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Friday, December 18, 2009

ATTENTION PAINTERS





Dear Artist,

I am planning to bring out a special number of our bilingual quarterly art-journal 'Kala-Prayojan'  http://kalaprayojan.blogspot.com/  all known, less-known, unknown,upcoming,budding,aspirant Indian/International Artists (Painters/sculptors) (with their old as well as recent paintings). For this purpose, I am sending you the following questionnaire for consideration and response. Should I hope that you would be kind enough to go through it thoroughly. By replying suitably at your earliest convenience and thus helping our research team to publish significant material about you and your paintings, we sincerely hope to spread the message of global friendship through Art.
Regards,
Hemant Shesh





QUESTIONS FOR ARTISTS





1. Where did your schooling in Art take place? or you have picked up painting on your own. How did you incline towards fine arts?

2. As a student of Art, who were your contemporaries, who later became renowned artists?

3. Who were your teachers during your studies ? Did anyone/some ones did inspire your work at the initial stage as a student artist.

4. What were the major difficulties that you faced during becoming an artist and later while establishing yourself as a visual artist-in your country and then abroad.

5. Can you classify certain important significant landmarks in your long art-journey?

6. Who are the major artists, who have inspired you or your work and why?

7. Your paintings are a blend of inspirations gathered from various sources. Which culture has a greater impact on your art and why?

8. Do you wish to be underlined as a creative artist using 'multi-media' for your various forms of expression. What has to be your central concern when you take up multi-media experimention for your works? What is the significance of being experimental while working multi-media?

10. In many series of paintings some artists have blended the images of the East to those of the West, What should have been the thereof and how it bridges the occidental and oriental sensibilities??

11. Are you aware of the contemporary Art in India? What major difference do you feel between the Indian art scene today as compared to the contemporary art world of West?

12. Taking a global view of modern world-art, how do you rate major Indian artists and their art? Who are the Indian artists whose works you are familiar with?

13. Public-Art as an urbanization trend is picking up gradually in developing countries like India. What should be its aesthetic direction and dimensions? How the modern art can works literate common men's vision towards life and art?

14. What is your assessment about the recent boost in art-market of the world? Has this trend negatively influenced artists or the orientation of contemporary art. Are they becoming more and more 'commercial' insted of being professional?

15. How persons other than art-field have inspired your work and who are the chief personalities of philosophical, intellectual, literary and allied fields who have contributed to the shaping of your creative orientation?

16. What in your opinion is the creative correlation between tradition and modernity? Have some of your works given an evidence of such a co-existence?

17. What is the meaning of being an Indian near you, when for the past so many decades you are staying permanently outside India? Do you sometimes miss India and for what reasons? (This Question is addressed to Non Residential Indian Artists living abroad)

18. What is the latest that you are working on and when is your next solo/group show(s) scheduled and where?

19. Have you to say anything special on governmental patronage of fine arts, especially with reference to art institutions established for protection, Promotion and development of art and artists?

20. Have you to say anything or to show anything significant to your senior/ contemporary/budding / upcoming generation of new artists? please append choisest of your 8 recent works for consideration of publication.

Wednesday, September 23, 2009



किसी रेगिस्तान का एक दिन

Wednesday, February 18, 2009

हेमंत शेष की पुरानी कवितायें












इस स्तम्भ में हेमंत शेष की चुनिन्दा वे पुरानी कवितायें जो हिन्दी की पत्रिकाओं और उनके कविता संग्रहों में प्रकाशित और बहुचर्चित हैं । संचयन : अशोक आत्रेय : अंग्रेजी और अन्य भारतीय भाषाओं में अनुवादक : कलानाथ शास्त्री, ऐ. राजाराम , जयंत गोस्वामी, आई. के. शर्मा , अंजन सेन, रंजना गुंजन, देंनिअल फिलोद, संस्कृति रानी देसाई, भरत नायक, कृष्णा बसु , समीर तांती , हरिकृष्ण गोस्वामी , नीलिम कुमार , मोहन आलोक, और बहुत से अन्य अनुवादक कवि .



Post Script
Everyday the things are recorded to have gone away.
Barges of moments reach banks and return answered.
Someone somebody ascends the stairs unknown tethered the finger of terror
Everybody the things are recorded to have gone away
Only the leaves and trunks turn pale
The landscapes change color.

