#baljitchadha

[art-now-india]

BOUQUET FOR YOU ONLY, Baljit Chadha

A Rose is a Rose is a Rose is a Rose (Gertrude Stein, from the poem Sweet Emily, Geography and Plays, 1913) A contemporary, timeless perspective of a subject dearly beloved to artists, poets, horticulturalists and beings throughout epochs, flora depictions range from botanical illustration (for example, the German Baroque naturalist and illustrator Maria Sybill Merian, d. 1717) to Old Master still-lives, from illuminated manuscripts and miniature paintings, to classic East Asian ink paintings, to Surrealism, Fauvism, to pop-art and graphic media. Flowers have always fascinated artists owing to their pureness, and provided a wonderful way for them to express themselves. Traditionally, flowers in life and in art imbue their appreciators with symbolic sense. The still-life in this day and age has lost much of its memento mori or vanitas meaning, and many contemporary artists shallowly forsake the intense discipline and attention to detail required by this genre for mere technical slights of hand and machine. Fortunately, there are still devotees of the love for the rose! In the floral work of Baljit Chadha, his pathway began with basic flowers, in pen and ink due to the inspiration of classic sumi-e (ink painting) during his sojourn in Japan. He understood this as the simple, basic embrace of nature –“to pluck a flower and paint it!” Pursuing this spirit further, he declares that “I do not believe in straight lines, rather a spontaneous use of colour.” He is more known in artistic circles to date in India for his abstract paintings. This series, thus introduces his 11,000 flower oeuvres. Earlier he added colour and then fexicol to bind the ink. Currently, he has incorporated the following materials into his process: watercolour, acrylic paint, as well as oil and wax pastels. This melange enables a broader depiction of the living element of his floral subjects, such that these blossoms spring to life off the standard sized Chinese imported paper upon which he steadfastly works. From the most mannered to the most abstract, passing through each field, medium, technique, genre and school of painting, the realms of flora bespeak individual expression. Such iconic images abound as the Iris and the Sunflowers by Vincent van Gogh (1853-1890), the Water Lilies of Claude Monet (1840-1926), the pop art flowers based on photographs with a simple motif by Andy Warhol (1928-1987), and fecund depictions by Georgia O’Keefe (1887-1986) who synthesized abstraction and representation in her myriad paintings of natural elements. One of the great painters of flowers, the Belgian painter Pierre-Joseph Redoute (1759- 1840), court painter for Marie Antoinette, eventually emphasized the aesthetic over botanical accuracy or depiction, having been inspired by the Dutch masters (Jan Breughel and Rachel Ruysch). Ruysch (1644-1750) was the most celebrated classical female flower painter. [For reference, the seminal tomes by Sam Segal of Flowers and Nature: Netherlandish Flower Painting of Four Centuries (1991) and Jan van Huysum, 1682-1749: The Temptation of Flora (2007)] In China, bird and flower painting constituted a special genre from the 9th century onwards, rising to great levels in the Song dynasty (960-1279 A.D.). It heralded a marvellous deployment of ink and brush. The individual finesse of the artist conveyed the spirit (qi) of plum blossoms, peonies, chrysanthemums, bamboo, pines and cypresses, each symbolic of aspects of existence. In 2004, the BBC Four hosted a four part series entitled Painting Flowers examined personal artistic themes associated with different species/genres of flora. The following year, the Flower Myth exhibition in Switzerland at the Fondation Beyeler examined the evolving approach to floral representation from the late 19th century to the present day. Ulf Küster, one of the two curators of the exhibition, maintains that "Any painter reveals his true self by painting flowers.” Chadha incorporates his personal embrace of abstraction within the depiction of the ‘divine flower’. Thereby extending the spatial component and fertilising the surrounding air with colour and stroke. His idiosyncratic method, reminiscent of spin/ action painting, is to squeeze the paint from plastic bottles. A pansy, gladiolas, lilies, asters, hyacinth, to cite but a few, each painting is unique. In spirit they are homage to Chadha’s passion to paint. Just as for the Old Master painters of still-lives and floral subjects, each flower imparts his personal connection and interpretation. The Mother of the Sri Aurobindo Society also penned a tome on the significance and meaning of flowers. Chadha earlier had photographed flowers all over the world, as part of his journeys and daily life. The kinetic nature of his paintings departs from the photographic lens. In consideration of the palette and use of materials, Chadha’s works bear a shimmering sensibility akin to that of stained glass, a sort of translucence reflecting his rhythm of life. One which he shares with the facets of nature he so consecrates on a daily basis, a true immersion in this realm of his natural imagination. For Chadha, this lexicon of intimate and universal beauty celebrates the diversity and complex, ever startling web of interconnectivity of life. At its core, a true marvelling of the adavaita, non-duality of humanity and the natural world which surrounds us, one which we must heed to protect and admire. Elizabeth Rogers February 2011

https://www.saatchiart.com/art/Painting-BOUQUET-FOR-YOU-ONLY/392880/2600721/view

[art-now-india]

ETERNAL CIRCLE-DEEPWITHIN, Baljit Chadha

LEARNT BASICS OF ART IN JAPANFROM RENOUNED ARTIST MS OHTA MIYOKO.The Eternal Circle .Circle is an old symbol. The earliest humans looked up the sky and found the orb of fire giving them light and warmth. Sun for them was a mystical power, a god. They saw its movement from morning in the east and to the west in the evening. Next day again it came up in the sky. They regarded it as an omnipresent power that repeated its emergence with cyclical regularity. There was no beginning or end to the sun for them. It was the sun that allowed their imagination to look in the circular form endlessness, infinity. Thus quite early circle became a symbol of completeness, eternity and also rejuvenation. Circle also denoted the Nature. They found seasons changing and then again re-emerging with regularity. The seasons became the circle of Nature. In winter all greenery vanished and then when Spring came life stated flourishing once again. The great Mohenjo daro-Harrappan civilization had a script as yet un-deciphered. They often had a symbol of a circle with six spokes inset. What it represented is not known. From prehistory to history circle gained greater importance and came to symbolise the cycle of birth and death and also the soul�s eternity. In the rainbow spectrum of Indian philosophy, religion and culture, circle has been used as a varied symbol. The cycle of birth and rebirth is broken only through moksha. King Ashok propagated Buddha�s path to enlightenment through Dharm Chakra�a wheel with eight spokes of a chariot. I feel the wheel was invented with inspiration from sun or moon. Hindu philosophy talks about chakras. It is believed that there are seven chakras or source of light located within the subtle body. The Tantra cult uses the concept of chakras for awakening kundalini. The chakras were illustrated with images and this lead to the development of tantric art. Ajit Mukherjee in his seminal book The Art of Tantra helped to create in early sixties a movement of tantric art in India. But it did not last very long being bound by a strict and regulated expression as per dictates of Tantra iconography. Baljit Chadha is an artist with deep roots in Asian cultural traditions which includes India and especially Japan. Long years spent in Japan drew his creative interest to Japanese style painting. With great felicity he paints Nature and flowers. That is but only one aspect of his creative forays. Here I am concerned with his spiritual focus on the circle as a means of artistic expression. To paint with spiritual symbolism requires an inner search, equanimity, and a feel for the timeless. Paintings without this kind of attitude will not carry the dynamics of the spiritual; they will be like empty shells. Baljit paints with the inner dynamics. His present works are an effort to capture the metaphysical. His creativity unfolds through the circle in a kind of inner automatism. You have to understand his oeuvre in the context of his personal search for righteousness. I wish to bring to your notice the spiritual umbilical of his personal search. It is pertinent to know the Indian philosophy of life and Beyond. In Sikhism karma or kirat is seen as the vehicle to free us from the cycle of birth and death and to have mukti. One has to free oneself from pride, lust, anger, greed, self-centricity, maya and moh (attachment) and to devote life to sewa�service to mankind. Bhagavad Gita 2.27 also says, "One who has taken his birth is sure to die, and after death one is sure to take birth again. Therefore, in the unavoidable discharge of your duty, you should not lament." Thus cycle of life, death and rebirth are essential parts of thought process in India. Baljit�s paintings have varied moments of inspiration. In some works the circle is a serene quiet peaceful disc emitting soft tones and leading you to a feeling of inner joy. This you find in his work 2380. This work has a churning of the inner space and a rotation suggesting the cycle of the world or universe. The core of the painting appears to be a mystical kernel beyond human mind and intellect. In yet another work there are concentric circles and the core is a black bindu. Here the circles appear to symbolise the simultaneous working of different cycles of worldly activities and attachments. You get out of one circle and you are caught in another and so on ad infintum. (2486). You must notice the use of free moody lines that cross the circles and daubs of congealed colour. Baljit use this inner automatism where he does not seem to guide his hand or brush consciously. A lurking desire to be free of the material, bodily, intellectual and to allow the magic of anhad to take over is what I see in his use of these Zen like child�s scribbles. Baljit has used these idiosyncratic free floating lines in most of his works. These lines seem at times to �obstruct� your view of the pure circle. The eternal spiritual that the circle represents is often made hazy by our infatuation with the maya. At other times he uses tumbling interacting images in embellished gold reminding of the drama of life that has its own breathtaking charm. In yet another painting there is a linear window-like overlay through which you see the circle of the infinite. Here you become aware of the beauty of the spiritual that shines in cosmic blue colour (2376). Spiral is another important symbol that is our journey to a higher reality of being. Sometimes the luminescent circle has a spiral running over it�the desire to reach the ananata through our soaring spirit (2471, 2476). The subconscious doodles that are used sometimes have a rhythm that seems to evoke the universe and the movement of stellar constellations. Many painting have a centre or a kernel of the circle that seems to enter infinity and mystical Beyond. Observe that the centre of the circles is always full of light to make you think of the spiritual aura and awe of unknown. Baljit has his spiritual awakening in the world and in the flowers that he so lovingly paints. On an art related visit to Singapore I found the overflowing joy that he felt while visiting the botanical garden with different exotic flowers in bloom. This you see in the beautiful painting of an ethereal blooming blue flower. He paints the golden yellow stigma of the plant reminding you of the mystical centre in the circle. The flower opens with immense energy straight in your face, it mesmerizes you, holds you in its clasp and if you focus long on its centre you are drawn in it. In a different way his painting reminds me of Van Gogh�s intense sunflowers that emit a spiritual intensity. You find in the world what you want to see in it and not what it has. Baljit finds what he is looking for in the circular forms�be it a round flower, sun, or the eternal soul or the cycle of life death and rebirth or the planets and stars in the universe. Baljit looks at the eternal drama of the universe through his symbolic circle. I may here quote from a poem from the great Indian saint and poet Kabir that is also apt for Baljit�s art� I have known in my body the sport of the universe: I have escaped from the error of this world. The inward and the outward are become as one sky, the Infinite and the finite are united: I am drunken with the sight of this All! This Light of Thine fulfils the universe: the lamp of love that burns on the salver of knowledge. Kab�r says: "There error cannot enter, and the conflict of life and death is felt no more." Viktor Vijay KumarI LOVE PHOTOGRAPHY. I TAKEPHOTOGRAPHS OF FLOWERS AND CONVERT THEM IN TO MY PAINTINGS I have created a new technique called (FLOAT ON COLORS) .Using mix media on paper. I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. My journey in art continued and I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. Where my art journey will take me next I leave to higher forces . I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and CREATED A WORLD RECORD The exhibition with the most paintings of flowers in the world www.baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&video_id=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 This certificate is given by WORLD RECORD ASSOCIATION on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and donated entire collection to Smile Foundation New Delhi, for a girl child education. This certificate is given by WORLD RECORD ASSOCIATION COLORS MAY VARY

https://www.saatchiart.com/art/Painting-ETERNAL-CIRCLE-DEEPWITHIN/392880/2561187/view

