Tuesday, April 17, 2012
Saturday, November 19, 2011
Curd Rice - Kanteerava Narasimharaja Sports Club or Mysore Sports Club, Mysore
Bisibele Bath in rice - Kanteerava Narasimharaja Sports Club or Mysore Sports Club, Mysore
Bisibele Bath in wheat daliya - My mom, Smt. Manonmani
Ragi Mudde and non-veg curry - Hotel on Bangalore highway near Pandavapura-Srirangapatna junction
Pasta - Smt. Harinita Singh, Mysore
Uppittu or Upma - Smt. Manonmani, Mysore
Pongal - Smt. Manonmani, Mysore
Pizza - Smt. Harinita Singh, Mysore
Biryani varieties - Smt. Harinita Singh, Mysore
Tea - R.G. Singh, Mysore
Thursday, September 23, 2010
Cut to 2010. Secretary of Ramsons Kala Pratishtana (RKP), R.G. Singh is frustrated that nobody is taking cognizance of the importance of Dasara 2010. He tries to explain the significance of the 400 years of Mysore Dasara to few but to no avail. 'Charity starts at home.' He decides to make a difference himself. RG then asked me to design a logo to commemorate 4 centuries of Mysore Dasara. He told me that we shall use the occasion to be the central theme at this year's 'Bombe Mane' and also use the logo for the same.
So I sat one fine morning in front of my computer system with a blank mind and monitor. No idea was forthcoming. So I relied on a pen and paper instead. I wrote '400' as it is and a little bolder. 400 is a big quantity when you are talking about years, so I decided to make '400' the central design of the logo. The next question was to depict the spirit of 'Dasara' in the logo which has to be something that is easily recognisable by one and all.
It didn't take long to decide upon 'Jamboo Savari' (elephant carrying golden howdah) which is the most apt image that conjures up Mysore Dasara in our minds. But how to depict Jamboo Savari and also '400'? Next I made the '400' thicker still until the digits were sticking to each other. Lo! it looked like an elephant to me. I scribbled the silhouette of the howdah on top of it, made two human figures seated inside and a mahout. To make '4' look more like an elephant's head I added tusks and finally scribbled a tail onto the second '0'.
The rough draft was ready and I showed it to RG and MB Singh, the Executive Trustee of RKP. I redid this concept in Coreldraw with few editing in Photoshop. After a few tweaks, the logo was ready. Here it is...
Saturday, September 11, 2010
Friday, September 10, 2010
Friday, July 02, 2010
Inheritor of a unique legacy and reviver of a forgotten school of art
During the fifties and sixties of 20th century,
Monochromatic illustrations in his school text books attracted the young Vijay more than text. The firm lines of the drawings captivated his imagination. His formal education came to a naught during his 12th standard; Vijay headed to the Ideal Fine Art Society's MMK College of Visual Art and studied art for six years. A scholarship from
Surpura was a small principality ruled by a dynasty of local chieftains for 6 generations before it was absorbed into the dominion of the erstwhile
Vijay had visited Surpura, about 100 kms away from
Vijay is a born fighter, who does not accept defeat easily, when there is no road to continue, he treads his own path, he did just the same in this situation. Rajasthan – famous for its miniature paintings beckoned him, he went to Jaipur and took the studentship of Dwaraka Prasad Sharma, a master of miniature painting. Vijay adapted the miniature technique, he mastered the nuances of miniatures and after two months of studentship in the desert state, he returned home. Using the techniques he learnt, he started copying the fragmented and damaged Surpura paintings. The fluid lines from the single haired brush began to take similar forgotten shapes on the paper, a new lease of life was given to Surpura paintings after almost a century.
This successful experiment created a sensation amongst the gallerists and seasoned art collectors, Vijay’s paintings were sold far and wide. Today, they adorn many a beautiful mansions, museums and collections across the globe. He has remained faithful to the language of his art; his favourite subjects for paintings are from Shiva purana, Dashavatara, Navagraha, Ashta Dikpalakas, Ashtanayikas, Kama Sutra, etc. His love for Hindustani music is reflected in his painting series of Ragamala. He is also adept at new compositions as evidenced in the illustrations he did for ghazals of Shantarasa; his miniatures can be described as visual poetry of flowing lines, solid colours and delicate gesso.
