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At the Albertina Museum in Vienna, I came across an exhibition of the works of an artist, whom I had not heard of earlier. Of course, that only points to my lack of familiarity with the art world and Keith Haring – the artist featured – is pretty famous for his work. The show was titled “Alphabet” and it was so named as Haring had developed a pictorial “alphabet” for his work. He was of the view that art is for the public and wanted everyone to understand what he was drawing about. For him, art was a political activity and that was very evident from his work.

Haring was born in Pennsylvania in 1958 and lived but a short time before his death in 1990 from AIDS related complications. Yet, within these 32 years, he achieved great fame as an artist and produced a huge number of drawings and paintings. He had his first solo exhibition when he was just 20 and had more than 500 exhibitions between 1982 and 1989.

He was always bothered about the treatment meted out to minorities and people who were “different” – he himself was gay – and his work reflected this. He was a bit ambivalent in his approach towards money and did not like the idea of making art so that they could be hung in galleries with the viewership limited to a few; however, he considered it important to earn enough money as well. He was very critical of capitalism and its impact and was well aware of its connection to racism and suppression. War horrified him and he was also against nuclear reactors as he was aware of the horrors of the Three Mile nuclear accident, which occurred near his hometown in 1979.

Legendary artist Andy Warhol was a close friend of Haring’s and he considered Warhol as someone who had beaten capitalism at its own game. Yet, he also considered Warhol as the consummate form of the artist as a businessman and that was not a position he appreciated. Haring tried to move away from being an artist for the elite and wanted to create art for the public. Mickey Mouse was one of Haring’s oft used motifs and his ambivalent position towards Andy Warhol might have been the reason for this painting.


At times, he collaborated with other artists and one of the first pieces in the exhibition was a miniature Statue of Liberty which he had made in collaboration with the artist LA-II (Angel Oritz). This work is considered to be Haring’s criticism of the American promise of equal opportunity for all – take note of the black bulb instead of the torch.


There were about 100 works in the exhibition and good many of those are reproduced in these pages.


He tried to develop his own pictorial language, which he wanted everyone to understand. He borrowed some of the common motifs like the Egyptian god Anubis and the Golden Calf. He also developed his own symbols like the dog, the radiant baby etc. The meaning of these symbols depended on the context in which they appeared. For instance, the dog could be a symbol of justice or protector but could also be an attacker. In his own words: “The dogs really were representational of human and animal. In different combinations they were about the difference between human power and the power of animal instinct. It all came back to the ideas I learned from semiotics and the stuff from William S Burroughs – different juxtapositions would make different meanings.” In the image below, we see the dog attacking a street artist and there is blood all around.


The Golden Calf is generally understood to represent idol worship and Haring used it to show mass hysteria and manipulation. I felt that Haring might have had a field day as an artist if he were to live in present day India.


He borrowed the happy Porky Pig from Looney Tunes and used it as a reference to consumerist society and the growing alienation from nature. In 1978, he wrote alongside a drawing: “Everyone knows where meat comes from, it comes from the store”.


The flying saucer was a symbol that Haring used to depict the other – those outside the “normal” contours of the society – and he considered that these others could strengthen and empower people and society.


He tried to communicate through imagery that could be more easily understood and produced a huge amount of drawings. He drew on paper, plastic sheets, tarpaulins; anything that he could lay his hands on. Most of it was about celebrating life, empathizing with the sidelined and the marginalized, protesting against oppression, consumerism, mass culture etc. Good many of this was in the public space, on walls etc.


In 1980, John Lennon was shot dead and Haring responded to Lennon’s death with the image of a man with a hole in the middle. In Haring’s own words: “Actually, this image of a man with a hole in his stomach came after I heard of John Lennon’s assassination…I woke up the next morning with this image in my head…and I always associated that image with the death of John Lennon”. This image may also be taken to symbolize the emptiness within modern man.


In his early days, he also tried the abstract language as shown in the painting below.


However, he soon abandoned this because: “The abstract paintings would not make any sense if they were painted in public space. It was first when I started to draw images which could be read as signs that I went into public space. Because these paintings made sense in the streets – all people, all languages could read them. After studying the theory of communication, information and drawing and how meaning speaks through signs and how this language – because that is what it is – works – I chose a primitive code.”


The radiant baby was another of Haring’s most used symbols. He considered babies were always connected with positivity. He said: “Babies represent the possibility of the future, the understanding of perfection, how perfect we could be. There is nothing negative about a baby, ever. The reason that the ‘baby’ has become my logo or signature it is the purest and most positive experience of human existence.” This statement immediately brought to my mind a passage I had read in the autobiography of Elie Wiesel titled “Night”. Wiesel was a survivor of Auschwitz and in the book he talks about how he witnessed live babies being thrown into fire by the Nazis, at the concentration camp. The contrast between how artists like Haring viewed and valued human life and how the fanaticism makes one such values was a telling point.


A light bulb as a motif for ideas.



A self-portrait

Haring was against organized religion and in his work, crosses were used by people to commit to murder or people lost their lives on them. “You can only help and encourage people to live for themselves. The most evil people are the people who pretend to have answers. The fundamentalist Christians, all dogmatic ‘control religions’ are evil. The original ideas are good. But they are so convoluted and changed that only a skeleton of good intentions is left.”


This painting has a mistake which turned out to be a major hit. When Haring was painting this on a wall, he made a mistake in painting the first eye too far to one side and realized that he was going to be left with a lot of unexplainable empty space. To get over the problem, he painted a third eye – his only intention was to fill up the space. He was later amused to hear about people interpreting the third eye as Haring’s allusion to surveillance, consciousness etc. He had meant nothing of the sort – a classic case of a work going beyond the creator once he or she was done with it.

In addition to the barking and the biting dog, Haring also used a form like that of Anubis. According to Egyptian mythology, Anubis (the dog-headed god) was entrusted with weighing of the heart during the judgment of the dead; thus controlling the fate of the dead person. Here is an image which alludes to the dance of death and how everyone is equal before death.


Haring considered his work to be political. He says: “Most of my political concerns and social concerns came from my life experiences. Partly being born in the late 1950s and growing up in the 60s and sort of being around that counter culture but not being able to participate. Definitely being very affected by that and being at an age at the time when I think I was most impressionable, like seeing the Vietnam War when I was ten years old, seeing race riots in television and reading Life magazine.”


Sometimes, human shapes are depicted with dotted bodies. This can indicate otherness – skin colour, homosexuality, illness such as AIDS etc.


For this painting, I found the note provided by the curator to be quite interesting. “The caterpillar is the actual feeding stage of the butterfly and has to shed its skin several times before achieving its final size. Only after metamorphosis does it transform into the butterfly, whose beauty solely serves the purpose of procreation and the fades. In Haring’s art the caterpillar thus stands for both transformation and metamorphosis and for greed and a craving for food, which is why in some of his works it is depicted as a monster. With a computer replacing its head, the caterpillar turns into a technological ogre. In Haring’s art computers and robots describe the prevalent fear of new technologies, the space age, Silicon Valley, and the potential control of machines over humans. As early as 1978 Haring gave much thought to the subject of computers and to what they mean for our daily lives: “The silicon computer chip has become the new life form. Eventually the only worth of man will be to service and serve the computer. Are we there? In a lot of ways we are.””. To me, it was amazing that he had thought of this man-machine conflict so long back.


The Golden Calf is replaced with the red monkey to warn about mass infatuation and hysteria.


Towards the end of his life, Haring was sure he was going to contract AIDS as several of his partners had died because of the disease. His art also reflected this preoccupation and danger of the monster.


In this work, a deadly monster is shown as grabbing its victims while offering its orifices in deadly invitation.


Between 1980 and 1985, Keith Haring started making drawing on the unused billboards in the subway. Such advertisement boards were covered with black paper and he drew with chalk on the black paper. He is believed to have made between 5,000 to 10,000 such drawings but most of these have been lost. This was an illegal activity and was he would have been arrested if caught making the drawing and so he had to work very quickly to avoid getting caught. He considered this as the perfect laboratory for him to experiment on the ideas he was thinking of. Soon, the public started noticing these drawings and started to carry them home as collectibles. This prompted Haring to stop this activity as he wanted his work to be with the public, and be accessible to them, than be in collections.


