Tag Archives: bengaluru

An artist from Bengal and the freedom struggle of Mahatma Gandhi

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BENGALI ARTIST NANDALAL Bose (1882-1966) was chosen as the artist to provide illustrations for the ceremonial manuscript of the Constitution of India. A few copies of these images are currently (January 2024) on display at Bangalore’s National Gallery of Modern Art (‘NGMA’).

Bose was part of an international group of artists who were endeavouring to revive classical Indian culture and art. Because of this, he came into contact with Japanese artists. Their painting techniques influenced the way Nandalal painted. This can be seen in many of his works on display at the NGMA in a temporary exhibition of a selection of his Haripura Panels, which is on until April 2024.

The ear cleaner at work

In 1938, the 51st session of the Indian National Congress was held in Haripura (now in Gujarat). Mahatma Gandhi asked Nandalal Bose to paint a series of panels depicting Indian village life in such a way that the images would be easily accessible to the common people (villagers etc.). Bose obliged, creating about 400 colourful paintings on handmade paper, using organic (rather than industrial) coloured paints. 77 of these are in the exhibition at Bangalore’s NGMA.

Each of the 77 panels is a delight to behold. They look as if they have been done quickly and highly competently by an artist with a decisive mind. On many if them, the influence of Japanese painting can be discerned. However, on every panel the subject matter is unmistakably Indian. Some of the panels depict scenes from village life (fir example, a potter at work, a tailor, wrestlers, making butter, etc) and others show animals and mythological scenes. One panel depicts an ear cleaner – a man is shown cleaning a lady’s ear with a long thin instrument. Villagers visiting the pandal (temporary shelter), which was decorated with these panels, would have had no trouble recognising Bose’s scenes of daily rural life. And political delegates would have been reminded of Gandhi’s professed allegiance to the ‘common’ people of India. Seeing these wonderful panels made me think of Socialist Realism images, but Bose’s paintings have a human touch that is lacking in politically inspired art such as Socialist Realism.

The exhibition at the NGMA is well hung and nicely lit. The panels hang in the galleries which were once rooms in the elegant Manikvelu Mansion. Several informative panels provide interesting information about Bose, his art and his association with Gandhi and his attempt to rid India of British domination.

Biryani in Bangalore, Calicut, and Surat

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SO FAR – THAT is since January 1994, the very best biryani I have eaten was at Paragon in Calicut (Kerala) in 2006. It was a Moplah recipe – Arabic and Indian flavours combined most harmoniously. Last December, I enjoyed an almost as good biryani in the restaurant of the Sifat International Hotel in Surat (Gujarat).

Biryani at Bheema’s

When in Bangalore, where we find ourselves often, we like to visit Bheema’s restaurant on Church Street. It serves Andhra-style cuisine. I have never been disappointed with the biryani dishes served there. Although not as supremely superb as the two biryanis I have mentioned already, Bheema’s delicious biryanis are way above average – in my humble opinion.

MY FAVOURITE VISITOR ATTRACTION IN BANGALORE

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IF YOU HAVE ONLY a short time to look at Bangalore, there is one place that you must try not to miss. I am not referring to Tipu’s summer palace or the Bull Temple or Lalbagh Garden or Cubbon Park or many of the other oft-mentioned places in the city. My first choice of ‘must-see’ places is the Bangalore NGMA (National Gallery of Modern Art), which is located on Palace Road.

Manikvelu Mansion

The NGMA opened its doors to the public in February 2009. It is housed in the elegant former Manikvelu Mansion and the beautiful modern extensions that have been added to it in such a way that the beauty of the old building has not been impaired.

The NGMA stands Inn spacious grounds with a landscaped garden. Within the garden, there are modern sculptures – part of the NGMA’s permanent collection.

The modern extensions contain galleries for displaying artworks, a shop, an auditorium, a library and a very pleasant café under a deep veranda. Even if you have little interest in seeing artworks, the harmonious ensemble of architectural styles is well worth seeing.

The galleries, located both in the old mansion and on the new extensions, are well lit and vary in size. Usually, some of the permanent collection is displayed as well as an often fascinating temporary exhibition. Currently (January 2024), there is a wonderful temporary exhibition of paintings by the Bengali artist Nandalal Bose – I will write about that soon.

Situated not far from bustling Shivajinagar and busy Cunningham Road, the NGMA is a peaceful haven – a place to enjoy some of the best of modern Indian art. In a city where so many modern developments are of dubious aesthetic value, the NGMA on Palace Road is a feast for the eyes.

