasthan is known for its unique art and culture that is reflected in its architecture such as ornate palaces, forts, and intricately carved temples. The region has many traditional art forms that include paintings, carvings, and handicrafts. Some of the major art forms discussed are Rajput paintings, Gond paintings, Mandana wall paintings, Thapa hand prints, and Blue pottery. Sanjhi art originated in Mathura as a folk tradition of making stencil-based rangoli designs, especially depicting scenes from Krishna's life. It is considered a refined spiritual art form but the number of practicing artisans was declining until recent conservation efforts.
The wheel has turned and we have come full circle. The season is all about a return to innocence— the new aesthetic that speaks of a return to simplicity and nativity.
From complex gadgets and high-tech modernity, the journey has led to a search for roots, traditions and culture. With works from some of the most successful and innovative artists in contemporary art, Artflute’s picks for this season are eminently covetable.
The document discusses the colorful celebrations of Navratri festival in Gujarat, describing the 9 forms of the goddess Durga worshipped each night, traditional Garba and Dandiya folk dances, distinctive clothing and jewelry worn, delicious food enjoyed, and highlights some popular venues in cities like Ahmedabad, Vadodara, Rajkot, and Surat where large crowds gather to celebrate through dance and worship over the 9 nights of the festival.
This document provides an overview of several traditional Indian art forms: Tanjore paintings known for religious themes and use of gold leaf; Madhubani paintings characterized by bright colors and line drawings; Warli folk paintings done in white with red and yellow dots depicting social events; Pattachitra paintings on canvas with mythological themes and natural pigments; Rajasthani miniature paintings depicting court scenes in fine detail with precious materials; and Kalamezhuthu floor drawings in South Indian temples following religious rules with plant-based colors.
This document provides information about the Indian state of Odisha (formerly known as Orissa). It discusses several temples dedicated to Hindu gods like Jagannath, Lingaraj and Chandaneswar. It also mentions the Konark dance festival, Pipli applique craft village, Sambalpuri sarees, Chandipur beach and missile testing site, Nandankanan zoo, and Simlipal National Park. Key cities mentioned include Bhubaneswar, Puri and Balasore.
This document provides an overview of various folk arts, crafts, and cottage industries in Bangladesh. It discusses different art forms like Alpana floor paintings, Nakshi Kantha embroidery, wood carving, metal crafts, and more. It describes the raw materials, tools, motifs, categories and regional variations of these art forms. Traditional folk arts are often community-based and serve religious, social or aesthetic needs, while some crafts like those of blacksmiths and weavers also provide livelihoods.
This document contains Swati Sawaldiya's midterm submission for a graphic design course on Rajasthan. It includes brainstorming and concept notes for a new Rajasthan tourism logo depicting the intricate castle designs and rangoli patterns of the state's culture. Several logo exploration designs and packaging ideas incorporating elements of Rajasthani culture like colors, decorations, and miniature paintings are presented. The concept is for the logo and packaging to welcome visitors from around the world while representing the warmth, royalty, richness, and spirituality of Rajasthan.
Rajasthan is known for its unique art and culture that is reflected in its architecture such as ornate palaces, forts, and intricately carved temples. The region has many traditional art forms that include paintings, carvings, and handicrafts. Some of the major art forms discussed are Rajput paintings, Gond paintings, Mandana wall paintings, Thapa hand prints, and Blue pottery. Sanjhi art originated in Mathura as a folk tradition of making stencil-based rangoli designs, especially depicting scenes from Krishna's life. It is considered a refined spiritual art form but the number of practicing artisans was declining until recent conservation efforts.
The wheel has turned and we have come full circle. The season is all about a return to innocence— the new aesthetic that speaks of a return to simplicity and nativity.
From complex gadgets and high-tech modernity, the journey has led to a search for roots, traditions and culture. With works from some of the most successful and innovative artists in contemporary art, Artflute’s picks for this season are eminently covetable.
The document discusses the colorful celebrations of Navratri festival in Gujarat, describing the 9 forms of the goddess Durga worshipped each night, traditional Garba and Dandiya folk dances, distinctive clothing and jewelry worn, delicious food enjoyed, and highlights some popular venues in cities like Ahmedabad, Vadodara, Rajkot, and Surat where large crowds gather to celebrate through dance and worship over the 9 nights of the festival.
