Wednesday, October 27, 2010

A VIEW OF VITASTA AT BADYAAR BALA NEAR LAL DED SCHOOL AND AN EIGHT LINE POEM OF DINA NATH NAADIM

                                                                                                  



                                                                                                                                                           
A NEW FORM FOR KASHMIRI POETRY CREATED BY DINA NATH NAADIM . POEM IN EIGHT LINES . . NOT A SONNET NOT A HAIKU AS SOME PEOPLE CALL IT .NAADIM AGAIN TOUCHES CHEKHOV'S THOUGHT LEVEL THROUGH THESE SIMPLE 8 LINES.THE

LINES BEAR ELEMENTS OF EXISTENTIALIST THOUGHT AS WELL.


Boota Khoraa Aukh Vateey Peuth Peyomutt
Aasaa vahaarith Chhaaraan Treish
Hoonaa Aukh Aav Lamnaa Karnuss
Fuchmaech Buthi Khanjee Deutnuss Feish
Daalaa Dith Neun Naali Akiss Munz
Treish Hatiss devaa Az Footee Treish
Seeraa Aukh Vutsch baddi hatee Kaenee Kunn
Tse Ti Ad khuraa Baaetti Mahaarein


With its mouth open . a shoe lay on the road ,
Desperately needing to quench its thirst.
A dog passed by , Pulled it out ,
turned its dirty face upside down.
Looking here and there ,
thinking possibly to give water to the thirsty ,
The dog carried the shoe to a nearby drain.
Behold ! A brick jumped at this scene and said loudly to the stone nearby:
"You are just a Part of the whole .
I happen to be complete and wholesome."
( Rendered to English from original kashmiri by Autar Mota )


These lines of naadim have a vast scope for interpretation. One that comes to my mind could be as under :-

Visited by circumstances and add to this the denial of freedom of choice , Who is not like a shoe thrown on the road needing support and help even for fundamental needs of existence ? The helplessness of the shoe is touching. In our society ,Such human beings live purely at the  mercy of  notice and attention by others . They need appropriate time and space to get this mercy translated to real action .
The support, at times may come from the unexpected quarters like the dog who carries the shoe to the drain. This support simultaneously provokes others around who feel a strange denial of attention to them .
See what the brick satirically says to the stone. Yes the brick though delicate appears to be complete . It is wholesome apparently. Something can be made a part of it . it is certainly not part of something.The stone , Even being stronger is part of the whole . Incomplete . This issue has also been touched by Jean Paul sartre . In simpler terms, i add that Stronger human beings can also be incomplete or part of the whole .
I might have bored some readers with my notes to these lines . Can't help .These eight lines, looking simple apparently ,are actually meant for a serious reader . I need to add some more poetry to conclude.These lines were composed by Naadim sahib for the opera VITASTA( JHELUM RIVER )

Sangaruvv gaash Heyot lolee lalvunn ye
Veuth aayee saaluss soan Ye
Thadee Thadee Heytoss Zeuooth Vanvunn ye
Veuth aayee saaluss soan Ye

( Dina Nath Naadim )

The Mountain tops are cuddling sunlight in their lap
Lo and behold ! Here comes Vitastaa for a feast to our land .
Come let us sing loudly in her praise and welfare ,
Here comes Vitastaa for a feast to our land .Creative Commons License


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Tuesday, October 26, 2010

THE STORY OF SMALL GRAVEL STONE IN A POEM OF DINA NATH NAADIM AND A VIEW OF STONE QUARRY AT ATHWAJAN SRINAGAR .






                                                                      
ROADDA FOLLAH AKH VATIE PEUTH ANDH KUNN
TAAPUNNIE TSAANJIE AUSS GANZRAAN DOAH
THEKDARUNN AENDH AENDH CHUTT KHORUSS
BAAJIREE SEUT MEULL SAPDEUOSS KOHH
TEEL SADAK AUSSISS DEUKK LEEKHITH
BRUKKVITH TROVUKH SAPDEUOSS TOHH.

