It is easy to guess that a strong common sense at times, more than political sagacity, made Gandhiji a leader extraordinary, that cast a spell across all strata, irrespective of attitude and vocation. We may as well mention about his sense of discipline or postulates relating to punctuality, cleanliness, keeping things in order and various other matters now fast losing their meaning.Anyway, from the qualities or inclinations on his part as to the above, it is not difficult to surmise that he possessed a strong aesthetic sense. Surely that provides a clue as to why and how a fresh peepal leaf or shining brass lota often going in combination, proved handy, for what may better be termed, brightening up the atmosphere around.
Even without going into the question of the degree of his aesthetic sensibility or involvement with any particular art form, we know of his keenness for the spread of the same led him to put stress on crafts as well as design in his Nai Talim system of education. UnderstandablyGandhiji's feeling for creativity combined with his magnetic charm, prompted Santiniketan's master-artist Nandalal Bose to respond readily, with some of his colleagues and students, to undertake the task of decorating the venue of the Congress session at Haripura.
The rest of the story, rather, the outcome, is well known. It may be mentioned how prior to actual work, the Kala Bhavan teacher, a keen observer, went round watching closely the life and daily routine of the villagers around, specially the kinds of vocations they pursued. In the end, tillers of land, potters, smithies, musicians and the like, came out in a series that became famous as the Haripura Posters, noted both for concept as also artistic merit, due to linearity and colour quality.
Thanks to Gandhiji's friendly gesture and intimate behaviour, he could easily find equation with many and his relationship with Nandalal Rose lasted a lifetime. After Gurudev's passing away and with uncertainty and depression looming large, many includingMastermoshai Nandalal felt quite apprehensive about their future. Gandhiji stood firmly by him (as also his colleagues) during those trying times, paying occasional visits himself to the place. Even when prevented due to illness or other exigencies, he would send messages through his secretary Pyarelal.
Through deeds and precepts, to a great measure, Gandhiji succeeded in inspiring, if not influencing always, sets of creative minds. From a huge bulk of writings to more than one of his film biographies, made over past several years, will readily come to mind.
Restricting however to the area of visual and plastic arts, mention may be made at random, of works by Nandalal Bose (Dandi March rendered in monochrome and print) as also of the work by Devi Prasad Roychowdhury (standing figure in bronze).
If these two artists had the good fortune to see and know Gandhiji direct to an extent, many others did portraits and so on, after the leader's death. For instance, K. Khosa did an interesting set of paintings. Acouple of years or so back, Haku Shah executed certain interesting items incorporating dry leaves and branches, khadi pieces and charkha therein, with much of a symbolic connotation. Surely the aim was to propagate the Gandhian ideals. Ranga, a cartoonist, too joined the bandwagon by depicting Gandhiji in various postures and with his lathi with caricature effect.
So long he continues to inspire, doubtless, many more will join forces to pay their homage to one, who proved himself to be both an idealist as also a colourful personality.
Copyright © 1998 Indian Express Newspapers (Bombay) Ltd.
