View allAll Photos Tagged ayodhya
Rummana Hussain
Wood, mirror, terracotta, acrylic, earth, wall-mounted pot, wooden box, acrylic box
These five works by Rummana Hussain were among her first installations. Having painted figuratively to express the political throughout the 1980s, she felt the need for object-oriented art which could respond to immediate realities.
When the Babri Masjid was demolished in 1992, Hussain was living in Bombay (Mumbai), one of the cities worst affected by communal riots. As a Muslim woman, she was forced to temporarily flee her home with her family.
Emerging from this traumatic experience, the works displayed here, in which the shattered terracotta pot is a recurrent motif, were in her first solo show, ‘Fragments/Multiples’, at Bombay’s Gallery Chemould in 1994.
Hussain used the pot allegorically: the shards of terracotta resemble broken domes, destroyed homes, and the human body undone, each alluding to the violent fracturing of social unity. From these pots, everyday materials, such as gheru (a powdered red clay) and rubble, spill onto mirrors. Their reflections are interrupted, distorted, evoking a desolate landscape of ruins.*
On 6 December 1992, an organised mob of Hindu activists demolished a sixteenth-century mosque, the Babri Masjid, in Ayodhya, India. They contended that the mosque had been built upon the site of a Hindu temple that had commemorated the birthplace of the god Ram – a mosque-temple debate ongoing since the nineteenth century. The destruction of the mosque triggered riots across the Indian subcontinent, in which some thousands were killed. This communal violence had a profound impact on many members of India’s artistic community. Vivan Sundaram recalled that there was “enormous despair”, which “shook the belief system of those brought up with Nehruvian ideals of secularism. There was a crisis.” Several artists were compelled to make works in response, and some, such as Rummana Hussain and Sheela Gowda, radically re-oriented their practices. It was within this context that artists began to experiment with installation, cross-media and performance in an effort to directly address issues of secularity and to deconstruct essentialised ideas about India’s modern and pre-modern past.*
Taken from the exhibition
The Imaginary Institution of India: Art 1975–1998
(October 2024 — January 2025)
The Imaginary Institution of India: Art 1975-1998 surveys artistic production from across the Indian subcontinent during a 23-year period marked by social upheaval, economic instability and rapid urbanisation. The exhibition unfolds in a loosely chronological manner, framed by two significant national events in the history of independent India: the declaration of the Emergency in 1975, when democratic rights were suspended, and the nuclear tests of 1998, when the country relinquished its non-violent ideals to assert its place in a new global order. Some artists responded unequivocally to developments in the public arena, while others captured shared experiences and private moments. Amongst the 30 artists featured in this show some committed themselves to representational painting; others evolved personal iconographies in a variety of mediums, including employing installation in the 1990s. All of them combined social observation with individual expression and innovative forms to make work about friendship, love, desire, family, religion, violence, caste and community. This has determined the four axes that shape the exhibition: the rise of communal violence; gender and sexuality; urbanisation and shifting class structures; and a growing connection with Indigenism.
The exhibition takes its title from Sudipta Kaviraj’s essay The Imaginary Institution of India, in which he writes persuasively about the intellectual process of conceptualising the Indian nation. Artworks consider the state’s inability to abide by the progressive character of its Constitution, conceived as an instrument for radical social transformation. They also confront government failure to uphold secularism, social justice, welfare, minority rights and affirmative action in the face of a rising Hindu right wing and pro-capitalist economic agendas. They demonstrate that solidarity and protest existed, and were expressed in many registers, from the strident or intimate to the despondent or poetic, both anguished and hopeful, in the street and in the home. We witness the quiet defiance and resilience which truly defines this imaginary institution of India. In the words of B. R. Ambedkar, the Indian Constitution’s main architect, “Political democracy cannot last unless there lies at the base of it social democracy.".
[*Barbican Centre]
Taken in the Barbican
Rummana Hussain
Wood, paint on acrylic, gheru, terracotta
These five works by Rummana Hussain were among her first installations. Having painted figuratively to express the political throughout the 1980s, she felt the need for object-oriented art which could respond to immediate realities.
When the Babri Masjid was demolished in 1992, Hussain was living in Bombay (Mumbai), one of the cities worst affected by communal riots. As a Muslim woman, she was forced to temporarily flee her home with her family.
Emerging from this traumatic experience, the works displayed here, in which the shattered terracotta pot is a recurrent motif, were in her first solo show, ‘Fragments/Multiples’, at Bombay’s Gallery Chemould in 1994.
