(I wrote this catalogue essay for a solo show by Karma Tenrab at the Mahua gallery, Bangalore, in 2003)
WHAT are the footsteps of life
about? Perhaps a search for quintessence. Of journeys, of destinations, both of
the soul and the body. Of the eternal quest for the deep silence within. Of living
in the moment.
Each religion embodies tenets of
these positive energies, the dharmic pathways
to personal renaissance. In today’s fragmented, embattled world, it is not
surprising that Sikkim-born Karma Tenrab has chosen to enshrine the ways of the
Buddha, the sanctuary at his lotus feet, through these serene, faith-led
acrylic and oil paintings, a far cry from his earlier abstract works.
To the artist, at 27, his images
couch the Savakabuddhas (Pali), the
enlightened disciples who gain nirvana by
learning of dharma from a Samyakshambuddha, who embodies correct
and harmonious knowledge.
Karma’s images, steeped in
pilgrimage and nascent learning, lure the viewer towards an inner light. Towards
the true pulse of living, away from egocentric achievement and materialism.
Towards being an eternal child of light.
Or following the eight-fold Buddhist path of enlightenment, embracing
meditative, introspective and life-affirming practices.
On these large canvases, Karma raises
a tumult of questions. About life. About belonging. About being.
Was the Buddha one, or many? Is the
latent divine being within us like a dead tree that is waiting to bloom once
more? Can listening to the silence imbue each moment with meaning? Does the
quest for infinite truth illuminate the seeker from within? Can one walk on the
true path with worldly strings attached? If we control our emotions, can we
morph into new age Enlightened Ones? Do we constantly erect barricades around
us that distance us from the truth?
These potent yet poetic artistic
meditations with flat, unicolour backgrounds may seem intriguing in one so
young. What triggered them? Some cues emerge from Karma’s jottings for his
first solo show – ‘The Sacred Space’
– in New Delhi in February 2007, and from a December
2007 telephone conversation from near Belgaum.
As from a misty Sikkim inscape,
Karma emerges by slow degrees. As a Gangtok schoolboy of three or four, whose
playmates were the child monks from the Rumtek, Tsuklakhang, and Enchey gompas or monasteries. As a teenaged
student, clad in a traditional baku, who attended twice-a-week thangka painting classes at the Enchey School.
As the child of parents who were committed to education, a son whose joy was to
sketch and paint all day. As a student of electronics and telecommunication at
the Sikkim Manipal University for a two brief years, where the walls and fans
of his hostel room bore testimony to his creative urge. And so, down a long and
winding route, he found himself at the famed art school at Baroda.
In November 2002, Karma set out in
search of himself. He left art school. He ‘took refuge’ with Bod Rinpoche, and
did a pilgrimage to six holy sites, including Bodh Gaya, Rajgir, Nalanda and
Kushinagar.
This resulted in an earlier series
of black-and-white acrylic canvases on Buddhist themes. But their iconography
is individual. They do not hark back to the classic cave paintings of Ajanta or the perfectly-proportioned massive sculpted
figures at Ellora. Nor to the aniconic representations of Amravathi. Or even
the anthropomorphic representations at Gandhara, with their Greco-Buddhist
syncretism, or the art at Mathura,
which traced a common lineage under the Kushan rulers. Idealizing the
realistic, these images fused the immediately human with divine serenity.
Karma’s influences could derive
from an eastern curve, along the Silk Road though the northern Mahayana route
that traversed Central Asia, Tibet, Bhutan, China, Korea and Japan. Or the
southern Theravada route through Myanmar,
Thailand, Cambodia and Vietnam.
Celebrations of local-impacted
Buddhist iconography are spectacular for both their range and their execution.
Take the now-destroyed Bamiyan Buddhas. Or the Cambodian temple complex at
Angkor Wat. Or the geometrical, almost abstract figures from the 13th
century Thai ethnic kingdom of Sukhothai, followed by the sumptuous garments and
jeweled ornamentation of the Bodhisattvas in the gilded temples of the Ayutthaya period that
followed. Or the magnificence of the Borobudur temple in Indonesia, built around 780-850 AD.
It is against this backdrop of Asian
traditions that Karma’s paintings must be scanned. Does he trace his lineage
directly from traditional thangka paintings?
Or the secret significance of the mandala?
Or a luminous descent from the Bodhisattvas? Or the untraced stories embodied
within stupas at Sanchi? Or the
serene, healing smile of the Dalai Lama, still positive in exile?
Karma’s colour-controlled,
monotheistic renditions are impelled by light. By the grace that underlies a
search for the divine. By glancing back over his shoulder at the gompas of Sikkim, their fluttering prayer
flags and wheels, the chants that pulse through the cool air. By an awareness
of all the Buddhist iconography that has guided him to the present state. By contemporary
media that make for greater permanence, such as acrylic.
Acrylic on canvas, 42x42 inches. |
“What Buddha means to me is beyond
fascination. That’s where I would wish to take anyone who would see this
exhibition. Not a mere display of content we are familiar with, but rather a
feeling that is evoked by coming across anything that emanates that divine
energy,” Karma wrote about his black-and-white acrylic canvases in early 2007.
In this series, he guides the
viewer away from well-trodden paths. Towards a quasi-philosophical, semi-aesthetic
lens on the Buddha. Towards questioning pathways to harmony, winding bylanes to
asceticism, in a materialistic era. Towards art as a means of self-realization.
These are the most vital reasons to
engage with Karma’s work. He may not strive towards the spareness of Zen, or
the quicksilver essence of a haiku or Chinese calligraphy. But his paintings
are deeply imbued with earnestness, with eternal seeking.
Namo buddham sharanam gacchami.
Namo dharmam sharanam gacchami.
Namo sangham sharanam gacchami.
No comments:
Post a Comment