What is objective art? What is objective art? Is creativity somehow related with meditation? [Page - Jitendra Gosai (Vartan) - 8Ko - 2007]

VARTAN EXHIBITION A creative person is one who has insight, who can see things nobody else has ever seen before, who hears things that nobody has heard before - then there is creativity. As Osho points out in the preface to this book, historically the creative person has been all but forced to rebel against the society. Stability, conservatism, and "following the ru [Page - Jitendra Gosai (Vartan) - 1Ko - 2007]

What is objective art? Is creativity somehow related with meditation? Osho: Art can be divided into two parts. Ninety-nine percent of art is subjective art. Only one percent is objective art. The ninety-nine percent subjective art has no relationship with meditation. Only one percent objective art is based on meditation. The subjective art means you are pouring your subjectivity onto the canvas, your dreams, your imaginations, your fantasies. It is a projection of your psychology. The same happens in poetry, in music, in all dimensions of creativity - you are not concerned with the person who is going to see your painting, not concerned what will happen to him when he looks at it; that is not your concern at all. Your art is simply a kind of vomiting. It will help you, just the way vomiting helps. It takes the nausea away, it makes you cleaner, makes you feel healthier. But you have not considered what is going to happen to the person who is going to see your vomit. He will become nauseous. He may start feeling sick. Look at the paintings of Picasso. He is a great painter, but just a subjective artist. Looking at his paintings, you will start feeling sick, dizzy, something going berserk in your mind. You cannot go on looking at Picasso's painting for long. You would like to get away, because the painting has not come from a silent being. It has come from a chaos. It is a byproduct of a nightmare. But ninety-nine percent of art belongs to that category. Objective art is just the opposite. The man has nothing to throw out, he is utterly empty, absolutely clean. Out of this silence, out of this emptiness arises love, compassion. And out of this silence arises a possibility for creativity. This silence, this love, this compassion - these are the qualities of meditation. Meditation brings you to your very center. And your center is not only your center, it is the center of the whole existence. Only on the periphery we are different. As we start moving toward the center, we are one. We are part of eternity, a tremendously luminous experience of ecstasy that is beyond words. Something that you can be... but very difficult to express it. But a great desire arises in you to share it, because all other people around you are groping for exactly such experiences. And you have it, you know the path. And these people are searching everywhere except within themselves - where it is! You would like to shout in their ears. You would like to shake them and tell them, "Open your eyes! Where are you going? Wherever you go, you go away from yourself. Come back home, and come as deep into yourself as possible." This desire to share becomes creativity. Somebody can dance. There have been mystics - for example, Jalaluddin Rumi - whose teaching was not in words, whose teaching was in dance. He will dance. His disciples will be sitting by his side, and he will tell them, "Anybody who feels like joining me can join. It is a question of feeling. If you don't feel like, it is up to you. You can simply sit and watch." But when you see a man like Jalaluddin Rumi dancing, something dormant in you becomes active. In spite of yourself you find you have joined the dance. You are already dancing before you become aware that you have joined it. Even this experience is of tremendous value, that you have been pulled like a magnetic force. It has not been your mind decision, you have not weighed for pro and for against, to join or not to join, no. Just the beauty of Rumi's dance, his spreading energy, has taken possession of you. You are being touched. This dance is objective art. And if you can continue - and slowly you will become more and more unembarrassed, more and more capable - soon you will forget the whole world. A moment comes, the dancer disappears and only the dance remains. There are in India statues, which you have just to sit silently and meditate upon. Just look at those statues. They have been made by meditators in such a way, in such a proportion, that just looking at the statue, the figure, the proportion, the beauty... Everything is very calculated to create a similar kind of state within you. And just sitting silently with a statue of Buddha or Mahavira, you will come across a strange feeling, which you cannot find in sitting by the side of any Western sculpture. All Western sculpture is sexual. You see the Roman sculpture: beautiful, but something creates sexuality in you. It hits your sexual center. It does not give you an uplift. In the East the situation is totally different. Statutes are carved, but before a sculptor starts carving statues he learns meditation. Before he starts playing on the flute he learns meditation. Before he starts writing poetry he learns meditation. Meditation is absolute necessity for any art; then the art will be objective. Then, just reading few lines of a haiku, a Japanese form of a small poem - only three lines, perhaps three words - if you silently read it, you will be surprised. It is far more explosive that any dynamite. It simply opens up doors in your being. Basho's small haiku I have beside the pond near my house. I love it so much, I wanted it to be there. So every time, coming and going.... Basho is one of the persons I have loved. Nothing much in it: An ancient pond.... It is not an ordinary poetry. It is very pictorial. Just visualize: An ancient pond. A frog jumps in.... You almost see the ancient pond! You almost hear the frog, the sound of its jump: Plop. And then everything is silent. The ancient pond is there, the frog has jumped in, the sound of his jumping in has created more silence than before. Just reading it is not like any other poetry that you go on reading - one poem, another poem... No, you just read it and sit silently. Visualize it. Close your eyes. See the ancient pond. See the frog. See it jumping in. See the ripples on the water. Hear the sound. And hear the silence that follows. This is objective art. Basho must have written it in a very meditative mood, sitting by the side of an ancient pond, watching a frog. And the frog jumps in. And suddenly Basho becomes aware of the miracle that sound is deepening the silence. The silence is more than it was before. This is objective art. Unless you are a creator, you will never find real blissfulness. It is only by creating that you become part of the great creativity of the universe. But to be a creator, meditation is a basic necessity. Without it you can paint, but that painting has to be burned, it has not to be shown to others. It was good, it helped you unburden, but please, don't burden anybody else. Don't present it to your friends, they are not your enemies. Objective art is meditative art, subjective art is mind art. - from The Last Testament, Volume 3, #24 [Biography - Jitendra Gosai (Vartan) - 8Ko]

