Painting and Theatre in Kashmir
- Suraj Tiku's Journey: Ramesh Tamiri
- Deepak Budki
Painting and Theatre in Jammu and Kashmir have kept pace with other parts of the country. However, political instability in the region has always cast its shadow on their proper development. Dr Ramesh Tamiri has done a great service to the modern cultural history of Kashmir by writing the book ‘Painting and Theatre in Kashmir – Suraj Tiku’s Journey’, which not only records the life and works of the great artist and set designer but also gives a detailed account of the evolution of these genres in the valley.
Kashmir school of painting, as per the author, finds mention in the Nilmat Purana as early as the 6th century and in Marco Polo's writings in the 14th century. It distinctly bore the influence of the Gandhara and Gupta art. After a lull in the medieval period, Kashmiri artists found patronage at Akbar’s court. The Kashmir Miniature School of painting, characterised by a lack of interest in Portraiture and a wide range of colours, produced great masters such as Tota Ram Naqash and his descendants. The nineteenth century saw a flow of foreign artists and writers into the valley and a rediscovery of the importance of Portraiture in painting. The establishment of Sir Amar Singh Technical Institute in 1913 proved a great boon for art and theatre in Kashmir.
Great Masters like Kampassi, JN Mattoo, JN Sapru, SN Raina, M Raina, DN Wali, and Manohar Kaul were products of this institute. Ratan Parimoo, SN Bhat, Trilok Kaul, and PN Kachru, influenced by SH Raza and Percy Brown, later joined these artists, followed by Bansi Parimoo, GR Santosh, Kashmiri Khosa, Kishori Koul, Mohiuddin, NK Zadoo, RK Sadhu, KN Fotedar and Sculptors like BK Sultan, Gayoor Hassan, Shabir Mirza, Shaiqa Mohi, Rajinder Tiku and Mir Imtiyaz. The author has also included several photographs of these eminent artists from the valley.
Tracing the history back to Raas Leelas and Ram Leelas, the Kashmiri theatre was later influenced by the Parsi theatre in the 19th century. However, in the intervening period, the rise of Hafizas (Nautch girls) and Bhands is also mentioned. The Amateur Dramatic Club pioneered the establishment of regular theatre in Kashmir, followed by a caravan of theatres, including the Saraswati Dramatic Club, the Kashmir Theatrical Company, the Natak Vibhag, the Karod Tirath Dramatic Club, and the Kala Kendra. The author has also mentioned the establishment of the National Cultural Front, Moti Lal Kemmu’s revival of professionalism in Bhand Paether, the contribution of the National School of Drama and the evolution of playwright techniques in the valley.
In the chapter titled ‘Kashi Nath Bhan-Suraj Tiku’s Guru’, the author pays a great tribute to the eminent painter, actor, director, teacher, and social activist Kashi Nath Bhan. He has reconstructed the life and works of this great artist by interviewing several people who knew him closely, since most of Bhan's works were destroyed during militancy in Kashmir. The life of KN Bhan is a saga of strife and endeavour. He was a pioneer of art and theatre in Kashmir and left a lasting legacy. Bhan’s encounters with eminent national artistes like Prithvi Raj Kapoor are also recorded, which throw light on his character, vision and resolve.
Parts two and three of the book deal with the evolution of Suraj Tiku as a master painter and a creative set designer. The life of Tiku is full of strife. He obtained a Diploma in Fine Arts from Sir Amar Singh Technical Institute, initially worked as a teacher in a Government school, and later in the Songs and Drama Division, J&K State. He learnt painting and theatre from his guru, KN Bhan. He had a passion for painting the landscape of Kashmir, which he continued even after migrating from the Kashmir valley in 1990 due to militancy.
Nevertheless, he excelled in Portraiture and miniature painting as well. His contribution to set design and theatre was unparalleled. He was known for his sense of humour and philanthropy. He breathed his last on 26 January 1997 in exile, exasperated by heavy smoking and consequent asthma. The author has included numerous photos that offer a glimpse into the life and works of Suraj Tiku. In the last chapter, the author has shed light on various members of the Tiku clan, past and present, who have significantly contributed to the art and theatre movement in Kashmir.
It may not be out of place to say that, given the post-migration context in which the book was written, Dr Tamiri has produced a gem of a book that will serve as a reference for generations to come. The language is simple and free of unwanted clichés and technical jargon. The choice of photographs and paintings enhances the book's value as a document tracing the evolution of art and theatre in Kashmir.
*****
Price: Rs. 650 (Hard cover) & Rs. 300 (Paper back); Publisher: Suraj Foundation, 245, Amar Colony Extension, Gol Gujral, Talab Tillu, Jammu-180002; Contact details: surajfoundation@yahoo.com,(M) +91-9419114691
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