This document provides an overview of several traditional Indian art forms: Tanjore paintings known for religious themes and use of gold leaf; Madhubani paintings characterized by bright colors and line drawings; Warli folk paintings done in white with red and yellow dots depicting social events; Pattachitra paintings on canvas with mythological themes and natural pigments; Rajasthani miniature paintings depicting court scenes in fine detail with precious materials; and Kalamezhuthu floor drawings in South Indian temples following religious rules with plant-based colors.
This document provides information about the Indian state of Odisha (formerly known as Orissa). It discusses several temples dedicated to Hindu gods like Jagannath, Lingaraj and Chandaneswar. It also mentions the Konark dance festival, Pipli applique craft village, Sambalpuri sarees, Chandipur beach and missile testing site, Nandankanan zoo, and Simlipal National Park. Key cities mentioned include Bhubaneswar, Puri and Balasore.
India is culturally very vibrant country. You can see from my presentation how colourful a country and its people are. My presentation shows hoe colour is used by Indians in different ways
Anand Shah_Presentation_IE Business School applicationAnand Shah
Anand Shah, Applicant for Masters in Finance at IE Business School, Spain
Power point presentation on the following question :
If all of the world´s cultural heritage (sports, music, fashion, architecture, literature, painting, etc..) was contained in a time capsule, what would you include to demonstrate the legacy of your country?
DEWAN-E-RAZA, which I am writing is the collection of my creative poetry is presenting for public views and as soon as new comes will be adding in this collection.
Kumbh 2019 - The World’s Biggest Congregation of PilgrimsIndeBo India
Kumbh Mela is a festival which showcases India of another dimension. The festival takes place after every 6 years and happening this 2019, you can witness the massive gathering of seekers consciously longing to go beyond their present level of existence.
Indian Tribal & Folk Art Forms that Every Art Lover Should OwnIndian Art Ideas
There is something really intriguing in every Indian artwork which makes every true art enthusiast opt for one. However, Art collection is a difficult nut to crack. Read the points that you must know as they will help you to buy Indian art works that are the best.
Navratri is a nine-day Hindu festival celebrated in autumn that honors the goddess Durga for defeating the demon Mahishasur and god Ram for defeating Ravana. The celebrations include worshipping nine goddesses over nine days through stage decorations, recitals of legends, and chanting scriptures. Devotees also fast, and on the final day statues representing evil are immersed in water or burned with fireworks to mark the destruction of evil. The festival preparations lead up to Diwali, the festival of lights celebrated twenty days later.
Gonds are a tribal community presently settled in parts of Madhya Pradesh, Chhatisgarh and Maharashtra. They speak native Gond language and have their own particular style of painting. In this art project, we've gone through some unifying aspects of Gond art.
Web link: https://www.youtube.com/watch?v=F26QJUEKHCI&noredirect=1
Team members: Ahsen, Himanshu, Harkirat, Teja and Hrashikesh
The document discusses an artwork titled "Shadow House" by artist Zarina Hashmi. It is a series of geometrically shaped squares cut into Nepalese paper that evoke images of Islamic architecture and screens. The interplay of light and shade in the work effectively convey the ephemeral nature of a house. The artwork reflects Hashmi's life journey as an Indian artist who moved to New York over 40 years ago and her feelings of displacement from her homeland. It highlights her desire to claim an undivided world as her own and aim to retrieve traces of what she left behind through the process of remembering.
Odisha is located on the eastern coast of India. It borders West Bengal, Jharkhand, Chhattisgarh and Andhra Pradesh. The capital and largest city of Odisha is Bhubaneswar. Odisha has a long history and was previously known as Kalinga. It has a rich cultural heritage reflected in traditions like Odissi dance, pata painting, and applique work from Pipili. The Jagannath Temple in Puri is an important pilgrimage site.
The document provides information on the art, architecture, and cultural heritage of Odisha, India. It discusses Odisha's archaeological treasures dating back to pre-historic times. It describes some of Odisha's major art forms like Pattachitra paintings, stone carvings, and the classical Odissi dance. Several important temples are mentioned from the ancient and medieval periods. Odisha's cultural diversity is highlighted through its religious festivals, tribal traditions, and blending of Hinduism, Buddhism, and Jainism in its heritage. Major artisanal crafts developed in the state include filigree work, applique, and handicrafts made from materials like palm leaves, brass, and textiles.
