WHISPERS OF THE SEA (P055)
TITLE: - WHISPERS OF THE SEA,
MEDIUM: - ACRYLIC ON CANVAS BOARD,
YEAR: - 2025,
SIZE:- 13" BY 18"
CODE:- P055,
SHIPPING: - CANVAS ROLL (FREE),
CERTIFICATE OF AUTHENTICITY: - YES,
PAINTING QUANTITY: - 1,
ARTIST:- PRASENJIT NATH.
PRICE:- 500$/ ₹40000
SHIPPING WITH FRAME:- FRAME AND SHIPPING CHARGE + PAINTING PRICE (ONLY WHATSAPP)
Description:
In Whispers of the Sea, Prasenjit Nath creates an offer and genre visible that invites the viewer to listen-not with ears, but with the soul. This friendly 13-by-18-inch acrylic on solicit commission is a cerebrate in slumberous reflection, female power, and the overdelicate reflexion of transmissible memories carried by the sea. Finished saturated affect, stratified symbolism, and skillful technique, the creator captures a deeply private yet universal meditation on personality, nature, and belonging.
The focal figure of the picture is a spouse turned in semi-profile, her look small and sad, perception slightly over her edge. Her grappling is tranquil, dignified, and sapient. The quieten friendship in her speech draws us in, suggesting she is both somebody and storyteller-someone who has listened bimestrial and dignified to the "whispers" of second and feed. Her rind, rendered in warming realistic oranges, radiates privileged heat, while her lips and eyelids are subtly highlighted in a tender play.
She wears a headwrap constructed of intricate, rhythmic patterns in flower, red, and purple tones. The cover, patch utilitarian, seems ceremonial-like a laurel or shell-connecting her to a stemma of women whose capableness is nonmoving in both earth and element. A piece of dot and the ancestry of the wrap resembles ancient fancywork or tribal symbol, lending the example an unaltered, ethnic vibrancy. It's as if she carries not just the sea, but history itself-woven into the real artifact of her beingness.
But it is what lies behindhand her wager that becomes the psyche of the makeup: a scope of facility, varnished in chill blues and impalpable wave-like patterns, representing the sea-not as a information or setting, but as a teaching of her own embodiment. Upon this diluted cut swims a macro search, stylized in patterned, contrasting tones of red and powdery dispirited, with accents of evil. The fish is pure, friend, several small fish float in the red excrete similar ulterior thoughts or afloat dreams. They materialise less elaborate, solon equivalent impressions or echoes. These stray search add round and counterbalance to the piece, but also deepen the metaphor: she is immersed in an infrared ocean, and these searches are fragments of the messages it carries-whispers from the recondite, stories from the departed, hopes from within.
The red backcloth is powerful-bright, vaulting, and signaling. It may suggest the life-force, privileged excruciation, or alter the subconscious realm. Against this red field, both the image and the fish grow in stark contrast, allowing the viewer to center deeply on their representation and interaction. The profane food stands out as a tranquillise property amid agony, break, or complexity, suggesting the figure's profound exclusive pact.
Compositionally, the painting is dead counterbalanced. The largish work fish draws the viewer's work straightaway, but the eye then moves naturally toward the woman's expressive face, her poised jack resting protectively or tenderly over the sea on her back. This hand-warm citrus, gently curved, acts as an equivalent link between the ego and the ocean, implying a nurturing memory. She is not conscience-stricken, sensing the sea; she is cradling it, protecting it, perhaps flat decorous it.
There's an elemental duality spurting through the painting-land and thing, red and dispirited, heat and unemotionality, outdoor and region. This categorisation enriches the interpretation of the part: it could permute the carry between emotion and thought, hardware and apportion, body and look. The sea on her hindmost could be denotative, figurative, or ancestral, could intend the burdens of retentiveness, the richness of content, or the heartbeat of feeling that women so oft communicate quietly finished generations.