I have generally not been to appreciate this type of art, which looks quite undeveloped and primitive, almost like a child’s drawing. Yet, Keith Haring captivated me; maybe because of his stance and politics in his works, maybe because of what I could sense of him as an individual by seeing his art; maybe I was amazed that such type of art could earn such international acclaim in such a short time. I am not sure, but the fact remains that I spent a good amount of time looking at his work and felt good to know of Keith Haring, his life and art.

Yet another version of the Kochi  Muziris Biennale is around the corner and I suddenly remembered that I had not finished the note I had started writing about KMB 2014. So, here goes…

I had really enjoyed Kochi Muziris Biennale 2012 and it was with barely suppressed excitement that I waited for KMB 2014 to begin. The lead up to the event was very well done with lot of functions happening in Kochi. Unfortunately, I couldn’t attend any of those as I am based at Bangalore but one got all the information through FaceBook. This time, there wasn’t any controversy about whether we should have KMB at all and I was quite pleased with that. To me, this was an indication of the success of KMB 2012 and the public’s interest in the event. Hats off to Bose Krishnamurthy and Riyas Komu, the main organisers of KMB!

The show started on December 12, like last time and went on till March 29, 2015. The theme of the event this time was “Whorled Explorations”. The curatorial note spoke about how the show was about bringing in various elements connected with exploration and travel. So, maritime trade, conquests, mathematics, navigation, colonialism, globalization etc. have all found their way into KMB 2014. A few sentences from the curatorial note struck a chord in me: “…. like exaggerated extensions to gestures we make when we try to see or understand something. We either go close to it or move away from it in space, to see it clearly; we also reflect back or forth in time to understand the present. Whorled Explorations draws upon this act of deliberation, across axes of time and space to interlace the bygone with the imminent, the terrestrial with the celestial.”

I arrived at Kochi on the morning of December 29th and went straight to Aspinwall House, the main venue of KMB 2014. There cannot be a better location for the KMB than Fort Kochi with its wonderful buildings like Aspinwall House, Pepper House etc. These are just great locations that really add character to the event. You can really feel the difference when you go to Durbar Hall (which is also a venue of KMB), which is more like a conventional gallery; it just doesn’t have the character or ambience of locations like Aspinwall House or Pepper House.

In a repeat of KMB 2012, I could not understand the first installation at all. These were minimalist poems from an American poet – Aram Saroyan – but it was well beyond me. Actually, I was reminded of the candy “m&m” when I saw one of the “poems”.




Next was a work by Mona Hatoum. When I saw her name in the exhibition catalogue, I had great expectations as I had seen one of her videos (Measures of Distance) at an exhibition at Bangalore and that had left quite an impression on me. The installation at KMB consisted of light bulbs laid out in a circle with a wires crossing each other and snaking out to the bulbs. While there was an element of visual attractiveness around the work, I could not connect with it. It somehow reminded me of Diwali lights!


Next one that caught my eye was a series of 90 charcoal drawings by Madhusudhanan titled “Logic of Disapperance”. These show some historical figures with connections to some incidents as well and were quite interesting. I particularly liked an image with Lenin’s head the body being made up of the skeleton of a Trojan Horse kind of structure. With the military helmet thrown in, it looked to me to represent Stalin sneaking into power on the back of the Revolution led by Lenin and Trotsky. Interesting aside: In the book “Ten days that shook the world” written by American journalist and Communist John Reed who witnessed the Russian Revolution firsthand, Stalin’s name comes up only twice and that too as passing reference.




It seems the word “journey” owes its origin to “a day’s travel” and there was a work by David Horvitz on this theme. This was a video installation running simultaneously on two mobile phones titled “The Distance of a Day”. The artist created this work by shooting a sunrise in Maldives while his mother shot the sunset in California at precisely the same time. So, at the same instant, sun is rising and setting and being watched by two people separated by distance but united by a bond. To me, this felt like the expression of how what is perceived as truth is a function of location. A sunrise is the truth for me at a given location whereas at the same time, it is the sunset that is the truth for someone else at a different location. If we abstract physical location to locations of the mind, the work achieves an even more interesting dimension.


On the grounds of Aspinwall House, there was a large sized installation called “Backbone” by Shanthamani Muddiah. This was a long spinal column made of cement and cinder. It seems the artist likes work with charcoal quite a lot because of its connection with remnants of prehistoric times. While it was a interesting sight, I could not connect with the work.



Janine Antoni’s video installation “Touch” was riveting and I sat in the room and watched it for quite some time. The artist is from Bahamas and she had tied a tightrope in the seashore in front of her house and in the video, she is seen walking on the rope. The rope is interestingly positioned and so it looks as if the artist is walking on the horizon. I felt it connected well with the theme of KMB and man’s desire to reach the horizon which was forever slipping away. On another level, I felt that the work was about our desire to conquer what is essentially an imaginary entity.



It was in a pensive mood after watching our desire to reach the imaginary that I stepped into the next room, which had another video installation titled “Standard Time” by Mark Formanek. In this video, workers continuously modified wood pieces to accurately reflect the current time. This meant that they were at it each minute as time ticked by; seemingly an exercise in futility. The video was recorded over 24 hours and as I watched it go along with its absurd sequence, I was reminded of the rat race that most of us are engaged in.



Next was a room with paintings on large pieces of fabric that looked like the sails of ships. This was a work by Lavanya Mani titled “Travellers Tales – Blueprints.” The paintings and the shape of the fabric brought forth thoughts of voyages across seas. The link between colonialism and textiles was quite evident in this work.


The theme of man’s progress or journey continues on to the next work that caught my interest, a triptych titled “Building a Home; Exploring the World” by Sudhir Patwardhan. The first panel shows the start of migration, perhaps the first long journey, as man started on his trek out of Africa. The second panel has images of Pieter Bruegel’s “Tower of Babel” and Vladimir Tatlin’s “Monument to the Third International” reproduced in a coastal landscape resembling Kochi. This was a depiction of man’s deepfelt desire to build and grow and the third panel shows the continued expansion and extension of the journey as we move to conquer space.


Artist Nikhil Chopra held a live performance in one of the rooms of Aspinwall House. The performance lasted 50 hours and was about a colonial character named Black Pearl being incarcerated in a cell. He draws the sights he sees from his cell on the walls of the cell. The work was titled “Le Perle Noire: Le Marais”. I did not see the live performance but the cell, with its paintings, was available as an exhibit. I cannot clearly explain what I felt when standing in that room but it was somehow captivating.




There was a very large (79 ft long) painting by NS Harsha titled “Punarapi Jananam Punarapi Maranam” depicting the universe as one continuous entity. The work itself was beautifully executed with very many interesting details. This one was a bit above me and I could not get a grasp of it.




“Sea Power” is a work by Hew Locke that explores early stage of globalisation and its connectivity with sea voyages. While the images made out of plastic beads were interesting to look at, I did not feel any connect with the work.



Often what we see on the outside is not what is inside and there was a wonderful work like this titled “Background Story: Endless Xishan Mountain Scenery” by Xu Bing. This was an arrangement of old newspapers, twigs, straw etc., which when viewed through a translucent screen with back-lighting, replicated a landscape painting by Chinese artist Xu Ben who lived in the Ming Dynasty period. It was a painstakingly created work and fills one with awe. I guess one could read a whole lot of ‘internal-external” aspects into this work.





Africa is a continent with a lot of failed dreams; independence from colonial masters filled people with hope but slowly, these dreams faded as despot after despot ruled the newly independent countries. I have travelled to many such countries in Africa and have had conversations on related subjects with people there. Hence the work titled “Independence Disillusionment” by Kader Attia was something I could understand very easily. These 26 paintings are reproductions of postage stamps that were released around the time these countries gained independence. The dreams may have been Utopian but they were good dreams to have; but unfortunately, these countries wallow in significant poverty and even civil wars as the rulers continue from where the colonialists had left off.






Artist Namboodiri is a familiar name from his illustrations that accompanied stories and novels in Mathrubhumi Weekly and I was pleasantly surprised to see a series of drawings he had created specifically for KMB, titled “Vara/Thira”. These were scenes of Kochi, its streets, houses etc.