( DINA NATH NAADIM )

A small stone lay untouched on roadside ,
Passing its time under the scorching rays of sun .
A contractor ( Engaged for Black topping the road )
Put the gravel mixture around it ,
Behold it too joined gravel
to become a small mountain momentarily .
Finally the Coal tarred road was its fate ,
Crushed to pieces it lay there in its final destination.
( For readers i have Rendered this poem in English from original kashmiri )

ANOTHER SIX LINE POEM FROM "HAERSAATH " BY DINA NATH NAADIM. SOME MAY BE TEMPTED TO CALL THE FORM HAIKU BUT I TEND DISAGREE. THIS IS A UNIQUE STYLE AND FORM CREATED BY NAADIM FOR KASHMIRI POETRY WHICH ALL OF US FAILED TO RECOGNIZE , APPRECIATE AND REALIZE.  THESE ARE SMALL POEMS WITH CHAIN OF METAPHORS AND  SYMBOLS  HAVING VAST SCOPE FOR MEANING . THE CONTENT APPEARS TO BE ORDINARY . PAUSE . THINK. IT TURNS OUT TO BE THOUGHT PROVOKING .HERE  NAADIM COMES UP TO THE STATURE OF  ANTON CHEKHOV .

I HAVE READ MINI  POEMS FROM   "HAERSAATH " AT LEAST 100 TIMES . TO ME THEY APPEAR LIKE  FRAMES  FROM   A  SATYAJITRAY MOVIE. 

 ARE NOT ALL OF LIKE THE SMALL STONE OR PEBBLES LYING ON THE ROADSIDE OF EXISTENCE  LIVING  WITH SHIFTING  FATES . FATES THAT ARE BEYOND OUR CONTROL OR CONTROLLED BY THE  CONTRACTOR CALLED DESTINY. SOMETIMES HAPPY BEING MADE TO LOOK LIKE A MOUNTAIN AND FINALLY CRUSHED TO BE TRAMPLED BY THE TRAFFIC ON THIS HIGHWAY OF EXISTENCE ! 
Autar Mota

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Monday, October 25, 2010

A DUBB ON BADYAAR BALA ROAD SRINAGAR AND DINA NATH NAADIM'S POEM ON HUKH ( DRY WOODEN PIECES USED IN KITCHEN AS FUEL IN OLDEN DAYS .).

                                                              

Baaluv peith Voath pari mahal kunn
 voth baeth baeth Draav Saeluss vaav
Hutchfaell Pangtaah Saet saet draayuss
Aabuss paeth paeth yirvin naav
Boan Paahun vaatith seikee Shaatuss laeg

Haq Parznovukh Hukkh Pyokh naav .
( Dina nath naadim )

Coming down from the Hills surrounding Pari mahal ,
The wind went on a joyful journey through river banks .
 a crowd of wood pieces too joined on this journey  ;
 But alas! These  were thrown on the water surface .
Moving down the river current ,
these pieces came to settle on a sandy surface
to realize truth .
Lo here only people named these pieces as HUKH.


"FROM " HAERSAATH " BY DINA NATH NAADIM ( 1916-1988 ). 

AFTER MEHJOOR , NAADIM STOOD UP AS THE TALLEST POET OF MODERN KASHMIRI . INSPIRING A GENERATION OF WRITRS IN KASHMIR ,THIS POET WROTE , GHAZALS , VAAKHS , OPERAS , SONGS AND SONNETS . HIS POEMS AND SONGS WERE BUBBLING WITH LOVE FOR HIS NATIVE LAND , ITS PEOPLE AND CULTURE.IN FACT I PERSONALLY LEARNT THE NAMES OF MANY FLOWERS OF KASHMIR FROM MEHJOOR AND NAADIM SAHIB'S POETRY .THE LINE "BOMBRO BOMBRO SHAAM RANG BOMBRO " USED IN THE OPERA "BOMBUR TE YEMBAZAL" OR " ROMANCE OF THE BUMBLE AND THE NARCISSUS FLOWER " IS HIS CREATION . WITH THESE LINES HE SPREAD IN THE ENTIRE LENGTH AND BREADTH OF THE COUNTRY. HAERSAATH IS A BEAUTIFUL COLLECTION WRITTEN IN SONNET STYLE BUT IN SIX LINES WITH ONE THOUGHT AND IMAGERY . THE ABOVE LINES DEPICT THE BEAUTY OF HUKH FORMATION IN KASHMIR.
 