[art-now-india]

WALL OF EXOTIC FLOWERS, Baljit Chadha

FLOWERMAN CREATED A WORLD RECORD http://baljitchadha.blogspot.in The exhibition with the most paintings of flowers in the world This certificate is given by WORLD RECORD ASSOCIATION / LIMCA BOOK OF RECORDS-INDIA -2014 Baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&videoid=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 MY NEW SERIES ZEN MOKSHA FLOWERS/ MANN FLOWERS/MIYOKO FLOWERS /BALJIT’S IKEBANA A PURE HEAVENLY GIFT FOR YOU FRIENDS N RELATIVES • THESE ZEN-MOKSH FLOWERS ARE CREATED WITH A SENSE OF GIVING INNER PEACE,TRANQUILITY, HAPPINESS, SOLACE AND A SENSE OF FULFILMENT, ONENESS WITH THE SUPREME. • I HAVE TRIED TO BRING THEASE ELEMENTS IN MY PAINTINGS,THE FLOWERS YOU SEE DON’T EXISTS, THE MOVMENTS OF MY HANDS,FLOW OF COLORS ARE THE GIFT OF ALMIGHTY GOD. • ZEN-JAPANEASE ZEN IS A SPIRTUAL INSPIRATION; THEY ARE PURE EXPRESSION OF ARTIST’S SPIRITUAL AWARENESS. JAPANEASE ZEN ART HAS ALWAYS BEEN MEANT TO TOUCH PEOPLE FAR AND WIDE. ZEN PAINTINGS ARE OF GREAT POWER, PURE, AND TOUCHING DEEP IN THE HEART, MIND AND SOUL. • MOKSHA- Freedom from life circle. Moksha is attained by dis identification with the body and mind, which are temporary and subject to change, and realization of our true identity Moksh is positive concept in two important ways. First it stands for the realization of the ultimate Reality, a real enlightenment. The mukta is not just free from this or that, It is the master of sense and self, fearless and devoid of rancor, upright yet humble, treating all creatures as if they were he himself, wanting nothing, clinging to nothing. In Sikhism one rises from the life of do’s and don'ts to that of perfection — a state of "at-one-ment" with the All-self. Secondly, the mukta is not just a friend for all, he even strives for their freedom as well. He no longer lives for himself, he lives for others. • APPRICIATIONS • Very interesting work Baljit, the spontaneity, the original technique and the spiritual journey! • i hear music from your flower paintings. What a happy movement! • Baljit! I appreciate that! You have a grand body of work here that shows me some Van Gogh, Miro and Monet and countless others within your style and creativeness. A magnificent talent to behold and appreciate! Keep it up! • I like the original exposition of your beautiful artwork. • Beautiful, cheerful, great colors! • Very fine expressive all Your floral art, not usual • Simply beautiful .It is with great pride and pleasure that I am FEATURING your artwork this week on our special edition of our TOP FEATURES on the Wisconsin Flowers and Scenery Homepage. Your work shows expertise and love in the presentation of this fine art piece. Thanks much for sharing your works with us and being a member of our family of friends and fine artists in our WFS group. Aboard. Liked, Forever .This series is enchanting Baljit, all wonderful visions. Masterful use of your colors creating serene energy. .Baljit, I love these stalks of beauty is a true honor and privilege to FEATURE this creative and wondrous piece of art work on the WFS site, from one of our honored and prestigious members. This awesome piece of beauty is what we are looking for to promote and let others see, including other artists and potential customers, as your works are some of the Best of the Best in my Book! Thanks much for sharing this beauty with us. Liked Forever, Elvisty and love the colors of the floral stems. • • PROFILE • Baljit Singh Chadha • • I grew up as a curious, investigative child helped by my parents’ encouragement to explore and to learn without fear and hesitation. The wonder and awe in God’s creation always held me spell bound. I ploughed my curiosity through love of creation and creativity. At a young age of nineteen years I sailed to a land called Japan that has for long centuries been spiritually bound with India. Like a sleepy rose the petals of my creativity opened as I drank like a honey-bee the nectar of ancient and highly evolved culture of Japan. Japanese art of painting is high meditation in feel and in expression. My Japanese godmother Ms Otha Miyoko a great Japanese artist was my first teacher. She affected my style and expression early on. My journey in art continued and I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. In my art I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. I created a new technique called ( FLOAT ON COLORS). My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and donated entire collection to Smile Foundation New Delhi, for a girl child education. Where my art journey will take me next I leave to higher forces. Presently I offer you ZEN MOKSHA FLOWERS /MANN FLOWERS/MIYOKO FLOWERS AND WALL OF HEAVENLY FLOWERS as my next creations. Group Shows;- Newyork, Singapore, • Canvas Art Gallery , Nehru Place, Delhi 2006 • Studio Vasant, Vasant Vihar New Delhi, 2006, 2007 • Prabhat NGO, New Delhi, 2007 • Nithari, Canvas Art Gallery, 2007 • Sahaj Sankalp, Habitat Centre, New Delhi , 2008 • Aspiration, Charity show at Epicenter Gurgaon, 2008 • New Finds, Singapore, 2008 • Group Show at World Fine Art Gallery, New York, 2008 • Reverberation Habitat Centre, New Delhi, 2008 • Art for Prabhat Presents 'The Eternal Circle' MAY-2009 • Art Ponixs Mumbai-2013 Solo Show • Studio Vasant, New Delhi, 2006,2007 • Studio Vasant, New Delhi 2008 • DLF Mall, Saket, New Delhi 2009 • STUDIOVASANT,NEWDELHI • STUDIOVASANT,NEWDELHI-2011 • STUDIOVASANT,NEWDELHI-2012 • WALL OF DEVINE FLOWERS-ZORBA,NEWDELHI 2012(world record) • WALL OF EXOTIC FLOWERS-EPI CENTRE GURGAON-2013 • HOME& interior expo, EPI centor.GURGAON-2013 • Independence day Celebration-EPI CENTRE-2013 • Art-Phonix-NEHRU CENTRE MUMBAI-2014 Artist friend Baljit S. Chadha has a lasting honeymoon with flowers in his artistic expression. He paints sometimes with frugality of a Zen master. I can understand that as he had his early training in painting in Japan where he lived and studied as a teenager and had the benefit of the tutelage of great Japanese masters. But his present series on flowers nonplussed me with wonder and joy. He has in the present works a new dimension and a new personality of flowers that I have not seen before. This is because he has distilled the expression from his inner joy and happiness that is the essence of flowers per se and not from their forms. His flowers have a nearly expressionistic, abstract persona. He uses a watercolour like free flow of colour and tonalities to invest his work with a sensual poetry. His works are acrylic on paper and therefore amenable to idiosyncratic overflows that lends a fresh charm to his oeuvre. Another landmark quality of Baljit’s new works is that they are rendered in fiery shiny glazes. As we know glazes are traditionally done in oil paint medium. But Baljit has worked them with acrylic colour and without the use of pure impasto. The colours diluted with water float and embrace each other and still have lustrous intensity. Baljit Chadha has created a fresh stylistic edifice and his creative expression jumps from the visible-familiar to spiritually felt flowers in a divine Eden. Viktor Vijay Kumar Director Curator European Artists’ Association Germany • ART IS IMAGINATION/ART IS DREAMING/ART IS INOVATION/ART IS THINKING/ART IS CRAETIVITY/ART IS EMOTIONS/ART IS SUPPORT/ART IS COMBINATION OF MATERIALS/ART IS CONCEPT/ART IS TO DO SOME THING DIFFERENT/ART IS TO EXPLORE AND ART IS FOR EVERYONE TO DO AND ENJOY All images © Baljit Chadha All rights reserved. Copying and/or distributing without my permission is strictly prohibited.

https://www.saatchiart.com/art/Painting-WALL-OF-EXOTIC-FLOWERS/392880/2559933/view

[art-now-india]

