Travels by aquatint

Place: COLONIAL INDIA

Book:
DANIELLS' INDIA: Views from the eighteenth century
Introduction: B N Goswamy
Niyogi Books
Pages: 204 
Price: Rs 6,000

Professor Mushirul Hasan’s tenure at the National Archives ended recently with the release of particularly significant work – the publication of a book consisting reproductions of exquisite aquatints by the famous English uncle-nephew duo Thomas and William Daniell.  These are part of the collection at National Archives, and present an unparalleled view of late 18th century India- a time of fervent and major changes in directions for India’s polity and economy.

The Water-fall at Puppanassum in the Tinnevelly District  

Not that this is overtly visible in their tranquil depictions of India. When they came to India, after seeking and getting permission of the ‘Honourable Court of the Directors of the East India Company’, Thomas was 36, his nephew William barely16.  They set sail to India in 1785, reaching Calcutta next year. The British Raj had firmly established itself, with the East Indian Company armies winning victories over rulers in Bengal, the south, the Marathas and the Mughals and finally Tipu Sultan’s Mysore.  

The Writers’ Buildings, so called from being the residence of the junior
part of the Gentlemen in the service of the English East India Company.
 Immediately beyond this Edifice is the old Court House; the road leads
on to the Loll Bazar; the obelisk was erected by Governor Holwell,*
 in commemoration of the dreadful circumstance which
happened in the prison called the Blackhole in the year 1756.

Thomas Daniell, as was the custom, on reaching India, advertised in the Calcutta Chronicle that “he proposed to publish twelve views of Calcutta at twelve gold Mohurs the set... there was demand for this kind of work, for the British, potential subscribers, loved the city which had grown to be ‘not only the handsomest town in Asia but one of the finest in the world’”.  Considerable success later, the duo were drawn to go into the hinterlands – up the Ganga, to Murshidabad – the original home of Company Paintings, and then onwards to the leading cities of the time - Patna, Kanpur, Agra  and Delhi, returning to Calcutta only in 1791. Over eight years, they made three major journeys – after travelling up the Ganga, they went south, basing themselves in Madras and traversing the southern parts of peninsular India. The last journey took them to the west, covering Elephanta, Kanheri and Salsette among others.  

THE ENTRANCE TO THE MAUSOLEUMS IN SULTAUN KHUSERO’S GARDEN, NEAR ALAHABAD: This gate is the principal entrance to the garden in which Sultaun Khusero, his mother the Ranee, and his brother Sultaun Purveiz, are interred. Though a massy structure, it has by no means a heavy effect; and though it formerly may have appeared with more splendor, having been painted with different colours, that surface is fortunately now nearly washed off. The upper part towards the garden is much decayed.  

THE JUMMAH MUSJED, AT DELHI: The Jummah Musjed, or Friday’s Mosque,
 is the principal place of religious worship of the followers of the
Mahommedan doctrine in India. This edifice was built by the Emperor
Shah Jehan. The domes, and all the other parts which appear white,
are of Cashmerian marble, the rest of red stone procured in the
neighbourhood of Delhi. In regularity of design and correctness  of
execution this building is considered of the first class. It is approached
by three magnificent gates.

Their itinerary was exhaustive, and the geography covered extensive - from Garhwal in the north to Kanyakumari in the south, and often took them to places no one had recorded earlier. Their works are remarkably detailed, much in the style of Canaletto, and possibly in tune with William Galpin’s contemporary Picturesque art, which concentrated on landscapes. Indeed the landscapes that the Daniells have depicted in their works are of a romantic, mystical, exotic India, an image that persists to this day. Thomas Sutton quotes a glowing tribute to the artistic work of the Daniells, “The execution of these drawings is indeed masterly; there is every reason to confide in the fidelity of the representations; and the effect produced by this rich and splendid display of oriental scenery is truly striking. In looking at it, one may almost feel the warmth of an Indian sky, the water seems to be in actual motion and the animals, trees and plants are studies for the naturalist.”

TREMAL NAIG’S CHOULTRY, MADURA: The Choultry of rajah Tremal Naig is considered as one of the first works of its kind in the south of Hindoostan. Its general form is that of a parallelogram, three hundred and twelve feet in length, by one hundred and twenty-five feet in width; and consists of one large hall, the ceiling of which is supported by six ranges of columns, about twenty-five feet in height, many of them formed of single stones, and the whole composed of grey granite. This view contains half the centre ile. On the second pillar to the right hand is the effigy of the rajah with three of his wives, to whom, for his munificence, the Hindoos still continue to pay divine honours. Beyond the rajah, and on the pillars opposite to him are other statues representing his family. In the ceiling are the twelve signs of the zodiac; and a number of mythological figures carved in basso relievo, are interspersed through the building, which, together with a profusion of other decorations, are executed with an uncommon degree of skill and attention.

Their work is dominated by stunning details – of palaces, forts, cities, baolis, hills, valleys, masjids, pavilions, ghats, temples, waterfalls, even a pagoda. Ruins had a special attraction, as did the nature itself. There is the bounty and splendour of nature (see The Water-Fall at Puppanassum in the Tinnevelly District), meticulous reproductions of architectural details (Tremal Naig’s Choultry, Madura – okay, let me translate - a choultry or reception hall for pilgrims built by then ruler Tirumala Nayak in 1635 in Madurai) or the everyday flow of life (view of Chitpore Road, Calcutta). The scale is usually majestic, and people are usually almost props, used to highlight the scale of the surroundings.

