The Loggia

Size: Height X Length
Inches: 81 X 168
Cms: 206 X 427

Meduim: Oil Enamel on Canvas

Circa: 1982 – 1987

The Loggia
The Relative Perspective
The journey illustrated. Each panel represents the soul’s state of purity. The landscape reminds us of the landscape behind Mona Lisa. Started as a rough landscape and a very red jewel in the first panel morphs into a calmer landscape with each progressive panel.
The jewel turns from red into pearly white as it purifies. The panel on the extreme right is the end of the journey. The time for the paintings to come before the world has arrived.
The Metamorphosis is complete.

The loggia-37
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The Loggia
The Last Vision
The Relative Perspective

Out of nothing can only come nothing. Total Perfection comes out of total perfection, nothing less, and God is nothing less. God is not responsible for your actions. God is the creator of within himself, not without. God is a Pure Nature, not impure manifestations.
The human being stands in the center and constantly looks at the creator in his divinity. That constant watch transforms him into the divine creator.

-Bharat Dalal

Description of the Painting :

Rooted in the life of one of the most Ingenious and Promethean minds, Bharat Dalal’s painting “The Loggia” takes the viewer into the realm of their consciousness and perhaps questions their existence. This impressive composition encompasses four panels that run parallel to each other and are divided with the help of three columns that rest on the stereo bate of the loggia. Each panel attracts the viewer to a somewhat similar yet very contrasting and beguiling landscape. The first panel unfolds itself with a half- illustrated column towards its left. It delineates a rocky, coarse terrain with a spiral course running through a plateau in the foreground and a trail of mountains that gradually grow faint and disappear into the vastness of the sea in the background. The second panel in continuation of the first depicts a minute trace of the land protruding from beside the sturdy column that unfolds this panel. It comprises rocky terrain with a mountain/plateau illustrated in the middle that is alienated from the rest of the terrain by the streams of the river that venture into the foreground from the boundless sea in the background. The third panel commences with a tear-off edge of a mountain sticking out from the column on its left. It further extends to land in the middle terminating with a half top edge of a mountain that stretches to the fourth panel. Again, the background comprises the gigantic sea and the sky with a blurred horizon. The fourth and the last panel in continuation to the third illustrates the half top-edge of a mountain that is followed by a plain surface that terminates with a half column on the extreme right in the painting. The horizon in the background reappears as the haziness advances towards the sky. The pillars are composed of obscure, overlapping, and indistinct lines that in a way bind them with the stereo bate beneath. It also comprises a red jewel aligned in the center of the first panel that gradually morphs into a larger shape and a different color upon reaching the last panel

Mona Lisa by Leonardo Da Vinci

The landscape of the painting unequivocally reminds one of the legendary painting “Mona Lisa” by Leonardo Da Vinci. An icon of the Renaissance, Mona Lisa is certainly the most recognized and preeminent painting in the world. Perhaps, in consequence, the one thing which the painting notably offers is a final cause for the revival of a sense of mystery. The background is one of the much-discussed aspects of Leonardo’s Mona Lisa. She is shown seated in a loggia, or a room with at least one open side. Behind her, Leonardo painted a fantastical topography of jagged mountains, a misty lake, and a winding river. The only man-made object in sight is a rustic bridge off Mona Lisa’s shoulder. As enigmatic as her famous smile, the landscape occurs in a pictorial form much as a writer might use a rhetorical device, a simile or metaphor, for decoration and conveying something esoteric.


The Background (Landscape) of the Painting :

The painting “The Loggia” begins with a rough landscape and morphs into a calmer one with each progressive panel. The jewel turns from red in the first panel into pearly white in the last as it purifies. Each panel drawing its inspiration from the landscape of the Mona Lisa represents a journey of the soul’s state of purity. Within their beings, all matters are in a continuous state of metamorphosis. Just as a stone hides wondrous forms and patterns inside it, which are only apparent after polishing it, similarly the artist becomes aware of the extraordinary nature and gets a “Reminder” of the workings of the soul which were only evident after its purifications. Contemplating on the fact that the forms and patterns of the stones ultimately attribute the path of its evolution over the infinite period which is not apparent before polishing it, the artist can comparably attribute and express the infinite emotions and expressions that had occurred within him at that moment.

The painting reflects upon a totalistic approach of the artist to bring together the elements of invention from the renaissance period and explore the abstraction simultaneously. This unique technique offers the viewer a comprehensive peek into the Fossilized Emotions, their consequential expression, and their eventual annihilation through experiences, of that which had occurred at that time & that moment within this extraordinary continuity, called the Soul. It enunciates a complete system of Artistic expression where spontaneity and organizational control at once emerge triumphant as it captures the immutable, eternal spiritual tenets and the pure experiences through an innate sense of the classic Equilibrium, technical control, and the patience and the perseverance required to execute it.

The Technique & the Color :

Upon studying, Bharat Dalal experienced that an ever-evolving Leonardo, though generally satisfied with his extraordinary technique of Sfumato, always strove for a technique that would encompass his vast intellect and his infinite yearning for perfection to bridge the gap between the desire for perfection and the Actualization of this desire. But Leonardo was limited by the lack of Quantum of the Relative knowledge, some of the Spiritual Tenets and Doctrines and their application as well as their mechanical refinements of the modern era, for the actualization of such a Desire.

There is a Textural Distinction in the Canvas in the form of Smooth-Smooth & Coarse-Coarse & Smooth-Equal Smooth & Coarse that represents a distinction between the outer environment, the Macrocosm, the Empirical, the physical; and the Inner Nature, the microcosm, the spiritual, and the psychological. The more or less of one and the other indicates the constant fluctuation between The Spiritual, The Soul, the doctrines of the Soul, and/or the Psychological and the Empirical & the physical. Equal divisions indicate a balance between the Spiritual and the Empirical. The use of primary colors along with colors such as Mauve- Blue in the painting reminds one of the artistic sensibilities of the Renaissance as well as the unwritten philosophical dictates of using primary colors when depicting Religious paintings.