Hussain used the pot allegorically: the shards of terracotta resemble broken domes, destroyed homes, and the human body undone, each alluding to the violent fracturing of social unity. From these pots, everyday materials, such as gheru (a powdered red clay) and rubble, spill onto mirrors. Their reflections are interrupted, distorted, evoking a desolate landscape of ruins.*
On 6 December 1992, an organised mob of Hindu activists demolished a sixteenth-century mosque, the Babri Masjid, in Ayodhya, India. They contended that the mosque had been built upon the site of a Hindu temple that had commemorated the birthplace of the god Ram – a mosque-temple debate ongoing since the nineteenth century. The destruction of the mosque triggered riots across the Indian subcontinent, in which some thousands were killed. This communal violence had a profound impact on many members of India’s artistic community. Vivan Sundaram recalled that there was “enormous despair”, which “shook the belief system of those brought up with Nehruvian ideals of secularism. There was a crisis.” Several artists were compelled to make works in response, and some, such as Rummana Hussain and Sheela Gowda, radically re-oriented their practices. It was within this context that artists began to experiment with installation, cross-media and performance in an effort to directly address issues of secularity and to deconstruct essentialised ideas about India’s modern and pre-modern past.*
Taken from the exhibition
The Imaginary Institution of India: Art 1975–1998
(October 2024 — January 2025)
The Imaginary Institution of India: Art 1975-1998 surveys artistic production from across the Indian subcontinent during a 23-year period marked by social upheaval, economic instability and rapid urbanisation. The exhibition unfolds in a loosely chronological manner, framed by two significant national events in the history of independent India: the declaration of the Emergency in 1975, when democratic rights were suspended, and the nuclear tests of 1998, when the country relinquished its non-violent ideals to assert its place in a new global order. Some artists responded unequivocally to developments in the public arena, while others captured shared experiences and private moments. Amongst the 30 artists featured in this show some committed themselves to representational painting; others evolved personal iconographies in a variety of mediums, including employing installation in the 1990s. All of them combined social observation with individual expression and innovative forms to make work about friendship, love, desire, family, religion, violence, caste and community. This has determined the four axes that shape the exhibition: the rise of communal violence; gender and sexuality; urbanisation and shifting class structures; and a growing connection with Indigenism.
The exhibition takes its title from Sudipta Kaviraj’s essay The Imaginary Institution of India, in which he writes persuasively about the intellectual process of conceptualising the Indian nation. Artworks consider the state’s inability to abide by the progressive character of its Constitution, conceived as an instrument for radical social transformation. They also confront government failure to uphold secularism, social justice, welfare, minority rights and affirmative action in the face of a rising Hindu right wing and pro-capitalist economic agendas. They demonstrate that solidarity and protest existed, and were expressed in many registers, from the strident or intimate to the despondent or poetic, both anguished and hopeful, in the street and in the home. We witness the quiet defiance and resilience which truly defines this imaginary institution of India. In the words of B. R. Ambedkar, the Indian Constitution’s main architect, “Political democracy cannot last unless there lies at the base of it social democracy.".
[*Barbican Centre]
Taken in the Barbican
From the series Shelter, 1994–99
Vivan Sundaram
Kalamkhush handmade paper, steel, wood, water, glass, brake grease, acrylic paint, video
Vivan Sundaram transitioned from painting and drawing in the early 1990s to embrace a broader, spatially oriented approach. ‘House’ portrays his reflections on the changing political landscape and communal tensions in India at the time.
Held by a metal armature, the installation elaborates on the concept of refuge. A walled sanctuary cast in kalamkhush (paper handmade from khadi, the hand-spun, natural-fibre fabric promoted by Mahatma Gandhi during India’s anti-colonial struggle), ‘House’’s surface carries embossed emblems of the tools of labour and speaks to collective struggles against power.
Alongside a mineral hue reminiscent of coagulated blood, the outer walls exhibit marks of brutality:
scattered limbs, jagged outlines of weapons, and closed windows. Within, a pedestal bears a wide-brimmed vessel filled with water, and flickering through the transparent base of the bowl, a fiery video projection conveys an allegory of simmering injustice.*
On 6 December 1992, an organised mob of Hindu activists demolished a sixteenth-century mosque, the Babri Masjid, in Ayodhya, India. They contended that the mosque had been built upon the site of a Hindu temple that had commemorated the birthplace of the god Ram – a mosque-temple debate ongoing since the nineteenth century. The destruction of the mosque triggered riots across the Indian subcontinent, in which some thousands were killed. This communal violence had a profound impact on many members of India’s artistic community. Vivan Sundaram recalled that there was “enormous despair”, which “shook the belief system of those brought up with Nehruvian ideals of secularism. There was a crisis.” Several artists were compelled to make works in response, and some, such as Rummana Hussain and Sheela Gowda, radically re-oriented their practices. It was within this context that artists began to experiment with installation, cross-media and performance in an effort to directly address issues of secularity and to deconstruct essentialised ideas about India’s modern and pre-modern past.*
Taken from the exhibition
The Imaginary Institution of India: Art 1975–1998
(October 2024 — January 2025)
The Imaginary Institution of India: Art 1975-1998 surveys artistic production from across the Indian subcontinent during a 23-year period marked by social upheaval, economic instability and rapid urbanisation. The exhibition unfolds in a loosely chronological manner, framed by two significant national events in the history of independent India: the declaration of the Emergency in 1975, when democratic rights were suspended, and the nuclear tests of 1998, when the country relinquished its non-violent ideals to assert its place in a new global order. Some artists responded unequivocally to developments in the public arena, while others captured shared experiences and private moments. Amongst the 30 artists featured in this show some committed themselves to representational painting; others evolved personal iconographies in a variety of mediums, including employing installation in the 1990s. All of them combined social observation with individual expression and innovative forms to make work about friendship, love, desire, family, religion, violence, caste and community. This has determined the four axes that shape the exhibition: the rise of communal violence; gender and sexuality; urbanisation and shifting class structures; and a growing connection with Indigenism.