Prashant Pandey’s work “Artha” is a huge diamond made up of 10,000 discarded slides that have blood drawn from various people including the artist. According to the artist, the work talks about the sacrifices made in the course of the colonial quest for wealth. To me, it immediately brought to mind the tragedy of “blood diamonds’.


Punaloor Rajan had photographed many of the public figures in Kerala for a long time and these images and videos form an archive of sorts. Several photographs from this image had been bunched together and exhibited under the title “Perpetual Stills”. It was interesting to see the images of our familiar figures, many of whom have already passed on from this world.


In one of the rooms a tent had been pitched – it was much like a tent used by travelling traders. This work by Francesco Clemente was titled “Pepper Tent” and was made of fabric painted by Clemente. The images inside the tent connect with trading and travel and to be inside the tent was some sort of an interesting experience. It was quite colourful and visually pleasing.


Pepper House, as always, is a delightful place with a quaint nice café thrown in. In the courtyard, was a sculpture by NS Harsha titled “Matter”. Sculpture is often quite beyond me and this one was no different. It blended in well with the surroundings.



Pepper House was also witness to a performance-installation wherein a huge bell was lifted out of the backwaters and installed as a leaky fountain. This was Gigi Scaria’s work titled “Chronicle of the Shores Foretold”. The bell is a symbol of European colonialisation and it was installed with the help of the traditional labourers of Beypore – the khalasis. To me, this was kind of a depiction that colonization was possible only with the help of the locals and it seemed apt to have such an installation in Kochi which had a pliant King who bowed down before the British. However, the bell itself was leaking and so the idea of colonization was never a fully secure idea, as we have seen in history.


I happened to look at the bell from a room in the first floor and it was an interesting sight from there. The frame reminded of the paintings of Murali Cheeroth.

dsc_0233waSumakshi Singh had created an installation titled “In, Between the Pages’ which is a 70 feet long maze made of scrolls hanging down. Viewed from a particular angle, these split images come together to form two pages inspired by a Sanskrit treatise on astronomy titled Surya Siddhanta and illustrations from a Dutch East India company manual, Hortus Malabaricus. It was quite interesting to walk through the maze as it felt as if one was being part of or inside the image itself.




A very interesting installation that I found in Durbar Hall was Julian Charriere’s “We Are All Astronauts”. The artist collected mineral samples from all recognized countries of the world and made sandpaper from these samples. He then rubbed the surface of 13 found globes with this sandpaper till all the markings had been erased from the globes. The globes were then suspended over a table on which one can see the dust that resulted from the scraping. Does it mean that international interaction (scraping) will cause boundaries (markings) to fall away? Does it mean that there are no real boundaries even now because of the interplay of civilization and cultures? I found this to be quite an interesting installation.




In one the other art galleries in Fort Kochi, there was an installation by Murali Cheeroth. It clearly brings out the challenge of the times we live in and I felt it was a piece of art that needs to be seen and understood by everyone in India. Murali had copied Martin Niemoller’s famous poem and inscribed it on glass panels.



One of the joys that go hand-in-hand with KMB is the chance to see various art works that spring up on the walls in and around Fort Kochi. That is a treat by itself and this time also there were many beautiful pieces of art that were quite interesting.





















Yet another version of Biennale had gone by and it was definitely an improvement over the first one. This is indeed a wonderful event for Kerala and even the whole of India. Hope the 2016 version will keep the show moving ahead.

Once again, I found myself in Miami with a free week-end and as has been my practice of late, I checked out the possibilities, hopped into a rental car and drove off to Key West. I had booked a hotel in a town called Marathon, which is about 2 hours’ drive from Miami. From Marathon, Key West is about an hour’s drive. In retrospect, it would have been better to stay at Key West itself but I couldn’t find an appropriate hotel as I was late in booking.

Key West is the southernmost town in continental US and is only 90 km away from Cuba. Naturally, there has been a lot of Cuban influence here and some early entrepreneurs had successfully run cigar rolling factories in the town. To me however, the more important aspect of Key West was that it was the home of Ernest Hemingway for about 10 years from 1931. Hemingway arrived at Key West when he was 28, along with this second wife, Pauline. He stayed here till 1940 and then he just jumped across the ocean and moved to Cuba and he also married his third wife Martha Gellhorn, at that time. Caribbean lifestyle is etched into Hemingway’s works and Hemingway himself was a great angler. His love for fishing was well catered to, during his life at Key West and he also bought the boat “Pilar’ which remained a love of his life, at this time.

A comfortable drive in the morning took me to Key West and the day was looking sunny even though there were a couple of clouds in the horizon. I had been told that the sunset, as watched from the western end of the town, called Mallory Square was a grand spectacle and was looking forward to that. The first port of call was, of course, the Hemingway House. It is a two storey house set in a one acre, lush green compound. The house itself is built in the Spanish Colonial style and was built in 1851 – Pauline’s Uncle Gus gifted it to the couple in 1931.



There was a free guided tour going on when I arrived. The guide seemed to be very passionate about the house and she was full of energy and enthusiasm in explaining various aspects about the house. She mentioned that almost seventy percent of all of Hemingway’s works were written in this house and I suspect that was a case of her getting carried away by her enthusiasm. What I read in the internet was that he had done the final editing of “A Farewell to Arms” while he stayed at Key West and also worked on novels like “Death in the Afternoon”, “The Snows of Kilimanjaro” etc. The only novel he wrote fully in the 1930s was “To Have and Have Not” and it is a novel based on Key West and its people. The house is filled with photographs and all rooms were filled with photographs.





The rooms upstairs had photographs reminiscent of Hemingway’s time in Paris and trips to Africa. The guide explained that his first safari was once again sponsored by Uncle Gus at a tremendous cost of US Dollars Twenty Five Thousand, which must have been a huge amount of money in those days. The master bed room was nice and airy with a large bed.




In one of the rooms there is a photograph of a lady named Agnes von Kurowski who was a nurse with American Red Cross and was serving in Milan during World War I. Hemingway was an ambulance driver with the Red Cross and after he suffered some serious wounds, he was admitted into the same hospital where Agnes was a nurse. They soon fell in love and planned to get married. However, later on she changed her mind and married someone else. Supposedly, she inspired the character Catherine Barkley in “A Farewell to Arms”.


From the master bed room, one stepped out onto a beautiful, wide verandah that ran all around the house. The Key West lighthouse is located just across the street and could be seen from the house.


Hemingway had a writing room or office set-up above the coach house and had also built a walkway from the verandah to the writing room. It seems he followed a rigourous work schedule of writing each day from six in the morning till twelve in the afternoon. Rest of the day was spent in socialising and recreation. These days, the walkway has been removed and the writing room is accessed through a separate staircase.




The grounds of the house are lush green and very tastefully laid out. There is also a large swimming pool, which was supposedly the first pool in the area and constructed at a huge cost. Hemingway was apparently very superstitious and believed that six toed cats brought him luck (seems this was a common belief among sailors of the time). He kept up a large population of cats around the house and you can see them even today.



While I had read many of his novels, I had not come across To Have and Have Not. I found a copy of the book in the gift shop and thought it befitting that I should buy that novel from Key West itself. I spent quite some time roaming around the house and noticed that it seemed to attract a good number of visitors.

After leaving Hemingway’s house, I wandered around the town, taking in the sights. Streets of Key West are lined with nice buildings that are decidedly Caribbean in appearance. It has a special charm and adds a wonderful feel to the place.







There is a small marker to denote the Southernmost point and it shows that Cuba is only 90 miles away. This meant that smugglers used this place as a favourite arrival point into continental US.


By this time, I was getting tired of all the walking and decided to pay a visit to another establishment that was connected with Hemingway – a bar named Sloppy Joe’s. It belonged to a person named Joe Russell, who was Hemingway’s friend. Hemingway spent quite a lot of time in this bar and it seems his third wife, Martha Gellhorn, met him here for the first time. Sloppy Joe’s has changed hands since but they keep the history alive with Hemingway look-alike contests that are conducted each year. There are many photographs of Hemingway inside the bar and it seems like a popular place with lot of people coming in. I spent about an hour there thinking about Hemingway and his life and books; of course, a nice Martini helped me along in the process.