Hukh was collected from rivers by Boatmen. One could see them collecting it from Sindh stream near Ganderbal. It was brought to city for sale in big boats called Bahach. Hukh consisted of  small pieces of wood   used for burning in Kitchen during winters . It made the kitchen warm when burnt in DHAAN ( CHULHAA ) by our womenfolk . We would come to the kitchen repeatedly to fill our Kangris . The kitchen turned cozy and warm with HUKH burning .Children would sit in the kitchen  to have  food when their Grandmothers or   mothers   burnt HUKH for cooking food  . You could also notice our ladies skillfully making  Coal from the Burning HUKH or firewood in the kitchen. Kashmiris kitchens had a LEJJ ( earthen pot ) with a lid .Our ladies  would be removing Burning Coal heaps from the DHAAN ( Chulhaa ) and throwing them into the LEJJ and then immediately replacing the lid . The burning charcoal would cool down and the coal so prepared would be used to make afternoon tea. 
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Thursday, October 21, 2010

A CLOSED DOOR AND A POEM BY AUTAR MOTA


 O THAT CLOSED DOOR  ! 
( Photo Autar Mota )


To this photo , i am adding my Poem  " Bandh Darwaaza " or Closed Door.

     ( Bandh Darwaaza )

Kaun Kholegaa Ab Voh  Darwaaza
Me  Jisse bandh kar ke Aaya Thaa …..

Jis Pe latke chhupe Basse Hain Abhi
Meray Ajdaad Ki Yaadon Ke Hujoom
Jaissay  Maa  Aaj Bhi Khadi Hai Vaheen
Haath Mein Thaal Liye Khaane Ka
Sonchti Hai “ Kahaan Gayaa Hogaa?
Bache Sab Aa Gaye Schoolon se “
Phir Voh Rangon Ka *(1) Krool  Daale Koyee
Issi Dhar Ke dhule Se  Maathe par
Phir  Koyee  Likh Rahaa hai Rang Liye
Naam  Dulhe ka Aur Dulhan Ka
 Dev-lokon se Bhi Duaayein Chali
“ Nayi Jodi rahe Sukhi Har Pal “
Hai Phir Shaadi Ka jashn Zoron Pe
 Aur Phir se hai *(2) Dwaar Pooja koyee
Phir  se Pooja ki Voh Gaagar le kar
Jis  mein akhrot hain Paani Bhi Hai
Aa gayi Maa meri Issi Dhar Pe
Karne Herat Ki Voh * (3) “Thuk Thuk” Ki Rasam
Phir Meri Daadi Keh rahi Jaissay
“ Thehro Thehro Abhi Vaheen Thehro
Aap Mehmaan ho Dhar Pe Rukk Jaao
Mujh Ko *(4) Aalath Utaar- ni hai Abhi ”
Voh Jo Khultaa Thaa kul jahaan ke liye
Jis ke andhar  thaa Shahar e missr mera
Yaheen Gokul Bhi Thaa Shivaala bhi
Bandhagi Bhi  Reshi-Parasti Bhi
Paas masjid se Voh * (5) Durood Shariff
Mandiron se * (6) Mahimnapaar Ki goonj
Dekh Kar  Ekk  Khulaa khulaa sa dhar
Sab Chale Aatay Thay Andhar Ghar mein
Aaj Tak Chaabiyaan Sanbhaalin Hain
Jin Se Ab Koyee Dhar nahin Khultaa …..
……………………………….Kaun Kholegaa Ab Voh  Darwaaza
Me  Jisse bandh kar ke Aaya Thaa …..