The exhibition takes its title from Sudipta Kaviraj’s essay The Imaginary Institution of India, in which he writes persuasively about the intellectual process of conceptualising the Indian nation. Artworks consider the state’s inability to abide by the progressive character of its Constitution, conceived as an instrument for radical social transformation. They also confront government failure to uphold secularism, social justice, welfare, minority rights and affirmative action in the face of a rising Hindu right wing and pro-capitalist economic agendas. They demonstrate that solidarity and protest existed, and were expressed in many registers, from the strident or intimate to the despondent or poetic, both anguished and hopeful, in the street and in the home. We witness the quiet defiance and resilience which truly defines this imaginary institution of India. In the words of B. R. Ambedkar, the Indian Constitution’s main architect, “Political democracy cannot last unless there lies at the base of it social democracy.".
[*Barbican Centre]
Taken in the Barbican
When Lord Rama came back to the city of Ayodhya after killing Ravana, the people of Ayodhya, cleaned Ayodhya and decorated with the light of lamps in the night. After that, it has become a tradition that lights are lit to reduce the darkness of Kartik Amavasya. This festival has celebrated for five days from Dhanteras to Bhai Dooj.
Know In Detail: awamkiawaz.in/festival-diwali-know-history-decoration-dis...
#HappyDiwali #DeepawaliCelebration #Firecrackers #Decorations #Diwali2020 #AwamKiAwaz
NewsOne Telugu,Muslims to Get 5 Acres of Alternate Land says SC,Ayodhya Verdict LIVE Updates,Ram Mandir,Ayodhya Verdict,Ayodhya Case,Ayodhya Judgement,Ayodhya,political news,ayodhya news,ayodhya ram mandir,ayodhya case,ayodhya live,ayodhya judgement,Ayodhya Judgemen,breaking news,news,supreme court judgement,national news,babri masjid,uttar pradesh news,politcs,national news,live news,ayodhya news live,breaking news,ayodhya breaking news
एक तरफ कोर्ट फैसले में खुद कहता है कि मंदिर तोड़कर मस्जिद नहीं बनी थी तो भी फैसला उनके हक में दिया जाता है जिन्होंने मस्जिद तोड़ी थी।
www.postbull.com/madani-said-on-the-decision-of-ram-templ...
Ayodhya est une des villes sacrées de l'hindouisme: c'est la ville natale du dieu Rama, héros du Ramayana.
La fête de Diwali (une semaine en Novembre) célèbre la victoire de la lumière sur les ténèbres, de la connaissance sur l'ignorance, du bien sur le mal. C'est la plus grande fête de l'Inde et elle commémore le retour de Rama dans sa ville natale Ayodhya. A cette occasion, des petites lampes à huile sont disposées le long des ghats et Ayodhya a battu le Guinness World Reords avec 2 400 000 lampes.
Des 2 côtés des ghats, des coupelles sont disposées. Elles seront remplies d'huile, munies d'une mêche et allumées le 12 Novembre au soir. 2000 étudiants ont été mobilisés pour l'allumage...
La tribune officielle qui a accueilli le Président Modi...
.
~-~·~.
,....,-. ----.
-·· ~ .
STUDENTS' .
FEDERATION.
Friel"ldS,.
~\f OF INDIA.
UNITE AGAINST THE COMMUNAL ONSLAUGHT! .
03.07.03.
to whip up communal .
Ram temple would be built at Ayodhya shows the urgency with which the Sangh Giroh Is trying .
.
Vajpayee and Advani's public pledges at the funeral of Ramchandra .
Paramhans.
.
passions before the forthcoming Assembly and Lok Sabha polls. These .
~E-that a .
statements come close on the heels of the farce of a so-called 'negotiated' settlement of the Ayodhya portraying the minority community as being stubborn while it was in fact the Sangh Giroh itself which .
issue. Following a script that has become repetitive by now, the Kanchi Sankracharya.
was making the outrageous .
demands. had once again taken the lead in staging a charade whose only objective was to create a communal polarisation.
pretences of a 'moderate' face. It is shameful indeed that the Prime Minister and the Home Minister of .
by .