The document summarizes a tribal art conclave hosted in New Delhi by the Lalit Kala Akademi from March 31st to April 6th, 2014. Over 100 tribal and contemporary artists from across India experimented and created art forms to represent their landscapes and cultures. The conclave aimed to acknowledge and preserve indigenous tribal artistic traditions that have been marginalized. Gayatri Tondon of the Lalit Kala Akademi discussed how the artists were contacted directly and the importance of appreciating India's tribal roots.
CRAFT RESEARCH AND CRAFT BASED PROJECTJigyasa Arya
This document summarizes several traditional crafts from Uttaranchal, India including block printing, zari and embroidery, aipan paintings, and craft-based projects. Block printing from Haldawani uses wooden blocks to print floral motifs onto textiles. Zari and embroidery from Roorkee and Haridwar feature metallic threads and intricate stitching to decorate items. Aipan paintings from Nanital are ritual floor designs drawn during religious ceremonies. The author also discusses some contemporary craft-based product designs inspired by traditional Gushaini crafts to appeal to modern customers.
Gonds are a tribal community presently settled in parts of Madhya Pradesh, Chhatisgarh and Maharashtra. They speak native Gond language and have their own particular style of painting. In this art project, we've gone through some unifying aspects of Gond art.
Web link: https://www.youtube.com/watch?v=F26QJUEKHCI&noredirect=1
Team members: Ahsen, Himanshu, Harkirat, Teja and Hrashikesh
This document provides an overview of traditional dances and arts/crafts from North India. It describes several folk dances from different North Indian states such as Jammu & Kashmir, Himachal Pradesh, Uttar Pradesh, Punjab and Haryana. These dances incorporate colorful costumes, rhythmic movements and singing. The document also discusses prominent North Indian artforms and crafts including paintings, metalware, carpets, furniture, embroidery and pottery. Traditional Rajasthani artwork and handicrafts are highlighted for their intricate designs and skilled workmanship.
Humayun's Tomb in Delhi, India was the first tomb to be considered a graveyard and is seen as precursor to the Taj Mahal in architectural style. It was commissioned by Humayun's wife and built by Persian architects. The Ganges River is central to life in India, with people bathing, doing laundry, cremating the dead, and offering candles to the river as part of religious traditions. Indian weddings involve the bride and groom exchanging garlands and vows while dressed in traditional colorful attire like saris for women and embroidered costumes for men.
Gond paintings originate from the Gond tribe in Madhya Pradesh and have a history of over 1400 years. The Gond people believed that depicting images of the natural world like hills, rivers, and trees showed respect for the spirits that inhabited them. They decorated the walls and floors of their homes with traditional motifs reflecting their close connection to the environment and depicting scenes of daily life. Bright colors like red, blue, yellow, and white are used, with pigments derived from natural sources like plants, leaves, sand, and cow dung. Lines and dots are added to the paintings to convey a sense of movement.
The document provides information about Madhubani painting, a folk art from Bihar, India. It discusses the origins of Madhubani painting dating back to Sita's wedding. Traditionally done by women in villages on freshly plastered mud walls of huts, it now also uses cloth, paper, and canvas. Madhubani paintings mostly depict nature and Hindu deities through vibrant colors and geometric patterns. Different traditions - Kayastha, Brahmin, and Tattoo - use varying techniques and themes. Natural colors are derived from plants and minerals, while newer acrylic colors are also now used. Madhubani painting has gained international recognition and is adopted by the State Bank of India on debit cards.
Every year our research team travels extensively across India to meet and profile artisans. In December 2013, our team visited Bihar (northern India) to profile artisans practicing Madhubani, Sikki and Sujani crafts. We give you an overview of the different crafts of Bihar- its origin, significance, and the present state of the craft sector.
This document summarizes crafts from the Punjab region of India, focusing on Patiala. It describes the traditional embroidery craft of Phulkari from Patiala, giving details on its origins, classification, motifs, materials used, and process. Phulkari embroidery involves blocking fabrics with wooden blocks and then doing intricate embroidery on the reverse side with silk thread in various stitches like darning. The village of Tripuri in Patiala is highlighted as a major hub for Phulkari craftspeople. Punjabi jutti making and parandhi crafts are also mentioned as traditions of Patiala.
