Fine art in india

I have been watching the rise and fall of people in the art community for last many years and the conclusion is art is under cultural frustrations and so are the artitsts.

Gross rationality v/s Net Rationality

What are we running after?The new year has brought a reunion of two forces.One is God of Love and another is God of war ...... can they meet together? what happens when they meet.A very reknown economist Gunner Myrdall wrote a book ASIAN DRAMA.In the preface of it he wrote about asian experience of the asia.Where he quoted this story. All of us need some rationale to guide us on expectations.. aspirations... and endosrsement of what we think and act... or otherwise Outcome expected without the right rationalae will destroy each other.How laws of local self bodies need to be utilised, applied and implemented nobody knows but everybody believes in aspirations and actions of what they think is right and again indivisualism leading to vicious cast connections and unmanagable justice is the picture of our democracy.
GOD PLEASE FORGIVE THEM! BECAUSE THEY DONT KNOW WHAT THEY ARE DOING TO THEMSELVES.


I wish to quote Kaify Azami
aza me bahate the aasu yaha lahu to nahi
ye koi aur jagah hogi, LAKHANAU to nahi
samaz ke mal mira jisko tumne loota hai
padosiyo! ye tumhari hi abru to nahi
buza rahe jise aap apane damanse
kahi ye aap hi ki shame aarju to nahi

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Road Not Taken...so far

Recently i saw a movie Road to sangam by amita rai featuring paresh rawal.

I was bulleyed directly or indrectly by my students for why i forced them to see richard attenbourough's GANDHI while learning services marketing.But after seeing this i am relieved as the gandhian thought in me pushes ahead to search and seek truth unconditionally.I did not do anything wrong .I request all of my colleagues and friends and students and beloved to see this movie.Try to have maximum shows of the film if you can.
Let us thank the organisers of KOlhapur and especially Mr UDAY KULKARNI the key person to keep the movement alive in KOLHAPUR.The Kolhapur based film society is really keeping the different and great tradition alive.I request you all to be the member of this society and also spread the message of power of media ,like film to the scattered existentialist society for a bliss of relief.I have cutpasted the review of the film by TOI and now running.com pictures.Please read them carefully with due credits and find some time to see this movie.The promos and pictures are avaliable on youtube also.Please see this movie.





Release Year: 2010

Cast: Paresh Rawal,Om Puri,Pawan Malhotra,Javed Sheikh ,Swati Chitnis,Yusuf Hussain,Masood Akhtar,Rajan Bhise,Sudhir Nema,G P Singh,Vijay Mishra,Tushar Gandhi,Rakesh Shrivastav

Producer: Amit Chheda

Director: Amit Rai

Music Director: Sandesh Shandilya ,Vijay Mishra

More...

Synopsis
A simple story of a God fearing, devout Muslim mechanic named Hashmat Ullah (Paresh Rawal) who has been entrusted the job of repairing an old V8 ford engine, not knowing the historic significance that it once carried the ashes of Mahatma Gandhi which were immersed in the holy river 'Sangam'


Mayank Shekhar's Review: Road To Sangam

It isn’t acknowledged often enough that Gandhi, the father to this nation, was victim (this day, 62 years ago) to a Hindu fanatic’s bullet. Decades later, Gandhi and his sworn secular followers were shamed further by a government that came to power in this country, pretty much over a desecrated mosque.

To simply suggest the rise of Islamic fundamentalism (in India) as response to that episode (or any other) would be to miss the trees for the woods. Insecure ghettos alone breed fanaticism of any kind. Love for God is a private affair.

These insular, claustrophobic ghettos, built around a single community, are relatively easy to politicise. The rich of the lot become their natural patrons. Sense of nation-state isn’t adequately strong. Qom (community; largely neighbours) come first. The director of this film walks into one such hamlet to help us experience its dynamics.

Paresh Rawal is a master mistri (mechanic) in a provincial Allahabad neighbourhood. He’s also an office-bearer of the local masjid committee. Unknown to him, he’s been working on the repair of a vintage Ford engine that would take Mahatma Gandhi’s ashes for immersion to the Sangam (confluence of rivers Ganga and Yamuna). This ritual was to take place after Gandhi’s death in 1948 as it was done across holy rivers around the country. This last pot of ash remains an administrative oversight. It’d disappeared into a bank vault back then. Better a service late than never.

