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Yayati

Oil paintings from 'Yayati' by contemporary indian artist A. Ramachandran

Sandhya - Panel from Yayati

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Year: 
1986
Medium: 
Oil on canvas
Dimensions: 
20' x 8'

Sandhya is the last section of 'Yayati'. “Yayati is a powerful king of the Lunar clan and a winner of many wars. He is also an inveterate hedonist who enjoys the companionship of beautiful women including of his two wives Devayani and Sarmistha. He is cursed for his intemperance by Sukracharya, father of his incensed wife Devayani, and inflicted with premature old age. To escape his fate Yayati pleads with his five sons to lend him their youth in exchange for his kingdom. The youngest of them, Puru, finally accedes to his wishes and frees him from his curse. Yayati returns to his life of pleasure once again but even after aeons of indulgence, he finds his desire insatiable and eventually realizes that indulgence only feeds human desires. He then returns his son’s youth, takes back his decrepitude and leads a more satisfied and wiser life. Yayati is not one of the central characters of the Mahabharata but Ramachandran found his story deeply moving. Unlike the usual hero he is not miraculously powerful or invincible, or the usual brave man who undertakes impossible tasks against all odds. He is a hero who is flawed, is vulnerable and all too human. It is this aspect of Yayati that appeals to Ramachandran. Explaining this is an interview, he says: ‘He is a human being with normal human failings and foibles. He is self-centered, even selfish.’ And more importantly, ‘unlike the major characters of the Mahabharata, he is not bound by a traditional set of values…He recognizes the call of the body and spirit. He does not negate one for the other. This makes him a complete man.’ A man complete with desires, aspirations and failings, Yayati is the ordinary man as hero and his story, Ramachandran recognized, is the story of everyman expressed in an archetypal myth. Yayati is conceived as a temple to human vulnerability, a temple to man who does not aspire to be God, and to the sensuality he finds irresistible…”

Madhyahna

169.jpg
Year: 
1986
Medium: 
Oil on canvas
Dimensions: 
20' x 8'

Madhyahna is the central section of 'Yayati'. This large mural spans 60' x 8' and has a group of 13 bronze sculptures.

Ushas

168.jpg
Year: 
1986
Medium: 
Oil on canvas
Dimensions: 
20' x 8'

Yayati is a monumental installation of painting and sculpture conceived as a temple to the epic hero who probed the world of sensuality. The twelve panel painting of sixty feet length and eight feet breadth is spread over three sides, with a group of thirteen bronze figures in the centre. The figures are placed on an etched zinc base of four feet by four feet diameter. The bronzes are twelve inches in height, each mounted on a brass pedestal with four oil lamps. The painting has three sections – Ushas, Madhyanha, and Sandhya. The group of sculptures is titled Ratri (Text taken from ‘Art of the Muralist’ written by Rupika Chawla)

Conceptually derived from a story of the same name from the Indian epic Mahabharata, Ramachandran’s Yayati serves as a metaphor for human frailty and weaknesses. This mural-installation took more than four years to complete. It was executed during a dark period of the artist’s life when he experienced serious vision problems.

Rupika Chawla is a conservator of paintings and art critic who curated the Ramachandran retrospective at National Gallery of Modern Art and is the author of two extensive studies on the artist ('A Ramachandran: Art of the Muralist' and 'Icons of the Raw Earth'). She has been writing regularly on contemporary Indian art and between 2001 and 2004, wrote a column on it in the Indian Express newspaper. Her forthcoming book is titled 'Raja Ravi Varma: Life and Times in Colonial India', a detailed and authoritative study on Ravi Varma and his art (Mapin and Grantha Publication, 2008).

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