Friday, 2 February 2024

The Udumbara flower

 What blooms rarely? Once in a thousand years?

The UDUMBARA flower. 

Any idea how it looks?

Like something you have never imagined - so beautiful, so exquisite! Like the Compassionate One!

But who actually is a Compassionate One, a Wise One? 

One who identifies with the Infinite.

Happy Birthday Sri Ramana Maharshi - the Compassionate, Wise and Infinitely Supreme and Eternal One!

The Buddha is an image of wisdom, serenity, compassion, inner discipline and spiritual practice. That is why his image is so popular as an inspiration for seekers, meditators and those who are on the path of seeking peace and inner wisdom.

Looking at the Buddha as a historical figure and going into arguments on philosophy take us very far from the purpose of his representation. And that i strongly recommend for the cynics and distractionists - not at all for those who mean true business with themselves - the purpose of finding out the why's, the how-come's and the therefore's of this birth that we find ourselves in as if on a railway track with a fast approaching train called death and a loud noise called time and a thundering fearful scream in our heart called desire to live on.

I am one who adores the countenance of the Buddha since childhood. I never knew why I was so attracted to the image wherever and whenever I saw it. A Hindi non-detailed subject class text book on the biography of Buddha happened to be one of the first books I read fully time and again and also preserved till date along with its brown wrapper and label with my name and grade 6 upon it.

My first sculpture that was cast into Plaster of Paris and again one which I cherish is one of Buddha done in my early (1986...)sculpting days at Kalakshetra studio after I joined to learn sculpture. I was inspired by the grace of the Sarnath Buddha, the robustness of the Mathuran Buddha forms and the other Museum images from across the world in the library at Kalakshetra where I first had a glimpse into the world of art and collections of art all across the world. I t was there that I also learnt that art was not related to a specific nama rupa - name form identity but a larger, more holistic ideology, spirit, intention and a compulsive inner call of either the sponsor, patron or provider  or the artist himself whether the idea of being an artist came to her or not. That explains the spiritual attitude of surrender in art, the anonymity, the melting away of tiny little personal details in the flood s of the movement of FLOW of creativity, of a higher or deeper inner calling. How similar it is to the expression of sage Ramana Maharshi when he says he was like a tiny driftwood in the strong currents that swept him from his hometown to the Holy hill town of Tiruvannamalai as a young lad of only sixteen years. 

Art, I feel, is like spirituality, if in the actual sense one is willing to give up all the known for an exciting and unknown and compulsively progressive journey towards the calling of the unknown, unidentifiable inner calling. 

Like with every other natural phenomenon like fire or flood, in any occupation or field, one can survive the event and emerge as a survivor coming back to tell a story - the story of the long night, of the tortuous phase, of the blinding darkness, the immense pain or the inexplicable bliss.

Of course, it goes without saying that one can encash the story, become known or notorious, emerge richer by the experience or let ruin upon herself. Many specialize in the art of making real good business out of it. And that is the difference between the truly great and the seemingly so. The wild flower is totally unconcerned of its uniqueness. The passerby takes note of it and it depends upon so many aspects whether she wishes to enjoy it for herself, share it with others, make a trade out of it, do all of these or do something else unimaginable too!

The Udumbara flower might have been the longing of a traveler, a researcher, a spiritual seeker, a botanist and a child. It is not the uniqueness of the shape, colour, form, properties or fragrance of the flower that is really important in the context than the rareness of its appearance, the relief from mediocrity, for commonplaceness and yet it is for certain that the Udumbara flower would be very simple, very humble, very natural and very very down to earth in all its means and manners, for otherwise it cannot be representative of the Buddha - the Wise and Compassionate One!

And so I decided to discover my own Udumbara flower, not in the wild, in the forest, in the woods or hills, but right here, within me, in my heart, closer to me than even my breath and my mind, in my self, as my self - something I don't have to seek as it is my very self, that which I can never lose as I never had a moment when I had to identify it as apart from me.


Sunday, 19 December 2021

Gift of a silent mind

 Blogging after a long time, i feel i might need some hundred words before i can really begin to communicate, just like i do when i paint or sculpt after a gap. Just playing with colours, with clay or with words...

Was thinking today about the essential qualities of spirituality manifest in a person. The main aspect of non-differentiation or a sort of a unifying capacity - one that can see the base or core more than the surface. the shutting up of the chatterbox mind, the activation of the right brain, the Flow state where witnessing is as simple as being alive and breathing and no labelling, remembering or acting takes place. I want to call that state - the dot state. the state of being but not being anything.  the state of mind is a gift from the universe to itself - prasannam - existence, consciousness, bliss with no superimpositions of even the awareness of being in a special state considered rare or hard to come by in the world where normalcy is constantly defined afresh by new states of 'imposed'ness upon existence resulting in the substratum or the background or the gap being rendered nearly impossible, unachievable or pretentious even by the most seemingly intelligent ones.

