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Indian Express
2 days ago
- Entertainment
- Indian Express
The many meanings of S H Raza's iconic bindu: From point of origin to place of refuge
For most of his life, artist Sayed Haider Raza called France his home: after moving to Paris to study art in 1950, he made a permanent return to India only in 2010, at the age of 88. In the 1970s, by which time Raza was an acclaimed painter of the Parisian School, the artist looked to re-connect to his roots. 'He wasn't happy about his artistic identity. He felt there wasn't much of India in his work,' Ashok Vajpeyi, Raza's longtime friend and author of Celebration & Prayer: Life and Light in Raza's Art (2025), told The Indian Express. 'He began searching for a singular motif that could hold multiple meanings and spiritual possibilities. And from this search emerged the bindu, satisfying both his artistic needs and spiritual quest,' Vajpeyi said. For more than four decades, the bindu, which can be translated as 'dot' or 'point', served as an anchor for most of Raza's artistic compositions. Despite being criticised by some for being repetitive, Raza, who passed away in 2016, remained unapologetic till the very end. 'With repetition, you can gain energy and intensity — as is gained through the japmala, or the repetition of a word or a syllable — until you achieve a state of elevated consciousness,' he told Vajpeyi during an interview for Celebration & Prayer. Shades of bindu 'Is bindu par dhyaan do (pay attention to this dot),' a primary school teacher once told an eight-year-old Raza, in a bid to curb the young boy's restlessness. 'It was difficult at first, but then I got his point. Gradually, blotting out much else, my mind settled down to focus solely at that centre. It was uncanny. Savouring every one of its essential requisited colour, line, tone, texture and space. I found myself riveted,' Raza wrote in a 1989 article in the Illustrated Weekly of India. Thus began a life-long fascination with the bindu. Growing up in the jungles of Madhya Pradesh where his father served as a forest officer, Raza's initial work was heavily influenced by nature. In the mid-1950s, he was largely painting landscapes, devoid of figures. The earliest hints of his iconic bindu would appear at this time, most notably with his 1953 painting The Black Sun, depicting a black orb that towers over a geometricised cityscape. The 1968 painting Black Moon had a deep black circle stand out amid fluid strokes in warm shades. As central motif It was in the 1970s, however, that Raza's bindu became a central feature of his work. By this time, Raza's palette had become denser and he had gravitated towards spiritual abstraction, inspired by the likes of Mark Rothko and Jackson Pollock. In Bindu (1981), Raza had a black circle dominate the canvas divided into equal quarters, and encased within frames of geometric borders. The subsequent years saw several works in the Bindu series, with the motif rendered within defined frames. The Germination series reflected on the bindu as the womb of the earth, with infinite potential for life. Painted in 1981, his seminal canvas Maa was Raza's letter to his motherland through which he professed his longing for home. Incorporating lines from Vajpeyi's poem Maa, lautkar jab aaunga, kya laaunga? (Mother, when I return home what should I bring?), the composition had the black orb accompanied by fluid strokes in vibrant colours, evoking memory and emotion. Talking about his work in the 1980s, Raza once said: 'My present work is the result of two parallel enquiries. Firstly, it aimed at pure plastic order, form-order. Secondly, it concerns the theme of nature. Both have converged into a single point and become inseparable. The point, the bindu, symbolises the seed bearing the potential of all life…' (Artists Today: East-West Visual Arts Encounter, 1987). Many meanings 'The bindu emerged as an icon that came to signify many things. It was the point of origin from where everything began, whether a line or a form. It became the concentric circle that emanated energy and radiated outward, a still center of concentration, meditation and reflection. On another plane, it also became a point of withdrawal and solitary refuge from the chaos of the world,' Vajpeyi said. Over the years, as Raza created his own universe around the bindu, he also imbibed it with themes such as the tribhuj (triangle) and prakriti-purusha (the female and the male energy). Though predominantly rendered in black, the bindu also appeared in other colours — including the intense blue center in the oil Blue Bindu (1983) and the white core in Shanti Bindu (2007). 'In his creative process, bindu could both be the starter and the concluding form. Sometimes he would begin with the concept of the bindu and build the composition around it, bringing it alive as the vital epicenter. At other times, he would do something and then place the bindu within,' Vajpeyi said. Painted months before he passed away, Raza's very last canvas, Swasti (2016), had a central bindu surrounded by concentric circles and radiating lines. As Vajpeyi put it, 'It is a work bidding farewell, an offering of good wishes for all.' This is a part of a series on Indian masters and the motifs that appear repeatedly in their works. NEXT: Himmat Shah's Heads
India Today
04-07-2025
- Politics
- India Today
The antithesis of fundamental rights - by Justice Shiv Narayan Dhingra (retd)
In 1976, the Swaran Singh Committee was appointed to recommend constitutional amendments. It submitted its report the same year itself, and the Preamble of the Constitution was amended based on this report through the 42nd Amendment. The two words 'socialist' and 'secular' were added in the Constitution and, instead of 'sovereign democratic republic', we became a 'sovereign socialist secular democratic republic'. In an article published in the Illustrated Weekly of India (July 4, 1976), eminent jurist N.A. Palkhivala argued that the Preamble was a part of the Constitution statute, not of the Constitution. Article 368 deals only with an amendment of the Constitution, but not of the Constitution statute. The Preamble cannot be amended under Article 368. It refers to the most momentous event in India's history and sets out, as a matter of historical fact, what the people of India in 1949 resolved to do for their unfolding future. No parliament can amend or alter the historical past.
