Today we talk about the synthesis of ordinary sensations which most of us are able to feel , and integrating the essence we draw from these sensory experiences with our inner selves.
Ideally, this would be a natural process which takes place within a person and not by means of a self-conscious effort to derive an end-result.
As an artist, to my mind the term Samsleshana denotes a cyclical and organic process.
Through the process of absorption and internalization, ordinary experience undergoes transformation. Often,
effective creative expression is the trans-creation of the essence derived from such internal processing.
Extraordinary forms of tangible and intangible art are born out of this synthesis.
I would consider this as somewhat akin to the process called Photosynthesis in plant life.
Just as Chlorophyll is a necessary ingredient for sustenance and survival of most plant species, self-renewal through experiential synthesis is vital to growth of the creative aspect in human nature. I would even say that such synthesis is conducive to the growth of every human mind.
A pertinent question arises here.
If, like plants we were naturally enabled to absorb and transform the effects of ordinary sensory experiences, and if we were so readily attuned to transform our lives through synthesis, where is the need to draw special attention to the importance of the five senses through efforts like the current series of programs being presented by Naimaisam ?
In a world where we are increasingly forgetting to pause and smell the flowers, we are also losing out on quality of life. We wanted to address this concern.
Almost all human beings are fortunate to be blessed with the abilities to hear, see, touch, taste and smell. We are naturally equipped with sensory organs which readily respond to all experiences which we pass through.
But, are we receiving the essence of these experiences?
As an artist, I would like to share some observations about my own creative process. I must also say that I do not consider myself as a perfectly self-realized artist. I doubt if I ever will know the extent or scope of my own creative potential.
But I am receptive to new experiences and always ready to learn from them.
During the process of living, I have been gradually realizing that if I listen rather than just hear sound, see rather than merely watch,
inhale rather than just smell , feel a texture rather than just touch , taste food rather than just eat , these sensory experiences do heighten my awareness. This heightening of the senses has contributed to further honing of my artistic sensibilities. By fostering this process ,
I notice that I am drawing more out of the process of living.
Therefore if we allow ourselves to receive normal sensory experiences and allow them to permeate our beings , rather than merely transit through them as a part of the business of living , we would open the gateway to our own transformational process.
In the theory of traditional Indian aesthetic , the essence of these sensory experiences is referred to as Rasa.
The evocation of deep response to an artistic event or creation, is called Rasothpatthi . The transformation of the state of mind through felt experience of the creator as well as the receiver is called Rasanubhava.
I believe therefore that, by opening ourselves to truly receive and process the essence of the five sensory experiences, we enrich our own lives.
Our experiences melt into the single crucible of the Self. The resultant alchemy that develops transforms the way we perceive and understand even ordinary activities.
It helps us to better appreciate art, craft, music, dance, literature , architecture and all other forms of creative expression.
To my mind, art and craft are two sides of the same coin.
What is the dividing line between scuplture, painting, handicraft and handloom ?
The painter, sculptor, weaver, wood-carver, metal-caster all select a subject, envisage a form, choose a suitable medium and create their own unique combination of colours and designs.
The interweaving of different fibres and combination of contrasting textures by a handloom weaver is no less imaginative than the use of mixed media by a contemporary painter. Incorporation of new and non-conventional motifs into carpets and block-prints is no less a creative process than the much-acclaimed modern installation art.
Spontaneous introduction of coloured powders amongst basic colours of traditional material used even in the simple daily Muggu or Kolam designs drawn every day on the floor outside our homes, is no less than Collage art of Europe which has been welcomed and accepted today as a part of contemporary Indian art. The list does not end there.
Almost every craft carries within it a history and long-standing tradition. So do Indian performing arts. Both have been shaped and re-shaped over centuries and impacted by historical, social and political discourse.
Therefore, the traditions of handloom weaving and craft are as integral to the culture of our civilization as visual arts and performing arts.
This connect is reinforced by the Tatwams or philosophical songs of Doodekula Siddayya , a cotton-ginner of humble beginnings and disciple of Potuloori Veerabrahmam Garu. Dodeykula Siddayya gained renown as a great philosopher. His Tattwams readily came to my mind when we first discussed the specifics of today’s collaboration of Naimisam with Crafts Council of Telangana.
How would handloom weaving be possible without the process of ginning cotton? How would self-awareness develop without shredding into pieces false notions about oneself?
Siddayya likens the lower ego of the human being with the fluff of raw cotton.. Though seemingly fragile, this fluff acquires strength in the form of a finely woven raiment but only after thorough shredding,ginning and re-integration through the process of weaving…
This simple metaphor which hides more than it says is expressed beautifully by Doodeykula Siddaiah.…
We selected some songs of this cotton-ginner-cum-philosopher as being appropriate to today’s event.
Noted architect Samarendra is here to help us appreciate the various dimensions and interpretations of Space.
I request the audience to view this event as an exploration of the idea of Synthesis.
On the social media and through non-virtual events too, we are inundated with programs based on VISLESHANA (Analysis) which aim to help us understand a subject by taking apart pieces of a creative whole and explaining them individually. That is one approach.
“Samsleshana” (Synthesis) attempts the opposite. It is an effort to experience and integrate the whole, by drawing upon experiences of seemingly unrelated forms of creative expression and allowing them to seep into our consciousness.
Welcome to the second event of Naimisam. Let us awaken our senses by seeing Space and feeling the Textures of handloom and handicraft.