Rawal’s Hasmat bhai (who gets his Allahabadi twang right down to Amitabh Bachchan’s ‘aayen’) feels an honoured soul. Except, he can’t honour his commitment. A firman (order) has been issued to his community to quit work, shut shops for two weeks. This is to protest against the arrest of a few Muslims as suspects in a bomb attack. Hasmat bhai should fear a fatwa for merely working (defying an order). And that decree may come from the same organisation he’s general secretary of. His superiors (Om Puri; Pavan Malhotra, brilliant as a maulvi) are not pleased. The conflict is strong, and appropriate.

Hasmat bhai, instead of fighting against his friends, covertly appeals to their senses. The filmmaker competently manages to place the individual within larger conflicts we face today. For the common man caught up in such situations, the choice is often between being ostracised, or just going with the public flow. The narrative plays out well. Rai does however subsume himself in the noble intentions to make larger points on the politics of Liaquat, Jinnah, and the creation of Pakistan. Several moments border on self-indulgence. This is often true for good first films. It is noteworthy to watch a Pakistani star (Javed Sheikh) play a part
in a picture that questions the creation of Pakistan itself: a fact, if reversed in history, the filmmaker suggests, could save us Rs 11 lakh crore spent so far on defending borders alone. The position is debatable.

It still irks the filmmaker to see posters of Osama and Pervez (Musharraf) make the walls of Indian ghettos. While he has a point, this could somewhere also be the failure of the Indian state.

Most public artistes had rather not directly touch upon the issue of Islamic fundamentalism than run the risk of being senselessly labeled Islamophobes. It’s the curse of our delicate times. The questions are still important. They shouldn’t be ignored. Neither should this film.

Song : Hum Subah Ke Bhulon Ko
Music : Sandesh Shandilya, Nitin Kumar Gupta, Prem Hariya & Vijay Mishra
Lyrics : Sudhir Nema
Singers : Vijay Mishra, Ghulam Qadir Khan & Ghulam Murtaza Khan
Views : 269



Woh Subah Gaya, Shaam Talak Ghar Nahi Aaya
Use Bhula Huwa Keh Du Mere Dil Mein Nahi Aaya
Main Jisako Pujata Hoon, Woh Mujhako Samajh Kyun Nahi Aaya
Sajde Mein Hoon Umar Se, Asar Kyun Nahi Aaya

Hum Subah Ke Bhulon Ko Pata Ghar Ka Bata De? (3)
Ai Shaah Kalandar Hame Tu Jina Sikha De? (2)
Woh Kaun Si Masti Hai Jise Tune Pa Liya? (3)
Hum Par Bhi Thoda Thoda Thoda, Hum Par Bhi Thoda Thoda
Hum Par Bhi Thoda Sufiyon Se Rang Chadha De? (2)
Hum Subah Ke Bhulon Ko Pata Ghar Ka Bata De

Kehane Ko Bahot Kucch Hai Muh Mein Jubaan Band
Saans Band Baat Band Dil Dimaag Band
Ik Dusare Se Darr Ke Sabhi Ghar Mein Kaid Hai
Kaam Se Bas Kaam Rakhenge Kiwaad Band
Haan Aa Aa... Dard Shida Raha Hai
Mohabbat Ke Taraane Dard-E-Shuda Raha Hai
Mohabbat Ke Taraane
Abb Tak Nahi Ruka Fakir? (2)
Beetein Jamaane, Beetein Jamaane
Hum Bhi Ade Hai Jidd Par, Hum Bhi Hai Sayaane? (2)
Hamane Toh Kar Rakhe Hai Apane? (2)
Aankh Kaan Band, Aankh Kaan Band
Rabba Mere Maula Mere? (4)
Tera Hai Dar Rabba Mere, Khula Huwa Maula Mere
Tera Hai Dar Khula Huwa, Dil Bhi Khula Hai
Bas Tu Hi Jaanata Hai Kya Tujhako Mila Hai
Rabba Mere Maula Mere...
Jo Dekhata Rehata Hai Tu Manjar Woh Dikha De
Baithe Bithaaye Naachane Ka Dhang Sikha De? (2)
Hum Par Bhi Thoda Thoda? (2)
Hum Par Bhi Thoda Sufiyon Se Rang Chadha De
Hum Subah Ke Bhulon Ko Pata Ghar Ka Bata De? (2)

