Thursday, November 28, 2024

JAINISM IN ANCIENT KASHMIR

                
                                    


JAINISM IN ANCIENT KASHMIR

 Some art historians and scholars are of the view that the emaciated, crouching and almost naked ascetics appearing in the terracotta tiles recovered from Harwan and various other archaeological sites like Kutabal, Semthan, Ushkur and Hutmurrah in J&K have no link with Buddhism or Shaivism as is generally believed. Scholars like Robert E Fisher are of the view that the tiles are part of an Ajivika religious site, later reused in a nearby Buddhist monastery. A few curators from the US museums describe these terracotta tiles as “A Tile with Ajivaka" in their museum catalogue. A group of scholars are of the view that the naked ascetics depicted in the tiles could be Jain mendicants performing “Santhara”, a sombre rite through which one fasts to death.                 

                                                                                                      

                                (The author inside the MET Museum,  New York near the Harwan tiles on display)

 

Ajivika was a sect in ancient India. It is said that Ajivikas wore no clothes, and lived as ascetic monks in organised groups. They practised severe austerities.  Ajivikas were known to eat very little food that was needed for basic survival. Being influential, Ajivikas had many powerful followers, especially during the Mauryan rule.  Some scholars believe that Ajivika, Jainism and Buddhism originated from the same source - the Shramana School.  According to Buddhist sources, Makkhali Goshala, the founder of the Ajivaka sect was a contemporary of Gautam Buddha and Mahavir Swami. Some sources say that he was a disciple of Mahavir Swami and he was a rival sect to Buddhism and Jainism. Ajivikas formed a third unorthodox sect besides the sect of Gautama Buddha, the founder of Buddhism and that of Mahavira Vardhamana, the twenty-fourth Tirthankara of the Jainas. The three heterodox sects react against the ritualistic creed of the Vedists. So Jainism, Buddhism and Ajivakas lived in Kashmir and facts are now evident from surviving archaeological evidence.

                                                                         


                                     
    (A Harwan terracotta tile inside MET Museum, New York  ...Photo by author)

 

  The noted American scholar and art historian, Pratapaditya Pal writes this:-

“Of the three religions that originated in India–Hinduism, Jainism, and Buddhism–Jainism is the only faith that does not seem to have travelled abroad until modern times. Certainly, there is no evidence of any sea-borne migration of Jainism to Sri Lanka or Southeast Asia, where both Hinduism and Buddhism were entrenched religions from early times. However, both material—in the forms of metal images—and literary evidence are presented to demonstrate that the Jains did travel north by land as far as Kashmir and Afghanistan in pre-modern times.”

Prof Muhammad Hameed from Lahore University writes this:-

“Jaina historical sources are quite rich in presenting evidence of flourishing Jaina communities and their secular or religious built heritage in Punjab and Sindh before the arrival of Muslims. These Jaina accounts confirm Jaina presence in Sindhusagara, Bhera, Taxila, parts of Chakwal and other areas of Punjab as early as in the life of Mahavira and generations of his early followers. These historical notices are supported by Chinese travel accounts and some archaeological evidence produced through excavation or exploration work conducted by Sir Aurel Stein, Sir John Marshall and many more. According to Prabhavakacarita, a Jain historical work dated 1277–78, the Svetambara scholar Hemacandra had requested grammatical texts preserved in Sharda temple( now  in POK) so he could compile his grammar, the Siddhahema. Kalhana records Jaina presence in Kashmir. He presents Ashoka as a great-grandson of Shakuni who declared Jainism as the state religion of Kashmir. He erected Jaina temples all over his kingdom. Lalityadityia also played an essential part in the spread of Jainism. “

Jainism is as old as the Vedic religion. The Jain tradition has a succession of great teachers or Tirthankaras. There were 24 Tirthankaras the last of which was Vardhaman Mahavira. The first Tirthankara is believed to be Rishabhanath or Rishabhadev. The names of two Jain Thirthankaras, Rishabhadev and Arishtanemi, are found in Rigveda. The Vishnu Purana and the Bhagavat Purana describe Rishabhadev as an Avatara of Narayana. The foundation of Jain philosophy is total non-violence towards any living being howsoever small it might be. Even honey is forbidden, as its collection would amount to violence against the bees.