The state of existence in earnest purity, wiped clean of labels - that which we are so blissfully so in our deep sleep and in between two thoughts or during moments when the mind is nonplussed into silence - why can't that be recognized easily? like the colourlessness of the mirror (reflective glass) that we look into and see our reflection and relate to the image and not the potential of the mirror to reflect everything including its own quality of reflectiveness. Strange, this make-believe world we live in.

To be out of this stupidity - as Nisargadatta Maharaj says - is the way to be.

A few words, and i think i might write more. 





Softly, the hush sounds the wrapping up of a day,

Vicky went to his sleeping place 2 hours ago (10.45pm)

Keeping pace with the have-tos of everyday existence

and the can  dos of favoured living

one resulting from circumstance and the other by pursuance

of latent intents - not succumbing to pressures of co-crabs

in the basket - pretending to want to be free

dragging down successfully the ones who try to climb out

thus never ever leaving the basket they were thrown into

the safest place the foolish crabs end up in

Janmas after janmas - a better basket, better company, some fish alongside

or some stupid fun...

i found a hole in the base of the basket and dropped out silently

being as i was, where i was...

in here

in now

in me.

Friday, 12 October 2018

LIGHT ON LIGHT




I generally know Light as the light seen around me. And that is by day. Otherwise, it is the electric, solar or LED lights that lights up our lives after sunset. I rarely consider any other light, such as the light that lights my inner being into recognition of these outer lights!
Curiously, I notice that my daily prayer while lighting the oil lamp for worship at dawn and dusk goes so:               
 ‘Antar Jyothih, Bahir Jyothih, Pratyak Jyothi Paraatparaha,                                                     
Jyothir Jyothih swayam jyothi, atmaJyothi Shivosmi aham.’

It means: The light within, the light outside, each and every light (as the one before me) is Divine;
But the light of lights is my very own light, the light of my soul - Shiva am I.
Light, per se, is that which dispels darkness, no doubt, but which light am I now talking about? My focus, hereafter, is obviously, not the externally visible light but the light within. Throwing light on light, I see that it has to be my own light that I have to first recognize with clarity as the one which is self- evident as me, there already, self-luminous and self-explanatory.
Is this Light self-evident?  The term ‘self-evident’ suggests that the self is the most evident of evidences. But, is the ‘Self’ in the ‘self-evident’ truly evident in its purest sense to all, so that we may use this simile to equate it with the Light of lights within? Is it not the subject of the contention for the greatest of philosophers? To know the Self has been the ultimate quest of all times.
My next question is – If I am light, how is there darkness or shade in it? In other words, if all is evident as the Light of Consciousness how could the dark or shaded areas of ignorance, dream, sleep and unconsciousness exist? And, what exactly am I supposed to mean in my prayer to light when I chant ‘I am the light of lights and being so I am Shiva – the Self, the Supreme, the Auspicious and the Sacred’?
Firstly, a sincere reflection on the similarity of Light and Self is noted down here.
I happen to be involved in art and aesthetics. It is a field of refining perception. It comprises steps, processes and analyses of mental procedures with reference to feelings and emotions perceived through known or hidden preconceptions, judgements and situations. And all this would be from my own perspective. It is intended to be a journey into myself. It is a kind of search for some missing link that would give a final answer or join two ends to make a whole. A bridge is brought into existence that would unite what now, somehow, seems disconnected. So, I respond keenly to any and every trigger. A record is produced in the form of art. In all stages, the perceiver, the perceived and perception are the characters in the ‘plot’. The whole game is interesting and engrossing and one is led on to the next stage - like in a treasure hunt. Another clue is found and the game continues.
It is said that then one day, the discovery is made. The game ends there. The thrill in the game is lost forever. That is the day the seeker arrives at the height of perception. It is a point where the three characters of the ‘plot’ merge. It is an arrival to the point from where the journey actually began, yet very different from the first step that was taken earlier on!
But, why was this game played in the first place? Because, that was how what seemed lost could have been found. Well, game or no game, my search for the meaning of Light, what it can light, which light is it and why is it light has to continue. The light that I am interested in is certainly not the light that lights the universe but the Light that lights my intelligence? 

