Navina Jafa with Ankon Mitra – Intallation work – “When Light Hets In” “The wound is the place where the light enters you.” – Jalal-ud-din Rumi
The experience of the Exhibition – ‘Pilgrim’s Progress’ Art of Ankon Mitra’s at the Gallery Art Positive revitalised the human mind breaking the dismal quagmire of Covid-19. The various installations using nearly 15 kinds of material, inspired by Japanese and Buddhist concepts, presented the folded working of the human brain and waves of thought. The art in the exhibit represented the analogy of the human brain that directs the journey of truths of life, nostalgia, losses and reclamation. The dancer Narayan Sharma brought Mitra’s work alive! This article expresses my response as a dancer.
Light in Nature creates colour movement. Movement is provided by relationships of uneven measures, of color contrasts among themselves that make up Reality. This reality…. Becomes rhythmic simultaneity. Simultaneity in light is the harmony, the color rhythms which give birth to Man’s sight…Let us seek to see… The synchromatic movement (simultaneity) of light, which is the only reality.” – Robert Delaunay, ‘Light’, 1912
I entered Gallery Art Positive, Delhi, only to be enclosed in a lighted space surrounded by folded contoured installations made from fifteen materials. Their shapes, colours and concepts presented a unique opportunity to feel movement and emotion. My thoughts and body began the journey, charged with perception and laced with intensity, receptivity, and sensitivity. It was walking inspired paths meandering light, and negotiating the inner working of my mind.
The dancer Narayan Sharma made an entry, he faced a unique installation (When Life Gets In) of dark indigo ceramic plates, and his body swayed in a manner aligned with the gold line moving across each vessel. The commentary by the visual artist Akon Mitra resounded. “This art is inspired by Kintsukuroi’ a Japanese method that celebrates ruptures as an opportunity to recreate, rejuvenate and revitalise the self.” The cracks in the ceramic glistened with Gold, and the dancer moved and gradually approached the ‘Surya Yantra’
The Garden of the Mind
The revolving energy of the glistening installation made of parchment leather incited the dancer. His agile, half-naked body bowed in salutation to the Sun, performed pirouettes and glided under the bower of fertile Banana leaves titled ( Canopy of Prosperity). With folk painted motifs in the Kalamkari art, on leaves made of Kerala Kasavu Saree, Banana Fibre, and Polypropylene, the dancer imbibed the blessings of the leaves before moving into the mirrored pillared room of lighted installations. The audience witnessed the danced journey on a television screen. Inspired by the Japanese Contemporary artist Yayoi Kusuma’s work, the ‘Infinity Mirror Rooms’, the dancer responded to Ankon Mitra’s installation by displaying the engagement with the illusion of Maya in the kaleidoscopic environment of infinite space.
The dance ended, but the pilgrim’s journey continued. Participants came out of the experience of the mirrored room of illusions only to engage with the reality of the complex human mind in the artwork titled – ‘Brain Tree’. It was a speculative encounter with the structured inter-relational system anchored in the Japanese concept of ‘Komorebi’. The installation displayed dramatised cerebral dialogues of light, thought, rationale and feelings as a harbinger of amalgamated Asian thoughts.
THE BRAIN TREE – Navina Jafa ( author) with Anu Bajaj (Director – Galler Art Positive
Before leaving, the installation (Memories of a Warm Embrace) filled the mind with a sense of reclaiming the self. It was inspired by the warm folds of a Grandmother’s Sari.
Memories of a Warm Embrace
Artists often work in isolation and work towards their personal, lonely paths. The Exhibition titled ‘Pilgrim Progress’ indicated a lonesome journey of discovery, ironically displayed in the creation of the art a sense of collaborative teamwork that comes naturally to architects. “Our creative designs come alive as built structures only with the hands of other skilled humans,” expressed Ankon.
The dance was over, the lighted art silent and the audience left the gallery where the speculative art remained imprinted as a wired sensation in mind and body!
Ankon Mitra :Architect by training and an artist by temperament, with a keen interest in the geometry and mathematics of trees, flowers, hills and coastlines.
Narayan Sharma: contemporary dancer a from Delhi, a student of Padma Late Astad Deboo
Anu Bajaj : Director, Gallery Art Positive
About Dr. Navina Jafa
Recipient of awards, Performer- Scholar, Dr Navina Jafa is a Cultural Heritage professional, well-known Kathak Classical Dancer, cultural historian, performing art scholar, and curator of signature heritage tours. A Fulbright Scholar at the Smithsonian Museum, she has worked on projects for the Cambridge University on Culture and Artificial Intelligence and has been extensively awarded for her contribution to heritage tourism, School heritage education, and as a dancer.
She has also trained in art history and has worked extensively on Cultural Heritage Skill mapping Data Analysis and application in sustainable development programmes. Dr Jafa has worked with the Government of India, is on several boards of different organisations, and is a consultant on culture, heritage, performing arts and tourism.
