Bengaluru, May 21(PTI): Even because the guests to his retrospective present, Kalaayana,(on until May 21) clicked photographs and studied the wonderful traces of his sculptures intently, Shilpi Narayana Rao sat in a single nook of the gallery at Karnataka Chitrakala Parishath, engrossed in ending his line drawing. Only when somebody approached him, he put apart his drawing — a tad reluctantly — and listened intently to what was being mentioned. When you level to the drawing he was doing, he shyly flipped open his sketchbook to allow you to into his imaginary world. Much like his sculptures, that are mythological figures principally, his line drawing too is a scene from a narrative in Mahabharata – Shakuntala saying one thing to sage Kanwa. “I love Shakuntala’s story,” mentioned the Bengaluru-based artist. This already isn’t any secret when you’ve got given even a cursory look on the reveals. Not only some of his sculptures are on show, but in addition pictures of his sculptures put in in temples throughout Karnataka, his measurements on graph paper for large-scale sculptures, prototypes of sculptures, his anatomical examine of the curves of human physique, particularly that of feminine kind, his makes an attempt to good the assorted mudras and calendar artwork and line drawings, most of which is devoted to the attract of Shakuntala, are on show on the Chitrakala Parishath’s major gallery.

Much later, as you learn the observe accompanying the exhibition written by his son, Vishal Kavatekar, assistant professor on the College of Fine Arts, Bengaluru, you may see one more connection. V Shantaram’s movies – who made one of many earliest movie variations of Shakuntala in 1943 – are acknowledged as inspirational. “He did not attend any art school or undergo any other formal training. He learnt all by himself. So not only films, he also drew inspiration from Dalal Art Studio calendar and illustrations that were published in newspapers and magazines,” mentioned Kavatekar.

Unlike the flighty strokes of his drawings, his sculptures stand agency — forged in cement. Sculptures of Hanuman, a lot bigger than life, dominate his portfolio of commissioned works. Rao mentioned because the sculptures he made are on the gopura (temple towers) it doesn’t must observe shastras. “I was very much influenced by the calendar art, especially that of Sambanand Monappa Pandit. But it was not a deliberate decision to bring changes in traditional sculptures. I focussed a lot on bhava (overall feel or expression) and my particular style emerged,” added Rao.

“There was a need for a new style of temple architecture in Karnataka that would adapt to the speed and sensibility of modern times and yet reflect regionalism. Additionally, there was a need for individuals who could work with suitable medium. So, in 1960s and 1970s, with my uncle, sculptor Shilpi K Kashinath, my father started working in cement,” mentioned Kavatekar.

Together, the brother expanded the chances of cement-based gopuras in Karnataka. But whereas Kashinath took the modernism route, Rao experimented with the prevailing type till he discovered his personal language of artwork.

Cement was not at all times his most popular medium, added Rao. But it’s apparent that he has over time learnt to deal with this mundane materials deftly. His type is one thing that may be described as an amalgamation of an understanding of the previous and the skillful use of what’s accessible within the current. Standing testimony to that is the unfinished work on show on the exhibition. A protype, made utilizing metal rods to point out college students how he makes cement sculptures, clearly tells the viewers who the topics are. Even bareboned, Ram and Hanuman are unmistakable, due to their historically accepted postures – Ram standing proud and tall holding the bow and Hanuman on his knee, an image of piety. And but, metal and cement, the modern-day innovations, are twisted and moulded in a way that’s distant from every thing conventional. JR ROH

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