I would like to invite you to discover my work : you can take a look at my website where all my lastest artworks are currently being presented. ; http://www.vartanart.com ; PS : Your opinion matters ! Your comments will be greatly appreciated. ; Thank you for your attention Vartan [Biography - Jitendra Gosai (Vartan) - 1Ko]

Zen ; Zen  is a meditative practice which is designed to increase self-awareness and compassion. It is not a religion as such, with a set of beliefs and dogmas to be accepted, but rather a way of approaching life and a way of experiencing life, together with a set of practices to help the individual achieve an enlightened (nirvana) state. A Zen meditation is a mind-body encounter, in the sense that there is an emphasis on ritual physical movements (bowing, chanting, sitting, walking, etc.), but the primary purpose of such activities is the quietening effect they have on the mind. ; The Zen experience is one of 'sitting loose' to life, and it is therefore in sharp contrast to the somewhat 'driven' left-brain orientation of the West, with its emphasis on rationality, logic and control. It appears, therefore, to have much in common with the Inner Game ideas of Tim Gallwey. And the role played by the Zen koan (e.g. "What is the sound of one hand clapping?") as a puzzle to jolt the individual into a fresh way of looking at things appears to have a resonance with the concept of lateral thinking in   creativity. [Biography - Jitendra Gosai (Vartan) - 3Ko]

What is abstract art?  “To accept the challenge of the unknown is the only way to grow.”! Experience of creativity is an entry into the mysterious. The artist to reflect reality in a Zen way, to explore spaces untouched by others. [Biography - Jitendra Gosai (Vartan) - 1Ko]

; Eighth Elephant Contemporary Art: 'Ancient Wisdom, Modern World: Modernist and Avant-Garde Art from India' Oct. 20 - Nov. 14, at Eighth Elephant Contemporary Art, Brooklyn, NY. [Biography - Jitendra Gosai (Vartan) - 3Ko]

