is
best savoured
on a laptop or tablet with your
favourite brew.
Cover Design: Chakradhar Potharlanka
From The
Editor's Desk
Mirror, mirror on the wall…. Identity plays such a central role in our consciousness. Who am I? Who are we? Answers to such questions come from both nature and nurture. We build our identity influenced by people and traditions in our immediate realm, and subsequently through our own likes and dislikes. Over time, knowingly or unknowingly, we become strongly tethered to our created sense of identity. Yet, most great seekers and enlightened souls highlight how we truly realise who we are only when we free ourselves from the tyranny of the Self; to remain open and fresh to all that is ever changing around us. Perhaps they are pointing out to the pitfalls of identifying ourselves inextricably to one version and in the process losing our ability to understand, accept and seek inclusivity and diversity. Beyond the bigotry and narrowmindedness that has come to incorrectly define them, maybe therein lies the soul of our many beautiful and allaccepting cultures. The antidote then, against this identity-bubble, is a keener perception and conscious thought of our own biases and rigidity. There is no rigidity in nature though. The summer is gone and we welcome the monsoon to bring much needed respite. And in time we will wish for the summer to bring back the best it has to offer. But until that time, like the nectar packed in the mangoes, we bring to you another edition of Tarang offering a diverse set of articles. Trek the Sahyadris and explore their history, regale in the music crafted by two of India’s finest Violinists, savour the summer’s best mangoes, take a trip on the slow tracks of India’s culture express or appreciate the painters who have captured our many identities on canvas Go ahead, give it a read. We are sure you will find something for your taste in this treasure chest that celebrates the beauty around and within us.
In this edition... MANGO MERI JAAN The heart of India through its myriad varieties of mangoes.
12
THE GREAT INDIAN CULTURAL EXPRESS Experiencing India and its cultural diversity on its endless train tracks.
Issue
GANESH AND KUMARESH The exhilarating 50-year journey of two of India's finest Violin exponents.
24
16
HOW INDIAN ARTS CAN INFLUENCE ARTIFICIAL INTELLIGENCE? Embedding emotions into AI through lessons in Indian Arts.
THE CALL FOR MONSOON Tales of the Chataka bird which yearns for the first drop of rain.
32
06
28
INDIAN COLOURS FROM MURALS TO THE CANVAS-II Overview of 10,000 years of Indian Painting - second in a two-part series.
HIDDEN GEMS OF SAHYADRIS Uncover the history carved within this rugged mountain range.
39
Contributors Aparna Sridhar Seeker, earlier Editor of Saamagaana The First Melody and Center for Soft Power. Researcher on topics related to Indian Arts and AI. First Loves: Music, Ayurveda, Yoga. https://twitter.com/AparnaMSridhar
Chakradhar Potharlanka Zoophilist, aesthete by nature and melomaniac towards Carnatic. IT Engineer and an amateur landscape painter. chakradharpotharlanka@ gmail.com
Doctor by profession. Flutist by passion with a zeal for penning and painting.
Ishan Singhal Ph.D Student in Cognitive Science. Football enthusiast. Amateur philosopher.
drtlnswamy@gmail.com
ishansinghal@hotmail.com
Ramya Mudumba Ph.D Student in Cognitive Science. Carnatic music student. Trekker. Poet.
Satyameet Singh Amateur Carnatic Violinist. Loves impact investments, good lyrics and cricket. MBA in Sustainability.
http://cloudsofthedusk.wordpress.com
instagram.com/bringbackinnocence/
Saurabh Sawant Full-time MBA student. Part-time Writer. Intermittent trekker.
Venu Dorairaj
https://nomadosauras.com/
#OffTheGrid
Dr. TLN Swamy
Coffee, Cricket and Carnatic for the good life.
Check page 38 to see how you can contribute to our next edition.
MANGO MERI
JAAN By: Ramya Mudumba
No summer passes by in India without indulging in the golden madness of the mangoes. As if mirroring the spirit of the sun, every street gets decked yellow with a wide variety of them. It’s not just any fruit, after all. The sweet fragrance in the air never fails to turn heads; it carries itself into households effortlessly, and traces of it still remain upon the palms freshly licked. India has almost a romantic zest for mangoes. From its bark to the ripened pulp, there is a place for each in our lives. The mango tree is a mark of auspiciousness, love, and passion. Many festivals and rituals start with tying a string of mango leaves at the entrance. The sour totapuris sprinkled with salt & red mirchi make memories of beaches even sweeter. The red hot pickle made with raw mangoes throws all tantrums of heat out of the door and is savored even on hot days despite sweated brows. A variety of drinks and desserts are made with raw and ripened mangoes. More interesting ones are those where ripened mangoes are used to make savory dishes like Gujarati mango kadhi, Goan mango sasav, Kerala’s pulissery, etc. The word mango was thought to be originated from the Tamil word maam(mango tree)-kay(fruit), which in Malayalam was maanga which became the Portuguese manga, and turned into the English mango. India alone produces over 1000 varieties of mango! This article is about a small subset of them. Keep reading to know what they taste like, as the locals describe.
Tarang
7
It's mind-blowing to know that the mangoes of India have such a plethora of flavors, textures, and colors. The history of each kind is a story of its own. Let's start with the one whose taste recently captured me so much.
Dasheri Mother Tree
DASHERI/DUSSEHRI Dasheri mangoes pack a punch of flavor in their dark yellow pulp. They are small and oval-shaped in appearance. This fragrant, greenish mango is native to Dashehari Village, UP, where the 200-year mother tree is still alive and bears fruits every other year. It is also preserved as a place of heritage.
