The Earthiness of Vipul Kumar’s Ceramic Sculptures

 

Ankush Arora

 

The ceramic works of Jaipur-based artist Vipul Kumar, currently on view at Delhi’s Threshold Gallery, demonstrate a strong sense of the Earth element, while exploring the turbulent relationship between humans, as a profligate race, and Nature, as a depleting yet bountiful force.

 

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Gallery View. Picture Courtesy: Threshold Gallery

 

Kumar’s ‘Earth Diaries’, as the show is titled, engage with two materials – stoneware and porcelain, which are different types of ceramics. Sculpted into dissimilar shapes and forms, his exhibits embody decay and doom, palpable through cracks and lava-like formations coiling over the objects. The artist, a student of fine arts at Benaras Hindu University, attributes his experimentation with ceramic art to his brother Kesarinandan, who runs a studio in Delhi. Prior to that, he was trained under famous sculptor Balbir Singh Katt, known for his adept use of marble and wood materials on a large scale.

As a trained stone sculptor, Kumar said he began with geometrical, rigid forms that found a new visual vocabulary in the ceramic medium. Maintaining the rigidity of his stone sculptures, his has used the delicacy and richness of clay and porcelain materials to enhance his artistic practice—an experimentation that has preoccupied him for the past ten years. The exhibition at Threshold Gallery highlights his foray into this new medium, that also doubles up as a platform to voice his concerns about the effects of climate change. It’s a concern that has shaped his life too, having left Delhi to setup a ceramic studio in Bhaislana, so “he could breathe better”.

 

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 Cheraweti Stoneware, 49x46x16 inches, 2018. Picture Courtesy: Threshold Gallery

 

At the entrance of the Threshold Gallery is placed a big slab-like sculpture, titled “Cheraweti”, believed to be a Sanskrit word from a Hindu scripture, that roughly translates into “chalte chalo” or keeping moving. The sculpture’s powerful visual imagery and an unmistakable ‘ancient’ quality set the tone for the show. Depicting the only human form in the entire exhibition, the sculpture invokes divinity as an omnipresence witness to the birth of civilization and eventual degradation, which is characterized by termite-like cavities.

 

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Global Warming II. Porcelain 13×11.5×11, 2010. Picture Courtesy: Threshold Gallery

 

The theme of deterioration extends into other exhibits: in “Nature’s Signature”, for example, the dull green protrusions and cavities acquire an expanded form; an “Untitled” window-like installation shows it is slowly being consumed by the same termite hillocks; and the “Global Warming II” sculpture shows volcanic eruptions in an increasingly altering environment. (An expanded version of Kumar’s “Nature’s Signature” sculpture has been mounted at the Indian Ceramics Triennale in Jaipur, a first-of-its kind homegrown initiative that acknowledges the finest experimentations in Indian and overseas contemporary ceramic art.)

 

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Nature’s Signature, Stoneware, 168x120x65 cm. Picture Courtesy: Indian Ceramics Triennale. 

 

Adding to the symbolism of humans corroding nature’s largesse is the sight of consumerism and capitalism depicted in “Untitled-II” object at the Delhi show. Formidable and fragile at the same time, the comparatively smaller sculpture in the collection is an ironical reference to the architectural grandeur of today’s day and age.

Humans, the exhibition shows, are not all that powerful despite their extractive tendencies: we are governed by “astral phenomena” or zodiac signs (Untitled Mural) and the concept of the movement of time (Jantar Mantar-II), inferring to the infinitesimal nature of human existence.

 

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Jantar Mantar. Stoneware. Woodfired 15x24x12 inches. Picture Courtesy: Threshold Gallery

 

The intense visual imagery of these exhibits takes a break when you notice these 15 objects. Playful and organic, this installation doesn’t seem to be conveying a moral tone, unlike the rest of the collection. On closer look, it turns out that other materials such as chips, glass, bangles and even husk have been added to these objects, giving them a peculiar ornamental quality.

Seen together, the exhibition does not confirm to the common ideas of art being necessarily beautiful or pleasing. Instead, the show is about Kumar’s reflections on the prevailing ugliness in the world. Working out of his large ceramic studio in Bhaislana (which is also the site of black marble mines), the artist is one of the handful of Indian practitioners to have earned the reputation of elevating “the humble pot or clay sculpture to the status of high art”.