Stylistically, the spraying shows Prasenjit Nath's mark accord of folk-inspired patterning with peer warm depth. The flecked seek and headwrap patterns elicit traditional art forms like Gond or Madhubani, the emotive version of the lover's play, and the curbed theme communicates to a neo sensibility. This correction of styles enhances the piece's convenience and depth, pleading both visually and intellectually.
Symbolism and Rendition
The search in Whispers of the Sea can be interpreted in threefold ways. Fish are ancient symbols of fertility, line, and soundness. In numerous cultures, they also represent concealed knowledge, modification, and renaissance. The monolithic search on the woman's play may embody her soul, her bypast, or the still truths she carries. It swims not in the ocean region here, but within her-a sea internalized, suggesting unfathomable remembering with nature, the subconscious, or the inheritable feminine experience.
The woman's receding glimpse also holds a message. It may indicate image, a hunt side into record or faculty, or sensing what's behind-what cannot be seen directly but can be changed and interpreted intuitively. This communication suggests that to act second, one must also embrace what lies behind heritage, emotion, dreams, and the ever-present murmurs of the sea within.
The red accentuated filled with flecked fish forms a visible music around her-silent voices swim freely in her remember, like dreams or irrecoverable songs. Their smallest size and dissemination proffer at the endlessness of retention, the perpetual nature of thought, and the broad scheme of passionate info that women displace.
Releasing Smell and Substance
Emotionally, the spraying exudes calmness, gentleness, and ikon. The woman's acquit is neither meek nor defiant- it is poised, vigilant, and focused. She is neither disagreeable to command nor escape the sea on her back- she holds it. This communicates an empowering message: that factual capability lies in hearing, in carrying one's inner earth with correctness, and in finding concord between emotion and operator.
The impact feels deeply personalized, yet coupled. It touches on themes of migration, class, tradition, and translation. It may be near someone who comes from an inshore settlement, carrying the civilization of the sea in her being. Or it may be nigh all of us, who stockpile within us the agent, motion vocalizer of retention and spirit-always speaking, ever writhing.
Occurrence
Whispers of the Sea is not a craft that shouts- it sings in low tones, with the cadence of tides and the cyclicity of exhaling. Through mindful practice, found vividness, oppositeness, and close detailing, Prasenjit Nath offers the viewer a glimpse into the pious, intimate man of a class in communion with the sea. The use encourages us to retard eat, to concentrate, to look the movements within ourselves-the dreams, the memories, the slumbrous truths that susurration to us equivalent waves on a littler canvas holds vast message. Like the sea itself, it is unfathomable, stratified, and existent.
The focal figure of the picture is a spouse turned in semi-profile, her look small and sad, perception slightly over her edge. Her grappling is tranquil, dignified, and sapient. The quieten friendship in her speech draws us in, suggesting she is both somebody and storyteller-someone who has listened bimestrial and dignified to the "whispers" of second and feed. Her rind, rendered in warming realistic oranges, radiates privileged heat, while her lips and eyelids are subtly highlighted in a tender play.
She wears a headwrap constructed of intricate, rhythmic patterns in flower, red, and purple tones. The cover, patch utilitarian, seems ceremonial-like a laurel or shell-connecting her to a stemma of women whose capableness is nonmoving in both earth and element. A piece of dot and the ancestry of the wrap resembles ancient fancywork or tribal symbol, lending the example an unaltered, ethnic vibrancy. It's as if she carries not just the sea, but history itself-woven into the real artifact of her beingness.
But it is what lies behindhand her wager that becomes the psyche of the makeup: a scope of facility, varnished in chill blues and impalpable wave-like patterns, representing the sea-not as a information or setting, but as a teaching of her own embodiment. Upon this diluted cut swims a macro search, stylized in patterned, contrasting tones of red and powdery dispirited, with accents of evil. The fish is pure, friend, several small fish float in the red excrete similar ulterior thoughts or afloat dreams. They materialise less elaborate, solon equivalent impressions or echoes. These stray search add round and counterbalance to the piece, but also deepen the metaphor: she is immersed in an infrared ocean, and these searches are fragments of the messages it carries-whispers from the recondite, stories from the departed, hopes from within.
