Hues of a rich tradition

SHARING SPACE with artist Lakshmi Krishnamurthy in her darkened studio, with its luminescent Tanjores, the lyricism of the Lepakshi - Vijayanagar style - murals, fresco style paintings, exquisite miniatures, glass paintings and Madhubani panels -- is to experience the poetry and passion of India's traditional art forms. For Lakshmi, painting has been a soul-fulfilling artistic journey taking her to remote corners of the country to study classical and folk paintings in temples, homes, rustic huts and palaces. Each of her paintings is based on an indepth study of the particular art genre's history, iconography, mythology, classical and folk literature, 'sthala purana' or local lore, use of colours etc. So must the great masters of ancient times have created the great heritage which has come down to us. And which Lakshmi Krishnamurthy - writer, painter, art restorer, research scholar and art historian, pursues and nurtures with incredible talent, imagination - and an unerring eye for sheer visual beauty. Excerpts from an interview.

Your repertoire of, and mastery over, traditional art forms is mind boggling...

I paint the Tanjore and Lepakshi mural styles, fresco paintings, patachetra, Madhubani and miniature art on paper, cloth, silk, asbestos, stone, wood, sandalwood and fibre glass! I went to Kerala to study the methodology and process of Cochin murals, to Rajasthan to learn tempera and fresco painting and to Bhadrachalam to imbibe the Lepakshi mural style. I also read the Skanda Purana and Kalidasa's 'Kumarasambhava' to visualise my Tanjore mural which depicts Karthik's Kalyanam.

Do you innovate in your depiction of traditional art?

I never copy, except if it is the depiction of a 'moolavar' or if a client specifically demands it. However, within the bounds of traditional techniques as well as mythological and historical facts, I do experiment.

All my Lepakshi style series on the Bhadrachalam pilgrimage, except the depiction of the "moolavar", is through imagination, though the style is pure. I may use creative licence in the placing of relevant motifs, even in the format or composition to give a different edge to my work. I always use "natural" earth colours, except for the use of poster colours in my Tanjore paintings.

Is the revival of lost traditional art forms a major thrust?

Since my search is for the authentic, the historic and the pristine, the very process has revived some nearly vanished art and craft forms. During my research on the Tanjore style, I came across very early miniature Tanjores done in lovely shades of grey with hardly any gems. My subsequent series on grey Tanjores was a revival of sorts. The Lepakshi-Vijayanagar mural-style as well as fresco paintings on paper and asbestos are again a revival of defunct art forms. I use old techniques to suit my art format. For instance, if I was asked to do a painting of the Brihadeeswara temple I'd use the fresco, wet on wet technique.

Why?

Because the temple has the world's only true frescos, dating back to the 10th century. The frescoes depict Shaivite themes.

Who was your first guru?

K. Sreenivasalu, late art director of Kalakshetra, under whom I did my fine arts course. There have been many since then, including, of course, the Puranas, the Epics, the old paintings themselves, our rich storehouse of mythology etc. I also attend workshops on different schools of traditional art.

Does every painting of yours call for such indepth research?

I treat every painting as a project and a thesis in itself going into its mythological, historical, archaeological and 'local' details, In the process I have learnt a lot.

Have you shared this knowledge in print?

I have contributed to India Heritage Research Foundation's Encyclopaedia on Hinduism. The articles were on Tanjore paintings, the Brihadeeswara temple and the Saraswathi Mahal Library.

How do you flit from the classical format and bold grace of a Tanjore to the ethereal fluidity of a Lepakshi style, from the unique craftsmanship involved in a fresco painting and the intricacies of glass painting to the freehand folk art of Madhubani or patachetra?

I love doing each of the genres. And with the grace of God it all fits into place and into a frame. Incidentally, I also do sheet metal embossing. My paintings form part of many private collections. They hang in the Kalakshetra, Chennai, the office of the Shipping Corporation of India, the Secretariat office, New Delhi and so on. I've held many exhibitions in Chennai, Bangalore and Hyderabad as well as in Freemont, U.S.

What of the future?

I want to continue learning new techniques, and art and related crafts besides perfecting the ones I've already mastered.

PUSHPA CHARI

Send this article to Friends by E-Mail

Section  : Features
Previous : For the homemaker
Next     : Get wise the spiritual way