Licht op de Weesperzijde onderzoekt de geschiedenis van een plek, Weesperzijde nr 20. Hoe sinds de wandelingen van Rembrandt langs de Amstel de bebouwing steeds is veranderd. In 1651 wordt op deze locatie het buiten Lokhorst voor het eerst vermeld als vertrekpunt van een ijsbreker, in 1702 de ernaast gelegen herberg de IJsbreeker. Daarna volgen verbouwingen, sloop en herbouw. De weilanden worden omkaderd met rijen prachtige tuinhuizen en lusthoven. Midden 1800 volgt de komst van industrie en magazijnen van onder andere Wilhelm Hibbeln. Hibbeln was aan het eind van de 19de eeuw de grote importeur en leverancier van (gas)verlichting in Nederland. Hij maakte een fortuin en investeerde dat in onroerend goed, de monumentale herenhuizen van dit blok aan de Amstel. Vanaf 1885 kwam deze huidige bebouwing van dit deel van de Weesperzijde tot stand.
India is culturally very vibrant country. You can see from my presentation how colourful a country and its people are. My presentation shows hoe colour is used by Indians in different ways
Anand Shah_Presentation_IE Business School applicationAnand Shah
Anand Shah, Applicant for Masters in Finance at IE Business School, Spain
Power point presentation on the following question :
If all of the world´s cultural heritage (sports, music, fashion, architecture, literature, painting, etc..) was contained in a time capsule, what would you include to demonstrate the legacy of your country?
DEWAN-E-RAZA, which I am writing is the collection of my creative poetry is presenting for public views and as soon as new comes will be adding in this collection.
Kumbh 2019 - The World’s Biggest Congregation of PilgrimsIndeBo India
Kumbh Mela is a festival which showcases India of another dimension. The festival takes place after every 6 years and happening this 2019, you can witness the massive gathering of seekers consciously longing to go beyond their present level of existence.
Indian Tribal & Folk Art Forms that Every Art Lover Should OwnIndian Art Ideas
There is something really intriguing in every Indian artwork which makes every true art enthusiast opt for one. However, Art collection is a difficult nut to crack. Read the points that you must know as they will help you to buy Indian art works that are the best.
Navratri is a nine-day Hindu festival celebrated in autumn that honors the goddess Durga for defeating the demon Mahishasur and god Ram for defeating Ravana. The celebrations include worshipping nine goddesses over nine days through stage decorations, recitals of legends, and chanting scriptures. Devotees also fast, and on the final day statues representing evil are immersed in water or burned with fireworks to mark the destruction of evil. The festival preparations lead up to Diwali, the festival of lights celebrated twenty days later.
Gonds are a tribal community presently settled in parts of Madhya Pradesh, Chhatisgarh and Maharashtra. They speak native Gond language and have their own particular style of painting. In this art project, we've gone through some unifying aspects of Gond art.
Web link: https://www.youtube.com/watch?v=F26QJUEKHCI&noredirect=1
Team members: Ahsen, Himanshu, Harkirat, Teja and Hrashikesh
The document discusses an artwork titled "Shadow House" by artist Zarina Hashmi. It is a series of geometrically shaped squares cut into Nepalese paper that evoke images of Islamic architecture and screens. The interplay of light and shade in the work effectively convey the ephemeral nature of a house. The artwork reflects Hashmi's life journey as an Indian artist who moved to New York over 40 years ago and her feelings of displacement from her homeland. It highlights her desire to claim an undivided world as her own and aim to retrieve traces of what she left behind through the process of remembering.
Odisha is located on the eastern coast of India. It borders West Bengal, Jharkhand, Chhattisgarh and Andhra Pradesh. The capital and largest city of Odisha is Bhubaneswar. Odisha has a long history and was previously known as Kalinga. It has a rich cultural heritage reflected in traditions like Odissi dance, pata painting, and applique work from Pipili. The Jagannath Temple in Puri is an important pilgrimage site.
The document provides information on the art, architecture, and cultural heritage of Odisha, India. It discusses Odisha's archaeological treasures dating back to pre-historic times. It describes some of Odisha's major art forms like Pattachitra paintings, stone carvings, and the classical Odissi dance. Several important temples are mentioned from the ancient and medieval periods. Odisha's cultural diversity is highlighted through its religious festivals, tribal traditions, and blending of Hinduism, Buddhism, and Jainism in its heritage. Major artisanal crafts developed in the state include filigree work, applique, and handicrafts made from materials like palm leaves, brass, and textiles.