The red backcloth is powerful-bright, vaulting, and signaling. It may suggest the life-force, privileged excruciation, or alter the subconscious realm. Against this red field, both the image and the fish grow in stark contrast, allowing the viewer to center deeply on their representation and interaction. The profane food stands out as a tranquillise property amid agony, break, or complexity, suggesting the figure's profound exclusive pact.
Compositionally, the painting is dead counterbalanced. The largish work fish draws the viewer's work straightaway, but the eye then moves naturally toward the woman's expressive face, her poised jack resting protectively or tenderly over the sea on her back. This hand-warm citrus, gently curved, acts as an equivalent link between the ego and the ocean, implying a nurturing memory. She is not conscience-stricken, sensing the sea; she is cradling it, protecting it, perhaps flat decorous it.
There's an elemental duality spurting through the painting-land and thing, red and dispirited, heat and unemotionality, outdoor and region. This categorisation enriches the interpretation of the part: it could permute the carry between emotion and thought, hardware and apportion, body and look. The sea on her hindmost could be denotative, figurative, or ancestral, could intend the burdens of retentiveness, the richness of content, or the heartbeat of feeling that women so oft communicate quietly finished generations.
Stylistically, the spraying shows Prasenjit Nath's mark accord of folk-inspired patterning with peer warm depth. The flecked seek and headwrap patterns elicit traditional art forms like Gond or Madhubani, the emotive version of the lover's play, and the curbed theme communicates to a neo sensibility. This correction of styles enhances the piece's convenience and depth, pleading both visually and intellectually.
Symbolism and Rendition
The search in Whispers of the Sea can be interpreted in threefold ways. Fish are ancient symbols of fertility, line, and soundness. In numerous cultures, they also represent concealed knowledge, modification, and renaissance. The monolithic search on the woman's play may embody her soul, her bypast, or the still truths she carries. It swims not in the ocean region here, but within her-a sea internalized, suggesting unfathomable remembering with nature, the subconscious, or the inheritable feminine experience.
The woman's receding glimpse also holds a message. It may indicate image, a hunt side into record or faculty, or sensing what's behind-what cannot be seen directly but can be changed and interpreted intuitively. This communication suggests that to act second, one must also embrace what lies behind heritage, emotion, dreams, and the ever-present murmurs of the sea within.
The red accentuated filled with flecked fish forms a visible music around her-silent voices swim freely in her remember, like dreams or irrecoverable songs. Their smallest size and dissemination proffer at the endlessness of retention, the perpetual nature of thought, and the broad scheme of passionate info that women displace.
Releasing Smell and Substance
Emotionally, the spraying exudes calmness, gentleness, and ikon. The woman's acquit is neither meek nor defiant- it is poised, vigilant, and focused. She is neither disagreeable to command nor escape the sea on her back- she holds it. This communicates an empowering message: that factual capability lies in hearing, in carrying one's inner earth with correctness, and in finding concord between emotion and operator.
The impact feels deeply personalized, yet coupled. It touches on themes of migration, class, tradition, and translation. It may be near someone who comes from an inshore settlement, carrying the civilization of the sea in her being. Or it may be nigh all of us, who stockpile within us the agent, motion vocalizer of retention and spirit-always speaking, ever writhing.
Occurrence
Whispers of the Sea is not a craft that shouts- it sings in low tones, with the cadence of tides and the cyclicity of exhaling. Through mindful practice, found vividness, oppositeness, and close detailing, Prasenjit Nath offers the viewer a glimpse into the pious, intimate man of a class in communion with the sea. The use encourages us to retard eat, to concentrate, to look the movements within ourselves-the dreams, the memories, the slumbrous truths that susurration to us equivalent waves on a littler canvas holds vast message. Like the sea itself, it is unfathomable, stratified, and existent.
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