Manu Parekh: Colours are our virasaat, & one should never be scared of colours
■ One artiste whose work is replete with the imagery of Lord Shiva’s nagari [Banaras] is the senior painter Manu Parekh. His recent exhibition too abounded with his fascination with the eternal city. As he sat surrounded by his works in a wonderful cornucopia of the colours of Banaras, I couldn’t help remark: ‘Colours are our virasaat or inheritance.’
The shehnai maestro, Ustad Bismillah Khan, who belonged to Banaras, used to say: “Yahan rasa banana nahin padta, bana banaya hota hai!” Literally it means that rasa already exists in Banaras, it doesn’t have to be created — an experience most artistes have had in and about Banaras, the place, and Banaras, the almost life changing experience. I have spoken to many artistes from Banaras, be the Banaras baaz tabliyas like Pandit Samta Prasad or Pandit Kishen Maharaj or Ustad Bismillah Khan and they used to all say that the impact that the place and its life had on their art was indelible.
All the artistes and photographers who have painted or photographed Banaras ever in their life too have had a similar response. One artiste whose work is replete with the imagery of Lord Shiva’s nagari is the senior painter Manu Parekh. His recent exhibition too abounded with his fascination with the eternal city. As he sat surrounded by his works in a wonderful cornucopia of the colours of Banaras, I couldn’t help remark on it: “Colours are our virasaat or inheritance. One should never be scared of colours! To my mind, colours are an indication of celebration. And celebration is linked to our faith. The quality of life and the element of faith are my reference points. I have a lot of interest in faith. And the presence of flowers is so intrinsic to faith,” says Manu thoughtfully.
His magnificent works in bold sizes are done over a period of time and the subtle changes that have made a natural progression in the work are glorious as they are marked by an expression that is indicative of great freedom. “As you grow I feel a lot of freedom comes into you as a person and fears die a natural death. Work for work’s sake ends and one starts playing with the colours and what you need to say. I know it sounds like a contradiction in terms but knowledge brings with it a confidence and references of the various arts deepen it. The technique improves. In a way, half the work is done by the painting itself! Painting khud karvati hai,” says Manu almost to himself. Banaras is called the city of light, but without darkness, how will you recognise light, he asks.
What role does technique play in it, I wonder. “One’s technique should be complete in itself. The bedazzling will come but only after one transgresses mere technique. But having said that, everytime, there is a natural anxiety and a struggle when one is creating. I feel that is imperative for in insecurity, art thrives. However, pace is an important part of creation,” declares Manu. “I have had an interesting journey. I have a theatre background, so colours, cultures and contrasts are all part of this landscape. Sometimes there are crowds, sometimes there is silence and peace. Cultural practices have their own magic that is interwoven,” he elaborates.
I remind him about his very understated aesthetics in textiles that I had seen years ago. “I worked with weavers in Kalahandi in Orissa. I remember those references. I have great affection and respect for craftsmen. I think I have become more modest seeing their control over their oeuvre and craftsmanship. I feel they are far more creative than us. Their outward behaviour is so simple and directly linked to their feelings, which is why there is no khokhlapan or emptiness in them,” he says with great modesty.
If you look at our rural women, the confidence in their gait, “ruaab”, or confidence interwoven with courage is so different — remember the work of the Madhubani artistes Ganga Devi and Sita Devi, who had great courage and talent and they would draw such a lot. I feel that women in urban situations have no clue about the empowerment of women in agrarian societies. “Pratibha hoti hai un mein,” he declares.
I tell him that there is a whiff of his artiste wife Madhvi Parekh’s in the latest works. “If there is an influence of Madhvi’s work in mine, I have no qualms in admitting it. Our reference points are same, after having lived and worked in close proximity for decades, it is possible,” says Manu with great repose.
But after having been there, done that, where does he feel where he is at: “I think my persona has become more confident and there is a kind of celebratory mood.
What was within, I have done that.” Touché!