An Ekasloki by Sankaracharya bears the following clear indication to it:
Master: By what light do you see?
Disciple: The sun during day, the lamp by night.
M: By what light do you see these lights?
D: The eye.
M: By what light do you see the eye?
D: The mind.
M: By what light do you know the mind?
D: My Self
M: You then are the Light of Lights.
D: Yes That I am!

This illuminatory dialogue between a truth-seeker and the Master is a proof that the dispeller of the shades of our mind’s ignorance, doubt and confusion is seated not in some remote corner of the world but right within our hearts as one’s own self.
Whether this sounds easy or difficult to understand, this is the nature of the truth of our own selves, here equated with Light. Only a few dare to choose the path of light. The rest may well remain in shaded avenues enjoying dim light or shunt in dark recesses complaining of poor visibility!
To move on, I, a victim of guidance and an addict of procedures, project my next involuntary question - How do I gain this sight of or for light? To emerge with that Light of Lights that I am must I begin from the surface or from my depths? Either way the certainty now is that ‘I’ am the medium!
But who am ‘I’? Am ‘I’ the body? The answer is dubious.  I must be this body, mind, intelligence and memory also known by many as the gross body, the subtle-body and the actual Self.  Must they not be self-same parts of one unit? But, again…
‘The body is inert like an earthen pot...’ goes another verse – Deham gada nigar jadam... True, it seems to have no consciousness of ‘I’ because daily in sleep we know we exist without body consciousness. Then comes Nidra Samadhi Sthithi i.e., Sleep state is akin to the Pure Self, so we must be closer to our true nature in sleep! But even then it has to be a dreamless state obviously, i.e., bereft of even the subtle body in order to be truly pure. But how will I know my existence in such a state? And if I am unaware of myself as my Self shining as Light, what is the use of such knowledge?
I know clearly I have three states of experience – waking, dream and deep sleep states. In all the three I have experience of a gross body, a subtle body and no body. To concede to the self –realized Master’s words that these experiences occur upon or within my Self which is the Self-aware existence is to cut a long story short for I have not unravelled the clues personally and the game loses its sensation.
There is a clue there. There are many hints around me, many strands of profound truth. I have to bring them together to weave my tapestry of right understanding. So, I proceed in my own way or words!
I am intelligent so can ‘I’ be the intellect – the one who knows that this body is mine! Started brilliantly! How intelligent is this intelligence that I don’t want to lose association with, that I am quick to tag along for fear of being anything less by its exclusion!
Now, though this intelligence reveals my body to me it does not do so when I am asleep. For instance, I am unaware of my aches and pains that attracted my attention while awake. So, I realize to my dismay that my intelligence works only part-time for me! In such a case, it is something I cannot fully rely upon.
The next for scrutiny would be my memory. Oh, do I need to say how it fails me when I need it most, even for a small thing such as a name or a date? Even if I am good at that, still, I do not remember each and everything that has taken place so far, say, like a personal backup of my life. Then, my memory’s role seems limited too!
Both and more put together I call the conglomerate - my mind. And, oh, what can say of it! It is something that confuses everyone most as much as me.  It makes me use the words in my vocabulary so interchangeably and makes me expect to be perfectly understood every time. And when that does not happen, as it was never ever guaranteed, I become miserable for want of clarity around me. And I say - How ridiculous it is that one cannot see which ‘me’ I am talking of?
To cite an example, I say, “I feel miserable today as I haven’t slept last night. My blood-pressure is up because of all the misunderstandings around me. To top it all, my laptop has crashed and my car-keys are misplaced and I should have started my presentation at a conference by now.”
How many times have I referred to myself and each time I have meant it differently! Once it is my overall existence, then it is my biological person. Later it is my physical body and then my psychic being or social personality. Then again it is my identification with my physical possessions, my physical movement and appearance and finally comes my ‘unaware’ hint of my true location – the present moment – the now!
How many personalities do I have? If obviously it has to boil down to one, then I must presume that my physical functions and mental capacities are meant to be understood as intertwined to create a final image of myself. That I use the expression ‘I’, me and mine so interchangeably and freely suggests that it is perfectly understandable to do so and nearly always understood in the same manner. Is this what is called ‘COMMON’ sense!
Should I really be proud of such ‘Multiple- ownership-but- singular-nomination' syndrome? Especially when I am yet to see and refer to the connecting link that binds them all as one?
Is it not appalling that when I have descriptions or codes, surnames or nicknames to identify Rams, Krishnas, Johns and Alis why do I not do so for these multifaceted, multitalented amazing namesakes that I have within me, to interact with and refer to, day in and day out?
It is not appalling too that I actually have only a partial knowledge of my exact personality? I surely have access to and visibility of only certain portions of my very own physical body, this body mass that I declare my own! A measuring scale or a weighing scale gives me some figure that I have learnt to half-heartedly declare as mine, even though nothing reassures me that I am so many centimetres tall or so many kilograms heavy! If I take a real close look at my hand or foot it begins to take on a new dimension- it seems more a thing that I feel quite alien from! Coming to think of it, my left and my right hand are strangers to each other except that I put them together to express my feelings. I do not have a clear idea of my personal appearance but I accept it as mine since I feel and transact through it. This body, however, is my dearest possession. Without it nothing moves, without moving or resting it nothing alters or rests. This body is my present. I feel without it I will be dead! I maintain its history and it gains all importance for me. This body person’s love can become narcissistic; it can also become a cause of great depression or labour in correction or enhancement to suit a fancy. Suddenly one day or eventually before me in the mirror or in a photo will stare back a haggard image that I cannot accept as me.
This body whether biological, physical or psychic is collectively the stuff my dreams are made up with. I have this body of mine which is and yet is not physical while dreaming. It can see from above, below, close or far anything, anyone, any scene – private or public; it has its own intimate fancies or fears that can never be articulated some of which I know are repeated night in and night out. My fears and fancies are revealed to me by its infinite permutations and combinations. I decide to proudly narrate those that I fancy and the others I quickly brush under the carpet of secrecy or forgetfulness.