B I O;_______ JITENDRA GOSAI (VARTAN) ; D A T A ; 1966;BORN AT DELVADA, GUJRAT, INDIA ; 1983-87;DIPLOMA IN CREATIVE PAINTINGS ; FROM;C. N. COLLAGE OF FINE ARTS, AHEMDABAD, INDIA ; 1990-92;MA- MASTER OF ART IN CREATIVE PAINTINGS ; FROM;FACULTY OF FINE ARTS, M.S. UNIVERSITY,;BARODA, INDIA ; _____ S C;H O L A R S H I P / AWARD ; 1983-87;FREE INTEREST LOAN SCHOLARSHIP, GUJARAT GOVERNEMENT, INDIA ; 1992;MERIT SCHOLARSHIP FROM M.S. UNIVERSITY,;BARODA , INDIA ; 1994-95;NATIONAL SCHOLARSHIP FROM MINISTRY OF HUMAN RESOURCES, ; GOVERNMENT;OF INDIA,;INDIA ; 2005 http://www.artmajeur.com/antarvartan;/ SILWER AWARD_2005_829 ; 2006 We host the Digital Color Art Award. The Digital Color jury;grants this award to an ; outstanding contemporary artist each month. Antar Vartan is the;March 2006 winner. ; ______ E X;H I B I T I O N ; 1992;FACULTY OF FINE GALLERY, BARODA , INDIA ; 1993;LALIT KALA ACADAMI, AHMEDABAD , INDIA ; 1994;*DARK MYSTERY* VAN GHOGH STUDIO, INDIA ; OSHO;COMMUNE INTERNATIONAL, PUNE, INDIA ; 1995;*SHUNYA KA DARSHAN* MEERA – 5, ; OSHO;COMMUNE INTERNATIONAL, PUNE, INDIA ; 1996;*INNER REVOLUTION* BALGANDHARVA (ART GALLERY),;PUNE, INDIA ; 1997;KHUSBOO ART GALLERY,;PUNE, INDIA ; 1997;*MOON*THE NECHE ART GALLERY,;PUNE, INDIA ; 2000-02;LITTLE ITALY;ARTE MYSTICA, GOA, INDIA ; 2001;STADSBIBLIOTEKET,ANGELHOLM , ITALY ; 2001-3;INDIAN ART GALLERY;, LONDAN, UK ; 2003-5;LITEL INDIA GALLERY, KHATANIA, CISLY, ITALY ; 2003-4;GALLERIE LEELA , MUMBAI, INDIA ; 2003-5;CINE WONDER , THANE ,MUMBAI , INDIA ; 2003-5;CINE MAX , GOREGAON (WEST) MUMBAI, INDIA ; 2005;NEHRU ART GALLERY;, WORLI, MUMBAI, INDIA ; 2005;PRESS CLUB, MUMBAI, INDIA ; 2005-6;Ancient Wisdom, Modern World: Modernist and Avant-Garde Art from India' ; Eighth;Elephant Contemporary Art,111 FRONT STREET,;GALLERY #220, ; BROOKLYN, NEW YORK, 11201 ; ______ P A;R T E C I P A T I O N ; 1984;ARTIST CAMP AT MANDU (M.P.) ; 1989;ARTIST CAMP AT MOUNT ABU;(RAJ) ; 1989;UTSAV TRAITIONAL ART CAMP , SANSKAR KENDRA, AHMEDABAD, INDIA ; 1990;ALL INDIA;ARTIST CAMP AT UDAIPUR;(RAJ), INDIA ; 1997;BIRLA CENTURY ART GALLERY,;WORLI ,MUMBAI, INDIA ; 1998;SOCIETY- INSIDE OUTSIDE ”, PUNE, INDIA ; 2005;Eighth Elephant Contemporary Art: 'Ancient Wisdom, Modern World: ; Modernist;and Avant-Garde Art from India';, NEW YORK, 11201 ; ______ C O;L L E C T I O N ; In;addition to acquisition by Indian National and State-wide collections ; other;work is featured in major private collections in England,;Holland, Germany, ; Belgium,;italy,;nairoby, U.S.A, Japan Etc. ; ______ P A;I N T I N G W O R K S H O P ; 1988;GRAPHICS WORKSHOP IN C.N. COLLEGE AHMEDABAD,INDIA ; 1995;OSHO NACHIKETA ART CAMP AT MEHSANA , GUJRAT, INDIA ; 1997;THE WORKOSHOP ON PAINTING & DRAWING IN THE NATURE, ; MYSTIC;VILLAGE PUNE, INDIA ; ______ W O;R K S H O P E ; VARTAN;(JITENDRA GOSAI) ; B/3,;MARY GOLD,FLAT NO: 702, BEVERLY PARK, MIRA ROAD;[EAST]. ; DIS-;THANE, MUMBAI-401107. ; MOBIL;NO:09323289159, avartan_2000@yahoo.com ; http://www.artvartan.com/ http://www.eighthelephant.com/vartan ; [Biography - Jitendra Gosai (Vartan) - 29Ko]