Dasheri, Source: Wiki
CHAUNSA The golden, juicy chaunsa has a sweer aroma and is fiber-less. It is harvested around June-August. It derives its name from the battle won by Sher Shah Suri in Chausa (Bihar) against Humayun in the 1500s. Chaunsa, Source: Wiki
Tarang
8
RASPURI Mangoes in Bengaluru meant only Raspuri. No lunch was complete without being handed a full Raspuri for dessert.
Etiquettes aside, we would each find our own ways to savour them. Mine was to gently squeeze the Raspuri until such time as one can drink the squishy pulp. That done, the skin of the mango will next be peeled and scraped with expert use of one's incisors, for any little pulp that may have refused to be coaxed out as juice. Like the crescendo of a musical, enjoying the Raspuri takes one to a gastronomic high that can rarely be matched. The entire process of enjoying the Raspuri is, of course, not all that clean as invariably the pulp would flow down every side of the hand. There was only one thing to be done; table manners are excused, which would be to, as often as required, lick it up. After all, one can hardly waste a drop of such divine nectar.
Raspuri, Source: Twitter
At the end of the lunch, there was just a satisfied soul and a seed that promised many more Raspuris in the time to come! Venu Dorairaj from Bengaluru
Do you know the feeling one has when their crush looks at them, holds eye contact, and smiles? You don't? Well, neither do I. But one sure-shot way of getting very close to that heavenly feeling is by having some Himsagar mango. The smooth, fiberless texture, the rich yellowish-orange hue, and the indescribable aroma make Himsagar the king of all mangoes (Alphonso apologists are not welcome here). A piece of Himsagar will glide on your tongue and leave an aftertaste sweeter than a lover's kiss.
HIMSAGAR
The less known Fazli mangoes of West Bengal also have their own charm. The cheaper cousin of the Himsagar comes in large sizes and is not just used as a fruit but also for making chutneys and pickles. One mango can each weigh up to a kilo and is around even around in the market during monsoon to satiate some late-season mango cravings. Sweta Basu from Kolkata
Tarang
9
NUZVEEDU RASALU These mangoes, grown majorly in the coastal regions of Andhra, are infamous for their juicy, rich texture and their breathtaking hit of sweetsour flavor in one's mouth. Though Banganapalli mangoes are more readily available, rasalu hold a special value in people's hearts. There are chinna(small), pedda (large) and cheruku (like sugarcane) rasalu available locally. Chinna rasalu, Source: nuzveedumangoes.com My most favorite kind are the chinna rasalu as they are stunning in flavor and less fibrous than pedda rasalu. There is no way one can eat it sophisticatedly. You have to ground yourself cross-legged, use both your hands and lick the dripping juice in time before it hits the ground. The catch here is that there is a great chance one's eyes would be closed in ecstasy while savoring this mango. Ramya M from Bhadrachalam
ALPHONSO/HAPUS Describing the feeling of biting into a freshly cut slice of haapus aamba is a nostalgic process. A single bite is composed of sweet golden juice, the taste of a benevolent sun, and soft mango-ness gushing in your mouth. It reminds me of warm summer afternoons, where after lunch, a plate of mango slices will emerge from the kitchen. No matter how heavy the lunch, a separate mango belly always exists to gulp down the mangoes. My love for the Alphonso is so strong that I have a scar to show for it. One summer, I relentlessly consumed mango after mango until angry boils appeared around my eyes. One of the boils left behind a small scar under my eyebrow. Did that stop me from eating mangoes the following summer? Or the summer after that? No. Never. To be honest, I am glad my love for mangoes is forever etched into me - an unforgettable reminder of the lengths I will go to for just one more haapus.
Tarang
Saee Patkar from Mumbai
10
MALLIKA This mango has an exceptionally sweet taste and aroma and surprising citrusy melon notes that hit you as you swallow a bite (especially near the seed). It is also a hybrid between Neelum and Dasheri mangoes.
SINDHOORI Sindhoori(a) mangoes are round and have a tinge of beautiful saffron color on their skin. It is famous in Karnataka & TN. It is also called the 'honey mango' because of its heavenly sweet taste.
GIR KESAR Coming from Gujarat, this mango is sought after for its golden saffron-colored skin and juicy sweet taste. Also considered the 'Queen of Mangoes', this mango is used commonly in the famous 'aamras' and many exotic dishes. Kesar, Source: suryamegh.com
KOBBARI MAMIDI In contrast to the sugar-sweet mangoes in the market, coming from Kothapalli, AP, Kobbari Mamidi (Coconut mango) has a coconut-ty taste and crunch with a slightly sour note. It is savored with sprinkling salt and red mirchi on top. Kobbari mamidi, Source:wordsmithkaur
GULAB KHAS A coveted mango in Bihar, UP, etc., with blushing pink skin and a complex flavor with floral undertones of rose, Gulab Khas has sweet, non-fibrous pulp and is used to make desserts.
Tarang
Gulab Khas, Source: Praveensingh176
11
NAYI DILLI
The Great Indian
Culture Express NAYI DILLI
By Venu Dorairaj
The boarding area was brimming with people. I managed to take the last vacant seat and eagerly awaited the call to board the lengthy 2hour flight back home. As I tried to find a way to sit comfortably, a professional-sounding voice of an airline staff came through the speaker system and announced a 20-minute delay to our start. The collective sigh of the passengers drowned out my loud moan. There was only one thing to do - bury myself further into the small screen in my hand.