The 23rd Tirthankara was Parshvanatha who was born in Varanasi in the 8th or 7th century BC. All the Tirthankaras were Kshatriyas by birth. Jainism is a polytheistic religion and its goals are based on non-violence and liberation of the soul. Jainism is a religion of self-help. There are no gods or spiritual beings that will help human beings. The three guiding principles of Jainism, the ‘three jewels’, are right belief, right knowledge and right conduct. The supreme principle of Jain living is non-violence (ahimsa). Jains are divided into two major sects; the Digambara (meaning sky-clad) sect and the Svetambara (meaning white-clad) sect. Each of these sects is also divided into subgroups. Jain faith puts a lot of emphasis on respect and worship to the religious teachers, from the ordinary mendicant up to the Jinas (religious teachers).

Jainism made a valuable contribution to Indian Culture in the sphere of religion, society, literature, philosophy, education, art and architecture. In society, Jainism spread the message of social equality. In the early stages, the Jains adopted the Prakrit language of the common people to preach their doctrines. The adaption of Prakrit by the Jains as their medium of expression and language for the compilation of their canonical literature gave an incredible stimulation for the growth of Prakrit. The Jains also contributed substantially to the development of the art of painting. The Jain paintings are found at Ellora and Sittannavasal. Jainism enriched Indian architecture. Hathigumpha of Orissa, Mt-Abu in Rajasthan, and Girnar in Saurashtra have good specimens of cave architecture. The rock-cut caves at Badami and Aihole have the figures of Jain Thirthankaras which belong to the early Chalukya period. Jain temples at Jodhpur, Chittore, Khajuraho and Dilwara in particular are valuable contributions to architectural heritage of India. The gigantic statue of Bahubali (Gomateswara) at Sravanabelagola in Karnataka is a marvel.

Jainism in Kashmir has a long ancient history. According to Jaina sources, Jainism took root in the areas now under Pakistan’s occupation at a very early date. What fate Ashoka’s conversion from Jainism to Buddhism and its resulting success brought to the Jaina minority in areas now in Pakistan is unknown? There are no details available of Jaina existence in these areas during post-Kushan Hindu revival in Punjab, Gandhara and Kashmir. Literary evidence from Valley of Kashmir however demonstrate the evidence of a sizeable Jaina community in Kashmir and Gandhara. A handful of literary references in Jaina, Buddhist and historical texts and some archaeological evidence, though scarce, confirm an early presence of Jainism in a belt consisted of areas of Rajasthan, Sindh, and undivided Punjab and Kashmir.

The oldest extant reference of Jaina political sway in Northern India especially what is now known as Pakistan came from an inscription in the Khandgiri cave in Orissa. According to this source, King Kharwel conquered the Uttrapatha region between Mathura and Kandhar in the second century BCE. Mahavira is also believed to have visited Shwaitambika or Sialkot. Heun Tsang found a Jaina community living in the vicinity of Simhapura or modern-day Dulmial. Jain stupas found in Taxila by Sir John Marshall were exciting discoveries. Aurel Stein in his report described the ruins of the Jaina Stupa site near Jhelum province now in Pakistan.

A serious researcher may find some reference to Jainsim in ancient Kashmir in Kalhana’s Rajatarangini as well. The Nilamata Purana makes mention of worshippers of Visnu, Siva, Sakti, Surya, Ganpati, Buddha and Jina in ancient Kashmir. These people were also known as Vaisnavas, Saivas, Saktas, Sauras, Ganpatyas, Bauddhas and Jainas respectively.The 9th-century Sanskrit Play Agamadambara by Bhatta Jayanta of Kashmir makes mention of Digambara and Shvetambara Jain monks in Kashmir. The Sanskrit play Āgamaḍambara satirizes various religions in Kashmir and their place in the politics of King Shankaravarman (883–902). The leading character, Sankarshana, is a young and dynamic orthodox graduate of Vedic studies, whose career starts as a glorious campaign against the heretic Buddhists, Jains and other heterodox sects in Kashmir. Jayanta also wrote Nyayamanjari and Nyayakalika. In between Nyayamanjari and Nyayakalika, he also wrote Nyayapallava. References to Nyayapallava are seen in Syadvadaratnakara, an important text of Jaina logician Vadideva. The Well-known Kashmiri Sanskrit poet Bilhana opens his play Karanasundari with a Mangalacharna (opening prayer) in the form of a Stuti for Jinesvara (page 58 Ratan Parimoo: ‘Gujrati Schoo And Jaina Manuscript Painting’). Panchastavi, the ancient Sanskrit scripture has been recited in every Kashmiri Pandit home for many centuries. Written in Kashmir, the book has been in Kashmir since ancient times. It has also been translated into Kashmiri and Shloka 33 of Sakaljanani Satva makes clear mention of Jainendra or Mahavir Swami being worshipped in Kashmir with other Hindu gods. Even the word Jainava along with Shiva and Keshava has been mentioned by Lal Ded in one Vaak.  Lal Ded say," Shiva, Keshava ha Jainava ".

