Wednesday, October 27, 2010

A VIEW OF VITASTA AT BADYAAR BALA NEAR LAL DED SCHOOL AND AN EIGHT LINE POEM OF DINA NATH NAADIM

                                                                                                  



                                                                                                                                                           
A NEW FORM FOR KASHMIRI POETRY CREATED BY DINA NATH NAADIM . POEM IN EIGHT LINES . . NOT A SONNET NOT A HAIKU AS SOME PEOPLE CALL IT .NAADIM AGAIN TOUCHES CHEKHOV'S THOUGHT LEVEL THROUGH THESE SIMPLE 8 LINES.THE

LINES BEAR ELEMENTS OF EXISTENTIALIST THOUGHT AS WELL.


Boota Khoraa Aukh Vateey Peuth Peyomutt
Aasaa vahaarith Chhaaraan Treish
Hoonaa Aukh Aav Lamnaa Karnuss
Fuchmaech Buthi Khanjee Deutnuss Feish
Daalaa Dith Neun Naali Akiss Munz
Treish Hatiss devaa Az Footee Treish
Seeraa Aukh Vutsch baddi hatee Kaenee Kunn
Tse Ti Ad khuraa Baaetti Mahaarein


With its mouth open . a shoe lay on the road ,
Desperately needing to quench its thirst.
A dog passed by , Pulled it out ,
turned its dirty face upside down.
Looking here and there ,
thinking possibly to give water to the thirsty ,
The dog carried the shoe to a nearby drain.
Behold ! A brick jumped at this scene and said loudly to the stone nearby:
"You are just a Part of the whole .
I happen to be complete and wholesome."
( Rendered to English from original kashmiri by Autar Mota )


These lines of naadim have a vast scope for interpretation. One that comes to my mind could be as under :-

Visited by circumstances and add to this the denial of freedom of choice , Who is not like a shoe thrown on the road needing support and help even for fundamental needs of existence ? The helplessness of the shoe is touching. In our society ,Such human beings live purely at the  mercy of  notice and attention by others . They need appropriate time and space to get this mercy translated to real action .
The support, at times may come from the unexpected quarters like the dog who carries the shoe to the drain. This support simultaneously provokes others around who feel a strange denial of attention to them .
See what the brick satirically says to the stone. Yes the brick though delicate appears to be complete . It is wholesome apparently. Something can be made a part of it . it is certainly not part of something.The stone , Even being stronger is part of the whole . Incomplete . This issue has also been touched by Jean Paul sartre . In simpler terms, i add that Stronger human beings can also be incomplete or part of the whole .
I might have bored some readers with my notes to these lines . Can't help .These eight lines, looking simple apparently ,are actually meant for a serious reader . I need to add some more poetry to conclude.These lines were composed by Naadim sahib for the opera VITASTA( JHELUM RIVER )

Sangaruvv gaash Heyot lolee lalvunn ye
Veuth aayee saaluss soan Ye
Thadee Thadee Heytoss Zeuooth Vanvunn ye
Veuth aayee saaluss soan Ye

( Dina Nath Naadim )

The Mountain tops are cuddling sunlight in their lap
Lo and behold ! Here comes Vitastaa for a feast to our land .
Come let us sing loudly in her praise and welfare ,
Here comes Vitastaa for a feast to our land .Creative Commons License


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Tuesday, October 26, 2010

THE STORY OF SMALL GRAVEL STONE IN A POEM OF DINA NATH NAADIM AND A VIEW OF STONE QUARRY AT ATHWAJAN SRINAGAR .






                                                                      
ROADDA FOLLAH AKH VATIE PEUTH ANDH KUNN
TAAPUNNIE TSAANJIE AUSS GANZRAAN DOAH
THEKDARUNN AENDH AENDH CHUTT KHORUSS
BAAJIREE SEUT MEULL SAPDEUOSS KOHH
TEEL SADAK AUSSISS DEUKK LEEKHITH
BRUKKVITH TROVUKH SAPDEUOSS TOHH.