Immersive Heritage Tourism with Dancer-Scholar, Cultural Heritage Technocrat
Every Block of Stone has a Statue Inside it, and it is the Sculptor’s task to discover it ….. Michaelangelo
North Karnataka – The Lesser Known Heritage Ecologies of Badami, Aihole and the World Heritage Site of Pattadakal. Dr Navina Jafa presents a unique heritage interpretative lens and content for travellers, researchers, performers, artists and even inspiration for those engaged in Economics and Business.
The rugged geological formation in the topography of the Deccan in North Karnataka manifests in the manifold Heritagescapes that reflect the ingenuity of human beings. While Hampi remains a highlight for travellers, it is the lesser known destination of Ahihole, Pattadakal and Badami that speak of sacred stories in secret India. These Heritagescapes are reflective musings of underpinning trade and economics, power and egos.
Ahihole, Pattadakal and Badami record the archaeological landscapes older than the heritage terrain of the Vijaynagar Kings (14th-17th AD) of the medieval era in Hampi. All three locations (Ahihole, Pattadakal and Badami) are associated with a South Indian league of rulers called the Chalukyas of Badami. While Aihole (5thc) was the first and Badami (6-8th c AD) the second citadel of the Chalukyas. Pattadakal (7th-8th c AD was the coronation location for the Chalukya kings. The reason for this was the specific flow of the river Malprabha. The river in this location is Uttarabhimukhi, flowing South to North, going reverse to its source, and therefore considered extremely sacred. This happens in Varanasi, too, about the river Ganges.
Since the inception of human settlements, running river waters have provided ideal locations to live, trade and sustain communities. In most ancient cultures, they become revered as sacred sources of life and metaphysical symbolism. Hampi is on the river Tungabhadra, whose mythological sacred name is Pampa. Pampa, the revered Goddess wife of Pampati or Shiva and, therefore, the sacredness of the river; the land of the Chalukyan kings (Aihole, Badami and Pattadakal) is on river Malaprabha. Tungabhadra and Malaprabha are tributaries of the east flowing river Krishna, and both are perceived as part of a sacred landscape. Tourists, while decussating this sector visit the more evident sites of Hampi and Badami but often miss Aihole and the world heritage site of Pattadakal.
Aihole is a quiet village replete with history. Defined by a rugged landscape, there is the history of megalithic man in the form of burial sites, the village of Aihole is dotted with carved caves, temples, cells and spaces for meditative retreats.
Figure 2-Megalithic Burial Site- Aihole
Figure 3 Dancing Shiva, Ravula Phadi Cave, Aihole
Figure 4- Temple Complex – Aihole
An important aspect of heritage interpretation on Aihole is the text of economic heritage that underlines the narrative on archaeology and art history. In the background, high on a hill bordering the megalithic site, is the presence of silent but energized locations of Jain temples, retreats of Jain monks, and the history of vibrant support and presence of traders guilds without which the governing class would not have existed.
The traveller climbs a hill and is awakened to the powerful energies on top where the Jain Meghuti Temple emits that power. On its wall is an inscription by the 7th Jain poet Ravikirti celebrating the power of Chalukiyan ruler Pulkeisan II. These Jain manifestations are above the Hindu caves and temple complex. The potent caves below the Jain hill are dedicated to the Hindu sacred pantheon of Gods and Goddesses representing myths, metaphors and symbols. Finally, on the lowest level alongside the village is the main temple complex. The Sun temple is called the Durga temple after the linguistic term Durg for Fort. Thus the temple communicates through tangible sacred heritage the idea of political power. However, what is most distinct about this 5thc AD complex of Aihole is the economic heritage of the trade guild of 500 merchants who were the patrons behind most temple buildings. This guild called Nanadesi (those who can be perceived as exporters) and Swadesi (those traders who were engaged in internal trade) reigned in Ayyavolu, the ancient name for Aihole. They financed the building of cities and temples and conducted on and offshore trade to South East Asia. These traders employed ascetic armies similar to the phenomenon in the Doab in North India, where their spiritual army troops were called Bairagis, Goasains or Sanyassins in the medieval period. The armies of the Nanadesi and Swadesi (the trader guilds hosted private parallel armies to those of the ruler.) These guilds demonstrating the economic power elite organized themselves into administrative structures, boards, and laws that addressed trade norms and overseas operations, including those that concerned ports. They were aligned closely with the political and religious (Hindu and Jain) elites. They were part of the forces which carried cultural imprints to South East Asia along with other parts of the Indian subcontinent, such as the trade dynamics from the area of Orissa along the Chilka Lake.