Mehanat Mashhkatto Ke Niwaale Nahi Rahein
Aankhein Milaake Bolane Waale Nahi Rahein
Ghar Ke Bujurg Saare Gharon Se Nikal Gaye
Baahr Abb Bhi Abb Woh Ped Puraane Nahi Rahein
Hmm Budhi Badhi Kahaani Ko Abb Kauna Sunaaye
Naani Nahi Rahi Woh Nawaase Nahi Rahi

Sab Keh Rahe Hain Ya Khuda Kya Waqt Aa Gaya
Roshani Ke Sir Pe Andhera Sa Chha Gaya? (2)
Dharm Khatare Mein Hai Usako Bachaane Nikale Hain
Majhabi Log Abb Majhab Jataane Nikale Hain
Laal Aankhein Liye Khanjar Chalaane Nikale Hain
Naasmajh Log Apana Ghar Jalaane Nikale Hain? (3)
Rabba Mere Maula Mere? (4)

Abb Toh Najar Rabba Mere, Karam Ki Hum Par Maula Mere
Abb Toh Najar Karam Ki Hum Par Bhi Tu Ali Kar
Haq Mein Duwa Hamaare Bhi Toh Thodi Si Kabhi Kar
Tauba Ke Baad Phir Gunaah, Phir Se Tauba Phir Gunaah
Sab Kuchh Galat Salat Hai Nabi Tu Hi Sahi Kar
Rabba Mere Maula Mere? (4)
Nafrat Se Adaawat Se Buraayi Se Badi Se? (2)
Kaise Tune Jeet Liye Jung Bata De? (2)
Hum Par Bhi Thoda? (4)
Hum Par Bhi Thoda Sufiyon Se Rang Chadha De? (2)
Hum Subah Ke Bhulon Ko Pata Ghar Ka Bata De? (3)
Ai Shaah Kalandar Hame Tu Jina Sikha De? (2)
Hum Par Bhi Thoda Sufiyon Se Rang Chadha De? (3)

The great artists of Kolhapur SHRI B R TOPKAR

I met him when i was studying in 4th or 5th standard.He is my friends father and great maestro.An artist who has struggled a lot throughout his life.A great water color portrait expert and i would say the best of our life time i have seen.One who can handle all forms of the art and sculpture.Hit badly by destiny and nobody to understand the passion of art ANNA alias SHRI B R TOPKAR has sacrificed his life in just experiencing and experimenting with art.
378 A ward margai lane shivaji peth Kolhapur is a small philantrhopic house where he lived with all his tools and colors and always with hunger inside the walls all he talked was art to various people whom he met.
In his younger days he was in a Pachagani based school where at the then times he used to do direct sketching and portrait paintings and earn his bread and butter.In the spirit of hunting new forms of wood he went to pachgani jungles and was victimised by the regular infection of CONGRESS grass a skin disease where every part of skin becomes Blackish and continuous irritation.He still suffer es with that but what he can see through his eyes we can not see with our ugly eyes.
And now he is above eighty and living with his sons with a great wish to at least once his partings should be displayed at Jehangir Art gallery Mumbai.
Destiny still plays a funny trick with him now ,grand children around the great mainstream art contemporary oldman strives for basics of his life.
Worst over worst he has a place somewhere in basement he has kept his paintings in Khari corner is full of water drizzling through basement,his son helpless can not do anything the work is getting destroyed however a very scientific restoration is required at the same time he needs to be given some space and support to make people appreciate his art and pull him out of this lifetime negligence so that the true spirit of Kolhapur is rewarded and the art survives.Very few artists get their recognition during their lifetime,however this is 21st century people copy text pictures and images even emotions and what not.Are we really bothered about art and artists?Is onetime help sufficient for artists?
If somebody really wants to meet him or help him they may in following way come ahead and ......
take the responsibility of paintings and restore if required or support to survive them through his guidance.
Some trust to take care of his work and him with all necessary contemporary documentation of his work.
Write his biography.
make a film on Him and convey his message to the world.
Contact his family members coordinate them and help counsel the social trauma.
Oh GOD are you reading?

Republic day

I still find people struggling for food which for no reason makes me cry.
On the republic day let us committ ourselves for the better future!