Train to Nayi Dilli The railway station was abuzz; the faceless lady did her best to keep the yatris informed about their respective trains in her fluent albeit funny style. People bumped into each other as they hurried out of a train or into one. My family, and our countless pieces of luggage, occupied a fair part of the pathway waiting for the Nayi Dilli Express. Our journey to Nayi Dilli would take a good part of 2 days, and we looked forward to enjoying every minute of it. On such trips, one of the first things that piqued our interest was imagining our fellow passengers with whom we would fill up the eight seats that formed a unit. Given that we would be seeing a great deal of them for the next two days and being invariably the first ones to board the coach, we would eagerly await for them. Everyone who passed by would be looked at with expectation. We often matched names on the passenger list with the people who passed by to see if we could spot who Mr. Arora, Mr. Iyer or Mrs. Singh was. Sometimes the names, age and gender would be a giveaway - a Sardar boy entering may be Mrs. Singh’s son, or a man sporting thick, black, square glasses could likely be the 50-year-old Mr. Chakraborty. But this was a hit or a miss and mostly the latter. Before long, our fellow yatris would arrive and identify their seats. The first interactions were almost always about fitting their luggage, given that ours would have occupied more than the fair share. Helping each other with the many oddly shaped bags - cramming them under the seats or any available space - gave a sense of bonding over the shared space that would be our compartment.
Tarang
13
Breaking the Ice After settling down and allowing the train to start its course, the lull in the compartment would be broken by a volley of ice breaker questions where was each person going, where we came from, what were we going to our destination for and so on. Meanwhile, the kids in the group would exchange looks and slowly start sharing toys even as the adults continued to deepen connections by sharing names of people - distant relatives or casual acquaintances - from the same place as the copassengers and wondering if they knew them. If, on the off chance, some connection did emerge through shared contacts, there would be no end to the joy. The camaraderie would be palpably different and make it feel like the compartment unit knew each other for many years. Should no such connection materialize, which was usually the case, there was always the option of mentioning a popular place - a temple perhaps or a renowned landmark - or a popular food giving the impression that we knew something material about them after all. That usually worked wonders.
Culture Exchange The thing with train journeys is that it allowed perfect strangers the opportunity to meet and spend extended periods together giving ample time for one to observe and, equally, to be observed. As a kid on many such journeys, one could rarely miss noticing the differences - from clothing to food; from language to manners - there were always things that seemed unique to the places and their backgrounds. From handshakes to exchanging warm hugs to different degrees of namaskars, pranaams and salutations - the varied and sometimes elaborate goodbyes - presented a sense of their culture and traditions. We would see people attired differently - from their head caps, the dhotis and the way the women draped sarees - and conversing in different languages through the journey. Travelling with people of all ages and stages - old, young, families, newlyweds, bachelors - made it entertaining. We often found common ground - games, songs, etc - that we would engage each other with and enjoy together. Of course, the adults chatted away from morning till night on all topics from politics to sports to movies, finding common grounds for extensive discussions. One topic would end only for another one to start. Language barriers hardly impeded the conversation flow. Kids always found a way to bond over simple joys such as climbing the berths and getting down or running up and down the coach.
Tarang
14
During the journey, hearing new languages was a great source of amusement. Picking up small pieces of sentences of an unknown language and deciphering what they meant kept everyone occupied. Hindi, Bengali, Telugu, Malayalam, Marathi, Oriya and many more - all provided freshness to our travels. While English came in handy to connect, the journey allowed the chattier ones to teach and, in turn, learn a new language, at least a few sentences. Food was an essential part of all these train travels. A special piece of luggage was used to carry the many food and snack items that were packed, especially for the train. As boxes and boxes of sweets and savouries would be opened, they would be passed around to quickly become another conduit by which strangers shared. I used to wait for them to reciprocate for me to enjoy sweets from different places. From Laddoo to Mysore Pak to Dharwad Peda to Sandesh to Peta - all food was tasted and savoured. Most of these episodes ended with recipes of these local delicacies being shared along with special tips and secrets to make them the authentic way.
Over the two days, the train would grind its way slowly through several stations and provide us with a window into the many diverse people and their cultures. Sometimes we would find ourselves in a coach filled with a wedding party - making us one of them as well and enjoying the cacophony. And finally, as we neared our destination, we would feel sad to part ways with our yatri friends and wish the journey could have been longer. Travelling usually was an event by itself. Getting to meet different people and making their acquaintance was sometimes a start towards a life-long friendship between families and cultures.
Back to the Present I looked up at the frustrated fliers - many similarly buried in their phones trying to make the most of the wasted hours and keeping away from conversations. As I turned around, I caught the eye of the elderly gentleman next to me, who was looking at me as well. He sported a warm smile that escaped out between a white moustache and a matchingly hued long beard. I tucked my phone away and greeted him, “Namaste, Uncle.”
Tarang
15
Issue
In conversation with two of India's finest violinists - Ganesh Kumaresh, as they celebrate 50 years of performing classical music.
