Ramkumar Asceticism and His Landscapes

"What he paints now is not what the eyes sees in the ancient city, it is rather the response of the psyche to the ocular impacts. This impact have released the metropolis flower stalks of the artist's interior world, a human race construct into the emotional psychological composite of the artist's personality, the lone true world"-J.Swaminathan

"An originative person shows the entry point to his creative human race and the remainder depends on the onlooker, what he sees, experiences and interpret. He have to do an attempt to happen for himself what he is seeking and what creative person desires him to see" - Ramkumar in his notebook

When one takes resort in picture through a discipline, a certain ethical motive to paint and focuses more than on construction and word form than one is very rational and can not get away structuralism. Ramkumar is such as a rational creative person of our Indian modern art. Through subject and painterly ethical motive he have been very much engrossed in the creative activity of word forms perhaps it obsessed him since military unit of life he could not see. He says, 'when one is immature and beginning, one's work is dominated by content, by ideas-but arsenic one bends older, one turns to the linguistic communication of picture itself.' What is linguistic communication of picture in Ramkumar's thinking? Isn't it constitute without substance; word form that could be structured and restructured in isolation through speculation and discipline. Jacques Derrida says, 'form fascinates when one no longer have the military unit to understand military unit from within itself. That is, to create'. Formalization is subject of Negro spiritual experience for Ramkumar it is word word form which is all powerful since fine art is all about ocular consequence nil more as for as Ramkumar's thought goes.

Through subject in isolation Ramkumar organizes him ego to make construction properly, here construction of picture is also a form since it is conceived as an consequence of color, strokes, and geometrical shape. And for this a subject is needed, a gesture and emotion is needed. Discipline itself is a gesture capable to show life. Isolation and feeling of loss is the gesture of Ramkumar which he constitutes through subject -another gesture. Both are needed for experience in painting; subject is needed to escalate the feeling of isolation and loss and the feeling of loss and isolation is needed to meditate on the word form of painting. He is very honorable to his feelings of loss and isolation since when 1 is grown old one must take resort to this at least in order to have got some confrontation to one-self. In European romanticist tradition this sort of tendency was existed it was called Gypsy tradition. In this tradition it was believed that fine fine art can be approached only by being 'platonic'.

This sane project was not irrational it had its ain reason; it sets value in art work if not artistically than in market. Kermode gives a beautiful business relationship of a British creative person M.Bernard Buffet, about his exhibition a Greater London eventide news paper wrote in 1955: "three old age ago you could have got bought a Buffet for the cost of a repast but now the Buffet terms is 300-500 pounds. He have just been voted France's prima immature painter in a concert dance tally by a gloss fine art magazine.... Which says; one of the grounds of his success is that he painted the wretchednesses of young person after war. Only 27 now he was 18 when critics first acclaimed him. At that clip he was living the real, un-glamorized Gypsy life, going without nutrient to purchase canvas. He works entirely from memory and imagination, and by electrical light. The house he have built in Basses Alpes is specially designed to except the beautiful positions that other people dote upon. Nothing must upset his imagination." This resort to eccentricity of creative person is regarded by western businessperson society. This alienation enchants people too; see how a fakeer is regarded in North American Indian society. To acquire the truth 1 must be a fakir, a ego centered beast.

Modern creative person often be givens to proclaim them selves visionaries through alienation and eccentricity. Ramkumar too falls in this pit. His loneliness, his cravings for going far away from his milieu and absolute isolation have its ain logic. It was deliberately constructed fate if not for art's interest than for people who like this estrangement. He believes that through painstaking subject of picture he could undergo peace in painting. This peace which is the ego of Ramkumar which have been lost (by what ground no 1 knows) can be establish through 'absolute isolation'.

In absolute isolation he makes not desire to insulate desire to paint since it is desire of picture through which peace is achieved. And you would see how his picture flights human state of affairs which was always considered against peace. In his nonliteral form there was already this craving of 'far away from this surroundings'. Remember those gray, black, and achromatic human figs surrounded by grim environment of the cityscapes. In the development of industry, engineering and metropolitan civilization adult male was depicted alone and lost. Ramkumar's adult male could not travel with the advancement of industrial development and society since he perceived the danger of being lost so his adult male became reactionist and command good by to the human state of affairs and craved for an scattered place-the nature.

Ramkumar's vacation spot to nature was in world not in nature as a whole rather barrenness of nature. Since in nature he establish jubilations of life, trees were greenish loaded with flowers, animals were doing what they do, and there was life in movement. It was heavily populated by life beingnesses so there he establish limited possibility of peace which had to emanate from his constructed conception of isolation far away from the surroundings.

