Painting in Perespective of Mahatma Gandhi

[Prof. Dr. Yogendra Yadav]

Prof. Dr. Yogendra Yadav Gandhian Scholar Gandhi Research Foundation, Jalgaon, Maharashtra, India Contact No- 094055338 E-mail- [e-mail] Painting in Perspective of Mahatma Gandhi Painting is the practice of applying paint, pigment or color. The medium is commonly applied a brush but other objects can be used. In art the term painting describes both the act and the result of the action. However, painting is also used outside of art as a common trade among craftsmen and builders. Paintings may have for their support and may incorporate multiple other materials including sand, clay, paper, gold leaf as well as objects. Mahatma Gandhi wrote about painting; “Certainly the milking of a cow, which, by the way, has been the subject of painting and poetry, cannot shock the most delicate feelings as would the slaughtering of her. It may be worth mentioning en passant that the cow is an object of worship among the Hindus, and a movement set on foot to prevent the cows from being shipped off for the purposes of slaughter is progressing rapidly.”1 Mahatma Gandhi wrote about painting; “Writing in The Times of Natal, one Mr. F. A. Baker says that he once saw a Kaffir painting the front of an Indian shop and goes on to make the following comments: I do not know whether the common man notices this sort of thing. If he did, he would never argue that Indian traders should not be driven out forcibly. However much we Whites patronize Indian traders, they will never patronize a White. They never drop a coin into the pocket of a White, unless forced to do so. I have seen [White] Government servants, workers and others, entering Indian shops. But have these traders ever given them any work? Even when an Indian trader knows of a starving White, he never helps him. Why should we show pity to such Indians? If our members of parliament do not pass an Act to drive out these Indians, we must replace them by others who will carry out our wishes.”2 Mahatma Gandhi wrote about painting; “You need not apologize for not being able to give Ramdas his singing lessons. I could quite understand the difficulty whilst painting operations were going on.”3 Painting is a mode of creative expression, and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational. Mahatma Gandhi wrote about painting; “Please ask Purshottamdas to take the money spent on painting and debit the amount to the building account. I shall write more lately.”4 Mahatma Gandhi wrote about painting; “I should like the capital city of Gujarat to accord him a befitting reception. Deafening cheers are not the right thing for him. Despite the crowd, we should avoid jostling and make way for one beloved of us. The way we decorate the roads should have nothing of the West in it but should be in the manner of the East. He is as great a connoisseur of painting and music as he is a great poet. The expression of our feelings, therefore, should be quiet, artistic and so sincere as to be free in all respects from ostentation or sentimentality. I request the organizers to apply their minds from today and think out proper arrangements so that our guest may feel no strain and Gujarat may accord, with religious fervour, a welcome worthy of itself and the poet.”5 Mahatma Gandhi wrote about painting; “One who hopes to see the development of Indian art must throw out the rubbish of foreign cloth and prepare a white background. Just as we clean up our yard before painting designs in it, similarly it is necessary to clean up immediately the rubbish of foreign cloth which is lying on the country’s doorstep.”6 Mahatma Gandhi wrote about painting; “A house-builder does not, at the very start, put up balconies, porticos, doors and windows and arrange furniture. First, he lays the foundation, then he builds the walls and when they are ready, he begins plastering and painting them. The same is true about the edifice of swadeshi.”7 Mahatma Gandhi wrote about painting; “Please do not think that I got this wisdom after I had my fill of pleasure. I am simply painting before you the world as I find it from experience. I cannot imagine a thing as ugly as the intercourse of man and woman. That it leads to the birth of children is due to God’s inscrutable way. But I do not at all believe that procreation is a duty or that the world will come to grief without it. Suppose for a moment that all procreation stops, it will only mean that all destruction will cease. Moksha is nothing but release from the cycle of births and deaths. This alone is believed to be the highest bliss, and rightly.”8 Mahatma Gandhi wrote about painting; “I do say that I can never conceive of any painting superior to the star-studded sky in its satisfying effect on the mind. It has bewildered me, mystified me sent me into the most wonderful ecstatic thrills imaginable. Side by side with this wondrous mystery of God’s artistic handiwork, does not that of man appear to be the merest tinsel?”9 Mahatma Gandhi wrote about painting; “Which of the three suggestions should I follow? I wish to act upon none of them. Why should I burn the Vidyapeeth, in the establishment of which I have had some