The morbid tales are throne up retting shelves of experience.
Doleful stories of life are discarded down from the high opening
That has lost its color.

Like dry and discarded sheaths dates shrink into tropical comers.
And then the boats sink into sands of frivolous shores.
Bewildered insecure eyes in baffled hurry
Shuffle the pages of an old almanac.

Everywhere Every day the things are recorded to have gone away.


Translated by Kalanath Shastry


Diagnosis
Where are the race-course gone?
The man tethered in the stable is crying hoarse.

You shall keep him in check
This time, not by lashes,
But by reins,
(Might does not succeed every time every where
you have learnt it)

Where are the horses gone ?
The man tethered in the stable has started neighing now, tamely,
Say
What are you going to do for him this time ?



Translated by Kalanath Shastry



Salutations to Sun
Certainly
That broken bridge shall somebody repaired.
We shall remember the lost spring.

Where is everything?
What is the future of things in the darkness ?

You shall see ,
You shall see the curtains of mystery rise
The rains of clarity shall wash away
the dust of time settled on things.

You shall see,
You shall see the mist dissolve
and once again the pilgrim will start descending
in the stream of this holy river
for the salutation to the Sun-god.

Translated by Kalanath Shastry


The Sixth Sense
At the same time this train passes every day.

I remember the dreams I had seen once.
Those cruelties, Those affections,
Those examinations I had passed
Unfold like windows
Opening in the wind.

I return to the past years hopping over the platform of age
And find myself before a ticket-window.

Nobody knows of the unknown journey and the destinations unknown
Everything unwritten and complete -fades into the noises.
A blurred fog slithers down the shoulders,
Past beneath the elbows, like a newspaper that has been read.
A long wait stuck to the chin.

"Gather the luggage, We're home…….."
Which always begins in a dream.

At the same time this train passed every day.


Translated by Jayant Goswamy



Self-Contained
Our present
Playing with the fingers of uncertainty
Weaves the yarn of miseries.

All alone lies in the boat of time the paddle of darkness.

Reluctant are rains and clouds
And the loneliness lies on the table.
Bright curtains of seasons fall in the sorrowful air,

We stand speechless ; Mum
Dangling the badges of questions on our chests.

The rain of constraints is stuck around the windows and
Shrinking sunshine over the frigid firmament breaks the stints of magnanimity.

Over the shoulder cascades a stream of light.
Ah….. Down the steps of intimacies
I kiss you

The hunter of time has set out
For the blue woods of the sky
Lest he hunts the Sun Fishes of age filp about.
The first kiss of love nibbles at the lips.

Dated standed in the wild storm like fallen leaves sand prop.
We sob for you in every season
My own perishing awareness
Come
Let us hang it in the poetry
Once again…………….


Translated by Jayant Goswamy



Untitled
Now there is no use feeding milk to your own sleeves.
Snakes have appeared just at a hand shaking distance.
I had said to those aged men
Who had strong belief
In herbal toothpaste and country liquor.
But all of them had forgotten their incantations of sorcery and witch hunting,
Were involved in the hunt of sensational yoga-postures
And there were afloat in the air-
The forecasts of their doom:

And just then
I had seen the Lords of the city
All with old honorifics
In the morning attire ruffled
Caught by Encephalitis.
They were donating their wristwatches:
All baffled and hamstrung.

And I knew that they had all won
Prizes for their exceptional health and punctuality the other day.


Translated by Kalanath Shastry


Forgetfulness
We shall forget the names of many of our classmates.
The faces of relatives.
We will forget those Railway platforms
Where we once descended during our journeys.
We will forget the smell of arboreal world we experienced in the jungles
We will forget the feel of the
We dipped our hands in.

Perhaps we will forget many more things
And this too that we have forgotten everything.

Yet
We will have many things to remember.
But, surely very little, which we can't forget for ever.

We have more to forget in our lives-either a memory of its smell
And preserve
Only our remembrances which we have forgotten


Translated by A. Rajaram and the poet



The Very Same Dream Everyday
We see the same dream every day
That flower are blooming silently
And the spring is descending from the firmament just like dew-drops.
In its utmost sacredness - the fragrance of March is creeping in the foliage
Making us remember those boats -
Fluttering the waves of a river.