As a magazine that covers Indian culture, we find that we all have different definitions and understanding of it. What do you see as Indian culture, how would you define Indian Culture to anyone? Is it possible to put it into words? Your question itself has the answer for the question. One destination - multiple ways. One is all all is one. In the language of music, we can say = Shadjam. This one word defines our culture, our music and our life process. What do you feel Carnatic Musicians can pick from Western Classical Musicians and Hindustani Musicians? Sruti Shubham from Hindustani musicians and technical expertise from the western counter part. You are entering the 50th year of playing Indian Classical Music. Looking back what would you tell your younger self who is just picking up the instrument? How has your relationship with Carnatic music evolved over these years? Looking back at the journey, our understanding and commune is that we have found with Nada Music is that kind of an element which never makes you feel contented enough - it is never enough. You always want more. The essence is not about the performance, nor about the audience, the awards or accolades but the personal connect one has with the art. Though our work is in the public domain, the journey is a very personal one. The alone moment that we have with the sound is what is important. There is no destination, only journey, there is no completeness, there is only the process. Music is already complete, it is the understanding of “that” which evolves in the sadhakas being. Music is truth like the divine and that understanding evolves the personality and the thought process of the Sadhaka. The journey of Nada Upasana to Nada Yoga to Nada Brahmma. For each one it is different, but the essence is the same. To the next generation, what do we say? Enjoy the journey, take care of your music with in and it will take care of you. Finding your music is the key. Yes, one needs to work very hard but don’t make it a struggle. Get inspired, don’t get influenced. Try not to follow one path, there are many different ways , keep your mind open and receive as much as you possible can. What makes for a successful collaboration with musicians from different parts of the world? Friendship.
Tarang
17
What can venue spaces and audiences do to enhance the beauty of a Carnatic Concert? How does this synergy take place? The beauty of the music system is such that it has a varied presentation modules according to the venues and audiences. It is not uni dimensional like many other musical system and styles. In a temple scenario, the presentation is different, in a festival set up the music presented is different, in an auditorium it is different and so, the beauty, energy, dynamism and dimensions are all in built in the art form. The presentation differs according to the venue and audience. We see many examples of siblings performing music together. How do you complement and differentiate from each other? Do you feel this bond between the artists adds to their musicality? To have a sibling as a partner is a big advantage, since you know the person in and out and it is that much more easier to understand the personal and professional dynamics and this helps a lot in a practise and performance scenario. It is a blessing to have a sibling as a musical partner . We don't see many new compositions come from carnatic musicians. What are the some of the reasons for musicians to not produce new compositions? Is there interest amongst musicians to introduce new kritis? We don’t agree to this . Every musician is trying something new in each of his presentation . More than the compositions it is the presentation that is important . Ganesh Anna and myself have brought in a very new dimension in to Carnatic 1) As a magazine that covers Indian culture, we find that we all have different definitions and understanding of it. What do you see as Indian culture, how would you define Indian Culture to anyone? Is it possible to put it into words? What innovation do you think is required to keep Carnatic music fresh and appealing to today's audience? Each artiste is bringing in his or her own original content and hence there is this surge in appreciation of the art .. as long as it is happening , music will be fresh , appealing and of course divine.
Tarang
18
02
01
A soulful album painting the colors of India
A delightful ragamalika performance at Darbar
50 Years
Joy
of
03
A beautiful and fast-paced performance of precision and panache
Tarang
19
Who have inspired you in your musical journey and how have they shaped your present? Inspirations have come from many source - from our Father, from each other, from TN Rajaratnam Pillai, Karaikuruchi Arunchalam Pillai, Lalgudi Jayaraman Iyer, MS Gopalakrishna Iyer, Zakir Hussain ji, Ilayaraja and many more personalities like Sunil Gavaskar, Kapil Dev, Martina Navratilova but above all The Acharyas of Kanchi Kamakoti Peetam.
Each one of the above had something unique in them which inspired us. But from the Acharyas we Learnt the art of life and living. The awareness of channelising your energy and mind in one direction and to do the same thing again and again repeatedly no matter what, the commitment, the discipline, the compassion to the world at large, the purpose of life, the art of managing the multiple dimensions of life and yet be oneself. All unforgettable lessons in the journey of life. We are blessed that such great people exist and show us and guide us on the path of Dharma. What makes a performance memorable for you? Any performances that you really fondly recollect? It is difficult to pin point one element which makes the concert memorable. Every artiste wants to give his best on stage. What makes it memorable is the aura and energy that is built around the area of performance, which we call as divine experience. There is no particular reason for somebody to like or dislike the sound produced by the musician. The element that makes it memorable or not is the divine, and we call it out in multiple names .
Tarang
20
What is some of the common feedback you receive from musicians outside the genre of Carnatic Music (how do noncarnatic musicians view carnatic music)? The general perception is that, the music is very deep and intense. To be able to perform for a long period of time in one scale is a mystery to them, particularly to the western counter part. Our compositional structure and material is a big boon in terms of understanding different Ragas and Talas and this is an inspiration to many. But universally, music is the same - 7 notes and 12 positions. It is our mind that differentiates and divides music as this and that. What is the source of the divinity in music - is it the lyrics which are tied to a language, is it the composition? What do different devotional musicians (sufi's, gospel musicians) have in common? Music is the source of divine. It is the reflection of truth. We can even go to the extent of calling it the truth. There are 3 dimensions to music - Visual, Aural and Silence. Visual dimension includes music understood through lyrics, Aural denotes Music understood as sound - Naada. Silence is the stage in which we dissolve in to Nada - state of Samadhi Nada Brahma. All these dimensions are the source of divine, progressing to a higher level of understanding as one transcends from one stage to another.
