Wednesday, January 14, 2015

HAMAARE GURU MILAY BRAHMGYAANI ( MY MASTER WAS A MAN OF UNIVERSAL KNOWLEDGE ) ......GHULAM RASOOL SANTOSH AND HIS TEACHER ( ART GURU ) PROF. N S BENDRE


                                                                      


“ Hamaare Guru Mile Brahmgyaani “
“ My Master ! A Possessor of universal knowledge “
G R Santosh with his teacher and Art Guru Prof. N S Bendre ( Photo 1957 )


Narayan Shridhar Bendre ( 1910-1992 ) was a doyen in the field of Modern art In India . A Marathi by birth , Bendre lived in Kashmir for 3 years (from 1936 to 1939 )with Maharaja Hari Singh as an Artist cum journalist .During this period , he got exposed to the natural beauty as well as poverty of Kashmir. His Kashmir landscapes of this period created a sensation in the world of Art .
Bendre was simple, god fearing and a very helpful person . Any Artist from Kashmir could find a friend philosopher and guide in him.
He remains a celebrated Artist of the 20th century who worked with giants like Nand lal Bose and jamini Roy and is known as a great master of cubist, expressionist and abstract styles in India. His water colour landscapes are matchless so are his Murals, works of miniature , Modern and contemporary Art . Bendre painted till his last day.
His Untitled painting depicting three women was sold for 90 lakhs in an Art auction held in Sep.2014. From 1950 to 1966 , he worked as Head / Dean of faculty of Arts at Maharaja Sayajirao University, Vadodara .
In a Booklet “ MY PAINTING “ Bendre wrote
"In this world, one comes across many things, natural and man-made, which are worth painting: trees, birds, water and landscapes, houses and city scenes. Man is the centre of my universe along with his emotions, his love, his social intercourse, his surroundings"
I am adding more lines from my faourite kabir Bhajan ( with my simple english rendering ) to this photograph …..

Hamaare Guru Mile Brahmgyaani,
Paayii Amar Nishaani ….
Kaag palat Guru Hansa keenhe
Deenhi Naam Nishaani ..
Hansa Pahunchay sukh Saagar par
Mukti Bharay Janhaa Paani..
Jin Jaani Unn Maani ……
Hamaare Guru Milay Brahmgyaani

(My master! A possessor of universal knowledge.
This never ending identity ,he alone granted.
Transforming a crow like being to a royal swan,
It is he who gave this name,this distinctiveness.
Then alone ,this swan flew towards the blissful ocean
that nourishes unrestricted existence..
Those who understood,bowed in acknowledgement...
My Master! A possessor of universal knowledge...).
( Autar Mota )

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CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

GHULAM RASOOL SANTOSH , WELL KNOWN POET CUM PAINTER FROM KASHMIR : A BRIEF REVIEW OF HIS WORK UPTO 1964


                                         
G R SANTOSH ( 1929-1997 ) A WELL KNOWN POET CUM  PAINTER FROM KASHMIR


Ghulam Rasool santosh was not a Shaivite or Tantra theme painter alone. Not many of us know that he has done some superb portraits, Pencil and ink sketches and paintings in contemporary Art for which he received ample training from his Guru and teacher Prof N S Bendre at Baroda.


Initially Santosh started with painting contemporary and Modern Art but from 1964 onwards , he shifted to painting Kashmir Shaiv Darshana and Tantra themes . He arrived at a single clean representation of human form not explicitly male or female either ; Yes both inclusive that represented Shiva Shakti union . 

                                       
                                        (Santosh with Shanti Dave Baroda 1963 )

Mohan Ji Wattal ( Ex employee Grindlay’s Bank ) informed me in 2010 when I met him in Srinagar

“ Yes santosh ji would come to Swami Ji’s Ashram ( Swami Lakshman Joo the renowned Shaiva scholar from Kashmir ) sometime during summers . As a matter of fact Swami ji also loved him and always blessed him. He would be always seeking reply to his queries on Shaivism and Tantra from swami ji. One day I saw him asking some question about Sri Yantra which he sketched on a sheet of paper with a pen. He would relish Dalcheen Kahwa and kashmiri kulcha apart from his all time favourite green leafy Haak cooked in typical kashmiri Pandit style.”