Innumerable colors dissolve in the eyes
And we cross over roads, Ghats and grass-lands.

We find the trees loaded with fruits.
The honey combs on their branches are enlarging day-by-day.
Cheerful women returning home after shopping.
The jungles filled with sun and granaries with corn.
All the roads of the city, ending of magnificent Dancing Hall.

Passing through the scenes one-by-one
We look at them; How charming the world
But even in the dream we pretty well know that the dream is going on.
And that dreams alone can't make the world pleasant and worth living

Friends what have you to say about dreams ?


Translated by the poet

The pretty Woman
You would repent
That you could not kiss her.

Her being utterly beautiful is the first condition for an imaginary kiss.

You are worried that kissing her is not that simple.

Between a kiss and your agony
There exists-
A beautiful woman
Unconcerned to both :
Your despair, and her own majestic chastity!

The Scream
The world is narrow
And a silence clings around the trees.
What the future shall be like
No one knows…………

Where shall I lay my hands with which I would like to write poetry?
How that child shall recognize her mother in pitch darkness?

We shall stand sober and decorated in a celebration of
White collared guys

But who,
Who shall suppress a scream that would blow out
from the deepest core of some one's heart
against the entirely false decorum……
and shall cross all limits of timid composer.

What should poets do, with a word like 'love'…..?
The word called 'love' has been reduced to a very low profile,
And it will continue to be so, The bollywood calls it 'pyaar'.

Our cheap novelists have further degenerated it,
With the result
even lovers these days, avoid being called 'lovers',

But look at the fun-
We often have to use this word
And that too, with all earnest sincerity

And then, we are not bothered about
But with its ironical synonym; at peculiar junctures
Looking just like lovers
Frightening with 'pyaar' and
Remaining poets from inside………

On not remaining, as before
I do not know you Apoorva
But know you since many many years,
Where the words untold are concealed within the words uttered,
This mute conversation begins

Just now
A tiny flame has flared within us
Unknown is its color, unparallel.
Rest every thing else is quite the same-
City, roads, Wind, Sunshine, Daytime.

Your arrival like a cool shadow in my scorching desert loneliness
And your returning back; silently

After you have left
I am not the same as I was,

And
probably within you
I too may have left
My equally vociferous portion।












ASHUDHHA-SAARANG







1.
A colorful candle has just lit inside me
And the wax of words has started melting
Thus after many days-
Opened the window of poetry……

2.
The knife of time cuts the apple of our world
We cheer in the nourishing gloom, approaching

Both are synonyms;
Health and disease, in front of this knife
In the world being pierced

3.
A house locked
Like a world, shut.
Behind the doors
The chatting of women
And their sobbing, too.

4.
The meanings of flowers shall change with age,
Neither then there shall be no repent nor a desire
That we pluck happiness from the stem
And instantly forget it all

5.
Ah…..your teeth that open up while you laugh show
Your attitude towards the world that you know how to laugh
But this much only.
Not this at all
That what is their role
When you just do not laugh but feel ashamed

6.
you are almightily in a dream
you are.
Provided really sleeping


7.
we ourselves could turn into a hill
while gazing at the hill.
But there are lot many lies in the poetry.



8.
tamed horses are just ordinary despite being fabulous.
As they are pets and carry over someone's burden.
Lifting burden and being fabulous are two different connotations.
The greatness has nothing to do with the second.

9-
you are frightened
while entering the room that the room was there
you are frightened too while you leave that the the room was there.
The fear is not the room
Nor the room is the fear
The fear is fear and the room is room
Whether you enter or exit.

10.
In the kitchen of life
Something is burning since long
And the nose of is inert in the cold of scarcities.

11.

People these days do not watch and appreciate
the colorful feathers of birds
Just pluck them
In order to sell coats on exorbitant prices

12.
The unarmed bird is singing on a branch of a tree
The shoe of that wounded soldier may be visible to her from there
Who shall commit suicide as soon as he recovers
Under this very tree
Before the next war.

13.

Just believe me; This is the demand of sociality
Please do not shave now
(One should not look smart and cheerful while accompanying a pyre)


14.