Badami
BADAMI CAVES
MYSTERIOUS PATHS – CAVES F BADAMI
The setting of the Badami caves is no less spectacular than the raw boulders of Hampi. The red, craggy, jagged mountains around an artificial reservoir (Agasthyathirth) on three sides, and the Hindu and Jain carved caves on the fourth side open an unimaginable scene of narratives through iconographic carvings.
GEOLOGICAL HERITAGETHE RUGGED TEXTURE OF THE RED ROCKS – FORM THE KALAGADI
GEOLOGICAL HERITAGE – THE SEDIMENTARY ROCKS OF NORTH KARNATAKA – AROUND 1800 -800 million years ago, , the Tectonic movements in the Indian Subcontinent resulted in the sagging of the LAYERED UPPER CRUST that created sedimentary rock basins. The Kaladgi Basin in which the Badami area sandstones were deposited is one such basin.
The Badami sculptures are replete with innumerable metaphysical ideas, concepts of sacred geography and geometry. For example, I would like to mention just one small and brief aspect of how the in-depth layers of sacred structure of the universe is represented in the carvings. This scheme is represented through the underlined, visible and yet un-coded intriguing geometry related to the concept and ideas of square and circle in Indian thought.
REVERSE ANTI CLOCK WISE SWASTIKA – VANGMAY – Some Scholars believe it represents the Moon & Hence The Female ENERGY
This reversed Swastika was chosen by Dr. Kapila Vatsyayan as the Insignia for the Indira Gandhi Centre for the Arts (IGNCA) – Envisioned to function as the Indian Smithsonian
WHERE SHIVA REIGNS SUPREME AS ANTHROPOMORPHIC CONCEPT OF ENERGIES IN SACRED GEOMETRY OF SQUARE AND CIRCLE
The Square represents various levels of form in a spatial format of the external world – universe, citadels, sacred places, individuals in the outer environment, and aspects of the inner individual geography. The square is a map to comprehend different levels of existence – physical body, subtle body and conscience body. On the other hand, the circle is about the natural non-dual yet opposite aspects of the cosmic order called RTA in Sanskrit whether it is — day – night, changing seasons, contrasting concept of age, there is a circularity of continuity of time.
Yet, the square and the circle have a central point of energy – which is coordinated to the central energy point and life point in the human body, the nabhi (the naval). The various path to travel the square or the circle are marked channels. On many occasions, these are organized in a well-thought-of pattern as interlocked systems of energies that expand and collapse. These concepts are represented in and through various sculptures in Badami through myths, symbols and metaphors. For example, the idea of the Dancing Shiva as the cosmic forces in geometrical channels. This is represented in a book of tenets on Indian sculpture – The illustrations below are that of the Natabara YANTRA, symbolizing the cosmic dance of Shiva.
NATABARA YANTRA
18 ARMED DANCING SHIVA – THE ULTIMATE SYBOL OF DYNAMIC ENERGY
This can be taken as a reference point when interacting with the powerful image of the 18-armed dancing Shiva in Cave 1 of the Badami. The idea of cosmogonic energies in ideas of sacred geometry becomes incredibly important as one views the concept and motif of the circle represented through mysteries of myths and symbols, such as in the ceiling where one sees the serpent circle, or the circle made with 15 fishes.
CIRCLE OF 15 FISHES
FORCE OF REJUVENITATED ENERGY IN THE MOTIF OF CIRCLED SERPENT
THE OTHER HERITAGE ECOLOGIES OF AND IN BADAMI
Besides these spectacular caves, some sites outside the Badami town are also interesting and associated with the heritage of the Chalukyas. For example, encircled by magnificent Banyan trees is the 6-7th c Shiva Mahakuta Temple complex built by the Chalukyas. While the elaborate carved ceremonial chariot stands on one side, the complex has some interesting features. Many of the un-manifested form of Shiva – lingas are strewed around.
HERITAGE OF BANYAN TREES OF THE MAHAKUTA TEMPLE COMPLEX
The Mahakuta Shiva Temple Complex is full of lingams of various sizes, shapes and designs. The uniqueness of this complex is that it is a sacred living space owned by the community. A well-maintained community bath, a wish-fulfilling swing under a Banyan tree. The temple has some fascinating ritual objects, and the ground is still used for marriages.
Androgeny – ARDHNARISHWAR – IMAGE IN THE MAHAKUTA TEMPLE COMPLEX – BADAMI
The Bhanashankari TempleComplex
The layers of Badami incorporate the Bhanashankari Temple. Banashankari, the goddess of vegetables, was the principal family deity of the Chalukyan Kings and is presently known as a fertility goddess who fulfils the wishes of childless couples.