( DINA NATH NAADIM )

A small stone lay untouched on roadside ,
Passing its time under the scorching rays of sun .
A contractor ( Engaged for Black topping the road )
Put the gravel mixture around it ,
Behold it too joined gravel
to become a small mountain momentarily .
Finally the Coal tarred road was its fate ,
Crushed to pieces it lay there in its final destination.
( For readers i have Rendered this poem in English from original kashmiri )

ANOTHER SIX LINE POEM FROM "HAERSAATH " BY DINA NATH NAADIM. SOME MAY BE TEMPTED TO CALL THE FORM HAIKU BUT I TEND DISAGREE. THIS IS A UNIQUE STYLE AND FORM CREATED BY NAADIM FOR KASHMIRI POETRY WHICH ALL OF US FAILED TO RECOGNIZE , APPRECIATE AND REALIZE.  THESE ARE SMALL POEMS WITH CHAIN OF METAPHORS AND  SYMBOLS  HAVING VAST SCOPE FOR MEANING . THE CONTENT APPEARS TO BE ORDINARY . PAUSE . THINK. IT TURNS OUT TO BE THOUGHT PROVOKING .HERE  NAADIM COMES UP TO THE STATURE OF  ANTON CHEKHOV .

I HAVE READ MINI  POEMS FROM   "HAERSAATH " AT LEAST 100 TIMES . TO ME THEY APPEAR LIKE  FRAMES  FROM   A  SATYAJITRAY MOVIE. 

 ARE NOT ALL OF LIKE THE SMALL STONE OR PEBBLES LYING ON THE ROADSIDE OF EXISTENCE  LIVING  WITH SHIFTING  FATES . FATES THAT ARE BEYOND OUR CONTROL OR CONTROLLED BY THE  CONTRACTOR CALLED DESTINY. SOMETIMES HAPPY BEING MADE TO LOOK LIKE A MOUNTAIN AND FINALLY CRUSHED TO BE TRAMPLED BY THE TRAFFIC ON THIS HIGHWAY OF EXISTENCE ! 
Autar Mota

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Monday, October 25, 2010

A DUBB ON BADYAAR BALA ROAD SRINAGAR AND DINA NATH NAADIM'S POEM ON HUKH ( DRY WOODEN PIECES USED IN KITCHEN AS FUEL IN OLDEN DAYS .).

                                                              

Baaluv peith Voath pari mahal kunn
 voth baeth baeth Draav Saeluss vaav
Hutchfaell Pangtaah Saet saet draayuss
Aabuss paeth paeth yirvin naav
Boan Paahun vaatith seikee Shaatuss laeg

Haq Parznovukh Hukkh Pyokh naav .
( Dina nath naadim )

Coming down from the Hills surrounding Pari mahal ,
The wind went on a joyful journey through river banks .
 a crowd of wood pieces too joined on this journey  ;
 But alas! These  were thrown on the water surface .
Moving down the river current ,
these pieces came to settle on a sandy surface
to realize truth .
Lo here only people named these pieces as HUKH.


"FROM " HAERSAATH " BY DINA NATH NAADIM ( 1916-1988 ). 

AFTER MEHJOOR , NAADIM STOOD UP AS THE TALLEST POET OF MODERN KASHMIRI . INSPIRING A GENERATION OF WRITRS IN KASHMIR ,THIS POET WROTE , GHAZALS , VAAKHS , OPERAS , SONGS AND SONNETS . HIS POEMS AND SONGS WERE BUBBLING WITH LOVE FOR HIS NATIVE LAND , ITS PEOPLE AND CULTURE.IN FACT I PERSONALLY LEARNT THE NAMES OF MANY FLOWERS OF KASHMIR FROM MEHJOOR AND NAADIM SAHIB'S POETRY .THE LINE "BOMBRO BOMBRO SHAAM RANG BOMBRO " USED IN THE OPERA "BOMBUR TE YEMBAZAL" OR " ROMANCE OF THE BUMBLE AND THE NARCISSUS FLOWER " IS HIS CREATION . WITH THESE LINES HE SPREAD IN THE ENTIRE LENGTH AND BREADTH OF THE COUNTRY. HAERSAATH IS A BEAUTIFUL COLLECTION WRITTEN IN SONNET STYLE BUT IN SIX LINES WITH ONE THOUGHT AND IMAGERY . THE ABOVE LINES DEPICT THE BEAUTY OF HUKH FORMATION IN KASHMIR.
 