One of the oldest human inventions, ceramics have, for long, been identified as a traditional, artisan-based craft for industrial, functional, ritual/temple, and architectural purposes. Even though ceramic art has witnessed renewed interest among artists to experiment with multiple techniques and concepts in the medium, a historical gap has been noted in terms of the ‘stepchild’ status given to ceramics when compared with painting or sculpture.

 

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3 Untitled Mural, Poreclain, 120×48,14 in (40 pieces each 10×10 in side view) and An Accident. Picture Courtesy: Threshold Gallery

 

Kumar was born in Sitamarhi in the state of Bihar, which has a centuries-old history of ceramics. But he considers himself to be primarily a sculptor, who happens to work in the ceramics medium. And yet, a conversation with him reveals how his own brother, a trained ceramist, often felt he was just a “kumhar”(a potter), instead of being a visual artist.

Sharing this insight into the existing barriers within the art market, Kumar said: “There seems to be a ‘class distinction’ in painting, graphics, sculpture and pottery. I have tried to use ceramic as a material to shake up the image of ceramic craft, transform it into the form of sculpture and elevate its status in contemporary art”.

‘Earth Diaries’ is open for public viewing at Threshold Gallery until October 27, 2018.

 


276520d7-6209-4f19-a17e-7e4d98264b55Ankush began his career as a journalist in 2008, and has since covered multiple stints in print, television and digital media in India. In 2016, he took up a communications and outreach assignment for an American social innovation organisation, which works with the Tata Trusts in India. He is currently working, in Delhi, as a media publicist for art practitioners. He tweets @artandculturediary, and shares his photography on Instagram.

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When Art Transcends Human Creativity

 

Delhi-based Nature Morte Gallery’s recent exhibition, ‘Gradient Descent’, seeks to establish artificial intelligence as a new genre of contemporary art-making

Ankush Arora

What happens when a statistician and an artist decide to create a new form of art? The outcome is an experimental initiative for artists and technologies of ‘Artificial Intelligence’ (AI) to reimagine creativity in contemporary art practices, while establishing a collaborative human-machine relationship. That is the stated goal of ‘64/1’, the Bengaluru-based art curation and research collective founded by brothers Karthik Kalyanaraman, whose interest in visual arts predates his career as an economist, and Raghava KK, a multidisciplinary artist known for creating an art book for children on the iPad.

And what happens when a gallerist realises that AI (broadly, the ability of machines to replicate human intelligence) is slowly beginning to shape the way we access technology? The result, this time, is a startling collection of seven exhibits and installations, made entirely by AI algorithms (or computer codes), establishing AI as a new medium to make art. This is a rare show curated by an Indian art gallery, joining an emerging movement of AI-based art in other parts of the world.

 

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Imaginary Landscape, 2018, Nao Tokui. Courtesy: Nature Morte, Delhi

 

Featuring mixed-media elements like AI-generated sounds, videos and images, the exhibition at Delhi’s Nature Morte Gallery debates the common apprehension that technologies like AI could make human labour or creativity redundant. Instead, human expression in art can be reinvented by technology as a combination of man and machine, the exhibition ‘Gradient Descent’ demonstrates, even though different forms of human labour are being replaced. The exhibition’s six overseas artists and one Bengaluru-based practitioner have trained AI networks to produce the final artworks by exposing them to multiple audio-visual materials.

Here are excerpts from a conversation with Karthik, who taught econometrics in the UK and US for about four years, before setting up his art curation and research collective. He has curated this exhibition with Raghava, who began his career in art as a cartoonist, moved to painting and simultaneously began experimenting with digital processing and programming tools to create art.

How did the two of you get interested in AI art?   

We were both obsessed with art and somewhat frustrated with the lack of deep engagement of artists with what we thought are issues of the future: the rise of AI as a symbol of continuing labour replacement by technology and climate change. So it was natural for us to start looking for artists who were engaged with AI.

What does the title of your show, ‘Gradient Descent’, mean? 

It’s a pun. ‘Gradient Descent’ is the name for a particular mathematical (optimization) routine that the AI algorithm performs in order to learn. At the same time, we want to imply that there is a gradient, a continuum, between man and machine.

Has your show, in any way, changed perceptions towards AI art in India?  