4th July 1966 Delwada village (Gujarat) a child is born. Parents name him Jitendra. From his very childhood Jitendra was different. He used to paint on the walls of his village home. His mother, a humble soul never refrained her son from messing the walls. In fact she encouraged him . At the age of six Jitendra joined the village school. Fortunately for him the school encouraged all forms of arts. His uncle who was an artist helped him in developing his interest and skills in art. Seeing the potential of the Jitendra his elder brother who had by now moved to the city made arrangements and got him admitted to Art college. In college he excelled in Lithography and Drawing. Being a Rebel by nature, he constantly experimented different techniques & art forms. He started painting on large canvases. He used to burn plywood and try out different ways of creating art. Once a whole lot of his paintings got burnt in the process. Later he took Osho’s Sanyas. His Sanyas name was Swami Antar Vartan. His friends call him Vartan.He then moved to Osho’s Pune Commune. For over a year Vartan worked at the paintings in the Ashram. A number of exhibitions took place around this time at the Commune. Vartan in between went into a mental turmoil due to a break up with his associate in the commune. There was a feeling of being rejected; He had before him two choices, either get drowned in the sorrows of a failed relationship or do some soul searching. He moved to the nearby mountains which is close to Pune. The name of the place is “Mystic Village”. Here he lived close to Mother Nature. He hardly spoke around this time. Three years latter he returned to a normal life. He came out spiritually strong and vibrant. By now he was a transformed person. He chose to live in the moment. Vartan dives into his painting, flow’s with it, lives with it, this has been his approach towards his painting. Vartan’s bold abstraction and free b rush strokes epitomize the spontaneity in a grand scale. He creates on canvas something of himself -after he has given it the power of expressions. It is through his art he speaks directly to his viewer. The harmony and balance of elements reflected in his painting evokes great mystery. Vartan’s painting represent the five elements of Nature or the five Tattva’s. The basic colors that dominate his paintings are Red & Blue representing Fire and Water. Vartan with his touch creates forms which has taste. You will find the flow of water, the energy of fire and movement & vibrations of air in his paintings. Sunith Bhasker. Vartan’s View I immensely enjoy watching the works of the Masters like Jackson Pollock, Howard Hodgkin, Franze Kline and Mark Rothko, I also like the works of Laxman Shreshtha and S.H. Raza. I use large thick canvases for my paintings. Many of my painting involve b rush strokes rubbing, scratching and removing of paint to create texture and layering. I paint "wet on wet" and apply the paints to the canvas on top of each other and into each other, whilst still wet. The order of the colours and surfaces is very important to me, because I use a lot of paint, which is applied very thickly. Sometimes it takes several days, before I can start on a painting. I just feel the blank canvases and feel my breathing. Then I wait a the right moment, but once I have started, I work very quickly. For me this moment is the moment of celebration and dancing. I enjoy this tremendous energy force during work. VARTAN BIO - DATA [Biography - Jitendra Gosai (Vartan) - 5Ko]