ETERNAL CIRCLE-GOLDEN FORTUNE TREE, Baljit Chadha

LEARNT BASICS OF ART IN JAPANFROM RENOUNED ARTIST MS OHTA MIYOKO.The Eternal Circle .Circle is an old symbol. The earliest humans looked up the sky and found the orb of fire giving them light and warmth. Sun for them was a mystical power, a god. They saw its movement from morning in the east and to the west in the evening. Next day again it came up in the sky. They regarded it as an omnipresent power that repeated its emergence with cyclical regularity. There was no beginning or end to the sun for them. It was the sun that allowed their imagination to look in the circular form endlessness, infinity. Thus quite early circle became a symbol of completeness, eternity and also rejuvenation. Circle also denoted the Nature. They found seasons changing and then again re-emerging with regularity. The seasons became the circle of Nature. In winter all greenery vanished and then when Spring came life stated flourishing once again. The great Mohenjo daro-Harrappan civilization had a script as yet un-deciphered. They often had a symbol of a circle with six spokes inset. What it represented is not known. From prehistory to history circle gained greater importance and came to symbolise the cycle of birth and death and also the soul�s eternity. In the rainbow spectrum of Indian philosophy, religion and culture, circle has been used as a varied symbol. The cycle of birth and rebirth is broken only through moksha. King Ashok propagated Buddha�s path to enlightenment through Dharm Chakra�a wheel with eight spokes of a chariot. I feel the wheel was invented with inspiration from sun or moon. Hindu philosophy talks about chakras. It is believed that there are seven chakras or source of light located within the subtle body. The Tantra cult uses the concept of chakras for awakening kundalini. The chakras were illustrated with images and this lead to the development of tantric art. Ajit Mukherjee in his seminal book The Art of Tantra helped to create in early sixties a movement of tantric art in India. But it did not last very long being bound by a strict and regulated expression as per dictates of Tantra iconography. Baljit Chadha is an artist with deep roots in Asian cultural traditions which includes India and especially Japan. Long years spent in Japan drew his creative interest to Japanese style painting. With great felicity he paints Nature and flowers. That is but only one aspect of his creative forays. Here I am concerned with his spiritual focus on the circle as a means of artistic expression. To paint with spiritual symbolism requires an inner search, equanimity, and a feel for the timeless. Paintings without this kind of attitude will not carry the dynamics of the spiritual; they will be like empty shells. Baljit paints with the inner dynamics. His present works are an effort to capture the metaphysical. His creativity unfolds through the circle in a kind of inner automatism. You have to understand his oeuvre in the context of his personal search for righteousness. I wish to bring to your notice the spiritual umbilical of his personal search. It is pertinent to know the Indian philosophy of life and Beyond. In Sikhism karma or kirat is seen as the vehicle to free us from the cycle of birth and death and to have mukti. One has to free oneself from pride, lust, anger, greed, self-centricity, maya and moh (attachment) and to devote life to sewa�service to mankind. Bhagavad Gita 2.27 also says, "One who has taken his birth is sure to die, and after death one is sure to take birth again. Therefore, in the unavoidable discharge of your duty, you should not lament." Thus cycle of life, death and rebirth are essential parts of thought process in India. Baljit�s paintings have varied moments of inspiration. In some works the circle is a serene quiet peaceful disc emitting soft tones and leading you to a feeling of inner joy. This you find in his work 2380. This work has a churning of the inner space and a rotation suggesting the cycle of the world or universe. The core of the painting appears to be a mystical kernel beyond human mind and intellect. In yet another work there are concentric circles and the core is a black bindu. Here the circles appear to symbolise the simultaneous working of different cycles of worldly activities and attachments. You get out of one circle and you are caught in another and so on ad infintum. (2486). You must notice the use of free moody lines that cross the circles and daubs of congealed colour. Baljit use this inner automatism where he does not seem to guide his hand or brush consciously. A lurking desire to be free of the material, bodily, intellectual and to allow the magic of anhad to take over is what I see in his use of these Zen like child�s scribbles. Baljit has used these idiosyncratic free floating lines in most of his works. These lines seem at times to �obstruct� your view of the pure circle. The eternal spiritual that the circle represents is often made hazy by our infatuation with the maya. At other times he uses tumbling interacting images in embellished gold reminding of the drama of life that has its own breathtaking charm. In yet another painting there is a linear window-like overlay through which you see the circle of the infinite. Here you become aware of the beauty of the spiritual that shines in cosmic blue colour (2376). Spiral is another important symbol that is our journey to a higher reality of being. Sometimes the luminescent circle has a spiral running over it�the desire to reach the ananata through our soaring spirit (2471, 2476). The subconscious doodles that are used sometimes have a rhythm that seems to evoke the universe and the movement of stellar constellations. Many painting have a centre or a kernel of the circle that seems to enter infinity and mystical Beyond. Observe that the centre of the circles is always full of light to make you think of the spiritual aura and awe of unknown. Baljit has his spiritual awakening in the world and in the flowers that he so lovingly paints. On an art related visit to Singapore I found the overflowing joy that he felt while visiting the botanical garden with different exotic flowers in bloom. This you see in the beautiful painting of an ethereal blooming blue flower. He paints the golden yellow stigma of the plant reminding you of the mystical centre in the circle. The flower opens with immense energy straight in your face, it mesmerizes you, holds you in its clasp and if you focus long on its centre you are drawn in it. In a different way his painting reminds me of Van Gogh�s intense sunflowers that emit a spiritual intensity. You find in the world what you want to see in it and not what it has. Baljit finds what he is looking for in the circular forms�be it a round flower, sun, or the eternal soul or the cycle of life death and rebirth or the planets and stars in the universe. Baljit looks at the eternal drama of the universe through his symbolic circle. I may here quote from a poem from the great Indian saint and poet Kabir that is also apt for Baljit�s art� I have known in my body the sport of the universe: I have escaped from the error of this world. The inward and the outward are become as one sky, the Infinite and the finite are united: I am drunken with the sight of this All! This Light of Thine fulfils the universe: the lamp of love that burns on the salver of knowledge. Kab�r says: "There error cannot enter, and the conflict of life and death is felt no more." Viktor Vijay KumarI LOVE PHOTOGRAPHY. I TAKEPHOTOGRAPHS OF FLOWERS AND CONVERT THEM IN TO MY PAINTINGS I have created a new technique called (FLOAT ON COLORS) .Using mix media on paper. I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. My journey in art continued and I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. Where my art journey will take me next I leave to higher forces . I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and CREATED A WORLD RECORD The exhibition with the most paintings of flowers in the world www.baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&video_id=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 This certificate is given by WORLD RECORD ASSOCIATION donated entire collection to Smile Foundation New Delhi, for a girl child education. original colors may wary little from photographs

https://www.saatchiart.com/art/Painting-ETERNAL-CIRCLE-GOLDEN-FORTUNE-TREE/392880/2499147/view

[art-now-india]

WALL OF EXOTICS FLOWERS-TOYOU, Baljit Chadha

FLOWERMAN CREATED A WORLD RECORD http://baljitchadha.blogspot.in The exhibition with the most paintings of flowers in the world This certificate is given by WORLD RECORD ASSOCIATION / LIMCA BOOK OF RECORDS-INDIA -2014 Baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&videoid=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 MY NEW SERIES ZEN MOKSHA FLOWERS/ MANN FLOWERS/MIYOKO FLOWERS /BALJIT’S IKEBANA A PURE HEAVENLY GIFT FOR YOU FRIENDS N RELATIVES • THESE ZEN-MOKSH FLOWERS ARE CREATED WITH A SENSE OF GIVING INNER PEACE,TRANQUILITY, HAPPINESS, SOLACE AND A SENSE OF FULFILMENT, ONENESS WITH THE SUPREME. • I HAVE TRIED TO BRING THEASE ELEMENTS IN MY PAINTINGS,THE FLOWERS YOU SEE DON’T EXISTS, THE MOVMENTS OF MY HANDS,FLOW OF COLORS ARE THE GIFT OF ALMIGHTY GOD. • ZEN-JAPANEASE ZEN IS A SPIRTUAL INSPIRATION; THEY ARE PURE EXPRESSION OF ARTIST’S SPIRITUAL AWARENESS. JAPANEASE ZEN ART HAS ALWAYS BEEN MEANT TO TOUCH PEOPLE FAR AND WIDE. ZEN PAINTINGS ARE OF GREAT POWER, PURE, AND TOUCHING DEEP IN THE HEART, MIND AND SOUL. • MOKSHA- Freedom from life circle. Moksha is attained by dis identification with the body and mind, which are temporary and subject to change, and realization of our true identity Moksh is positive concept in two important ways. First it stands for the realization of the ultimate Reality, a real enlightenment. The mukta is not just free from this or that, It is the master of sense and self, fearless and devoid of rancor, upright yet humble, treating all creatures as if they were he himself, wanting nothing, clinging to nothing. In Sikhism one rises from the life of do’s and don'ts to that of perfection — a state of "at-one-ment" with the All-self. Secondly, the mukta is not just a friend for all, he even strives for their freedom as well. He no longer lives for himself, he lives for others. • APPRICIATIONS • Very interesting work Baljit, the spontaneity, the original technique and the spiritual journey! • i hear music from your flower paintings. What a happy movement! • Baljit! I appreciate that! You have a grand body of work here that shows me some Van Gogh, Miro and Monet and countless others within your style and creativeness. A magnificent talent to behold and appreciate! Keep it up! • I like the original exposition of your beautiful artwork. • Beautiful, cheerful, great colors! • Very fine expressive all Your floral art, not usual • Simply beautiful .It is with great pride and pleasure that I am FEATURING your artwork this week on our special edition of our TOP FEATURES on the Wisconsin Flowers and Scenery Homepage. Your work shows expertise and love in the presentation of this fine art piece. Thanks much for sharing your works with us and being a member of our family of friends and fine artists in our WFS group. Aboard. Liked, Forever .This series is enchanting Baljit, all wonderful visions. Masterful use of your colors creating serene energy. .Baljit, I love these stalks of beauty is a true honor and privilege to FEATURE this creative and wondrous piece of art work on the WFS site, from one of our honored and prestigious members. This awesome piece of beauty is what we are looking for to promote and let others see, including other artists and potential customers, as your works are some of the Best of the Best in my Book! Thanks much for sharing this beauty with us. Liked Forever, Elvisty and love the colors of the floral stems. • • PROFILE • Baljit Singh Chadha • • I grew up as a curious, investigative child helped by my parents’ encouragement to explore and to learn without fear and hesitation. The wonder and awe in God’s creation always held me spell bound. I ploughed my curiosity through love of creation and creativity. At a young age of nineteen years I sailed to a land called Japan that has for long centuries been spiritually bound with India. Like a sleepy rose the petals of my creativity opened as I drank like a honey-bee the nectar of ancient and highly evolved culture of Japan. Japanese art of painting is high meditation in feel and in expression. My Japanese godmother Ms Otha Miyoko a great Japanese artist was my first teacher. She affected my style and expression early on. My journey in art continued and I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. In my art I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. I created a new technique called ( FLOAT ON COLORS). My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and donated entire collection to Smile Foundation New Delhi, for a girl child education. Where my art journey will take me next I leave to higher forces. Presently I offer you ZEN MOKSHA FLOWERS /MANN FLOWERS/MIYOKO FLOWERS AND WALL OF HEAVENLY FLOWERS as my next creations. Group Shows;- Newyork, Singapore, • Canvas Art Gallery , Nehru Place, Delhi 2006 • Studio Vasant, Vasant Vihar New Delhi, 2006, 2007 • Prabhat NGO, New Delhi, 2007 • Nithari, Canvas Art Gallery, 2007 • Sahaj Sankalp, Habitat Centre, New Delhi , 2008 • Aspiration, Charity show at Epicenter Gurgaon, 2008 • New Finds, Singapore, 2008 • Group Show at World Fine Art Gallery, New York, 2008 • Reverberation Habitat Centre, New Delhi, 2008 • Art for Prabhat Presents 'The Eternal Circle' MAY-2009 • Art Ponixs Mumbai-2013 Solo Show • Studio Vasant, New Delhi, 2006,2007 • Studio Vasant, New Delhi 2008 • DLF Mall, Saket, New Delhi 2009 • STUDIOVASANT,NEWDELHI • STUDIOVASANT,NEWDELHI-2011 • STUDIOVASANT,NEWDELHI-2012 • WALL OF DEVINE FLOWERS-ZORBA,NEWDELHI 2012(world record) • WALL OF EXOTIC FLOWERS-EPI CENTRE GURGAON-2013 • HOME& interior expo, EPI centor.GURGAON-2013 • Independence day Celebration-EPI CENTRE-2013 • Art-Phonix-NEHRU CENTRE MUMBAI-2014 Artist friend Baljit S. Chadha has a lasting honeymoon with flowers in his artistic expression. He paints sometimes with frugality of a Zen master. I can understand that as he had his early training in painting in Japan where he lived and studied as a teenager and had the benefit of the tutelage of great Japanese masters. But his present series on flowers nonplussed me with wonder and joy. He has in the present works a new dimension and a new personality of flowers that I have not seen before. This is because he has distilled the expression from his inner joy and happiness that is the essence of flowers per se and not from their forms. His flowers have a nearly expressionistic, abstract persona. He uses a watercolour like free flow of colour and tonalities to invest his work with a sensual poetry. His works are acrylic on paper and therefore amenable to idiosyncratic overflows that lends a fresh charm to his oeuvre. Another landmark quality of Baljit’s new works is that they are rendered in fiery shiny glazes. As we know glazes are traditionally done in oil paint medium. But Baljit has worked them with acrylic colour and without the use of pure impasto. The colours diluted with water float and embrace each other and still have lustrous intensity. Baljit Chadha has created a fresh stylistic edifice and his creative expression jumps from the visible-familiar to spiritually felt flowers in a divine Eden. Viktor Vijay Kumar Director Curator European Artists’ Association Germany • ART IS IMAGINATION/ART IS DREAMING/ART IS INOVATION/ART IS THINKING/ART IS CRAETIVITY/ART IS EMOTIONS/ART IS SUPPORT/ART IS COMBINATION OF MATERIALS/ART IS CONCEPT/ART IS TO DO SOME THING DIFFERENT/ART IS TO EXPLORE AND ART IS FOR EVERYONE TO DO AND ENJOY All images © Baljit Chadha All rights reserved. Copying and/or distributing without my permission is strictly prohibited. COLORS MAY WARY

https://www.saatchiart.com/art/Painting-WALL-OF-EXOTICS-FLOWERS-TOYOU/392880/2560341/view