Hukh was collected from rivers by Boatmen. One could see them collecting it from Sindh stream near Ganderbal. It was brought to city for sale in big boats called Bahach. Hukh consisted of  small pieces of wood   used for burning in Kitchen during winters . It made the kitchen warm when burnt in DHAAN ( CHULHAA ) by our womenfolk . We would come to the kitchen repeatedly to fill our Kangris . The kitchen turned cozy and warm with HUKH burning .Children would sit in the kitchen  to have  food when their Grandmothers or   mothers   burnt HUKH for cooking food  . You could also notice our ladies skillfully making  Coal from the Burning HUKH or firewood in the kitchen. Kashmiris kitchens had a LEJJ ( earthen pot ) with a lid .Our ladies  would be removing Burning Coal heaps from the DHAAN ( Chulhaa ) and throwing them into the LEJJ and then immediately replacing the lid . The burning charcoal would cool down and the coal so prepared would be used to make afternoon tea. 
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Thursday, October 21, 2010

A CLOSED DOOR AND A POEM BY AUTAR MOTA


 O THAT CLOSED DOOR  ! 
( Photo Autar Mota )


To this photo , i am adding my Poem  " Bandh Darwaaza " or Closed Door.

     ( Bandh Darwaaza )

Kaun Kholegaa Ab Voh  Darwaaza
Me  Jisse bandh kar ke Aaya Thaa …..

Jis Pe latke chhupe Basse Hain Abhi
Meray Ajdaad Ki Yaadon Ke Hujoom
Jaissay  Maa  Aaj Bhi Khadi Hai Vaheen
Haath Mein Thaal Liye Khaane Ka
Sonchti Hai “ Kahaan Gayaa Hogaa?
Bache Sab Aa Gaye Schoolon se “
Phir Voh Rangon Ka *(1) Krool  Daale Koyee
Issi Dhar Ke dhule Se  Maathe par
Phir  Koyee  Likh Rahaa hai Rang Liye
Naam  Dulhe ka Aur Dulhan Ka
 Dev-lokon se Bhi Duaayein Chali
“ Nayi Jodi rahe Sukhi Har Pal “
Hai Phir Shaadi Ka jashn Zoron Pe
 Aur Phir se hai *(2) Dwaar Pooja koyee
Phir  se Pooja ki Voh Gaagar le kar
Jis  mein akhrot hain Paani Bhi Hai
Aa gayi Maa meri Issi Dhar Pe
Karne Herat Ki Voh * (3) “Thuk Thuk” Ki Rasam
Phir Meri Daadi Keh rahi Jaissay
“ Thehro Thehro Abhi Vaheen Thehro
Aap Mehmaan ho Dhar Pe Rukk Jaao
Mujh Ko *(4) Aalath Utaar- ni hai Abhi ”
Voh Jo Khultaa Thaa kul jahaan ke liye
Jis ke andhar  thaa Shahar e missr mera
Yaheen Gokul Bhi Thaa Shivaala bhi
Bandhagi Bhi  Reshi-Parasti Bhi
Paas masjid se Voh * (5) Durood Shariff
Mandiron se * (6) Mahimnapaar Ki goonj
Dekh Kar  Ekk  Khulaa khulaa sa dhar
Sab Chale Aatay Thay Andhar Ghar mein
Aaj Tak Chaabiyaan Sanbhaalin Hain
Jin Se Ab Koyee Dhar nahin Khultaa …..
……………………………….Kaun Kholegaa Ab Voh  Darwaaza
Me  Jisse bandh kar ke Aaya Thaa …..


( Autar Mota )

PS


*(1) 