Finally, the visit to Badami remains incomplete without buying or seeing the vibrant range of the Ikal Saree. There are the Banashankari women weaving cooperative, which supplies, among other places, to the market complex of the temple. The special feature of the Ilkal weave is that the warp is of cotton threads, and there is silk that makes up the weft. Usually a nine-yard saree, the Ilkal weave uses an embroidery pattern called Kasuti, reflecting traditional patterns of lotuses, elephants, and temple towers. The pallu, or the elaborate end of the saree, has intriguing patterns and shapes such as that of hanige (comb), Kotti Kammli (ramparts of forts). The contrasting border is broad, and on the whole, the sarees are striking.
Pattadakal
WORLD HERITAGE SITE – PATTADAKAL – Best Time to access – Sunset Lighting
THE complex comprises ten temples representing the North India Nagara style, the South India style – Dravida, and the third is specific to the Western Deccan marked by the fact that it incorporates both the above styles of architecture. This category is called Vesara architecture. Through architecture, the visitor accesses the link between the concept of power and that of religious sanctions and authority. The temples are both Jain and Hindu and are a record of communicating the celebration of a king’s victory or a queen’s assertion of power through architecture; myths and motifs through a series of sculptural schemes define the temples. One of the most lovable and beautiful pieces of sculpture is the Nandi Bull, the sheer lyricism that marks the curves of the sculpture is remarkable.
Above Images – Papanath Temple; Durga; Virupaksha Temple -Surya/Sun image from the and the famous Nandi Bull
CONCLUSION – THE THOUGHTFUL TRAVELLER – DEKHO APNA DESH
As the sun sets, the hundreds of hands that silently carved the amazing set of temples remain etched in my mind. As one steps out, the landscape of the Chalukyas of Badami and lesser-known heritage are engraved in the mind of the wandering pilgrims. They urge themselves to de-code the multiple layers of the Indian civilization. While as a traveller, one journey to admire the tangible built heritage, it is always fascinating to piece the jig-saw together. Human histories from various perspectives of economics, sociology, politics, spirituality, oral history, common beliefs, and living practices unfold the story of an archaeological and architectural layout completely. It takes one to walk that extra mile, but accessing an experience called India is essential and needed to enrich the self.
About The Author
Dr. Navina Jafa
Dr Navina Jafa is a Cultural Heritage professional, well-known Kathak Classical Dancer, cultural historian, performing art scholar, and curator of signature heritage tours. A Fulbright Scholar at the Smithsonian Museum, she has worked on projects for Cambridge University on Culture and Artificial Intelligence.
She has been extensively awarded for her contribution to heritage tourism, School heritage education, and as a dancer. She has also trained in art history and has worked extensively on Cultural Heritage Skill mapping Data Analysis and application in sustainable development programmes. Dr Jafa has worked with the Government of India, is on several boards of different organizations, and is a consultant on culture, heritage, performing arts and tourism.
The one and half year project led by Dr Madan Meena was initiated as part of the Covid-19 economic sustainability program when migrant women returned to their regional home in Bundi District. A practising visual artist Meena is researching de-notified nomadic tribes. He curated the 16 quilt exhibition displaying the art by six women from the Kalbelia community. The presentation included three quilts of the same genre from Meena’s rare collection from Sindh, Pakistan.
An observer remarked seeing the fluid dance of Padmashri Kalbelia Dancer Gulabo, “it appeared that the body was boneless, and it moved like fluid rays of energy emulating the snake.” Entering the exhibition hall, the visitor was surrounded by quilts embodying a plethora of embroidered threads moving like the dancing body alive with motion, colour, meaning and leaning to communicate a rural nomadic worldview.
The Kalbelia Caste represents the intangible heritage skill network that has subcastes such as “the Jogi – Nath singing mystical minstrels, saperas – or the snake-charmers, madaris – the animal trainers ( bears, monkeys, and even pythons), salat or stone workers, and those who work with bamboos,” described Meena.
Although most Kalbelia skills are practised by men, the women are traditional bearers of quilting, embroidery, and dance. All three heritage skills are inspired and carry the rhythm so intrinsic to natural environments. “The Kalbelia quilting, characterised by applique work and running stitches, is embellished by embroidery to join and layer the cloth. The traditional embroidery motifs re-positioned in the works include symbols in their everyday life, professions, dresses, biodiversity and cuisine – camel, tortoise, corn, lattice stonework and jewellery patterns.” The slithering snake-like threads made the nimble fingers create layered registers on coloured cloth. They communicate improvised stories building on traditions, the contemporary ‘context’ of the environment and skills.
“To decode the three quilts from Sindh, Pakistan remains a challenge. A madari in Gujarat could interpret just one,” says Meena. The Sindhi quilts provide another missing piece in the partition story of fractured geopolitics between India and Pakistan, where movements of threads echo ruptures of displacement and of nomads caught between two worlds.
Exhibition by the Kalbelia Craft Revival Project of Kota Heritage Society at the India International Centre Annex – August 2022
TRAVEL, DANCE, ART, CULTURAL HERITAGE OF INDIA - DR NAVINA JAFA 