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Indian Express
3 days ago
- Entertainment
- Indian Express
How Tyeb Mehta's signature ‘bulls' symbolised ‘the condition of human captivity'
In April, Tyeb Mehta's 1956 oil on canvas Trussed Bull sold for a whopping Rs 61.8 crore. Aptly, it featured a motif that the master modernist constantly returned to, one which captured the very essence of his artistic practice. Personal & political Mehta came of age at a time of social and political churn. While in his early twenties, Mehta witnsessed communal riots during the Partiton which left a deep imprint on the budding artist. 'At the time of Partition, I was living on Mohammed Ali Road (in Mumbai), which was virtually a Muslim ghetto. I remember a young man being slaughtered in the street below my window. The crowd beat him to death and smashed his head with stones,' Mehta recalled in an interview to art critic Nancy Adajania for the monograph Tyeb Mehta: Ideas Images Exchanges (2005). 'I was sick with fever for days afterward, and the image still haunts me today. That violence gave me the clue about the emotion I want to paint. That violence has stuck in my mind,' he had said. The bull became a symbol of human suffering in post-Independent India. 'The trussed bull…seemed representative of the national condition… the mass of humanity unable to channel or direct its tremendous energies,' Mehta told journalist Nikki Ty-Tomkins Seth in another interview for his monograph. 'Perhaps also my own feelings about my early life in a tightly knit, almost oppressive community…At the age of twenty-one, I was living in a void. I had practically no contact with the outside world. Years later in London, working in the most menial of jobs, I was still trying to break out of those shackles, to emancipate myself. Independence for me was personal as well as national,' he had said. The bull first appeared in Mehta's works in the early 1950s, embodying the deep contrast in the animal's innate strength and the cruelty of its captivity. As a student at the Sir JJ School of Art in Mumbai, Mehta would sketch buffaloes and cattle being brought to Kennedy Bridge in Girgaon. Later, he visited a slaughterhouse in Bandra, where he filmed three minutes of his acclaimed 1970 film Koodal. In an interview with Dalmia in 1989, Mehta had said, 'These three minutes are the most poignant sequences in my film…The bull is a powerful animal and when its legs are tied down and thrown down, it's an assault on life itself.' Early on, Mehta painted his bull in thick impasto strokes. After his encounter with the works of American abstractionists like Barnett Newman during his stay in the US in 1968, Mehta began to adopt diagonal lines and colour-field techniques. In the Mahishasura series, the bull appeared as the 'half-bull, half-man' figure of the demon-king Mahishasura, who was slain by Goddess Durga. Several of his later works depicted the bull as a fragmented falling figure. The 1999 acrylic Untitled (Bull on Rickshaw) has a falling trussed bull on a rickshaw (another one of Mehta's favourite motifs) painted against planes of colour. 'The bull mutated and transformed over the years but its simmering force continued to exercise a hold over the image,' Dalmia wrote in a catalogue essay titled 'Metamorphosis', written for an exhibition of Mehta's works she curated for the Vadehra Art Gallery in 2011. Before passing in 2009, his final work, produced in 2005-2007, had two dismembered bulls looking downward. Painted in muted shades, the diptych was expressive of the struggles Mehta had endured through his lifetime. 'Although they are helpless and struggling to sustain, when one looks at the hind parts one notices an energy, ability to fight and endure,' Dalmia told The Indian Express. 'Mehta's life was a struggle that he both fought and triumphed over. He led a full life and was painting till the very end despite his failing health. Though his eyesight had become weak and he had only peripheral vision, he still chose to paint the bull as his last work, perhaps because it deeply expressed what he was feeling even as he was leaving the world.'