Krool is an Artistic Decoration of Main Entrance or Door of a House with colours . This is done before the start of actual Marriage ceremony . Generally Flowers , Leaves and branches are Drawn in Bright colours to give an Auspicious aura at the entrance . It is also believed that KROOL is drawn for Blissful married life of the couple. It is not to be confused with Vyoog or Rangoli . The colourful Vyoog is drawn on Floor .
*(2)
Dwaar Pooja is an Important Custom Practiced since Vedic period . Main Entrance or Door is considered Auspicious and Pious and is worshiped before entry of Bride or Bridegroom . It is widely prevalent in kashmiri Pandit society.
*(3)
“Thuk Thuk ! kuss chhuva ! Ram Bror ! “ Knock !Knock ! Who is there ? A gentle Cat .” These lines are Familiar to every kashmiri Pandit. This custom continues to be practiced by Kashmiri Pandits during Shivratri Festivities . The elderly lady in the house would Fill up the Walnut Pitcher of Shivratri with Fresh water from Vitasta / Fresh running water stream ( Later Fresh Tap Water ) and then give knocks at the Door to enter . She would seek blessing for the entire family from Shiva . After she finished seeking these blessings , some insider would open the door and allow her in with the water and walnut filled Pitcher . 
*(4)
Upon conveying details of “ AALATH“ ritual of kashmiri Pandits and seeking clarification on it , a learned scholar clarified to me as under :
“ I believe kashmiri Pandit culture and Rituals have evolved from Vedas and also from the Shaivite Traditions. This tradition, as you say of welcoming a Guest at the entry point or at the Door by an elderly woman with a jug or small container of water held in a plate having some rice and flowers and then moving the water container symbolically around his body and finally carefully throwing away everything at a proper place is Nothing but Abhisheka . So good a tradition. I would say that Atithi ( Guest ) is Shiva. And Shiva needs Abhisheka . The honoured Guest at the Door has to be worshipped and welcomed . And at that time , Shiva is both a personal Guest and a cosmic presence who is welcomed at the same time to one’s home and heart. The elderly woman who welcomes the Guest at the Door becomes pious by this very act and attains the status of Parvati . To welcome a Guest at Door steps is like an offering to God or Shiva. Hold on to this Beautiful tradition. “
During olden days when a potter would bring pots for the shivratri celebrations to a kashmiri Pandit Household , Aalath was also performed for him at the doorstep. May be a symbolic welcome to lord SHIVA .

*(5)

Durood shariff is a prayer which Muslims make by saying explicit phrases in praise of Prophet Muhammad ( Pbuh). Recitation of Durood Shariff in shrines and Mosques is a common Practice with kashmiri Muslims . In kashmir , we have almost Night long Durood khwaani during the holy month of Ramadaan.
*(6)
Mahimnapaar or Shivmahimna Stotra is one of the earliest and one of the most recited Shiva prayer by Kashmiri Pandits .It is said to have been written a Gandharva Known as Pushpadanta , a Great Devotee of Lord Shiva .


(Autar Mota .)

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Tuesday, October 19, 2010

WILLOWS AT BETAAB VALLEY PAHALGHAAM AND A POEM BY AUTAR MOTA

                            
Majestic willows of Betaab Valley Pahalghaam kashmir.
(Photo autar Mota 2009 series .)
Many friends have been asking me to post one of my poems . Lo ! and behold this small surprise .

HAMAARA DIL ( This Heart of mine )

Hamaara dil Samajh lo Ek Sehraa hai samandhar hai ,
Yeh Bahr e Hind Tak Aayee Himaala Ki Hawaa Samjho,
Na Ganga hai, Na jamuna hai ,Yeh sangam hai Prayaag e Hind Tehzeeb e wattan jaisaa .
Guzashtaa daur ki Anmol Qadron ko Samete Hai,
Jisse Tum Chaah kar bhi apney Khwaabon Me Nahin Laatey,
Jisse Tum Pyaar kartey Ho Magar Apnaa Nahin Saktey,
Jo Ab Bhatkaa hai Unn raston pe jo Jungle ko Jaate hain,
Jo Ab Tanhaa Hai Unn shehron Me Jo Mudd kar nahin Taktey ,
Isse Ek Shaam Do, Aaraam Do, Subh e Tamanaa Do.
Yeh Kaise Maan Legaa Khoon Ka, Baarish Kaa, Toofan Kaa,
Mehak Kaa ,Phool Ka, Aur dard ka ,Lafze Mohabbat ka ,
Behan Ke Gham kaa , Maa ki Chashm e numm, Umeed e fardaa Kaa ,
Wattan Ki Yaad kaa, Doori Kaa, Majboori ,Judaai Kaa ,
"Koi Mazhab hai ,Koi Dharam hai ,Koyee Aqeeda Hai ."
( A Poem by  Autar Mota ) 



This heart of mine is like the Saharaa ( Vast Desert ) or the   ocean,
Treat it like the fresh Breeze of Himalayas dancing over  the Indian Ocean,
Never  like  River  Ganga or Yamuna  alone ,
 But yes Like the Majestic Confluence at  Pryaag (Allahabad ),
It spreads like the civilization of my country.
Holding values of time gone past ,
Something which you too  cherish but refuse to see  
coming close even in your dreams ,
Something which you too love but but never attempt to own, 
Moving   aimlessly on Paths that lead to Jungle alone ,
This heart is lonely in Cities that have never learnt to look back.
Grant it  just One Evening, A little Comfort  and the Desired dawn,
How can this heart agree that:
 Blood , Rain , Tornadoes  ,
Fragrance , flowers , Pain and Suffering ,
 Words of love ,The sorrow of our sisters , The sobbing of our Mothers ,
Tomorrow’s hopes , Memory of our beloved land , Distances ,
Helplessness and separation
Have a Religion , A Dharma or belong to any Faith .”
                          