One Uber or two at a club in Bangalore

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WE NEEDED TO TRAVEL in an Uber cab from Bangalore’s Catholic Club to the Bangalore Club – not far, but we had heavy baggage. A uniformed security guard kindly agreed to book a cab. He was, he told us, from Assam – a member of the large Assamese Bodo community.

Before he ordered the taxi, he looked at us – a European man and an Indian lady, and asked us if we needed one car or two. My wife explained that we are married, and only needed one car.

I believe that the reason the guard asked us how many cars we required was that, coming from a traditional community at the Eastern edge of India, it must have seemed unlikely to him that people from totally different communities, such as my wife and I, would ever become joined in matrimony.

I was struck by his enquiry because when we have travelled in many parts of Gujarat, people have often expressed surprise, and even disbelief, when they learn that a ‘desi’ (Indian) woman has married a ‘gora’ (pale coloured) such as I am. I have described this kind of incredulity in great detail in my book about travelling in India: “The Hitler Lock and Other Tales of India”, which is available from Amazon:
https://www.amazon.co.uk/HITLER-LOCK-OTHER-TALES-INDIA/dp/B0CFM5JNX5/

AT THE CLOSE OF A JOYFUL DAY HANGING IN BANGALORE AND A MYSTERY

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UNTIL RECENTLY, PHOTOGRAPHY was not permitted in the Bangalore branch of the NGMA (National Gallery of Modern Art). On a recent visit in January 2024, we discovered that photography was now permissible.

I have been visiting the NGMA regularly since it first opened a few years ago (2009). Each time I have been, with one exception, I have noticed a painting by Lawrence Alma-Tadema (1836-1912). It depicts a lady leaning over a parapet beside a lake with mountains in the distance. It bears the title “At the Close of a Joyful Day”. It is currently hanging on a wall beside several portrait paintings by a Parsi artist named Pithawala. I have always wondered how this painting by Alma-Tadema has ended up as part of the collection of India’s NGMA.

According to an article published in “American Art News” (New York, 25th of April 1908), the painting had been the part of the “Coghill collection” and had sold at London’s Christie’s auction house for £966. The purchaser was not mentioned. I have not yet discovered anything relevant about the above-mentioned collection.

In connection with the sale of a painting by Alma-Tadema in 2019, the Sotheby’s auction house website mentions a letter that Alma-Tadema wrote in 1894 to the German egyptologist George Ebers. Here is an interesting excerpt from the website:

“… Alma-Tadema commented of one of his compositions, “It is a single figure girl, which has ascended to the highest point of a building to see far away out of the picture over some sort of Starnberger See, a second use of the study I painted when with you mingled with recollections… so you see my mind is still often with the dear friend at Tutzing” (letter from Alma-Tadema to Ebers, December 29, 1893, as quoted in Swanson, p. 77). While he is referring to ‘At the close of a joyful day’ (1894 …), the artist could just as easily be describing the mis-en-scene of the present work.” (That is the work in the auction.)
This essay, published to accompany an auction held in New York in February 2019, mentioned that “the current location [of ‘At the Close of a Joyful Day’] is unknown”.

Well, at least, I know where to find it.

What I would really like to know is how the painting reached India. Who owned it after it was sold in 1909, and how did it end up in the NGMA collection.

[The painting’s NGMA accession number is 02186]

Separated by millennia but seen together in one glance

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ONE OF THE MANY things that fascinates me whenever I visit India is what often appears in one brief glance. It is far from unusual for there to be in one field of vision both something that has been in existence many centuries, or even milliennia, alongside something that is brand new.

Yesterday, I was enjoying lunch in Bangalore’s Kamath Hotel near Commercial Street when I looked up and saw the following reflected in a mirror. A man was sitting working on the restaurant’s computer – probably 21st century technology. Above his head, there were idols depicting Hindu deities, which were in place because the management hoped that their divine influence would benefit the business.

Whereas the computer is but a few years old, the abiding belief in the importance of the Hindu deities in the smooth running of life has been around for much longer than anyone can remember.

My trip from Bangalore to Calcutta began with a bang

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OCCASIONALLY, I HAVE A YEARNING for ‘fast food’ – low taste, I know! While waiting at Bangalore’s Airport (terminal 1) for a flight to Calcutta, I felt the urge for a junk food snack, and headed for the KFC outlet in the departure lounge. I placed my order,and was asked to wait for 5 minutes – so much for so-called fast food.

I noticed that the foodstall was right next to a bookstall, run by the Relay company. With my KFC receipt in one hand I hurried towards a glass door that led into the shop. Either it was locked or I misjudged its position. Regardless of the reason, my forehead hit the glass door with great force. The glass remained intact, but not I.