By this time, we were approaching sunset and I strolled over to Mallory Square. The place was getting crowded with people that had come to watch the sun go down. There were some clouds in the sky which were threatening to dampen the whole affair. Boats were going out to the sea and there was also lot of other activity in Mallory Square with entertainers and artists displaying their wares. I got a few pictures as the sun approached the horizon but then it started drizzling rather strongly and the sun got blotted out.




As I drove back to Marathon, I reflected on the day. I felt the visit to Key West and Hemingway’s house had connected me more with his work. In the past, I had been to the Caribbean a few times and had seen the island lifestyle but somehow, I had not connected well with Hemingway’s writing about fishing – possibly because it does not appeal to me as a sport. Yet, I think I understand him a bit more now. As I sat down to dinner, I opened To Have and Have Not and started on the first page.


 1 October 2016


Last month, I found myself in Miami with a couple of days to spare. I was looking for something different apart from the beaches and entertainment parks of Florida and so, I decided to drive to the west coast of Florida and I chanced upon a town called Punta Gorda and dropped anchor there. Punta Gorda is a nice, small town right on the bay. About an hour’s drive from Punta Gorda is Sarasota and while looking through the images in TripAdvisor, a building in Sarasota caught my eye as it looked kind of out-of-place in Florida and I decided to go there. Further showed this to be the Ringling Museum complex and I set out in the morning on a beautiful sunny day.



I was not much aware of Ringling before the trip though I had heard of Barnum Bailey Circus. John Ringling was born into a family of seven brothers and a sister in 1866 in Iowa. He along with four of his brothers started the Ringling Circus and then they acquired the Barnum Baily Circus to become the largest travelling circus in the US and they called it the Greatest Show on Earth. John turned out to be the most famous of the five brothers and also ventured into areas like real estate development and eventually became one of the richest men in the world at the time. So, when I drove there, I was expecting to see the house of a rich circus man and spend some time in a leisurely manner.

The house stands on 66 acres of land and is built in the Venetian Gothic style and is named “Cà d’Zan”, which means House of John in Venetian dialect. The grounds are beautiful with many wonderful trees and small ponds.






There are three main attractions to visit – the Circus Museum, Cà d’Zan and the Museum of Art. I started with the Circus Museum. First off, what struck my eye were a series of posters that were quite nostalgic. The Circus museum took me right back to my childhood when the circus was a rare occurrence and a visit was always a keenly awaited event. I think I have only been to the circus twice – it was a different world of amazing, hair raising acts and exotic animals. Of course, at that time, I was too young to realise that life for those performers was totally unlike the glittering visual they presented. Of course, in today’s world where visual treats and images are dime a dozen, the circus has lost out. It is no longer possible to hold interest and cause excitement and amazement through such acts as trapeze or motorbike riding within a globe or jeep jumping or a parade of wild animals. To me, the circus represented an era gone by. Such were the thoughts that flashed through my mind as I walked through the museum. The third face in the poster below is John Ringling.







Perhaps it was this foresight that the circus would soon die out which caused the artists and sculptor Howard Tibbals to create a miniature replica of the Ringling Bros. and Barnum & Bailey Circus, which was the largest circus in the world at the time. This replica is available for view in the Circus Museum and is indeed a grand sight. Till then, I had no idea of the scale of size of this circus. I was thinking of something slightly bigger than the “Gemini Circus”, the whole of which fitted into 3 or 4 trucks. What I saw at the Tibbals exhibit was a circus that owned trains so that it could transport itself to various palces. The “Big Top” or the performance tent had three rings, four stages, a hippodrome track and the show lasted two and a half hours with about 800 artists participating and it could seat 15,000 people! The show was so large that it owned trains that were used to transport all the material, animals and people. The logistics behind the whole show must have been amazing. I read that the Big Top consisted of six centre poles, seventy four quarter poles, one hundred and twenty two sidewall poles, five hundred and fifty stakes and twenty six thousand yards of canvas and what was amazing was that they could erect this tent within four hours!







There is also an exhibition of some of the real objects that were connected to the show like a human cannon, various cages used to transport animals and the private rail coach (named Wisconsin) that the Ringlings used when they travelled along with the circus.







Cà d’Zan was finished in 1927 and looks quite beautiful. It sights right on the sea and there are steps leading to the water. The interior is quite rich and ornate with all the conveniences that the time provided.












After a leisurely lunch at the café, I strolled across to the Museum of Art. Till then, I was thinking of the whole affair as the house of a very rich circus man who had an interest in art and nothing much beyond that. However, I soon got to know that this tale had some other interesting angles. John Ringling and is wife Mable wanted to build an art gallery to build up an awareness of art and culture in the people of the locality. It was not meant to be a museum for the viewing pleasure of a few rich people but was meant to bring the masters to be available for the public. The museum was set up with twenty one galleries and John Ringling gifted this museum with more than 400 art pieces along with an endowment of $1.2 Million to the State of Florida upon his death in 1936. There were works from masters like Peter Paul Rubens, Paolo Veronese, Diego Velazquez, Giambattista Tiepolo, Lunas Cranach the Elder etc. In the courtyard is a 19th century replica of Michelangelo’s David.



Peter Paul Rubens: Meeting of Abraham and Melchizedek


Lunas Cranach the Elder: Cardinal Albrecht of Brandenburg as Saint Jerome


Piero di Cosimo: Building of a Palace


Paulo Veronese: Rest on the flight into Egypt



Franceso del Cairo: Judith with the head of Holofernes



Antonio de Bellis: The flaying of Marsyas by Apollo



Jan Davidsz de Heem: Still Life with Parrots



Peter Paul Rubens: Flight of Lot and his family from Sodom



Peter Paul Rubens and Osias Beert: Pausias and Glycera



Giambattista Tiepolo: Glory and Magnanimity of Princes



Robert Henri: Salome




John Ringling was one of the richest men in the Roaring Twenties and like many of his peers, he too thought that the good times would continue for ever. However that was not to be and the Great Depression arrived. Ringling suffered huge financial losses and he lost his wife Mable also in 1929. When John died in 1936, the man who was once the one of the world’s richest men had a princely sum of $311 in the bank! What struck me was that he had managed to fight his creditors for many years and hold on to his house and the art museum with its priceless works and finally willed it to the state so that all could benefit from it. John Ringling, obviously, was no ordinary circus tycoon.


3 January 2016

Chithra Santhe is an annual exhibition of paintings organised by the Karnataka Chitrakala Parishath. However, it is no ordinary exhibition; it is not held in any air-conditioned gallery but is an open air event held in a location created by blocking off the Kumar Krupa Road! You can see paintings everywhere you look and the variety is just incredible. You can find anything from abstract to Tanjore paintings and murals. Most people are likely to find a piece of art that attracts them and also fits their wallet.

I had visited the event four years back and had the good fortune to be at Bangalore while the event was on this time. However, we had not factored in the growth and so, were a bit short on time. While walking around, I heard an announcement that about 1,300 to 1,500 artists are participating in this year’s event. The crowd had also grown as compared to our last visit and I was very happy to see that even if it meant constant jostling and shouldering to cut through.


Most of the paintings were well crafted with most of the subjects being traditional. There were only very few works that could be classified as modern art as most paintings were focused on being pleasing to the eye. I do, however, feel that such events are very important in developing a culture of appreciation for the arts. The Chitrakala Parishath deserves a huge round of applause for organising the event. This is the 13th year of the Santhe and I would recommend this as a “must visit” event.










































It has been 46 years since a great novel shook up Malayalam literature – so much so that many critics consider that year as the start of a new era in the genre of Malayalam novel. Yes, I am talking about OV Vijayan’s Khasakkinte Ithihaasam. I was in my late teens when I first read the book and I dismissed it offhand as a book with a defeatist attitude. That was my first brush with the Ithihaasam. Then, over the years, something drew me back to it; there was something magical and surreal about it, which kept making me go back to it. Slowly, over my many re-readings, I somehow fell in love with the book and my appreciation of Vijayan grew each time I took up the book.