                                                                       

   
 (Relevant page of Panchastavi...Photo by author)

                                                   

Published in 1877, Edward Thomas in his book,’ Jainism or the Early Faith of Ashoka ‘writes this:-

“Ashoka himself first introduced Jainism into the kingdom of Kashmir when Buddhism was dominant there during the reign of Jaluka. It is fully consistent with what Asoka has still to disclose in the texts of his own inscriptions. Asoka’s conversion to Buddhism occurred late in his life or reign. But the annals of Kashmir, on the other hand, more emphatically imply that either he did not seek to spread or had not the chance or opportunity of propagating his new faith in the outlying sections of his dominions; and that, in this valley of Kashmir, at least. Buddhism came after him, as a consequence of his southern surrender rather than as a deliberate promulgation of a well-matured belief on his part. The leading fact of Asoka^s introduction or recognition of the Jaina creed in Kashmir, above stated is freely acknowledged in the pages of the Rajatarangini — a work which, though finally compiled and put together only in 1148 a.d.”

The author was told this by a Jaina scholar:-

(a)          Shrimal Purana also makes mention of Mahavir Swami’s visit to Kashmir.

(b)          The Garuda is a Yaksha or guardian for Shantinatha in Jain iconography and mythology. Garuda inscriptions and iconography seen in some surviving sculptures in Kashmir have Jain origin.

(c)          According to Ain-i-Akbari, Emperor Ashok was responsible for introducing Jainism into Kashmir and this is confirmed by the Rajatarangini, the famous work depicting the history of Kashmir.

(d)          When Adi Sankara visited Sharda Peeth (now in POK), he met many Jain and Buddhist monks living inside the Peeth. He held long discussions with them.

Before 1990, more than 44 Jain families were living in Kashmir. Presently only 4 families live in the valley and all of them are in Srinagar city. These families are engaged in trade. Like, most of the Buddhist archaeological evidence, the Jaina archaeological evidence has also been totally erased from the landscape of the Kashmir valley. However, enough material for serious research exists in texts.  There is hardly any research in this area which if done, may throw up many surprises. This area needs to be explored.

(Avtar Mota)

Source:

(1)    Jain, Jagdish Chandra. (1947). Life in Ancient India as Depicted in the Jain Canons, with Commentaries: An Administrative, Economic, Social, and Geographical Survey of Ancient India Based on the Jain Canons.

(2)    Jain, Kailash Chand. (1991). Lord Mahāvīra and His Times.

(3)       Bulletin of the Asia Institute…New Series, Vol. 21 (2007).Evidence of Jainism in Afghanistan and ancient Kashmir by Pratapaditya Pal.

(4)       Essays of Professor Nalini Balbir, Department of Indology, Sorbonne Nouvelle University, Paris.



( This essay is a registered copyright material published in Avtar Mota's book, 'Kashmir: The Crown Jewel of Indic Civilization '. available on Amazon  )



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Sunday, November 24, 2024

A DESOLATE AND CRUMBLING HOUSE

                                             


THE  DESOLATE   AND  CRUMBLING  HOUSE 

This house at Batapora in Sopore town has many stories to tell. The residents  of this desolate house moved out in 1990 to save their lives and honour .In another country , in another set up, this house would have been preserved as a  monument. This house  produced stalwarts like writer Hriday Kaul Bharati, writer broadcaster Umesh Kaul, artist Bhushen Kaul, poet Vasudev Reh, poet Rugh Nath Kastoor, poet Veshnath Vishwas  and saintly personalities like Mansa Ram, Balak Nath , Sarwanand ,  Ganesh Das and many more. Some  saintly  residents of this house were  teachers or Hakeems engaged in treating sick free  and spreading  the light of knowledge and  education .I have been told by a reliable source that artists Som Nath Butt and G R Santosh were finally cured of their serious ailments by Pandit Sarwanand from this house.