[art-now-india]

BOUQUET FOR YOU ONLY, Baljit Chadha

A Rose is a Rose is a Rose is a Rose (Gertrude Stein, from the poem Sweet Emily, Geography and Plays, 1913) A contemporary, timeless perspective of a subject dearly beloved to artists, poets, horticulturalists and beings throughout epochs, flora depictions range from botanical illustration (for example, the German Baroque naturalist and illustrator Maria Sybill Merian, d. 1717) to Old Master still-lives, from illuminated manuscripts and miniature paintings, to classic East Asian ink paintings, to Surrealism, Fauvism, to pop-art and graphic media. Flowers have always fascinated artists owing to their pureness, and provided a wonderful way for them to express themselves. Traditionally, flowers in life and in art imbue their appreciators with symbolic sense. The still-life in this day and age has lost much of its memento mori or vanitas meaning, and many contemporary artists shallowly forsake the intense discipline and attention to detail required by this genre for mere technical slights of hand and machine. Fortunately, there are still devotees of the love for the rose! In the floral work of Baljit Chadha, his pathway began with basic flowers, in pen and ink due to the inspiration of classic sumi-e (ink painting) during his sojourn in Japan. He understood this as the simple, basic embrace of nature –“to pluck a flower and paint it!” Pursuing this spirit further, he declares that “I do not believe in straight lines, rather a spontaneous use of colour.” He is more known in artistic circles to date in India for his abstract paintings. This series, thus introduces his 11,000 flower oeuvres. Earlier he added colour and then fexicol to bind the ink. Currently, he has incorporated the following materials into his process: watercolour, acrylic paint, as well as oil and wax pastels. This melange enables a broader depiction of the living element of his floral subjects, such that these blossoms spring to life off the standard sized Chinese imported paper upon which he steadfastly works. From the most mannered to the most abstract, passing through each field, medium, technique, genre and school of painting, the realms of flora bespeak individual expression. Such iconic images abound as the Iris and the Sunflowers by Vincent van Gogh (1853-1890), the Water Lilies of Claude Monet (1840-1926), the pop art flowers based on photographs with a simple motif by Andy Warhol (1928-1987), and fecund depictions by Georgia O’Keefe (1887-1986) who synthesized abstraction and representation in her myriad paintings of natural elements. One of the great painters of flowers, the Belgian painter Pierre-Joseph Redoute (1759- 1840), court painter for Marie Antoinette, eventually emphasized the aesthetic over botanical accuracy or depiction, having been inspired by the Dutch masters (Jan Breughel and Rachel Ruysch). Ruysch (1644-1750) was the most celebrated classical female flower painter. [For reference, the seminal tomes by Sam Segal of Flowers and Nature: Netherlandish Flower Painting of Four Centuries (1991) and Jan van Huysum, 1682-1749: The Temptation of Flora (2007)] In China, bird and flower painting constituted a special genre from the 9th century onwards, rising to great levels in the Song dynasty (960-1279 A.D.). It heralded a marvellous deployment of ink and brush. The individual finesse of the artist conveyed the spirit (qi) of plum blossoms, peonies, chrysanthemums, bamboo, pines and cypresses, each symbolic of aspects of existence. In 2004, the BBC Four hosted a four part series entitled Painting Flowers examined personal artistic themes associated with different species/genres of flora. The following year, the Flower Myth exhibition in Switzerland at the Fondation Beyeler examined the evolving approach to floral representation from the late 19th century to the present day. Ulf Küster, one of the two curators of the exhibition, maintains that "Any painter reveals his true self by painting flowers.” Chadha incorporates his personal embrace of abstraction within the depiction of the ‘divine flower’. Thereby extending the spatial component and fertilising the surrounding air with colour and stroke. His idiosyncratic method, reminiscent of spin/ action painting, is to squeeze the paint from plastic bottles. A pansy, gladiolas, lilies, asters, hyacinth, to cite but a few, each painting is unique. In spirit they are homage to Chadha’s passion to paint. Just as for the Old Master painters of still-lives and floral subjects, each flower imparts his personal connection and interpretation. The Mother of the Sri Aurobindo Society also penned a tome on the significance and meaning of flowers. Chadha earlier had photographed flowers all over the world, as part of his journeys and daily life. The kinetic nature of his paintings departs from the photographic lens. In consideration of the palette and use of materials, Chadha’s works bear a shimmering sensibility akin to that of stained glass, a sort of translucence reflecting his rhythm of life. One which he shares with the facets of nature he so consecrates on a daily basis, a true immersion in this realm of his natural imagination. For Chadha, this lexicon of intimate and universal beauty celebrates the diversity and complex, ever startling web of interconnectivity of life. At its core, a true marvelling of the adavaita, non-duality of humanity and the natural world which surrounds us, one which we must heed to protect and admire. Elizabeth Rogers February 2011

https://www.saatchiart.com/art/Painting-BOUQUET-FOR-YOU-ONLY/392880/2600721/view

[art-now-india]

BLACK HOLE CREATED IN DOOR, Baljit Chadha

IMAGINE

https://www.saatchiart.com/art/Photography-BLACK-HOLE-CREATED-IN-DOOR/392880/1557467/view

[art-now-india]

ETERNAL CIRCLE-9, Baljit Chadha

LEARNT BASICS OF ART IN JAPANFROM RENOUNED ARTIST MS OHTA MIYOKO.The Eternal Circle .Circle is an old symbol. The earliest humans looked up the sky and found the orb of fire giving them light and warmth. Sun for them was a mystical power, a god. They saw its movement from morning in the east and to the west in the evening. Next day again it came up in the sky. They regarded it as an omnipresent power that repeated its emergence with cyclical regularity. There was no beginning or end to the sun for them. It was the sun that allowed their imagination to look in the circular form endlessness, infinity. Thus quite early circle became a symbol of completeness, eternity and also rejuvenation. Circle also denoted the Nature. They found seasons changing and then again re-emerging with regularity. The seasons became the circle of Nature. In winter all greenery vanished and then when Spring came life stated flourishing once again. The great Mohenjo daro-Harrappan civilization had a script as yet un-deciphered. They often had a symbol of a circle with six spokes inset. What it represented is not known. From prehistory to history circle gained greater importance and came to symbolise the cycle of birth and death and also the soul�s eternity. In the rainbow spectrum of Indian philosophy, religion and culture, circle has been used as a varied symbol. The cycle of birth and rebirth is broken only through moksha. King Ashok propagated Buddha�s path to enlightenment through Dharm Chakra�a wheel with eight spokes of a chariot. I feel the wheel was invented with inspiration from sun or moon. Hindu philosophy talks about chakras. It is believed that there are seven chakras or source of light located within the subtle body. The Tantra cult uses the concept of chakras for awakening kundalini. The chakras were illustrated with images and this lead to the development of tantric art. Ajit Mukherjee in his seminal book The Art of Tantra helped to create in early sixties a movement of tantric art in India. But it did not last very long being bound by a strict and regulated expression as per dictates of Tantra iconography. Baljit Chadha is an artist with deep roots in Asian cultural traditions which includes India and especially Japan. Long years spent in Japan drew his creative interest to Japanese style painting. With great felicity he paints Nature and flowers. That is but only one aspect of his creative forays. Here I am concerned with his spiritual focus on the circle as a means of artistic expression. To paint with spiritual symbolism requires an inner search, equanimity, and a feel for the timeless. Paintings without this kind of attitude will not carry the dynamics of the spiritual; they will be like empty shells. Baljit paints with the inner dynamics. His present works are an effort to capture the metaphysical. His creativity unfolds through the circle in a kind of inner automatism. You have to understand his oeuvre in the context of his personal search for righteousness. I wish to bring to your notice the spiritual umbilical of his personal search. It is pertinent to know the Indian philosophy of life and Beyond. In Sikhism karma or kirat is seen as the vehicle to free us from the cycle of birth and death and to have mukti. One has to free oneself from pride, lust, anger, greed, self-centricity, maya and moh (attachment) and to devote life to sewa�service to mankind. Bhagavad Gita 2.27 also says, "One who has taken his birth is sure to die, and after death one is sure to take birth again. Therefore, in the unavoidable discharge of your duty, you should not lament." Thus cycle of life, death and rebirth are essential parts of thought process in India. Baljit�s paintings have varied moments of inspiration. In some works the circle is a serene quiet peaceful disc emitting soft tones and leading you to a feeling of inner joy. This you find in his work 2380. This work has a churning of the inner space and a rotation suggesting the cycle of the world or universe. The core of the painting appears to be a mystical kernel beyond human mind and intellect. In yet another work there are concentric circles and the core is a black bindu. Here the circles appear to symbolise the simultaneous working of different cycles of worldly activities and attachments. You get out of one circle and you are caught in another and so on ad infintum. (2486). You must notice the use of free moody lines that cross the circles and daubs of congealed colour. Baljit use this inner automatism where he does not seem to guide his hand or brush consciously. A lurking desire to be free of the material, bodily, intellectual and to allow the magic of anhad to take over is what I see in his use of these Zen like child�s scribbles. Baljit has used these idiosyncratic free floating lines in most of his works. These lines seem at times to �obstruct� your view of the pure circle. The eternal spiritual that the circle represents is often made hazy by our infatuation with the maya. At other times he uses tumbling interacting images in embellished gold reminding of the drama of life that has its own breathtaking charm. In yet another painting there is a linear window-like overlay through which you see the circle of the infinite. Here you become aware of the beauty of the spiritual that shines in cosmic blue colour (2376). Spiral is another important symbol that is our journey to a higher reality of being. Sometimes the luminescent circle has a spiral running over it�the desire to reach the ananata through our soaring spirit (2471, 2476). The subconscious doodles that are used sometimes have a rhythm that seems to evoke the universe and the movement of stellar constellations. Many painting have a centre or a kernel of the circle that seems to enter infinity and mystical Beyond. Observe that the centre of the circles is always full of light to make you think of the spiritual aura and awe of unknown. Baljit has his spiritual awakening in the world and in the flowers that he so lovingly paints. On an art related visit to Singapore I found the overflowing joy that he felt while visiting the botanical garden with different exotic flowers in bloom. This you see in the beautiful painting of an ethereal blooming blue flower. He paints the golden yellow stigma of the plant reminding you of the mystical centre in the circle. The flower opens with immense energy straight in your face, it mesmerizes you, holds you in its clasp and if you focus long on its centre you are drawn in it. In a different way his painting reminds me of Van Gogh�s intense sunflowers that emit a spiritual intensity. You find in the world what you want to see in it and not what it has. Baljit finds what he is looking for in the circular forms�be it a round flower, sun, or the eternal soul or the cycle of life death and rebirth or the planets and stars in the universe. Baljit looks at the eternal drama of the universe through his symbolic circle. I may here quote from a poem from the great Indian saint and poet Kabir that is also apt for Baljit�s art� I have known in my body the sport of the universe: I have escaped from the error of this world. The inward and the outward are become as one sky, the Infinite and the finite are united: I am drunken with the sight of this All! This Light of Thine fulfils the universe: the lamp of love that burns on the salver of knowledge. Kab�r says: "There error cannot enter, and the conflict of life and death is felt no more." Viktor Vijay KumarI LOVE PHOTOGRAPHY. I TAKEPHOTOGRAPHS OF FLOWERS AND CONVERT THEM IN TO MY PAINTINGS I have created a new technique called (FLOAT ON COLORS) .Using mix media on paper. I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. My journey in art continued and I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. Where my art journey will take me next I leave to higher forces . I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and CREATED A WORLD RECORD The exhibition with the most paintings of flowers in the world www.baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&video_id=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 This certificate is given by WORLD RECORD ASSOCIATION donated entire collection to Smile Foundation New Delhi, for a girl child education. original colors may wary little from photographs

https://www.saatchiart.com/art/Painting-ETERNAL-CIRCLE-9/392880/2499152/view

[art-now-india]