Economic Times
02-07-2025
- Entertainment
- Economic Times
'I am a flop actor': When Jaya Bachchan reminisced about Amitabh Bachchan's career struggles
Amitabh Bachchan faced a significant career downturn in the 1990s, marked by box office failures and financial struggles with his company, ABCL, leading to near bankruptcy. He made a remarkable comeback by humbly seeking acting opportunities, landing a role in Mohabbatein, which revitalized his film career. Tired of too many ads? Remove Ads Amitabh Bachchan's Tumultuous Climb Back to Stardom The Downturn of the 90s Tired of too many ads? Remove Ads ABCL's Collapse and Mounting Losses A New Beginning Through Old Strengths Reinvention on the Small Screen The acting profession is riddled with uncertainties. Fame is a fickle mistress, and even veteran stars with numerous blockbusters under their belt are at the mercy of weekend box-office collections. In an interview with superstar Amitabh Bachchan's biographer Khalid Mohammed, his wife, actress Jaya Bachchan, recalled how she saw the men in her life cope with a dry phase in their B, who faced a lean phase in his career during the '90s, often used to refer to himself as a 'flop actor' in front of Jaya. Jaya, who acted as a pillar of strength, decided not to take his career setbacks to heart.'I never took his flops seriously; I was convinced that they were a passing phase. He was learning and improving. He would not get depressed by his failures, but, yes, at times he would retort sharply, 'Naturally, no one wants me since I'm a flop actor…' she Bachchan's cinematic journey began in 1969 with the film Saat Hindustani, marking the start of a difficult path. Despite his entry into films, recognition remained elusive for several years. His true breakthrough came with Zanjeer, a film that finally brought his raw charisma and talent into the spotlight. This film marked the beginning of his rise in the Hindi film industry. However, the road ahead was far from smooth, and a single miscalculation threatened to erase everything he had the 1990s, Bachchan's career faced an extended period of stagnation. A string of box office disappointments like Gangaa Jamunaa Saraswathi, Jaadugar, Toofan, and Main Azaad Hoon pushed his once-flourishing stardom into the shadows. The Illustrated Weekly of India even ran a cover story labelling him 'Finished!', a harsh reflection of public sentiment at the time. From 1992 to 1996, he stepped away from films completely, choosing to disappear from the screen as he re-evaluated his 1995, Amitabh took a bold turn by launching his entertainment venture, Amitabh Bachchan Corporation Ltd. (ABCL). Initially, the company showed promise by producing the popular television series Dekh Bhai Dekh. But what started on a hopeful note soon spiraled into disaster. Poor management decisions and ambitious plans, like organizing the 1996 Miss World pageant in India, ended up damaging ABCL's reputation. The swimsuit segment of the pageant sparked public outrage and had to be moved to Seychelles. This incident marked the beginning of ABCL's public the problems, none of the films produced by ABCL managed to succeed commercially. Financial losses kept piling up, eventually reaching a staggering Rs 90 crore. Bachchan's return to films in 1997 with Mrityudata added to his woes when the movie failed miserably. By 1999, his financial situation had deteriorated to such an extent that he was teetering on the edge of bankruptcy. His home, Prateeksha, was under threat, and he faced unrelenting pressure from creditors, many of whom arrived at his doorstep making aggressive demands. In a 2013 India Today interview, Bachchan reflected on that harrowing period, calling it one of the darkest chapters in his career, spanning over four to overcome his debts, Bachchan turned to what he knew best—acting. Swallowing his pride, he approached filmmaker Yash Chopra, who lived nearby, and humbly requested an opportunity to work. Chopra responded with a role in Mohabbatein (2000), casting him in a strong supporting role. Though this move stemmed from financial necessity, it marked a dramatic turnaround in Bachchan's life and became a massive box office success and was among the highest-grossing films of that year. Bachchan's portrayal of Narayan Shankar, a stern and principled school principal, earned him widespread critical acclaim. His performance resonated with audiences and marked his re-entry into mainstream cinema with the same year, Bachchan embraced television for the first time. He became the host of Kaun Banega Crorepati (KBC), the Indian adaptation of the British game show Who Wants to Be a Millionaire? His baritone voice, dignified presence, and warmth as a host made him an instant favorite among viewers. In no time, KBC turned Bachchan into a household name once again, rejuvenating his connection with the masses and securing his comeback across platforms.