Tarang
21
How
Indian
Art
s
can influence
ificial
Intelligence
By Aparna Sridhar
Artificial Intelligence is all around us. Its ubiquitous presence is seen in many of our daily technologies including for security, banking and healthcare, marketing, etc. However, its powerful reach and access has raised concerns regarding some of its inherent biases and how it uses available data. These biases are based on sensitive attributes such as race, gender, etc as well as the nonparticipation of large pockets of people in critical AI decision-making. Some efforts are being made to make the largely Western (Euro and US centric) AI systems include some considerations from the East, including India. Cultural differences in the real world are often overlooked in the construction of global information architecture applicable to all. Scholars in India have emphasized that the Information Technology world has to be conscious of the many differences in how Western and Indian Society is structured. Dr. Sai Susarla, Director, MAEER's Institute for Indic Knowledge Studies, Pune is a PhD. in Computer Science from the University of Utah and has been spearheading the movement to bring Indian Knowledge System into mainstream education in India in the last decade. He opines that the notion of Western ethics is fundamentally based on “notions of right and wrong to which all systems, including AI conform. In Indian understanding, though, ethics is beauty and anything unethical is ugly. The question of what is beautiful - is defined as anything that helps to expand one’s inner nature. The closer one is to one’s inner nature, the more beautiful one is. “
Discovering one’s inner self is the purpose of every aesthetic endeavor in India. The Indian world of art and our rishis in fact have codified emotions so precisely and minutely that we have manuals and treatises on how performing certain actions can generate certain responses and lead us further in this path of inquiry. Bharata Muni’s Natya Shastra is all about the range of bhavas that human beings can have and “what are the different ways” they can be expressed. Dr. Susarla says that in a workshop conducted recently on the computational modelling of aesthetics, experts in Shilpa, Natya, Sangeetha, Nritya and Vastu were asked “if their shastra was a codification of knowledge which would allow one to reverse engineer from the abhinaya to the bhava and from the bhava to an understanding of how it manifests. The experts believed that such a codification can be done because the shastras are very precise about this chain of correlation between action and emotion.” Dr. Susarla says that the Bhava rasas are the same world over, and while the abhinayas may vary slightly, the canonical forms are the same. In music, he says they are trying to figure out what gamaka prastaras evoke which moods and is such a codification possible. “What is the alphabet of music, and with this knowledge, can we analyse people’s conversations and say this particular conversation is expressing this particular mood or bhava.” It is largely accepted that Western systems are largely rule-based and the difficulty of AI lies in capturing all the possible rules that exist in the complex real world. Indian shastras on the other hand, largely work on a First Principle basis where the knowledge cannot be derived from other assumptions or propositions, one of the pitfalls of current AI. Indian rishis have done a structured analysis of bhavas and created a model of emotions, which contains within it all possible combinations of bhavas, both permanent and transient.
The preciseness of the descriptions of music in Bharata Muni’s Natya Shastra has been pointed out by many. It is just one sterling example of how our rishis dealt with complex data. Art expert the late Dr. Kapila Vatsyayan points out how Bharata describes a music system on modes (jatis) that are scales (murchana) based on the successive of two heptatonic scales (sadjagrama and madhyagrama). Bharata speaks of Dhruva (fixed) Gana, which were the kinds of songs with which a play was ornamented. He also speaks of microtonal interval: the sruti (that which is heard). He describes 22 of these microtonal intervals constituting an octave. Intervals of three - 4, 3 or 2 srutis formed the basis for ancient scales. While this has not been in practice for over millennia, modern musicians still use the word sruti to refer to describe microtonal inflection in their playing.”
Tarang
28
In the West today, there is a lot of excitement on how AI is revolutionising the world of art. AI-generated art is the most talked about. Scientists are retrieving ‘new works’ of art by analysing lesser known works of great artists. It is the equivalent of trying to understand how the music of Carnatic vaggeyakara Thyagaraja evolved by trying to unravel his lesser-known compositions or even portions of the popular ones. AI’s entry into the world of art has been to influence art production digitally more than it has been to transform art in any fundamental way. It has also failed to be influenced by the depth of understanding that art offers into the human mind. While it has helped to make AI sound and appear less insidious, a whole world of possibility has gone unexplored on how art can transform Artificial Intelligence technologies. In India, science and art have not lived as siloed disciplines, disconnected from each other. Indian music reflects the metaphysical idea at the heart of Indian philosophy, which is that humans are all fragmented parts of a whole, ultimately united as one. Any approach to art is a means to understand and move towards this unity rather than as merely an expression of creativity. AI would benefit from approaching its problems from this sense of Oneness, where data is not looking out for differences, but for commonality.
Interested for more? Watch
Read -
Dr Kapila Vatsyayan discussing the nuances of the Indian classical music systems
Artificial Intelligence, Hindu Art and Aesthetics Vinod Vidwans Academia.edu
Click Here Part 1
Part 2
THE CALL FOR MONSOON
THE CHATAKA BIRD
By Ishan Singhal
Source: Te Papa Tongarewa
We are at the tail-end of the summer. For weeks many of us have been trying to spot rain clouds, scanning news and weather reports for the onset of monsoons. With dry, sweltry, and parched eyes, all of us have been waiting to welcome the rejuvenation of the rains. No matter which part of this country you reside in, all of us wait for the relief of rains with bated breath. This yearning is perhaps best captured in the folk tales of the Chataka pakshi. A bird that waits all year for the first drops of rain to quench its thirst. Here is its story.
