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SHRINE OF BAHUBALI Print - Limited Edition of 10

Jerry DiFalco

United States

Printmaking, Aquatint on Paper

Size: 16 W x 20 H x 1 D in

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1923 Views
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About The Artwork

THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (16 inch x 20 inch, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Black); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang. Framing includes a brown craft paper backing. A wall hook and nail are included. Editions III and IV 2ill contain only five prints each and will be executed in 2019. THREE ZINC PLATES STACKED IN A VERTICAL DESIGN were used to produce this image. EACH PLATE MEASURES 4” HIGH BY 6” WIDE. THE PRINT SIZE IS 22” (55.9 cm) HIGH BY 10” (25.4 cm) WIDE. Aquatint, Intaglio, Drypoint, Chine collé. Oil-based etching ink on RivesBFK paper with mulberry bark Thai color paper overlay. This work is based on a photograph taken by Edmund David Lyon in 1886 and entitled, “Views in Mysore. Shevana Bala Gola [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. This shrine is extremely scared to the followers of JAINISM, traditionally known as Jaina dharma, an Indian religion that prescribes a path of non-violence towards all living beings. The Shravanabelagola temple is located on top of Vindyagiri hill, about 50 km Southeast of Hassan, and about 150 km Southwest of Bangalore. It is a famous centre of pilgrimage 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 King Rachamalla’s army. Shravanabelagola means literally 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 carved 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 statue is considered to be the largest monolithic structure in the world and sculpted out of grey granite. It dominates the landscape around the area and devotees come to visit Shravanabelagola temple from near and far. Interestingly, the temple is also popular with Hindus as well. But the biggest event at Shravanabelagola temple is the Mahamastakabisheka, an anointing festival that takes place every 12 years when 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 then showered with silver and gold coins. Pilgrims gather to witness the festivities and take part in them. The next Mahamastakabisheka is scheduled for 2018.

Details & Dimensions

Printmaking:Aquatint on Paper

Artist Produced Limited Edition of:10

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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