 Swami vivek  ji of Vivekananda Ashram Nagdandi near Acchabal kashmir told me in 2009..

“ Santosh ji ( G R Santosh ) would come to this place . He would come with Ogra sahib . Ogra sahib was his special friend . Once santosh ji told me that after he went to Amarnath ji Yatra , everything in his Art changed and he moved towards Shaivism in his paintings. ”

                                                                       
  ( G R Santoh with his wife  Tosha ji ..Delhi  1972 ..Photo source . G R Hasrat Gadda  )


  ( G R Santosh in a Typical Kashmiri Pheran . 1978..Photo source . G R Hasrat Gadda )
                                                                             
  ( G R santosh and noted sitarist O P Sharma ..Photo source . G R Hasrat Gadda 

Many Prominent  Art  Galleries in India and some galleries outside the country  display his work.I can name some galleries like ..lalit kala Academy New Delhi, National gallery of Modern Art New Delhi, University Museum Chandigarh , Amar mahal Museum Jammu , Dhoomimal Art Centre New Delhi, Bombay Art Society Mumbai , Fukuda Museum of Art Japan, Glenbara art Museum , Peabody Essex Museum USA, Museum Of Modern Art New York ,Hotel Leela Kempinsky Mumbai ,Neville Tuli Art Archive Mumbai apart from other galleries and Museums in UK, Germany , France and Singapore .                    
                                                              

                                  (  G R Santosh at Baroda ..1959 )        

                                  (  G R Santosh at Baroda ..1959 )                     

He was awarded   Padam Shri   in 1977. Lalit kala Academy National award in 1957, 1964 and 1973. AIFACS New Delhi Award in 1984.Sahitya academy award to his book Besukh Rooh in 1979.1991 Kala Ratna Awardby AIFACS. Artist of the year award in 1984 by Sahitya Kala Parishad AND sir cowasji Jehangir Award of Bombay Art Society went to Santosh ji in 1956.The list is endless.
                                                                     
                                                                                                          ( kashmiri Women G R Santosh 1960 )

 some  Paintings  of santosh done  in figurative style( before  his shift towards  Tantra and kashmir's shaiv Darshan themes ) are uploaded below .
                                                                           






 In Below uploaded painting , Two women sharing pain , sorrow , happiness or ecstasy .The headscarf , Apparel , the sleeper ( Khraav ) and a hand held samovar gives this great work a typical kashmiri Aura .
                                                               

     Santosh's  below Painting is titled Khwaabgaah or "Dream chamber" and has been done in 1955 when he was at Baroda  .                                                                          

And the below uploaded two  paintings have been done in pure abstract style..

                                                                              


                                 
( Autar Mota )

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CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

Friday, January 9, 2015

THREE SNOW VIEWS OF SWEDEN AND POETRY OF MUZAFFAR AZIM


                                                           



Snow fall view outskirts of Stockholm ( Sweden ).
(Photo Clicks by  Shailesh Mota …. December 2014.)



To these photographs  I am adding my English rendering of lines from a beautiful Kashmiri poem HAMSOOS ( Alas  ) by well known poet Muzaffar Azim ( Born 1934 ).


 " After the advent of *Maagha ,
The colours of Dew,
The Fragrances,
And dreams ,
lay hidden ,
Buried under the fog .
O Sun!
When shall your rays reach them"…
(Autar Mota )
*( Maagha or Maagh is the wintry  month  of Hindu  Bikrami calender and corresponds to Mid January to Mid February )
CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Creative Commons LicenseBased on a work at http:\\autarmota.blogspot.com\.

Sunday, January 4, 2015

“LAL DED IS THE ORIGINATOR OF “NOTHINGNESS “ IN KASHMIR’S POETIC THOUGHT “


                                                                 
     


 “SHAKTI “
Oil On Canvas 1990 by G. R. Santosh
To this Painting , I am adding a write up ….

