Welcome to Samvaad, where art meets conversation, and inspiration knows no bounds. Here we engage in insightful conversations with eminent personalities from the art fraternity. Through Samvaad, Abir Pothi aims to create a platform for thought-provoking discussions, providing readers with an exclusive glimpse into the creative processes, inspirations, and experiences of these creative individuals. From curating groundbreaking exhibitions to pushing the boundaries of artistic expression, our interviews shed light on the diverse perspectives and contributions of these art luminaries. Samvaad is your ticket to connect with the visionaries who breathe life into the art world, offering unique insights and behind-the-scenes glimpses into their fascinating journeys.
This is Part II of Samvaad between Nidheesh Tyagi from Abir and Sidharth. While still at school in his village Sidharth started painting signboards. Working as an apprentice with village mason Tara Mistry, he learned the art of creating murals and friezes. Later he went on to learn the Thangka painting technique from the Tibetan monks in Mcleodganj. He spent some time with artist Sobha Singh (painter) too at his studio in Andretta, Himachal Pradesh. After doing a five-year diploma in painting from the Government College of Arts, Chandigarh he went to Sweden for some time. He is now settled in New Delhi where he has his own studio. Sidharth has participated in more than 135 group shows in the UK, Sweden, the US, Singapore and Hong Kong besides India. An honorary degree of DLitt was conferred on Sidharth in 2012 by Punjabi University, Patiala.
Nidheesh: Let’s go back to your journey, what happened after you learned to do frescoes?
Sidharth: If I talk about my village when I was doing the frescoes, I really enjoyed working there. I barely went to school; I studied until 9th grade and did not complete my schooling. At that time I was able to paint in realism, my paintings looked like reality. For example, I drew some bulls, humans and Guru Nanak. Started making portraits and this helped me financially as well. I was in eighth standard and was earning a lot of money for my family. My mother was very happy, as she had new clothes after so long. She bought new shoes; there was enough food for everyone in our family. Otherwise, we just used to wear what we got from the Gurudwara. My father was a priest there. I became a famous painter in my area and village.
Someone told me that I cannot paint like Sobha Singh, and I decided to learn from Sobha Singh ji. Sobha Singh was in Kangra Valley at that time, I was accepted to learn as I had done all my work there. I could not stay there for long due to some negative reasons, which I cannot share. One day a lama came from McLeodganj monastery to another monastery where he met Sobha Singh, he was a friend. Since Lama himself was a painter, he appreciated Sobhaji’s work. He told that he has about 1500 years old paintings of Norbu. Lama ji invited Sobha ji to see all the works of ancient Buddhists. Sobha ji took me along with him. I made tea for him, put it in a thermos and sat on the back seat. Because of the winding roads in the mountains, he sat on the front seat, finally we reached McLeodganj.
As soon as we reached the monastery, I saw Buddha for the first time in my life. Saw him for the first time after Nanak. I used to visit Guru Nanak and Gobind Singh ji every day and listen to Gurbani every day in our Gurdwara. Saw Buddha’s shining golden face. Tears welled up in my eyes seeing such a great statue of Buddha. Seeing such a huge Buddha statue, I was stunned and thought that this is my place. I felt as if Buddha was asking me if I knew him. I stood there stunned like I’d never known him before. Just knew one thing that I do not know him. Buddha was staring at me and smiling with his half-open eyes.
I was filled with tears. He sat down with folded hands. I thought I was in that place and I never wanted to leave. I never went back with Sobha Singh ji. I was lost. I was sitting near a stream listening to its voice. I had only Buddha in my mind, I saw him sitting quietly, eyes closed. Everyone was looking for me, but no one was able to find me. At last, they left. When I went back to the Muth in the evening, Lama told me that Sobha ji was looking for me. I told him I wanted to stay there, study Norbu painting. The reason for this was that I saw a similarity in my frescoes and in my mother’s art. They were not cinematic or stark images, but they contained the essence of the narrative. That is what I thought. That is what I wanted to learn. I told him that this is what I wanted to learn from him. He kept laughing. However, how they chose me is a completely different story.
Nidheesh: What happened for the next few years?
Sidharth: At that point I remained with the guruji within the community. Utilized to wear the same dress and I got to be a Dorje. Dorje is a position. To begin with, is the Lama, after that Dorje, then Rimboche and at last the Padmasambhava. All these are the positions of their religious community. I got to be a Dorje and I learnt the profound reflection there. Learnt contemplation of Nad, reflection of Vrat, and reflection of Pratiksha. Learnt Nad, learnt Avalokan, learnt Hathyog, and learnt the way to go to the Shunye (Absolute Zero). Why do we Indians go towards the absolute zero? Why is it an important aspect of our nation? We learnt the sacrifice, of home and after that clothes, after that food and at last we give up our bodies and that’s how we go towards the absolute zero. This travel of mine with my master was completely colossal. With the utilisation of Nad Yog, Lok Yog, Hath Yog and Karm Yog, he made me figure out the reality, the extreme truth. I felt like I’ve got a head over my body. My head began looking at things, it began tuning in to excellent sounds, the head that can see the god, all without being judgemental.
