Book Of Stones

The definition moves by contrast. Sculpture, they say, doesn바카라�t open up space like a landscape painting: it occupies space. In India, it also occupies time. That petite, 10-cm-tall dancing girl of insouciant aspect바카라�the archaeologist바카라�s deli­ght바카라�is 4,500 years old. Between the Harappan artist who captured a kin­e­tic moment on that tiny piece of bronze and those Buddhist architects who thought of carving immense sac­red spaces out of sheer Deccan rock, there already spans two-and-a-half millennia. From there to the present, another two! Entire epochs that cast the celestial and the carnivalesque alike in a profusion of three-dimensional art.

Another contrast, then. The relative poverty of the modern age, the thinning out of the sculptural imagination, its withdrawal from centrestage, its surrender of primacy to painting, its very amb­ivalence about its status and relevance in the contemporary art world: all this is a new affliction. Trace it through time again. One subplot in the story of India바카라�s visual culture in the last one-and-a-half centuries is bookended by two well-known dates: 1857 and 1947. It was in the year of rebellion that the country got a milestone institute: Sir J.J. School of Art in Bombay. Nine decades later, as India turned a chapter with the tricolour바카라�s official ascension in New Delhi, a few sculptures started vanishing from Rajpath, the former imperial boulevard.

Today, in his home east of the Yamuna, octogenarian artist A. Ramachandran rues how they remo­ved those 바카라�beautiful works바카라� from around India Gate. 바카라�If we looked at them for their artistic merit, as opposed to being symbols of colonial legacy, we would not have dislocated them,바카라� the painter-sculptor says. That may be a tad utopian, for those pieces of monumental art were ind­eed embedded in meanings of power. But their relegation to obscurity바카라�in Cor­onation Park on Burari Road바카라�speaks of a parallel movement. To him, India still has practically no sculptural representation because 바카라�we continue to follow the British concept of designating portraits for people and things that matter바카라�.

These words come from an artist who has traversed both worlds바카라�painting and sculpture. In one, the tonal life of old India (adivasi Rajasthan, Kerala temple murals) streams in through his modernist filters; in the other, the transfigured language of mass and volume that he firmed up as an alumnus of Santiniketan, where he learned under the iconic Ramkinkar Baij. He knows, therefore, the poorer cousin바카라�s status sculpting has received in independent India. Painting has assumed the central place: it is seen as the prototype form of 바카라�art바카라� now. This relative valuation corresponds more to their variable visibility and marketability, which the very structure of gallery spaces furthers. All this while contemporary Indian sculptors gave us consistently high-quality works, barring a minor slide or two, as experts affirm.

Indeed, within the field there are signs of robust life and evolution. Recent trends have ushered in a paradigm shift of sorts. It바카라�s not just about traditional mediums like metal, wood and stone giving way to materials such as silicone rubber, textile, e-waste, cardboard, even edible stuff. The new materiality is necessarily more fluid, seeping back and forth between old conceptual walls. Computer-generated sensory inputs bring in an element of augmented rea­lity. Installation art is invading gall-ery space once slotted for conventional works. New-age architecture is again getting defined in terms of sculpture, rec­overing an old kinship, as virtual movement and kinetic art destabilise the solidity at the other end. The concept of dimensionality too has expanded, with even sound becoming part of sculpture.

This phase of experimentation has been on since the 1990s, according to critic Nancy Adajania. 바카라�The viewer today does not see the sculptural form secured in a single place, instead they witness the dem­aterialisation of the sculptural obj­ect,바카라� says the Mumbai curator. 바카라�These experiments in sculptural language have not only changed prevailing viewership codes, but is allowing artists to confront caste, class, religion and gender, as well as philosophical questions related to the visceral body, mortality and sexuality.바카라�

But there바카라�s no escaping materiality in the basic circumstances. Veteran Banga­lore artist S.G. Vasudev laments the everyday practical difficulties sculptors encounter. 바카라�To start with, you need a much bigger space and the investment cost is much higher compared to painting. Large sculptures are tough to transport; they involves more risk of breakage or deformity,바카라� he points out. 바카라�No wonder, several exhibitions don바카라�t accept terracotta sculptures. Small-format sculptures move faster comparatively.바카라�

And yet, India has a rich roster of modernist sculptors바카라�from D.P. Roy Chowdh­ury, Dhanraj Bhagat, Sankho Choudhuri, Somenath Hore, Sarbari Roy Choudhury, Amarnath Sehgal, Himmat Shah, G.C. Bhat, M.V. Devan and Mahendra Pandya et al to the later Sheela Gowda, Ravinder Reddy, Jitish Kallat, Jagannath Panda, Ashwini Bhat, Iranna G.R. and Alwar Balas­ubramaniam among others. Renow­ned painters like the late K.G. Subra­manyan and Satish Gujral, 91, too have experimented with terracotta murals and architecture respectively. New names such as Subodh Gupta and Bharti Kher have of course come to be known more as installation artists than sculptors. Make-to-order is increasingly the norm.

Traditionally, the very public nature of sculpture inverted the visibility quot­ient바카라�it바카라�s paintings that occupied the niche space, says Dr Jayanta Sengupta, secretary-curator of Victoria Memorial Hall, Calcutta, generalising from the situation in Bengal. 바카라�Sculpture was not tre­ated as inferior to painting. They occ­upy two distinct spaces,바카라� he says. 바카라�Pai­ntings here existed more in the domain of private collections, of royalty or others. Sculptures were more accessible to the common person. Architectural structu­res too are adorned outwardly by sculptures, not paintings,바카라� adds Sengupta, who바카라�s also director, Indian Museum.

The contrast with the present situation is rather stark. 바카라�Be it in a thematic or group show, say one out of ten works will be sculpture. Roughly, this is also the sculptor-painter ratio in India,바카라� says Kishore Singh, director, Delhi Art Gallery. This, when an exh­ibit by 20th-century Swiss sculptor Alberto Giacometti was recently priced in London at over 100 million pounds (Rs 900 crore). 바카라�Well, that is actually our annual turnover (for sculpture sales in India),바카라� Singh adds.

Some large-scale sculptures outside the country are by Indians, says Bose Krish­namachari, artist and co-founder of the Kochi-Muziris Biennale. 바카라�For instance, Anish Kapoor바카라�s Cloud Gate (2006) in Chicago,바카라� he points out. Citing Cells of Life, the symbolic landforms done by Americal cultural theorist Charles Jencks outside Edinburgh in 2010, Krishna­machari adds: 바카라�For that to happen in India, we need industrial-type foundries, a support system and huge space.바카라�

A remarkable oddity on the landscape came up in Malampuzha, near Kerala바카라�s oldest dam, in 1969, when Kanayi Kun­hiraman completed Yakshi: a 30-foot-high, concrete sculpture of a supernatural woman in the nude. Malayali prudishness did play out initially, with some protests, but aesthetes by and large recognised it as an epoch-defining work. 바카라�Today, Kerala does have an atmosphere where sculptors can survive, even flourish,바카라� says 80-year-old Kunhi­raman, who has since dotted the coast with several such huge works.

There바카라�s indeed life in this special ecological zone. The Mangalore-born Sudarshan Shetty, like fellow Mumbaikar and Kochi-Muziris colleague Riyas Komu, gets his casting done in Baroda and then ass­embles. In Jaipur, Thomas Kovoor runs a big studio where his peers and juniors from across India camp to work in bronze. Delhiite Sumedh Rajendran has cau­ght the eye with his novelty of conception and industrial materials. Recently, Bangalore got a sculpture garden commissioned, holding out the prospect of sponsorship, while a sunken courtyard in a 1930s-vintage Calcutta building now hosts the Exp­erimenter gallery, an alternative space and curatorial endeavour by owner-­cou­ple Prateek Raja and Priyanka.

바카라�Things are changing. It바카라�s much less lab­our-intensive and time-consuming for the new generation,바카라� says Vasudev, 76. 바카라�You get very good tools too.바카라� So one sees a string of cutting-edge works: M.S. Umesh바카라�s self-destruct sculpture video Statues Status (2005), Anita Dube바카라�s Keywords (2005), a  pedagogical performance involving sculpted meat-words, Shetty바카라�s collapsible sculpture Paper Moon (1995) and For Here or To Go (2002), Kausik Mukhopadhyay바카라�s recent Squeeze Lime in Your Eye,  a kinetic sculpture improvised from found and readymade objects.

