By Vimla Patil - Sunday Deccan Herald
Sunday, 12 March, 2006
Hori Khelat Nandalal Birajamein; Shyam Tose Hori Nahin Khelungi, Mori Angiya Bhigoi Deeni; Natkhat Sawariya, Rang Det Chunariya” – these and thousands of more similar ditties in the classical and folk music of India ring in the newly fragrant air when the first blossoms of spring begin to appear on trees and creepers in the gardens and forests across the country.
The coming of this procession of flowers is, in every Indian mind, likened to the coming of that inimitable God of love, Krishna, into the waiting hearts of all Indians, who display an unbeatable spirit of energy and flamboyance around this time! And thus, is the season of spring celebrated all over India. The Krishna and Holi theme not only pervades the music of India in every village, but also brings new life and deeper meaning to all spiritual thought and action.
The Holi theme also influences Indian classical and folk dance of all styles all over the country and has been responsible for the creation of some of the finest miniature paintings of several schools in North India and Tanjore paintings in South India. How did the theme of Holi become omnipresent in Indian life and art?
Many scholars believe that somewhere in the remote past, this celebration of the love of Radha and Krishna has a patina of Sufi thought. The Sufis came to India from the 11th century onwards and brought with them the refreshing philosophy that the devotee and God share the passionate relationship of two lovers.
Many of them believed in the beautiful concept of ‘raising the veil and seeing the luminescent face of the beloved’ and expressed this longing through their songs and dances. Sufi poetry and paintings naturally chose famous pair of lovers like Laila Majnu, Shirin Farhad and finally Radha and Krishna as their subjects.
The result was that the courts of nawabs and kings of all states in North India patronised artists, musicians and dancers who brought alive the Krishna-Radha romance theme in every art center.
Secondly, side by side with Sufism, the cult of Madhurabhakti grew in India during the middle ages. Many saints like Surdas, Chaintanya Mahaprabhu, Chandidas, Vidyapati, Meerabai and others composed love songs of Radha and Krishna and took the romance of the divine lovers to newer heights.
Holi thus became not only the festival of colours but also the celebration of love, passion and exuberance.
Monday, October 09, 2006
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Monday, October 09, 2006
Feasting on colours
By Vimla Patil - Sunday Deccan Herald
Sunday, 12 March, 2006
Hori Khelat Nandalal Birajamein; Shyam Tose Hori Nahin Khelungi, Mori Angiya Bhigoi Deeni; Natkhat Sawariya, Rang Det Chunariya” – these and thousands of more similar ditties in the classical and folk music of India ring in the newly fragrant air when the first blossoms of spring begin to appear on trees and creepers in the gardens and forests across the country.
The coming of this procession of flowers is, in every Indian mind, likened to the coming of that inimitable God of love, Krishna, into the waiting hearts of all Indians, who display an unbeatable spirit of energy and flamboyance around this time! And thus, is the season of spring celebrated all over India. The Krishna and Holi theme not only pervades the music of India in every village, but also brings new life and deeper meaning to all spiritual thought and action.
The Holi theme also influences Indian classical and folk dance of all styles all over the country and has been responsible for the creation of some of the finest miniature paintings of several schools in North India and Tanjore paintings in South India. How did the theme of Holi become omnipresent in Indian life and art?
Many scholars believe that somewhere in the remote past, this celebration of the love of Radha and Krishna has a patina of Sufi thought. The Sufis came to India from the 11th century onwards and brought with them the refreshing philosophy that the devotee and God share the passionate relationship of two lovers.
Many of them believed in the beautiful concept of ‘raising the veil and seeing the luminescent face of the beloved’ and expressed this longing through their songs and dances. Sufi poetry and paintings naturally chose famous pair of lovers like Laila Majnu, Shirin Farhad and finally Radha and Krishna as their subjects.
The result was that the courts of nawabs and kings of all states in North India patronised artists, musicians and dancers who brought alive the Krishna-Radha romance theme in every art center.
Secondly, side by side with Sufism, the cult of Madhurabhakti grew in India during the middle ages. Many saints like Surdas, Chaintanya Mahaprabhu, Chandidas, Vidyapati, Meerabai and others composed love songs of Radha and Krishna and took the romance of the divine lovers to newer heights.
Holi thus became not only the festival of colours but also the celebration of love, passion and exuberance.
Sunday, 12 March, 2006
Hori Khelat Nandalal Birajamein; Shyam Tose Hori Nahin Khelungi, Mori Angiya Bhigoi Deeni; Natkhat Sawariya, Rang Det Chunariya” – these and thousands of more similar ditties in the classical and folk music of India ring in the newly fragrant air when the first blossoms of spring begin to appear on trees and creepers in the gardens and forests across the country.
The coming of this procession of flowers is, in every Indian mind, likened to the coming of that inimitable God of love, Krishna, into the waiting hearts of all Indians, who display an unbeatable spirit of energy and flamboyance around this time! And thus, is the season of spring celebrated all over India. The Krishna and Holi theme not only pervades the music of India in every village, but also brings new life and deeper meaning to all spiritual thought and action.
The Holi theme also influences Indian classical and folk dance of all styles all over the country and has been responsible for the creation of some of the finest miniature paintings of several schools in North India and Tanjore paintings in South India. How did the theme of Holi become omnipresent in Indian life and art?
Many scholars believe that somewhere in the remote past, this celebration of the love of Radha and Krishna has a patina of Sufi thought. The Sufis came to India from the 11th century onwards and brought with them the refreshing philosophy that the devotee and God share the passionate relationship of two lovers.
Many of them believed in the beautiful concept of ‘raising the veil and seeing the luminescent face of the beloved’ and expressed this longing through their songs and dances. Sufi poetry and paintings naturally chose famous pair of lovers like Laila Majnu, Shirin Farhad and finally Radha and Krishna as their subjects.
The result was that the courts of nawabs and kings of all states in North India patronised artists, musicians and dancers who brought alive the Krishna-Radha romance theme in every art center.
Secondly, side by side with Sufism, the cult of Madhurabhakti grew in India during the middle ages. Many saints like Surdas, Chaintanya Mahaprabhu, Chandidas, Vidyapati, Meerabai and others composed love songs of Radha and Krishna and took the romance of the divine lovers to newer heights.
Holi thus became not only the festival of colours but also the celebration of love, passion and exuberance.
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