Celebration on canvas
Festivals in India not only mark a celebration of a historical and mythological event, but a change of seasons, landscape and states of being which is reflected in art and culture. Holi or Vasantotsav, asanta-Mahotsava or Kama Utsav as it was known in antiquity is the quintessential festival of colours and a celebration of pleasure.
Holi announces phagun, the end of the twelve months, barah mah (commencing with chet), thus emphasising renewal. Life blooms all around full of colour, music, hope and ecstasy. The trees, flowers, singing waters and the dancing skies, harkens celebration of life and the awakening of the soul. The tradition of Vasantotsav, was revived by Rabindranath Tagore at Shantiniketan and found expression in some of the artistic works created there. Holi finds reference in Narad and Bhavishya Puranas, and on the Ramgarh stone inscription (300 BC ).
Temple walls are replete with renditions, an example being a 16th century panel at Hampi, depicting a prince and princess standing amidst maids with pichkaris. Vasanta Ragini or vasnt raga finds expression both in music and in a number of murals of 16th century Ahmednagar. A Mewar painting (circa 1755) shows the Maharana bestowing gifts on subjects while a merry dance flanks a tank filled with colored water. Also, a Bundi miniature shows a tusker seated king showered with gulal by damsels from a balcony.
The break from tradition in post-modern art has predicated the disappearance of holi from paintings almost symptomatic of decentering of Indian art. The only one who has dealt with the relationship of colours with the Indic seasonal cycle is Sidharth who paints Phagan in a very evocative manner symbolising the complete awakening of the souls and the relationship with the Indian landscape ablaze with reds and oranges of fruition. This kind of an organic connect with the India cultural memory/psyche is perhaps needed in contemporary Indian art to ensure its longevity.
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