Another important facet of Vijay is revealed through his love to collect antique bronze icons and puja paraphernalia of the region. His mother Ratnamma did not discard old brass utensils or exchange them for new stainless steel ones as everyone else did. She put them to regular use in kitchen neatly arranged. Her passion for old utensils triggered similar attraction in Vijay. Old brass, bronze and copperware are sold as scrap or exchanged for new utensils in bazars even today, these junked items are sold as scrap for melting, Vijay instinctively bought these utensils and puja paraphernalia. This behaviour often invited derision and anger from other members of his family, but he never relented; these humble objet de arts form the core of his collection which has grown today to include Surpura miniatures, glass paintings, the long forgotten Uddharani paintings, extremely rare Edramay paintings, Mysore and Tanjore paintings, Bhuta figurines in wood and metal, innumerable bronze mukha lingas, equestrian bronzes of the folk hero Mailaralinga, etc.
Very often Vijay came across beautiful bronze idols being worshipped in friends' families. When he requested them to part with the same for his collection, many agreed on the condition that they should be given new ones in lieu. These folk bronzes were not readily available in market, they had to be made to order by a remaining few families of Kanchagars (literally, bronzesmiths) in the remote hamlet of Gajarkote in
Several awards and recognitions have been bestowed on Vijay by various institutions like Karnataka Lalita Kala Academy, AIFACS, Mallikarjuna Mansur Foundation, etc. Vijay has participated in 'Art in Action', which is held annually at London, for four years in 1987, 1988, 1989 and 2000. He has held several one man shows of his paintings in New Delhi (1983, 1986 & 1993), Baroda (1986), Bangalore (1983, 1986, 1988, 1990), Mumbai (1991) and Gulbarga (Vikas Bhavan 1997) along with shows at New Delhi (Art Today 1995 & Gallery Espace 2001) and London (Nehru Centre 2000). His paintings are in the collections of Lalitakala Academies of Karnataka, Andhra Pradesh, Himachal Pradesh, Chennai, New Delhi, Neemrana Fort Palace, Modern Art gallery, New Delhi, South Central Zone Cultural Centre, Nagpur, Sanskriti Museum, New Delhi, Karnataka Chitrakala Parishath, Venkatappa Art Gallery, Government Museum, Bangalore, Folklore Museum, Ramsons Kala Pratishtana, Mysore and many private collections in and outside India.
Vijay Hagargundgi's contact details are as follows:
C/o Abhay R Patil, Plot no 51/1, Kotambri Layout, Behind Central Bus Stand, Gulbarga 585103
Email: firstname.lastname@example.org Mobile: 9480942377
Thursday, May 06, 2010
In the beginning of last month, I got a rare opportunity wherein I was invited along with R.G. Singh to teach board games to children attending a summer camp there. The place is quite remote for people to reach, but there is a direct overnight bus from Bangalore which will take you right in front of Kuvempu's house which is known as Kavi Mane (poet's home). Well people from elsewhere are not so lucky to have a direct bus to Kuppalli.
One has to go to Shimoga, take a bus from there to Tirthahalli and once there, jump onto another bus which goes towards Gadikallu. An autorickshaw will take Rs. 20 and 5 minutes from there to Kuppalli.
Well, anyhow, following are few photographs and panoramas I shot there. Let me know how are these...
This is the ancestral house of Kuvempu, Kavi Mane.
This is a panorama shot of the memorial of Kuvempu at Kavi Shaila. This is designed on the lines of Stonehenge which I feel to be quite lame. Why should we copy some one else? We should create original things.
This is a beautiful vista one can behold from Kavi Shaila. Just behind me from where I shot this panorama, there is a favourite rock of Kuvempu.