Book Review: Delhi Old and New (Inkline Drawings)
Author/Artist: Kavita Iyengar; Book and jacket design by: Sumita Kathuria
Publisher: Bloomsbury Publishing India
Pages: 110
"Certain meanings are lost forever the moment they are explained in words", wrote Japanese author Haruki Murakami in his widely acclaimed three-volume novel 1Q84. Kavita Iyengar's book- 'Delhi, Old and New' is a story woven not in words but composed as a mosaic of ink line drawings. Kavita Iyengar, an economist by profession summarises the cultural history and rich heritage of the capital city in exactly hundred drawings in her recently released book.
The beautiful ink line drawings in the book trace a journey dating back to an era when Delhi was Indraprastha, home to the Pandavas in the Mahabharata. Soon, the visual tour leads readers into the regal quarters of the Mughals where Persian and Turkish designs influenced the architectural style. From the havelis of Old Delhi, the majestic buildings and bungalows under the imperial rule in Lutyens' Delhi; the colossal Akshardham temple, Devi Prasad Roy Choudhary's Gyarah Murti to one of the biggest and most-visited crafts villages, Dilli Haat in post Independent India's Delhi, the book captures the evolving panoramic cityscape of the capital in its monumental glory and strength. Each drawing comes with a little note of description, often paired with verses by Mirza Ghalib, Amir Khusro, Al Badauni, Gulzar and Amrita Sher-Gil.
Kavita Iyengar tells us more about her passion for art and her love for Delhi.
You are an economist- how do you define 'Art', and what got you drawn to art?
Art is an expression of creativity. We feel a need to communicate thoughts and emotions through various languages and forms. It helps the reader, the listener, and the beholder, think, feel, and grow. As a child, I loved drawing and painting. I won several prizes at art competitions, but I never considered studying art. I enjoyed studying economics, did well at high school, and went on to do my Ph.D. in the US. But, I doodled during lectures, painted cards and gifts, and visited museums and exhibitions. My life was settled into a broad routine, when, about five years ago, I had an intense urge to pursue my interest in art. I joined a Saturday class close to my house where the group comprised people like me - professionals from various fields, with a fair degree of talent, and a lot of passion.
No, I would not say ink line drawing is more difficult than pencil-sketching. It is just a different medium. But, yes, it is much more time-consuming. I do use other mediums. I love working with oils on canvas, too. But, my ink lines used to come out well, and very distinctively, and my teacher Jitendra Jain and friends strongly encouraged me to do more. I immerse myself in the process of detailing. I chose ink pens when I began this project. And the subject, too, rendered itself beautifully to ink pens.
Is there a particular decade/century you enjoyed drawing most?
I think I enjoyed doing the earlier periods more. Possibly, because I feel an immense sense of wonder in the rich architecture and history of the city. My father - a history buff - is responsible for kindling the interest. He would take us to the monuments around the city and tell stories. I have visited all these places (mentioned in the book) several times over the years. So, I would imagine the Mamluks building Mehrauli, sufis singing with Nizamuddin Aulya, Humayun tripping down the library steps to an untimely death and Hamida Banu constructing the wonderful mausoleum for him. Of course, this is all completely romantic and I do not delve too much on the bloodshed and palace intrigues.
As an artist, how do you think has the architecture of the capital transitioned over the years?
The transition was distinctly influenced by the rulers and the political climate. The earliest structures that have survived are from the Delhi Sultanate and that is the beginning of the evolution of the Indo-Islamic style. In times of peace, there were more detailed and decorative patterns. The Mughal buildings adopted symmetric elements and were located in large, elaborate gardens with fountains. European style buildings came with the British in Civil Lines. Lutyens' New Delhi is unique, combining the indigenous pink sandstone and Rajasthani chhatris into the Rashtrapati Bhavan and the Secretariat buildings. Post independence, it was concrete, almost Eastmodern. Some lament about it while others appreciate the transition.
All royalties go to the Salaam Baalak Trust (SBT) - an Indian Non-profit and Non-governmental organization, established in 1988 with the proceeds from the film 'Salaam Bombay' (1988) made on street children by noted filmmaker, Mira Nair.
(Originally published on May 14, 2014)
http://timesofindia.indiatimes.com/followceleb.cms?alias=Lutyens',Kavita Iyengar,Ink line,Drawings,British
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