Enduring Legacy: Navarasa in Contemporary Indigenous Practices

The artists are joined by a shared sense of the wonderment of nature. Invoking a sense of awe in the forest and all its creatures, in tune with the essence of Gond art, Venkat Singh Shyam brings to life the folklore of the tiger and the crab. The story tells how the powerful feline begs the little crustacean not to bite his nose, for fear of losing his respect in the jungle. Nature is given a divine and powerful status in many Indian traditions, and is represented extensively in the arts. In the South Indian Kalamkari tradition, using natural dyes on textiles, Niranjan S. portrays the Kalpataru or primordial Tree of Life. This wish-fulfilling tree is symbolised by different species including the peepal and the mahua. Mythology says it originated during the ‘samudra manthan’ or the divine churning of the ocean, that also brought the ever-giving holy cow Kamadhenu.

Dilip Bahota through his warli painting depicts the epitome of village life under the wonderment of another tree of life rendition. Depicting the Tree of Life as a composite of many different varieties, Chirag Kumavat once again identifies with the role of an artist in visualising varied aspects of life. He plays with meaning and draws the viewer into a sense of amazement and surprise, at the fusion of reality and fiction. 

What is terrifying and frightening to us humans; how are certain forms visualised to make a viewer experience a degree of the fear that the narrative might portray? Perhaps these fears are necessary to remind one of the moral path. Janardhana Havanje works in the distinct and specialised form of Kaavi art that uses a method of etching on a wall surface, native to the region of Goa-Karnataka. He creates a powerful spectacle with his representation of Shabheshwara. This eight-legged deer-like beast is shown subduing Narasimha, or the half-man-half-lion avatar of Vishnu.

Tracing the performative presentation of Bhayanaka rasa, Shaji N Jaleel photographs Seby.C.P, as he portrays the terrifying aspect of a character in the dance drama Kathakali. The translation of the act in the still image concentrates the expression and emotion to that single moment of the capture. Here the photographers lens freezes the timeless communication of the dancer with an audience that is beyond his performative space.

Pattachitra artist Bahadur Chitrakar’s work introduces a more collective experience of fear. He depicts the narrative of people’s fear of losing their trees, their forests that they worship-as external forces invade their space to destroy it. His vivid composition showcases the death that can come in the aftermath of the destruction of nature.

The rasa Bibhatsa epitomises the feeling of disgust, of reacting to something odious and undergoing a sense of antipathy toward it.

Shaji N.Jaleel’s photograph captures the moment when the Kathakali dancer is practicing the expression of the bhava, as he looks at his face reflected in the mirror.

Venkat Singh Shyam creates a striking Gond rendering of the Corona deity – a personification of the virus that has taken over the globe through the last two years. There is an interesting tradition across different regions in India, of assigning the status of a goddess to a form of illness, like it happened for small pox, as well as the plague. This aspect of devotion creates space for the negotiation of prayer, for lives, and the healing of society itself. Here the wolf, fox, dog and cat are shown screaming in fear and disgust, while people are worshiping God as a witness – symbolised as the Trishul or trident, so that a phoenix like bird can come and vanquish the disease.

The visual arts appear to present plenty of material on love, valour and terror, but offer a small section in comedy. Perhaps this is because laughter is something taken for
granted, or that gravity and seriousness are considered more attractive human traits.

Kalam Patua, in his distinctive painting style that is a revival of the Kalighat Pat, creates satirical commentaries on contemporary living. There is a simplicity in his style
that holds within it the possibilities of complex narratives; he uses an element of satire and dark humour that connects with the multidimensionality of human.

relationships in public and private. His work presents a humourous take on a courting scene, in which the man enjoys the company of both ‘sura o sakhi’ – wine and friend.
The most difficult of subjects become palatable, with a hint of mirth. Bhaskar Chitrakar prompts the viewer’s mirth by showcasing a comic scene of the Babu’s misfortunes as he walks on his way with his instrument. The Kalighat style painting follows the particularity of subject matter from the style’s history in Bengal.

Naresh Bhoye depicts the epitome of village life and the balance of humans with nature through his warli painting.The tarpa dance speaks happiness and contentment and forms the central motif, in a metaphorocal cycle of life.

Chirag Kumawat’s happy scene of a domestic village celebration reiterates the joy and laughter of families together, and the exhilaration afforded by dance and music to the gypsy folk.

The artists Pratik Prabhakar and Saroj Venkat Shyam have both chosen to explore the rasa of karuna through the concept of compassion and empathy that is shared between parents and children.

Saroj reiterates her own experience as a mother, and the integral story telling of nature’s cycles in gond art, through her narrative of the pregnant deer looking with tenderness at her little ones as they frisk around her. The bright colours that intermingle, and the flowering tree with birds reiterate the idea of interdependence and sharing.

Mithila artist Prabhakar also draws from his own identity as a father and the challenges and joys it brings, through his depiction of family life. Using the fine repetitive lines and patterns characteristic of madhubani painting, and yet introduces a fresh understanding and individual articulation of the aesthetic structure.

Shaji N Jaleel’s photograph introduces the poetic nature of the performer’s expression, which is one of sorrow – another aspect of the karuna rasa.