“LAL DED IS THE ORIGINATOR OF “NOTHINGNESS “ IN KASHMIR’S POETIC THOUGHT “

The Philosophical concept of Nothingness or Emptiness is essentially of Asian origin. Be it Hinduism , Islamic Sufi Tradition , Buddhism , Taoism , Neo-Confucianism or Japanese and Korean thought, One finds this NOTHINGNESS playing crucial role. Buddhists call it ultimate reality that happens to be the root of self and the world or the ultimate truth about our transient life . In sufiism,NOTHINGNESS and SOMETHING are identical as SOMETHING is achieved in a state of NON BEING. This makes NOTHINGNESS pivotal to sufi thought .

In Kashmir , the philosophical concept of SHUNYATA or NOTHINGNESS is very old and it existed much before LAL DED ( 1317-1388 ) as a religious thought with native Hindus or Buddhists . But for sure , apart being the first progressive poet in kashmiri language , LAL DED is the originator of Nothingness in Kashmiri Poetic Thought . Transcending all dogmatic religion, Lal Ded is the first poet to have propounded KASHMIR SHAIVISM in her Poetry or VAAKHS .
After a careful scrutiny of some VAAKHS of LAL DED , one is led to believe that for Lal Ded , a slippage to Nothingness is a Union with SUPREME SHIVA that resides in every particle of this universe . She also believes that this limitless and transcendent Shiva is the destroyer of darkness leading to emergence of light . For Lal Ded , Shiva is not only the destroyer from the Trinity of Brahma ( Creator ) Vishnu ( Preserver ) and Mahesha ( destroyer ) but the essential supreme ruler of SHUNYA or NOTHINGNESS .

Apart from Kashmir Shaiva thought , NOTHINGNESS as expressed by LAL DED is also of RIG VEDIC origin. To some extent , NOTHINGNESS in her VAAKHS ( VAAKYAS ) is influenced by VEDIC HYMNS of NASADIYA SUKTA. The primordial ocean mentioned in RIG VEDA is synonymous with the concept of NOTHINGNESS. And the concept of SOMETHING OUT OF NOTHING (Kenh’nuss Nishe Kyah’taam Draav) is again a pure RIG VEDIC thought . I quote two Hymns from RIG VEDA in support of this argument…
(1)
“Then there was neither death nor immortality
nor was there then the torch of night and day.
The One breathed windlessly and self-sustaining.
There was that One then, and there was no other.”
(2)
“And they have stretched their cord across the void,
and know what was above, and what below.
Seminal powers made fertile mighty forces.
Below was strength, and over it was impulse.”

I also Quote three Vaakhs of Lal Ded with my simple English rendering ,
(1)
Shuniiyukk Mae’daan Kodumm Paanus
Mey Lallie Roozum Boadh Na Hosh
Wai’Zey Sap’nuss Paanie Paanus
Adhaaa Kammie Hilli Phoall Lalli Pamposh ..
( Lal Ded )
( Alone I Traversed this vast ground of Nothingness ,
Intellect and consciousness too withdrew from  me .
Then alone I turned familiar to my own inner self ,
And Here I appear like a Lotus flower blooming in swamp . )
2
Kenhi’nus Pyaath Kyaah Chhuyii Na’tchun,
Mwatchii Kenh Na Ta Natchun Traav ..
Poat Pheerithh Chuyee Totuyii Atchun
Yohaii Vatchunn Tcheituss Thhaav
( Lal Ded )
( Why Dance over this nothingness ?
Abandon this ballet for you too shall contract to Nothingness .
And On return , you shall have to  go back to  nothingness ,
So Bear this thought alone in your mind . )
3
Goruss Pratchhom Saasi La’teiy
Yuss na Kenh Vanaan Tuss Kyaa Naav.
Pratchhaan Pratchhaan Tha’cheiss Ta loosuss
Kenh’nuss Nishe Kyah’taam Draav
( Lal Ded )
“To my Master , I asked a thousand times ,
By what name should we call the nameless one .
Drained I became from seeking this knowledge ,
And lo ! Something emerged from Nothingness only.”