Vijayan’s imaginary Khasak was modelled after a real village named Thasrak. This village is just about 15 kms from my hometown Chittur, yet I had never visited the place. Vijayan visited and lived in Thasrak for a short time in 1957 and his novel is based on the lore and people of Thasrak. As I planned a trip to Chittur this time, I decided that I must visit Thasrak.

In preparation, I took up the Ithihaasam once again for yet another reading.  As always, it was provided a different reading experience this time too and new gems popped out of the book and delighted me.  The blue veins of Maimuna continued to excite me, the plight of Kuttaadan Poosaary continued to amuse, the fate of Allaapicha Mollaakka continued to haunt, Ravi’s feather like existence was still beyond me, Chandumuthu with her repeated question tugged at some corner of the heart but what stood out for me this time was the scene of Allaapicha Mollaakka making Kunhaamina promise not to join the new school, which he deemed as competition to him. He first makes her take an oath in the name of Sheikh Thangal, the most revered Islamic figure in Khasak’s lore and then, “to seal all holes”, the Mollaakka asks Kunhaamina to swear by Mariamma, a Hindu Goddess. It is expressed beautifully in the novel in Vijayan’s fantastic language.

For many a year, Thasrak and its role in Malayalam literature was forgotten by the authorities. A couple of years ago, they woke up and decided that something ought to be done. They laid siege to the Njattupura (a small building used to store paddy) that Vijayan had lived in when he was in Thasrak. In the novel, Ravi has his school in the Njattupura. The building itself is said to be more than a hundred years old and thankfully, the mud building is preserved as such. However, an eyesore of a gate has been erected and the courtyard paved with interlocking tiles. The net effect of such changes is to subtract from the overall experience and not to enhance it.



We met an elderly gentleman named Majeed there who takes care of the Njattupura and shows visitors around the place. He told us that he was four years old when Vijayan visited Thasrak and he told us that almost every one of the characters have passed away, except Maimuna who he said, is in Coimbatore. Going by her age in the novel, she must be pretty old now. He was quite helpful and talked about how the times have changed. He said that Vijayan used to sit in the verandah and sketch. I asked him how he felt of a novel being written about his village and his friends and relatives, especially as I had read that some of the locals had been some reservations on how some people were characterised in the novel. His response was that in any story, some embellishments are to be expected and the Ithihaasam should also be viewed from that perspective.



He took us to the Arabikkulam (a pond) where Sheikh Thangal, the legendary military commander of Khasak, had thrown the heads of his enemies after beheading them. It is completely covered with weeds now and needs to be restored.



Right next to the pond is the new mosque. We were told that Allaapicha Mollaakka’s mosque had stood at this very site earlier.


We walked back to the Njattupura and we could see some of the famed palm trees of Khasaak in the distance. Legend has it that the trees bent down so that the tappers didn’t have to climb up the trees to tap them.


A visit to Thasrak is a fulfilling experience overall, if you have read the novel. The authorities, as always, could have done a much better job at preserving the ambience of a location that is so important to Malayalam. As I left Thasrak, the two images that stuck in my mind were the closed door of the Njattupura and a headless palm tree. They reminded me of the irreparable loss we have suffered as a society – never again would there be a novel like Khasaakkinte Ithihaasam and even more sadly, never again would we have that innocence in our society wherein a Muslim priest makes his student take an oath in the name of a Hindu Goddess or vice versa.





Note: Khasakkinte Ithihaasam has been translated into English by OV Vijayan himself and is available under the title “The Legends of Khasak”.

Some days back, I found myself in Santo Domingo, Dominican Republic with a day to spare. This is where Christopher Columbus set foot first when he discovered Americas. The city of Santo Domingo itself was founded by Bartholomew Columbus, his brother. It is the oldest continuously settled European city in the New World and hence has the first Cathedral, Monastery, University etc. As is the case with many old cities, Santo Domingo too has a new face and an old face. If we one were to restrict one’s movements just the new parts of the city, one would have no clue of its wonderful history. The new areas look like any other mid-sized South American / Central American city with its rich and poor neighbourhoods, commercial complexes and hotels. The more interesting area is the old city, known as Zona Colonial (Colonial Zone), which was the original Santo Domingo. This was where I decided to spend my day.

First stop was the ruins of the oldest hospital in America, the Hospital San Nicolás de Bari. There was absolutely no information displayed whatsoever in the premises and later, from Wikipedia, I learnt that this hospital was built in the 16th Century and could accommodate about 70 patients on completion. The ruins are quite beautiful with its red brick construction.



A short walk up the hill from here, are the ruins of the first monastery in America, the Monasterio de San Francisco. Unfortunately, there is no entry into the ruins and I could only see it from outside. This was also built in the 16th Century. Supposedly, the remains of Bartholomew Columbus were discovered here later.



A short walk down the hill is where the Palace of Diego Columbus, son of Christopher Columbus stands. Christopher Columbus had fallen out of favour with the Spanish Crown in 1500 and all his titles and privileges were taken back from him. Diego Columbus tried to win back these favours and was appointed as the Governor of the Indies (as Columbus always maintained that he had actually reached India) in 1509. He set us his base in Santo Domingo and built his residence, the Alcázar de Colón, between 1510 and 1512. The building itself is well maintained and is actually very small. The audio guide kept referring to it as a palace but is just about the size of an old landlord’s house like a naalukettu. There are many articles displayed in the palace but most are replicas.





Beds of Diego Columbus and his wife Mary of Toledo; it seems in those days royalty slept in a semi-reclined position and not flat on their backs!



Sitting room with painting of Christopher Columbus and Diego Columbus


Replica of the ship Santa Maria, the flagship of Columbus’ first journey to the Americas


Portraits of the Catholic Monarchs who sponsored Columbus’ exploratory journey with the hope of getting wealth from prospective colonies



The Catedral Primada de America is the first Cathedral in America and as most of the colonial buildings in Santo Domingo, was built in the 16th Century. The construction was started by Diego Columbus but was finished by its first bishop, Alejandro Geraldini. The ashes of both Christopher and Diego Columbus were buried under the crypt of this Cathedral. Later, Columbus’ remains were moved to a lighthouse built in his memory. When visiting Seville, I had heard that Columbus’ remains were finally brought to Seville and cremated in the Seville Cathedral. The cathedral is quite impressive and has many chapels inside with some beautiful stained glass and wonderful Gothic arches. Francis Drake – pirate to the Spanish and a knighted hero to the English – used the Cathedral as his quarters and ransacked the place during this campaign.





Oldest European painting in the country, which was rescued miraculously from a ship wreck


There was a small group of tourists in the Cathedral and once they left, it was quiet empty and peaceful and I spent some time sitting there and looking up at the majestic arches and the altar. As I looked the play of light, bright light coming from the outside and becoming dimmer and dimmer as it neared the altar, I was reminded of an encounter I had with a passionate Christian many years ago. He wanted to me become a Christian and come into the “light”. I was amused by the thought that light was actually receding as it reached the altar…..


In the Colonial Zone, the country has a memorial for its honoured citizens called the National Pantheon of the Dominical Republic. This was on old church and they still have service there once a month. A guide pointed out some graves but I could not remember any names as I was not very familiar with the history of the country. What impressed me was that he mentioned some of the people were honoured because they had worked hard to bring education to the masses. If a country respects such people, it surely is in the right path. As can be expected, the Pantheon also has an eternal flame in the memory of the Unknown Soldier. This seems to be a universal practice across the world.





Fort Ozama stands on the banks of the river Ozama and is the oldest fort in the country. My guide insisted there is a lot of history there but I do not know whether it was his difficulty to explain it in English or my inability to understand what he said, it didn’t really sound too deep. The fort was used as prison during the times of Rafael Trujillo, the cruel dictator who ruled Dominican Republic from 1930 and 1961. Incidentally, Trujillo had renamed Santo Domingo as Ciudad Trujillo, but after his death, the name Santo Domingo made a comeback. Trujillo is rumoured to have been responsible the death of about 50,000 people. He made several modifications to the fort as well. The fort itself is reasonably well preserved and looked quite a functional one with its various turrets and rooms. There is an old naval school building also on the grounds but that was closed.





