On Saturday, I visited an art exhibition titled "Blue Light Shiva paintings" by the artist Mr. Arun Kalwankar aka Guruji Aruneshwar. The exhibition was conducted at the Maharashtra Kala academy in the Ravindra Natya Mandir, Prabhadevi. (Note: Ravindra Natya Mandir can be translated as Ravindra's Dance i.e. Performing Arts Academy/Temple).
(During much of my childhood, I used to stay at Worli with my mother on weekends. I spent my junior college years entirely at Worli. Prabhadevi is very close to Worli. Strange to say, I had never been inside the Mandir during my childhood and early youth, though I had often visited the chess club at Zandu canteen between the ages of 11-15, and took the bus from the stop right outside the Mandir).
Before I try to describe the paintings themselves, I shall briefly describe how I happened to make the acquaintance of Kalwankarji.
Mr. Arun Kalwankar
--------------------------------
These past few months, I have developed a habit of working at the Gulmohar garden cafeteria, especially during the morning hours. I often strike up conversations with other patrons. Sometimes the conversations lead to interesting encounters, as happened in this case, about two-three weeks ago.
Kalwankarji cuts a striking figure, in his deep blue colored kurta, and with a flowing white beard. He has a generic resemblance to Gurudev Rabindranath Tagore. And is quite aware of that fact.
Anyhow, during the course of conversation, it turned out that he was an artist. I mentioned that I used to enjoy painting in school, but gave up on artistic activities after that. He suggested that I attend his exhibition.
I am glad I did.
The exhibition
-----------------------
I cannot of course comment on the paintings with the eye of an expert, so I will confine myself to my reactions to the paintings.
I really liked most of the Shiva paintings. There must have been about 20-25 Shiva paintings, and about 15 Ganesha paintings, plus a few other calligraphic designs, and even one Krishna playing the flute. (Well, actually two, if you count the Hari-Hara)
(If I receive Kalwankarji's permission, I shall try to place a link to photos of the paintings themselves in a future posting).
(a) Shiva in meditative poses:
----------------------------------------------
There were two paintings of Shiva in a meditative pose, the classic 'Padmasan' i.e. the lotus pose. Both of these were part of the "Blue series". In one of them, Shiva has a tiger-skin for a rug. This was one of the most captivating exhibits. In the usual iconography of Shiva, He carries a 'trishul' i.e. trident. In this painting, He carries a 'parashu' i.e. axe. Plus the artist has created a mysterious look in His three (yes, that's right, three!) eyes called the 'outward and upward turned gaze'. The dominant color in this painting is a deep blue, almost black, these colors symbolizing infinity.
Why three eyes? In the iconopgraphy of Shiva, Shiva's third eye is supposed to be the 'Inner' eye - the eye of insight that opens up as a consequence of the process of deep meditation.
(b) Shiva seated 'on a chair'
--------------------------------------------
Another "Blue Light" painting has Shiva in a seated pose, as one sitting on a chair, only He is not sitting on anything. The iconography is more standard - he has a trishul in one hand and a 'damaru' i.e. a drum in the other. His other hands rest on his lap. (He is a God, so He has many arms!). Some parallel lines on the top of His head symbolize the descent of the Ganges down to Earth, She being trapped in His matted locks, so that the Earth would not be washed away by the force of Her descent. (This is one of my favorite stories in our mythology). (Note: The Milky Way is called the Akash Ganga i.e. the "Celestial Ganges, and many ancient Indians believed that the Ganges on Earth was the Celestial Ganges descended to Earth).
(c) Hari-Hara
----------------------
Yet another painting that caught my fancy was of Hari-Hara, namely, Vishnu/Krishna (Hari) and Shiva (Hara). In Hindu iconography, they are both usually depicted as different hues of blue. My first impression was that it was Vishnu and Shiva - they are normally shown together in Hari-Hara. However, a closer look at the painting reveals that the Deity with the discus (the Sudarshana Chakra) is also playing a flute. The flute is usually associated with Krishna than Vishnu Himself.
In Hindu traditions, Shiva is described as a devotee of Vishnu, and Vishnu is described as a devotee of Shiva, and there are many beautiful stories employing this trope. The Hari-Hara is the usual iconographic depiction of this relationship.