The Chataka pakshi (pied cuckoo in English) is a bird that has been associated with Indian stories and culure for thousands of years. The story goes that this pakshi can only drink rainwater to quench its thirst. Water from lakes, ponds or rivers cannot suffice. Only once a year, on the first downpour from the sky this bird drinks water and satisfies its thirst. Sightings of this bird are associated with the onset of monsoons in many regions of India. The monsoon period of sowing of new crops is sometimes began when the cacophony of these birds break the silence of the summer. This bird is revered and celebrated as the harbringer of monsoons in large parts of Kerala, Telangana, Karnataka, Odisha, Maharashtra, UP, Bihar and Tamil Nadu. The stories about its affinity for only rain water have been used as parables of devotion, persistence, patience and yearning. The chataka pakshi finds a mention in the slokas of Adi Sankaracharya where it is used as an example
of the righteous path of longing for knowledge without compromise. Even Sanskrit poet Kalidasa refers to the chataka as the companion traveler of the monsoons. There are variations in highlighting the qualities of the chataka in different poetry styles of different regions, but the bird itself has been a theme of Indian literature for a long time. The tales and lores of the chataka aside, is there a real relationship between the coming of the monsoons and the sightings of this bird? Yes, there is! India has two prominent species of this bird. One a migrant and another that primarily resides in southern India. The chataka bird associated with monsoons is a rare summer migrant from the African continent. The winds that draw in the clouds over the Arabian sea also form favorable flight conditions for the chataka to visit India. Soaring with these gusts and riding the pre-monsoon clouds, the chataka arrives in India. A link between its sighting and the onset of monsoon has now been scientifically established through this route. An earlier monsoon means an early arrival of the chataka too. These birds stay until the winter when they start heading back. Like other cuckoo species, the chataka also leaves behind its babies in the nest of other birds. Next year, these birds would follow back to Africa for the winter. And then, come soaring back, bringing the gush of rains. Once again, signaling an end to our yearning for the monsoon.
Tarang
30
Art
History
Culture
Passionate, diverse and experienced Indians write about these subjects to bring a smile to your face. Let's keep the smile growing.
Share your email here to not miss the future editions.
INDIAN COLOURS FROM MURALS TO THE CANVAS - II An illustration tracing the evolution of Indian Paintings. By Dr. TLN Swamy
Mrs. Ramanadha Rao and Son by Raja Ravi Varma,. Source here.
Read the first of this two-part article series here.
COMETH THE BRITISH RULE IN INDIA, COMETH THE COMPANY STYLE OF PAINTING. In the 18th century, the ensued company style blended the traditional Indian painting style with the modern European style paving the way to the unique Modern Indian painting. The introduction of oil and easel by the arriving western artists to the Indian courts of princely states in search of fame and fortune brought a new dimension model to Indian painters. The need for training in the new techniques prompted the establishment of formal Art schools such as the Government College of Fine Arts in Madras (1850), Government College of Art and Craft in Calcutta (1854), Sir JJ School of Art in Bombay (1857). This development helped the emergence of many talented Indian painters such as MV Dhurandhar (1867-1944), MF Pithavalle (1872-1937), SL Haldankar (1882-1968) and Heman Mazumdar (1894 – 1948). But one painter who stood out as the pioneer of Modern Indian Painting happened to be the greatest of the Indian Artists, Raja Ravi Varma.
RAJA RAVI VARMA Ravi Varma was born in 1848 into an aristocratic family in Travancore of Kerala. He was patronized by the Maharaja of Travancore and began formal training starting with the basics of painting at Madurai, then in Water painting by Ramaswami Naidu and finally in Oil painting by the Dutch portraitist Theodore Jenson. The British administrator Edgar Thurston promoted the career of Ravi Varma along with his younger brother Raja Varma. Varma received well-deserved acclaim and awards for an exhibition of his paintings in Vienna in 1873 and another world exposition in Chicago in 1893. He travelled throughout India in search of subjects for his paintings. He depicted anecdotes from the Indian epics like Ramayana, Mahabharata and Puranas. His representation of mythological figures and portrayal of Hindu Goddesses, with utmost beauty, enriched with aesthetic ornamentation, imprinted those characters into people's imagination. This was largely possible due to the oleographs he produced at an affordable value for the public. The Lithographic printing press he started for this purpose in Mumbai with German collaboration was India's largest and most innovative press during the 1890s. The title of Raja was conferred on Ravi Varma by the Viceroy and Governor-General of India. He received the Kaiser-i-Hind gold medal in 1904 by the then Viceroy Lord Curzon. He passed away in 1906, aged about 58 years, leaving behind his legacy in the form of hundreds of his fabulous paintings majority of which are housed at the Laxmi Vilas Palace at Vadodara. In 1971 on his 65th death anniversary, a stamp was issued by the India Post depicting his picture and his famous painting "Damayanti and Swan."
Tarang
33
Varaha Avatar Original here.
Bharat Milaap Original here.
Jatayu Vadha Original here.
Paintings by Raja Ravi Varma In 2013 a crater on the planet Mercury was named after him in his honour. Raja Ravi Varma is regarded as the most outstanding Indian Artist who reconciled modern Indian aesthetics with traditional Indian iconography.
Yashoda Krishna Original here.
Urvashi-Pururavas. Original here.
Saraswati Original here.
BENGAL SCHOOL OF ART In the early 20th century, during preindependence, British Raj nationalistic ideology influenced Indian Art. The western art style reformed to absorb the traditional Indian art forms such as the Mughal miniatures and Regional Folk art styles, emerging into a unique Indian style of art expressing the distinct Indian spirituality. This movement started particularly in Bengal by eminent artists like Abanindranath Tagore, who happened to be the nephew of Rabindranath Tagore. He also tried to establish links with artists from the far east to develop a Pan-Asian art style in association with contemporary Bengal Artists like Nandalal Bose and Jamini Roy.