 Today, this   house cries loud :-

Hum to jaise yahaan ke thay hi nahin
Be-amaan  thay amaan ke thay hi nahin
Hum ke hain teri dastaan yaksar
Hum teri dastaan ke thay hi nahin
Ho teri khaak e aastaan ko salaam, 
Hum teray astaan ke thay hi nahin 

( Avtar Mota)

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Friday, November 22, 2024

ARTIST BHUSHEN KAUL

                                  


                                           



Artist Bhushen Kaul 



Met noted artist Bhushen Kaul today at the  Institute of Music And Fine Arts,Poonch House Jammu. He  was kind enough to  gift me a book of his brother and noted writer  Hriday Kaul Bharati. The   book is  titled 'Tilism e Khanabadosh'. It is a collection of Bharati Ji's Kashmiri short stories . I am also indebted to him for giving me enough material for my proposed write-up on Vasudev Reh, noted Kashmiri poet. Bhushen Kaul remains as sharp as he used to be and does nothing except painting . He lives in Navi Mumbai at present. Alumini of Baroda University  , he enjoys love and respect of his numerous students in the state whom he taught and  trained . 

And my friend and noted poet Agnishekhar tells me this :-

"He was kind enough to draw  big potrait of Goddess Sharada on my request . I released it in the 2nd World Conference in 1998 in New Delhi at the hands of Mahesh Bhatt and Jyotishi Prem Nath shastri..Many memories in my bank. I had  many sittings with him regarding the concept and legend of Goddess  Sharada wearing Kashmiri Attire. His illustrious  brother Hriday Kaul Bharati used to be witness. Great Painter indeed."



( Avtar Mota )





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Saturday, November 16, 2024

MAKHAN LaL SARAF(16-11-2024)

                                     


                                       

MAKHAN  LAL  SARAF( 16-11-2024)

The doyen of acting  was there inside Abhinav Theatre Jammu to recive HARMONY  INDIA ,LIFETIME  ACHIEVEMENT  AWARD today . Saraf Sahib is better now. He can walk, talk, agree  and  balk .I felt happy to see him smile. He was accompanied by two members of his family who never let him remain alone This is the conversation that I had with him:
"Do you recognise me ?"
"Why not .I was asking everyone  where is my friend . I thank  this group for remembering me . "
" What is my name ?"
" I remember. I love you . After my illness, I forget names . How can I forget you. Come tomorrow. Two documents I want to show to you. I can't ask everybody ."
" What is my name ?"
" How can I forget you . Somebody told me you had come to see me when I was sick. I don't know anything. "
I saw him trying to recollect . At the same time he wanted me to feel as if he already remembered it .

" Do you remember any Mota ?"
 He smiles, opens his arms ,hugs me and says :-

" Avtar Mota .  How can I forget you. Come tomorrow. I will show two documents .Give me your book . Bansi Parimu book. You had kept one at my residence but somebody took it .I don't remember. I was not well  .I am waiting. "

I was very happy to see him today. I have  seen him when he was  unwell and unable to recognise any person . May he stay healthy and active .

( Avtar Mota )


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Friday, November 15, 2024

PRASTHAAN PRACTICE IN KASHMIRI PANDIT FAMILIES

      
                                            

PRASTHAAN PRACTICE IN KASHMIRI PANDIT FAMILIES

In the olden days, long-distance travel was only done on auspicious days by Kashmiri Pandits. Some elderly people in the family were fully conversant with the system of directions and auspicious days of travel. The almanack or Jantri or Panchaang held in the family would also provide details of auspicious days of travel in different directions. Sometimes the family Purohit/ priest was consulted to look for the auspicious day of the journey. The auspicious day was called "Saath " in Kashmiri. It was based on astrological calculations primarily worked out with planetary movements, Tithi and Nakshatra etc.  Generally, Monday, Wednesday, Thursday and Friday were suitable days provided other issues like Panchak, Yog, Vaar, Karna, etc. and planetary movements were not inauspicious? Vedic Astrology has determined good and bad days for travel based on the moon's transit in different zodiac signs, constellations, and days of the week. While looking for Saath ( Muhurat ), it was believed that the auspicious day of starting the journey would help the traveller in achieving his mission for which travel was conducted apart from ensuring a safe journey.

 PRASTHAAN

It could also happen and quite often it did that a person had to travel due to some emergency or some sudden exigency. In such cases, Prasthaan was the solution. Prasthaan meant performing token departure for the actual journey on an inauspicious day. There was no need to go to the family priest or Purohit consult some elderly person or look into the   Almanac /Jantri / Panchaang. Quite often Prasthaan was performed a day before the journey day.  Something like the socks or the trousers or shoes that were to be put on the day of the journey were removed from the house and kept in the custody of some neighbour or third party. This item was recollected on travel day and put to use on journey day. Many times people going to Jammu without proper Saath would keep the Prasthaan item with the Tongawalla. The Tongawalla would come early in the morning and hand over the Prasthaan and carry the travellers to TRC or Lal Chowk for onward Jammu journey. A full Tonga was booked well in advance. In our Mohalla, Sondhar Ded, the Muslim lady would also hold Prasthaan items of some Pandit neighbours. She had her bakery shop that opened at 4 am. Accordingly, this place was most suitable for travellers to Jammu who would leave Rainawari during the early morning hours. The Prasthan usually a pair of socks or shoes had to be put on the journey day. A pair of socks was a preferred Prasthaan item. Before the auto rickshaws arrived in Kashmir, Tonga was the most desirable mode of local transport. Going to Jammu meant leaving Rainawari at 5.30 am or 6.00 am. For this, a full Tonga was booked in advance. The Tonga would arrive at your house early in the morning and carry you and the luggage to Lal Chowk or TRC where buses for Jammu would leave early in the morning. Quite often, the Prasthaan item was handed over to the Tongawalla one day before actual travel.