The document summarizes a tribal art conclave hosted in New Delhi by the Lalit Kala Akademi from March 31st to April 6th, 2014. Over 100 tribal and contemporary artists from across India experimented and created art forms to represent their landscapes and cultures. The conclave aimed to acknowledge and preserve indigenous tribal artistic traditions that have been marginalized. Gayatri Tondon of the Lalit Kala Akademi discussed how the artists were contacted directly and the importance of appreciating India's tribal roots.
CRAFT RESEARCH AND CRAFT BASED PROJECTJigyasa Arya
This document summarizes several traditional crafts from Uttaranchal, India including block printing, zari and embroidery, aipan paintings, and craft-based projects. Block printing from Haldawani uses wooden blocks to print floral motifs onto textiles. Zari and embroidery from Roorkee and Haridwar feature metallic threads and intricate stitching to decorate items. Aipan paintings from Nanital are ritual floor designs drawn during religious ceremonies. The author also discusses some contemporary craft-based product designs inspired by traditional Gushaini crafts to appeal to modern customers.
Gonds are a tribal community presently settled in parts of Madhya Pradesh, Chhatisgarh and Maharashtra. They speak native Gond language and have their own particular style of painting. In this art project, we've gone through some unifying aspects of Gond art.
Web link: https://www.youtube.com/watch?v=F26QJUEKHCI&noredirect=1
Team members: Ahsen, Himanshu, Harkirat, Teja and Hrashikesh
This document provides an overview of traditional dances and arts/crafts from North India. It describes several folk dances from different North Indian states such as Jammu & Kashmir, Himachal Pradesh, Uttar Pradesh, Punjab and Haryana. These dances incorporate colorful costumes, rhythmic movements and singing. The document also discusses prominent North Indian artforms and crafts including paintings, metalware, carpets, furniture, embroidery and pottery. Traditional Rajasthani artwork and handicrafts are highlighted for their intricate designs and skilled workmanship.
Humayun's Tomb in Delhi, India was the first tomb to be considered a graveyard and is seen as precursor to the Taj Mahal in architectural style. It was commissioned by Humayun's wife and built by Persian architects. The Ganges River is central to life in India, with people bathing, doing laundry, cremating the dead, and offering candles to the river as part of religious traditions. Indian weddings involve the bride and groom exchanging garlands and vows while dressed in traditional colorful attire like saris for women and embroidered costumes for men.
Gond paintings originate from the Gond tribe in Madhya Pradesh and have a history of over 1400 years. The Gond people believed that depicting images of the natural world like hills, rivers, and trees showed respect for the spirits that inhabited them. They decorated the walls and floors of their homes with traditional motifs reflecting their close connection to the environment and depicting scenes of daily life. Bright colors like red, blue, yellow, and white are used, with pigments derived from natural sources like plants, leaves, sand, and cow dung. Lines and dots are added to the paintings to convey a sense of movement.
The document provides information about Madhubani painting, a folk art from Bihar, India. It discusses the origins of Madhubani painting dating back to Sita's wedding. Traditionally done by women in villages on freshly plastered mud walls of huts, it now also uses cloth, paper, and canvas. Madhubani paintings mostly depict nature and Hindu deities through vibrant colors and geometric patterns. Different traditions - Kayastha, Brahmin, and Tattoo - use varying techniques and themes. Natural colors are derived from plants and minerals, while newer acrylic colors are also now used. Madhubani painting has gained international recognition and is adopted by the State Bank of India on debit cards.
Every year our research team travels extensively across India to meet and profile artisans. In December 2013, our team visited Bihar (northern India) to profile artisans practicing Madhubani, Sikki and Sujani crafts. We give you an overview of the different crafts of Bihar- its origin, significance, and the present state of the craft sector.
This document summarizes crafts from the Punjab region of India, focusing on Patiala. It describes the traditional embroidery craft of Phulkari from Patiala, giving details on its origins, classification, motifs, materials used, and process. Phulkari embroidery involves blocking fabrics with wooden blocks and then doing intricate embroidery on the reverse side with silk thread in various stitches like darning. The village of Tripuri in Patiala is highlighted as a major hub for Phulkari craftspeople. Punjabi jutti making and parandhi crafts are also mentioned as traditions of Patiala.
