November 2011
Title:
Painting and Theatre in Kashmir—Suraj Tiku’s Journey
Author:
Dr. Ramesh Tamiri
Published
By: Suraj Foundation,Jammu
Price:
Rs. 650 (HB), Rs300 (PB)
By Prof. A.N. Sadhu
I had the pleasure of reading the book written by Dr.
Ramesh Tamiri on “Painting and theatre in Kashmir-Suraj Tiku’s Journey”.
The book comprises of 112 pages, besides 4 pages of notes and references, 12
pages of two appendices, 5 pages of list of illustrations, one page of persons
interviewed, 3 pages of index and pages of foreword, preface and
acknowledgments. The book also contains a photograph of Suraj Tiku, 34 other
pages of photographs and portraits of important persons including some
foreigners who have contributed to the development of painting and Theatre in
Kashmir. There are also 16 pages exhibiting some paintings by Kashmir artists.
The book is an interesting reading and highly enriching in
so far as it is educative and informative of Kashmir’s who have, in a very
humble way, significantly contributed to the development of painting and theatre
in the state. The value of the book is enhanced by the excellent foreword
written by Prof. Ratan Parimoo. The foreword is exhaustive and impregnate with
rich thought related to creativity. In fact it stimulates the interest in going
through the book from cover to cover. Rattan Parimoo quotes Rabindernath Tagore
to explain that creativity overflows like a lava bursting out of a volcano, He
has rightly identified societys discontent political anarchy and unwarranted
violence as other sources of creative .upsurge that at times leads to master
pieces of art depicted through paintings and theater.
The states history has not been free from political
upheavals natural hardships and unwarranted atrocities. It is, therefore,
natural that these factors should have led to creative upsurge not only revealed
through masterly pieces of literature but also through painting and theatre.
What is also important is the fact that men of creativity
have of their own chosen the painting and theatre to manifest their assessment
and understanding of the man and the nature. Although these men are few but have
always been born at all stages of social evolution. That such men of high
quality of art have remained unknown is a sad state of affairs.
Dr. Tamiris book will be lauded for putting in the
extremely hard effort to, at least, bring to light the unknown crusaders of art
in the state, if, perhaps not all of them due to paucity of written and oral
history. Recollections is a normal phenomena but translating these into a book
form of such a high quality as of Tamiri’s is not an ordinary effort.
The second part of the book deals with theatre. It is
remarkable to note small dramatic clubs, such as Raas Mandalis, Kashmir
theatrical company Saraswati club and similar other clubs, have significantly
contributed to the development of theatre in Kashmir. This reminds me of some
efforts made in my own village Hutmuva under the supervision of Late Prithvi
Nath Koul through which some theatrical presentations were made to create
awareness among illiterate and ignorant villagers about the changing times after
independence. The neighbouring small town of Mattan (Martand) had a regular
arrangement to enact dramas on social and religious themes. The theatrical
presentation on Raja Harishchandra laid an indelible impression on me. Under the
auspicious of Sudhar Samiti, Natak Vibagh was founded in 1944 which presented
plays like Kashmir Hamara Hai,” Shaheed ‘Sheerwani and several other themes
which were lauded greatly by one and all. With the establishment of Kala Kendra
(KK) further fillip was given to the promotion of theatre. Contributions made by
K.A Abbas, Kashyap Bandu, D.N.Nadim and others have been praise worthy in so far
as the development of social reform movement and its reach out to general public
through theatre is concerned. Moti Lal Kemmu’s contributions in introducing
the professionalism in Bhand Paathar is highly commendable. Among the
contemporary theatre personalities his role is significant. Unassuming as he
is,’ I have always held him in high esteem for his selfless devotion to art.
The third part of the book deals with Suraj Tiku's journey
and that of his mentor Kashi Nath Bhan.
Describing Kashi Nath Bhan as a pioneer in Kashmir’s
theatre movement, Tamiri says that he was also a distinguished artist in
painting, acting and directing besides being an accomplished set designer. The
author says that Bhan found the talent in Suraj Tiku and guided him towards its
development in a perfect form.
Kashi Nath Bhan also discovered Gopi Nath (Gupa Bacha as he
was popularly known) and brought him into public eye through dancing
performances accompanied by his own songs in a melodius voice. Bhan served in
several institutions and at different places and created a niche for himself
everywhere. . Bhan was a perfectionist in stage craft besides being a painter a
teacher and a disciplinarian.
Author describes Suraj Tiku as a master painter, a creative
set designer and a talented actor. Not much of Suraj Tiku’s talent could be
known in wider circles because of his early struggles to settle down and
stablize his pursuit of art. It was also because absence of commercialism In art
at that time. Many a times a lone crusader remains unknown even when he is the
master of the art. The well known portraits drawn by Suraj Tiku include the full
size portrait of Sheikh Mohd. Abdullah and Bhagwan Gopinath besides many others
among which a few have also been lost owing to sudden and sad exodus of 1990
which Suraj Tiku found hard to bear with. Gokul Dembi, the famed artist
describes Tiku as the best artist of his era. Suraj was also a creative set
designer and had intense passion for theatre. The author also describes Tiku as
a great humanist and philanthropist as also a greater landscape painter Dr.
Tamiri has done an extensive research work and brought out clearly the tradition
of art in the Tiku family. What is gratifying is that Tiku’s children are
carrying forward this family tradition.
In a book review like this, it is not possible to mention
the names of all these artists, whose known fact sheets have so well been
scripted by the author.
I will only recommend that all art lovers, in particular,
and people in general should read this book.
Dr.Tamiri has done a fine job. Writing on themes for which
sufficient material is available in libraries and archives is relatively an
easier job but writing on something for which lots of pains are required to be
taken to collect sufficient and credible information is a hard task which the
author has done exceedingly well. He deserves accolades for the same.
The book has a limited coverage as it revolves round the
Suraj Tikus journey. The other two regions of Jammu and Ladakh where we have
rich tradition of art of painting and theatre, both have not found space in this
volume. I do hope Dr. Tamiri will enlarge the scope of his explorative research
and being forth the art of painting and theatre of these two regions, as well-
Whereas the role of Sir Amar Singh Technical Institute and that of Baroda
university has been greatly acknowledged, the initiatives launched after 1947
are not sufficiently critically assessed. The suggestive part is conspicuously
missing.
That there is sufficient talent of creative art and that it
needs to be developed to glorify the state’s rich traditions of originality
and creativity, we the ordinary, men and women, need to join hands to work
towards the establishment of peace and stability in the state for the benefit of
the posterity.