I think most people in the art world did not really realize the developments made by AI art, so it was a bit of a surprise for them. So I’m not sure that it has changed perceptions, because I think initially there was a huge lack of awareness. But I think now we have definitely seen younger artists become more interested in using AI as a tool. As for people in the tech world, our hope is that they have started to realize that their world intersects with the art world in interesting ways and will want to experiment with cross-overs.

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Perception Engines, Tom White. Courtesy: Nature Morte, Delhi.

 

How is the AI art market in India shaping up?    

The potential is huge. But the truth is there are very very few artists truly engaged with AI in India, despite the fact that the kind of AI needed to create interesting images is actually taught in computer science departments like say, at Ashoka University. This is because of the wariness with which our art schools still regard this media art space. The challenges are not technical. We have the technology. The challenges are in getting more members of the art world (art school faculty, students, critics, curators) to engage with this space.

Your show is dominated by international artists, with only one Indian artist from Bengaluru. Did you intend to make it a global show or does India not have too many AI artists?    

Both. It was a pioneering show globally too: the first time a mainstream art gallery organized such a show in the world. So we wanted it to be global. As for India, after intense search we only found a few artists in this space and of them only Harshit Agrawal was doing stuff that was both at the forefront of technology and conceptually interesting.

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The Anatomy Lesson of Dr. Algorithm, Harshit Agrawal. Courtesy: Nature Morte, Delhi.

 

It appears that while talking about AI-based art, the medium takes the centerstage, somewhat marginalising the actual theme of artworks. And that has also happened in the way your exhibition has been received. Is that problematic or even unfair?

Very much so! I think because of the novelty value of this kind of show, purely the ‘AI’ part is getting stressed. We see this globally too: for instance the piece auctioned off by Christie’s is really quite unoriginal and has been done by other AI artists, so they are primarily selling as made my AI, creating a kind of idiotic mystique around the whole field. The truth is the human artists have gone nowhere! In a group show like ours, you could really see the aesthetic diversity of the artwork and this stems mainly from human decisions, because all the artists are starting out with more or less the same raw algorithm.

The human artist designs the concept, the human artist trains the machine in a specific visual style, the human artist curates the output. So then whole completely produced by AI idea is a myth. So yes, it is unfair.

In India, how are you planning to keep the conversation going regarding AI work?

We are in the initial stages of first moving the show to a couple of other cities. We would love to be able to create an outreach to art schools and engage young artists with the art of the future. Another idea was to create a lab that would provide the resources for young artists to engage with this stuff.

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Self-Portrait, Mario Klingemann. Courtesy: Nature Morte

 

According to the exhibition, AI art is just two years old. How did you arrive at this timeline? We do know that artists have experimented with the idea of creating art independent of humans for more than 50 years. 

In a sense you can say (French modernist) Marcel Duchamp kicked off that process with his readymades so I would date it even earlier. But the idea that an image can be made, where one has no control at all over the final look of the image, where the machine is not given any procedure or recipe for creating images, but is only fed a whole lot of examples to learn from, is very new.

The main idea for allowing a machine to generate an image, pixel by pixel, came in 2014 with the publishing of the paper on Generative Adversarial Networks by Ian Goodfellow and co-authors. Before that there was some experimentation with things like style transfer and Google DeepDream, but these were not as aesthetically interesting to artists because of their limited image-making capabilities.

‘Gradient Descent’ concluded at Nature Morte Gallery, Delhi, on September 15, 2018.


276520d7-6209-4f19-a17e-7e4d98264b55Ankush began his career as a journalist in 2008, and has since covered multiple stints in print, television and digital media in India. In 2016, he took up a communications and outreach assignment for an American social innovation organisation, which works with the Tata Trusts in India. He is currently working, in Delhi, as a media publicist for art practitioners. He tweets @artandculturediary, and shares his photography on Instagram.

From ‘India and the World’, a gallery tour of masterpieces on 200-year-old freedom struggles

 

Ankush Arora

An oil painting by Amrita Sher-Gil, recently mounted at New Delhi’s National Museum, showed a confident-looking European girl with a comparatively demure Indian. The European, painted in bright yellow, had her arm around the shoulders of the visibly dark Indian girl. While the painting has been interpreted as an exploration of the artist’s mixed identity (she was born to a Sikh father and a Jewish-Hungarian mother) and her corresponding artistic influences, it also deals with a transforming social and political landscape.