Licht op de Weesperzijde onderzoekt de geschiedenis van een plek, Weesperzijde nr 20. Hoe sinds de wandelingen van Rembrandt langs de Amstel de bebouwing steeds is veranderd. In 1651 wordt op deze locatie het buiten Lokhorst voor het eerst vermeld als vertrekpunt van een ijsbreker, in 1702 de ernaast gelegen herberg de IJsbreeker. Daarna volgen verbouwingen, sloop en herbouw. De weilanden worden omkaderd met rijen prachtige tuinhuizen en lusthoven. Midden 1800 volgt de komst van industrie en magazijnen van onder andere Wilhelm Hibbeln. Hibbeln was aan het eind van de 19de eeuw de grote importeur en leverancier van (gas)verlichting in Nederland. Hij maakte een fortuin en investeerde dat in onroerend goed, de monumentale herenhuizen van dit blok aan de Amstel. Vanaf 1885 kwam deze huidige bebouwing van dit deel van de Weesperzijde tot stand.
This document is a song lyric translation about a woman expressing her eternal love for her partner. It summarizes as:
The singer expresses how she never thought she could feel such joy and happiness as in heaven in her partner's arms. She whispers her partner's name and kisses them over and over, seeing the light of love in their eyes. The singer gives her partner all of her tomorrows and promises to stay in their arms forever, as their love will never grow old.
The wildfire abruptly changed direction on August 21, 2003, growing into a giant fire with flames reaching 50 meters high. Elaine Hruby was told by authorities to evacuate her home immediately due to the advancing fire. She packed quickly, taking only a few small items and her animals. She then drove west and watched in horror as the flames approached Hillcrest. The 2003 Crowsnest fire burned over 20,000 hectares and impacted local industries and businesses, though one sawmill benefitted from the burnt lumber. While burned areas initially appear desolate, they create new diversity over time.
The document discusses several properties of real numbers including the distributive property, identity property, zero property, inverse property, commutative property, and associative property. Each property is defined and examples are provided to illustrate how it works in algebra. Real-life analogies are also given to help explain the conceptual meaning of each property.
The Station Gare Mali Project, Centre Soleil d'Afrique, Bamako, Mali
the roof sculpture by Joost van Haaften & Harald Schole
''The grass is always greener at the other side of the fence''
1. REVIEW
WORKSHOP
HARALD
SCHOLE
(NL)
organized
by
the
Kaman
Art
Foundation
SOWING
SEEDS
2011
INTERNATIONAL
VILLAGE
RESIDENCY
GELAWAS,
INDIA
Concept
of
Harald
Schole
:
a
tribute
to
water
^ 18the century step well in Jodhpur ^ interior memorial Jaswant Thada, Jodhpur
old water well and fish pound, Gelawas new water reservoir, during the dry season, Gelawas
His
work
statement
Positive
and
negative
are
opposites,
and
also
complementary.
With
Tribute,
Harald
Schole
wants
to
show
us
the
balance
between
the
contrasts.
Besides
that,
he
combines
his
Western
or
global
concepts
with
the
local
possibilities.
Every
year,
Rajasthan
faces
the
problem
of
a
deficiency
of
water
and,
sometimes
even
the
lack
of
clean
water.
In
the
dry
season,
for
months
no
rain
is
falling
and
rivers
run
dry.
2. In
the
Netherlands,
in
contrary,
there
is
plenty
of
water.
For
a
country
that
produces
so
many
vegetables,
fresh
and
clean
water
is
of
great
importance.
But
there
is
something
else.
The
Netherlands
is
situated
bellow
sea-‐level.
The
Dutch
therefore
need
to
be
well
protected
against
a
too
high
sea
level
and
flooded
rivers.
So,
water
possesses
a
good
and
an
evil
side.
These
opposite
characteristics
of
water
are
represented
in
this
temporary
installation.
The
Indian
river
of
Ganges
is
a
holy
river.
Schole
has
chosen
to
visualise
this
river.
The
curves
of
the
river
of
Ganges
are
drawn
on
the
temple
floor
both
in
actual
and
mirrored
shape,
from
the
source
of
the
river
in
the
Himalayas
till
the
estuary
in
Bangladesh.