I vividly remember Mohammad Sultan, the Tongawalla from Surateng, Rainawari. He was quite popular with Jammu-bound travellers. Once I also approached him and engaged him for an early morning journey to Tourist Reception Centre. I remember my conversation with him like this:-

“I have to go to Jammu tomorrow. Can you come to Jogilanker Chowk at 5.30 am? I need full Tonga."

“Where do you live?”

“Just across Jogilanker Bridge?”

“You mean near Dr Shambhu Nath Bagh who runs a dentist shop at Zainkadal.”

“Yes exactly. You can ask for the Mota family when you come. "

“You mean behind Sondheri's bakery shop. I get it. Have you seen Saath (Muhurat for travel)? Tomorrow is Saturday. People don't travel on Saturdays. Where is your Prasthaan?  This long-distance journey on Saturday without Prasthaan can be detrimental for all of us. I mean me, the animal, the Tonga and you. Go and get a pair of new nylon socks and keep them with me. Use them tomorrow.”

I got the Prasthaan from a nearby shop. Mohammad Sultan took the socks, removed the label and asked me to put the new socks on my feet. After that, he kept the socks with him and told me this:-

“Prasthaan is something that has already been used.  You have to use it on the day of the journey. It can't be a brand-new item. Now come without socks tomorrow as you have to use this pair on your journey. Go, I shall be at your place at 5.30 am.


"Beete huve lamhon ki khushbu hai mere ghar mein,

Book rack pe rakhe hain yaadon ke kayi album"

( Avtar Mota )



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Sunday, November 10, 2024

GURUDEV RABINDRANATH TAGORE, THE ARTIST

                                                                          


                                                                
                                                      ( Untitled abstraction by Gurudev)


                                                                            

  
                                                                                

                                                  ( Residence of Gurudev at Shantiniketan )


                                           
RABINDRANATH TAGORE, THE ARTIST

I have always been fascinated by the multidimensional personality of Gurudev Rabindranath Tagore. This fascination took me to the National Gallery of Modern Art (New Delhi) in January 2020 followed by a visit to Paris in 2023.

                                                

                                                                          ( Avtar Mota in Paris )
               
                                                  ( Outside the Louvre )                  
                                                              ( Inside Pompidou Centre)
                                                        ( On the top of Pompidou Centre )
                                                    ( Avtar Mota outside Pompidou Centre )
                                                
 ( Avtar Mota inside the Louvre Museum )           
                                                    
( Avtar Mota at  Bastille Square, Paris )
                                                 ( Avtar Mota outside the Pantheon, Paris)
                                                             ( At Cafe  De Flore, Paris)
     ( Avtar Mota at the Tomb of Jean-Paul Sartre )

Gurudev was a towering figure of the 20th-century world literature. He is known for introducing the short story genre to Bengali literature; moving Indian poetry towards Modernism, and founding the Vishwa Bharati University. He composed the national anthem of India as well as Bangladesh apart from contributing to the national anthem of Sri Lanka. Gurudev was a leading playwright of his era. In addition to his work in poetry, short stories and drama, Tagore also wrote a total of eight novels and four novellas in his lifetime. His best-known novels include Chokher Bali, Noukadubi, Gora, Chaturanga, Ghare Baire, Shesher Kobita, Jogajog and Char Odhyay. Several of these novels and novellas have been adapted as films, most prominently Chokher Bali and Ghare Baire. Apart from being a prolific writer, he was also an influential artist and a musician (Rabindra Sangeet ). His Gitanjali won him the Nobel Prize for Literature in 1913 making him the first Asian Nobel Laureate.