‘Two Girls’ was painted by Sher-Gil during her brief visit to Budapest in 1939, around the time Europe witnessed the rise in fascism, and India a nationalist, anti-colonialism struggle against the British rule. The artwork, by one of the greatest avant-garde artists of the 20thcentury, was part of a large-scale, transcontinental collaboration that offers a unique perspective on India’s history by placing it in a parallel global context.

 

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Two-Girls, Amrita Sher-Gil, Oil on Canvas, 1939, Budapest, Hungary, Private Collection. Image: National Museum

 

Titled ‘India and the World: A History in Nine Stories’, the exhibition brought together nearly 200 iconic objects from New Delhi’s National Museum, Mumbai’s Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), London’s British Museum, other Indian museums as well as private collectors. Inaugurated at the Mumbai museum late last year, the exhibition was open for public viewing at the National Museum until June 30.

Spread across nine galleries, each section juxtaposed masterpieces from India and rest of the world through different themes focusing on—the beginning of time; the emergence of first cities; empires; the relationship between state and religion; divinity; trade; court cultures; struggle for freedom; and the representation of time in art.

Sher-Gil’s figurative painting belonged to the ‘Quest for Freedom’ gallery, which told the story of different kinds of freedoms—from slavery, imperial rule and patriarchy—covering a period of more than 200 years. The timeliness of this particular gallery, with its wide array of paintings, photographs, posters, everyday objects and contemporary artworks, is significant as the entire exhibition was launched ahead of the seventy-year celebrations of Indian independence.

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Page from a slave register, Paper, 1871, Manatí, Puerto Rico, The British Museum. Image: National Museum

 

It is a well-known fact that India was the one of the first countries to gain independence from European imperialism. The freedom gallery charted a timeline of India’s story through a series of landmark events, such as the colonial masters’ discovery of the country’s history and art; the 1857 revolt; swadeshi movement; the adoption of Indian constitution; launch of the first currency notes; universal adult suffrage; and the contemporary project of digitally mapping populations.

One of the biggest draws of this exhibition was an original copy of the Indian constitution, designed by a team of Bengal’s Santiniketan artists led by Nandalal Bose, and calligrapher Prem Behari Narain Raizada. According to exhibition co-curator Naman P Ahuja, “The constitution is not just an important piece of legal document, it is also extremely beautiful and aesthetic. It brings together a variety of Indian art styles and episodes from Indian history, mythology into a united modern Indian art style.”

In India, Mahatma Gandhi’s charkha, or the spinning wheel, became the rallying point for freedom from British exploitation of Indian raw material, and eventually from their rule. The advent of indigenous textile mills in India, presented in the exhibition through a 20th century advertisement, found resonances in the African artworks made of cotton which celebrated freedom from colonialism and male domination.

The ‘Quest for Freedom’ gallery dramatically recorded the scale of violence involved in the freedom struggle, particularly in the Indian context. For instance, a photograph taken by famous war photographer Felice Beato, known for re-staging conflicts in order to document them, re-constructed the devastation of a building and loss of life during the 1857 revolt. Another image showed two Indians, identified as mutineers, hanging from the gallows.

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Execution of mutineers from the album of Canon Richard Warner of Lincoln, Photograph by Felice Beato, 1858, The Alkazi Foundation for the Arts, New Delhi. Image: National Museum

 

Parallel histories, war and reconciliation

Viewed together, the gallery’s various artefacts attempt to stitch together a web of trans-border histories, through paintings, sculptures, archival documents and textile material. A grand self-portrait by German artist Johann Zoffany, who lived in British India during the latter half of 18th century, is placed close to a Nigerian wooden sculpture of Queen Victoria, the symbol of British imperial domination.

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Johann Zofanny with Colonel Polier, Claude Martin and John Wombwell, Johann Zofanny, Oil on Canvas, About 1786-87, Victoria Memory Hall, Kolkata. Image: National Museum

 

The theme of slavery, which was abolished in the 19thcentury, was explored through a Puerto Rican slave register, containing details about a twenty-five-year-old slave. In another artwork, a striking Tanzania-made kanga (East African garment) celebrates the victory of Barack Obama as the first African American to hold U.S. presidency.

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Barack Obama, Kanga, Printed Cotton, 2008, Made in Tanzania, found in Nairobi, Kenya, The British Museum. Image: National Museum

 

In the end, the exhibition curators could not have thought of a more befitting way of rounding off the Freedom gallery tour, showcasing objects representing peace and reconciliation.

