Raja Rani
Raja Rani
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United Kingdom is a multicultural country. The London village (a.k.a a suburb) that I live in has in particular many Indians from East Africa (of which I am one). The Indian diaspora here mainly hails from Uganda, Kenya and Tanzania - all British colonies. Due to harsh living conditions following a drought, my grandfather was incentivized to migrate from Gujarat, India to Uganda a century ago. Over time, he was given a British passport and after Idi Amin - well the rest is history.
U.K and India share a remarkable commonality in their national symbols, both featuring ancient goddesses associated with lions. In India, we have Durga, who embodies feminine strength and valour, riding a lion or tiger as she vanquishes evil forces. In Britain, the symbol of the lion is closely tied to the heraldic imagery of the British monarchy, where lions often feature prominently in royal crests and standards.
This parallel between the two nations' symbols reflects a deeper connection, one that goes beyond geography and history. It underscores the cyclical nature of time, akin to the changing cycles of nature and seasons. Just as the seasons transition seamlessly from one to another, so too have the powers and influences in India's history shifted cyclically, from indigenous dynasties to the Mughal Empire and later to British colonial rule.
In this cyclical perspective, India's history, marked by periods of upheaval and transformation, mirrors the changing seasons of nature. The nation has endured and evolved, much like the delicate yet sturdy blossoms that emerge each year. This connection between India and Britain, embodied in their lion-associated goddesses and the cyclical patterns of time, serves as a reminder that history is not linear but, instead, a dynamic interplay of forces that repeat and evolve, much like the ever-changing seasons of nature.
PRINTS TECHNICAL INFO
Prints media info:
Each Fine Art Print is titled, numbered and signed in Ketna’s handwriting
The studio meticulously keeps account of each numbered print, including when and who it was sold to, so there is no chance of duplication
Each Fine Art Paper Print comes in an edition of 50, so for the three sizes, the total prints ever made will be 150
Each Acrylic / Metal Print comes in an edition of 25 for each size
Each Print is made to order. Please allow 10 working days for delivery
Archival Art Paper Print (unframed; delivered rolled up in a poster tube)
Depending on each composition’s ‘personality’, colour spectrum and destined geographical location, the Artwork is printed either as a C-Type print on Fuji gloss paper or as a Giclee print on Hahnemuhle Photo Rag paper. (For humid countries e.g Singapore, C-type Fuji paper is advised as it is does not let moisture and mould through)
Acrylic Screen Prints: Back printed on glossy acrylic glass, and come with a wooden frame.
Our acrylic prints are no less than 5 mm thick and are finished with a thick black premium foil on the back. This protects the print and gives extra depth and colour brilliance to the end result. In addition, our acrylic prints are made from 70% recycled acrylic.
HD Metal Prints: Printed on aluminium
HD Metal consists of a thin aluminium plate with a special coating on top. We then use a unique dye sublimation technique to apply the artwork onto it. The result is a phenomenally razor sharp resolution which makes the overall look very contemporary and vibrant. The material we use is scratch-resistant and waterproof so it can be used for outdoor use too. The high-gloss version is the successor of plexiglass prints however it is lighter, stronger and has a luscious colour spectrum! HD Metal beautifully juxtaposes the classic and traditional with state of the art technology, resulting in frameless, shiny Art that looks timeless as it 'floats' off the wall.
Both Acrylic and Metal Prints are always supplied with a free prefitted hanging system with spacer, so ready to hang immediately. All you need is a screw in the wall, and they will hang firm and flat against the wall.