Hindustan Times
29-07-2025
- Entertainment
- Hindustan Times
Stalwart cartoonist who picked up his sketchpad ‘just for fun', turns 100
'What started as a fun activity went on to become my identity,' said SD Phadnis about his career as a cartoonist, ahead of his 100th birthday on Tuesday. 'However, as I kept working, I realised the power of political cartooning, which becomes the language of democracy. And when you draw cartoons for other subjects such as mathematics, science or banking, they turn into a language of knowledge.' Shivram Dattatreya Phadnis, popularly known as 'Shi da', is celebrated especially for work that graced the cover of many popular magazines. (HT) Shivram Dattatreya Phadnis, popularly known as 'Shi da', who was born on July 29, 1925, in Bhoj village, Belgaum district, is regarded a stalwart in the state, celebrated especially for work that graced the cover of many popular magazines. His work published sans captions often in the Diwali Ank, 'Mohini' known for its literary stance, broke new ground, proving that cartoons could be just as aesthetically pleasing and evocative as paintings, without the need of any descriptors. Phadnis was schooled in Kolhapur and graduated from the Sir J J School of Art in Mumbai – where he became fascinated by works of artists such as Mario Miranda and Vasant Sarwate – his contemporaries -- and American painter and illustrator Norman Rockwell. He first sent a cartoon spontaneously to 'Manohar', a magazine that used to publish fiction, while still a student, in 1945. It was published and put him on the path of bigger achievements. Encouraged, he started submitting comic strips to various publications – one of them, a literary magazine 'Hans', edited by Anant Antarkar. On Antarkar's suggestion, Phadnis created a full-page colour illustration that appeared on the cover of the June 1951 issue—marking the beginning of his journey into humorous, full-colour magazine covers. When Antarkar launched 'Mohini' in 1950, Phadnis became a key visual voice for the magazine for over five decades. His association with the publication remains one of the longest in Indian magazine history. He also worked with various magazines and publications, creating cartoons not just for humour, but also to illustrate serious issues such as science, law, banking, grammar and management. His political and social cartoons featured regularly in Marathi weeklies such as 'Manoos' and 'Sobat' between 1963 and 1975. Phadnis's signature style is rooted in figurative sketching, and his works stem from routine events of middle-class households, that highlight the challenges and joys of ordinary life through a playful and empathetic lens. He continues to be celebrated for his timeless contributions to the world of art and satire. Speaking about how cartoons and illustrations were received by the public—especially by politicians and political activists— the veteran cartoonist reflected, 'Maharashtra has always had a discerning and sensible readership. I did face criticism at times, but it was mostly constructive and communicated in a respectful manner. Even when my political cartoons were criticised, leaders and their followers were mature enough to understand that cartoons are also a legitimate form of expression.' He reminisced about a time when he presented a scenario where a political leader was addressing a gathering where two women seated in front discussed inflation. 'While it was criticised by a women's association, Bindu Madhavi Joshi, the editor of 'Grahakpeth', gave a fitting reply saying it was political satire and not defamatory to women,' said Phadnis. It's a far cry 'from the changing atmosphere of today, where both political leaders and their followers seem far less tolerant of political satire'. 'There is an increasing resistance to accept criticism, even when it's shared through humour. The openness of our time is fading,' he said. Speaking of changing times, how has he responded to the impact of technology on art? 'When I started drawing, everything was done by hand. Now, with the advancement of technology, people are creating art on iPads. I've even heard about Artificial Intelligence being used for drawing, and there's much talk of how technology might overshadow creativity. Technology may assist the process, but it can never replace true art. It can't express human emotions or the depth of feeling that comes from the heart. Ultimately, creativity is a deeply human quality, and we are far more advanced in that space than any machine can ever be.' Phadnis was married to Marathi author Shakuntala, who passed away around seven years ago, and the couple have two daughters. In his autobiography, 'Reshatan: Athavanincha Pravas' ('A journey down memory lane'), published in 2011, Phadnis has detailed his artistic journey of 60 years and his efforts to advocate cartoonists' rights.
Hindustan Times
29-07-2025
- Entertainment
- Hindustan Times
Stalwart cartoonist who picked up his sketchpad 'just for fun', turns 100