( Autar Mota )

PS


*(1) 

Krool is an Artistic Decoration of Main Entrance or Door of a House with colours . This is done before the start of actual Marriage ceremony . Generally Flowers , Leaves and branches are Drawn in Bright colours to give an Auspicious aura at the entrance . It is also believed that KROOL is drawn for Blissful married life of the couple. It is not to be confused with Vyoog or Rangoli . The colourful Vyoog is drawn on Floor .
*(2)
Dwaar Pooja is an Important Custom Practiced since Vedic period . Main Entrance or Door is considered Auspicious and Pious and is worshiped before entry of Bride or Bridegroom . It is widely prevalent in kashmiri Pandit society.
*(3)
“Thuk Thuk ! kuss chhuva ! Ram Bror ! “ Knock !Knock ! Who is there ? A gentle Cat .” These lines are Familiar to every kashmiri Pandit. This custom continues to be practiced by Kashmiri Pandits during Shivratri Festivities . The elderly lady in the house would Fill up the Walnut Pitcher of Shivratri with Fresh water from Vitasta / Fresh running water stream ( Later Fresh Tap Water ) and then give knocks at the Door to enter . She would seek blessing for the entire family from Shiva . After she finished seeking these blessings , some insider would open the door and allow her in with the water and walnut filled Pitcher . 
*(4)
Upon conveying details of “ AALATH“ ritual of kashmiri Pandits and seeking clarification on it , a learned scholar clarified to me as under :
“ I believe kashmiri Pandit culture and Rituals have evolved from Vedas and also from the Shaivite Traditions. This tradition, as you say of welcoming a Guest at the entry point or at the Door by an elderly woman with a jug or small container of water held in a plate having some rice and flowers and then moving the water container symbolically around his body and finally carefully throwing away everything at a proper place is Nothing but Abhisheka . So good a tradition. I would say that Atithi ( Guest ) is Shiva. And Shiva needs Abhisheka . The honoured Guest at the Door has to be worshipped and welcomed . And at that time , Shiva is both a personal Guest and a cosmic presence who is welcomed at the same time to one’s home and heart. The elderly woman who welcomes the Guest at the Door becomes pious by this very act and attains the status of Parvati . To welcome a Guest at Door steps is like an offering to God or Shiva. Hold on to this Beautiful tradition. “
During olden days when a potter would bring pots for the shivratri celebrations to a kashmiri Pandit Household , Aalath was also performed for him at the doorstep. May be a symbolic welcome to lord SHIVA .

*(5)

Durood shariff is a prayer which Muslims make by saying explicit phrases in praise of Prophet Muhammad ( Pbuh). Recitation of Durood Shariff in shrines and Mosques is a common Practice with kashmiri Muslims . In kashmir , we have almost Night long Durood khwaani during the holy month of Ramadaan.
*(6)
Mahimnapaar or Shivmahimna Stotra is one of the earliest and one of the most recited Shiva prayer by Kashmiri Pandits .It is said to have been written a Gandharva Known as Pushpadanta , a Great Devotee of Lord Shiva .


(Autar Mota .)

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Tuesday, October 19, 2010

WILLOWS AT BETAAB VALLEY PAHALGHAAM AND A POEM BY AUTAR MOTA

                           
Majestic willows of Betaab Valley Pahalghaam kashmir.
(Photo Avtar Mota 2009 series .)
Many friends have been asking me to post one of my poems . Lo ! and behold this small surprise .

