DOI issue:
Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.43455#0163
Studio- Talk
Foreigners contributed largely to the success of
the exhibition, and I would mention particularly in
this connection the works of Bartlett, the interiors
of Walter Gay, and the effects of light of Favai.
Fernand Khnopff showed two heads of remarkable
character, M. Henry Cassiers some brightly coloured
and high-toned views of Holland, M. Frantz
Charlet some dexterous racing scenes, and finally
M. Alexandre Marcette again evinced his right to
be counted among the best marine-painters of the
modern school. His Scene de peche on the Lower
Scheldt is an admirable vision of sea and sky.
Besides this series, Rahamin’s exhibition con-
tained some admirable visions of his country, and
also certain remarkable portraits, having the finish
of the most beautiful of Persian miniatures, as well
as a very personal accent of their own. One of these
portraits was that of Shahindo (Begum Fyzee
Rahamin), the wife of the artist, and another very
remarkable one was that of Moulana Shibili, the
great Indian poet, who writes also in the Persian
tongue, and who is the greatest living authority in
India on the Mohammedan history. H. F.
It is no secret that the exhibition of Arts and
For the first time, as far I am aware, the work ot
a contemporary Indian artist has been shown in
Paris, in the exhibition, which has been studied with
interest by connoisseurs and painters alike, of works
Crafts organised by the British Board of Trade last
year at Ghent, created a very favourable impression
on the many French visitors who saw it. Hence
the announcement that on the invitation of the
by Fyzee Rahamin, held recently
at the Georges Petit galleries. The
work of this artist, which I under-
stand will also be seen in London
shortly, makes its appeal by the
excellent quality of the drawing,
the richness in the handling of
colour, and the absolute originality
of the artist’s conception. It differs
fundamentally, both in feeling
and in technique, from all the
productions of our western artists ;
for although Fyzee Rahamin has
lived and worked in Europe, he
has not failed to keep intact his
individuality.
Among the works exhibited,
there was a series of a dozen
water-colours of admirable finish
symbolising certain melodies in
Indian music. Six of these airs
are associated with gods, the six
others with goddesses. To each
god-tune, called a Raag, there is
a corresponding goddess-tune,
(Raagnis). These sacred melodies
are appointed to be sung at certain
seasons of the year and certain
hours of the day, and there is
attributed to them a mystic in-
fluence over the elements of nature.
The “Raag” here reproduced
is the “ Megh Raag,” and when
sung or played according to the
rites in the proper season, it brings
forth a storm and torrents of rain.
“MEGH raag” (THE CLASSICAL INDIAN GOD-TUNE WHICH EXCITES
THE ELEMENT OF WATER IN NATURE). BY S. FYZEE RAHAMIN
I48
Foreigners contributed largely to the success of
the exhibition, and I would mention particularly in
this connection the works of Bartlett, the interiors
of Walter Gay, and the effects of light of Favai.
Fernand Khnopff showed two heads of remarkable
character, M. Henry Cassiers some brightly coloured
and high-toned views of Holland, M. Frantz
Charlet some dexterous racing scenes, and finally
M. Alexandre Marcette again evinced his right to
be counted among the best marine-painters of the
modern school. His Scene de peche on the Lower
Scheldt is an admirable vision of sea and sky.
Besides this series, Rahamin’s exhibition con-
tained some admirable visions of his country, and
also certain remarkable portraits, having the finish
of the most beautiful of Persian miniatures, as well
as a very personal accent of their own. One of these
portraits was that of Shahindo (Begum Fyzee
Rahamin), the wife of the artist, and another very
remarkable one was that of Moulana Shibili, the
great Indian poet, who writes also in the Persian
tongue, and who is the greatest living authority in
India on the Mohammedan history. H. F.
It is no secret that the exhibition of Arts and
For the first time, as far I am aware, the work ot
a contemporary Indian artist has been shown in
Paris, in the exhibition, which has been studied with
interest by connoisseurs and painters alike, of works
Crafts organised by the British Board of Trade last
year at Ghent, created a very favourable impression
on the many French visitors who saw it. Hence
the announcement that on the invitation of the
by Fyzee Rahamin, held recently
at the Georges Petit galleries. The
work of this artist, which I under-
stand will also be seen in London
shortly, makes its appeal by the
excellent quality of the drawing,
the richness in the handling of
colour, and the absolute originality
of the artist’s conception. It differs
fundamentally, both in feeling
and in technique, from all the
productions of our western artists ;
for although Fyzee Rahamin has
lived and worked in Europe, he
has not failed to keep intact his
individuality.
Among the works exhibited,
there was a series of a dozen
water-colours of admirable finish
symbolising certain melodies in
Indian music. Six of these airs
are associated with gods, the six
others with goddesses. To each
god-tune, called a Raag, there is
a corresponding goddess-tune,
(Raagnis). These sacred melodies
are appointed to be sung at certain
seasons of the year and certain
hours of the day, and there is
attributed to them a mystic in-
fluence over the elements of nature.
The “Raag” here reproduced
is the “ Megh Raag,” and when
sung or played according to the
rites in the proper season, it brings
forth a storm and torrents of rain.
“MEGH raag” (THE CLASSICAL INDIAN GOD-TUNE WHICH EXCITES
THE ELEMENT OF WATER IN NATURE). BY S. FYZEE RAHAMIN
I48