View Near DARAMUNDI, in the Mountains of SERINAGUR

The story of printmaking has been a long one, and aquatints were not one of the simpler techniques. The uncle nephew duo must have endured a lot during their back breaking, even pioneering journeys. Goswamy mentions that the painters themselves form part of the works occasionally. We see them from the back painting outside the fort at Bijaigarh, hunched over, holding a long telescope, next to a snoozing dog, shading themselves from the sun, both with hats and small canopy held by two servants. They are seen discussing in a group outside the palace at Madurai. It is impossible to calculate just how much the knowledge of the country was improved by their work, recording an India that not many knew existed.

It is good to note that they did well financially from their exhausting efforts. When they undertook their second journey - to the south, they were accompanied by a more extensive retinue of “two palanquins each with bearers, two horses and grooms, a bullock cart and three pack-bullocks, seven bearers to carry provisions, two porters to carry their drawing tables, besides several personal servants”. London saw richer rewards once they returned and published Oriental Scenery.

Today the duo are more than just a footnote in the fascinating story of the subcontinent. You may have seen their work at Victoria Memorial in Kolkata, or enjoyed their detailed craftsmanship over a drink at Daniells’ Tavern, named after them, at Delhi’s Imperial hotel. This book brings it closer home, the book’s excellent reproductions – compare it to HD in print if you like, and production quality, makes it a great pleasure to pore over the finer details of each painting. Most of the captions are detailed, and while original captions and spellings are used, there is a glossary at the end that makes sense of most names. Well for most. Yes, Bahar is Bihar and Cannouge is Kannauj, but there is no clue to ‘Chevalpettore’, ‘Dhuah Koonde’, ‘Siccra Gulley on the Ganges’ and some others! Perhaps a note on the places or map of their itinerary would help research follow the trail to these exotic destinations. And perhaps a CD of the works!

Art for the public

Place: MUMBAI 

The facade with the cobweb, made up of thousands of stamp pads

A cobweb is not something you usually stop and look at. For this one however, you will. It’s a cobweb that covers the entire front façade of the Dr Bhau Daji Lad Museum in Mumbai, the city’s public museum. It is made of 30,000 rubber stamps strung together. Look closely and you discover names of Mumbai roads and places now known by their new names. Arthur Road, Churchgate, Flora Fountain, Victoria Terminus, Kings Circle, and many more. 

The work has been created for ZegnArt Public, a project started by Italian luxury fashion house Ermenegildo Zegna, and its first stop is India. There are three sections to ZegnArt - Public Art, Special Projects and Art in Global Stores. The first country chosen for Public Art section of the ZegnArt project was announced last year as India and the selected institution - the Dr Bhau Daji Lad Museum in Mumbai. The Public section will move next to Turkey and then Brazil. 

Anna Zegna, Tasneem Zakaria Mehta, Gildo Zegna and Reema Kallat
at the launch of the work at the museum

Two members of the Zegna family, CEO Gildo Zegna and Anna Zegna, Image Director, were on hand recently to launch the first of the various country initiatives that the brand will undertake in the near future. “This project is about growth in the sense of culture,” said Gildo Zegna, saying it started with the thought that where is no culture, there is no growth. “We see that our customer is more and more interested in culture related to design, art and fashion,” he said. “We want to improve relationships between our countries. What we have started here is important to us. We are aware that contemporary culture nourishes our business every day, whether directly or indirectly. ZegnArt is our active contribution to it, a mark of our presence within it, and our dialogue with it.” 

The work, Cobweb/Crossings, is by Reena Kallat, who was selected from a list of 20 long listed artists under the age of 50 who had a considerable body of work. Tasneem Zakaria Mehta, Director of the Dr Bhau Daji Lad Museum, formerly the Victoria and Albert Museum, elaborated on the painstaking process to select the artist by a panel of curators. Including Kallat, seven artists were shortlisted - A Balasubramaniam, Atul Bhalla, Gigi Scaria, Hema Upadhyay, Sakshi Gupta and Srinivasa Prasad. “We had to think about the artwork, how it would create the dialogue for the reasons of this artwork. The intention was to push the envelope, lead people to think about the art work, what was it and why,” she explained. 

Indophile Anna Zegna, passionate about the project, stressed on the space of public art. “In Italy, there is a lot of public art, while in India, the public space is very different,” she said. “Art is not a luxury. Our family has always recognized quality, value and innovation, and it works for our brand too. The quality of artists in India is very good, and it needs to be supported more,” she stressed. 

A close up of the cobweb, at once spectacular and thought provoking

There are 55 roads that Kallat identified for this project - Cobweb/Crossings, all roads whose colonial names were changed to make them sound indigenous. Kallat says she wanted to explore the idea of how names change a city’s memory and imagination and whether renaming changes how a space is seen. “A cobweb is evocative of time and just as a room is left vacant; stories that are not visited gather cobwebs that appear to hold the dust from the past,” Kallat said. The rubber stamp has been part of Kallat’s art in the part, who is intrigued by its shape as well as its associations – bureaucratic red tape bureaucratic and almost thoughtless approvals. The work incorporates these, ensuring the masses engage with art in public spaces.

Putting together the work was quite a challenge, and the project will remain for the next three months. Mehta said the project is also expected to travel. “We are also planning an interactivity around it – there is a sense that this will also be the start of a process of archiving the city,” she said. Given that it is next to the much visited city zoo, and in a central location, the massive work is expected to make at least some take a pause and think.