PUNE: 'What started as a fun activity went on to become my identity,' said S D Phadnis about his career as a cartoonist, ahead of his 100th birthday on Tuesday. 'However, as I kept working, I realised the power of political cartooning, which becomes the language of democracy. And when you draw cartoons for other subjects such as mathematics, science or banking, they turn into a language of knowledge.' Shivram Dattatreya Phadnis, who was born on July 29, 1925, in Bhoj village, Belgaum district Shivram Dattatreya Phadnis, popularly known as 'Shi da', who was born on July 29, 1925, in Bhoj village, Belgaum district, is regarded a stalwart in the state, celebrated especially for work that graced the cover of many popular magazines. His work published sans captions often in the Diwali Ank, 'Mohini' known for its literary stance, broke new ground, proving that cartoons could be just as aesthetically pleasing and evocative as paintings, without the need of any descriptors. Phadnis was schooled in Kolhapur and graduated from the Sir J J School of Art in Mumbai – where he became fascinated by works of artists such as Mario Miranda and Vasant Sarwate – his contemporaries -- and American painter and illustrator Norman Rockwell. He first sent a cartoon spontaneously to 'Manohar', a magazine that used to publish fiction, while still a student, in 1945. It was published and put him on the path of bigger achievements. Encouraged, he started submitting comic strips to various publications – one of them, a literary magazine 'Hans', edited by Anant Antarkar. On Antarkar's suggestion, Phadnis created a full-page colour illustration that appeared on the cover of the June 1951 issue—marking the beginning of his journey into humorous, full-colour magazine covers. When Antarkar launched 'Mohini' in 1950, Phadnis became a key visual voice for the magazine for over five decades. His association with the publication remains one of the longest in Indian magazine history. He also worked with various magazines and publications, creating cartoons not just for humour, but also to illustrate serious issues such as science, law, banking, grammar and management. His political and social cartoons featured regularly in Marathi weeklies such as 'Manoos' and 'Sobat' between 1963 and 1975. Phadnis's signature style is rooted in figurative sketching, and his works stem from routine events of middle-class households, that highlight the challenges and joys of ordinary life through a playful and empathetic lens. He continues to be celebrated for his timeless contributions to the world of art and satire. Speaking about how cartoons and illustrations were received by the public—especially by politicians and political activists— the veteran cartoonist reflected, 'Maharashtra has always had a discerning and sensible readership. I did face criticism at times, but it was mostly constructive and communicated in a respectful manner. Even when my political cartoons were criticized, leaders and their followers were mature enough to understand that cartoons are also a legitimate form of expression.' He reminisced about a time when he presented a scenario where a political leader was addressing a gathering where two women seated in front discussed inflation. 'While it was criticised by a women's association, Bindu Madhavi Joshi, the editor of 'Grahakpeth', gave a fitting reply saying it was political satire and not defamatory to women,' said Phadnis. It's a far cry 'from the changing atmosphere of today, where both political leaders and their followers seem far less tolerant of political satire'. 'There is an increasing resistance to accept criticism, even when it's shared through humour. The openness of our time is fading,' he said. Speaking of changing times, how has he responded to the impact of technology on art? 'When I started drawing, everything was done by hand. Now, with the advancement of technology, people are creating art on iPads. I've even heard about Artificial Intelligence being used for drawing, and there's much talk of how technology might overshadow creativity. Technology may assist the process, but it can never replace true art. It can't express human emotions or the depth of feeling that comes from the heart. Ultimately, creativity is a deeply human quality, and we are far more advanced in that space than any machine can ever be.' Phadnis was married to Marathi author Shakuntala, who passed away around seven years ago, and the couple have two daughters. In his autobiography, 'Reshatan: Athavanincha Pravas' ('A journey down memory lane'), published in 2011, Phadnis has detailed his artistic journey of 60 years and his efforts to advocate cartoonists' rights.
Time of India
09-07-2025
- Entertainment
- Time of India
Remembering the creative patriarch who paved the way for the Keeravaani-Rajamouli legacy
Siva Shakthi Datta, father of Oscar-winning composer M M Keeravaani and elder brother of celebrated writer V Vijayendra Prasad, passed away at his Manikonda residence in Hyderabad on Monday night. The lyricist, screenwriter and artist, known for bringing a classical depth to modern Telugu cinema with his poetic verses, was 92. The creative root of a family that redefined Telugu cinema Born Koduri Subbarao on October 8, 1932, in Kovvur near Rajahmundry, Datta was the eldest in a family that would go on to redefine Telugu cinema for a generation. From an early age, he displayed an affinity for the arts. As a teenager, he left home to pursue his passion at Mumbai's Sir JJ School of Art, where he earned a diploma in fine arts. Returning to Kovvur, he worked as a painter under the pseudonym Kamalesh before his growing interest in music led him to train in guitar, sitar and harmonium. He was the elder brother who led the way: Vijayendra Prasad In the 1980s, Datta moved to Madras (now Chennai) to try his hand at cinema, a journey he undertook alongside his younger brother V Vijayendra Prasad. Together, the siblings pooled their savings to make a film in 1985, with Datta in the director's chair. The film floundered and left the family in financial distress. Tributes pour in I am saddened to learn about the passing of renowned music director Shri Keeravani's father, writer and artist Shri Shivashakti Datta. I pray to the Almighty for peace to his soul. He was someone who deeply admired the arts and literature. With his profound knowledge of Telugu and Sanskrit literature, Shri Datta penned lyrics for several films. I extend my heartfelt condolences to Shri