HAMAARA DIL ( This Heart of mine )

Hamaara dil Samajh lo Ek Sehraa hai samandhar hai ,
Yeh Bahr e Hind Tak Aayee Himaala Ki Hawaa Samjho,
Na Ganga hai, Na jamuna hai ,Yeh sangam hai Prayaag e Hind Tehzeeb e wattan jaisaa .
Guzashtaa daur ki Anmol Qadron ko Samete Hai,
Jisse Tum Chaah kar bhi apney Khwaabon Me Nahin Laatey,
Jisse Tum Pyaar kartey Ho Magar Apnaa Nahin Saktey,
Jo Ab Bhatkaa hai Unn raston pe jo Jungle ko Jaate hain,
Jo Ab Tanhaa Hai Unn shehron Me Jo Mudd kar nahin Taktey ,
Isse Ek Shaam Do, Aaraam Do, Subh e Tamanaa Do.
Yeh Kaise Maan Legaa Khoon Ka, Baarish Kaa, Toofan Kaa,
Mehak Kaa ,Phool Ka, Aur dard ka ,Lafze Mohabbat ka ,
Behan Ke Gham kaa , Maa ki Chashm e numm, Umeed e fardaa Kaa ,
Wattan Ki Yaad kaa, Doori Kaa, Majboori ,Judaai Kaa ,
"Koi Mazhab hai ,Koi Dharam hai ,Koyee Aqeeda Hai ."
( A Poem by  Avtar Mota )



This heart of mine is like the Saharaa ( Vast Desert ) or the   ocean,
Treat it like the fresh Breeze of Himalayas dancing over  the Indian Ocean,
Never  like  River  Ganga or Yamuna  alone ,
 But yes Like the Majestic Confluence at  Pryaag (Allahabad ),
It spreads like the civilization of my country.
Holding values of time gone past ,
Something which you too  cherish but refuse to see  
coming close even in your dreams ,
Something which you too love but but never attempt to own, 
Moving   aimlessly on Paths that lead to Jungle alone ,
This heart is lonely in Cities that have never learnt to look back.
Grant it  just One Evening, A little Comfort  and the Desired dawn,
How can this heart agree that:
 Blood , Rain , Tornadoes  ,
Fragrance , flowers , Pain and Suffering ,
 Words of love ,The sorrow of our sisters , The sobbing of our Mothers ,
Tomorrow’s hopes , Memory of our beloved land , Distances ,
Helplessness and separation
Have a Religion , A Dharma or belong to any Faith .”
                          
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THE GREAT TRILOKE KAUL ( ARTIST AND A LIVING LEGEND )




                                                                                 
                                                                               
                                                            ( Oil on canvas Triloke Kaul..  )

TRILOKE KAUL: THE FORGOTTEN BARODA TRAINED ARTIST AND THE PIONEER OF MODERN ART IN THE KASHMIR VALLEY

 

 Some years back this author met Triloke Kaul (born 1925) at a marriage function at Dehradun. In an engrossing late-night discussion, he spoke about his art, Kashmir in general, the Progressive Artists Association of Kashmir and his close association with artists S N Butt and P N Kachru. He also talked fondly about N S Bendre, Shanti Dave , Mulk Raj Ananad ,Herman Goetz, Charles fabri, Apurab Som Nath, Ratan Parimoo, Kishori Kaul G R Santosh, poet Dina Nath Nadim, poet Amin Kamil, artist Mohan Raina and poet Rehman Rahi. He talked about Percy Brown and artist S H Raza with whom he remained associated in the late forties of the last century to form the Progressive Artists Association in J&K state. He talked about his various exhibitions; solo or joint with P N Kachru and S N Butt. He talked about Albert Camus and Kafka. Kafka remains his favourite even today. He talked about, Sheikh Mohammad Abdullah, Bakshi Ghulam Mohammad, G M Sadiq, D P Dhar, J N Zutshi, and many artists, writers and poets from our state. He spoke emotionally about his ancestral house at Shalla Kadal, Srinagar, and his studio at Sumbal. Yes, he regrets the loss of many precious books and paintings that he had to leave behind in Kashmir to save his life after the onset of armed militancy. His studio at Sumbal was vandalized and burnt. A large number of paintings done by him were stolen. Apart from about 150 masterpieces done by him, he lost some portraits done by Jatin Dass and S H Raza. He also lost some paintings that were gifted to him by Kishori Kaul, Salgaonkar, P N Kachru, S N Butt and G R Santosh. He also lost more than 3000 books on art, philosophy and literature. His prized painting "How Green was My Valley" was also lost. If you touch this sensitive issue with him, you are putting him in great pain.