Because it all happened to me amid my travel, and after that, I cleared out. My guruji told me that I ought to see this world as well, I can’t remain like a Lama as it were. I went to Sweden after that, he organized everything for me. As I went to a few nations within the West, I came over the art of glass blowing. I came back to our nation because I missed my mother. As I came back I found no one within the home. Had no mother and father, got only an elder brother at home. He never excepted and understood the Buddha. He was a proper Sikh within the Gurudwara that we had. I went back, not to Dharamsala, but to Chandigarh.
I met a respectable individual, Mr M.S. Randhawa there. He inquired me that in case I am the same individual who used to live with Sobha ji. I said yes. At that point, he inquired that I do the Thangka depictions, and I said yes. He said, I’ve acquired two of your Thangka works of art, your name is Harjinder Singh, right? He was exceptionally upbeat and said, you ought to too learn the advanced art. I said I am incapable to learn presently. He told me to join the art school. The principal was there as well, he was the commissioner of Chandigarh at that time. Mr Randhawa told the principal to give me admission. The principal inquired me about all the certificates and reports. I said I have got nothing. I haven’t indeed completed my high school. I do not have the certificate of the eighth standard as well. Mr Randhawa said, no issue. He insisted principal that, he will take these classes later. If he doesn’t do it, he shouldn’t get the diploma. If he does it, then it’s okay. He’s great at making art. Do you want him to be an artist or a certified professional? The principal said it’s okay as long as it’s fair for everyone. That year, anyone could apply for admission without certificates. Anyone can come, even if they have less education.
I got accepted into the school. Mr Randhawa covered all the expenses. I felt confused in the art school as they used to talk about a famous artist named Picasso. I said it was fine, he is good. I like how he shows emotions, but I don’t understand why his artwork looks unusual. My training was not the same as others. I practised by meditating. I learned how to be a regular person and how to tell stories. I never understood how they dressed. They talked about a kind of art called cubism in the past. After being in school for two years, in my third year I learned about African art. It hit me right away. People named the shapes and angles in art “Cubism”. I finally got it. They used those methods to tell their story. I thought it was easy. I was all set to do it. I took inspiration from African and folk art for my drawings at Chandigarh College of Arts. I made my Modern artwork with Tibetan design using pictures of buses, cars, and other new things. I drew pictures of stories from my village, and I used a style of art from Tibet. I created figures in the style of African folklore. I did my work using different styles like Bassoli and Kangra.
After some time, I found the artwork of Dali. I was very impressed by what he did. He placed things randomly in his creations. He made everything by using all sorts of things and destroyed it too. I believed that it was possible. I began making art that looks like the kind Dali creates. Pictures of a village were used to make these art pieces. I had buffalos, cows, people, mountains and farms with me. I made my farms the way Paul Klee would make them. A lot of artists were on top of me on both of my shoulders. You can picture it in your mind. I painted a picture of Dali while he was sitting on my shoulder. There are pictures of people painted on me, some on my chest, some on my legs, some on top of my head, and some near my eyes. I yelled and wanted everyone to go away. I was searching for the genuine Sidharth. Everyone went away and I was by myself. I felt lonely and did not know myself or what I looked like.
Kukku was the only one around. I was confused about my identity. At first, I thought I was like my mom. Later, I thought I was like my dad. I’m not exactly like Picasso. I am not like Paul Klee or Dali. I am someone else, not Souza or Hussain. During the five years that I was completing my diploma, everyone was constantly checking on me and my progress. These teachers used to influence my thinking, and I think this happens to every artist. This happens to some people throughout their entire life. They can never escape from it. I don’t want to be negative, but you can see which artist is better than the other.
Nidheesh: Yes
Sidharth: When we look at exhibitions around the world, I don’t think there is hardly a country I haven’t visited. You can count on your fingers. I did a lot of work based on spontaneous narrative. Made whatever came to mind in the morning. I paint as I feel. I am selling it comfortably. It sells amazingly. It manages my household expenses. I am happy that at least my livelihood is going on with this. My work with narratives sells easily, but when the work is based on scientific narrative; When I give it a specific form, those paintings are still in my store. Last few days I was roaming around the Ganga; I travelled the entire Ganga thrice from the beginning to the confluence, about 2600 km. In between there were innumerable stories, innumerable people, innumerable temples and innumerable seasons. Different types of poems, different types of music, different voices, the sound of bells, the sound of buffaloes, the sound of water. Sometimes the temples of Banaras come and sometimes the Tadika of Buxar.
I was sure that it was not possible to depict in pictures, so I chose illustrative methods for this. I started writing a travelogue of four hundred pages. Also made five to six hundred pictures in large sizes. This can be a film, video recording or photograph. I decided to do them all at once. After this, I started painting at home. I was alone with my blank canvas. Then, I painted the water flowing from the mountain and the same story in a scientific way. I have never seen the painting while painting it; This is my scientific narrative. While reading a book, read every word and understand it properly. You have to look at a book while reading it and look at a poem while reading. That’s why whenever I read a poem, I never read it. I just see it. While reading, I just look at my travelogue; I’ve never actually read it. Whenever I paint. I just walk with it. That’s why I need a bigger size. I need a canvas of at least 24 feet, maybe even bigger. I want a minimum of 18 feet. I want to walk in it.
Read Part III Below:
Samvaad with Sidharth: The Visual Story Teller of Many Journeys (Part 3 of 5)
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