India.com
08-06-2025
- Entertainment
- India.com
Amitabh Bachchan, Jaya Bachchan's inter-caste marriage saw objection from this person, it's not their parents but...
Many years back, a quiet wedding sent ripples through Bollywood's tightly-knit circles. The secret union of two iconic stars, who would go on to become one of India's most celebrated couples, did not unfold without resistance. Behind the glitter and headlines lay a lesser-known moment of protest, led by someone unhappy about their affair. Let's identify who that person was. The Marriage of Amitabh-Jaya Opposed By… Amitabh Bachchan and Jaya Bachchan got married on June 3, 1973 . While many people might think that their fathers would have disapproved of their inter-caste marriage, that was not the situation. There were no objections from their families regarding Amitabh and Jaya's marriage, but one person at their wedding created a stir over the entire matter. Jaya Bachchan's father, Taroon Kumar Bhaduri , was well-known journalist and author. In 1989 article for the Illustrated Weekly of India, he addressed rumors regarding his discontent with his daughter's marriage to Amitabh, stating, 'I would like to understand just one valid reason why my wife or I would have opposed the Bhaduri-Bachchan union. Amitabh was and continues to be a charming young man. He worked diligently to make his mark in the film industry. Early setbacks did not discourage him and with a steadfast determination, he chased his aspirations. He proposed to Jaya only after the success of film Zanjeer , and he hasn't looked back ever since.' When Jaya's Father Cleared Every Rumour Against Amitabh In the same conversation, he further told, 'Which reservations could we possibly have? That he wasn't Bengali and belonged to a non-Brahmin community? How absurd! One of my other daughters is also married to a non-brahmin, and if it brings any comfort to my critics, my second daughter is wed to a Roman Catholic. Besides my wife and me, my aging parents also not only took part in the wedding festivities but blessed all three couples, in front of numerous guests. My father, who took great pride in being a brahmin, often echoed in my mind: 'It's their life. Who are we to interfere? If they are happy, we should be too.' Who Opposed The Marriage Affair Taroon Kumar Bhaduri also revealed insights about secret wedding, mentioning, 'At this point, there's no need to delve into the specifics of how the entire event remained under wraps or how the marriage was organized in the apartment of our family friends, the Pandits, in Malabar Hill. However, there's more to the story. A Bengali wedding typically involves a lengthy yet captivating process. The Bengali priest (who was extremely hard to find) initially objected to officiating a wedding between Bengali brahmin and non-Bengali non-brahmin.' 'After considerable effort, this issue was resolved. Amit engaged in all the rituals without offending anyone, and the ceremony continued into the early hours of the next day. He carried out each task with genuine intent as instructed. The following day, they departed for London. Upon their return, I hosted a reception in Bhopal, where Amit also complied with every request made of him.'
Indian Express
03-06-2025
- Entertainment
- Indian Express
Amitabh Bachchan shares unseen wedding photos with Jaya Bachchan to mark their 52nd anniversary. See here
Amitabh Bachchan and Jaya Bachchan celebrated their 52nd anniversary on June 3, and to mark the occasion, the veteran actor shared old photos from their wedding on X (formerly Twitter). He also penned an emotional note, thanking his fans for their well wishes. In the photos shared by Big B, he is seen wearing a simple white kurta-pyjama, while Jaya wore a red saree. The pictures show the couple performing rituals and also speaking to each other during their wedding. Sharing the clicks, Amitabh wrote, 'To all that wish Jaya and me for the Wedding Anniversary June 3, 2025, my gratitude and love.' He also added a quote by his father, Harivansh Rai Bachchan, 'Anwarat samay ki chakki chalti jaati hai (the wheel of time keeps turning endlessly).' Jaya Bachchan and Amitabh Bachchan worked together in many films such as Zanjeer, Sholay, Chupke Chupke, Mili and more. They first met on the sets of Guddi. Speaking about meeting Amitabh for the first time, Jaya had said in an old interview, 'I was introduced to him on the sets of Guddi. I was impressed by him and somewhat in awe as he was Harivanshrai Bachchan's son. I fell in love with him very soon.' The couple fell in love on the sets of Ek Nazar (1972) and went on to date before tying the knot in 1973. Jaya's father, journalist Taroon Coomar Bhaduri, wrote in an article for the Illustrated Weekly of India in 1989 about how the priest protested against the star couple's inter-caste marriage. He wrote about the couple's wedding day and how Amitabh Bachchan followed all rituals without offending anyone. He wrote, 'A Bengali marriage is usually a long-drawn-out but a highly interesting affair. The Bengali priest (who was located with great difficulty) at first protested against having to preside over a marriage between a Bengali Brahmin (Jaya) and a non-Bengali non-Brahmin (Amit). After a lot of hassles, this was sorted out. Amit went through all the rituals, offending no one, and the ceremony went on until early the next morning. He did with sincerity all he was told to do. The following day, they flew to London. On their return, I held a reception at Bhopal and again Amit did whatever he was told to do.'