(d) Shiva standing with one arm akimbo
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Yet another 'Blue-Light' painting has Shiva standing, with one arm akimbo, and holding a trident in the other. This is a pose full of restrained dynamism, and gives the impression of a 'Sattvic' (i.e. relaxed, calm and self-controlled) Personality who could spring into furious action and activity at a moment's notice (called 'Rajasic' in Hindu/Indic traditions).
Shiva standing with one arm akimbo 'Like a coiled spring'.
(e) Shiva Tandav and (f) Shiva in profile
-----------------------------------------------------------------
Two other Shiva paintings seem to have been composed in a style quite different from the "Blue Light" paintings (I hope I am using the terms correctly). In both, one of Shiva dancing the Tandav and another of a profile of Shiva, while the dominant color is still blue, the lines are much more distinctly drawn.
The Shiva Tandav painting has Shiva dancing. But this is not the classic Tandav pose made famous by the Chola bronzes. The iconography is again not what one is accustomed to (though no less attractive for that). Shiva does not have his feet on any demonaical dwarf. Rather, there are snakes coiled around his lower legs, arms and torso. But the dancer has them under control. (Somewhat like the Krishna-Kaliya iconography). This painting gives an impression of movement, which is what any painting purporting to depict Shiva as 'Natraj' i.e. the Lord of Dance should do.
The Shiva in profile painting has densely drawn curly hair. Shiva's profile looks almost feminine, with a slim nose and soft chin. Possibly an androgynous Shiva, revealing His connection with Shakti (the feminine principle).
(g) Shiva as an artist
----------------------------------
Another "Blue Light" painting, this shows Shiva in a seated pose, as in seated on the ground, lost in abstraction. Also a pleasing and eye-catching composition. This painting did not convey the same feeling of mysteriousness that the 2nd of the two meditative poses described above did. But the feeling portrayed was one of a Being wholly absorbed in his own concerns. Shiva here is very human, with 'only' two hands, and a lot of Shaivite markings on His body (strange to think of Shiva as covered in Shaivite markings!). He carries no weapons in His hands and seems quite human, and also, happy and content.
To conclude:
--------------------
For those of you who would like to know more about Mr. Arun Kalwankar, here are two web-sites:
1. Guruji Aruneshwar
2. Blue Light Trust
It was a wonderful experience.
(During much of my childhood, I used to stay at Worli with my mother on weekends. I spent my junior college years entirely at Worli. Prabhadevi is very close to Worli. Strange to say, I had never been inside the Mandir during my childhood and early youth, though I had often visited the chess club at Zandu canteen between the ages of 11-15, and took the bus from the stop right outside the Mandir).
Before I try to describe the paintings themselves, I shall briefly describe how I happened to make the acquaintance of Kalwankarji.
Mr. Arun Kalwankar
--------------------------------
These past few months, I have developed a habit of working at the Gulmohar garden cafeteria, especially during the morning hours. I often strike up conversations with other patrons. Sometimes the conversations lead to interesting encounters, as happened in this case, about two-three weeks ago.
Kalwankarji cuts a striking figure, in his deep blue colored kurta, and with a flowing white beard. He has a generic resemblance to Gurudev Rabindranath Tagore. And is quite aware of that fact.
Anyhow, during the course of conversation, it turned out that he was an artist. I mentioned that I used to enjoy painting in school, but gave up on artistic activities after that. He suggested that I attend his exhibition.
I am glad I did.
The exhibition
-----------------------
I cannot of course comment on the paintings with the eye of an expert, so I will confine myself to my reactions to the paintings.
I really liked most of the Shiva paintings. There must have been about 20-25 Shiva paintings, and about 15 Ganesha paintings, plus a few other calligraphic designs, and even one Krishna playing the flute. (Well, actually two, if you count the Hari-Hara)
(If I receive Kalwankarji's permission, I shall try to place a link to photos of the paintings themselves in a future posting).
(a) Shiva in meditative poses:
----------------------------------------------
There were two paintings of Shiva in a meditative pose, the classic 'Padmasan' i.e. the lotus pose. Both of these were part of the "Blue series". In one of them, Shiva has a tiger-skin for a rug. This was one of the most captivating exhibits. In the usual iconography of Shiva, He carries a 'trishul' i.e. trident. In this painting, He carries a 'parashu' i.e. axe. Plus the artist has created a mysterious look in His three (yes, that's right, three!) eyes called the 'outward and upward turned gaze'. The dominant color in this painting is a deep blue, almost black, these colors symbolizing infinity.