WALL OF EXOTICS FLOWERS-TOYOU, Baljit Chadha

FLOWERMAN CREATED A WORLD RECORD http://baljitchadha.blogspot.in The exhibition with the most paintings of flowers in the world This certificate is given by WORLD RECORD ASSOCIATION / LIMCA BOOK OF RECORDS-INDIA -2014 Baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&videoid=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 MY NEW SERIES ZEN MOKSHA FLOWERS/ MANN FLOWERS/MIYOKO FLOWERS /BALJIT’S IKEBANA A PURE HEAVENLY GIFT FOR YOU FRIENDS N RELATIVES • THESE ZEN-MOKSH FLOWERS ARE CREATED WITH A SENSE OF GIVING INNER PEACE,TRANQUILITY, HAPPINESS, SOLACE AND A SENSE OF FULFILMENT, ONENESS WITH THE SUPREME. • I HAVE TRIED TO BRING THEASE ELEMENTS IN MY PAINTINGS,THE FLOWERS YOU SEE DON’T EXISTS, THE MOVMENTS OF MY HANDS,FLOW OF COLORS ARE THE GIFT OF ALMIGHTY GOD. • ZEN-JAPANEASE ZEN IS A SPIRTUAL INSPIRATION; THEY ARE PURE EXPRESSION OF ARTIST’S SPIRITUAL AWARENESS. JAPANEASE ZEN ART HAS ALWAYS BEEN MEANT TO TOUCH PEOPLE FAR AND WIDE. ZEN PAINTINGS ARE OF GREAT POWER, PURE, AND TOUCHING DEEP IN THE HEART, MIND AND SOUL. • MOKSHA- Freedom from life circle. Moksha is attained by dis identification with the body and mind, which are temporary and subject to change, and realization of our true identity Moksh is positive concept in two important ways. First it stands for the realization of the ultimate Reality, a real enlightenment. The mukta is not just free from this or that, It is the master of sense and self, fearless and devoid of rancor, upright yet humble, treating all creatures as if they were he himself, wanting nothing, clinging to nothing. In Sikhism one rises from the life of do’s and don'ts to that of perfection — a state of "at-one-ment" with the All-self. Secondly, the mukta is not just a friend for all, he even strives for their freedom as well. He no longer lives for himself, he lives for others. • APPRICIATIONS • Very interesting work Baljit, the spontaneity, the original technique and the spiritual journey! • i hear music from your flower paintings. What a happy movement! • Baljit! I appreciate that! You have a grand body of work here that shows me some Van Gogh, Miro and Monet and countless others within your style and creativeness. A magnificent talent to behold and appreciate! Keep it up! • I like the original exposition of your beautiful artwork. • Beautiful, cheerful, great colors! • Very fine expressive all Your floral art, not usual • Simply beautiful .It is with great pride and pleasure that I am FEATURING your artwork this week on our special edition of our TOP FEATURES on the Wisconsin Flowers and Scenery Homepage. Your work shows expertise and love in the presentation of this fine art piece. Thanks much for sharing your works with us and being a member of our family of friends and fine artists in our WFS group. Aboard. Liked, Forever .This series is enchanting Baljit, all wonderful visions. Masterful use of your colors creating serene energy. .Baljit, I love these stalks of beauty is a true honor and privilege to FEATURE this creative and wondrous piece of art work on the WFS site, from one of our honored and prestigious members. This awesome piece of beauty is what we are looking for to promote and let others see, including other artists and potential customers, as your works are some of the Best of the Best in my Book! Thanks much for sharing this beauty with us. Liked Forever, Elvisty and love the colors of the floral stems. • • PROFILE • Baljit Singh Chadha • • I grew up as a curious, investigative child helped by my parents’ encouragement to explore and to learn without fear and hesitation. The wonder and awe in God’s creation always held me spell bound. I ploughed my curiosity through love of creation and creativity. At a young age of nineteen years I sailed to a land called Japan that has for long centuries been spiritually bound with India. Like a sleepy rose the petals of my creativity opened as I drank like a honey-bee the nectar of ancient and highly evolved culture of Japan. Japanese art of painting is high meditation in feel and in expression. My Japanese godmother Ms Otha Miyoko a great Japanese artist was my first teacher. She affected my style and expression early on. My journey in art continued and I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. In my art I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. I created a new technique called ( FLOAT ON COLORS). My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and donated entire collection to Smile Foundation New Delhi, for a girl child education. Where my art journey will take me next I leave to higher forces. Presently I offer you ZEN MOKSHA FLOWERS /MANN FLOWERS/MIYOKO FLOWERS AND WALL OF HEAVENLY FLOWERS as my next creations. Group Shows;- Newyork, Singapore, • Canvas Art Gallery , Nehru Place, Delhi 2006 • Studio Vasant, Vasant Vihar New Delhi, 2006, 2007 • Prabhat NGO, New Delhi, 2007 • Nithari, Canvas Art Gallery, 2007 • Sahaj Sankalp, Habitat Centre, New Delhi , 2008 • Aspiration, Charity show at Epicenter Gurgaon, 2008 • New Finds, Singapore, 2008 • Group Show at World Fine Art Gallery, New York, 2008 • Reverberation Habitat Centre, New Delhi, 2008 • Art for Prabhat Presents 'The Eternal Circle' MAY-2009 • Art Ponixs Mumbai-2013 Solo Show • Studio Vasant, New Delhi, 2006,2007 • Studio Vasant, New Delhi 2008 • DLF Mall, Saket, New Delhi 2009 • STUDIOVASANT,NEWDELHI • STUDIOVASANT,NEWDELHI-2011 • STUDIOVASANT,NEWDELHI-2012 • WALL OF DEVINE FLOWERS-ZORBA,NEWDELHI 2012(world record) • WALL OF EXOTIC FLOWERS-EPI CENTRE GURGAON-2013 • HOME& interior expo, EPI centor.GURGAON-2013 • Independence day Celebration-EPI CENTRE-2013 • Art-Phonix-NEHRU CENTRE MUMBAI-2014 Artist friend Baljit S. Chadha has a lasting honeymoon with flowers in his artistic expression. He paints sometimes with frugality of a Zen master. I can understand that as he had his early training in painting in Japan where he lived and studied as a teenager and had the benefit of the tutelage of great Japanese masters. But his present series on flowers nonplussed me with wonder and joy. He has in the present works a new dimension and a new personality of flowers that I have not seen before. This is because he has distilled the expression from his inner joy and happiness that is the essence of flowers per se and not from their forms. His flowers have a nearly expressionistic, abstract persona. He uses a watercolour like free flow of colour and tonalities to invest his work with a sensual poetry. His works are acrylic on paper and therefore amenable to idiosyncratic overflows that lends a fresh charm to his oeuvre. Another landmark quality of Baljit’s new works is that they are rendered in fiery shiny glazes. As we know glazes are traditionally done in oil paint medium. But Baljit has worked them with acrylic colour and without the use of pure impasto. The colours diluted with water float and embrace each other and still have lustrous intensity. Baljit Chadha has created a fresh stylistic edifice and his creative expression jumps from the visible-familiar to spiritually felt flowers in a divine Eden. Viktor Vijay Kumar Director Curator European Artists’ Association Germany • ART IS IMAGINATION/ART IS DREAMING/ART IS INOVATION/ART IS THINKING/ART IS CRAETIVITY/ART IS EMOTIONS/ART IS SUPPORT/ART IS COMBINATION OF MATERIALS/ART IS CONCEPT/ART IS TO DO SOME THING DIFFERENT/ART IS TO EXPLORE AND ART IS FOR EVERYONE TO DO AND ENJOY All images © Baljit Chadha All rights reserved. Copying and/or distributing without my permission is strictly prohibited. COLORS MAY WARY

https://www.saatchiart.com/art/Painting-WALL-OF-EXOTICS-FLOWERS-TOYOU/392880/2560341/view

[art-now-india]

