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SHRINE OF BAHUBALI SURROUNDED BY VIOLET MISTS - Limited Edition 2 of 4 Print

Jerry DiFalco

United States

Printmaking, Aquatint on Paper

Size: 16 W x 20 H x 1 D in

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About The Artwork

Multiple-plate etching. This Edition (Edition II) actually has ten prints, four of which are available for sale. It was created in late 2014. Editions III & IV if FOUR will be created in 2020 and will be limited to only four prints per edition. PRINT FORMAT: VERTICAL TRIPTYCH. THREE ZINC PLATES STACKED IN A VERTICAL TOTEM DESIGN). This print is number TWO of TEN in Edition TWO. INFORMATION ON SIZES OF IMAGE, ETCHING PLATES, PRINT, FRAME: EACH PLATE MEASURES 4 INCHES, OR 10.160 cm, HIGH BY 6 INCHES, OR 15.240 cm WIDE. THE OVERALL IMAGE MEASUREMENTS, WHICH INCLUDE THE SPACES BETWEEN THE TOP, MIDDLE, AND BOTTOM PLATES, IS ABOUT 12.5 INCHES, OR 31 cm, HIGH BY 6 INCHES WIDE, OR 15.240 cm. THE FRAME SIZE IS 20 INCHES HIGH BY 16 INCHES WIDE. This ETCHING employs the studio techniques of Aquatint, Intaglio, and Drypoint. The media includes a blend of oil base etching ink from France printed on RivesBFK white paper, also French. I hand printed this edition at The Center for Works on Paper, Fleisher Art Memorial, Open Studio in Etching, Philadelphia, Pennsylvania, USA. This triple zinc plate etching was inspired by a photograph taken by Edmund David Lyon in 1886 and entitled, Views in Mysore, Shevana Bala Gola, or Sravana Belgola, The Jain Statue. I found the photo while searching imagery at THE ONLINE GALLERY of The British Library http://www.bl.uk/. Bahubali is The First Jain Saint to attain enlightenment, and this shrine is quite holy to the followers of JAINISM, traditionally known as Jaina dharma, an India based religion that prescribes a path of nonviolence towards all living beings. Shravanabelagola temple is located in Hassan district on top of Vindyagiri hill, about 50 km Southeast of Hassan, and about 150 km Southwest of Bangalore. It is a famous pilgrimage centre for Jains, and contains a massive statue of Bahubali, the first Jain Tirthankara to have gained salvation. The statue is more than 1000 years old and was erected in 983 AD by Chamundaraya, a general in the army of King Rachamalla. Shravanabelagola literally means the white tank of the ascetic and gets its name from the tank below which looks silvery, while the reference to ascetic is Bahubali. Shravanabelagola temple is approached by climbing more than 600 steps, which have been hewn out of the rocky surface of the hillock. On entering the temple on the peak, visitors are usually awe struck by the towering statue of Bahubali, who is also known as Gomateshwara, depicted unclothed in the standing position. The 58 foot high sculpture is considered to be the largest monolithic structure in the world and carved out of grey granite. It dominates the landscape around the area and devotees come from all around the world. Interestingly, the temple is also popular with Hindus as well. A most exciting and sacred event at Shravanabelagola temple is the Mahamastakabisheka, a ritual and festival that happens every twelve years. During this Anointing Festival scaffolding is erected and the statue of Bahubali is given a sacred bath with holy water, milk, curd, honey, ghee, turmeric paste, sandalwood paste and other sacred ingredients; it is then showered with silver and gold coins. Pilgrims gather to witness the festivities and take part in them. The last Mahamastakabisheka iwas held in 2018. This is the SECOND Edition of FOUR, and each edition is limited to ten prints. The first edition is executed in black ink on white paper with a mulberry bark dyed paper from Thailand. This overlay is called Chine colle. PRICE INCLUDES A FRAME AND ARCHIVAL MAT. PRICE ALSO INCLUDES SHIPMENT COSTS.

Details & Dimensions

Printmaking:Aquatint on Paper

Artist Produced Limited Edition of:5

Size:16 W x 20 H x 1 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.

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