share, however small? There is a story told by an English painter. Once, by way of joke, he hung up one of his paintings in the market-place and wrote below it that anyone who saw any fault in it should mark it with a dot. The next day there was not an inch on the surface of the painting which was without a mark. But the artist said that he would not burn the painting so long as he was himself satisfied with it.”10 Mahatma Gandhi wrote about painting; “I know that there are two opposite parties, one painting it in the blackest colours, the other hailing it as deliverance for the down-trodden masses all the world over. I do not know what to believe. All I can say is that my movement is not atheistic. It is not a denial of God. It has been undertaken in His name and is being continued with constant prayer. It is undoubtedly a mass movement but it seeks to touch the masses through their hearts, their better nature. It is a process of discipline and hence it is that it has filled even some of the best of my coworkers with despair.”11 Mahatma Gandhi wrote about painting; “I wish to come back to the vow that you have taken. You have also listened to the prayer read by our brother, Athavale1.Both these things looked very common. But we cannot see power latent in common things. When an artist displays a trivial painting in a hall we praise it because it is the fashion. But no one ever cares for the glorious painting right above our head. The limitless sky, its brilliant stars and moon, the splendid hues at the hour of sunrise and sunset can any artist paint all these? We do not, however, raise our vision but look lower and lower. That is why we are captivated by trivial paintings.”12 Mahatma Gandhi wrote about painting; “The handicrafts taught of course include spinning on the takli and the spinning-wheel, but in addition to this pottery, carpentry, painting and such other crafts are also being taught.”13 Mahatma Gandhi wrote about painting; “Immediately on arrival, he had instructed a subordinate to disguise himself as an Indian trader by putting on Indian dress and painting his face, to see me and deliver tome the following message: “If you wish to save your friend, his guests and property, and your own family, I advise you to disguise yourself as an Indian constable, come out through Rustomji’s godown, steal through the crowd with my man and reach the Police Station.”14 Mahatma Gandhi wrote about painting; “I quite agree with you and Krishnabai that her talent for painting should be developed. I therefore quite understand her desire to stay with you and go on with her painting work. I would like to have some photographic specimens of her work.”15 Mahatma Gandhi wrote about painting; “I once saw a beautiful painting in a Roman Catholic Church, the work of a gifted painter. It is the time of prayer. Women have been working in the fields, pickaxes in hand. As one of them was about to dig with her pickaxe, the bell tolled for prayer and the pickaxe fell from her hand, she bent her body as though kneeling for prayer and started praying. The poet for the painter is a poet—had imagined the woman as working like a machine. For these women work was worship. There is a saying in Latin which means that bodily labour is a form of worship. Anyone who believes that it is so will automatically kneel down at prayer time. A person who has resolved that he will always get up at four will roll up his bed as the clock strikes four. If such a person misses praying at prayer time, he will feel weary and oppressed and will not be able to concentrate on any work.”16 Mahatma Gandhi wrote about painting; “Her parents are alive. Sushila is good at painting and also tries a little music. She plays on the harmonium. She is good at house work. She has herself written the letter without any help. She has also been told that you were almost engaged in South Africa. I would not have been able to find out a better match.”17 Mahatma Gandhi wrote about painting; “I want a sample of Sushila’s English handwriting and language. What is her weight now? What painting is she engaged on at present?”18 Mahatma Gandhi wrote about painting; “I keep on feeling that teachers in the true sense of the word are essential, no matter how good the text-books are. A good teacher would never content himself with summarizing or explaining the meaning of difficult passages. Time and again, he would go beyond the text- books and present his subject to the pupil in a vivid manner in the same way as an artist does. The best text-book may be compared to the best photograph. However, just as a painting by an artist although second rate is invariably superior to a photograph, similar is the case with a real teacher. A true teacher introduces the pupil to his subject, creates in him interest for the subject and enables him to understand it independently. In my opinion, one who explains difficult passages and prepares abstracts can never be regarded a good teacher. Our endeavours should be to turn out true teachers who could be infused with a spirit of service. It is not that stray instances of such teachers are not being found even today.”19 Mahatma Gandhi gave the answer of a question