                                         

 INTEREST IN ART FROM CHILDHOOD

Gurudev Tagore’s early life was spent in an atmosphere of religion and arts, primarily literature, music and painting. From his childhood, he was attracted towards the sketches drawn by his elder brother Jyotirindranath Tagore. As such, he never had any formal art training. In a way, this lack of training opened new horizons as far as the use of line and colours are concerned. Tagore’s art as it developed from initial doodles on manuscripts into colour paintings. Though Tagore did not paint in his early life, the urges were manifest in the doodles in his manuscripts. By a certain stage, the manuscripts were full of doodles, and the poet entered into a painting phase. His paintings were initially not taken seriously. However, his inclusion in several exhibitions in Europe in 1930 marked the public acceptance and appreciation of his art, which also gave Tagore confidence.

 Towards the end of his career, Tagore aged 67, striving to create a universally accessible art, took up painting more consistently. Around 1928, the artist made thousands of sketches and drawings using brush, pencil and pen. The artist developed a style characterised by simple bold forms and a rhythmic quality. The subjects depicted often involved animals, figures and statuesque women. Over 1500 of them are conserved in Viswa-Bharati, Shantiniketan. Many are held by the National Gallery of Modern Art in New Delhi. Some are held in museums in Europe and the US. Tagore was a proficient painter who used his brush to convey his emotions and thoughts in vibrant and imaginative ways. Although he didn’t consider himself a professional artist, Tagore’s innate talent allowed him to express himself fluently through the medium of visual art, just as he did through his words.

 GURUDEV’S LINKS WITH EUROPEAN ARTISTS

During my visit to Paris in May 2023, more specifically to some art museums including the Louvre and the Pompidou Centre, I came to know that Gurudev was a great lover of French culture, art and language. He had many friends in France who were leading artists, writers and musicians. About his first Impressions of Paris, Gurudev has written this:- 

“We reached Paris in the morning. What a dazzling city! Looking at the overwhelming bevvy of skyscrapers, one would think that there were no poor people in Paris. We went to a hotel, and the arrangements were so lavish that it felt almost embarrassing and uneasy—just as one feels in oversized clothes. We were left dumbfounded by the abundance of its memorials, fountains, gardens, palaces, stone-paved streets, vehicles, horses, and teeming people. Overall, all that I recall is that we saw an infinite number of beautiful artwork in the Art Gallery, an equally infinite number of sculptures and statues at the Sculpture Gallery, and so on.”…. (  source …Memoirs and letters of Tagore in Translation )

 His famous world appearance as a painter in France in the year 1930 was a great event in the world of European art.. He had also carried more than 300 paintings and sketches with him which were seen by many art critics and literary friends of Gurudev in France. Many newspapers including Le Monde wrote about his presence in France apart from articles about his creative work. Some art critics who saw his paintings advised him to hold an exhibition in Paris. Accordingly, Gurudev held his first public and international exhibition of his paintings in Paris in May 1930, at the Gallerie Pigalle.  More than 100 of his paintings were shown in Paris, and at least half of them at the National Gallery of Art in Berlin before the exhibition proceeded to London. He also held exhibitions was in different countries in Europe in the same year. During his trips, Tagore would accept the invitation of banker and patron of the arts Albert Kahn, who had set up La Maison Autour du Monde. Tagore spent most of his time at Kahn’s place near Paris. I also learnt that Gurudev was in touch with Nobel Laureate Romain Rolland since 1926. They exchanged correspondence wherein Tagore had long discussions on his art with Romain Rolland. Tagore had discussions about art with another Nobel Laureate, French poet Saint-John Perse   Returning to India, Gurudev held his exhibition only in 1931. I was told that Gurudev knew French and translated four poems of the French romantic poet, Victor Hugo into Bengali. Andrée Karpeles, a painter, also spent a lot of time in Shantiniketan.

 After the conclusion of the Paris exhibition, exhibitions were held in England, Denmark, Sweden, Rome, Germany and Russia in Europe. Later exhibitions were also held in the USA and Canada. The exhibition of paintings drew an unprecedented overwhelming admiration in Germany. It was shown in Berlin, Munich, Hamburg, Dusseldorf, Stuttgart and other places in Germany. The then-German President and ministers and also Albert Einstein, the great scientist, attended Tagore’s exhibition.

 Tagore visited Germany thrice - in 1921, 1926 and 1930. He had gifted many paintings to some museums in Germany which were destroyed by the Nazis. Tagore’s paintings and sketches fascinated young German students to mass hysteria. Among them, a student of the Art Academy of Munich Oswald Malura, at the age of 20, received a Mond travel scholarship from the academy to study Indian art and philosophy. Malura stayed in India for three years (1929-1932) and visited Bombay, Agra, Delhi, Kashmir, Benaras, Himalayas, Shantiniketan and Calcutta and he met Annie Besant, Mahatma Gandhi and poet Tagore. In the 1930s, the US and  Europe had not yet warmed up to Modern Art. When Tagore was shown in Germany people compared his work to surrealists and expressionists.

