Knowledge made them powerful, knowledge made them privileged.
They were all mesmerising creatures, shining with brilliance.
One would feel the fire of their resplendent beings lighting up the room.
Now, now.
Wouldn't you ask me something?
Who all, in the first place, were allowed entry into that particular room?

“MAY YOU NEVER BE BOOKLESS”

It has often seemed to me that the essence of regal splendour is intermingled with the fragrance of Rajasthan. Majestic and proud, as always, stands the ‘Pink City’- Jaipur to tell its splendid tale of a thriving past. Yet another treasure to add to this grand fable of the city is the annual Jaipur Literature Festival which was weaved into existence by prolific writers William Dalrymple and Namita Gokhale in 2006.

The Jaipur Literature Festival, 2015 was a spectacle held over five days from 21^st to 25^th January at Diggi Palace with over 150 speakers and attracted an estimated 80,000 people from all over the world. A celebration of the beauty and freedom in expression and creativity, the festival was a melange of introspective dialogues on the countless hues that colour our lives, be it political, social, cultural or emotional. The discussions were literarily enriching and intellectually stimulating.

One of the sessions with Booker Prize, 2013 winner Eleanor Catton piqued the interest of those interested in the art of historical fiction as she spoke of her journey to write ‘The Luminaries’. Amish Tripathi and Bibek Debroy enchanted the audience with their thought provoking and insightful conversation on ‘The Conflict of Dharma in the Mahabharat’. A session on the art of travel writing was particularly appealing wherein authors like Paul Thearoux William Dalrymple, journalist Samanth Subramanian read out anecdotal accounts which were both humorous and reflective. Yet another session titled ‘Of Beauty and Truth’ saw a discussion on the Urdu writing and the idea of beauty wherein lies the truth by the brilliantly versed authors Bilal Tanweer and S.R. Faruqi.

It was a bedazzling experience when one found the enigmatic and admirable Shabana Azmi walking a few steps ahead of them or turn to see the graceful and captivating Waheeda Rehman walking right beside them. Hearts surely did flutter at the sight of the dashing Sachin Pilot and one could only be dazed when the sensational Mr. Shashi Tharoor conversed charismatically with them while signing their book and even posed for a selfie with them! There was a lot of scope to have one on one interactions with debut novelists, journalists and veteran authors, poets and playwrights like Girish Karnad, William Dalrymple, Devdutt Pattanaik and many others.

What was, however, most overwhelming to see was the kind of crowd that had accumulated to hear Nobel Laureate Sir V.S. Naipaul as he was in conversation with Farrukh Dhondy, speaking about the humble beginnings of his writing career and his inspirations. Another such moment was being a part of the frenzied crowd both inside Diggi Palace and on the streets outside just to get a glimpse of the much revered luminary and former President, Dr. APJ Abdul Kalam.

Dotted with an assortment of quaint and fancy cafés and food stalls, one could easily grab a book, get themselves some food and alcohol and read in solitude in these joints. A wide range of traditional sweets and beverages like Moong Dal ka Halwa, desi kulhad wali chai were also a delight for the people. The Amazon bookstore too fascinated a large number of people with its plethora of books in miscellaneous genre from travelogues to crime novels.

Mellifluous renditions from diverse traditions be it folk, Sufi or classical rejuvenated the mornings. A soulful rhapsody of ‘ Damadam Mast Qalandar’ on the 23^rd still rings rapturously in one's memory. The musical evenings at Hotel Clarks Amer were surging with pulsating symphonies and dynamic beats. The fourth evening was audience to the Rizwan Muazzam Qawwals who hailed from Pakistan and performed a repertoire of songs from traditional Qawwali to Punjabi folk. This was followed by a session by one of India’s finest DJs- Midival Punidtz. Unique, as they fuse Indian beats with electronic music, the Punditz enthralled the audience with their scintillating concert. The audience left fulfilled and euphoric.

The foremost take away from the 2015 festival was the cultural concoction of people it attracted from the intellectual literati to students from colleges and schools all over the country to localites to avid readers from all over the globe and even non readers. However, the fact that such myriad people were together at one platform was indeed a marvel. It was fascinating to wonder what each of these people would draw from the sessions and the whole aura of the festival. One could definitely wish for the proliferation of such fiestas as a gift to literature, the liberty to think and to speech and to the inspiration of a democracy.

THE INDIAN-‘ARTPARASITES’

The National Gallery of Modern Art, founded in 1954 by the then Vice President Dr. S. Radhakrishnan, aims to create sensitivity, awareness and understanding among people towards art as a form of expression. The gallery comprises of an eclectic and extensive collection of artworks, acquired over the years from various sources and currently represents the works of about two thousand artists from India and abroad.

In front of me stands regally, a self-portrait of Amrita Sher-Gil. I am contemplating why I am so captivated by this work of art. Does it lie in the allure of her beauty, the depth in her eyes or the resplendence in her smile, or is it the vividness of colour and form she has infused in the canvas painting? The museum provides special focus to the life and works of Amrita Sher-Gil, where, along with her splendid artworks there is the tale of her life and thoughts in her own words and in the words of her admirers. A multimedia presentation showcases the inspirations which influenced her life such as the works of Vincent Van Gogh. Her paintings have a flamboyant and intense use of colour and are charismatic like her personality. Her paintings, both of the Europeans and the Indians, have a special focus on the expressions of the individuals depicted and reveal sympathy and concern for the poor and the downtrodden. Often referred to as the ‘Indian Frida Kahlo’, her works reflect a bold and liberal depiction of women. She has also left a legacy of self portraits capturing her many dispositions from poignant to joyous.