Once an Individual realizes that the final truth or reality is EMPTINESS or NOTHINGNESS , he carries a different outlook on qualms of mundane existence . This enlightenment also enables him to rise above the painful concerns of routine life . And accordingly , this concept of Nothingness comes up with a positive transformative power.

In kashmiri poetry , NOTHINGNESS has also been profoundly enunciated by almost every poet of Sufi genre most notably by Shamas Faqir , Rehman Dar , Shah Gafoor ,Nyaam Sahib, Waza Mehmood ,Sochha Kraal , Ahmed Batawaari , Samad Mir , Ahad Zargar ,Wahab Khaar and many more in their compositions .
Apart from Islamic Tassavuf , Almost all these poets appear to be deeply familiar with the NETI NETI concept of VEDANTA whereby one negates all descriptions about the ultimate reality but not the reality itself. And to embark on this , one needs to transcend worldly experiences rejecting everything ( Not this , Not this ) and arrive at the vast ocean of Nothingness to draw something ( Kenh Nassa Nishe Kyaahtaam Draav ) .
                                                        

This group of Sufi poets from kashmir were remarkable souls ; Simple , Unassuming , Almost without access to the Modern Education ,Poor in so far as the worldly Material possessions are concerned But profoundly rich with knowledge of the traditional thought of their land . They belonged to the lowest strata of the society that evaluates individuals in terms of their material possessions . A Labourer , A Mason , A Blacksmith ( Wahaab Khar ) , A Potter ( Sochh Kraal ) , A Weaver ( Shams faqir ), A Cowherd ( Rahim Sahib Sopori) , A Wood Cutter ( Samad Mir ) synthesizing NOTHINGNESS of Hindu VEDANTA and ISLAMIC TASSAVUF on grand poetic format . This is possibly unknown in any other Literature or society .
I quote ..
1
Shunyaa Gatsithee Ooss Myon Oluy
Aemm Ashkaa Naaran Zoluye
Kuniruss Trovnumm Rwoni Manzoluy
Shroin Shroin Bozaan Aas
( Shamas faqir )
( Traversing NOTHINGNESS , my abode turned visible ,
And the intensity of love set this too on fire.
With a Chiming Cradle swung across my loneliness ,
I reached that final spot listening to musical chimes all around )
2
Kenh Nai Ouss Ta Kyaahtaam ouss
Kenhuss Maaney Chhuyii Kentssaa
Kenhusss Maaney Zaanaan Goss
Paanaai Ouss Ba Bahaannai
( Sochh Kraal )
( If Nothing was perceptible ,
For sure , something lay thereat.
I just moved ahead interpreting this Nothingness
And I became the cause to exist .)
Dapyomuss Addah kattien chhuyee Tche Maqaam
Tammie Dopnumm Naai Chhu Subah Naai Chhu Tattie Shaam .
( Sochh Kraal )
( I put him a question ,
“ Where is your abode ? ”
And he replied ,
“ A place where You experience neither Mornings nor evenings “

Scientifically ( Theoretical Physics ) , In our universe, even a dark, empty void of space, absent of all particles, is still something. And to explain Anything in time and space , Nothingness has to be called in to play its crucial role. And Nothingness does not represents something that we're afraid of, a disarray or a breach of the system. Greek philosophers ( Aristotle and Plato notably ) also agreed that Being is ultimately transcended in the concept of NOTHINGNESS .
                                                                                  
               ( NOTHINGNESS clicked  in Black and White.. Photo Autar Mota )

German Philosopher Arthur Schopenhauer ( 1788-1860 ) comes very close to the Eastern concept of Nothingness .His philosophy bears influence of Plato, Kant, Buddhism and Vedas .

I end this brief post with a quotes of Schopenhauer.

“ We can regard our life as a uselessly disturbing episode in the blissful repose of NOTHINGNESS “

( Autar Mota ) 

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CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.