 OPENING OF KALA BHAWAN

In protest against the ghastly massacre of hundreds of innocent Indians at the ‘Jallianwallah Bagh’ by General Dyer, Sir Rabindranath Tagore returned his title to the British and quietly opened the art wing of his university called ‘Kala Bhavan’. Opened in 1919, it was designed as a Centre of Nationalist Art as opposed to the colonial tastes that defined art in India. It was modelled after the Gurukul or Tapovan system of learningHe had invited like-minded painters like Nandalal Bose to run Kala Bhavan with a free hand thereby encouraging the evolution of an original vision, reflecting the intuition and expression of the students. This institute which gave shape to the culture-specific modernism initiated by Rabindranath Tagore and carried forward by the commitment and wisdom of Nandalal Bose, Benodebehari Mukhopadhyay, Ramkinkar Baij and their contemporaries, has richly contributed in giving a valid direction to individual art activity in contemporary social space.

 Let us discuss some facets of Gurudev’s art especially his self-portraits, symbolisms, landscapes, style, use of colours etc.

  SELF PORTRAITS

                                      Some self-portraits by Gurudev                                         

                                                                                        

 




His self-portraits are spot-on exemplifications of his style. According to the scholars his self-portraits mirror a subterranean psychological need - that of a creative person always in search of self. Tagore uses intense colours to enchant his viewers with portraits that convey a sense of mystery. Many of his self-portraits done in pencil and crayon depict the full face of the bearded artist. The unworked background and the enhanced contour push the figure out from the ground. The flatness of the figure is enhanced by the lack of colour and the use of rough pencil lines. About his self-portraits, Dr Pranabranjan Ray writes this:-

 “The gaze of Rabindranath in his self-portrait, which Rabindranath the artist visualizes is aimed at satirizing obtuseness even though

he is portrayed as someone anxious, doubtful and wary. In other words, his self-portrait is the manifestation of his introspection. The formation of the eyes, nose and lips portrays the manifestation of his being. The opening and closing of the eyelids, the position of the pupils, the light reflecting on the pupils, the direction of the gaze, the depth of vision, the expansion and contraction of the nostrils and lips, the parting and the pressing of lips, the point of observation and the mental state affected thereby – all these symbolize a manifestation which brings to the observer Rabindranath’s the then mental condition which can be apprehended through the senses.

Rabindranath would hardly be considered a Modernist artist should the eyes, nose and the formation of the lips along with their proportions, positions and postures have been the source or manifestation of his art. The facial expressions may have been influenced to a great extent, by the classical dance forms of India. Unless we have a fair idea of the postural bearing present in the structure of the painting, we would not have been able to comprehend the representation of modernity in Rabindranath as a painter.”

SYMBOLISM IN GURUDEV’S ART

 Gurudev’s canvas seems to come alive with vivid hues, each stroke telling a story of its own. In his paintings, he touches on themes such as the interplay between humanity and nature, the profoundness of human emotions, and the transcendence of cultural boundaries. A look at his work makes one believe in Gurudev’s interest in colours, seasons, human emotions and mysticism. Silence is the foremost refrain in his paintings. His paintings had a strange surrealism and bizarre emotions. Tagore’s fascination with nature is conspicuously displayed in the painting. Plush landscapes, blossoming flowers, and serene rivers arouse a sense of harmony between man and the environment. This veneration for nature was a frequent theme in his creative work, emphasizing his belief in the interconnectedness of all living beings.

ELEMENTS OF SADNESS IN GURUDEV’S ART

                                                                              

Tagore’s art in general is saturated with sorrow. His mother passed away when he was a boy, and his life was marked by continued personal tragedy. He was plagued with grief after the suicide of his childhood playmate, sister-in-law and literary companion, Kadambari Devi, and the years between 1902 and 1907, saw the deaths of his wife, daughter and youngest son. All these happenings major played role in shaping the course, content and style of his creativity. Add to that he was disappointed at what was happening in his country under colonial rule.