related to painting; “Q. 17. The art of painting means expression of the emotions of the artist through line and colour. If this definition of painting were to be accepted, would you include painting as an essential part of the scheme of national education which should be universally taught to all? A. I have never disparaged drawing and painting, though I have certainly deprecated the blots of ink and colour passing under its name. I doubt if painting as defined by the artist could be made universal. There is this difference between music and painting: While painting can be learnt only by a few who have a natural aptitude for it, music must be and can be learnt by all. In painting too, drawing of straight lines and the figures of animate and inanimate objects can be taught to all. It is certainly useful and necessary and I want it to be taught to every child before it is taught the alphabet.”20 Mahatma Gandhi wrote about painting; “I have followed what you say about Chi. Gajanan. There is no harm in letting him satisfy his love of painting. It is very good indeed that, at the same time, he also does spinning, etc.”21 Mahatma Gandhi wrote about painting; “This time your pictures are badly drawn. If you want to draw pictures you must draw them well. Otherwise you cannot learn painting.”22 Mahatma Gandhi wrote about painting; “I got the paintings sent by you. None of us here is an expert on painting. But all three of us liked both the paintings. We liked the painting of Rama and Hanuman more than the other. Sardar was pleased most. On one of them is written your name, and on the other the name is “Bhau”. If the second painting is not by you, who is “Bhau”? I take it they are both by you. Are they both original or copies? Give me any other information that may be relevant.”23 Mahatma Gandhi wrote about painting; “If Dhiru himself wants to learn painting in a spirit of dedication and agrees to observe the [Ashram] vows in Santiniketan and live there as an ideal student, if he is also ready to learn whatever else he can learn there, I think he can do excellent service afterwards. Painting also can be of two kinds, divine and demoniac, sattvik and rajasik, moral and immoral. I believe every word of what Dhiru has said. If he is so eager to learn painting, I think we should encourage him. Just as Pandit has dedicated his art to service and people get its benefit and are likely to get it in a still greater measure in future, so also can one dedicate painting to service. Painting is silent music. We can see from our experience of paintings which excite passion that, if a painter painted pictures which would purify us of passion, their power would be felt even by the coarsest of men. There are pictures painted with this aim. But of course there are very few painters of this type. If somebody from the Ashram becomes such an artist, we should admire him. Probably you do not know that we had started training Balkrishna1 to make him such a sculptor. He had even made a few statues. He himself then gave up the work. He has even given his reason for doing so in the letter which I received from him this week. We shall not mind if Dhiru’s effort to learn painting also meets the same fate. I don’t know how they teach painting in Santiniketan. But there is no better place in India at present for learning this art. But I should also like to say that if anybody else, following Dhiru’s example, wishes to learn painting, we may not readily agree. Dhiru’s heart has been set on this art for many years and his love of it is pure. He seems to be well-behaved in other ways and has the strength and the will to observe the Ashram rules. He has also been living in the Ashram for many years. If these assumptions are not correct, we cannot send him. We cannot send him also if there is the slightest doubt about the purity of his character. He can be sent only if he understands all this, willingly accepts the conditions which I have put in my letter to him and if all of you can trust his word, and if all these requirements are fulfilled I think it is our duty to let him go. All of you should consider the case from this point of view and decide. Don’t forget to invite Narahari to join in the discussion. After the incident concerning. We should be careful. A frightened man sees a cause of fear everywhere. If Dhiru indulges in lustful fancies, if he is a boy with an impure mind, painting is likely to prove a dangerous pursuit for him. These arts are alluring. The world itself is alluring, and it is no wonder that the arts of an alluring world should be equally alluring. But just as the world, though it is alluring to the senses, can be a field, for attaining moksha, can be a manifestation of the glory of God, so can art. Out of a thousand artists one may become a bhakta. I know that nine hundred and ninety-nine become lovers of the flesh. If you have faith in Dhiru that he will be one in a thousand, if all of you feel sure about that, let him have your blessings and go. Having done so, we should trust to our fate. We will dedicate to Shri Krishna our decision to send him. I started writing this letter before the Morning Prayer and end it exactly at four