Costumes, jewellery and make-up form an important part of the portrayal of any person in dance -drama traditions like that of Yakshagana, a folk form native to Karnataka in Southern India. Photographer Mahesh Bhat’s father Muliya Mahabala Bhat was a scholar of Yakshagana. Mahesh’s documentation of the authentic characterisation in collaboration with his father, other scholars (Dr. Raghava Nambiar, Prabhakara Joshi) and performers, resulted in a compilation of images depicting the many wonderful poses and expressions. The acting involves exaggerated movement of eyes, eyebrows and face-muscles, requiring heavy eye and face make-up, as well as head gear that gives prominence to the expressions. Here, the character of Ravana – recognisable from the distinctive make-up – takes an angry pose, his eyes staring, his demeanour one of intensity and power. The other image depicts Kirata, or Shiva as a hunter, shown with sword drawn, in the role of someone about to set out on a task of combat

Kali in her ferocious avatar, personifying a destructive and chaotic form of feminine energy, is the subject of Mithila artist Dulari Devi’s painting. The story tells of the Goddess defeating a demon, and continuing on an uncontrollable rampage, dancing and destroying life until her consort Shiva lays himself at her feet and calms her down. The artist seems to pour her personal sense of womanhood into the depiction, using as a device the fine balance of line and colour, and the dynamism of the composition contained by the floral border.

The concept of Ardhanarishwara is a profound element of Indian sacred philosophy; the composite male-female persona brings together god Shiva with his consort Parvati as a perfect balance of male and female, the inseparable elements of action and calmness, destruction and birth. Suresh Muthukulam visually articulates the combined presence of Veera Rasa and Shanta Rasa, as shared by Shiva and Parvati.

Photographs by both Mahesh Bhat and Shaji N. Jaleel signify the sensation of rest and peace, visible in the relaxed face muscles and the calm eyes of the performers. Janardhana Havanje characterises a significant form of Lord Vishnu, as Seshasayee, or sleeping on the seven-headed serpent Adisesha. Vishnu is considered as the one responsible for the preservation of the universe, and in this form he is relaxed, the balance of the rich brown against white space, and the rhythmic lines of the horizontal composition create a sensation of equilibrium.

Dilip Bahotha’s tranquil landscapes and earth-scapes that resonate with the experience of a flight of birds, and the calmness of the atmosphere, are pictures of hope and lightness. He transforms the detailed and simplified figuration of the Warli style to encapsulate experiences that are deeply personal, and yet touch a universal chord with the viewer.

Pattachitra artist Bahadur Chitrakar infuses his narratives with contemporary experience s and commentaries on real life events and persons.His tradition follows a combination of painting with oral storytelling and singing; and here the artist speaks about the notion of ‘anand’ or contentment and peace in life, where different people achieve contentment from different things.

The Shringar rasa is very prominent in the Indian cultural context, being related to the celebration of love that can be both human and divine, and appearing frequently in mythological renderings. Shringar can initiate the feelings of different kinds of love, including romantic love and desirous or erotic attraction. It is also present in love between siblings, parental love for children, and devotional or spiritual love for a god.

The scriptures define different aspects of the pure love between Krishna and Radha, here depicted in its quintessence by Suresh Muthukulam in the Kerala mural tradition. In an atmosphere of perfect affinity, a beautiful blue Krishna extends his arm around Radha while she listens to him playing the flute, along with a host of bovine life. Also in the typical Kerala mural style, Gopi Chevayoor paints a couple in embrace, their heads in close communion against a surrounding of foliage – an element that relates deeply to his personal style. In both works, the expressions are representative of deep trust, sharing and timeless contentment.

Spreading love within a community, the festival of Holi, the joy of friendship and playing with colours is the subject of Kalyan Joshi’s work. His Phad is part of a long tradition of religious scroll painting native to Rajasthan.  Also working in a Rajashthani tradition, Chirag Kumavat creates contemporary renditions of miniatures. His paintings reveal a questioning of the artists role in the exploration and depiction of beauty, and an integral understanding of the feminine essence of adornment and desirability.

Symbolising deep devotion and love towards her ‘kuladevi’ or family deity, Saroj Venkat Shyam represents the imagery as the traditional identification of ‘Dasahi’, a form of Durga seen as seven sisters. The Tiger, the vahana or vehicle of the goddess carries them in harmony; his tail renders the central aspect of the composition and grows into the branches of the tree form. 

Dulari Devi narrates episodes in the life of young lord Krishna, and symbolises the love of his mother Yashoda for him, as he engages in naughty pursuits.

The exploration of valour and courage, and the personification of bravery comes across in this rasa. Both Janardhana Havanje and Kalyan Joshi, a phad painter, address this rasa through the mythological narrative of Veera Ganapathi in vastly different styles and techniques. The fourth of Ganesha’s 32 different forms, this one features him as a brave warrior, usually depicted with weapons, and representing the energy of fire.

Havanje presents Veera Ganapathi in traditional iconography, with 16 arms holding weapons like the ankusha, mace, hammer, bow & arrow, chakra (wheel), sword, trident, victory flag, club, serpent, noose, shield, spear, battle axe and symbol of vethal, or mind-goblin.

Joshi’s work shows the God being carried across a river, victoriously, with much fanfare of trumpets and others in attendance.