A trajectory of the evolution of art in India is expansively exhibited in the gallery. Beginning from the miniature paintings of medieval India to the depiction of the ‘exotic and mysterious Indian land of snake charmers and nautch girls’ by European travelers one moves on to admire the works of the Bengal School of painters such as Abanidranath Tagore symbolizing a nationalist fervor. Paintings by Rabindranath Tagore, the Shantiniketan school of painters, Jamini Roy, Raja Ravi Verma and those by various collectives and as products of Art Movements also find an extensive display. From contemporary art to abstract ones and from the works of Jatin Das to M.F. Hussain to Anjolie Ela Menon, the museum offers an extraordinary array of artworks for the visitor to study and interpret.

The gallery also exhibits intriguing modern sculptures and has made a marvelous start of a display section of photographic works of eminent photographers like Raghu Rai.

Apart from this, the NGMA is currently engaged in holding a solo exhibition, ‘Untimely Calendar’ by the Raqs Media Collective. Enriched by the use of multimedia, this concept driven exhibition is replete with philosophical density. Through numerous videos, acoustics, riddles and installations, the onlooker is made to delve into the multi-faceted mysteries and experiences of time, future and the impressions of the ‘untimely’. The exhibition speaks of artistic ingenuity, playing with the intellectual, emotional and sensory faculties of the visitors as they experience displays inspired by legacies of Radical Movements to the Mahabharata to the everyday consciousness of individuals. A multimedia presentation displays a ‘phantom limb’ which ‘wonders how to scratch the future it doesn’t have' and a cluster of colourful silhouette like structures of people suspended in the air showcase how ‘Anybody, Everybody, Somebody, Nobody, Antibody, Busybody and others’ are ‘on a lookout for a way out of here and now’.

The gallery is a place every individual, artist, art connoisseur or someone casually interested, should definitely visit. As has been rightly said – Art enables us to find ourselves and lose ourselves at the same time, the experience in the museum is sure to make its impact on you and stay with you for a long time, be it insightful, thought-provoking, plaintive, ecstatic, epiphanic, inspiring or something completely out of this world.

A last word-a towering structure made of shimmering stainless steel utensils created by Subodh Gupta will be hard to miss and its meaning perplexing to construe. Do stop by and let your imagination surge.

FADING INTO FABLE: THE HERITAGE OF URDU CALLIGRAPHY

  

Photo Credits: Suhani Kumar

Following a wobbly rikshaw ride, wading through the lively and spirited streets of Chandni Chowk teeming with people, a few moments of spiritual reflection on the grounds of the magnificent Jama Masjid and an extravagant yet cost-effective meal of Tandoori roti and Mutton Quorma right across the legendary mosque in the Urdu Bazar, I was sitting across Khatib Mohammad Ghalib in his Urdu Bazar shop.

Ghalib does not just deal in Urdu books at his shop -  Kutub Khana Anjuman-e-Taraqqi-e-Urdu, he lovingly dabbles in the ancient art of calligraphy, not just as a publisher or book-seller, but as a  master of the ancient and splendid art form.

Calligraphy in Persian, Arabic and Urdu, in India, witnessed its pinnacle during the reign of the Mughal rulers. In those times, calligraphy was a much revered form of art, flourishing under the patronage of the emperors. Calligraphy, then, used to be an elaborate affair, involving an army of skilled professionals, from calligraphers to miniature artists supported by the ruler, employed  to prepare biographical accounts of the monarch’s administrative accomplishments, military triumphs, lavish lifestyle and so on.

Now in his late fifties, Ghalib spent his childhood in Saharanpur and was trained in the art at Darul Uloom, Deoband. The hours flit by as Ghalib  carefully picked  out books on calligraphy and explained to me the intricacies of the art. Listening to him talk about maintaining complete accuracy even in the minute of measurements and providing constant attention even to the smallest of detail, I could only imagine the meticulous perseverance and patience he and other calligraphers like him must be required to dedicate.

Arrayed behind him were panels with  various kinds of 'nibs' or specialised chiseled wooden pens meant for calligraphy. These differed in width and sizes.

Sheets of paper containing a marvelous collection of his actual works were rolled out for me to  gaze and wonder at their beauty and refinement, awe-struck and speechless. He explained how even in Urdu calligraphy, there were miscellaneous fonts that could be used.

While the technological innovation of computerised calligraphy has its own advantages,  it has reduced the demand for the hand- crafted art. While he does often use the computer for quicker delivery to customers, Ghalib said  the mechanised version  lacks the detail and intricacy of hand work. There is a loss of personal touch.

Talking about the use of gold in Calligraphy, he articulated that it isn't feasible anymore, as no one has the time, interest and most importantly even the money to invest in such a project, unlike ancient times. 

In contemporary times, orders are mostly placed for marriage cards, calendars and certificates for schools instructing in Urdu, for binding covers for books, such as the sacred Quran, and during elections for posters. During the month of Ramzan, a lot of calligraphic work is ordered ranging from excerpts from the Quran to poetry (sher-o-shayari).

When I asked him whether there were schools which imparted the art of calligraphy, he told me there was a steady decline, only limited to certain schools with an Islamic orientation. Being an art which doesn't bring home a lot of profit or a stable income, the younger generations are disinterested in learning the art form.

Later that day, my mind wandered back to the wonderful afternoon and I could feel an sharp sense of poignancy, contemplating upon how an art once so glorious was dwindling away into the ruins of time. Was the art, majestic even in its fall, going to face the fate of lost splendor, written to dust? Would it also be fit as a long forgotten tale of the ancient past with a legacy bound to wear away?