o’clock. It is still ten minutes before the prayer starts.”24 Mahatma Gandhi wrote about painting; “I do not propose to detain you over an examination of the amendments. It is right for the members to suggest amendments. But when the member in charge of the resolution cannot see his way to accept your amendments, it is better to withdraw them or reject the resolution, if his reasons for not accepting the amendments do not appeal, to you. The ablest painter has not yet produced a painting that has not evoked some criticism. If he were to incorporate all the criticisms into his picture it would become a daub. The resolution drawn up after much trouble is like a picture to be dropped or taken. It may not be tampered with except when the author is convinced of his error.”25 Mahatma Gandhi wrote about painting; “Though I was happy and proud to see what I saw in the exhibition this morning, and felt that I had not seen anything of the kind before in Gujarat, let me tell you that I missed what I would call a painting that speaks.”26 Mahatma Gandhi wrote about painting; “But I have a fear that the modern girl loves to be Juliet to half a dozen Romeos. She loves adventure. My correspondent seems to represent the unusual type. The modern girl dresses not to protect herself from wind, rain and sun but to attract attention. She improves upon nature by painting herself and looking extraordinary. The non-violent way is not for such girls.”27 Mahatma Gandhi wrote about painting; “Everyone here is pleased with the service he has rendered. I approve of his desire to learn painting.”28 A portion of the history of painting in both Eastern and Western art is dominated by spiritual ideas. Mahatma Gandhi wrote about painting; “The art teacher should first take up some work which would enable him to earn his livelihood. Later on he may paint and teach painting. Such artists alone will teach true art.”29 Mahatma Gandhi wrote about painting; “Though we cannot see God, we can feel His compassion and His goodness everywhere and this cannot but have its effect on us. For 1 The Resident acknowledged the receipt of the addressee’s letters to himself and the Maharaja and said he was meeting the Maharaja as soon as possible.”30 Mahatma Gandhi wrote about painting; “instance, imagine a beautiful picture drawn by a great painter. We may not know the painter, but from the painting you can certainly from an idea of his artistic ability. Likewise, we do feel the presence of a Divine power behind the creations of nature and this infinite universe.”31 The history of painting reaches back in time to artifacts from pre-historic humans, and spans all cultures. It represents a continuous, though periodically disrupted tradition from Antiquity. Across cultures, and spanning continents and millennia, the history of painting is an ongoing river of creativity that continues into the 21st century. Until the early 20th century it relied primarily. Mahatma Gandhi wrote about painting; “It is said that my speeches these days are such as to generate a feeling of pessimism. Indeed I am advised by some not to speak at all. It reminds me of a story about a painter. He placed a painting on display with a notice that critics might mark the sport where they found the painting faulty. The result was that the painting was soon reduced to a blur of colours. The painter had wanted to show that it was not possible to please everyone and he was satisfied that he had created a good painting. I am in a similar situation. I never speak merely for the sake of speaking. I speak because I feel that I have a message to deliver. It is true that today.”32 So we can say that Mahatma Gandhi knew its important very well. He encourages all those people who were taking interest in this field. References: 1. The Vegetarian, 7-2-1891 2. Indian Opinion, 9-2-1907 3. LETTER TO OLIVE DOKE; December 15, 1910 4. LETTER TO MAGANLAL GANDHI; About May 8, 1911 5. Navajivan, 7-3-1920 6. Navajivan, 31-7-1921 7. VOL. 26 : 24 JANUARY, 1922 - 12 NOVEMBER, 1923; Page- 279 8. VOL. 26 : 24 JANUARY, 1922 - 12 NOVEMBER, 1923; Page- 369 9. VOL. 27 : 12 JANUARY, 1924 - 21 MAY, 1924; Page- 5 10. VOL. 28 : 22 MAY, 1924 - 15AUGUST, 1924; Page- 127 11. Young India, 21-8-1924 12. Navajivan, 18-1-1925 13. Navajivan, 13-12-1925 14. VOL. 34 : 11 FEBRUARY, 1926 - 1 APRIL, 1926; Page- 53 15. LETTER TO D. VENKATA RAO; May 3, 1926 16. VOL. 37 : 11 NOVEMBER, 1926 - 1 JANUARY, 1927; Page- 181 17. LETTER TO MANILAL GANDHI; February 8, 1927 18. LETTER TO MANILAL AND SUSHILA GANDHI; April 23, 1928 19. VOL. 42 : 2 MAY, 1928 - 9 SEPTEMBER, 1928; Page- 91 20. Navajivan, 1-7-1928 21. LETTER TO NARAYAN MORESHWAR KHARE; May 30, 1931 22. LETTER TO PUSHPA S. PATEL; August 21, 1932 23. LETTER TO GAJANAN V. KHARE; October 29, 1932 24. LETTER TO NARANDAS GANDHI; March 29, 1933 25. The Bombay Chronicle, 23-5-1934 26. VOL. 70 : 21 OCTOBER, 1936 - 24 FEBRUARY, 1937; Page- 33 27. VOL. 74 : 9 SEPTEMBER, 1938 - 29 JANUARY, 1939; Page- 355 28. LETTER TO HIRABHAI S. AMIN; November 20, 1944 29. LETTER TO DEVI PRASAD; March 1, 1945 30. Bihar Pachhi Dilhi, p. 276 31. VOL. 95 : 30 APRIL, 1947 - 6 JULY 1947; Page- 401 32. SPEECH AT PRAYER MEETING; July 14, 1947