Buddha beckons
RANA SIDDIQUI
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Charan Sharma's exquisite works on Buddha in the ruins of Rajasthan was a major draw
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KNOWLEDGE IN RUINS This painting of Buddha, Charan Sharma regrets, was not understood.
Just when Delhi was beginning to forget its architectural marvels, Mumbai-based artist Charan Sharma appeared on the scene and attracted art lovers' attention.
In his signature watercolour paintings of the ruined palaces of Rajasthan, his home state, he has introduced the motif of the Buddha. Curated by Vinod Bhardwaj and presented by Art Indus, the show, which included some spectacular work, concluded this week.
Sharma is known for his works that brought alive the lonely ruins of Navalgarh, Dhund, Basoli, Pichwai, etc. What makes his works captivating is the intriguing use of "pieces of sunlight" falling on the ruins. The photographic quality of his works ensures that the minor cracks on the ruins become visible. His puppets hanging on these ruins have always attracted visitors.
Explorations
For the Art Indus show, he depicted the Buddha inside these ruins. He reasons, "My father and brothers were also painters from Rajasthan, but they painted in Marwar style. I was fed on their artistic detailing and Krishna stories from my mother. After getting my Bachelor's degree in Fine Arts from Rajasthan, I wanted to explore something new apart from Marwar style and Krishna. So I went to the J.J School of Art in Mumbai and also attended an 11-day Vipasana camp in Nasik. From there, I became inclined towards Buddha. To know more about him I went to Nepal, Sri Lanka, Thailand and many other places." So strongly did the Buddha get "ingrained" in him, he says, that the thoughts "flew through" his brush. "None of my works on Buddha is free of his philosophy."
For instance, one of his works in which Buddha's `angvastram' flows down the stairs of the ruins has an interesting tale behind it.
Sharma, who regrets that no one could understand its hidden meaning, narrates, "Once a pupil of Buddha asked him why he sits at an altar while teaching and why not sit with them while he talks of equality. The Buddha asks him to go to a nearby lake and drink some water. He goes, drinks water and comes back. The teacher asks him if he had drunk water from above the lake or below it? An amazed pupil wonders how he could drink water from beneath. To which the Buddha replies, same goes with the knowledge (gyan). It has to flow from above and not beneath. I have symbolised that in my work."
And he is known for his constant artistic quest, which doesn't allow him to spend time at "art parties".
That's why this artist sometimes feels wary of certain artist friends who no longer talk of art as art but art as money. "The art mafia has got control of artists these days. They have forgotten they are artists. They talk to me more in terms of money than my artistic pursuits. Now when they meet me, they ask me, `Kitni biki'? (How many did you sell?) It hurts me. Earlier if kings used to patronise art, they didn't have investment in mind, unlike today's art galleries. They did so to educate the society about art. Now even art critics write for money. So my belief in criticism has waned too."
Changing times
He recalls the comment of critic Prayag Shukl. "He said that there were times when he would sit for hours with Ravi Jain (of Kumar Gallery in Delhi) and discuss why and how an artist's colours are changing in his works, his technique, style and so on. Now when he writes a catalogue, no one questions him, no one discusses what he writes. Long back Mumbai used to have a separate art show called `Critics' Choice'," bemoans Sharma.
Sharma himself was a `Critic's Choice' in one such art show at Jahangir Art Gallery. He was clubbed with Raza for the honour. It's a memory that Sharma cherishes.
For now, he is concentrating on Muraini's black sculptures on Buddha.
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