This same body is simultaneously a secret parcel whose contents I am blissfully unaware of. It is incredible that I do not know anything that lies below my skin? I am again appalled to be so ignorant of its interior organisation. I do not seem to deserve to know it - my very own kidneys, heart, brain, liver and so on! In my natural state of affairs there is nothing to make me suspect that I have such individual organs that do wonders to keep me feeling normal and forgetful about them! And even if I wanted to control them, I find that I can move my hand but not run my kidneys or stop a heartbeat voluntarily! Its mechanism I know nothing about. This control of an external world alone – however partial seems to be my sorry plight.  If I feel ill I need to go to a doctor. He refers me to a –‘logist  - a radiologist, pathologist or microbiologist. He is supposed to know and reveal more about my body than me. He is supposed to know me in bits and pieces. He specialises in knowing with great precision just any one portion, one faculty or one area of this large factory which seems to have a great purpose, a great or highly qualified mechanism, an efficient management and very well equipped machinery. Even if a needle is inserted in this body and some liquid aspirated and placed under a microscopic lens, that little drop can reveal to that master alchemist the entire history of ancestry from DNA which irrevocably reveals genetic factors that are final in authenticity. These cryptographs decide for us the pattern of our days to come whether numbered, altered in lifestyle, barred from games or barred by prison grills for tampering with nature or rules. Tubes, bars, filaments, sponges, bags all seem to be articulated immaculately in a complex system that cannot be taken for granted even by the most experienced of physicians.
But in this same body are forces such as electromagnetism and induction and gravity and quantum mechanics. The deepest and most sincere structural analysis of this body would reveal possibilities of an Indus valley civilization or a hominid man but what can it say of electromagnetic radiation? How does my body accomplish what great scientists term as physics?
Now, what a philosopher refers to as ‘me’ in a spiritual context must however be distinct from direct association with this multidimensional body of mine and probably be that yet unintelligible aspect of me if I am to see and be the Light that I am told I am or I hold within.
Egged upon the cliff of reasoning, analysis and self- enquiry, I see now how the time-honoured problems of enlightenment are always deferred by this body which naturally says – ‘Not now, maybe later!’ Perpetual procrastination has brought me to where I am – a muddle of bodies twisted and tied together whose identities I have intermingled and names forgotten by mistake. To hide my folly I use one blanket term I, me, and mine ever so gracelessly every time everywhere. ‘I’ have to be the commonality in these definitions.
And if I am the common only then these conditions are mine. If I can describe them, however intimate, then they are mine, of me, but not me. So then, am I essentially an entity with no definitions and surpass whatsoever? Being singular, unitary and alone, is then the entire universe seen or cognised within me as a figment of my imagination, intellect, a concoction of my mind and memory plotting together for my own supposed benefit? There are answers in our scriptures to validate this doubt as genuine.
It is only if one takes the search seriously would one comes to confront the time-honoured problems of ‘Who am I?’ or ‘Can I not survive the death of my body?’
If our intelligence, memory and mind be by-products of these one or severally appearing bodies then the body’s break up cannot reveal any positive finding in terms of true self-knowledge. Will life and eventually death mean the same mysterious beginning and ending whose equally mysterious middle I seem to be so madly engrossed in? It is quite clear to me from these ramblings into my person that there cannot be any more than one behind the medley of these confused thoughts. And if order were to be brought in to silence the monkeying mind it would be to bring reason as the first silencer. The reason would have to have a cause and any cause an effect – the doubt of singularity and the conviction of it. As a result the effect would be in and as the present moment of which I am witness, a fully aware participant simultaneously. And, if I am aware of ‘two’ – the seer and the seen, then again there cannot be a plurality but a singularity for the reason that awareness is in the singular -me.
When confronted with the famous and mighty philosophic problems of our times we bring forth the fact of the luminous Self to put an end to this process in one stroke. That stroke is the lightning of True Knowledge.
My Self cannot but be the entity of inexistence or transcendence. It cannot be crushed, burnt, drowned or shredded. It will always remain the way it has been – Perfect.
Such a self-knowledge is not a word of understanding, a methodical process or an accidental event – it is a finality of being that Light which was sought. It is a silent confirmation, a communication in the most incommunicable recesses of the intimate self that there is only the Self that is the light that lights the universe and it is only this Self being Light can be the light that lights light. And once illumined remains untarnished, undiminishing and luminously illumines Light forever!
I am that light.
Our Life, our feelings, our thoughts, our memories and physical existence continue to exist. In and around us are innumerable currents of energy that accommodate existence ever so effortlessly. And from minute to maxima an equally distributed force operates without calling for any intervention from us. At best, we can refrain from disturbing what ‘is’ by not hoping for what ‘is not’! Our nervous system binds and links our accustomed varied dimensions to one point of recognition. The word ‘re’cognition suggests an implied pre-existence. There lies the doorway to the unfolding of mysterious cosmic revelations. But that is not my goal; my goal is an unadulterated (by thoughts) existence as pure awareness of my Self in the here and now. When I exist in such purity, in the thought-free nature of creation, I can be equated with existence in its entirety. That is coming in contact and being the Light of Consciousness. At such a moment of enlightenment is drawn the curtain of happenings and the stage turns to ‘Being’.
How does the enlightened one then live, exist, function, walk and talk? These questions lose their import as the answers would have to be space, time or habit related. So, without falling back into the rut of habit and watching out for the surfacing of latent tendencies that draw one away from this serenade with truth will be a way of life if a way has to be outlined. Such a living on the path of Light is the best way to be. The role that is played by the actor, then, is scripted by the divine and directed by the cosmos. The unfolding of events is at the discretion of the entirety of Creation however small or big, for proportions again are relative to my accustomed approach and I have just learnt the importance of discarding them for the absolute.
Unadulterated existence is truth. To survive changes in the terminal and tangible world through association with the eternal Light of Self- Knowledge is the most valid act of humanity. In it the entire creation’s friendship and compassion, devotion and Spiritual Knowledge are tiny droplets that decorate the hardworking brow of Creation to fulfillment.
Let us silently bow to this great cosmic order of journeying with the light of understanding from Being to becoming and successfully back to Being the Light of Lights – the Self – Shiva.