 ”Please don’t talk about that loss. I feel as if I was not born at all or have done nothing in my life. This loss makes me feel as if I have neither lived nor struggled and also not painted at all."

 Recalling his days as Director School of Design, he spoke about hundreds of innovative designs for Kashmiri handicrafts that were created during his incumbency. He also recalled the support from his fellow artists like P N Kachru, S N Butt and A K Raina and many more artists in this area. These artists did extensive and original research work for improvement and scientific documentation of designs relating to Kani shawls, walnut wood carving, glazed pottery, Namdhas, Kashmir carpets, Samba cotton prints and Chikri woodcraft of Thana Mandi, Rajpuri. These artists also worked on natural /vegetable colours and dyes.

Popularly known as the leader of “The Trio” and ably assisted by P N Kachru and S N Butt, Triloke Kaul is a pioneer who brought Modern Art to our state. In 1948, this 'Trio' (Triloke Kaul, S N Butt and P N Kachru) started meeting Percy Brown (former Principal, Calcutta School of Arts and Crafts) who stayed in a houseboat in Kashmir after his retirement. For them, he proved to be a man of immense help and inspiration. They kept a close association with S H Raza as well who kept visiting Kashmir since 1948. This association gave birth to the “Progressive Artists Association (Kashmir). In May 1949, PAA( Kashmir) held its first art exhibition in Srinagar.

                                                                                                

                                                 ( Ancestral house of Triloke Kaul at Shalla Kadal, Srinagar )

 Trained at Baroda by the renowned painter N S Bendre, Triloke Kaul continues to remain a tall figure not only amongst the artist fraternity of the UT (J&K) but also amongst the artists on the national scene. The time spent in Baroda evolved his style of work, which drew inspiration from Modernism, especially Cubism with its penchant for angular lines and bold compositions. While in Baroda Triloke along with Shanti Dave, and GR Santosh, decided to exhibit their works in an exhibition, Bendre suggested that he along with some senior artists such as K G Subramanyan and Balkrishna Patel would also join them. Bendre felt it was an opportune moment to present the ideology of the Faculty of Fine Arts and founded the Baroda School in 1956 and planned its first exhibition in Mumbai. The Baroda School marks a moment that forged a path that did not blindly ape the academic style of the west, nor did it believe in revivalist tendencies, it urged the artist to observe life around them and push the viewer to think.About him, a leading art critic of the country has written this:-

“His approach to painting also originated from the landscape. Primarily the architecture of Kashmiri houses in space set his fantasy free. Throughout he remained true to the cubist, analytic procedure to solve the problems of space, movement and colour."

This is what well known artist/ art historian  and founder member of the Baroda Group of Artists  Ratan Parimoo  says about association of Triloke Kaul with the group:-

“The first Baroda Group of Artists formed in1956, has a great emotional significance for my career as a young painter. When the first exhibition was held on 21st April 1956 with such modesty at the small gallery of the Artist Aid Centre at Rampart Row, only a small two page folder had been circulated with the list of 13 painters and their 31 paintings. The pocket book size folder listed the following names: G R Santosh, Ratan Parimoo Parimoo, K.G.Subramanyan, Prabha Dongre, Kumud Patel, Shanti Dave, Triloke Kaul, Vinay Trivedi, N.S.Bendre, Balkrishna, Jyoti Bhatt, Prafull Dave and Ramesh Pandya. It had a briefest introduction: ‘You have been meeting us individually in different exhibitions all over the country. We, who stay and work in Baroda now, present herewith our recent works.' The exhibition was inaugurated by the then famous novelist and campaigner for modern art, Mulk Raj Anand. The second exhibition was much larger, held in the main hall of the Jehangir Art Gallery during April 1957, and inaugurated by Walter Langhammer. Triloke Kaul, Ghulam Rasool and Balkrishna Patel were somewhat like advanced students.  Triloke Kaul and Santosh had been exposed to the Bombay-based S.H.Raza's work of early 195Os during his trips to Srinagar. Both of then took to the Cubistic style quite spontaneously watching Bendre's experiments, though credit goes to Triloke Kaul for treating Kashmir landscape in Cubistic language which struck us as very adventurous on the part of a young art student. After studying for the post graduate course in Mathematics, Triloke had decided to become a full-time painter.”