Brahma said in dream : Look only in Purans - shall you find chastity
But sorry-
There are numerous proof mistake in print these days.


15.

Just remember
While crying
That unless your cry doesn't reach appropriate ears
It would remain only an expression of fear
And
Not an appeal for help



16.

The tree is envy
The table has no worries



17.

The baby lisps and weeps
As some poets jabber under the fever of poetry

Weeping and writing poetry generally leave the same impression
If you want to become the father of the baby
Or the reader of a mediocre poetry




18.


Now the new mother is not feeling uncomfortable in the kitchen
Scarcity becomes life style after it becomes a habit.






19.


O God who shall give me a pardon of my wrongdoing?
You, or me, myself?
I never saluted you while passing with my beloved through the garden
You were conspicuous in your absence in the examination hall
Just before question paper was to be disbursed.

God in helplessness and the sweetheart in youth-
Both equal.

20.


People do not want to carry wallets in their pockets these days.
It is not merely a co-incidence but
A comment on the present times


21.

The pendulum of morning news is oscillating on the front page
Set your wristwatch and feel happy: 8.15 AM exactly like yesterday
Despite so many ill happening


22.

Butterflies have no teeth
Absence of something is essential for beauty


23.


Passing of time:
Raga jaijaiwanti on Ramnayan's sarangi
gradually fading out…


24.


It is the munificence of trees
that vultures are waiting on their branches, for a corpse
But still they are green.

Not for the trees, but for the jubilance of vultures
These times are conducive.

25.


The incidents are often remembered.
The rooms are changed.
Wrinkles of cloths that shrink in a dream.
Sympathies entangled in the memory.
I smell the aroma of 'baghar' in the kitchen every morning
Hear my daughter's cry,
No. The world today is certainly,
certainly different than yesterday it was.


26.

I have to travel.
Arrange my luggage in order.
Buy a valid ticket and then board the right train.
I have to take care of my suitcase hiding it from thieves and reveres.
Descend at the right platform.
Reasonable fare is to be given to the Riksha-Puller.
Reach at the right destination.
Remember that the address is safe and in my which pocket?

And this is also to be remembered
that what is really required to remember everything.



27.

I too can beat my childhood-teacher
With the same cruelty

Ah ! the poetry provides fantastic opportunities.



---------------------------------------
Extracted from "Ashudhh Sarang" Hemant Shesh's collection of poems published in 1988
Translation by Dr. Sunayna Bhattacharya and Dr. Bondita Sengupta

Tuesday, February 10, 2009





काला ही सब रंगों की मां है !!!