Friday, 5 October 2018

AN ARTICLE ON MY GRAND GURU SHRI D P ROY CHOUDHURY AS PUBLISHED IN FIRST VOLUME OF NUNKALAI


I CHANCED UPON A TATTERED COPY OF A RELIC - A COPY OF NUNKALAI - AN ART MAGAZINE OF TAMILNADU. 
TO MY JOY AND SURPRISE IT CONTAINED AN ARTICLE ON MY GRAND GURU - MY MENTOR KALASAGARAM RAJAGOPAL'S GURU - SHRI DEVI PRASAD ROY CHOUDHURY, SCULPTOR AND THE FIRST PRINCIPAL OF GOVERNMENT COLLEGE OF ARTS AND CRAFTS.
GIVEN HERE IS A COPY TYPED OUT FROM THE MAGAZINE ALONG WITH THE INTRODUCTION ETC. I INTEND TO FIND AND POST THE PAINTINGS AND SCULPTURES MENTIONED OVER TIME AS I DONT HAVE IMAGES OF GOOD RESOLUTION NOW.

Related image  Image result for devi prasad roy chowdhury
NUNKALAI – DECEMBER 1981
VOL 1 NO 1
Editorial
Art is the manifestation of the finest and truest of human emotions. The beauty and perfection of art lies in transmitting these emotions to the viewer, so that he could live and relive the entire spectrum of feelings the artist underwent in the process of his creation. This we would call a close encounter.
Through this journal we desire as close an encounter as possible between the artist and the art lover. We wish to fill the void that separates the artist and the common man, arrest the process of aesthetic desensitization and rekindle the interest in traditional as well as contemporary art.
We believe a dialogue could begin through this journal between different schools, traditions and masters. This dialogue could culminate not only in enthusing and inspiring the younger generation of artists but also lending a greater momentum to Art Movement in general. We realize our limitations in achieving these aims, yet we are overcome by the discovery of enormous talent and unexploited resources in this country.
Nunkalai, no doubt, would represent the best in Tamil as well as South Indian traditions. But it would essentially be an open forum with no bounds of time, place and concept, emphasising the universal aspect of art.to achieve our objective, we invoke the blessings of Goddess Saraswathi.
Mrs. C K Gariyali  I.A.S
Chief Editor

Mrs Anjali Sircar – Editor for English section
Mr. N Muthuswamy – Editor for Tamil section

Contents
1.       Leaders of Contemporary Art in Tamil Nadu
2.       Government College of Arts and Crafts Madras -3.
3.       Therukoothin oppanaiyum udai alamngaaramum
4.       Tanjore Paintings on Glass – a section from the Madras Museum collection
5.       Evolution of Contemporary Indian Sculpture
6.       Naatuppura Kalaigal – Anrum Inrum
7.       Review