In his imaginativeness surrounding agency 'surroundings of beings' which he sees anti peace. He was against life force; the enigma of his landscapes lies here. His dull colors, his grays, achromatic and Whites arouse deathly peace which he might have got been experienced. May be, in Laddak He wrote in his short letter book, "Laddak- childless and rugged. No vegetation, Grey mountain scopes and achromatic stone like bariums alleviations jutting out of them and achromatic monastries.....the landscape haunted me for quite some time. Later when I tried to paint my feeling on canvas, I could not conceive of any colour to be used. Even bluish sky and crystal blueness H2O of the Indus had to be in achromatic and white. The ageless silence of a wasted, childless Earth which refused to compromise with adult male could not be visualized in any other colour except Grey and achromatic and achromatic ...". In his landscapes Laddak's barrenness and huskiness establish lasting topographic point even when he painted Benaras landscapes. His mental mental image of Benaras is not live, he took his unhappiness there too, his sad memories through which he painted therefore the image of Benaras that appeared on his canvases have feelings of Sadness.

An creative person have all freedom to see anything in anything to show as he believes but there should be an reliable experience. Only reliable experience transforms nature as in Kafka's short narrative metabolism experienced truth of the author transforms the protagonist. Ramkumar may have got experienced a dead and unlogical but not the world of Benaras. Benaras is liveliest metropolis it may look unlogical for foreigners but it have its ain logic of life. To see Benaras you have got to come in in the unlogical logicalness of Benaras. It is Puranic city; Puran intends always existing with the same spirit. Benaras is the metropolis of Godhead Kasi Viswanath the lone Supreme Being who's every feat looks unlogical like an Avadhoot . But since Ramkumar was seeking word word form for his landscape he could not see Puranic form of Benaras, the aura of ancient in which something immortal have been flowing unbound. His yearning for word form led him far away from life and led him towards feeling of sadness. He became alien to beauty of life thus alien to himself. The alien Ramkumar became sentimental in the yearning of form. And this sentimental yearning of word word form could be satisfied in creative activity of harmoniousness of form and color. Peace is establish in harmoniousness of form, in a unusual lyricality which excepts the full human race with all its actions and events. In the harmoniousness of word form and lyricality yearning happens remainder and decreased to silence. It is a tragical end of yearning of form. This lift of artistic consciousness through depreciation of life is Ramkumar's achievement.

In his dull and exanimate landscapes there is peace captured, you experience it in order to elevate your consciousness which have lost peace. Ramkumar landscapes gives you trust that amidst unbound development of philistinism peace still can be establish in the aesthetics; aesthetics of austerity which rejects life and liveliness. This aesthetics sees that truth is inside and can be establish by negation of life (out side) as Orthodox faiths make believe. Most of our abstract painters make follow this aesthetic approach. Inside enchants us because we don't desire to see sweep of truth outside. We have got been taught for centuries that truth is inside of outside therefore for a valid experience we get away from outside. In this inside-outside duality an estrange construct of life is formed this that for a Godhead life which lies hidden inside desire must be renounced. Where there is desire there is sadness we proclaim. We don't see desire as an gap and freedom. We believe that with desire human relationship with 'other' can not be formed. Relationship with other originates from the depth of purdah and this purdah is always establish in the interior of soul. Naturally this Pbs us to the doctrine of eschatology whose first measure is the feeling of unhappiness this that in this human race of desire since desire is the human race there is no possibility of rapture in truth.

This metaphysics have been always our light. Aesthetics of mystical goes around around it, even after the dawning of modernism which rebelled against theosophical manner of life and fine art it was growing there mystically. It came out in unfastened with the aesthetics of expressionism. Enlightenment which was based on rationalism saw truth outside, it said there is no interior though it never left believing in inside. Adorno rightly said, 'enlightenment is always accompanied by the fearfulness that truth, which put enlightenment in motion, is going to be sacrificed in its progress. Thrown back upon itself, enlightenment moves farther and farther away from its goal, which is some sort of aim certainty. Hence under the strain of its ideal of truth, enlightenment is forced to reserve what it be givens to fling in the name of truth". Modernism's tax return to inside was already built-in in modernity's consciousness of freedom that showed confident belief in ground and it's method of truth.

It is because that modernness could not decide the dialectics of inside-outside, particular-universal, individual and social. This duality is also apparent in modern art. Ramkumar is a 1 victim of western modernism. Ramkumar seeks freedom in austerity which belies modernity's consciousness. Modernity's consciousness is defined by being in the human race (being in surroundings), only by being in the human race Being discoveries its immanence. Modernity conceives transcendental not in subjective consciousness rather existential-ecstatic temporality of Being here as Martin Heidegger would say. Art happens its immanency not in austerity rather in temporality, in 'now of time'. In North American Indian metaphysics it was considered most important, it rejected past and future. North American Indian Vedanta doctrine situates it ego in the 'Now of time' since lone Now is in manus and only in this 'Now of time' 1 can happen transcendence. Those doctrines that put option life above any thing reject memory since memory is always in the past. Concept of consciousness in Buddhism and Vedanta is about 'here and now' that is in presence in present. It was considered most original than any sort of cognition.

Ramkumar's landscapes make not pull us much because his landscapes are lifeless. He escaped from the immanency of life therefore from his canvases life fled. it is true and no 1 can reject it that the manners that a human beingness is dwells of be within the ' attributes' of idea and extension.