[ SATURDAY, MARCH 31, 2007 03:27:56 AM]
It is not uncommon amongst artists to claim that their real life is their art. But in most cases, there are dichotomies, contradictions, in any case, with a clear distance between the two. Sayed Haider Raza, the Paris-based widely acknowledged master of modern Indian art, who turned 85 in February this year, is an exception.
His life story is one about the decreasing gap between life and art which now seems to be on the verge of disappearing. For him life now consists of artistic essence and his art is centred on life essences. A beautiful and graceful merger is in evidence.
Even at this ripe old age, Raza wishes to live intensely to be able to paint a few major canvases as he puts it. If you were to ask him as to the aim of his life, he would answer it by saying unambiguously, to paint. Raza has deep spiritual yearnings to feel one with — and be able to resonate in his life and work — the cosmic reality and energy. But he seeks no liberation to attain any other-worldly heaven or jamaat: for his art is his moksha.
It is in many ways an affirmation of life in all its intensities and passions. It is art which celebrates life in colourful fury as well as in aesthetic silence. Infirm, old and alone in Paris, Raza glows with passion for art and his studio, which is very much like a prayer room. He also struggles daily to further explore his pet themes of Panchtatava, Kundalini, Shanti Bindu etc.
A rare artist, who has forgotten the hard struggles of his youth, Raza has been taking deep interest in the work of younger generations not only in visual arts but also in Hindi poetry, classical music and dance. He has created a foundation which is aimed at promoting young talent in these fields by contributing nearly Rs 1.5 crore from his personal earnings.
Also, over the years he has been buying works of young Indian artists and has, perhaps, the single largest personal collection of their works. In July, in Gorbio, a village in southern France where he has his summer house and studio, Raza is to launch Raza Mongillat Foundation in a 12th century château by creating a museum which shall house his vast collection of Indian art and antiquity.
Raza’s life story of runs simultaneously at many levels. At one level it is the narrative of a boy born in a tribal village of merely seven houses in central India daring to arrive in Paris, the art capital of the world, more than half a century ago and settling down there to become a reputed artist.
At another, it is the chronicle of a man who, though born a Muslim, acquires wisdom and insights from Hinduism and Christianity as well and converts them into aesthetic concepts in his art. And then he exemplifies that at a higher or deeper level all spirituality is one and unites us all in our moral humanity, seeking dimensions of eternity through creativity.
At yet another level after being trained and acknowledged as a painter of the Parisian school Ecole de Paris, Raza reverts to his Indian roots and it becomes a fascinating chronicle of the French le sens plastique combining with an Indian vision to create a unique art, unprecedented in France and unanticipated in India.
His life story is one about the decreasing gap between life and art which now seems to be on the verge of disappearing. For him life now consists of artistic essence and his art is centred on life essences. A beautiful and graceful merger is in evidence.
Even at this ripe old age, Raza wishes to live intensely to be able to paint a few major canvases as he puts it. If you were to ask him as to the aim of his life, he would answer it by saying unambiguously, to paint. Raza has deep spiritual yearnings to feel one with — and be able to resonate in his life and work — the cosmic reality and energy. But he seeks no liberation to attain any other-worldly heaven or jamaat: for his art is his moksha.
It is in many ways an affirmation of life in all its intensities and passions. It is art which celebrates life in colourful fury as well as in aesthetic silence. Infirm, old and alone in Paris, Raza glows with passion for art and his studio, which is very much like a prayer room. He also struggles daily to further explore his pet themes of Panchtatava, Kundalini, Shanti Bindu etc.
A rare artist, who has forgotten the hard struggles of his youth, Raza has been taking deep interest in the work of younger generations not only in visual arts but also in Hindi poetry, classical music and dance. He has created a foundation which is aimed at promoting young talent in these fields by contributing nearly Rs 1.5 crore from his personal earnings.
Also, over the years he has been buying works of young Indian artists and has, perhaps, the single largest personal collection of their works. In July, in Gorbio, a village in southern France where he has his summer house and studio, Raza is to launch Raza Mongillat Foundation in a 12th century château by creating a museum which shall house his vast collection of Indian art and antiquity.
Raza’s life story of runs simultaneously at many levels. At one level it is the narrative of a boy born in a tribal village of merely seven houses in central India daring to arrive in Paris, the art capital of the world, more than half a century ago and settling down there to become a reputed artist.
At another, it is the chronicle of a man who, though born a Muslim, acquires wisdom and insights from Hinduism and Christianity as well and converts them into aesthetic concepts in his art. And then he exemplifies that at a higher or deeper level all spirituality is one and unites us all in our moral humanity, seeking dimensions of eternity through creativity.
At yet another level after being trained and acknowledged as a painter of the Parisian school Ecole de Paris, Raza reverts to his Indian roots and it becomes a fascinating chronicle of the French le sens plastique combining with an Indian vision to create a unique art, unprecedented in France and unanticipated in India.
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