About Triloke Kaul, noted scholar and poet S S Toshakhani says this:-

“Triloke Kaul's contribution to the modern art movement in Kashmir has been immense. While his creative vision makes him great as an artist with a unique style of his own, he has also been a source of inspiration and encouragement to a whole generation of Kashmiri artists. People like me who have had the privilege of coming into close contact with him can never forget to recount his qualities as a human being. Sadly, circumstances have turned him almost into a recluse. Certainly, he is one of those eminent persons in this country whose creativity deserves much more respect and attention than it has received.”

Sipping black tea, he would sit for hours executing some masterpiece with his brush. He preferred the Charminar brand of cigarettes. Cigarette smoking has remained with him even at this advanced age (98). A postgraduate in Mathematics from Lucknow University, Triloke Kaul belongs to the well-known Baroda group that includes artists like G R Santosh, Ratan Parimoo, K G Subramanyan, Prabha Dongre, Shanti Dave, K Patel, Vinay Trivedi, N S Bendre, Balkrishna Patel, Jyoti Bhatt, Prafull Dave, and Ramesh Pandya.

In March 2010, this author met him again at Kala Kendra Jammu where he was invited as the 'Guest of Honour' at a function organised by Dr T K Walli son of D N Walli (noted watercolour artist from Kashmir). He was happy and spoke about his association with DN Walli. Very recently in 2023, this author met him again at Agnishekhar’s residence. He was fit and mentally alert even at 98 years of age. From his home, he had walked the distance to Agnishekhar's house in the Janipora locality.To a person who does not know him, he may appear to be living in his world. Yes, one may find that the master gets lesser drawn into discussions. But rest assured, once he opens up, you can discuss anything under the sun with him. He speaks on the ‘Theory of integers of Mathematics’ with the same ease as he speaks on works of Kafka or poetry of Amin Kamil or Dina Nath Nadim or Picasso's Guernica. The great master informs this:-

“My actual name is Triloki Nath Kaul. We had so many Triloki Naths in our class at S P College. My teachers in the college decided that I should call myself only Triloke to be easily distinguishable. It somehow appealed to me. That is how Triloki Nath became Triloke. I got my first job offer from J&K Bank on a salary of Rs39/=per month. I did not join. I wanted to be free and do something of my choice. Along with a friend, I went to Kolkata before the partition of the country. There we worked with a Kashmiri handicrafts trader, "Canaud House ". This businessman had a shop opposite Partap Park in the Lal Chowk area of Srinagar city. I was drawn towards Marxism. It attracted many young and educated youth. Gandhi Ji’s human message also attracted me. And Kolkata was an ideal place for any person interested in fine arts. The city was slower than Mumbai at that time but people appreciated literature, drama, music and other forms of fine arts. I survived the gruesome Hindu-Muslim riots of Bengal then. We did some relief work in Kolkata among the refugees belonging to both communities. After some time, I returned to Kashmir. In Kashmir, Sheikh Mohammad Abdullah was the tallest leader. I also joined his National Conference. The ideology of the party suited all the leftists of that time. The tribal raid was a bitter experience. It brought untold pain and suffering to Kashmir. Baramulla town was completely devastated. Areas like Kupwara, Handwara, Uri, Sumbal, Bandipora and many other villages had gruesome stories of suffering. "Sher I Kashmir Ka Kyaa Irshaad, Hindu Muslim Sikh Ittehaad “ and “ Hamlaawar Khabardaar Hum Kashmiri Hain Tayaar “ were the slogans raised in every meeting and gathering. Parades, wooden guns, sticks, night patrolling, refugee service, militia and the Cultural Front and finally Progressive Artists Association. It was a long journey. Hotel Rivera was our meeting point. It was on the first floor of ‘Mehta’s Photo Studio' building on the Bund. Artists from Baroda would see us in this hotel. We sold our paintings in this Hotel. S H Raza would also drop in and join us. Rivera period was very crucial to the development of art in Kashmir. S H Raza lived free in the house owned by the Kaw family of Badiyar in Srinagar city. S N Butt ( a fellow artist ) had arranged this house for him. This Kaw family later produced a great artist. Raza roamed free for many months in Kashmir. He became popular. He was seen in every gathering and at every place. People had little knowledge about art or the lifestyle of an artist. Some suspected him to be a CID man. Raza loved the water canals ( Maar ) of the downtown city. He was a specialist in painting these canals and the bridges over them. He felt sad the day he learnt that the government had filled up all these waterways. I felt very depressed for a long time. I was emotionally attached to the Maar or canals. We would paint these waterways.