विद्यासागर उपाध्याय की कला पर केन्द्रित



विद्यासागर उपाध्याय ( जन्म: 1948 ग्राम परतापुर ज़िला बांसवाड़ा ) की गिनती देश के प्रमुख प्रतिभाशाली आधुनिक चित्रकारों में महज़ इसलिए नहीं की जाती कि उन की रचनाओं के अनेकानेक प्रदर्शन हो चुके हैं, इन की कृतियां ‘भारत त्रिनाले’ सहित देश विदेश की कई प्रतिष्ठित कला दीर्घाओं में जगह बना चुकी हैं और हर साल बनाती आ रही हैं, अपितु पिछले कुछ बरसों में वह अपने काम को और आगे ले जाते उसे परिवर्तित और परिवर्धित करते एक सजग समझदार कलाकर्मी के तौर पर प्रेक्षकों और समीक्षकों का ध्यान बराबर खींचते आ रहे हैं। अब छूट चुकी सरकारी नौकरी के बावजूद वह सचमुच एक ‘नियमित’ चित्रकार बने रहे हैं : जयपुर के राजस्थान स्कूल ऑफ आर्ट्स में केवल ग्राफिक कला का अध्यापक बन कर गुमनामी में न खो गए चित्रकार। स्वभाव से वह बहुत मेहनती हैं और उन की कृतियां भी उन के इसी गुण की ताईद सी करती हैं जिन में चित्रकार की माध्यमगत लगन साफ देखी जा सकती है।वे अनायास ‘बन’ गई नहीं ‘बनाई’ गई कृतियां हैं। पिछले कई बरसों से वह ज्यादातर एक्रेलिक में ही काम करते आ रहे हैं क्यों कि “यह तैलरंगों की बजाय ‘जल्दी सूखने वाला’ माध्यम तो है ही इस में विषयवस्तु के हित में ‘ओपेक’ या पारदर्शी प्रभाव पैदा करना भी अपेक्षाकृत आसान है।” उपाध्याय कहते हैं । प्रिन्ट बनाना और लगातार रेखांकन भी जैसे स्वभाव से इन के कलाकार के साथ जुडे़ हैं। चौथाई सदी से भी ज्यादा अरसे से अगर वह प्रकृति के अनगिनत रूपों में से कुछ को बराबर केन्द्रीय जगह दिए चले जा रहे हैं तो यह तथ्य इसी का तो सूचक है न कि प्रकृति के विविध रूपाकारों को ले कर इन के मन मानस का अनुराग गहरा है। “ इस जन्म में तो प्रकृति के शिकंजे से छूटना नामुमकिन है।” वह कुछ कुछ अतिशयोक्तिपूर्वक कहते भी हैं। इन के नये पुराने चित्रों में हम ज्यामिति और तंत्र के परिचित प्रतीक़ जहाज़ जैसी आकृतियां पहाडों के जिस्म़ उड़ते अमूर्त पक्षी आकाऱ तैरते हुए शिलाखंड़ मछलियां रेत़ फूल़ पानी के बिम्ब़ उन के प्रतिबिम्ब़ बादल़ चट्टानें और मानवाकृतियां और पानी की लहरों सब की मिली जुली सी याद कर सकते हैं। पर याद रहे : सिर्फ याद ही।इन में से एक भी चीज विद्यासागर उपाध्याय की कला में सीधे सपाट ढंग से नमूदार नहीं होती। इन के सिर्फ उतने संकेत ही हमें दिखते हैं जो चित्र संरचना के लिए अनिवार्य हैं : एक चित्र प्रेरणा या प्रस्थान बिन्दु की तरह। ज्यामिति और तंत्र के इन के प्रारंभिक चित्र दौर में हमने सन सत्तर के दशक में विद्यासागर उपाध्याय की पहले पहल पहचाऩ केवल पैंसिल ही में काम करने वाले एक सिद्धहस्त अधुनातन कलाकर्मी के रूप में की थी। कुछ कर दिखाने को आतुर एक विनम्र देशज सा चित्रकाऱ जिस की कला में तब शायद मेवाड़ के अंचल के भू दृश्य ही प्रमुख थे : पहाड़ चट्टानें अंधकाऱ जंगल पेड़ बेलें और पानी। वे एक किस्म की बहुत मुखर आदिम स्वाधीनता और स्वायत्तता के बल पर ग्रेफाइट में बनाए गए अनगिनत सैरै थे : स्याह सफेद ।अमूर्त और आनन्ददायी ।ज्यामिति के प्रचुर उपयोग के बावजूद उन का उन्मुक्त और खुला संसार आदिवासी अंचल बांसवाड़ा की अछूती ताज़गी और अरावली चट्टानेां के ‘अक्षत कौमार्य’ की याद जगाता था। तब कहीं उन पर तंत्रकला का प्रभाव भी गहरा था। बाद में अपना गांव घर छोड़ कर जयपुर में बस गए विद्यासागर उपाध्याय की कला ने बार बार बहुत से रोचक मोड़ लिए हैं। “राजसमंद जिले के एक बेहद अनजाने छोटे से गांव में जहां मैं एक सरकारी स्कूल में ड्राइंग टीचर था़ न तो कैनवास ही मिलते थे़ न रंग। अभाव का जीवन था। उन दिनेां महंगे साजोसामान के लिए पर्याप्त पैसे भी तो नहीं थे इसलिए कागज़ पर महज पैंसिल से काम करना मेरी मजबूरी थी।” विद्यासागर उपाध्याय पुराने कठिन दिन याद करते कहते हैं। “पर इसी 3 बी के ग्रेफाइट ने मुझे मेरी सच्ची पहचान दी। आज भी अगर कोई मुझ से मेरे सब से प्रिय माध्यम के बारे में पूछे तो निस्संकोच मैं पैंसिल का ही नाम लूंगा। फिर एक्रेलिक का और फिर तीसरे नम्बर पर लिथोग्राफ़ी का।” काले सफेद को ले कर विद्यासागर का अपना एक चिन्तन है। उन्होंने बरसों तक इसी पर हाथ आज़माया है। वह हिन्दुस्तान के ऐसे इने गिने चित्रकारों में अग्रगण्य हैं जिन्हें स्याह सफेद पर उतनी महारथ हासिल हो।भले ‘ब्लैक एंड व्हाइट’ में काम करना विद्यासागर जैसों की मजबूरी शायद कभी रही हो रचनात्मक तौर पर विद्यासागर का मानना है कि “रंग एक चुनौती हैं। दुनिया के सारे रंग सौन्दर्याभिव्यक्ति में सहायक हैं पर काला रंग तो जैसे सब रंगों की मां है। आम तौर पर काला परम्परागत रूप से भारत में जिन मनोभावों से सम्बद्ध किया जाता रहा है़ उस से भिन्न अपने चित्रों में मैंने काले रंग को वस्तु सौन्दर्य की पराकाष्ठा दर्शाने वाले रंग के तौर पर ही काम में लिया है। काला शान्त और जितना गम्भीर रंग है़ उस की चित्र में उपस्थिति उतनी ही महत्वपूर्ण भी। आपने भी तो नोट किया होगा सफेद या कि दूसरे दूसरे किन्हीं और रंगों से इस की संगति या सन्तुलन खुद अपने अस्तित्व की अर्थवत्ता प्रदर्शित करता है।” विद्यासागर का विचार है।