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THE GREAT TRILOKE KAUL ( ARTIST AND A LIVING LEGEND )




                                                                                 
                                                                               
                 ( Oil on Canvas Triloke Kaul..  )

TRILOKE KAUL ( Born 1925 )

Some years back I met this great Artist in a marriage  function at Dehradun . Some   inspiring late night discussion with him. He discussed his Art ,  Kashmir in General ,Progressive Artists Association of kashmir and his close associates and Artists like  Late S N Bhat and P N kachru . He also fondly talked about late G R Santosh ,  Poet  Dina Nath Naadim, Amin Kamil , Mohan Raina ( Artist )and  Rehman Rahi . Some more  names came up for discussion.

                                                                                     
                                                                                       
He talked about  Percy Brown and Artist S H Raza with whom he remained associated in late forties to form Progressive Artists Association in J&K state .He talked about his various exhibitions ;solo or  Joint with P N kachru and late S N Bhat .He talked about Sheikh Mohd Abdullah , Bakshi Ghulam Mohd , G M Sadiq , D P Dhar and many Artists, writers  and Poets  from our state .He spoke  emotionally  about his ancestral house at Shalla kadal Srinagar and his studio at Sumbal.
                                                                                 
Yes he regrets the loss of some  precious Books and Paintings that  he had to leave behind in Kashmir  to save his life after the onset of Armed Militancy   .His studio at Sumbal was Vandalized and  Burnt . A large  number of  Paintings  done by him were either burnt or  stolen.
                                                                                 
                                                  
                 ( With Noted Punjabi writer Khalid Hussain  Jammu 2016.. Photo Autar Mota )


Apart from  about 150  masterpieces  done by him , he  lost some portraits done by Jatin Dass and S H Raza. He also lost  some paintings that were gifted to him by Kishori Kaul, Salgaonkar, P N kachru , S N Bhatt and  G R Santosh . He  also lost more than 3000 Books On Art , Philosophy and  Literature . His Prized painting "How Green was my Valley" was also lost .If you touch this sensitive issue with him ,  you are putting him to a great pain..

 " Please don’t talk about that loss. I feel As if I was not born at all or  have done nothing in my life. This loss makes me to feel as if i  have neither  lived nor  struggled and also not painted at all." 
                                                                                 
          ( Oil on Canvas Triloke kaul 1960. )

Recalling  his days as Director School of Design,  he  spoke about  hundreds of innovative designs for kashmir’s Handicrafts that were created during his incumbency  . He also recalled the support from his fellow Artists  like P N Kachru , S N Bhat and Mohan Raina  in this area. These artists did extensive and original  research work   for improvement and scientific documentation  of Designs relating to Kani Shawls, walnut Wood Carving , glazed Pottery,   Namdhas , Kasmir Carpets, Samba Cotton Prints and Chikri woodcraft of Thana Mandi Rajpuri. These artists also worked on Natural /vegetable colours and Dyes.


                                                                               
He talked about Albert Camus and Kafka . Kafka remains his favourite till today.

Popularly known as the  leader of “THE TRIO” and ably assisted by P N Kachru and late S N Bhat ,Triloke Kaul  is a Pioneer who brought Modern Art to our state .   In 1948 , this Trio started meeting   Percy Brown  ( Ex Principal  Calcutta School of Arts and Crafts )  who stayed in a House Boat    in kashmir after his retirement .   For them , he proved to be a  man of immense help and inspiration. They    kept close association   with S H Raza as Well  who kept visiting kashmir since 1948.This association gave birth to   " Progressive Artists Association ( Kashmir ) ". This Association    held its first Art Exhibition in May 1949 at Srinagar .

 Trained at Baroda ( He went to Baroda in 1952 )  by Renowned Painter  N S Bendre ,Triloke kaul continues to be a tall figure not only among the Artist Fraternity of  our State but also among the artists on National Scene . In our state , His contribution to Art especially Modern Art is immense and unparalleled .