Still, they don바카라�t enter the retail zone quite as easily. Gallerist Prashant Lahoti of Hyderabad blames the 바카라�apartment culture바카라�, the space constraint at homes. 바카라�Our shows at Kalakriti feature roughly one sculpture to every four or five paintings we exhibit.바카라� Scholar Sadanand Menon is sardonic: 바카라�Many wealthy homes consider it fashionable to hang a painting of ­contemporary masters. Likewise, they should place that little statuette in the drawing room바카라�just to announce they have arrived in high society.바카라�

But 바카라�trends바카라� create their own momentum. The first decade of this century, as Kerala바카라�s Lalithakala Akademi chairman T.A. Sathyapal says ruefully, saw art school tea­chers prompting students to opt for painting, which was then experiencing a boom. 바카라�Even those who wanted to take up sculpting were discouraged,바카라� he says. Art tea­cher Narendra Raghu­nath of Bangalore notes the para-dox of monumental sculptures of Shivaji and Sardar Patel coming up at the same time, 바카라�almost like a throwback to the 10th-century Gommateshwara statue in Shravanabelagola.바카라�

Sarala Banerjee, who runs Chennai바카라�s Artworld, faults her metro바카라�s commercial complexes for 바카라�ignoring바카라� sculptors. 바카라�South India is the capital of sculpture, yet there바카라�s little support. Maybe the government can push for installing artworks in, say, malls. They could go for the cheapest Mahabalipuram statue바카라�even that would be a beginning,바카라� she says. Despite the costs, she sees sales of smaller pieces going well for Tamil sculptors like Velmurugan, Singaravelan and Vijay Velu, besides P.S. Nandan (see box).

Adajania speaks of a basic incongruence between sculpture and the 바카라�anaestheti­sed바카라� gallery space바카라�the open air is a more natural habitat for her, with its potential for interaction with the setting and with people. Advaita Gadanayak, artist and head of the National Gallery of Modern Art, cites the more practical fear gallery owners have of big sculptures damaging the interiors. Says curator Uma Nair, who was associated with NGMA바카라�s big sculpture exhibition this summer as part of its 63rd founding year: 바카라�Scul­ptures need to be brought to public spaces. Like Arun Pandit바카라�s Garuda that stands at Tirupathi airport.바카라�

The relative invisibility, functioning almost like a binary caste system within the artworld, isn바카라�t all that new. Ramachandran, who has added 13 self-done sculptures to his 1983 masterpiece Yayati, a 60-feet-long mythworld of murals, speaks of post-Ramkinkar sculptors like S.K. Bakre, K.S. Radhakrishnan, Navjot Altaf and Prodosh Dasgupta. 바카라�They have all done great, innovative work. But they haven바카라�t found the deserving spot in the Indian narrative,바카라� he shrugs.

More than their mere existence, art historian R. Sivakumar바카라�s lens alights on the language of sculpture itself. The Visva-Bharati professor speaks of a 바카라�dip바카라� after the death in 1980 of Ramkinkar, who kneaded a modernist idiom entirely out of Indian aesthetic soil. 바카라�What we saw for two decades thereafter was the referencing of artists from the West, such as Henry Moore,바카라� says Sivakumar. 바카라�Yet we also saw Kanayi and later Mrinalini Mukherjee, Radhakrishnan and T.V. Santhosh emerging바카라�바카라�artists who had an autonomy of spirit beyond the unconscious traces they carried.

By the early 2000s, community art flourished. Adajania cites Navjot Altaf바카라�s collaborative work in Bastar where they built elegant wraparound screens around pilla gudis (hand-pumps), a real, usable aesthetic space. Adds Suresh K. Nair, who teaches visual art at BHU: 바카라�Today, you have site-specific sculpting. Someone, say, goes to the forest and works on a stray boulder to turn it into a piece of art.바카라�

From malls to forests, galleries to village squares, the potential hosts won바카라�t be inert spaces: each will impose and derive its own meaning. But this misfit of our times will also speak of our times, of our deranged fears, our heightened sense of territoriality and narrowing space, to some future archaeologist. If we allow it to. As Ramachandran says regretfully, 바카라�But then, people want sculptures to have more representational value than artistic.바카라�

By Sreevalsan Thiyyadi with inputs from Stuti Agarwal, Minu Ittyipe, G.C. Shekhar, Ajay Sukumaran, Prachi Pinglay-Plumber, Dola Mitra