Keeravani and his brothers as they grieve the loss of their father. – Pawan Kalyan, actor, Deputy CM of Andhra Pradesh The news that Sri Shiva Shakti Datta, a painter, a scholar of the Sanskrit language, writer, storyteller, and multifaceted genius, has attained divine union has left me deeply shocked. Praying to the Almighty that his soul finds peace… I express my profound condolences to my friend Keeravani garu and his family members - Chiranjeevi , actor My brother was far ahead of his time. The industry could not always catch up to his ideas. He wasn't willing to compromise, and there was no meeting point. Whatever I am today, it is because of his guidance and blessings – V Vijayendra Prasad, Tollywood Iconic films that featured Siva Shakthi Datta's lyrical brilliance From mythological epics to modern-day blockbusters, Datta's verses brought gravitas and poetic richness to a slew of chartbusters in Telugu cinema. His lyrics, often laced with Sanskrit and classical imagery, became an integral part of the films' emotional landscape 'All of us brothers wanted to see him as a director,' Vijayendra Prasad would later recall, in a previous interview. 'We invested whatever we had, but the film failed and we were left with nothing. Meanwhile, Keeravaani [Datta's son] became a music director and began supporting the family. My brother then turned to writing stories, and I would accompany him to meetings with K Raghavendra Rao just to be his sidekick. It was during these sessions that I discovered I could also write stories. ' A lyricist who left an enduring mark Datta and Vijayendra Prasad made their screenwriting debut together with Janaki Ramudu (1988), directed by K Raghavendra Rao. The film earned them industry recognition and set Vijayendra Prasad on a path that would eventually lead to some of Telugu cinema's most celebrated screenplays. But it was as a lyricist that Datta left his most enduring mark. Known for his fondness for Sanskrit vocabulary and his ability to weave classical imagery into contemporary storytelling, he penned songs for films like Baahubali : The Beginning (Mamathala Thalli, Dheevara), Baahubali 2: The Conclusion (Saahore Baahubali), RRR (Ramam Raghavam), NTR: Kathanayakudu, Rajanna, Chatrapathi, Sye and Hanu-Man. A dreamer who was ahead of his time 'My brother was far ahead of his time,' Vijayendra Prasad said. 'The industry could not always catch up to his ideas. He wasn't willing to compromise, and there was no meeting point. Whatever I am today, it is because of his guidance and blessings. I make a living from the talent he couldn't fully utilise, and I have taken a little from him.' In 2007, Datta directed the mythological drama Chandrahas, staying true to his lifelong fascination with epics and classical themes. He is survived by his three children — music directors MM Keeravaani and Kalyani Malik, and writer-musician Shivasri Kanchi. He was also the paternal uncle of filmmaker SS Rajamouli and music composer MM Srilekha. -TNN
Time of India
09-06-2025
- Business
- Time of India
JJ's post-Class 10 diplomas now just 3 yrs, foundation course out
Pune: In the first overhaul of the art education framework in the state in nearly five decades, the higher and technical education department has revised the eligibility criteria and duration of eight art diploma courses, aligning them with the National Education Policy (NEP) 2020. In the new reforms, the foundational course will be scrapped too. This move will come into effect from the coming 2025-26 academic year and impact the duration of art diploma programmes after Class 10 in institutions such as Mumbai's Sir J J School of Art and Govt College of Art & Design, Chhatrapati Sambhajinagar, among others. The timeframe of J J School's four-year diploma in sculpture and modelling and art education will be curtailed to three years. Students can pursue the degree course after completing the diploma as per old rules and regulations. The updated courses also include diplomas in applied art, drawing and painting, sculpture and modelling, and several specialisations in art and craft such as interior decoration, textile design (printing and weaving), ceramics and pottery, and metal craft. Starting from 2025–26, students can directly enrol in these diploma programmes after completing their Std 10 education, eliminating the need for a foundational course. Until now, students had to complete a one-year foundational course after Class 10 to gain entry into four-year diploma programmes. Previously, students completed a one-year foundational course before becoming eligible for a four-year diploma—an outdated requirement that discouraged enrolment and delayed career opportunities. Under the revised structure, the foundation course has been renamed the foundation certificate in art and design and will be optional, maintaining a one-year (two-semester) format for those still interested. Joint secretary of the state higher and technical education department Santosh Khorgade said this long-awaited change—executed after 50 years—will shorten the duration of these courses from four years to three, making art education more accessible and employment-oriented. "By allowing direct admissions after SSC and aligning with National Education Policy 2020, we aim to give art students the same professional and entrepreneurial edge that other diploma holders enjoy," Khorgade said in a June 6 notification. This initiative will benefit students and increase participation in art education across the state. "These reforms result from collaborative proposals from the directorate of art and the Maharashtra State Board of Art Education, who recognised that the outdated framework was limiting student growth and job-readiness," said Khorgade.