About him , A  leading Art Critic has written ;

“His approach to painting also originated from landscape. Primarily the architecture of Kashmiri houses in space set his fantasy free. Throughout he remained true to the cubist, analytic procedure to solve the problems of space, movement and colour." 
                                                                         
 
( A Monochrome  GREEN AND PINK  Triloke kaul  1950..   Photo Source.. Search kashmir )
         ( A Monochrome  VILLAGE SCENE  By Triloke kaul 1950 Photo Source  ..Search Kashmir  )

Sipping Black Tea  , he would sit for hours executing some master pieces with his brush. 
He preferred Charminar Brand of Cigarettes.


 A post Graduate in Mathematics from Lucknow University ,Triloke Kaul  belongs to the well known Baroda group    that includes  Artists like G.R. Santosh, Ratan Parimoo, K.G. Subramanyan, Prabha Dongre, Shanti Dave, K. Patel,  Vinay Trivedi, N.S. Bendre, Balkrishna Patel, Jyoti Bhatt, Prafull Dave, and Ramesh Pandya.

                                                                            


                                                          (  Triloke Kaul ..1975 )
                                                                       
                                                  ( Self Portrait  ... Triloke Kaul )
                                                                   

                                         ( Untitled Oil On Canvas .. Triloke kaul )
                                             ( Untitled Oil On Canvas .. Triloke kaul )

In march 2010, i again met him at Kala Kendra Jammu where he had come to be the Guest of Honour in a function organised by Dr T K Walli son of late D N Wali (Noted water  Artist from kashmir ). Some beautiful landscapes of kashmir done in water colour by late D N Wali were exhibited in this function.  I did click some photographs of Great Triloke kaul in this function.

                                                                  
( Wth Vijay Bakaya Ex Chief Secretary J&K 2010 Jammu )
( With Gokul Dembi and Jang S Verman at Kala kendra jammu 2012 )

To a person who does not know him , He may appear to be living in his own beautiful world .Yes he may find that the master gets lesser drawn into discussions.But rest assured , once he opens up , you can discuss anything under the sun .He speaks on Theory of integers of Mathematics with same ease as he speaks on Works of  Kafka or Poetry of Amin kamil or Dina Nath Naadim or Picasso's Gurenica.
                                                                     
                                                            (  The Master Sitting in his Room  )
     (   Shiva Nandakeshwara Bhairva  by Triloke Kaul ..Hanging on the wall of  of his living  room )


The Great master informs :

“ My actual Name is Triloki Nath Kaul. We had so many Triloki Naths in our Class in S P College. My Teachers in the college decided that I should call myself only Triloke so as to be easily distinguishable . It somehow appealed to me . That is how Triloki Nath became Triloke .”

“ I got my first job offer from J&K Bank on a salary of Rs39/=Per Month. I did not join. I wanted to be free and do something of my choice . “

“ Along With a friend, i went to Calcutta before partition of the country . There we worked with a kashmiri Handicrafts Trader " Canaud House " . This Business House had a shop opposite to Partap Park in lal Chowk area of Srinagar city . I was drawn towards Marxism . It attracted so many young educated youth . Gandhi Ji’s human message also attracted me. And Calcutta was an ideal place for any person interested in Fine arts . The city was slower in pace than Mumbai at that time but people appreciated literature , Drama Music and other forms of Fine arts . I survived the gruesome Hindu Muslim riots of Bengal at that point of time. . We did some relief work in Calcutta among refugees belonging to Both the communities . “

“ In kashmir sheikh Mohd Abdullah was the tallest leader. I also Joined his National Conference . The ideology of the party suited all the leftists at that time. The tribal raid was a bitter experience . It brought untold pain and suffering in kashmir.Baramulla town was completely devastated. Areas like Kupwara, Handwara, Uri ,Sumbal, Bandipora and so many other villages had gruesome stories of suffering. "Sher I kashmir ka Kyaa irshaad , Hindu Muslim Sikh Ittehaad “ and “ Hamlaawar Khabardaar Hum Kashmiri Hain Tayaar “ were the slogans raised in every meeting and gathering. Parades , Wooden Guns ,Sticks , Night patrol , Refugee service ,Militia and then Cultural Front and finally Progressive Artists Association . Long journey . Many facets . Hotel Rivera was our meeting Point . It was on first floor of Mehta ’s Photo Studio Building on Bund.I believe near Asia Crafts . Artists from Baroda would see us at this Hotel. We sold our Paintings at this Hotel. Raza would also drop in and join us . In fact Rivera period was very crucial to the development of Art in Kashmir ”

