Can Someone Invent This - 1

Many a times I have thought about things that could be invented and thought 'why nobody has tried to invent such a thing?' This will be a regular column in my blog and I will keep posting my various ideas under the same heading appended with successive numbers.

My first idea:

A light bulb (or similar contraption) which will be connected to a bunched-up optical fibre cables whose other end will be connected to a dish-antenna-kind-of mirror (this can be made to track the sun, a device invented by Pranav Mistry) which is installed on the terrace of the building. The sun-light falling on the mirror will travel through the OFC bunch and will illuminate the bulb on the other end.

This way we can stop the usage of electricity to illuminate the interiors during day time.

I appeal to scientists to come up with such a thing.

Vijay Hagargundgi - Artist and a Dedicated Collector

Inheritor of a unique legacy and reviver of a forgotten school of art

During the fifties and sixties of 20^th century, India was still learning to take infant steps in the world order of industrialised nations. People were being lured away from their hereditary occupations and villages to work in various industries being set up across the country. The main reason being economics, traditional craft forms were not a paying proposition as the patronage for the same had vanished in the new democratic setup. One such city migrant was Siddaramappa who along with his new bride Ratnamma, left his ancestral village of Hagargundgiand traveled a few miles away to Gulbarga to work as a supervisor in a cloth mill. Vijay was born in the fag end of  1957 as the first son of this couple in Gulbarga.

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 12^th standard; Vijay headed to the Ideal Fine Art Society's MMK College of Visual Art and studied art for six years. A scholarship from Karnataka Lalitakala Academy gave him the opportunity to go to Shantiniketan. Modern trends in art influenced art education with abstract expressionism gaining momentum. Vijay was not satisfied by aesthetics, philosophy and politics of this modern art, disappointed, he left Shantiniketan after just a month.

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 Hyderabad state. It was these royal patrons, local mutts, eminent musicians and rich merchants who commissioned paintings of religious subjects and portraits that led to the evolution of this school from Vijayanagar school of painting.

Vijay had visited Surpura, about 100 kms away from Gulbarga, during an educational tour, there he had come across beautiful murals on the crumbling walls of a royal mansion and mutts. Exquisite miniatures of this style had retained the original language of its forerunner, the Vijayanagar school of painting. He was drawn to it like a moth to the flame, and copied these miniatures. Since he had been taught in the contemporary painting system, he found it a hindrance to adapt to this ancient style. By then no artist who painted in this style was alive, it was road block. The inevitable stared him in the eyes; he could not pursue the art which he desired the most.

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 Gulbarga district which meant waiting indefinitely. Instead, he headed to Delhi and learnt the lost wax process of bronze casting from the accomplished artist Pushparaj Betala. Vijay became proficient in bronze casting and was able to create new idols and exchange the old ones for his collection.

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: vijay.hagargundgi@gmail.com Mobile: 9480942377

Kuppalli the Inspiration of Kuvempu

It was my long time wish to visit Kuppalli. Kuvempu, the first Jnanpith awardee of Kannada, is the bard of Malnad. He was born in 29 December 1904. Kuppalli was not only his beloved house, it was his inspiration throughout until his death in 11 November 1994.

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.

Sweeping Shadows

I visited Talakadu (a sandy temple village on the banks of river Kaveri about 45 kms East of Mysore) last February, with family. After playing in the river Cauvery (Kaveri) we headed back to our vehicle. Among the swarming people, this patch was serene with sweeping shadows of eucalyptus. 

Private Residential Museum - Mysore style paintings

If one wants to look at the private collection of Mysore paintings of royal family of Wodeyars, then the best place in Mysore is the Private Residential Museum. This museum is inside the premises of Mysore palace, just behind the main palace, near Kille Venkataramana temple.

I went there yesterday after a gap of almost 12 years to have a look at the paintings. The entry fee is Rs. 25 (Rs. 200 for foreign nationals, I find this ridiculous). Exhibits there contain many things, objects, furnitures etc., that were used by the royal family. But my main interest was Mysore paintings which are in quite a good number.