LEADERS OF CONTEMPORARY ART IN TAMIL NADU – 1
DEVI PRASAD ROY CHOUDHURY
ANJALI SIRCAR
During the closing years of the nineteenth century, it was evident that the attempt of the British to introduce their own art system in India through the art schools in the different provinces had failed. Not only that, a movement was already taking shape to stem the tide from decadence, reaction and imitation in Indian painting. Spearheading this revivalist movement was Abanindranath Tagore who, inspired by E B Havell, English art teacher and critic, established within the short span of less than a decade an indigenous art system reflecting an all-India character based on the previous traditions taken from all parts of the country. Known as the ‘Bengal School’, this revivalist movement was the beginning of modern Indian art.
Abanindranath’s art was one of assimilation – a harmonious synthesis of what was best in the arts of India, Persia, Japan and China, and he gathered around him a brilliant group of pupils whom he trained in the traditional methods and techniques of the East. Among them were Nandalal Bose, K Venkatappa, Hakim Khan, Suren Ganguly, Samarendranath Gupta, Asit Kumar Haldar, Sarada Ukil, Kshitindranath Majumdar, Abdul Rahman Chugtai, Pulinbihari Dutt and Mukul Dey. The last to go to Abanindranath was the romantic, young Devi Prasad Roy Choudhury, looking like a sculpture of Michelangelo turned to life, who not only held aloft the sacred torch of art entrusted to him, but surpassed all the other inheritors of Abanindranath by founding a new school of art – The Madras School. In creating a virile art that worked as a corrective to the weak and effeminate character that was slowly creeping intomodern painting in the name of idealised form and subjective art, Devi Prasad Roy Chowdhury appeared on the Indian art scene as an art reformer – “the classic of the new generation of Indian artists”.
Two factors combined to bring Roy Chowdhury to Madras in his capacity as a Principal of the School of Arts. During his stay in Calcutta, he had been disowned by his aristocratic kinsmen for turning a professional artist. Having rejected in sheer pride the family allowance given condescendingly to him, he was almost at the point of poverty, and at one stage had to carry framed pictures on his back and hawk them in the streets to make a living. Also, he was in love with Charulatha Banerjee and needed a secure job before he could marry her.
While on the quest for fresh fields for his artistic adventures, he received an invitation from the Madras Government under Viscount Goschen to take charge of the Madras School of Arts. The Madras School was limited in those days to producing drawing teachers and craft oriented items for the use of the Britishers. The Viscountess being a painter, Viscount Goschen desired that Roy Choudhury should reintroduce Fine Arts in the School. And inspite of a certain amount of local opposition, Devi Prasad Roy Choudhury joined the Madras School of Arts in the year 1928. One major point in his favour was that he proved himself capable of experimenting in many styles and it was felt by his patrons that he would not be indifferent to the atmosphere of South India.
The three decades which Devi Prasad Roy Choudhury spent in Madras were the most fruitful period of his life as painter and sculptor. Early in his professional life, he had the courage to break away in a spell of rebellious discontent, from the stereotyped patterns and impulses of the Bengal School and seek out the approach of the Western masters. Driven by an inordinate ambition to found a new school as also by his own dynamic physical energy some of which he wanted to impart to his own works, he voyaged back to grasp the Indian traditional concepts of aesthetic beauty and the symbolic poses, colour and decorative ornaments expressive of that beauty in various moods and situations. Then, in a daring experiment that called for exceptional art knowledge and culture, he grafted the Indian idealism and refining technique on the three-dimensional naturalism of the Western classical romantic tradition, evolving thus a suitable realistic synthesis of his own that fell in line with his idea of initiating the new ‘Madras School’. This individual style, with slight variations, became the vehicle of his aesthetic experiences.
In his major study of Roy Choudhury in ‘Choudhury and His Art’, P R Ramachandra Rao says, “A lesser man than Choudhury might have degraded the Western technique and the Indian idealism and conceived a hybrid monstrosity. He developed a singularly felicitous and individual style, adapting Western art science to Indian conceptions. He, however, suffered from no Western phobia. He adopted the Western science as the basic foundation of his artistic achievement. His themes, totally Indian, are executed in the most faultless style that is fundamentally Western, yet no Western artist can attempt to paint his pictures. There is no casteless, Anglo-Indian atmosphere about it.”