HEAVENLY FLOWERS, Baljit Chadha

LEARNT BASICS OF ART IN JAPANFROM RENOUNED ARTIST MS OHTA MIYOKO.The Eternal Circle .Circle is an old symbol. The earliest humans looked up the sky and found the orb of fire giving them light and warmth. Sun for them was a mystical power, a god. They saw its movement from morning in the east and to the west in the evening. Next day again it came up in the sky. They regarded it as an omnipresent power that repeated its emergence with cyclical regularity. There was no beginning or end to the sun for them. It was the sun that allowed their imagination to look in the circular form endlessness, infinity. Thus quite early circle became a symbol of completeness, eternity and also rejuvenation. Circle also denoted the Nature. They found seasons changing and then again re-emerging with regularity. The seasons became the circle of Nature. In winter all greenery vanished and then when Spring came life stated flourishing once again. The great Mohenjo daro-Harrappan civilization had a script as yet un-deciphered. They often had a symbol of a circle with six spokes inset. What it represented is not known. From prehistory to history circle gained greater importance and came to symbolise the cycle of birth and death and also the soul�s eternity. In the rainbow spectrum of Indian philosophy, religion and culture, circle has been used as a varied symbol. The cycle of birth and rebirth is broken only through moksha. King Ashok propagated Buddha�s path to enlightenment through Dharm Chakra�a wheel with eight spokes of a chariot. I feel the wheel was invented with inspiration from sun or moon. Hindu philosophy talks about chakras. It is believed that there are seven chakras or source of light located within the subtle body. The Tantra cult uses the concept of chakras for awakening kundalini. The chakras were illustrated with images and this lead to the development of tantric art. Ajit Mukherjee in his seminal book The Art of Tantra helped to create in early sixties a movement of tantric art in India. But it did not last very long being bound by a strict and regulated expression as per dictates of Tantra iconography. Baljit Chadha is an artist with deep roots in Asian cultural traditions which includes India and especially Japan. Long years spent in Japan drew his creative interest to Japanese style painting. With great felicity he paints Nature and flowers. That is but only one aspect of his creative forays. Here I am concerned with his spiritual focus on the circle as a means of artistic expression. To paint with spiritual symbolism requires an inner search, equanimity, and a feel for the timeless. Paintings without this kind of attitude will not carry the dynamics of the spiritual; they will be like empty shells. Baljit paints with the inner dynamics. His present works are an effort to capture the metaphysical. His creativity unfolds through the circle in a kind of inner automatism. You have to understand his oeuvre in the context of his personal search for righteousness. I wish to bring to your notice the spiritual umbilical of his personal search. It is pertinent to know the Indian philosophy of life and Beyond. In Sikhism karma or kirat is seen as the vehicle to free us from the cycle of birth and death and to have mukti. One has to free oneself from pride, lust, anger, greed, self-centricity, maya and moh (attachment) and to devote life to sewa�service to mankind. Bhagavad Gita 2.27 also says, "One who has taken his birth is sure to die, and after death one is sure to take birth again. Therefore, in the unavoidable discharge of your duty, you should not lament." Thus cycle of life, death and rebirth are essential parts of thought process in India. Baljit�s paintings have varied moments of inspiration. In some works the circle is a serene quiet peaceful disc emitting soft tones and leading you to a feeling of inner joy. This you find in his work 2380. This work has a churning of the inner space and a rotation suggesting the cycle of the world or universe. The core of the painting appears to be a mystical kernel beyond human mind and intellect. In yet another work there are concentric circles and the core is a black bindu. Here the circles appear to symbolise the simultaneous working of different cycles of worldly activities and attachments. You get out of one circle and you are caught in another and so on ad infintum. (2486). You must notice the use of free moody lines that cross the circles and daubs of congealed colour. Baljit use this inner automatism where he does not seem to guide his hand or brush consciously. A lurking desire to be free of the material, bodily, intellectual and to allow the magic of anhad to take over is what I see in his use of these Zen like child�s scribbles. Baljit has used these idiosyncratic free floating lines in most of his works. These lines seem at times to �obstruct� your view of the pure circle. The eternal spiritual that the circle represents is often made hazy by our infatuation with the maya. At other times he uses tumbling interacting images in embellished gold reminding of the drama of life that has its own breathtaking charm. In yet another painting there is a linear window-like overlay through which you see the circle of the infinite. Here you become aware of the beauty of the spiritual that shines in cosmic blue colour (2376). Spiral is another important symbol that is our journey to a higher reality of being. Sometimes the luminescent circle has a spiral running over it�the desire to reach the ananata through our soaring spirit (2471, 2476). The subconscious doodles that are used sometimes have a rhythm that seems to evoke the universe and the movement of stellar constellations. Many painting have a centre or a kernel of the circle that seems to enter infinity and mystical Beyond. Observe that the centre of the circles is always full of light to make you think of the spiritual aura and awe of unknown. Baljit has his spiritual awakening in the world and in the flowers that he so lovingly paints. On an art related visit to Singapore I found the overflowing joy that he felt while visiting the botanical garden with different exotic flowers in bloom. This you see in the beautiful painting of an ethereal blooming blue flower. He paints the golden yellow stigma of the plant reminding you of the mystical centre in the circle. The flower opens with immense energy straight in your face, it mesmerizes you, holds you in its clasp and if you focus long on its centre you are drawn in it. In a different way his painting reminds me of Van Gogh�s intense sunflowers that emit a spiritual intensity. You find in the world what you want to see in it and not what it has. Baljit finds what he is looking for in the circular forms�be it a round flower, sun, or the eternal soul or the cycle of life death and rebirth or the planets and stars in the universe. Baljit looks at the eternal drama of the universe through his symbolic circle. I may here quote from a poem from the great Indian saint and poet Kabir that is also apt for Baljit�s art� I have known in my body the sport of the universe: I have escaped from the error of this world. The inward and the outward are become as one sky, the Infinite and the finite are united: I am drunken with the sight of this All! This Light of Thine fulfils the universe: the lamp of love that burns on the salver of knowledge. Kab�r says: "There error cannot enter, and the conflict of life and death is felt no more." Viktor Vijay KumarI LOVE PHOTOGRAPHY. I TAKEPHOTOGRAPHS OF FLOWERS AND CONVERT THEM IN TO MY PAINTINGS I have created a new technique called (FLOAT ON COLORS) .Using mix media on paper. I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. My journey in art continued and I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. Where my art journey will take me next I leave to higher forces . I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and CREATED A WORLD RECORD The exhibition with the most paintings of flowers in the world www.baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&video_id=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 This certificate is given by WORLD RECORD ASSOCIATION donated entire collection to Smile Foundation New Delhi, for a girl child education. original colors may wary little from photographs

https://www.saatchiart.com/art/Painting-HEAVENLY-FLOWERS/392880/2499143/view

[art-now-india]

WALL OF EXOTIC FLOWERS-SAKURA, Baljit Chadha

FLOWERMAN CREATED A WORLD RECORD http://baljitchadha.blogspot.in The exhibition with the most paintings of flowers in the world This certificate is given by WORLD RECORD ASSOCIATION / LIMCA BOOK OF RECORDS-INDIA -2014 Baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&videoid=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 MY NEW SERIES ZEN MOKSHA FLOWERS/ MANN FLOWERS/MIYOKO FLOWERS /BALJIT’S IKEBANA A PURE HEAVENLY GIFT FOR YOU FRIENDS N RELATIVES • THESE ZEN-MOKSH FLOWERS ARE CREATED WITH A SENSE OF GIVING INNER PEACE,TRANQUILITY, HAPPINESS, SOLACE AND A SENSE OF FULFILMENT, ONENESS WITH THE SUPREME. • I HAVE TRIED TO BRING THEASE ELEMENTS IN MY PAINTINGS,THE FLOWERS YOU SEE DON’T EXISTS, THE MOVMENTS OF MY HANDS,FLOW OF COLORS ARE THE GIFT OF ALMIGHTY GOD. • ZEN-JAPANEASE ZEN IS A SPIRTUAL INSPIRATION; THEY ARE PURE EXPRESSION OF ARTIST’S SPIRITUAL AWARENESS. JAPANEASE ZEN ART HAS ALWAYS BEEN MEANT TO TOUCH PEOPLE FAR AND WIDE. ZEN PAINTINGS ARE OF GREAT POWER, PURE, AND TOUCHING DEEP IN THE HEART, MIND AND SOUL. • MOKSHA- Freedom from life circle. Moksha is attained by dis identification with the body and mind, which are temporary and subject to change, and realization of our true identity Moksh is positive concept in two important ways. First it stands for the realization of the ultimate Reality, a real enlightenment. The mukta is not just free from this or that, It is the master of sense and self, fearless and devoid of rancor, upright yet humble, treating all creatures as if they were he himself, wanting nothing, clinging to nothing. In Sikhism one rises from the life of do’s and don'ts to that of perfection — a state of "at-one-ment" with the All-self. Secondly, the mukta is not just a friend for all, he even strives for their freedom as well. He no longer lives for himself, he lives for others. • APPRICIATIONS • Very interesting work Baljit, the spontaneity, the original technique and the spiritual journey! • i hear music from your flower paintings. What a happy movement! • Baljit! I appreciate that! You have a grand body of work here that shows me some Van Gogh, Miro and Monet and countless others within your style and creativeness. A magnificent talent to behold and appreciate! Keep it up! • I like the original exposition of your beautiful artwork. • Beautiful, cheerful, great colors! • Very fine expressive all Your floral art, not usual • Simply beautiful .It is with great pride and pleasure that I am FEATURING your artwork this week on our special edition of our TOP FEATURES on the Wisconsin Flowers and Scenery Homepage. Your work shows expertise and love in the presentation of this fine art piece. Thanks much for sharing your works with us and being a member of our family of friends and fine artists in our WFS group. Aboard. Liked, Forever .This series is enchanting Baljit, all wonderful visions. Masterful use of your colors creating serene energy. .Baljit, I love these stalks of beauty is a true honor and privilege to FEATURE this creative and wondrous piece of art work on the WFS site, from one of our honored and prestigious members. This awesome piece of beauty is what we are looking for to promote and let others see, including other artists and potential customers, as your works are some of the Best of the Best in my Book! Thanks much for sharing this beauty with us. Liked Forever, Elvisty and love the colors of the floral stems. • • PROFILE • Baljit Singh Chadha • • I grew up as a curious, investigative child helped by my parents’ encouragement to explore and to learn without fear and hesitation. The wonder and awe in God’s creation always held me spell bound. I ploughed my curiosity through love of creation and creativity. At a young age of nineteen years I sailed to a land called Japan that has for long centuries been spiritually bound with India. Like a sleepy rose the petals of my creativity opened as I drank like a honey-bee the nectar of ancient and highly evolved culture of Japan. Japanese art of painting is high meditation in feel and in expression. My Japanese godmother Ms Otha Miyoko a great Japanese artist was my first teacher. She affected my style and expression early on. My journey in art continued and I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. In my art I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. I created a new technique called ( FLOAT ON COLORS). My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and donated entire collection to Smile Foundation New Delhi, for a girl child education. Where my art journey will take me next I leave to higher forces. Presently I offer you ZEN MOKSHA FLOWERS /MANN FLOWERS/MIYOKO FLOWERS AND WALL OF HEAVENLY FLOWERS as my next creations. Group Shows;- Newyork, Singapore, • Canvas Art Gallery , Nehru Place, Delhi 2006 • Studio Vasant, Vasant Vihar New Delhi, 2006, 2007 • Prabhat NGO, New Delhi, 2007 • Nithari, Canvas Art Gallery, 2007 • Sahaj Sankalp, Habitat Centre, New Delhi , 2008 • Aspiration, Charity show at Epicenter Gurgaon, 2008 • New Finds, Singapore, 2008 • Group Show at World Fine Art Gallery, New York, 2008 • Reverberation Habitat Centre, New Delhi, 2008 • Art for Prabhat Presents 'The Eternal Circle' MAY-2009 • Art Ponixs Mumbai-2013 Solo Show • Studio Vasant, New Delhi, 2006,2007 • Studio Vasant, New Delhi 2008 • DLF Mall, Saket, New Delhi 2009 • STUDIOVASANT,NEWDELHI • STUDIOVASANT,NEWDELHI-2011 • STUDIOVASANT,NEWDELHI-2012 • WALL OF DEVINE FLOWERS-ZORBA,NEWDELHI 2012(world record) • WALL OF EXOTIC FLOWERS-EPI CENTRE GURGAON-2013 • HOME& interior expo, EPI centor.GURGAON-2013 • Independence day Celebration-EPI CENTRE-2013 • Art-Phonix-NEHRU CENTRE MUMBAI-2014 Artist friend Baljit S. Chadha has a lasting honeymoon with flowers in his artistic expression. He paints sometimes with frugality of a Zen master. I can understand that as he had his early training in painting in Japan where he lived and studied as a teenager and had the benefit of the tutelage of great Japanese masters. But his present series on flowers nonplussed me with wonder and joy. He has in the present works a new dimension and a new personality of flowers that I have not seen before. This is because he has distilled the expression from his inner joy and happiness that is the essence of flowers per se and not from their forms. His flowers have a nearly expressionistic, abstract persona. He uses a watercolour like free flow of colour and tonalities to invest his work with a sensual poetry. His works are acrylic on paper and therefore amenable to idiosyncratic overflows that lends a fresh charm to his oeuvre. Another landmark quality of Baljit’s new works is that they are rendered in fiery shiny glazes. As we know glazes are traditionally done in oil paint medium. But Baljit has worked them with acrylic colour and without the use of pure impasto. The colours diluted with water float and embrace each other and still have lustrous intensity. Baljit Chadha has created a fresh stylistic edifice and his creative expression jumps from the visible-familiar to spiritually felt flowers in a divine Eden. Viktor Vijay Kumar Director Curator European Artists’ Association Germany • ART IS IMAGINATION/ART IS DREAMING/ART IS INOVATION/ART IS THINKING/ART IS CRAETIVITY/ART IS EMOTIONS/ART IS SUPPORT/ART IS COMBINATION OF MATERIALS/ART IS CONCEPT/ART IS TO DO SOME THING DIFFERENT/ART IS TO EXPLORE AND ART IS FOR EVERYONE TO DO AND ENJOY All images © Baljit Chadha All rights reserved. Copying and/or distributing without my permission is strictly prohibited. COLORS MAY WARY

https://www.saatchiart.com/art/Painting-WALL-OF-EXOTIC-FLOWERS-SAKURA/392880/2560086/view