Beautifully
coloured
lines
of
fabric
are
connecting
these
two
images
of
the
Ganges.
There
are
eight
lines,
representing
the
eight
times
you
can
or
maybe
have
to
decide
between
good
and
bad.
The
figure
‘8’
symbolises
infinity,
comparable
with
the
water
of
the
river,
also
a
continuous
flow,
from
the
mountains
to
the
sea
to
her
source
in
the
mountains.
Like
a
continue
cycle
of
life.
Tribute
is
put
together
with
locally
available,
recycled
materials.
With
a
few
kids,
he
was
collecting
fabrics
lying
around
the
houses,
when
the
artist
was
invited
in
one
of
the
houses.
In
exchange
for
some
pictures
and
stories
about
his
country,
the
villagers
gave
him
a
bag
full
of
colourful
leftovers
of
cloth
for
his
artwork.
For
some
days,
Harald
Schole
was
working
intensively.
And
from
these
small
pieces
of
cloth,
he
made
over
twenty
meters
of
colourful,
decorated
ribbons.
Knotting
the
pieces
of
fabric
was
a
very
meditative
activity
and
his
personal
tribute.
Schole
could
not
directly
find
a
proper
location
for
the
work.
One
morning,
he
made
a
walk
through
the
village
and
visited
the
temple
near
the
village
square.
By
coincidence,
he
met
the
priest
of
the
temple
and
they
had
a
small
chat.
He
explained
his
proposal
for
the
Sowing
Seeds
project.
And
then,
the
priest
offered
him
to
do
the
temporary
installation
in
the
temple.
He
choses
the
place
were
water
is
collected
in
a
subterranean
reservoir.
Schole
felt
honoured
and
happy
as
the
art
piece
had
found
its
beautiful
site-‐
specific
location
in
a
natural
way.
4.
Experience:
The
residency
in
Gelawas
can
be
characterised
as
short,
intensive
and
filled
with
hospitality.
The
organisation
and
the
villagers
were
very
open
and
collaborative.
He
learned
much
about
the
culture
of
Rajasthan,
but
maybe
the
(young)
villagers
were
even
able
to
learn
more
then
the
participants
of
the
residency.
He
would
have
liked
to
have
more
time
to
better
learn
to
know
the
craftsmen
in
the
village.
The
craftsmen
were
usually
very
busy.
For
the
children,
it
was
holiday
period.
They
had
time
enough.
The
numbers
of
ceramic
horses
and
their
size
the
potter
is
producing
each
year
impressed
him.
In
his
spare
time
the
potter
is
also
a
dancer
and
a
wonderful
performer
with
a
fast
turning
wheel
on
his
shoulder.
To
discover
the
culture
of
the
village
and
the
habits
of
the
villagers,
he
would
have
preferred
to
have
more
time.
Schole
was
glad,
he
had
been
in
Rajasthan
a
year
before,
which
gave
him
in
some
way
a
familiar
feeling.
Before
going
to
Gelawas
he
had
decided
not
to
bring
any
materials
from
The
Netherlands
to
the
village.
He
did
not
want
to
import
art
materials
from
The
West
to
India.
The
constraint
of
material
was
my
well-‐considered
way
to
take
his
time
and
explore
the
village
and
the
culture
of
Rajasthan
which
finally
resulted
in
an
art
piece
of
which
he
would
never
have
thought
to
use
so
much
colour
and
fabric
in
it.
6.
He
realised
that
a
tool
for
exchange
of
experiences
and
visualisation
of
the
collaboration
with
the
villagers
more
directly
could
be
valuable.
It
could
give
something
in
return
to
the
villagers.
One
could
think
of
a
musical
instrument,
but
for
him
as
visual
artist,
he
was
thinking
of
a
small
instant
photo
studio.
Maybe
with
crazy,
fantastic
backgrounds
with
a
mixture
of
Indian
gods
and
goddesses
and
also
with
the
landscape
of
a
land
that
is
situated
far
below
sea-‐level.
installation Tribute in temple courtyard, Gelawas drawing by Gabriella Hirst
Harald
Schole’s
conclusion:
I
really
felt
at
home
in
my
canopy
and
I
know
that
Gelawas
will
be
another
home
forever.
Amsterdam
2012