Portrait by KN Raghavendra Rao |
(This interview took place in December 1980)
OVALS WITHIN
ovals. Circles within circles. Flame forms. Bull heads. Lotus petals. Negative
and positive mask heads. Floral motifs. Vertical lines. Triangles. Rectangles.
Is there a correlation between them? Where do they mingle and merge and
diverge? The interactions and balances between these diverse forms form the
core of K V Haridasan’s paintings and drawings, which combine these elements
with a mastery of colour and space. Composition and colour fuse through the
artist’s penchant for philosophy.
To Haridasan, Tantra is much more than the
subject of his art. It is, indisputably, the essence of his life.
Born in the
Cannanore district of Kerala in 1937, Haridasan graduated with a degree in
psychology from Presidency College in Madras before opting for art. He earned a
first class diploma in fine arts from the Government College of Arts and Crafts
and bagged an Indian Government cultural scholarship from 1965 to 1968.
He was one of ten
modern Indian Tantric painters in the Man
and his World exhibition in Montreal in 1971. Besides participating in the Paris Biennale
in 1971, and the Second Indian Triennale (1971), Haridasan has held one-man
shows in Madras, Calcutta and New Delhi. He has visited France, Switzerland,
Germany and the Soviet Union. Awards and critical acclaim have come his way.
Ever since 1979,
Haridasan has been editing Artrends,
the journal of the Progressive Painters Association. Haridasan recently shifted
to Trivandrum to teach at the College of Fine Arts.
When Haridasan
speaks, his voice emerges as a whisper. He often pauses to think. The sea
breeze at his newly-constructed cottage in the Cholamandal Artists’ Village
wafts away some of his words. He seems a little preoccupied the day we meet
him, the day of his grihapravesham or
house-warming.
His words ebb and
flow with transient moods. He laughs easily. A hand occasionally gestures to
accentuate his speech. The other hand tames his grey-streaked hair and beard.
His conversation, as it emerges, takes on a basic, timeless quality:
What was special about your
formative years?
My childhood was
not very pleasant. Perhaps circumstances have made me a little more
introspective than others. My father was a very religious man, so that may have
influenced me. It taught me traditional values. I also read a lot, particularly
English literature. There has been a good mixture of east and west in my
background.
I have had an
interest in art since childhood. I continued sketching and scribbling even during
my high school and college days. I used to frequent art exhibitions in Madras.
After graduation, I was not really happy about getting into a regular job. I
just felt it didn’t seem to serve much purpose. (Laughs) So, I entered the arts college. It’s a question of bent of
mind. I was interested in psychology and literature, you know. I think these
were complementary interests.
How deep was the impact of
your years at the arts college?
For me, it helped
a lot. It’s more an atmosphere, a world of its own. It is creative. If you have
a certain amount of independence in college, it helps a lot. If someone
dominates you a lot, it can be a hindrance.
How modern an Indian artist
are you?
We live in modern
times and are influenced by modern trends. We are also looking into our Indian
roots. It is a combination of both that evolves into a style. In looking
towards tradition as a modern artist, it has here become a breaking of
convention because we had got used to the style established by the British. It
is a contradiction in terms, but we had to do it according to the peculiar
circumstances we were in.
In the
traditional, codified system, there was little freedom to explore. Norms were
laid down by the guru at the ashram. A modern artist is supposed to have a lot
of freedom and his expression is individualistic ~ because there is a
background of breaking conventions and introducing new elements throughout the
history of modern art.
What Indian elements feature
in your work?
First, you have to
consider whether anything is valid. (Slowly,
drawing out the thoughts) I find there are certain attitudes which are
relevant to modern times, attitudes which have traditionally been in Indian
society. Such as the Tantric approach to life and art that I have brought into
my work because it is very characteristic of the Indian approach.
Basically, the
Indian philosophical system is mystical and metaphysical. Tantra has the same
basis. You can find Tantric ideology in most of our art, culture, manners,
rituals, dance, even music…
What was it about Tantra that
proved attractive to you?
Partly because of
my inclination ~ like choosing to study psychology and literature. If you go
deep into any aspect of life, you reach into the metaphysical. So, why not
self-decision? It’s almost like coming to terms with abstract art. As you
paint, you find objective norms. Then, you reach up to the abstract level. It
is much like certain basic elements in the Tantric approach to life. I am doing
basically abstract painting. Only, it has been given an orientation the Tantric
way.