“ S H Raza lived free in the house owned by Kaw family of Badyar in srinag├ór city . S N Butt ( A fellow Artist ) had arranged this house for him. This kaw Family later produced a great Artist . Raza roamed free for many months in Kashmir . He became popular . He was seen in every Gathering and at every place. . People had little Knowledge about Art or the life style of an artist. So Some suspected him to be a CID man .Raza loved the water canals of downtown city ( Maar ) .He was a specialist in painting these canals and the bridges over them. He felt sad the day he learnt that Government had filled up all these waterways . I felt very depressed for a long time . I was emotionally attached to the Maar canals . Together we would paint these waterways.”

" Kashmiri society was very conservative in general. And Kashmiri Pandit society was all the more Orthodox and conservative during those days. I mean Art and Painting was something totally unacceptable. I would often be told " Fine , Good enough this playing with colors, Tell us what are you going to do in life." I mean to say a Pandit could be be a Barber or a Tailor if he had nothing else to do but an artist or a Painter was totally unacceptable to the society. And kashmiri Pandits were never in Tailoring or hair cutting activity. Yes a few dared but they too had to abandon these activities for one reason or the other"

“ Well known English writer , Dr Mulkh Raj Anand suggested to me to join Baroda and obtain a professional training in Art . He was the man behind my going to Baroda. I studied at Baroda for 5 years . “

“ Balraj Sahni was a friend .He had a special liking for people from Kashmir valley.Always helpful. He was a great admirer of S N Butt’s Art. In fact S N Butt was quite close to Balraj Sahni . They would have their drinks together . “

Good Health to this Grand Master..

I end this brief post on Triloke Kaul with  some couplets from a Gazal of Poet Ahmed Faraaz ..                                                                          


Suna Hai Boley Tou Baaton Se Phool Jhartey Hain
Yeh Baat Hai To Chalo Baat Kar Ke Dekhte Hain

Rukey To Gardishein Uss Ka Tawaaf Karti Hain
Chaley To Uss Ko Zamaaney Theher Ke Dekhte Hain

Kahaaniyaan Hi Sahi, Sab Mubaalghey Hi Sahi
Agar Woh Khawaab Hai, Taabeer Kar Ke Dekhte Hain

( Autar Mota )                                                    

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CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

Monday, October 11, 2010

LONELINESS , LIDDER STREAM IN PAHALGHAAM AND A POEM OF MOEN AHSAN JAZBI.

                                                                        

LONELINESS , LIDDER STREAM IN PAHALGHAAM
 


Jo aag lagaai thi tum ne uss ko to bujhaayaa ashkon ne
jo ashkon ke bhadakaai hai uss aag ko Thandaa kaun kare

jab kashti saabit-o-saalim thi, saahil ki tamannaa kisako thi
ab aisee shikastaa kashti mein saahil ki tamannaa kaun kare

duniyaa ne hamein chhodaa aey dil, ham chhod na dein kyon duniyaa ko
duniyaa ko samajh kar baithe hain ab duniyaa duniyaa kaun kare
( Moen Ahsan Jazbi )




       (Photo autar mota 2009 series )                                                                
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CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

Tuesday, October 5, 2010

TWO COLOURS OF WATER OF HOLY SPRING OF KHEER BHAWANI SHRINE AT TULAMULA

                                               ( Above    View of June 2009  )
                                               ( Above View of March 2010 )    


Kashmiri Pandits believe that the water of the Holy spring of Ragneya Devi or Mata kheer Bhawani shrine of Tulumula changes colour. This colour is indicative of peace or unrest for Kashmir . While blue implies peace and happiness , Mud coloured water warns of some impending trouble . I clicked two views of this holy spring water one in June 2009 and other in March 2010.

Tse Chhuyee Vonmutt Baa Chuss Bozaan Tuss sinz Zaar
Yemiss Aasi naa Vananuss Kaansi Nishee Vaar.

Mother! you listen to the woes of those,
Who by any reason are unable to convey
the same to any other person..                                                                                                                                              


Creative Commons License


CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.