ARTIST TALK & DEMO
AT ASIAN ART MUSEUM
SAN FRANCISCO, CA
March 24 -25, 2017
Rupy had the honor to share the unique Sikh painting style from the Sikh Kingdoms during the 19th century as well as contemporary Gurmukhi calligraphy at the Asian Art Museum in San Francisco, CA. The Artist demo and talk were part of the programming in support of the Sikh Art Exhibition "Saints and Kings" running at the museum. It was a moment of pride to bring Sikh heritage to life through art practice at a major museum.
Birds of Gurbani
In this collection, I intertwined with Sikh-related themes as I explored the imagery evoked by the Sikh scripture, the Guru Granth Sahib. By building on verses from the Guru Granth Sahib with visual metaphors and calligraphy, I aspired to produce a visual message in addition to a linguistic one.
In "Birds of Gurbani", I explore the many references in the Guru Granth Sahib to different types of birds. Why birds? One of my favorite experiences during my years studying Biology has been taking a course in Ornithology. What started as a fun elective ended with a passion in many 5am bird watching trips. While most of the birds in this collection belong to the South Asian landscape, they have been part of some of the stories I read as a child growing up in India and are also distant relatives to some of my favorite birds to watch here in California.
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The Baaz is a bird representing power and strength. In the lines chosen for this piece, the Baaz is said to pounce on its prey when it least expects it just as something unexpected or unwanted might happen to us in our lives.
A bird of prey seen in many miniature paintings as the chosen royal bird by rulers from different regions, the Baaz joins the Birds of Gurbani and adds a regal and majestic touch.
This little bird is loved and loves with immense heart. Known for its beautiful song that calls out to its beloved, the bird is equally intriguing in its form and especially the mohawk that forms on its head after enjoying the rain. While many songbirds(like the Chatrik in the lines within this piece) are referenced in Gurbani, the bulbul's persona and significance is very intriguing. Culturally a symbol of love and joy, the Bulbul takes a special place among the Birds of Gurbani.
Love like a Chakvi loves the Sun. It does not sleep for an instant while thinking the Sun is near even though it's so far away. These lines are filled with so much love while depicting the Chakvi as a devoted bird that always finds the Sun near it due to its love for it.
One of the more popular birds in Punjabi folklore as well as Gurbani is the Hans. Besides being popular for its beauty, folk tales and mythology depict the Hans as a dutiful bird who knows how to find pearls and usually eats them (yum!). In these lines from gurbani, we are encouraged to contemplate the endless depth and extent of the Guru's song or Bani. However, to value something so precious we would have to take on the characteristics of a Hans or someone who can recognize a precious stone when it sees it.
The piece celebrates the joy of a peacock as it dances away hearing the clouds thunder in expectation of raindrops. In gurbani, the peacock's euphoria is mentioned to depict the happiness felt by those who feel love for the Guru and are overcome with joy.
In Gurbani and often in Punjabi folklore, the heron is depicted as a bird that is deceitful in character. While it stands and looks at water pretending to meditate, it actually waits to catch a fish.
In Gurbani and in general, the Soohat/Parrot is known as an intelligent bird that imitates sound easily. In these lines from gurbani, the Parrot recites the truth while bound in a cage of love. It flies away only when it recognizes the truthful master and becomes free. While the Parrot's ability to imitate and recite words has also earned it a reputation for annoyance and meaninglessness culturally, in gurbani it's ability to repeat words gets it liberated and united with the one it loves.
In Punjabi folklore, a crow perching nearby is suppose to signal the coming of a loved one or guests. In Gurbani, the crow is mentioned similarly as a messenger and also ominously as a vulture pecking at meat. In these lines in Gurbani, the crow is specifically asked to not peck at the flesh of a devotee as the True Master of the devotee abides in everything including the devotee's flesh.
Fareed Ji often mentions death and his flesh being pecked at by crows. It's not the fear of death or pain that worries him but the fear of destruction of something that belongs to his True Master.