Art in Art films

•The parallel film moment in Karnataka took by storm by a series of enthusiastic directors like Dr.Pattabhirama Reddy (samskara) B.V.Karanth and Girsh Karnad (vamsha vruksha, chomanadhudi, Kadu, Taballi..) Nagabharana (Grahana) T.S.Ranga (savithri, gidh), Girish Kasaravalli (gathashradha) M.S Sathyu (bhara, kanneshwara rama) were all gave much importance to art direction here I want to make special mention of film Hamsageethe by veteran director G.V.Iyer

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Sri.G.V.Iyer had directed scores of kannada films since 50’s but fell into the line of parallel film fold. Hamsageethe means swans song. The kannada novel written by famous writer TaRaSu was made into famous Hindi film BasanthBahar staring Bharath Bhushan and Nimmi. Hamageethe on the other hand filmed 2 decades later but with difference.

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The Art direction by ShamaZaidhi depicting the period of Tipu and Palegar era, the dance stage on hillock . The procession carrying thambura in palanquin, and the climax were all a lesson.

Maya-bazaar

•In Telugu it is Maya Bazaar which is a ever-green film to be cherished as they thronged theaters repeatedly year after year. The film is Mytho-Fantacy needed the art direction which dictate the story as its bag round and challenged was ably met. The film had sets of places, gardens, river side, royal court, Rakshasa dwellings and wedding gallery which were amazing and alluring. Though there was special effects, a mention can be made about Maya Dharpana (mirror box) when opened showing the one whatever they wished.

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•The entry of Ghathotkcha highling by big drum (nagari) was novel. The dance drama and other songs had beautiful baground. The Maya bazaar meaning the magical mall where everything novel and mystic were depicted especially the eatables in kitchen which added a lot of frenzy among spectators. The mystic bed and carpet were a treat to eye. The difference dwaraka, dwaitha vana of Ghathotkcha and the Maya bazaar can made out by its varied form of depiction of art which stand out even today as how a fantasy subject which needs art direction as important as script and direction.

Art-Direction in premier films

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•South Indian movies in all main four languages started in late 40’s with mythological films essentially with an eye to attract viewers who were until were served company dramas. The dramas were musical and the dialogues were prominent. The backdrop in form of sceneries and costumes became trend straight away in films also. As subjects were mythological and later bit of Folk-Lore's the art depicted in form of sets like Royal court, places, jails, gardens, forest etc. It can b seen in films like Sathi Sulochana, Harishchandra, Krishnalela, etc in kannada, Prahalada, BalaNagamma etc in Telugu , Haridas, Avayar in Tamil.

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Coming back to kannada films the studios started at Mysore and later in Madras and Pune were equipped for these pictures where they catered to Mythology subjects. A little later Jala Dhurga based on western story had very novel art direction though limited to sets and costumes. Later with samsara Navka which is a dramatic version gave way for social subjects the art was essentially either simple replication of Mansions huts roads gardens were modeled with success.

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The 60’s marked its beginning with colossal film Sathya Harishchandra by vijaya productions here the canvas was very big as the story. The art direction had challenged needing imagination and creativity. The Indra Sabha, Harishchandras royal court brimming with luxury, Vishwamithras ashram, The lata Mantapa where in Mathangies danced were simple and eye filling. The forest and Kashi’s square, Veera bhahu’s graveyard were all designed and the publicity announcing about these sets were as attractive as its music and acting. No doubt Sathya Harishchandra is a huge hit drawing big crowds even today.

D-Sign: Bulletin/Writing board with a stationary platform ...

D-Sign: Bulletin/Writing board with a stationary platform ...: "my first product design :"

Bulletin/Writing board with a stationary platform made of car accessories

my first product design :

Voyage of student life with Sanskrit literature

It is well said that the first school is one’s home and first teacher is one’s mother. The home school where we learnt speech, action, and behavior was all imbibed by one’s heritage. We Indians are proud to have Vedic culture and Rishi culture. The Vedas, the upanishads are seeds of great culture which later flowered in the form of epics, tales and poetry.

Every Indian mother ever tells the stories of Rama, Krishna, Dhruva, Abhimanyu, etc. which the child remembers n grow up with some traits of them to be role model in future.

I am into same mould which influenced me so far to be a better student just because of those tales which I heard from my father without knowing they form the unique literature in Valmiki’s Ramayana and Vyasa’s Mahabaratha. Further the Panchathanthra tales, Bruhathkatha tales, vetalapanchavimshika, dwathrimshika puttalika, dashakumaracharitha etc are all developed qualities courage, intellect, imagination etc in me.

As I grew up I was fed with Neethishathakam, Subhashithas and wonderful grammar, Laghu sidhantha kowmudhi. The grammar the basis of any language, especially the Sanskrit grammar is so scientific with prabedas like dhathu, kriyapada, avyaya etc is now acclaimed as the best computer language.

When I was in teens Kalidasa’s shakunthalam, Bhasa’s Swapnavasavadatta, Bana’s Kadambari, etc visualized into romantic representations as if we were there in a time machine and when we came back to see the present time feeling why those time did not come to us.

Im am fascinated by natures beauty and its relationship with man described in Ruthusamhara, Meghadootha, the start in Kadambari, Rishyaashrama of Shakuntala which were even today if I close my eyes I can visualize as if it is painted and enlivened.

The Dramas of Greek were essentially tragic and the stage explained did not have the mystic atmosphere where as our Sanskrit Dramas authored by Bhasa, Kalidasa, Vishakadatta, Shudraka etc gave glimpses of culture, mystery, happiness, and entertainment with values in spectators. Though our dramatists borrowed heavily from Mahabaratha and Ramayana they modified the epic characters which were larger than life were brought to earthy men of equality with human flesh and blood characters. Bhasa redefined Kaileyi in Prathimanataka, and the climax of Aancharathra where in Kouravas shared the state with Pandavas. The invent of Abhignana in Shakunthala by Kalidasa Mruchakathika of Shudraka is a first of its kind, a social drama of a courtesan’s love life in the background of upraising political scene is really influenced me to the reliance of then Indian society. Mudrarakshasa of Vishakadatta influenced as Panchatantra itself in studying the politics and reinstatement of the state head by people, teachers and officials of state to rise to the occasion and suitable action. These are the best examples of improvement over the originals that have taken place. The Natyashasthra of Bharatha is a treatise in drama which astonishes me today.

I have noticed, though the Sanskrit classics are unique and definitely explore human endeavor to realize the best in life. The poets, writers always live in beautiful past, today’s youth live in dreams of the future. The poets of Sanskrit lore often exaggerate in beautifying the realms, the agony and impoverishes of common man is never depicted and the students of Sanskrit literature find it hard to believe those tales comparing them with European, American literatures. The writers since 16^th century did not impress as Bhasas and Kalidasas and I wish we have to take up to cultivate Sanskrit literature to bring the rishi samskruthi back.

The essence of once life will always be known by ones attitude and outlook by theosophy this will give the necessary turns in spiritual journey. The Upanishads which gives the insight into us the Bhagavathgita supposed to be the nectar form of Upanishads Which defines Dharma in different ages to be relevant so that I always look into when I am in doubts and dilemma and the great teacher in Gita never fails.

The Vyasas and Kalidasas will always walk with me in my voyage to enhance the life value. I see my teachers, parents, elders are no less than Bhavaboothi and bhana and I cherish memories of my childhood when I grow up into old-age these people will be still young and treat my works encouragingly and bless me to be a part great Indian literature and culture.