A Mozambican throne, made by welding together pieces of decommissioned civil war weapons, became the symbol of hope and transformation in post-war Mozambique, which is still suffering from the effects of a 16-year war that ended in 1992. The context behind this installation is the country’s post-civil war project that encouraged people to exchange weapons for agricultural, domestic and construction tools.

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Throne of Weapons, Cristóvão Canhavato (Kester), Metal, wood and plastic, 2001, Maputo, Mozambique, The British Museum. Image: National Museum

 

Complimentary to this installation was a bronze sculpture by Colombian artist Alex Sastoque, who has modified the barrel of an AK-47s rifle into a cultivation tool, while retaining the rest of the weapon. The object is titled ‘Metamorphosis – A Symbol of Peace.’

 


276520d7-6209-4f19-a17e-7e4d98264b55Ankush began his career as a journalist in 2008, and has since covered multiple stints in print, television and digital media in India. In 2016, he took up a communications and outreach assignment for an American social innovation organisation, which works with the Tata Trusts in India. He is currently working, in Delhi, as a media publicist for art practitioners. He tweets @artandculturediary, and shares his photography on Instagram.

Colours, only

 

A new exhibition in Delhi introduces the rare genre of ‘colour field’ painting to art lovers

Ankush Arora

How does an artist’s canvas reflect natural landscapes, without using any kind of recognisable shapes, images, forms or human figures? A good example of this style of art-making is the work of Pandit Bhila Khairnar, who is known as a ‘colour field’ artist. Delhi-based Gallery Threshold recently inaugurated a solo show of the artist, who hails from Nashik city in Maharashtra.

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Nashik. Courtesy: Flickr

 

As a young man, Khairnar found himself drawn towards abstract painting, and began his training in art at Yashwant Kala Mahavidyalaya, Aurangabad, and L. S. Raheja School of Art, Mumbai. His early interest in abstract painting deeply influenced his artistic vocabulary that we see today, so much so that he is now considered one of the lesser known, but foremost, colour field painters of India.

 

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Pandit Bhila Khairnar. Courtesy: Gallery Threshold

 

How Colour Field Painting Started

Before we discuss his paintings and other sources of creative inspiration that shaped his art, let us look at the genre of colour field painting, which is a very uncommon form of art seen in Indian galleries or museums. Colour field painting is understood to be an offshoot of Abstract Art, which was one of the most defining characteristics of the Modern Art movement that emerged during the 20th century in the West.

The term ‘colour field’ began to be associated with artists during the 1950s and 1960s in the US. These artists were in pursuit of an abstraction far beyond familiar realities. Their canvases largely depicted (deceptively) simple compositions using one or more flat colours, without adding a specific shape, form or any obvious focus of attention. Often, their art acquired mysterious, spiritual, and sometimes other-worldly proportions. One of the earliest pioneers of colour field art is 20th century American painter Mark Rothko, who is known for “significant open space and expressive use of colour” in his paintings. The result is a ‘meditative’ effect on the viewer, who is exposed to a large expanse of colour on the canvas.

The Non-Physical Art of Pandit Khairnar

When I walked into Delhi’s Gallery Threshold, Pandit Khairnar’s oil paintings had the same contemplative effect on me. His paintings are colourful explorations of his inner thoughts, without figurations, decorations or complicated patterns that we often see in art. Mounted on bare walls, these large canvases not only imbued a sense of stillness in the gallery, but the whole experience of looking at his works was no less than taking a solitary walk in the countryside. And this is exactly what the artist is seeking to convey through his paintings.

 

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Gallery view of the exhibition. Courtesy: Ankush Arora

 

Khairnar’s upbringing in the historically rich and verdant terrain around Nashik, which is known for antiquated monuments and (now) sprawling vineyards, shaped his artistic sensibilities. As a school boy, he showed a lot of interest in drawing and painting, which caught everyone’s attention. Soon, he befriended the potter community in his village, and began painting their statues for local festivals.

As a young man, he moved to Mumbai, where he stayed for 25 years. He then returned to the serene beauty of Nashik, which inspired him to paint. His Nashik memories are full of regular jaunts to agriculture fields, often helping his father cultivate fruits and vegetables on the farm. Being in regular touch with the soil made him dabble in statuette-making too. He was also taken in by the mysterious colours of twilight and dusk, which he explored in his art.