With the fort, my tour of the Colonial Zone was finished. I spent some time wandering around the streets. There were many nicely painted houses and the whole ambience reminded me of the Jew Town in Mattancherry, Kochi.



Many of the electric poles had street art painted on them and that I thought that was a very nice idea!

Street Art_SD

I had been to Mexico City in May but had forgotten to write about an interesting opportunity I had, to look up their history. Recently, I came across my notes and so, this is a delayed post from the visit on 22nd May, 2014.

I had heard about some pyramids near Mexico City, in a place called Teotihuacan and that had intrigued me quite a lot, especially as I had thought that pyramids were to be found only in Egypt. There are operators that run daily tours to Teotihuacan and the site itself is only an hour’s drive from the city. The tour also included a couple more sites en route and the first stop was at the “Plaza of the Three Cultures” (Plaza de las Tres Culturas).

This plaza is in the city itself and has three cultures – Aztec, Spanish and the modern Mexican – represented there by way of buildings. You can see the ruins of an Aztec, a Franciscan church built in the early seventeenth century and a modern apartment complex – the last being an eye sore.




The next stop was the Basilica of our Lady of Guadalupe or the Virgin of Guadalupe. This Basilica is a very important shrine for Catholics and has an interesting story behind it. On December 9, 1531 a peasant of Aztec origin, by name of Juan Diego, was walking on a hill by name of Tepeyac. He saw a maiden there, who spoke to him in this native Aztec language and asked for a church to be built for her at that site. From the conversation, Jan Diego understood that this was Virgin Mary herself and rushed to the Archbishop of Mexico City to convey the news. The Archbishop was sceptical and asked Juan Diego to return to the spot and collect evidence from the lady about her identity. Juan Diego went back to Tepeyac Hill and conveyed this to the lady; she then asked him to gather some flowers from the top of the hill. Normally, the hill would have been barren in December but to his surprise, Juan Diego found some roses there and more surprising was that those roses were not the variety that grew in Mexico but those that were found in Castile in Spain. The lady arranged the flowers in Juan Diego’s cloak and he took it back to the Archbishop and when he opened the cloak there, the roses fell out and on the fabric, the image of the Virgin could be seen. This was proof enough for the Archbishop and a church was built, in due course of time. The original cloak is still preserved in the Basilica. It was interesting to me that such stories seem to be common across the world. Many are the stories I have heard in India about how one god or the other appeared to some king or a pious individual and asked for a temple to be built. In any case, this is one of the most sacred sites for Catholics in Mexico and Juan Diego was canonized in 2002.



Mexico City was essentially a large lake that the Spanish dried out and they constructed buildings on the lake bed. However, they did not fully appreciate the issue of building on soil which is not very firm and so many of the buildings from the Spanish colonial era are sinking. The original Basilica was also sinking and a new and far more modern version was built between 1974 and 1976 with stronger foundations. This building is quite interesting and does not resemble a typical church and looks from the outside, like a museum. All the glass work on the building has been made by Indians and the light inside is very strange and the overall feel was very, very different from the other churches I have been to.




Before we reached the pyramids themselves, there was the customary stop at some tourist traps. There, we were shown how important the Maguey variety of cactus was, to the indigenous people. A short grows from the centre of the cactus and when this is cut out, a bowl shaped area of formed and every day, each cactus produces around 4 litres of juice for six months in a year. This juice, when fermented, becomes an alcoholic drink. I tasted it and found it quite like toddy, which we get from coconut trees. At the tips of the leaves of the cactus, you can find a very sharp and sturdy black coloured needle and the needled has a kind of string attached to it and can be used to sew clothes together. From the inside of the leaf, a very thin layer can be removed and it can be used like paper or papyrus. Overall, the Maguey cactus is a very useful tree and almost all of it can be used, much like the coconut tree.




Teotihuacan city is estimated to have been built in BC 100 and it lasted till AD 550, when it was destroyed and burnt down. The major monuments were under constant construction till AD 250. It pre-dated the Aztecs and in its prime, was supposedly the most important city in pre-Colombian Americas. The major sights today are the Pyramid of the Sun, Pyramid of the Moon, Avenue of the Dead, The Citadel and the Temple of the Plumed Serpent. These pyramids are built on a geological fault line running from San Francisco to Guatemala and since the architects wanted the buildings to last for eternity (as they were built for the gods) the pyramid structure was adopted and it is earthquake tolerant.

The Pyramid of the Sun is the largest structure in Teotihuacan and faces west. Unlike the Egyptian pyramids, the pyramids in Mexico are temples, not tombs. The Pyramid of the Sun represents the god of life and has areas that resemble eyes, nose etc. of a face. It was not clear what the pyramid was originally called this name was given by the Aztecs, that came later.


This Pyramid is about 246 feet high and is the third tallest pyramid in the world but is only half as tall as the Great Pyramid in Giza. The steps were a bit steep and each step was quite big and so the climb was a fairly rigorous affair. At the top, there was an altar but I could not find any trace now. One can see a major portion of the site from the top with views of the buildings that existed there, pyramid of the Moon etc.




The Pyramid of the Moon is dedicated to the Great Goddess of Teotihuacan but I could not find much more details about it from the guide. It was interesting to me that there was a concept of a Goddess but all I could find was some information from the internet, which I am not reproducing here. The Pyramid of the Moon was quite beautiful and the walk leading up to this pyramid is called the Avenue of the Dead. I couldn’t get any information as to why it is called the Avenue of the Dead – it was lined with small pyramids with square platforms at the top on either side.





On one building on the Avenue of the Dead, is a mural depicting a Puma with large claws. Supposedly, this was part of what was called The puma Complex, but further details were not available.


Next stop was the Citadel, which was the nerve centre of life in Teotihuacan. In those days, there was no currency and trade was completely based on barter system. This raised the issue of how to fix the relative value of commodities being bought and sold and this lead to many quarrels. To settle these quarrels, judges were appointed, who were specialised in the important commodities. These judges could not marry and thus were expected to be corruption free. They sat atop some platforms on pyramid like structures and these structures had no roofs to enable easy connectivity for the judges with the gods.



Just after the Citadel, is the most beautiful structure in Teotihuacan – the Temple of the Plumed Serpent. This is partly ruined but you can still make out some very beautiful sculptures on the side of the pyramid. Some of these looked quite exquisite and I spent a long time looking at those figures.






These pyramids are quite majestic and beautiful and these are perhaps the first temples I have seen which have no concept of entering into the structure itself. You just walked on the structure and the altar was on top of it. It seems the ancient people believed that time had a cycle of 52 years and the gods needed to remain strong after each 52-year cycle for the universe to remain intact. Hence, each ruler build a structure over an existing pyramid after a 52-year cycle, thus completely cutting off any access to the earlier structure and this is how pyramids grew in size as well. The Pyramid of the Moon had at least six such renovations.

Somehow I felt that I could not find out enough information about Teotihuacan and that there is much more to be learnt here. So, may be, I will be back one day!



During a recent trip to Mexico City in May 2014, I found myself with a couple of days to spare and I set off to the Coyoacan neighbourhood of Mexico City to have a look at the Frida Kahlo Museum, otherwise known as the Blue House. Another interesting spot in the area is the house where Leon Trotsky spent his last days and I planned to visit that as well. I had read a bit about Frida Kahlo and was curious to see her house and works and so preferred that over other attractions like the National Gallery.

The house looked plain enough from outside though it was apparent how it got its name.



Thankfully, they allowed photography inside the house and had an audio guide as well. The moment I set inside, I felt that I am at a place with a different feel to it. The colours were bright and it felt as if you yourself were in the frame of a painting! I do not know whether it was because of the reading I had done on Frida, which made me understand her as a very intense person, I could feel a strange energy in the house and even in the grounds.





This was where she was born, lived most of her life and died. She had a bad accident when she was quite young and that affected her mobility in her later life and she was often sick as well. She married the famous artist Diego Rivera and they had a tempestuous relationship. Each had various affairs on the side and separated once but remarried after a short while. The house had actually been bought by Diego Rivera to help Frida’s father tide over some financial difficulties but the house is quintessentially Frida. After she died,  a grief stricken Diego decided to make it a museum for her and even though he himself was a famous and important artist in his own right, the place has been maintained as a memorial to Frida Kahlo.

