When a versatile musician and an adept artiste - Ramakrishnan Murthy and Vinay Varanasi respectively, come together to look at the concept of Lord Shiva through the genres of music and painting, and spell out their purpose by calling it “Kalaabhyaam”, it was sure to evoke attention and appreciation of music connoisseurs and art lovers and it very well achieved it at Bangalore International Centre recently.
Vinay Varanasi, an architect who is keenly interested in music, and accomplished musician, Ramakrishnan Murthy launched on their delectable journey and walked the audience through.
In their concept of ‘Kalaabhyaam’ they encapsulated the religio-cultural ethos pertaining to Lord Shiva, his consort Parvati,, his worship, his graceful compassion, his abode Varanasi and presented all that through compositions of Carnatic music by various composers and ragas and paintings in the medium of water colors.
Vinay Varanasi presented each one of his paintings - displayed them-on a large screen and gave explanation of the background idea, the impetus behind each of his paintings supported by quotes from scriptural texts. It takes one to know the important point of reference, clear definition of terms, strict idea of the lyrics without superimpositions, understand them within the given context and purport, see them as dynamic teachings - then it is possible to depict a lyric as a painting. Vinay succeeded in his sincere efforts.
Ramakrishnan Murthy rendered mellifluously the corresponding compositions in his usual flawless elaboration of ragas with bhavam of lyrics conveyed through perfect enunciation. After rendering slokam on Kalaabhyaam in Mayamalavagowla and the slokam ‘Eshvaro gururaatmeti in Shankaraabharanam, Ramakrishnan went on to present ‘Sundareshwaruni’ in raga Shankaraabharanam and along with the paeans to the primordial couple ‘Vaagartha-viva samprukthou’, he sang ‘Shri Parvathi Parameshwarou’ in Bhouli raga. After offering a verse from the Annapoorna-ashtakam he followed it with ‘Ehi Annapoorne’ in Punnagavarali raga. His RTP was in Hamsadhvani and he proceeded to present ‘Niravadi sukhada’ in raga Ravichandrika, and ‘Ramanatham bhajeham’ in Panthuvarali raga. In all, he sang nine compositions that articulated the subtle nuances, powerfully and sensitively. All the compositions had corresponding paintings – and the whole thing was so seamless, the ingrained harmony of both the art forms was delineated effectively.
While the last piece ‘Karunanidhiye Isha’ in Kurunji raga was being rendered by Ramakrishnan very soulfully and soothingly, Vinay took to his brush and palette of colors and gave a sample of his artistry by painting Shiva bestowing his compassion, ‘karuna’ unto the worlds….This brought the sublime event to a close.