Devi Prasad Roy Choudhury was a wizard of water colour, and his mastery of the medium is unequalled in this country. He always preferred water colours to oils, being able to impart the depth and solidity of oils to the water colours without the heaviness of the former. In this treatment he appears to have been influenced by Rembrandt, particularly in his emphasis on chiaroscuro. His tendency in later years was for a more realistic yet highly creative form of art and this resulted in a series of magnificent landscapes and studies of Nature. At the same time, he remained the supreme artist in delightful decorative studies of Indian women after the Oriental manner. Among the important works he did in Madras are ‘Green and Gold’ (tempera), ‘After the Storm’ (water colour), ‘Nirvana’ (oil), ‘Bridge’ (pastel), ‘The Palace Doll’ (water colur), ‘Durga Puja’ (oil), ‘Abhisarika’ (water colour) and ‘Pujarini’ (oil). While a few of these early paintings show the influence of Abanindranath in both style and technique, the others are perfect examples of his pictorial art – intriguing and uniquely his own.
No less gifted was he as a portraitist. His portraits are magnificent pictures in the best English, Dutch, Italian and French traditions. They are historical records. In his portraits, he recreates the whole man with a rare mastery of the physical dimension, but the mere man steps out transmuted by the artist’s touch and stands forth into time. Among his outstanding portraits are ones of Rabindranath Tagore, a unique cubistic work with a rare sculpturesque quality, ‘Musafir’, a bearded wayfarer standing out as a triumph with characterization, ‘Perilous Paths’ depicting the arduous march of humanity, ‘Road Makers’, the forgers of man’s empire – a composition of faultless drawing vibrating with superhuman strength. Roy Choudhury in his mature life, was drawn towards the common man and the poor. He closely observed men and women who roamed the streets and slept under the canopy of the sky, and began drawing from life rather than from models. As a result his striking portrayal of man is at once a challenge and an appeal. Man is stripped of the accident of social calling and presented in his native majesty. Roy Choudhury was already a master of anatomy and his works, both in water colour and oil, were marked by a direct and representational treatment. However, it is as a sculptor that Roy Choudhury excelled, is known and venerated today. His sculptured portraits are a brilliant galaxy – The Maharaja of Travancore, Dr Annie Besant, Sir Ashutosh Mukherjee, Sir J C Bose, Sir C V Raman, Sir C P Ramaswami Iyer, Sir C R Reddi, Hon’ble Mr Kumaraswami Shasthri, Lord Erskine, Sir Archibald Campell and the Maharaja of Jeypore. Among the large sculptures he made, those of Sir Surendranath Banerjee, Mahatma Gandhi and Pandit Motilal Nehru are outstanding. Each of these is a rare monument of plastic vision and dignity, impressed in broad and simple plans, until the subjects stand out massive, compelling and alive. Choudhury puts into effect the lessons of Rodin, combining them with the Indian sculptural archetypes.
Some of his compositions are powerful examples of outdoor sculpture, embodying the sculptor’s conception of form in relation to space. Important works in the series are ‘God of Destruction’ (plaster of paris), ‘Travancore Temple entry Proclamation’, ‘Rhythm’, ‘After the Bath’, ‘When Winter comes’, ‘The Last Stroke’, ‘The Victims of Hunger’, ‘Triumph of Labour’, and ‘Martyr’s Memorial’ – all in bronze. The ‘Martyr’s Memorial’ was claimed by the sculptor as the biggest group composition of its kind in the world including as many as eleven figures, some four meters high, occupying about 29 metre horizontal space.
For originality, individuality, strength and expressiveness, his sculptural works are easily the best in this country. Even the Rodinesque touch which characterised some of his earlier studies, is perhaps superficial. Roy Choudhury’s art is definitely and distinctly his own. He remains a pioneer sculptor insofar as he gave value to the concept of a monument, to high skill and craftsmanship, as well as to the achievement of some kind of truth in his realistic art.
Devi Prasad Roy Choudhury (1899- 1975) has been criticised by art historians and critics for the reason that his work was very much in the nature of illustration and had very little spiritual content. Sure enough, Roy Choudhury was neither spiritual, nor high-browed, nor an intellectual. He ws a down-to-earth man, elemental and rugged inspired by life and capturing its essence in his work. He went through life with a native aristocratic nonchalance and whatever he took from life, he gave back in the form of art.
Whileall art forms are known to develop and flourish only in a congenial atmosphere, in the case of Roy Choudhury it was a classic example of a flowering in adversity. From the beginning to the end, he went through life’s battle alone drawing sustenance from his innermost being. His was a case of the lone intellect involved in creativity without the facility of checking, comparing or even disagreeing, for in his surrounding he was a stalwart without an equal. An outstanding rebel in art, he took nothing from them, nor improved upon them.
His significance, however, is not merely in the fusion of the Eastern and Western outlooks and techniques, but in motivating brilliant efflorescence of artistic endeavour among his own students who fortified the Madras School by a fascinating breadth of vision and technical assurance sustained by the formative impulses of Dravidian art.
Of his talented students Sushil Kumar Mukherjee, Prodosh Das Gupta and Gopal Ghosh migrated from South India but his message of a bold new art as part of contemporary graphic expression was carried forward by G D Paul Raj. K C S Paniker and S Dhanapal.
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Monday, 30 November 2015