From Colour Drawings to Abstractions

Through shades of greens, oranges, blacks, reds and yellows, the artist splashes his memories on the canvas, creating an ‘infinite’ or ‘limitless’ field. In other words, he is trying to portray his experience of observing a vast natural landscape, instead of actually painting a tree, sky or river. His canvas could be showing the pigment of a leaf or the mixing of colours in the sky when night begins to fall. To such representations, he gives an ‘intangible’ or a non-physical form.

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Courtesy: Gallery Threshold

 

Explaining his trajectory as an artist, Khairnar said he initially started with colour drawings on paper. Several of them were abstract in nature that made way for what he is doing now. “In these drawings, I was in a sense opening and discovering the substance out of the frame, to find what I am left with, which is pure and sublime,” the artist said. Interestingly, he rejects the label of being referred to as a colour field artist, calling it a “comfortable categorization” that may lead to “superficial” understanding of his art.

“How would you explain your work to the young learners of art?” I asked him in an email interview.

“Colour is something that gives character. We can’t imagine a monochromatic world. What we see on the canvas essentially arrives from the subtle observations of inner and outer world,” he wrote back, somewhat summing up his style of painting.

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Courtesy: Gallery Threshold

 

It is because of the nature of colour field paintings, which are devoid of a form, the genre is not only not popular in India; there is also little awareness about it. They could be difficult to interpret too. And that is true of many other forms of abstract art. Little wonder, in India, Khairnar belongs to a small group of colour field painters, which include V. S. Gaitonde,Natvar Bhavsar, Sohan Qadri and Rajendra Dhawan. Gaitonde, Rothko and Dhawan—who are known for their powerful abstractions—inspired Khairnar to explore and question different interpretations of the ‘real’ and the ‘illusory’.

As I spent some time in the gallery, quietly sipping some tulsi chai, I noticed a few subtle forms in Khairnar’s paintings. The sudden discovery seemed very odd as I didn’t remember noticing anything like that when I walked in. Some looked like dots, seen together they could be somebody’s eyes. In other paintings, for example, the forms were far less obvious, resembling vague silhouettes of a human face. Perhaps these lingering forms pointed towards the galaxy, a theme aptly conveyed in the show’s title – ‘Cosmic Balance’.

The exhibition will be on view at Delhi’s Gallery Threshold until September 15, 2018. You can share your thoughts on Pandit Khairnar’s works below.


 

276520d7-6209-4f19-a17e-7e4d98264b55Ankush began his career as a journalist in 2008, and has since covered multiple stints in print, television and digital media in India. In 2016, he took up a communications and outreach assignment for an American social innovation organisation, which works with the Tata Trusts in India. He is currently working, in Delhi, as a media publicist for art practitioners. He tweets @artandculturediary, and shares his photography on Instagram.

Interwoven narratives of Indian and Thai textiles   

 

The revival of Thai’s ‘mudmee’ silk industry is the subject of a new exhibition at New Delhi’s National Museum

Ankush Arora

Between the 14th and 18thcentury, the Kingdom of Ayutthaya (present-day Thailand) began importing various kinds of Indian textiles for the local market and royal court. These included block-printed or painted cotton from Masulipatnam (Andhra Pradesh), silk brocades from Banaras, and Gujarat’s patolaor double ikat silk—the latter was believed to have been commissioned for the Ayutthaya king during the 1660s.

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Painting of Ayutthaya c.1665, painted by Johannes Vingboons, ordered by the Dutch East India Company, Amsterdam. Courtesy: Wikipedia

 

While the origin of silkworm breeding and silk weaving in Thailand remains unknown, the early hybridization of Indian-made textiles with Siamese (dated term for Thai people) royal court patterns began to take place sometime during the Ayutthaya kingdom, according to a new art exhibition at New Delhi’s National Museum. Adorned with flame motifs, which is a quintessential form of Thai visual art seen in local paintings and architecture, the textiles began to be commissioned exclusively for the royal court.

For the general Siamese public, textiles with simplified patterns (perhaps keeping in mind the cost), including Indian influences, were also produced. These Indian-Thai patterns and motifs can still be seen in mudmee silk of contemporary Thailand, which is the subject of the exhibition, titled ‘Mudmee: A Shared Silk Heritage’.

