Three artists attempt a convergence of traditional and contemporary Kalamkari imagery through Varna (n), an exhibition at the Salar Jung Museum in Hyderabad
On the first floor of the Salar Jung Museum in Hyderabad, Varna (N), a collective display of textiles and drawings attempts to show visitors what three contemporary practitioners of art can do when they develop a new approach to the traditional craft of Kalamkari. take the approach. Anindita Chakraborty, Rajarshi Sengupta and Sharmishtha Kar use imagery from the past and present, natural dye pigments and embroidery, to reach new narratives.
The result is artifacts that vary from wall hangings, utilitarian bags, and cushion covers. “We don’t consider bags and cushion covers as lesser entities than artworks,” says Rajarshi, PhD, in art history from the University of British Columbia, Vancouver, Canada.
He, Anindita and Sharmistha crossed paths at the University of Hyderabad. Rajarshi taught in the Department of Fine Arts at the SN School of Arts and Communication, University of Hyderabad (UoH). Anindita earned a master’s degree in fine arts from UOH, and Sharmistha, now based in Canada, studied and worked as a lecturer at the same institute.
Dyer and Canal Network by Rajarshi Sengupta
After several phone and online conversations, the collaborative idea for Varna(N) took shape in 2019. “We wanted to incorporate our three practices – drawing, dyeing and embroidery,” says Sharmistha.
Rajarshi and Anindita were working on the paintings, dyeing and then sending them to Sharmistha, who would later embroider to add a new narrative layer.
Character (n) refers to both the color and the narrative. Rajarshi took a dip in his research on traditional Kalamkari imagery. In the craftsmen’s studios in and around Machilipatnam, he found imagery representing the 17th and 18th century East India Company eras as well as Southeast Asian cultures as a result of trade routes.
One of the artifacts has images of men and women washing and dyeing thread and cloth at the bottom of the river. Rajarshi wanted to depict the Rangers and their way of life which were connected by river and canal network. While there are many references to crafts and trade routes in art history, very little is known about the Dyer they saw. He developed natural dyes and received guidance from dye expert Jagada Rajappa whenever he was at the crossroads to develop specific colors.
Sharmistha Kar finalizes artwork with her embroidery
Anindita also worked on portraiture and other paintings using natural dye pigments that are used in the Kalamkari process. “Sometimes, my work becomes autobiographical.” Working with natural dye pigments on previously washed paper was a challenge. “Pigments react with paper in a way that is different from watercolor. I learned how much I had to use over time.”
The interplay of technology and imagery blending the traditional and the contemporary is evident in the performances. For example, one of the artifacts depicts the intricate details of a large tree. “We see this tree quite often in the botanical garden (in Kondapur). Even in the early hours of the morning, the city is bustling and so is the tree; It is an ecosystem in itself, which we have tried to portray in fine detail,” says Anindita. Such drawings come alive with the subtle embroidery done by Sharmishtha.
A Self Portrait by Anindita Chakraborty
The three artists see the Varna (N) as a metaphor for layering history, memory and experiences, based on the generational practice of making Kalamkari garments.
Artist Shruti Mahajan, who was part of the opening of the performance, puts things into perspective when she explains, “I find it fascinating when parts of a story come together to form a bigger picture. Traditional techniques like Kalamkari can be overwhelming. It is a challenge for a contemporary art practitioner to enter that field and bring forth a strong voice.”
Varna (n) is on display at the Salar Jung Museum till 15 December.
,