When you deal with
a fundamental form like the square, you come to a certain level after which you
can’t go any further. That is the essence of the form. Tantric diagrams seem to
have a power of their own because the whole of the cosmic phenomena are created
with the very elements fundamental to life. These run through existence itself,
though on the undersurface things seem to change.
What’s essentially Indian
about Tantra?
As I see it, there
is no area of Indian cultural activity where Tantra doesn’t enter. Everything
in which ritual is involved is Tantric. The rituals are to create a certain
bent of mind in those involved in them. Tantra is a method of yoga. Its purpose
is to direct one psychologically towards spiritual attainment.
Tantra is
basically a Dravidian concept, which has been taken over and systematised
through a method of codification, directed into principles. The intellectual
approach must have been partly the contribution of the Aryans.
(Charged with emotion) I personally feel
that Tantra has its roots in the phenomenon of possession, and in the folk
traditions that we find almost all over India among the lower classes. The
result of it has been observation of life, expressed in terms of metaphor. It
is very Indian. There is no parallel elsewhere. The various ways in which a
goddess is described is basically an expression of what is nature, made into a
doctrine. The peculiar aspect of our Hindu system is that a basically
intellectual concept is made into idols, then the idols are turned into
identification symbols. It is psychologically very complex.
After all,
reaching for a god is an attempt to get some of the power of that god. That is
something which an average person cannot comprehend. But once you enter into
it, the Tantric experience is as real as anything else.
Can you possibly capture the
complexities of Tantra in your paintings and drawings?
At the yogic
level, Tantra has no limit. But at the visual level, it has certain limitations
because it appeals to one sensibility among various sensibilities that people
have. You have to understand the medium itself, and put it effectively in terms
of visual impact. It is also subjective. It depends upon the person who sees
it.
Do you view your art as
self-expression?
Sometimes, if the
individual artist has anything to express. (Fervently)
We haven’t created most things. Colour ~ it is there in nature. We are just
trying to crystallize what is in a jumble in all that we come across. I would
call it self-realization. We come to a sort of understanding with our
surroundings, some kind of harmony. Through an object of art, one can say we
are trying to communicate what we have found to be a pattern of life.
The very fact that
one decides to become an artist determines one’s age. One tries to remain very
vital and active. That’s one great thing that art does to a person. So, I have
been cultivating an attitude of search and discovery. That has to be retained.
That is the basis of my approach, which is puritanical and direct. I just try
to discover the relations of colours, the essentials of form, certain images…
Have other artists influenced
you?
I have trained
myself to appreciate many of them and I am a product of works of art down the
ages. There are quite a number of Tantric artists now. It has almost become a
trend. There are some in Delhi. Even in Madras, most artists have been
influenced by the Tantric approach.
How do you feel
about pricing your works and being judged by others in the context of the
exhibition system?
An artist, like
anyone else, is a social being. It comes from a natural inclination to show
whatever one has achieved and whatever one has come to know to other people.
Prices are
generally based on how a work stands on par with other paintings. After all, a
work is the property of the individual who creates it. Art is considered
invaluable. You cannot really fix a price, though you can put a tag on,
according to existing norms of art. After all, any judgement has to be in terms
of comparison.
When it comes to
exhibitions, one has to compromise. Somebody experienced in the field has to
select some works out of hundreds that are submitted for an exhibition, but
vested interests and personal attitudes often interfere. For instance, Madras
art may have little exposure in Delhi. So, out of sheer unfamiliarity, they
think the work is poor. (Laughing)
When art is exhibited, it becomes an object of contemplation. But most people
are not willing to rise to that level. No training is needed for appreciation.
Only one must learn to look.
How would you sum up your
life in art?
Tantra, at its
best, is a practical approach to a spiritually-oriented vision. This creates an
art of pure vision, fields of colour, rhythm and harmony in forms which were
not there on the surface levels of nature. They reveal a visionary abstract
reality.
Tantra is a whole
attitude towards life. How you view life around you, how it has emerged, what
direction it is taking. That is why Tantra is still valid today ~ because it is
an approach to individual fulfilment.
(Indian Express, Chennai/ Madras, 1980)
dear aditi
ReplyDeletethis is gnani alias sankaran.n.v. your former colleague at indian express chennai long ago during master days. hope you remmeber me. i am trying to locate our friend photo artist k.n.raghavendra rao. do you have his present address ? please mail to me at gnanisankaran@gmail.com. i often come to bengaluru to do theatre workjshops at christ university and watch plays at rangashankara. i continue to do tamil theatre. we regularly perform at chandralekha's spaces. i am happy to learn abouty;our accomplishments through your blogs. season's greetings. gnani