[art-now-india]

ETERNAL CIRCLE-DEEPWITHIN, Baljit Chadha

LEARNT BASICS OF ART IN JAPANFROM RENOUNED ARTIST MS OHTA MIYOKO.The Eternal Circle .Circle is an old symbol. The earliest humans looked up the sky and found the orb of fire giving them light and warmth. Sun for them was a mystical power, a god. They saw its movement from morning in the east and to the west in the evening. Next day again it came up in the sky. They regarded it as an omnipresent power that repeated its emergence with cyclical regularity. There was no beginning or end to the sun for them. It was the sun that allowed their imagination to look in the circular form endlessness, infinity. Thus quite early circle became a symbol of completeness, eternity and also rejuvenation. Circle also denoted the Nature. They found seasons changing and then again re-emerging with regularity. The seasons became the circle of Nature. In winter all greenery vanished and then when Spring came life stated flourishing once again. The great Mohenjo daro-Harrappan civilization had a script as yet un-deciphered. They often had a symbol of a circle with six spokes inset. What it represented is not known. From prehistory to history circle gained greater importance and came to symbolise the cycle of birth and death and also the soul�s eternity. In the rainbow spectrum of Indian philosophy, religion and culture, circle has been used as a varied symbol. The cycle of birth and rebirth is broken only through moksha. King Ashok propagated Buddha�s path to enlightenment through Dharm Chakra�a wheel with eight spokes of a chariot. I feel the wheel was invented with inspiration from sun or moon. Hindu philosophy talks about chakras. It is believed that there are seven chakras or source of light located within the subtle body. The Tantra cult uses the concept of chakras for awakening kundalini. The chakras were illustrated with images and this lead to the development of tantric art. Ajit Mukherjee in his seminal book The Art of Tantra helped to create in early sixties a movement of tantric art in India. But it did not last very long being bound by a strict and regulated expression as per dictates of Tantra iconography. Baljit Chadha is an artist with deep roots in Asian cultural traditions which includes India and especially Japan. Long years spent in Japan drew his creative interest to Japanese style painting. With great felicity he paints Nature and flowers. That is but only one aspect of his creative forays. Here I am concerned with his spiritual focus on the circle as a means of artistic expression. To paint with spiritual symbolism requires an inner search, equanimity, and a feel for the timeless. Paintings without this kind of attitude will not carry the dynamics of the spiritual; they will be like empty shells. Baljit paints with the inner dynamics. His present works are an effort to capture the metaphysical. His creativity unfolds through the circle in a kind of inner automatism. You have to understand his oeuvre in the context of his personal search for righteousness. I wish to bring to your notice the spiritual umbilical of his personal search. It is pertinent to know the Indian philosophy of life and Beyond. In Sikhism karma or kirat is seen as the vehicle to free us from the cycle of birth and death and to have mukti. One has to free oneself from pride, lust, anger, greed, self-centricity, maya and moh (attachment) and to devote life to sewa�service to mankind. Bhagavad Gita 2.27 also says, "One who has taken his birth is sure to die, and after death one is sure to take birth again. Therefore, in the unavoidable discharge of your duty, you should not lament." Thus cycle of life, death and rebirth are essential parts of thought process in India. Baljit�s paintings have varied moments of inspiration. In some works the circle is a serene quiet peaceful disc emitting soft tones and leading you to a feeling of inner joy. This you find in his work 2380. This work has a churning of the inner space and a rotation suggesting the cycle of the world or universe. The core of the painting appears to be a mystical kernel beyond human mind and intellect. In yet another work there are concentric circles and the core is a black bindu. Here the circles appear to symbolise the simultaneous working of different cycles of worldly activities and attachments. You get out of one circle and you are caught in another and so on ad infintum. (2486). You must notice the use of free moody lines that cross the circles and daubs of congealed colour. Baljit use this inner automatism where he does not seem to guide his hand or brush consciously. A lurking desire to be free of the material, bodily, intellectual and to allow the magic of anhad to take over is what I see in his use of these Zen like child�s scribbles. Baljit has used these idiosyncratic free floating lines in most of his works. These lines seem at times to �obstruct� your view of the pure circle. The eternal spiritual that the circle represents is often made hazy by our infatuation with the maya. At other times he uses tumbling interacting images in embellished gold reminding of the drama of life that has its own breathtaking charm. In yet another painting there is a linear window-like overlay through which you see the circle of the infinite. Here you become aware of the beauty of the spiritual that shines in cosmic blue colour (2376). Spiral is another important symbol that is our journey to a higher reality of being. Sometimes the luminescent circle has a spiral running over it�the desire to reach the ananata through our soaring spirit (2471, 2476). The subconscious doodles that are used sometimes have a rhythm that seems to evoke the universe and the movement of stellar constellations. Many painting have a centre or a kernel of the circle that seems to enter infinity and mystical Beyond. Observe that the centre of the circles is always full of light to make you think of the spiritual aura and awe of unknown. Baljit has his spiritual awakening in the world and in the flowers that he so lovingly paints. On an art related visit to Singapore I found the overflowing joy that he felt while visiting the botanical garden with different exotic flowers in bloom. This you see in the beautiful painting of an ethereal blooming blue flower. He paints the golden yellow stigma of the plant reminding you of the mystical centre in the circle. The flower opens with immense energy straight in your face, it mesmerizes you, holds you in its clasp and if you focus long on its centre you are drawn in it. In a different way his painting reminds me of Van Gogh�s intense sunflowers that emit a spiritual intensity. You find in the world what you want to see in it and not what it has. Baljit finds what he is looking for in the circular forms�be it a round flower, sun, or the eternal soul or the cycle of life death and rebirth or the planets and stars in the universe. Baljit looks at the eternal drama of the universe through his symbolic circle. I may here quote from a poem from the great Indian saint and poet Kabir that is also apt for Baljit�s art� I have known in my body the sport of the universe: I have escaped from the error of this world. The inward and the outward are become as one sky, the Infinite and the finite are united: I am drunken with the sight of this All! This Light of Thine fulfils the universe: the lamp of love that burns on the salver of knowledge. Kab�r says: "There error cannot enter, and the conflict of life and death is felt no more." Viktor Vijay KumarI LOVE PHOTOGRAPHY. I TAKEPHOTOGRAPHS OF FLOWERS AND CONVERT THEM IN TO MY PAINTINGS I have created a new technique called (FLOAT ON COLORS) .Using mix media on paper. I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. My journey in art continued and I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. Where my art journey will take me next I leave to higher forces . I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and CREATED A WORLD RECORD The exhibition with the most paintings of flowers in the world www.baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&video_id=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 This certificate is given by WORLD RECORD ASSOCIATION on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and donated entire collection to Smile Foundation New Delhi, for a girl child education. This certificate is given by WORLD RECORD ASSOCIATION COLORS MAY VARY

https://www.saatchiart.com/art/Painting-ETERNAL-CIRCLE-DEEPWITHIN/392880/2561187/view

[art-now-india]

LORD BUDHA-THE SHIDARTHA, Baljit Chadha

SINCE I LIVED IN JAPAN .I AM OBSSED WITH LORD BUDHA, AND I HAVE HIS LOT OF BLESSINGS. I USED SPRAY AMD MIX MEDIA.

https://www.saatchiart.com/art/Painting-LORD-BUDHA-THE-SHIDARTHA/392880/2608169/view

[art-now-india]

MT. FUJII-SUNRISEKISS, Baljit Chadha

I LIVED IN JAPAN AND I ALWAYS DREAMING ABOUT IT. COLOR MAY VARY AS IT IS ENHANCED.

https://www.saatchiart.com/art/Painting-MT-FUJII-SUNRISEKISS/392880/2608173/view

[art-now-india]

