World Art Day 2023: Hyderabad redefines and reinstates its creative forms 

On World Art Day, we recall Hyderabad’s cultural yore while witnessing its existing reflection and homogeneity 
Photo Credits: Pexels
Photo Credits: Pexels

Hyderabad rethinks and retells its cultural jargon – calligraphy which allures us to medieval times, paintings that smartly navigate the intersection of tradition and modernity. What we behold is an influx of cultural upsurge featuring a coalescence of radiant hues, cursive scripts, sculptures, theatre and dance – waiting to be explored and savoured through a discerning appreciation of the arts. We find out how the Pearl City’s subliminal, intangible and evolving artistic expressions are becoming diversified and integrative as we speak to performing artists and illustrators who epitomise and institute the same. 

Digital illustrations 


New media designer Mehdi Saajid chronicles the Deccani architecture and history in his art as a master storyteller, capturing the rich cultural heritage of the region through his vivid and intricate creations. He calls his technique ‘sacred geometry.’ Using a variety of media, including painting, sculpture, and digital art, he brings to life the magnificent buildings and monuments of the Deccan, from the imposing fortresses to the delicate mosques and mausoleums. His art is characterised by an amalgamation of traditional Indian art forms with cutting-edge technological inventions.

“Creating art that is innately Indian can be challenging, especially in light of the current scenario of rampant policing. However, I believe it is essential to stay true to my roots and use my art to showcase the beauty and diversity of Indian culture. It is also thought it is essential to use my art to spark conversations and bring attention to social issues. I articulate my emotions with physical and digital materials. My style is as diverse as my emotions and materials,” he tells us. 

Pen and ink 


“I like how the wooden pens are used. If you look at old manuscripts or calligraphies you can find how elegantly the strokes have been used no letter will be different from one another such perfection is required for a masterpiece, my art style is classic if I can say that because nothing much has changed in all these years,” says city-based calligrapher Mohammed Abdul Aleem. He was interested to learn Islamic calligraphy at the city’s ancient institute, Idara-Adabiyat-Urdu, which has been operating for more than 70 years. Specialising in the form, Abdul’s expression is a healthy blend of Arabic, Turkish, Iranian and Indian fonts. “Newspapers, literature, poetry, and Urdu books – all of these have been inspiring my art. Besides, I research more in this field through manuscripts,” he adds. 

Nritya tales


“I think all art is evolving like a river – old water flows out and then, new water flows in. But it always remains within its banks,” begins Yamini Reddy, Kuchipudi dancer and director of Natya Tarangini. The dance performance is the epoch of the Telugu dwellers maturing over the years in tandem with historical, political and geographic changes. “The dance form is constantly changing while remaining constant in its grammar, techniques and structure. The city is progressing, together with the people. And, so is Kuchipudi,” she adds.

Earlier, it used to have a rich history of performing Telugu and Sanskrit verses that have been passed down through the ages. However, with the advent of modern times, this traditional dance form has not only retained its roots but has also evolved to embrace Hindi and English verses in its renditions. The presentation of Kuchipudi is changing rapidly, and the way it is presented now is a true reflection of modern times. This transformation has allowed the dance form to reach a broader audience and globally popularise its beauty and elaborateness. Its ability to adapt and evolve while still retaining its traditional essence is a testimony to the resilience of Indian classical dance forms. “Also, Kuchipudi was executed by the Bhagavatalu consisting of male Brahmin troupes who performed around the 19th Century. Vedanta Lakshminarayana Shastri developed Kuchipudi into its currently popular solo format and taught it to women,” Yamani adds. 

Also read: Tao Art Gallery and Bougainvillea Art Gallery join hands to celebrate hand-embroidered visions of Brinda

Breaking language barriers 


From the very foundations, Hyderabad, as described by theatric Souravi Ray, has emoted a pluralism of cultures and dialects. Theatre is an art of storytelling, accompanied by movement. Belonging to Shudrka, an ensemble run by Swapan Mondal, Souravi tells us that the troupe’s craft does not stop impacting Hyderabad despite the presumed confinements of language. It perseveres to demonstrate a cultural fusion on stage.

“We recently had a well-received Bengali production, Ebar Dhormorajya, where we retold the story of Mahabharata from the perspectives of Kunti, Gandhari and the likes. Hyderabad has always had a cosmopolitan vibe where different cultures and languages from all around met and formed a beautiful amalgamation. When we are acting we try to do the same by breaking barriers with regard to language and form so that we can touch our audience and form a personal bond,” she adds.

Also read: Maya Vivek: On art of living, economic growth, environmental care and more

E-mail: chokita@newindianexpress.com
Twitter: @PaulChokita

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