I cursed loudly, and headed for another entrance to the bookshop. As I entered the shop, I touched my forehead and found my fingers reddened with blood. The charming young shop assistants, seeing me and my wound, found a stool and a first aid box, and began stemming the bleeding. With copious amounts of Dettol and Povidone Iodine solution, they cleaned me and my wound. They were very attentive and concerned about me. I was touched and impressed by their gentle and efficient care.

A few days after the accident, with a smaller plaster

When an enormous elastoplast had been applied and I had assured them that I was feeling OK, I returned to KFC, clutching my bloodstained receipt. I carried my meal back to where we were sitting, and tried to reassure my wife that things were not as bad as they looked. Then, I consumed my delicious chicken offering, which the KFC staff had kindly kept warm during my long absence from their stall.

After about 30 minutes, the manager of the Relay stall came up to me to check that I was alright. Then, he took a photograph of my boarding pass. Incidentally, whilst his staff were treating me, they also photographed me and my wound.

The flight took off only 30 minutes late, and I have been enjoying Calcutta since we arrived. I can truly say my trip to West Bengal began with a bang.

An old white painted temple in the heart of Bangalore and a reformer of Hinduism

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WHILE WALKING ALONG Bangalore’s Avenue Road, which runs from City (KR) Market to Palace Road, I spotted a mandir (Hindu Temple) down a side street. It was painted white, and its facade was surmounted by three tall niches, each containing a sculpture.

So many layers of paint had been applied over the years that the details on the sculptures had disappeared from view. At the rear of the mandir, I saw a tower like structure – part of the mandir’s roof. This was a popular landing place for pigeons. Within the building there were crudely carved stone pillars supporting the ceiling. These looked very old. Two rows of pillars lined a central ‘aisle’ leading to a shrine at the far end of the temple.

Above the entrance, there was a sign written in the script of the Kannada language, which I am unable to read. I showed a photograph of this sign to a bearer (waiter) in the dining room of the Bangalore Club. He deciphered it for me. The mandir is ‘Sri Belli Basavanna Devasthana”. This means ‘The Sri Basavanna Silver Temple’. Located in Basavannagudi Street in the Chickpet district, this is one of the oldest mandirs in Bangalore.

Born in Karnataka, Basavanna lived from 1131-1196 AD. A Shaivite (follower of Shiva) and social reformer, he was a founder of Lingayatism. His reforms included rejection of both social and gender discrimination. According to Wikipedia:
“Basava championed devotional worship that rejected temple worship and rituals led by Brahmins and replaced it with personalized direct worship of Shiva through practices such as individually worn icons and symbols like a small linga (sic). This approach brought Shiva’s presence to everyone and at all times, without gender, class or caste discrimination.”
Thus, we can see that Basava(nna) was a forward thinking person. He made religious worship personal rather than mediated by caste-conscious Brahmins.

Had my eye not been attracted by the flocks of pigeons flying around the small white mandir, it might have been many years before I became aware of Basavanna and his important ‘democratisation‘ of Hinduism.

A club founded for Indians in Bangalore

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THE CENTURY CLUB in Bangalore is so-named because when it was founded in 1917 it was decided to limit its membership to one hundred. Today, the Club has about 6000 members. According to the Club’s website it was founded by the highly esteemed Sir M. Visvesvaraya (‘SMV’) who: “… was keen to promote what he felt was good in English society, particularly their orderly habits, punctuality, restraint in speech and social behaviour.”

The Club was founded during an era when Indians were not allowed to join or even enter the clubs (such as the Bangalore Club and the Madras Club), which were designed to be social clubs for the exclusive use of elite Britishers.

Shri Nalwadi Krishnaraja Wodeyar

SMV was inspired to establish a social club that admitted Indians after an unpleasant incident at the Bangalore Club. It occurred when SMV was the Diwan (Prime Minister) of the Kingdom of Mysore. When one day he was invited to the Bangalore Club he was wearing the royal turban of Mysore. The staff asked him to remove it and wear an ordinary cap instead. This insulting request upset him greatly, and led to him founding a club for ‘gentlemen’, which would accept Indians. Thus, the Century Club was born.

Shri Nalwadi Krishnaraja Wodeyar, the king of Mysore, allotted 7 acres of Cubbon Park for the use of the Century Club. Today, the Club is an oasis of peace and greenery in a city that is becoming increasingly less peaceful and disturbingly less green.

The Century Club began admitting Indians in 1917. Not far away, the Bangalore Club only began admitting Indians when India became independent (in 1947), or after that. And even worse, a few other Clubs (and other institutions) continued to admit only British (and other fair skinned Europeans) until the 1960s or later. This was quite remarkable in a country that had struggled for many years to free itself from foreign rule.