穆凯什-施瑞斯塔的绘画:佛教神话的视觉叙事

Y. Sharma
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摘要

在穆凯什-施瑞斯塔的作品中,佛教图标、图像、符号和人物都被重新解读和重新制定,同时改变了抽象背景,使其具有崇高的背景和神奇神秘的氛围。蜿蜒的形状和流动的色彩形式使前景和背景都呈现出自发的视觉节奏。原型人物和内容在一致的色彩中传达出共存、冥想与和平的信息。艺术家在混乱的状态中追求和谐与秩序。 友好而舒适的色彩组合让观众兴趣盎然。作品创造了自己独特的世界,具有多重探索意义。细腻的造型增加了视觉体验的强度。原始的纹理唤起触觉,让想象飞向遥远的时空。独特的视觉构成呈现出传统与现代、神话与神秘主义、个体自我与宇宙的美学融合。凝练的视觉形式呈现出对本土文化瑰宝的回望和追忆,以及对繁荣与和平的期盼。精湛的工艺和细致入微的作品体现了艺术家的耐心和专注。不朽的神像配以传统的装饰以及莲花和金刚杵等符号,暗示着现实中无形无质的层面。 仪式的姿态和手势传达出一种神秘的游行感,一种通往超凡脱俗世界的旅程。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Mukesh Shrestha's Paintings: Visual Narration of Buddhist Myths
In Mukesh Shrestha's compositions, Buddhist icons, images, symbols and figures have been reread and reformulated along with altered abstract background having sublime setting with magical and mystical atmosphere. Spontaneous visual rhythm is ever present in both foreground and background due to sinuous shapes and flowing colorful form. The archetypal characters and contents in coherent colors convey the message of coexistence, meditation and peace. The artist is in the quest of harmony and order in the state of chaos.  Friendly and comfortable color combination sustains the viewers' interest. The artwork creates its own unique world with multiple significances to explore. The fineness of form adds intensity to visual experience. The primitive textures arouse the tactile sensation giving way to the imaginative flight to the far distance in time and space. The unique visual compositions present the aesthetic blend of tradition and modernity, myths and mysticism, the individual self and the cosmos. The condensed visual form presents the retrospection, recollection of native cultural treasure and anticipation of prosperity and peace. Fine craftsmanship and minutely detailed works with precision give a clue to the artist's patience and dedication. Monumental figures of divinity decked with traditional decorum along with symbols like lotus and vajra suggest invisible and intangible dimensions of the reality.  Ritual postures and gestures convey a sense of mystical procession, a journey to the world beyond.
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