Why three eyes? In the iconopgraphy of Shiva, Shiva's third eye is supposed to be the 'Inner' eye - the eye of insight that opens up as a consequence of the process of deep meditation.
(b) Shiva seated 'on a chair'
--------------------------------------------
Another "Blue Light" painting has Shiva in a seated pose, as one sitting on a chair, only He is not sitting on anything. The iconography is more standard - he has a trishul in one hand and a 'damaru' i.e. a drum in the other. His other hands rest on his lap. (He is a God, so He has many arms!). Some parallel lines on the top of His head symbolize the descent of the Ganges down to Earth, She being trapped in His matted locks, so that the Earth would not be washed away by the force of Her descent. (This is one of my favorite stories in our mythology). (Note: The Milky Way is called the Akash Ganga i.e. the "Celestial Ganges, and many ancient Indians believed that the Ganges on Earth was the Celestial Ganges descended to Earth).
(c) Hari-Hara
----------------------
Yet another painting that caught my fancy was of Hari-Hara, namely, Vishnu/Krishna (Hari) and Shiva (Hara). In Hindu iconography, they are both usually depicted as different hues of blue. My first impression was that it was Vishnu and Shiva - they are normally shown together in Hari-Hara. However, a closer look at the painting reveals that the Deity with the discus (the Sudarshana Chakra) is also playing a flute. The flute is usually associated with Krishna than Vishnu Himself.
In Hindu traditions, Shiva is described as a devotee of Vishnu, and Vishnu is described as a devotee of Shiva, and there are many beautiful stories employing this trope. The Hari-Hara is the usual iconographic depiction of this relationship.
(d) Shiva standing with one arm akimbo
-----------------------------------------------------------------
Yet another 'Blue-Light' painting has Shiva standing, with one arm akimbo, and holding a trident in the other. This is a pose full of restrained dynamism, and gives the impression of a 'Sattvic' (i.e. relaxed, calm and self-controlled) Personality who could spring into furious action and activity at a moment's notice (called 'Rajasic' in Hindu/Indic traditions).
Shiva standing with one arm akimbo 'Like a coiled spring'.
(e) Shiva Tandav and (f) Shiva in profile
-----------------------------------------------------------------
Two other Shiva paintings seem to have been composed in a style quite different from the "Blue Light" paintings (I hope I am using the terms correctly). In both, one of Shiva dancing the Tandav and another of a profile of Shiva, while the dominant color is still blue, the lines are much more distinctly drawn.
The Shiva Tandav painting has Shiva dancing. But this is not the classic Tandav pose made famous by the Chola bronzes. The iconography is again not what one is accustomed to (though no less attractive for that). Shiva does not have his feet on any demonaical dwarf. Rather, there are snakes coiled around his lower legs, arms and torso. But the dancer has them under control. (Somewhat like the Krishna-Kaliya iconography). This painting gives an impression of movement, which is what any painting purporting to depict Shiva as 'Natraj' i.e. the Lord of Dance should do.
The Shiva in profile painting has densely drawn curly hair. Shiva's profile looks almost feminine, with a slim nose and soft chin. Possibly an androgynous Shiva, revealing His connection with Shakti (the feminine principle).
(g) Shiva as an artist
----------------------------------
Another "Blue Light" painting, this shows Shiva in a seated pose, as in seated on the ground, lost in abstraction. Also a pleasing and eye-catching composition. This painting did not convey the same feeling of mysteriousness that the 2nd of the two meditative poses described above did. But the feeling portrayed was one of a Being wholly absorbed in his own concerns. Shiva here is very human, with 'only' two hands, and a lot of Shaivite markings on His body (strange to think of Shiva as covered in Shaivite markings!). He carries no weapons in His hands and seems quite human, and also, happy and content.
To conclude:
--------------------
For those of you who would like to know more about Mr. Arun Kalwankar, here are two web-sites:
1. Guruji Aruneshwar
2. Blue Light Trust
It was a wonderful experience.