THE POST-INDEPENDENCE ERA OF MODERN ART The Progressive Artists Group was founded in 1947 by six of the era's leading eminent artists, namely K.H.Ara, S.K.Bakre, H.A.Gade, M.F.Hussain, S.H.Raza, F.N.Souza. Almost all major Indian Artists were associated with this group in the 1950s until it dissolved in 1956. However, it was profoundly influential in changing the idiom of Indian Art from Classical Realism to Abstract Surrealism. Many artists followed suit, venturing into modernistic art styles and carving their own paths and methods. Notable among the modern Indian artists are V.S.Gaitonde, Tyeb Mehta, Devajyoti Roy, Akbar Padamsee, Dasgupta, etc.
The Passing of Shah Jahan (CE 1902) by Abanindranath Tagore. Source here.
MAQBOOL FIDA OF MODERN ART One of the prominent pioneers of this modern art movement in India was M.F.Hussain. Born in 1915 in Pandarpur of Maharashtra, he was inclined to draw and paint from childhood. He attained training from the prestigious JJ School of Art in Mumbai. In his initial career, he painted cinema posters in Mumbai. Later he started exhibiting his works worldwide, like in Zurich-1952 and in New York-1964. His work received acclaim worldwide and was valued very highly at international Art auctions.
Tarang
35
He was awarded the Padma Vibhushan by the Government of India. His later artwork, containing nude portrayals of Hindu Goddesses, stirred a controversy, ultimately boiling down to his self-imposed exile until his death as a Qatar citizen.
THE CLASSICAL ART FINESSE Indian art has had massive European influence shaping itself into a unique blend of European classicism and Indian spiritualism. The Italian Renaissance artists like the Davinci and Michelangelo were the forefathers of classicism in Art. German Durer, Dutch Rembrandt, and many such great European Artists propelled the classical style to its peak. They influenced the art trends of the rest of the world, including India. Classical Indian artists like Ravi Varma blended Indian culture to create the unique Indian classical style.
"I have tried to capture in my paintings what her (Mother Teresa's) presence meant to the destitute and the dying, the light and hope she brought by mere inquiry, by putting her hand over a child abandoned in the street… That is why I try it again and again, after a gap of time, in a different medium.” Maqbool Fida Husain
Tarang
36
MODERN ART MENACE Towards the end of the 19th century, the modern art movement started in Europe, by vanguards like the Dutch Van Gogh and the French Monet, followed by the Spanish Picasso in the 20th century. Primarily influenced by the turmoil of their lives and materialistic motives, these artists, who started as classical painters, drifted into Abstract art forms like the oblivious Impressionism of Monet, the Expressionism of Van Gogh, and the Surrealism of Picasso. The idea of these so-called modernisms is not new to the art in its classical form. It can be found integrally incorporated into the appetent eye. But many modernists took it to the extreme dimension and the extent of perverted proportions many times.
This untitled painting is by Hari Ambadas Gade who is considered one of the first abstract expressionist painters of post-independence India. Source here.
The modern art menace was further enraged by many super-rich art lovers, who bloated valuations to the craziest proportions. Not that all contemporary art is not good if the purpose of Art is served. The purport of Art is to capture the beauty in what you see, to portray appealingly of what you feel and to convey meaningfully what you want to tell. Art should be pleasing to the eyes and blissing out the soul than puzzling the mind with unaesthetically distorted images in abstract.
Tarang
Art in any guise or garments Must heal the soul of its ailments.
37
Have an interesting thought about Celebrating India?
Send us your article excerpt / idea for consideration for our next edition at
editor.tarang@gmail.com Ideas should reach us by 30th July
Image Source - Wikipedia
By Saurabh Sawant
Rajmachi Fort
My uncle was an officer in the Indian Railways, and few must have known the Mumbai-Pune railway line better than him. Every railway trip to Pune during my childhood was nothing but a relentless stream of questions by a mini-me, ones that he would always answer with a smile. But there was an exception-the famous Ghat section in the monsoons. Every time the metal behemoth chugged up the steep incline, I would glue myself to the window, not utter a word and try to take in as much of the waterfall-dotted landscape as I could. During one such journey, I noticed a pair of distinctive hills standing tall across the valley. Those were the Rajmachi hills, my uncle told me. Rajmachi, I repeated, trying to savor the name. It would be more than a decade before I utter that name again.
MULTI-FACETED SAHYADRIS Sahyadris, the rugged hill range guarding the western coast of India, is renowned for being a biodiversity hotspot. What many don’t know about is the existence of a number of historically important places of Buddhist, Maratha, and Mughal origins. A conservative estimate puts the number of Forts and Caves in the Sahyadris at over 200. In rare instances, one can even find these caves and fort complexes in close proximity. One such place is the hill fortress of Rajmachi and Kondane caves. Inspired by the works of Ruskin Bond and his world of mountains, I did my first trek in the Western Ghats in 2011.
Fascinated by the layout and magnificence of these places, I dived deeper into the history of these places and didn’t have to wait long to come across the first mention of Rajmachi. Standing atop a plateau about 9 km northwest of the famous hill station of Lonavla, Rajmachi fort was constructed to watch over the erstwhile important trade route of Bhor Ghat connecting the hinterland ports of Kalyan-Thane with ancient trade hubs like Junnar.