HUMAN FORM, MASKS AND FACES

The human face is a visible constant in Tagore’s work. Gurudev’s fascination with the human body is also evident in his work. He painted it as variously postured: sitting, standing, squatting, walking, dancing, in groups and in solitude, and in multidimensional moods. In all his artistic oeuvre, be it faces, full figures or landscapes, he is aware of the importance of the rhythm lines, even fascinated by cross-hatchings, curves, circles, cones, the harshness of sharp corners, the smoothness of gentle turns and twists. Tagore’s fascination with the unusual, the odd and conventionally un-beautiful is expressed in his depiction of diverse masks and faces and portraits. Most of his early illustrations of the human face belong to the category of masks, and the later ones to what may be called portraits and characters. Through his travels, Tagore was exposed to other cultures, the theatre, masked dances and ritualistic performances of Japan, Indonesia, and Bali. Tagore’s interest in human beings, and variations of character traits, led to his fascinating range of faces in portrait-like sketches and paintings. Faces that smile, grimace, express sorrow, fear, anger. Faces that inhabit a fantasy world of humour, wit and dreams. There were also pencil sketches done as illustrations to the texts that show his command over anatomy and technique.

                                                                                


 LANDSCAPES

                                                                                          




 Tagore’s landscapes are noted for their architectonic spatial solidity. They are marked by an almost geometrical flatness — a monotony that is sometimes broken by adventure into perspectival depth. Painted as they were with the simple media of coloured ink on paper, there was not much scope for experimenting with tonal modulation. But strangely enough, in some paintings, one can see attempts at mixing different hues. In most landscapes, nature exists in solitary grandeur, its primaeval infinity untampered by human mediation. But there are paintings in which it serves as a backdrop to humanity. Most of the landscapes he painted showed nature bathed in the evening light, skies and forms coagulating into ominous silhouettes. His landscapes invoke mystery and a sense of disquiet and silence.

 One finds that in the last phase of his life, Tagore, through the visual arts, was entering a new world of form, colour and line, discovering a new identity perhaps more universal in language than the literary realm of narrative and more specific cultural references.

 WOMEN IN TAGORE’S WORK

Tagore’s unconventional style and the free-thinking nature of his art are perhaps most marked in his paintings of women. The women of his canvas are of a wide variety: some pensive, some bold, some turn away from the world, some asexual, and others adore male company. They don’t represent youthfulness or beauty. Some look wrinkled and scorched.

                                                                      




Tagore’s women mark a U-turn from the theorized Mother India figure of India’s great nationalistic era; the concept of Bharat Mata or woman-as-nation, as visualized by Abanindranath. Tagore does not paint such Devis or goddesses. Nor does he paint apsaras or Nartakis. Tagore’s women are un-placed, un-mapped and of varied complexions. He moves them away from the pedestal of the mother goddess as he does not intend to treat women as something that has utility. He has his own concept about women that he brings to his art. They emerge as individuals demanding serious attention. Possibly they are gazers staring at the viewer. No more are these women objects of the male gaze. There is an undefined sorrow that peeps out in each painting depicting a woman. Never were these women painted to depict their helplessness. That is his quality, style and hallmark of his work.

.” Tagore was prolific in his paintings and sketches and produced over 2500 of these within a decade. It is evident that in his search for a newer form of expression in line and colour, he tried to express something different from what he did in his poetry and songs. Tagore’s legacy as a painter is often overshadowed by his more widely recognized accomplishments in literature and music. However, his artistry remains an essential part of his creative legacy. His art serves as a bridge between his diverse talents, showcasing his ability to convey his thoughts and emotions through various artistic mediums. Beyond the aesthetic appeal, his paintings hold immense cultural significance. Tagore’s role in India’s cultural and intellectual awakening during the late 19th and early 20th centuries remains unparalleled. As an artist, he was influential in challenging old-fashioned standards and nurturing a sense of pride in India’s heritage. His art played an unforgettable role in the new sense of nationalism, artistic renaissance, and a longing for self-expression.

 

( Avtar Mota )

 

 

Bibliographical Notes

 

(1) Rabindra Chitravali, Paintings by Rabindranath Tagore,  published by Paratikshan in association with Visva-Bharati & the Ministry of Culture, Government of India, 2011.

 (2 Rabindranath Tagore, ‘Woman’, Personality, Macmillan Pocket Edition, New Delhi, 1980, 174. 

(3) Dr Ratan Parimoo, The paintings of the three great Tagores: Abanindranath Tagore, Gaganendranath Tagore and Rabindranath Tagore. Chronology and Comparative Studies, 1973

(4) Drawings and Paintings of Rabindranath Tagore: Centenary 1861-1961, New Delhi, Lalit Kala Akademi, 1961

(5) Rabindranath Tagore: His World of Art..by Supriya Roy and Sushobhan Adhikary

 


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