As one set foot inside the house, the first sight is a beautiful fireplace designed by Diego Rivera. Both Frida and Diego had a deep interest in the folk art of Mexico and the design of the fireplace brings out this aspect. The flooring was of a bright yellow, in keeping with the rather bright blue outside. I was wondering how it would be to be surrounded by such bright colours all the time, especially when I contrasted with the pastel shades that I am used to at home.


Various finished and semi-finished paintings were displayed in the room. Frida was always deeply unhappy about her inability to be a mother and that often affected her works. For instance, the wife of the Mexican President commissioned her to do a painting and she did a still life. However, it was done on a specially made frame the shape of a womb and the fruits were also representative of female genitalia. The President’s wife reportedly refused to pay for the painting!



There is another unfinished work titled “Frida and the Cesarean”, which also depicts the deep frustration she had on this matter.


Frida’s father was a photographer and was a big influence in her life. There is a painting in the front room itself.



Both Frida and Diego were taken up by Marxism and invited Trotsky to Mexico. Trotsky and his wife stayed with them at the Blue House initially and the later on shifted to another house nearby. The photograph below shows Trotsky with Frida and Diego.



After Trotsky’s death, Frida and Dieg became Stalin’s followers. There were a couple of works that showed her involvement with Marxism.

DSC_0405                                                                                     “Marxism will bring health to the sick”



DSC_0418                                                                                                                    “Stalin and Frida”

Frida was emotionally quite high strung and was physically unwell as well, many a time. Yet she had a strong will and fought to overcome her adversities. Many of the luminaries of the time were frequent guests of Frida and Diego and they had affairs with some of them as well. Diego’s affairs were all very public whereas Frida was more discreet. I read that Frida was always tormented by Diego’s unfaithful nature but I was a bit amused by that as by all accounts, she herself had enough affairs on the side (supposedly she even had one with Trotsky) as well!

There were many finished and unfinished paintings and sketches all around the house and even the unfinished works held some sort of attraction for me. Overall, I felt strangely drawn to some energy that this woman had left in the house and her works even after sixty years of her death.

DSC_0470                                                                                                                   “Long Live Life”


DSC_0475                                                                                                              “Colour Palette”


DSC_0458                                                                                                          “Pedregal Landscape”


DSC_0468                                                                                                                  “The Brick Kilns”


DSC_0424                                                                                       “Portrait of Arija Muray” (Unfinished)


DSC_0455                                                                                                                           “Ruin”


DSC_0449                                                                                                                              “Head”

The house is full of bright colours and beautiful objects. There were many traditional utensils and in the kitchen, they used traditional methods for cooking.





Frida’s studio is on the first floor and I heard in the audio guide that Frida was so unwell many a day that she had to be carried up. The studio itself is brightly lit with sunlight streaming in from all sides.




Her bedroom is filled with many objects and there is a small ante-chamber that had a day-bed.




Inside the bed room is an urn designed in the traditional Mexican tribal style. This contains the ashes of Frida and to me it somehow was a bit strange and unsettling to think that her ashes were there inside that urn.


There were a few of Diego Rivera’s works also in the museum.

DSC_0527                                                                                                                “The Porter”

DSC_0510                                                                                                                  “Landscape”

DSC_0514                                                                                             “Landscape with Locomotive”

DSC_0519                                                                                                      “The Seated Woman”

DSC_0523                                                                                                           “The Alarm Clock”

I stepped out once again in to the garden for a final look around and spent a few minutes contemplating on the life of this very gifted artist and wondered whether she would have been happy in her life. Intense people are often quite unhappy when they are down and reasonably high when they are feeling happy. In the house is a photograph of Frida Kahlo and I felt it captures her intensity very well.



Perhaps, these extremes are reflected in her work and in the house itself!




With these thoughts, I bid adieu to the Blue House and walked to the Trotsky Museum, which is quite close to the Frida Kahlo Museum.

If Frida’s house is painted blue, Trotsky’s is all painted red from the outside.


There is a small but nice garden in the house and the house itself is quite small and very modest. One would never expect that a man like Leon Trotsky, who was a key actor in an event that changed the course of the world – the Russian Revolution – would have lived here.




In 1929, Trotsky had a fall-out with Stalin and had to leave Russia. Stalin, was of course, in a drive to remove that could be a potential threat to him and his hold on power. Trotsky and his wife lived in different parts of Europe till 1937 and they went to Mexico on the invitation of Frida Kahlo and Diego Rivera. They even stayed with them will 1939 and then moved to another house in 1939. In May 1940, an attempt was made on Trotsky’s life, but he survived. The bullet holes from that assassination attempt can be seen on the walls even today. However, a second and successful attempt was made on August 20, 1940 and Trotsky was killed while he sat working on his desk.

DSC_0604                                                                                          Photo of Trotsky reading a book

DSC_0639                                                                                                               Dining room

DSC_0625                                                                                                                           Kitchen

DSC_0654                                                                       Trotsky was working on this desk when he was killed

DSC_0638                                                                                                                    Office

DSC_0665                                                                             Bullet marks from the first assassination attempt

DSC_0667                                                                                                            Trotsky’s clothes

DSC_0681                                            Trotsky and his wife (who passed away in 1982) are buried in the grounds of the house.


In these very humble surroundings, lived a man who dedicated his life to the uplift of the working classes. He was the founder of the Red Guard and I thought about what I had read in John Reed’s “Ten days that shook the world”. In those days when the revolution was actually carried out, two men stood out as the key leaders who made a difference. Without them, the Bolshevik Revolution would definitely have failed. They were Lenin and Trotsky. It was evident that Trotsky had the same impact as Lenin and it must have been true because the book was written in 1919, well before any propaganda regime took over. Stalin is mentioned only twice in the book (and one is just in a list of members in some committee) whereas Trotsky is a presence throughout. Sure enough, Stalin banned the book and any mention of Trotsky soon became anathema in Soviet Russia.

There is a large painting just at the entrance of the museum and it depicts a meeting as part of the VIII Congress of the Soviets of Russia that was held in December, 1920. Lenin and Stalin are both present whereas Trotsky is absent, quite curious as Trotsky would definitely have been present, given his stature in the party. However, a closer look shows an empty chair with a green cap on it – just the one that Trotsky used to wear!


To me, this painting captured all that went wrong with a noble Revolution. Ultimately, man is greedy and power corrupts; even Stalin, who was a participant in the Revolution himself, was not above it. How right was George Orwell when he wrote in “Animal Farm” – “All animals are equal; bust some animals are more equal than others”.

1 May 2014

I had been intending to visit Lepakshi for a few months but had not been able to make the trip. So, on the spur of the moment, I decided to make a visit even though it is not very advisable to visit this location in summer as the mercury will climb over 40 degrees and since it is a stone temple, it can become a fire-walking exercise. I left early in the morning to beat the heat and as it is only 125 kilometres from Bangalore and along very good roads, I got there in about an hour and a half.

My interest to visit the place had been fired up because of some of the stories I had heard. The village itself is very small and the temple was not crowded at all when I arrived. The temple itself is on a small hill and the entry does not look very imposing or grand, unlike some others that take your breath away at the first sight itself.


This temple falls under the purview of the Archaeological Survey of India and as usual, they have limited their information providing to one small board at the entrance. It is a matter of constant frustration for me that ASI has never bothered to provide more information to help the tourists. This temple was constructed in AD 1538 and is a jewel cast in stone. Yet, ASI feels it only merits a badly written board. In contrast, even a very small monument is so well projected by westerners. They provide so much information about the place, audio guides etc. Here, we are left at the mercy of the local guides and their colourful and fertile imagination to learn anything about such wonderful monuments.

I think I was a bit early as I could not locate any guide and I wandered around the temple taking random pictures. I could not locate any of the marvels that I had read about, in the internet. The temple itself is gorgeous with wonderful stone carvings, but for me, the stories make a place come alive. Fortunately, just as I was about to lose hope, I was able to get a guide. As is the case with these local guides, they are rely more on their beliefs, myths and what they think will impress the visitor, rather than facts.

