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拍品专文
The realisation of the innate force of the bindu has been an integral part of Raza's oeuvre since the late 1980s. The bindu, or the black point, can be variously interpreted as zero, drop, seed, or sperm and is the genesis of creation. It is the cosmic egg gestating within the womb of the unmanifested universe; ready for germination. The bindu is also the focal point for meditation and the principle around which Raza structures his canvases.
"The Kalatattva Kosa describes bindu as the point from which the material body of the universe is formed. Bindu is conceived as imbued with mystical power. When Raza was eight, he was taught at school to meditate on a small black circle that had been drawn on a white wall of the veranda. These simple exercises of concentration that channeled his youthful energy were to become the source of inspiration for his art some twenty years later when he moved to Paris." (Mary-Ann Milford-Lutzker, India: Contemporary Art from Northeastern Private Collections, Jane Voorhees Zimmerli Art Museum, exhibition catalogue, Rutgers, 2002, p. 94)
In this painting, the bindu represents genesis, or the creation of the universe, nature and its principle elements. Writing to Krishen Khanna in 1987, Raza noted, "My recent preoccupation "Germination" is the logical "suite" of the "Bindu", the seed, and my obsessions are real. I do believe that this is the most important part of my life. But without false modesty, I must say that the dynamics of Energy, both in life and in painting, are not easy to explain or express -- neither in words nor in paint. This is the objective towards which I would like to concentrate all my energy. The outer aspect is of little interest. Indian painting will not be important if we paint Indian themes only [...] Its significance lies in the concept, the vision and the vitality, and a personal assimilation of things perceived." (Artist letter, 9 August 1987, Gorbio, as cited in A. Vajpeyi ed., My Dear - Letters between Sayed Haider Raza and Krishen Khanna, New Delhi, 2013, p. 200)
"The Kalatattva Kosa describes bindu as the point from which the material body of the universe is formed. Bindu is conceived as imbued with mystical power. When Raza was eight, he was taught at school to meditate on a small black circle that had been drawn on a white wall of the veranda. These simple exercises of concentration that channeled his youthful energy were to become the source of inspiration for his art some twenty years later when he moved to Paris." (Mary-Ann Milford-Lutzker, India: Contemporary Art from Northeastern Private Collections, Jane Voorhees Zimmerli Art Museum, exhibition catalogue, Rutgers, 2002, p. 94)
In this painting, the bindu represents genesis, or the creation of the universe, nature and its principle elements. Writing to Krishen Khanna in 1987, Raza noted, "My recent preoccupation "Germination" is the logical "suite" of the "Bindu", the seed, and my obsessions are real. I do believe that this is the most important part of my life. But without false modesty, I must say that the dynamics of Energy, both in life and in painting, are not easy to explain or express -- neither in words nor in paint. This is the objective towards which I would like to concentrate all my energy. The outer aspect is of little interest. Indian painting will not be important if we paint Indian themes only [...] Its significance lies in the concept, the vision and the vitality, and a personal assimilation of things perceived." (Artist letter, 9 August 1987, Gorbio, as cited in A. Vajpeyi ed., My Dear - Letters between Sayed Haider Raza and Krishen Khanna, New Delhi, 2013, p. 200)