 Kashmiri society was very conservative in general. And Kashmiri Pandit society was all the more orthodox and conservative during those days. I mean art and painting were something unacceptable. I would often be told, “fine, good enough this playing with colours, tell us what are you going to do in life". I mean to say a Pandit could be a barber or a tailor if he had nothing else to do but an artist or a painter was unacceptable to society. And Kashmiri Pandits were never in tailoring or hair cutting activity. Yes, a few dared but they too had to abandon these activities for one reason or the other. Well-known English writer, Dr Mulkh Raj Anand suggested that I join Baroda and obtain art training. He was the man behind my going to Baroda. I studied at Baroda for 5 years. Balraj Sahni was a friend .He had a special liking for people from the Kashmir valley. Always helpful, he was a great admirer of S N Butt’s art. S N Butt was quite close to Balraj Sahni. They would have their drinks together. “


 

                                                                                     
                                                                                       
                                                                                                                                                                   
                                                  
                         ( With Noted Punjabi writer Khalid Hussain  Jammu 2016.. Photo Avtar Mota )


                                                                                 
                                          ( Oil on canvas Triloke Kaul 1960. )

                                                                               
                                                                         
 
( A Monochrome  GREEN AND PINK  Triloke Kaul  1950..   Photo Source.. Search Kashmir )
         ( A Monochrome  VILLAGE SCENE  By Triloke Kaul 1950 Photo Source  ..Search Kashmir  ).
                                  

                            (Triloke Kaul.. Photo courtesy ..Artist Vijay Saraf ,Jammu)
                                                               

                                                                 (  Triloke Kaul ..1975 )
                                                                       
                                                     ( Self Portrait  ... Triloke Kaul )
                                                                   

                                         ( Untitled Oil On Canvas .. Triloke kaul )
                                             ( Untitled Oil On Canvas .. Triloke Kaul )

                                                                  
( Wth Vijay Bakaya Ex Chief Secretary J&K 2010 Jammu )
                     ( With Gokul Dembi and Jang S Verman at Kala Kendra Jammu 2012 )                                                                      
                                                            (  The Master sitting in his room  )
     (   Shiva Nandakeshwara Bhairva  by Triloke Kaul ..Hanging on the wall of  of his living  room )

he great artist is lonely and unhappy. He feels loss on all fronts. He lost his life's work, his books, his studio, his house and above all his roots. I conclude with a couplet of Faiz Ahmed Faiz:-

“Jo ruke to koh-e-garaan the hum, jo chale to jaan se guzar gaye

Rah-e-yaar humne kadam kadam tujhe yaadgaar banaa diya”…..Faiz Ahmed Faiz

 

 (For when we stayed, we rose like massifs,

and when we strayed, we left life far behind;

on the pathway to you beloved, every step

 we ever took became a memorial to your life.)

 

( Avtar Mota )

 


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CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
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