The symmetry and the balance are classic. Together they represent the high Renaissance Inventive. The artist carefully allocates the weight to different elements in his work, as too much emphasis on one element or a group of elements can cement the viewer’s attention to that part of the work and leave others unobserved. All the columns are symmetrically balanced on both the axis, perpendicular to one and parallel to the other. The painting is divided into two halves vertically that stabilize its coherency and consistency. This brings out a spectacular visual harmony, rhythm, and coherence to artwork and it confirms its completeness and aesthetic potency. The perspective in the painting derives its inspiration from the work of Bharat Dalal itself, where an approximate linear perspective has reached the level of perfection. The artist achieves a sense of depth and space in the painting with the help of size and a trail of mountains that gradually grow faint and disappear into the vastness of the sea in the background. This perspective adds a convincing illusion of space to the painting that brings out the aesthetic and thematic scope of artwork and also imparts a deeper knowledge of the distinction between the macro and microcosm.

Bharat Dalal’s journey with Leonardo da Vinci becomes the abacus on which, by studying and admiring Leonardo, he discovered the divine within himself.

Perceptions to Pure Perceptions & the Evolution of Geometrical perspectives – VI (six)

The maturing of the preceding perceptions culminates into the third complete original perception, the pure relative perception.
The pure relative perception translates into the relative geometric perspective.
The relative perspective is dynamic and static by its special virtue and is complete in itself. It converges in to accomplish the creator perspective and emerges out to consider the individual perspective.
The relative perspective takes logicality and illogicality into its stride.
Each painted panel is to be viewed in context to the other and yet each of them is complete in itself. It retraces to anticipate the past and progresses to anticipate the future.
The most profound of perspectives, the relative perspective is the simplest and yet the most complex of all perspectives.
There is an almost equal division of the canvas with marbleized veins and the painted surface of the landscape; the texture variation ranges from the utterly smooth to the coarse.
The emerging perspective that is represented in red lines helps to experience the immediate; the yellow lines are representative of the anticipatory, and the purple lines embody the overall relative vision.
(Please note that the representation on the left is a projected approximation of the relative perspective)

The Artist’s perspective :

The artist’s experience helped him conceive that there is an attributive Chronology of the Spiritual Matter during one’s existence. This path consists of alterations in one’s nature because of the measure of their realization and acceptance of the characteristics of the soul. The Red Jewel in the foreground of the first panel with the coarse and spiral terrain in the background is a metaphor of the Non-realization of the Characteristics of the Soul (spiritual matter) and its utter Non-Acceptance is the Impure Nature. As the painting proceeds, various stages (like Absurd Nature, hazy-doubtful-fearful Nature, faithful Nature, Confident Nature, Natural Nature, Contemplative Meditative Nature, Attributive Nature, Transcendental Nature, Attaching Nature, Suppressed Nature, Victorious Nature, and Pure Nature – all of which result from the various levels of realization and acceptance of the characteristics of the soul) are depicted at every inch with the most prominent depiction of the jewel. The jewel lastly transforms into a pearl white color as it thoroughly purifies and depicts the state of the Pure nature, where the total actualization of the Characteristics of the Soul (Spiritual Nature) and the utter annihilation of the “All causes” for its association with the Empirical Matter take place.

The Writer’s Perspective (Conclusion) :

The painting has been given three titles. “The Loggia”, “The Last Vision” and “The Relative Perspective”. With the comprehension of the first caption, the artist aims to unleash the social, political, economic, and defense mechanisms. The second caption aims to reveal the passions, the object, and image mechanisms. Finally, the comprehension of the third caption aims to unleash Natural Nature, The Eternal infinity, and infinite happiness. The three captions intend to target the Expression, the Emotion, and the Experience, respectively. According to the artist, everything happens spontaneously but nothing unexpected. Everything, absolutely everything, happens suddenly. Each passing second forever blooms into the next, leaving behind only the memory of what once was. Yet, all that seems to be happening, suddenly, is revealed to one, as an aspect of pure awareness, within one’s unmoving, unchanging, infinite presence of spontaneous knowing. Embodying this undeniable truth is to awaken from the dream delusion. Awareness that finally leads to purity is the nonduality of being.

This painting similarly surprises with the insights of a deeper significance which ultimately leads to question one’s conscience. It thus becomes an inward expedition for any Individual to partake in the mysterious process of the universal metamorphosis so integral to Bharat Dalal. The two half-illustrated columns on both ends of the canvas are a metaphor for the stage curtains that are drawn at the beginning of a play. Just like in a play, they open the painting to the viewers and transcend them to a whole new realm. The symmetrical balance evokes feelings of order, formality, rationality, and permanence. The unique techniques like Marbling and Superimposition imply the idea of the painting intellectually, rather than something merely perceived by the senses. It is often said that Ideal Art is rather a spiritual discovery than a creation. In-depth and seriousness, True art, pure art, never enters a competition with the unattainable perfection of the world but relies exclusively on its logic and the experience that one achieves in the process. Here, the painting and the artist both undergo an expedition of a transformation of the “self”, constituting a curve, an arc of time-experience subtended by the duration the individual will live. The outward movement on this curve is characterized by self-assertion. The inward movement or the Involution is characterized by increasing self-realization. The nature and effectiveness of the art are determined half by modality (and its relevance) and half by the sensibilities (or their life content) and here both are seen in conjunction. A close study and one ultimately dives into the realm of an exceptional thought that God is Pure Nature, not Impure Manifestations. And in the purest form, one transforms into the Divine creator himself at various levels of expression.

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