Pictorial art and the Indian ethos
Some thoughts on calendar
Usha Bande
THE
innocuous calendar fluttering on the wall is a utility item.
Interestingly, over the years it has become not only a decoration piece
that is meant to add colour to the room but also an art object that
displays the taste of the owner. Even today when the calendar is no
longer a part of drawing room decoration of the elite urban society, it
is still a cherished object d’art in towns and villages. There
calendars are exhibited on the walls and preserved for years for the
sake of religious value or even pictorial beauty.
Between Divali and the New
Year, one encounters a mind-boggling variety of calendar art displayed
in all its garish glory. It is the time to buy, gift or distribute
calendars. The marketing and shopping of calendars assumes importance
during Divali. Every conceivable spot in shopping centres, on pavements
and subways, glitters with bright poster colours — deep red and green
and electric blue. Large-sized calendars are spread on the pavements or
hung on roadside trees. These mostly have pictures of gods and goddesses
from the Hindu pantheon on glossy paper. The most popular pictures are
those of Lakshmi and Ganesh, followed by Shiv, Hanuman and others.
Originally, decorating the
walls with highly prized trophies and paintings was a western concept.
During the colonial period, Indian royal families and aristocratic and
wealthy households took to commissioning artists to paint exclusively
for them. The display of original art objects functioned as signs of
rank, taste and wealth. To own a Van Gogh or a Ravi Varma piece was a
matter of pride. Even today, some of the museums housed in the royal
palaces of Mysore, Jaipur, Hyderabad and other places are the proud
owners of some rare paintings. The common man, however, was happy with rangoli
patterns and the ritual wall-decorations drawn by the women of the
household as auspicious symbols. Later, techniques of mechanical
reproduction like lithography, oleography and photography became crucial
in generating the colourful pictures. When the posters/pictures began to
be produced on a mass scale, the day-date papers came to be attached to
these.
In colonial India,
calendar art was not an indigenous popular art form but a hybrid style
produced for British patrons and the Anglicised Indian elite. It denoted
the westernisation of taste of the bourgeois Indians and the
modification of a foreign medium to suit the Indian style. The credit
for popularising calendar art and taking his paintings to the masses
goes to Ravi Varma (1848-1906), the painter-artist from the royal
household of the Travancore state of Kerala. An artist par excellence,
Ravi Varma was the first Indian painter to master the technique of
western oil painting. He also set up one of the earliest lithographic
presses in India. These presses reproduced Varma’s mythological
paintings by the thousands. These reproductions reached Indian homes
across the vast span of the land but at a massive cost to his art.
Some of the early
calendars demonstrate his graceful portraits of goddess Lakshmi, the
lithe Shakuntala, the beautiful Damayanti and the harassed Sahirhandri
hiding her eyes from the gaze of Keechak. But unfortunately, the
paintings became the objects of the erotic gaze and his art became
synonymous with kitsch. During the freedom struggle, the common motifs
were of mother India and the traditionally accepted mother-son duo of
Yashoda-Krishna.
Calendar representation
has undergone rapid change over the years. It is now a popular art form
as well as an advertising medium of sorts. Apart from religious icons
and mythological figures, new and more patriotic and secular themes are
displayed on calendars. Large establishments like banks, insurance
corporations, big corporate houses and airways, and even central and
state governments have entered the field. Though religious themes are
still in popular demand, depictions of Indian textiles, folk arts and
crafts, and places of tourist interest are also gaining ground.
During the 60s, popular
calendar displays pertained to the slogan Jai Jawan, Jai Kisan. Pictures
of farmers and lush green fields formed the foreground or there was the
Army in action with Patton tanks in the backdrop. Portrayals of dams and
some industrial establishments and other sites of progress were also
trendy. The secular topics present themes of unity and the equality of
all religions. To emphasise this theme, some calendars portray men and
women wearing different state costumes or people with different
religious affiliations standing within a map of India with a lamp
burning in the middle. The lamp is symbolic and may well refer to
Cardinal Newman’s famous poem, so liked by Gandhiji, "Lead
Kindly Light, amid the encircling gloom."
One of the calendars I
remember that almost became a craze in the late 1970s and 1980s was
an Air India production of the ornaments of India. Printed on thick,
high quality paper, it devoted a page of considerable dimension to each
month. Each page had the picture of an ornament from one region or state
of the country, and provided a small write-up on the ornament, its
significance, and occasion of wearing it and so on. Others followed suit
with attractive pictures and informative texts on Indian textiles,
sarees, shawls, musical instruments, food, festivals and dances.
One more calendar that I
have preserved for its high-quality printing and fascinating crayon
paintings pertains to rural scenes from across the country. There is a
hut from Himachal with a slate roof, and another, with coconut fronds
from Goa and the coastal regions, there is one with wooden planks and
cane roofs from Assam and the North-East and yet another one from
Punjab. Each hut has a typical village scene with women drawing water
from the wells or fishermen at their oars, children playing around and
the cattle ruminating in a relaxed village ambience. Such calendars are
a mine of information apart from being visual delights.
One significant change in
the calendar was perceptible around the 1970s when some enterprising
printer brought out a secular version that replaced the pictorial
calendar. Named Kaal Nirnaya, these calendars followed the
Western date-month pattern but also provided the Saka Samvat. All
the significant festive occasions or anniversaries, irrespective of
religious affinities, are recorded against each day. There are no
pictures to create any controversy. The back page covers monthly
predictions, the Railways’ timetable for the region, cookery and
health write-ups and other factual details of day-to-day importance.
Thus, these project a kind of national ethos.
Chic and elegant table
calendars and tiny card-like pocket calendars are also popular these
days. Sometimes, the subjects chosen are socially relevant and even
emotionally catching. One such calendar had postcard-sized paintings by
mentally challenged children and orphans. Their themes spoke of their
deep psychic needs and one could not but feel their pain.
Representation of India
through the calendar has set a tradition of its own. It has special
relevance for the pluralistic nature of Indian reality. Calendars are
like cultural ambassadors and a person usually likes to put up only that
calendar which is in line with his/her ideas or philosophy of life.
In the present context,
however, feminists are sore over the depiction of women in calendar art
and feel that presenting women in all their feminine charm to the public
gaze is an insult to women. Even the depiction of gods and goddesses on
calendars is considered a humiliating experience by some. What we
require is a neutral and featureless representation with only columns
for day-dates. But that would be so uninterestingly bland and faceless.
After all, we like to partake of the visual pleasure of glancing at some
beautiful image — may be a painting, a landscape or monument or a
deity.
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