" 'It' is as it is"!



“One who has burnt the seed of mental impressions and has the nature of the generality (or totality) of Existence will not be unhappy again, whether he is with the body or without the body.”
                                                                                                    Yoga Vaasishta, Chapter XX, Verse 22

There is a lot of speculation about the ‘Samadhi’ state and many questions arise to grasp its nature which clearly is ungraspable in verbal terms.
Bhagavan Ramana brushes off speculation by saying, “It is as it is” (Talk 138, Talks with Ramana Maharshi, by Munagala Venkataramaiah)). He further adds there that it is necessary to not stop at any intervening blankness but proceed to see for whom such blankness appears. And also that all will be well after the first few experiences. He clarifies that a wandering mind is on the wrong path and a devotional mind is on the right.
This time we read together the Self- Enquiry portions of Bhagavan Ramana Maharshi’s Collected Works. Though anyone familiar with Bhagavan’s life and works would certainly have read this, I wish to focus attention upon certain aspects of it. Like all works of Bhagavan this can also be read at deeper and deeper levels of understanding as one proceeds in enquiry. Do not stop with the ‘thought’ that you ‘know’ it since you have ‘read’ it!
The comparison between Ashtanga Yoga and Ashtanga Jnana is very helpful for those seekers who would not suit themselves to any practice such as Yoga, Praanayama, ritualistic worship or any other upasana or sadhana.
I drew their attention to the Ashtanga Jnana’s final four steps: Pratyahara, Dharana, Dhyana and Samadhi. Bhagavan indicates to not stop at Dharana such as ‘Brahmasmi’, ‘Shivoham’ or such but proceed to Dhyana or the pure state of Consciousness and then further on to Samadhi – that state which is ‘as it is’!
Continuing on the same lines, what brought me around to see that which is as it is was the book ‘Prior to Consciousness’ by Nisargadatta Maharaj (ed. Jean Dunn) that came to my hands in November 2006 for a short while. Some effective lines here: (Read trying to trace the Ashtanga Yoga steps from Pratyahara to Samadhi)
’ I abided in one thing only; the words of my Guru are the truth, and he said, “You are the Parabrahman”. No more doubts, no more questions on that…
’ When you wake up you have only the sense of being, without words. This is the primary principle, the prerequisite; later on you know fully that you are and the world is, but that is an illusion, like the horns of a hare. The world is like a dream world. Understand this point thoroughly…
’ Throw away every thought, every experience, everything that happens after this consciousness has come…
’ Before this ‘I am’ and waking state, that borderline, there you have to be… but the subtlest part is from deep sleep to waking state. To abide in that you must have an intensely peaceful state. In that state, witnessing of the waking state happens. You must go to that limit…
’ All that one normally does is for the continuance of this consciousness, but for me there is nothing at all that I would like to continue…
’ Had I even the slightest knowledge would I have descended into the prison of my mother’s womb?...
’ If at all you want to do something, do that which you cannot do at all. That is the state of no-being…

The Udumbara flower

 What blooms rarely? Once in a thousand years? The UDUMBARA flower.  Any idea how it looks? Like something you have never imagined - so bea...