As the polls approach and the Sangh Giroh confronts the prospect of a debacle, it is dropping all .
our country, who are duty-bound.
\{ .
( process of law and disregarding whatever verdict the Supreme Court gives in the Ayodhya issue. Yet, a .
different outcome cannot be expected when the Home Minister in question is himself the prime accused .
to uphold the Constitution,in the conspiracy to demolish the Sabri Masjid: a charge which the CBI-under the purview of the Prime .
Minister's Office are making promises of subverting the dueinstitutions of our republic has been one of the major goals of the RSS-BJP while in office. The .
is now tring hard to absolve him of. Indeed, the subversion of the democratic .
for one of the most gruesome incidents of the Gujarat carnage were let off by a Vadodara court because .
forced to turn hostile because of the threat to her and her family's life by the RSS-BJP. .
extent to which this subversion can go is btought out by the Best Bakery case where those responsible .
of the collusion of the police and prosecution with the accused and the fact that the prime witness was .
........ .
.
unpopularity of the NDA regime as a result of its anti-people policies. The single-minded pursuit of nee-liberal economic polices has led to the immiserisation of the vast majority of the people of the country. The countryside has been particluarly hit by the plummetting of primary product prices due The attempts to ressurect the Ayodhya issue must be seen in the context of the increasinginvestment and poverty all-eviation programs.-The peasaAtry was..left to fend.for itself in wbat.wasJne stagnation, raising urban poverty and unemployment. The economic policies of the present government .
to trade liberalisation on one hand and the government's policy of cutting expenditure on agricul.tural .
most severe drought in the recent past. The cutback in government expenditure has also led to industrial .
have only benefited domestic and foreign capital. Among other things, they have made immense gains .
touch new heights in our country. .
· .
by being able to buy up PSUs for a song-a loot of public resources which has also seen corruption.
. .
.
has sacrificed the interests of our people by its abject subservience .
Not just in the economic sphere, but in the case of foreign policy too the NDA government.
to US-led imperialism. It has .
increasingly taken a stance allowing US intervention in the Kashmir issue while endangering the unity .
which prevented our troops being used as a mercenary force for the occupation of Iraq. .
.
and integrity of our country by raising communal demands like the trifurcation of Kashmir and Ignoring .
Popular anger against these policies led to the rout of the BJP in the last round of Assembly the legitimate democratic aspirations of the Kashmiri people. It was only vigorous popular opposition.
more aggressively in the recent past. Moreover, the principal opposition party, the Congress, elections, and it is the fear of this being repeated that has seen it pursue its Hindutva agenda much .
stand against this communal attack. Rather it has chosen to adopt a ·soft-Hindutva' stand, w1th 1ts despite its oft-repeated claims of being a secular force has completely failed to take a consi_ste.nt .
mobilisation for electoral gains. ' .
,o \ leaders like Oigvijay Singh seemingly competing with the RSS-BJP in trying to use communal .
The Gujarat carnage was a grim reminder of what a fascistic force like the Sangh G1roh IS (S. .
Ol~·.
. . v.e~ .
these forces to divide the people on communal lines for their narrow ends. The present conjuncture .
capable of doing in an attempt to hold on to state power. The coming months will see further att~mpts by .
.
calls for all secular and democratic-minded sections of our society to remain united and give a .
fitting rebuff to the designs of the RSS and its Parivar..
Sd/-.
,,j~\.)..
Anubhuti Maurya \ ' ~ 1 {)'V""\.
1 .\ lt_C\ .
Secretary, JNU-SFI 'N('\..\J _.\ Q_,'\f\'\0 '\ ~~U-) 1\ \ ~ \..:· Sd/-",:Jyotirmoy Bhattacharya.
President JNU-SFI.
I.
\.
\t,'\b1'~L~ .:\ e_ \ ~ e ~ 'C\h~.Q'D-\.
\./'-.
\ ~C\ '-' (_o -"' .
~~~ ?.rj .
, .
.
.
Rishi Yadav is a popular Indian digital content creator, social media influencer, YouTuber, Viner and internet personality from Ayodhya ( Ram Nagri ), UP, India.He gets popular by making vines videos on YouTube.
FOLLOW ON SOCIAL MEDIA HEADLINES:-
1) Rishi Yadav
Main Youtube Channel :- www.youtube.com/c/RishiYadavv
Instagram :- www.instagram.com/rishi_yadavvv/
Facebook :- www.facebook.com/rishiyadav.yadav.10
Twitter :- twitter.com/YaadavRishi?s=08
Facebook Page :- www.facebook.com/Rishi-Yadav-115511850322325/?referrer=wh...