“The diamond lattice structure filled with lotus-bud-shaped motif…[was] favoured by the Siamese (Thai) court in the past. The structure…is often referred to as Mughal Indian inspiration upon the Siamese court taste,” reads a note in the exhibition catalogue, on an early 21st century natural silk dye from Surin Province. The exhibition, unfortunately, does not highlight the artistic and historic influence of other neighbouring countries, such as China, on Thailand’s textiles.

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Exhibition View by Ankush Arora

Presented in collaboration with the Royal Thai Embassy and the Thai Khadi Research Institute, the exhibits document the history and monarchy-led revitalization of the Southeast country’s mudmee silk, that involves tying off silk yarns, to create patterns, before setting off the process of weaving.

Intricately woven, with complex patterns and vivid textures, around 50 mudmee silk items have been mounted at the gallery, offering a glimpse into the local and royal culture of Thailand, which has been shaped by constitutional monarchy, military rule and Buddhist religion.

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Exhibition View by Ankush Arora

The artefacts on display, roughly covering a period of three most recent centuries, are traditional costumes for both Thai men and women; the collection comprises of tube skirts, hip-wrappers, regular skirts, and shoulder sashes. The artistic precision and detail of these textiles are accentuated by the portrayal of local themes that are related to—mythology, religion, spirituality, architecture, nature and fertility.

Since the early 20th century, however, the western style of dressmaking led to the decline of locally handwoven textiles in Thailand. With the expansion and rapid urbanization of Bangkok, Thailand’s capital city, and other big cities, mudmee silk was relegated for use by the rural and poor people only. The onslaught of cheaper and machine-made silk sidelined indigenous silk as well. One of the other reasons that may have also contributed to mudmee silk’s decline is the difficulty of wearing Thai garments on a daily basis.

With the support of royal patronage since the 1950s, led by Thailand’s Queen Sirikit, mudmee silk not only made it to annual silk festivals and international fashion runways, the quality of weaving and sericulture significantly improved. Focusing on the rural and backward parts of Thailand, she launched a livelihood campaign by initiating market reforms, introduced training in textile weaving, encouraged people to increase mudmee production, and eventually made large-scale purchases from the local market.

A fashion icon herself, the queen—who turned 86 this year—has made innumerable public appearances, both at home and abroad, wearing exquisite gowns made from Thai mudmee silk. She even hired French couturiers and Thai designers to design fashionable dresses out of mudmee, opening new doors for traditional silk.

Some of the artefacts at the exhibition, such as a collection of chic mudmee silk dresses, have been loaned by Bangkok-based Queen Sirikit Museum of Textiles, that houses the queen’s personal collection of dresses tailored from Thai textiles.

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Exhibition View by Ankush Arora

However, the National Museum show does not acknowledge the contribution of Jim Thompson, the American intelligence official-turned-businessman who is credited for “singlehandedly saving Thailand’s vital silk industry from extinction (Time Magazine, 2016).”

Thompson, famously called ‘Thai Silk King’, was sent to Thailand on an intelligence assignment, just as the World War II was coming to an end. Duties over, he decided to stay back in Bangkok and build a life there. Charmed by its local silk weaving industry, but equally disturbed by its near-extinct status, Thompson began investing in the market, engaged hundreds of silk weavers, and created a market for Thai silk at home and abroad.

As his silk business achieved fame and the industry witnessed a revival, he built a sprawling property of villas in Bangkok, “along the pulse of Thompson’s new world: on the banks of the khlong (canal) across which Bangkok’s silk weavers lived and worked (Time, 2016).” But it was an accusation—of having stolen five Buddha heads—that probably put his reputation at stake. Ultimately, his story ended with a mysterious disappearance, during a walk in a jungle at the Malaysian highlands. His legacy survives still survives in Bangkok, as The Jim Thompson Museum, originally his canal-side residence that is also a repository of his personal collection of local art and antiques.

The exhibition, ‘Mudmee: A Shared Silk Heritage’, was inaugurated on Aug. 10, 2018, and will be on view until Sept. 25, 2018, at National Museum, Delhi.

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Ankush began his career as a journalist in 2008, and has since covered multiple stints in print, television and digital media in India. In 2016, he took up a communications and outreach assignment for an American social innovation organisation, which works with the Tata Trusts in India. He is currently working, in Delhi, as a media publicist for art practitioners. He tweets @artandculturediary, and shares his photography on Instagram.