Rajmachi can be transliterated as Raj (Royal) & Machi (Plateau), but the fort complex is anything but featureless. In its heydays, the perimeter of the plateau was fortified with multiple doorways leading into the valleys below.
Today much of the boundary wall has all but disappeared owing to neglect and natural forces, but one can still spot the odd interlocking stone block on the slopes. The undulating terrain, on the other hand, is dominated by Shrivardhan and Manaranjan, two fortified hillocks that served as watchtowers to keep an eye on the region and thwart any attack. Besides the forts, Rajmachi also has a lake, two standalone temples, and a small hamlet of about 40 houses called Udhewadi.
Owing to its strategic location, the fort was coveted by invaders and vehemently defended by the occupants. Objective to numerous such invasions, it changed hands multiple times between the Marathas and Mughals through the 17th and 18th centuries before falling to the British empire in 1818. Consequently, the cultural influences of both regimes are evident in the layout and planning of various structures still standing today.
THE ARCHITECTURE A prominent example is the unique construction of the main entrances of both citadels. The doorways can only be accessed through a curved approach, a formation popularly known as Gomukhi Dwar Rachana. The primary objective of this modification was to slow down attacking forces and inflict heavy damage from the curved bastions overlooking the approach. Another eye-catching feature is the maze of secret passageways and doors built into the citadels’ fortified walls, providing an escape route in the event of an impending defeat.
Tarang
42
GONDHANESHWAR TEMPLE One of the highlights of architecture in the Sahyadris was the optimized use of natural resources of a region. We can witness this in the one-of-a-kind Gondhaneshwar temple. Constructed in the Hemadpanthi style, it's built over a natural spring that finds an outlet through a cow-shaped spout at the base of the temple's Mandapa. The spout, also called Gomukh, feeds a small water tank, and the excess runoff gets collected in the Uday Sagar lake reservoir for community use. Amazing, isn't it?
KONDANE CAVES One cannot talk about Lonavla without acknowledging the influence of Buddhist monks who settled here more than 2000 years back. As you descend the western slopes of Rajmachi and head towards Karjat, keep an eye out on your right for a clearing in the rock face. You’ll be first greeted by an ASI board indicating the presence of our object of interest, and soon enough, the fascinating Kondane caves come into view. First documented by Vishnu Shastri around 1830 AD, Kondane caves are famous for their intricate carvings, beautiful sculptures, and seven lenis, including a splendid Chaityagraha. Researchers have even noted the existence of at least three short Brahmi-Prakrit inscriptions engraved on the outer façade of the Chaityagriha, one of which describes a donation made by the Balaka, a disciple of Kanha.
Tarang
44
Along with Bhaje, Karla, and Bedse caves, they are considered to be one of the earliest monasteries hewn out of the Sahyadri ranges in Western India. Centuries of abandonment have taken their toll on some of the finer features of the caves, but now they are being preserved under the watchful eyes of the Archaeological Survey of India.
A NOT-SO-HIDDEN GEM? With the advent of social media, Rajmachi has gained prominence in recent years, and one can find a sizeable number of people thronging the fort on weekends, especially during monsoon. The popularity of nearby Kataldhaar waterfall, restoration of the fort and temples by the local people and NGOs as well improved transport facilities from Karjat have all contributed to this. In fact, a case can be made for it to be not-so-hidden anymore. However, I firmly believe that visiting a place is very different from experiencing and understanding it. And Rajmachi is just one of many such places that provide us with a glimpse into the storied past of our ancestors. The enormous task of developing and sustaining civilization in these remote hills was achieved through an innate understanding of Nature and its powers of destruction. So, the next time you visit Rajmachi, peer a little closer into the nooks and crannies and maybe put an ear to these massive stone walls; you might just chance upon one of the countless stories it shields!
Read about Ancient Indian
Read the musings of a
Read about Hampi's
Education System.
World-class Odissi dancer.
Temple of Music.
Some more articles
Discover your Indian'ness' through the silence that reading offers.
©Belraj Soni Read about an Indian painter
Read our interview with the
Read about Kalaripayattu -
painting his silence on the
beloved author & social activist
a martial art-form designed
canvas.
Mrs. Sudha Murty.
to develop harmony.
Bhupen or Bhimsen or Balamurali? We will gleefully take them all. India's breadth of beauty is too vast to not be swept by a feeling of wow at every step! Tarang is a small effort to bring them all to our attention in this fast-paced, future-obsessed world. From music to arts to culture, many things bind us together and create a harmony that may be missed in the seeming, superficial dissimilarities. From the comfort of your corner, travel into the past to dive deep into these riches and feel the vibes of the people and places that we proudly call Bharat. We hope you enjoyed exploring who you are, who we collectively are, with this edition of Tarang! See you in September with another edition celebrating India!
Get Indian Vibes in your Inbox Share your email address here to receive the next edition in your inbox.
About Us Founded in 2005 by Guru Violin Vasu and friends, the mission of Sanskriti Foundation is to promote Indian art, culture, and values by conducting trainings, workshops and an annual Tyagaraja Aradhana music festival. Foundation members benefit from meeting like minded people, attending cultural seminars and attending bimonthly concerts. If you would like to learn more and become a member, you can reach us here: http://www.sanskritifoundation.in.
Editorial Team Satyameet Singh Ramya Mudumba Venu Dorairaj Dr. TLN Swamy (Advisor) Dr. DVK Vasudevan (Advisor)
205 Rangaprasad Enclave Vinayak Nagar, Gachibowli, Hyderabad Telangana 500032