The first gallery is around an open-to-sky hexagonal thotti. At the far end of the thotti, the walls are adorned with paintings from Bhagavata illustrating the childhood and leelas of Krishna. Unusual thing is that these are done on canvas with oil colours. The sizes of canvas vary and seems to me that these were made for decorating the walls of a temple.

Adjoining this thotti is a big quadrangle, once again the center is open to the sky. All four walls have wooden galleries for royal ladies to sit and see the proceedings in privacy. Royal robes, accessories, palanquins are on display in this hall. Two narrow rooms adjoining this central hall have Mysore style paintings. The first of these two rooms have smaller paintings. There are two paintings which are round in shape which is quite unusual. One of the corner room has a painting by palace painter Y. Sundaraih which depicts Bheema receiving the blessing of Shiva. One painting depicts Nagas (snakes) which is very unusual. All snakes bear names.

In the second narrow room there are three paitings. One is Chakra which depicts Ramayana in small niches within. The second is Tripundra with Dashavatara and Lakshmi. Third painting is Shankha depicting Krishna leela from Bhagavata. As I moved away from this painting and on to the next, I was awe struck with what I beheld! A magnificent painting of Saraswati. My mind is still reeling recalling the minute detailed work all over this painting. Artist has not stopped with the canvas, he has painted with gesso on even the frame with same finesse and detail. Undoubtedly this is a masterpiece done by a master artist. Hats off to the artist. Another painting (Mahisha Mardini) of the same artist adorn the next frame. My day was made by these two paintings.

After this I just glided through to the exit.

If you are a connoisseur of Mysore style paintings, then these two paintings are a must see.

Spiritual Moment with a Mango

I had a strange experience while consuming a mango last year (or maybe a year before that). It was evening, I felt mild pangs of hunger and I remembered nice luscious mangoes bought by Gyani. I took one out, washed and peeled it with a knife as Gyani does. The golden yellow fruit with its intoxicating aroma was so inviting that I couldn't wait to cut it (ironically, it had taken a longer time to peel) and sunk my teeth into its sweet flesh. 

The moment its divine juice flooded my mouth was orgasmic. I must have eaten hundreds or thousands of mangoes but never quite like the one which was exploding bliss in my mouth. I felt blessed by the god of taste. 

Suddenly I felt guilty for savouring the heavenly fruit all alone without sharing with anybody. I did the next best thing. I closed my eyes... with each bite I remembered everyone - family, friends - one by one with a silent prayer "the sweetness I am experiencing, let it sweeten the minds and spirits of everyone." I remembered dad, mom, my siblings, their families, my friends, their families and their families. With the last bite, exhilaration filled my being.

The Musical Palace

Before the television laid seige to our home, our family went to the gardens of Mysore Palace every Sunday evening. Mom, dad, my sisters (Rekha, Uma and little Manji), my kid brother (Chinni) and myself were walking from our house to that of Prince's (well, he lived just two roads across, you know.)

There we took our usual place beside the Shveta Varahaswamy temple and sprawled across its green lawns, in front of the most beautiful edifice of Mysore, the pride of all Mysoreans. As the dusk faded into darkness people poured in more numbers. Peddlers of peanut (hurida kadalekayi), chakke mithayi (chikki, peanut-jaggery candy) and masala puri (masala mandakki) swarmed the place and we kids had a gala time eating.

At 7 pm sharp as if by magic the entire structure of the palace lit up with thousands of light bulbs stitched along its silhouette. The crowd let out a loud gasp of excitement (that excitement hasn't waned for me even today) and it was as if we have been transported to a fairy land of golden light.

Simultaneously music would crackle in from innumerable loudspeakers hoisted atop lamp posts across the lawns. The divine music gave an ethereal feel to the atmosphere. Invariably one particular song would be played every week.

Even after 20-25 years when I hear that song I feel as if I am back in that chaotic fairy idyll. I was under the wrong impression that it was composed only to mirror the grandeaur of the palace (I was not aware of its lyrics as I had heard only the instrumental version of the song).

That song is 'Raghuvamsha Sudha' in 'Kadanakutuhala' Raga, 'Adi' tala and was composed by 'Patnam Subramnia Iyer'.