The main deity here is Veerabhadra, who was created by Shiva from locks of his hair, in anger, to slay the king Daksha – his father-in-law. Hence Veerabhadra is considered to be a god in an angry mood so, unlike in many temples, you cannot see the idol from the entry point. The door is set a bit to one side so that the angry gaze of Veerabhadra may not fall at the entrance. The temple was finished in AD 1538 and the construction was overseen by Virupanna, a Treasurer of the King Achutharaya of the Vijayanagar empire and the architect concerned was a person by name of Jakkanna Hampanna. There are three enclosures (prakaras) to the temple – the first has lodging quarters for guests and in the second is the dance hall and the innermost one houses the sanctum sanctorum. The guide told me that there were seven prakaras originally but there is no evidence of that currently.


As soon as I entered, what I noticed were the long corridors that stretched on the four sides of the temple. This was where people who visited the temple stayed. Today, these long empty corridors present a nice sight with wonderfully carved stone pillars in neat rows.


The dance hall is a very beautiful structure with 70 stone pillars that have wonderful carvings and some very nice murals on the ceiling.

Natya Mantapa

The actual space for dancing appeared to be a very small space set between 10-12 pillars. On one of the pillars, the apsara, Rambha is dancing and on the other pillars, various gods and other celestial beings are carved out as musicians and on side, slightly hidden, Bhringi the three legged dance teacher of the apsaras is shown. The carvings are all very nice and beautifully done.



Drum Player


There is also a carving depicting the “Bhiskhatana” – Shiva’s begging to atone for having cut off Brahma’s fifth head. The guide had got this story totally wrong and mixed it up with the Daksha-Sati story and left me confused. I had heard the Dakhsa story from my grand-mother who was very knowledgeable in all the epics, when I was very young. Fortunately, a quick search on the internet cleared up the matter for me.


All the pillars in the natya mantapa have beautiful carvings and the roof in the central space has a beautiful flower with 100 petals. Of the 70 pillars, one pillar does not rest on the ground and is a “hanging pillar”. Supposedly, a British engineer tried to find the secret of the hanging pillar and damaged it a bit in the process with the result that one corner touches the ground now. Fantastic structural engineering from the days gone by!

Hanging Pillar_1

Hanging Pillar_2

The roof has many beautiful murals and they look good even today. There were pictures of Shiva, Parvati and also Virupanna (the figure on the right in the first mural below) and various other stories from the epics. Overall, it is a very ornate and rich hall with beautiful sights everywhere.




The main sanctum sanctorum or garbhagriha has many other deities in addition to the idol of Veerabhadra. The guide was insistent that some of these were commissioned by Sri Rama himself in Threthayuga, which would mean that those idols predate human civilization as we know it! The air inside was very smelly and when I asked, the guide said it was because there was no air circulation inside and hence the smell. To me, it looked like more of a matter of cleanliness as it smelled of animal waste and I did see a couple of cockroaches crawling over one or two idols. There is a nice mural of Veerabhadra here but since no photography was allowed inside this place, I could not capture any images.

Outside and behind the sanctum sanctorum is a huge statue of a seven headed snake protecting a sivalinga. The serpent faces the room that was used as a kitchen by the mother of the sculptor. The story goes that one day when the sculptor came for lunch, it was not ready as his mother had been engaged in some poojas, as it was an auspicious day. The mother asked her son to wait while she prepared food. The sculptor did not want to sit idle and this statue was what he made while he waited for lunch – must have been some superman sculptor to finish such a huge statue in such a short time. In any case, his mother came out, saw the statue and was very impressed by the beauty of it. However, her “evil eye” caused the statue to have two vertical cracks on the coils of the snake and the sculptor was quite saddened by it saying no one would ever notice his work. However, she advised him to put a sivalinga in between the coils of the snake and said people would then pray to it and supposedly that is the story behind this beautiful work. In any case, it is a very impressive statue and is one of the most commonly reproduced images of Lepakshi.



Right behind the snake is a huge idol of Ganesha, which is slightly pinkish in colour. When I asked the guide whether this was made of some different stone, he said that people had been applying vermillion and oil on the idol and hence the colour change. This practice has been stopped by ASI now.


Just beyond the Ganesh is the site of the unfinished kalyana mantapa (marriage hall). There are many pillars strewn about the place with fantastic carvings.

Kalyana Mantapa_2

Kalyana Mantapa_5

The theme of the kalyana mantapa is the wedding of Shiva and Parvati and the images of all the main guests that attended have been carved on pillars that form a rough square, in the centre. The guests depicted are (left to right in image below): Viswamitra, Eeswara (Shiva), Shiva in wedding attire, Maina Devi (Parvathi’s mother), Parvatharaj (Parvathi’s father), Devendra, Agni, Yaman, Vasishta, Varun, Bruhaspathi, Dattatreya, Vishnu, Vayu and Kubera. The guide also told me that some of these people did not particularly enjoy the company of some others in attendance  (for instance, Viswamithra and Vasishta) and hence, has been placed opposite to each other in the square. It was curious that the sculptor did not feel a need to bring in Parvathi into this mix.


Now comes the most interesting part of the Lepakshi legend. It seems that some vested interests convinced the then king that Virupanna was squandering the resources of the royal treasury and the king, angered by this, ordered for him to be blinded. Virupanna was standing at the site of the kalyana mantapa when he heard this news and he himself plucked out his eyeballs and threw them on to a nearby wall. On that wall, there are marks with small holes and long stains, to be seen. Supposedly, the eyeballs pierced the stone and the stains were caused by blood. The guide was adamant that recent tests have shown that it is indeed blood and all efforts by the British to wash it away with acid had proven futile.

Blood Stains

On one side of the kalyana mantapa is the “latha mantapa” which has about 36 pillars and each of these pillars have a unique design on each face of the pillar, thus making up 144 unique designs. Supposedly, Lepakshi is known for sarees and it is these designs that have inspired those saree designs.

Inside Temple_9

Folklore in these parts say that Lepakshi actually is “le pakshi”, which means “rise bird” in Telugu. Supposedly, this is where Jataayu (the legendary bird) fought Raavana as he was kidnapping Sita. Ultimately, Jataayu lost the battle and fell here. When Rama was searching for Sita, he found Jataayu, who told him the whole story and which direction Raavana had taken. Rama is then supposed to have asked Jataayu to rise and hence the name “le pakshi” for the place.

Right beside the kalyana mantapa, on the rock, is a huge footprint. Supposedly, this is Sita’s footprint. Going by the size of the footprint, she must have been at least 25 feet tall as this one was more than four times bigger than my size 10 foot. The foot print always has some water in it and according to the guide, no one knows where it is seeping from and tis aspectt must add to the mystique and attraction of the whole story. I saw several women touching the water to their foreheads and eyes, in prayer.


Another interesting sight is a lunch plate (thali) shaped sculpture carved into the rock. The guide said this was the lunch plate of the builder and when I pointed out the plate was at least four times larger than a normal plate, his replied that the builder was a man who was 16-18 feet tall as no ordinary person could have built such a temple! His argument being that if we need huge machines like mechanized excavators to demolish big buildings, how could they have built such a big temple and that too on rock, if they were not superhuman size, as they had no machines. It was an amusing thought and I overheard another guide tell his group the same story but he had cut the builder down to 9 feet!

Inside Temple_11

The sun was starting to get hot by this time and the fire-walk experience was looking like a real possibility. Even though I had spent about three hours in the temple complex, I was not in any hurry to leave. The place is so beautiful with so many rich carvings that it is such a visual treat!

Inside Temple_1

Inside Temple_4

Inside Temple_6

Inside Temple_5

Inside Temple_13


Within a kilometer or so of the temple is a huge bull (Nandi) carved out of a monolithic rock. It is 15 feet tall and 27 feet in length and beautifully carved. It faces in the direction of the seven headed snake with the sivalinga. I am not sure when it was made; to me, it looked a bit more recent than the temple.


That was my final stop at Lepakshi and I started my drive back, satisfied and happy about a day well spent.