BLACK N WHITE MAGIC, Baljit Chadha

THIS IS FROM MY ABSTRACT SERIES LEARNT BASICS OF ART IN JAPANFROM RENOUNED ARTIST MS OHTA MIYOKO.The Eternal Circle .Circle is an old symbol. The earliest humans looked up the sky and found the orb of fire giving them light and warmth. Sun for them was a mystical power, a god. They saw its movement from morning in the east and to the west in the evening. Next day again it came up in the sky. They regarded it as an omnipresent power that repeated its emergence with cyclical regularity. There was no beginning or end to the sun for them. It was the sun that allowed their imagination to look in the circular form endlessness, infinity. Thus quite early circle became a symbol of completeness, eternity and also rejuvenation. Circle also denoted the Nature. They found seasons changing and then again re-emerging with regularity. The seasons became the circle of Nature. In winter all greenery vanished and then when Spring came life stated flourishing once again. The great Mohenjo daro-Harrappan civilization had a script as yet un-deciphered. They often had a symbol of a circle with six spokes inset. What it represented is not known. From prehistory to history circle gained greater importance and came to symbolise the cycle of birth and death and also the soul�s eternity. In the rainbow spectrum of Indian philosophy, religion and culture, circle has been used as a varied symbol. The cycle of birth and rebirth is broken only through moksha. King Ashok propagated Buddha�s path to enlightenment through Dharm Chakra�a wheel with eight spokes of a chariot. I feel the wheel was invented with inspiration from sun or moon. Hindu philosophy talks about chakras. It is believed that there are seven chakras or source of light located within the subtle body. The Tantra cult uses the concept of chakras for awakening kundalini. The chakras were illustrated with images and this lead to the development of tantric art. Ajit Mukherjee in his seminal book The Art of Tantra helped to create in early sixties a movement of tantric art in India. But it did not last very long being bound by a strict and regulated expression as per dictates of Tantra iconography. Baljit Chadha is an artist with deep roots in Asian cultural traditions which includes India and especially Japan. Long years spent in Japan drew his creative interest to Japanese style painting. With great felicity he paints Nature and flowers. That is but only one aspect of his creative forays. Here I am concerned with his spiritual focus on the circle as a means of artistic expression. To paint with spiritual symbolism requires an inner search, equanimity, and a feel for the timeless. Paintings without this kind of attitude will not carry the dynamics of the spiritual; they will be like empty shells. Baljit paints with the inner dynamics. His present works are an effort to capture the metaphysical. His creativity unfolds through the circle in a kind of inner automatism. You have to understand his oeuvre in the context of his personal search for righteousness. I wish to bring to your notice the spiritual umbilical of his personal search. It is pertinent to know the Indian philosophy of life and Beyond. In Sikhism karma or kirat is seen as the vehicle to free us from the cycle of birth and death and to have mukti. One has to free oneself from pride, lust, anger, greed, self-centricity, maya and moh (attachment) and to devote life to sewa�service to mankind. Bhagavad Gita 2.27 also says, "One who has taken his birth is sure to die, and after death one is sure to take birth again. Therefore, in the unavoidable discharge of your duty, you should not lament." Thus cycle of life, death and rebirth are essential parts of thought process in India. Baljit�s paintings have varied moments of inspiration. In some works the circle is a serene quiet peaceful disc emitting soft tones and leading you to a feeling of inner joy. This you find in his work 2380. This work has a churning of the inner space and a rotation suggesting the cycle of the world or universe. The core of the painting appears to be a mystical kernel beyond human mind and intellect. In yet another work there are concentric circles and the core is a black bindu. Here the circles appear to symbolise the simultaneous working of different cycles of worldly activities and attachments. You get out of one circle and you are caught in another and so on ad infintum. (2486). You must notice the use of free moody lines that cross the circles and daubs of congealed colour. Baljit use this inner automatism where he does not seem to guide his hand or brush consciously. A lurking desire to be free of the material, bodily, intellectual and to allow the magic of anhad to take over is what I see in his use of these Zen like child�s scribbles. Baljit has used these idiosyncratic free floating lines in most of his works. These lines seem at times to �obstruct� your view of the pure circle. The eternal spiritual that the circle represents is often made hazy by our infatuation with the maya. At other times he uses tumbling interacting images in embellished gold reminding of the drama of life that has its own breathtaking charm. In yet another painting there is a linear window-like overlay through which you see the circle of the infinite. Here you become aware of the beauty of the spiritual that shines in cosmic blue colour (2376). Spiral is another important symbol that is our journey to a higher reality of being. Sometimes the luminescent circle has a spiral running over it�the desire to reach the ananata through our soaring spirit (2471, 2476). The subconscious doodles that are used sometimes have a rhythm that seems to evoke the universe and the movement of stellar constellations. Many painting have a centre or a kernel of the circle that seems to enter infinity and mystical Beyond. Observe that the centre of the circles is always full of light to make you think of the spiritual aura and awe of unknown. Baljit has his spiritual awakening in the world and in the flowers that he so lovingly paints. On an art related visit to Singapore I found the overflowing joy that he felt while visiting the botanical garden with different exotic flowers in bloom. This you see in the beautiful painting of an ethereal blooming blue flower. He paints the golden yellow stigma of the plant reminding you of the mystical centre in the circle. The flower opens with immense energy straight in your face, it mesmerizes you, holds you in its clasp and if you focus long on its centre you are drawn in it. In a different way his painting reminds me of Van Gogh�s intense sunflowers that emit a spiritual intensity. You find in the world what you want to see in it and not what it has. Baljit finds what he is looking for in the circular forms�be it a round flower, sun, or the eternal soul or the cycle of life death and rebirth or the planets and stars in the universe. Baljit looks at the eternal drama of the universe through his symbolic circle. I may here quote from a poem from the great Indian saint and poet Kabir that is also apt for Baljit�s art� I have known in my body the sport of the universe: I have escaped from the error of this world. The inward and the outward are become as one sky, the Infinite and the finite are united: I am drunken with the sight of this All! This Light of Thine fulfils the universe: the lamp of love that burns on the salver of knowledge. Kab�r says: "There error cannot enter, and the conflict of life and death is felt no more." Viktor Vijay KumarI LOVE PHOTOGRAPHY. I TAKEPHOTOGRAPHS OF FLOWERS AND CONVERT THEM IN TO MY PAINTINGS I have created a new technique called (FLOAT ON COLORS) .Using mix media on paper. I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. My journey in art continued and I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. Where my art journey will take me next I leave to higher forces . I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and CREATED A WORLD RECORD The exhibition with the most paintings of flowers in the world www.baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&video_id=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 This certificate is given by WORLD RECORD ASSOCIATION on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and donated entire collection to Smile Foundation New Delhi, for a girl child education. This certificate is given by WORLD RECORD ASSOCIATION original colors may wary little from photographs (BASE WHITE)

https://www.saatchiart.com/art/Painting-BLACK-N-WHITE-MAGIC/392880/2498497/view

[art-now-india]

ETERNAL CIRCLE, Baljit Chadha

LEARNT BASICS OF ART IN JAPANFROM RENOUNED ARTIST MS OHTA MIYOKO.The Eternal Circle .Circle is an old symbol. The earliest humans looked up the sky and found the orb of fire giving them light and warmth. Sun for them was a mystical power, a god. They saw its movement from morning in the east and to the west in the evening. Next day again it came up in the sky. They regarded it as an omnipresent power that repeated its emergence with cyclical regularity. There was no beginning or end to the sun for them. It was the sun that allowed their imagination to look in the circular form endlessness, infinity. Thus quite early circle became a symbol of completeness, eternity and also rejuvenation. Circle also denoted the Nature. They found seasons changing and then again re-emerging with regularity. The seasons became the circle of Nature. In winter all greenery vanished and then when Spring came life stated flourishing once again. The great Mohenjo daro-Harrappan civilization had a script as yet un-deciphered. They often had a symbol of a circle with six spokes inset. What it represented is not known. From prehistory to history circle gained greater importance and came to symbolise the cycle of birth and death and also the soul�s eternity. In the rainbow spectrum of Indian philosophy, religion and culture, circle has been used as a varied symbol. The cycle of birth and rebirth is broken only through moksha. King Ashok propagated Buddha�s path to enlightenment through Dharm Chakra�a wheel with eight spokes of a chariot. I feel the wheel was invented with inspiration from sun or moon. Hindu philosophy talks about chakras. It is believed that there are seven chakras or source of light located within the subtle body. The Tantra cult uses the concept of chakras for awakening kundalini. The chakras were illustrated with images and this lead to the development of tantric art. Ajit Mukherjee in his seminal book The Art of Tantra helped to create in early sixties a movement of tantric art in India. But it did not last very long being bound by a strict and regulated expression as per dictates of Tantra iconography. Baljit Chadha is an artist with deep roots in Asian cultural traditions which includes India and especially Japan. Long years spent in Japan drew his creative interest to Japanese style painting. With great felicity he paints Nature and flowers. That is but only one aspect of his creative forays. Here I am concerned with his spiritual focus on the circle as a means of artistic expression. To paint with spiritual symbolism requires an inner search, equanimity, and a feel for the timeless. Paintings without this kind of attitude will not carry the dynamics of the spiritual; they will be like empty shells. Baljit paints with the inner dynamics. His present works are an effort to capture the metaphysical. His creativity unfolds through the circle in a kind of inner automatism. You have to understand his oeuvre in the context of his personal search for righteousness. I wish to bring to your notice the spiritual umbilical of his personal search. It is pertinent to know the Indian philosophy of life and Beyond. In Sikhism karma or kirat is seen as the vehicle to free us from the cycle of birth and death and to have mukti. One has to free oneself from pride, lust, anger, greed, self-centricity, maya and moh (attachment) and to devote life to sewa�service to mankind. Bhagavad Gita 2.27 also says, "One who has taken his birth is sure to die, and after death one is sure to take birth again. Therefore, in the unavoidable discharge of your duty, you should not lament." Thus cycle of life, death and rebirth are essential parts of thought process in India. Baljit�s paintings have varied moments of inspiration. In some works the circle is a serene quiet peaceful disc emitting soft tones and leading you to a feeling of inner joy. This you find in his work 2380. This work has a churning of the inner space and a rotation suggesting the cycle of the world or universe. The core of the painting appears to be a mystical kernel beyond human mind and intellect. In yet another work there are concentric circles and the core is a black bindu. Here the circles appear to symbolise the simultaneous working of different cycles of worldly activities and attachments. You get out of one circle and you are caught in another and so on ad infintum. (2486). You must notice the use of free moody lines that cross the circles and daubs of congealed colour. Baljit use this inner automatism where he does not seem to guide his hand or brush consciously. A lurking desire to be free of the material, bodily, intellectual and to allow the magic of anhad to take over is what I see in his use of these Zen like child�s scribbles. Baljit has used these idiosyncratic free floating lines in most of his works. These lines seem at times to �obstruct� your view of the pure circle. The eternal spiritual that the circle represents is often made hazy by our infatuation with the maya. At other times he uses tumbling interacting images in embellished gold reminding of the drama of life that has its own breathtaking charm. In yet another painting there is a linear window-like overlay through which you see the circle of the infinite. Here you become aware of the beauty of the spiritual that shines in cosmic blue colour (2376). Spiral is another important symbol that is our journey to a higher reality of being. Sometimes the luminescent circle has a spiral running over it�the desire to reach the ananata through our soaring spirit (2471, 2476). The subconscious doodles that are used sometimes have a rhythm that seems to evoke the universe and the movement of stellar constellations. Many painting have a centre or a kernel of the circle that seems to enter infinity and mystical Beyond. Observe that the centre of the circles is always full of light to make you think of the spiritual aura and awe of unknown. Baljit has his spiritual awakening in the world and in the flowers that he so lovingly paints. On an art related visit to Singapore I found the overflowing joy that he felt while visiting the botanical garden with different exotic flowers in bloom. This you see in the beautiful painting of an ethereal blooming blue flower. He paints the golden yellow stigma of the plant reminding you of the mystical centre in the circle. The flower opens with immense energy straight in your face, it mesmerizes you, holds you in its clasp and if you focus long on its centre you are drawn in it. In a different way his painting reminds me of Van Gogh�s intense sunflowers that emit a spiritual intensity. You find in the world what you want to see in it and not what it has. Baljit finds what he is looking for in the circular forms�be it a round flower, sun, or the eternal soul or the cycle of life death and rebirth or the planets and stars in the universe. Baljit looks at the eternal drama of the universe through his symbolic circle. I may here quote from a poem from the great Indian saint and poet Kabir that is also apt for Baljit�s art� I have known in my body the sport of the universe: I have escaped from the error of this world. The inward and the outward are become as one sky, the Infinite and the finite are united: I am drunken with the sight of this All! This Light of Thine fulfils the universe: the lamp of love that burns on the salver of knowledge. Kab�r says: "There error cannot enter, and the conflict of life and death is felt no more." Viktor Vijay KumarI LOVE PHOTOGRAPHY. I TAKEPHOTOGRAPHS OF FLOWERS AND CONVERT THEM IN TO MY PAINTINGS I have created a new technique called (FLOAT ON COLORS) .Using mix media on paper. I evolved a style of art that has minimal gap in feeling and expression. Rapidity and quickness of expression in my art comes from the well of inner spirituality. My art is not planned, thought-out and cerebral it is based on spontaneity. Abstract Expressionism is a wider term and my art follows it in variegated dimensions. My journey in art continued and I experiment with different painting instruments and techniques. My dependence on brushwork is rather limited. I frequently and freely use spatulas, wooden sticks, masking, and sand-mix, push bottles and what comes handy in the moment. I use acrylic with mix media. I have developed acrylic based glazes that were possible earlier only with oil paints. The glazes impart a charm similar to enamel glazes. My art journey finds depth and width in continuous experimentation, forays into the unknown and choosing challenging metaphors of expression. Where my art journey will take me next I leave to higher forces . I did an installation (Wall of Divine flowers) with 12000 painting on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and CREATED A WORLD RECORD The exhibition with the most paintings of flowers in the world www.baljit-chadha.artistwebsites.com http://www.youtube.com/edit?ns=1&video_id=fCTt1B51fJA http://www.1wra.org/index.php/Worldrecord/detail/id/1241 This certificate is given by WORLD RECORD ASSOCIATION on 12-12-12-12hrs-12mnts-12sec at Zorba in New Delhi and donated entire collection to Smile Foundation New Delhi, for a girl child education. This certificate is given by WORLD RECORD ASSOCIATION Keywords: peace, round, circle, eternal, love

https://www.saatchiart.com/art/Painting-ETERNAL-CIRCLE/392880/2497422/view