पर यह देखना रोचक है कि बरसों स्याह सफेद में काम करने के बाद जब वह रंगों को काम लेने लगे तो एकाएक प्राय: सारे ही इन के यहां कुछ इस तरह दिखने लगे जैसे कोई थमा हुआ बांध सा टूटा हो। यहां तक कि सामान्यत: जिन रंगों का इस्तेमाल प्राय:कई चित्रकार लगभग नहीं करते या संकोचपूर्वक कभी कभार ही करते हैं : रजत़ गुलाबी़ हरे़ नींबुआ रंगों के कई कई मनमोहक शेड्स और इनकी रंगतें। मुझे याद है़ उन के बहुत से या कुछ प्रशंसकों को तब यह बदलाव बहुत प्रीतिकर नहीं लगा था। पर संयोग से बहुत जल्दी विद्यासागर उपाध्याय के नए कामों ने उन्हें अपनी राय संशोधित करने पर बाध्य कर दिया और काले सफेद ही की तरह उन की चित्र संचेतना में लगभग प्रयासहीन ढंग से रंग भी कुछ ऐसे घुल मिल गये जैसे वे चित्रकार की प्राथमिकता से परे कभी थे ही नहीं। “...........टाइप होना मुझे पसन्द नहीं है और अगर कोई है तो ‘एब्सट्रेक्ट एक्सप्रैशन ’ ही मेरा टाइप है :।मैं जो चीज़ गहराई से अनुभव करता हूं उसे पूरी तरह यथासंभव आखिरी हद तक अपनी रचनाओं में उतारना और अनुभव करना चाहता हूं।” उनका कहना है। आकस्मिक नहीं है कि इन की अनेक चित्र श्रंखलाओं में पुरानी कला श्रंखलाओं की स्मृतियां भी आप देख पा सकते हैं। यह निस्संदेह एक गुण है।खुद अपनी परम्परा में नया करते भी उस का अनुरक्षण :स्मृति में होना ही मनुष्यत्व में होना है। विद्यासागर के चित्रों में आए परिवर्तनों को या उनकी चित्रभाषा के बदलावों को इस आलोक में देखना उनकी रचनात्मक ‘अरूढ़त़ा’ का संभवत: सही मूल्यांकन हो। अगर उनकी चित्रभाषा स्वाभाविक तौर पर परिवर्तनगामी है़ तो उन के कैनवासों का आकार प्रकार और चित्र प्रस्तुति तौर तरीका भी यदा कदा प्रयोगशील। आयताकार वगार्कार छोटे और बडे़ कैनवासों को वह काम लेते हैं : पर कभी कभी गोल कभी त्रिकोणात्मक कैनवासों तक को भी। स्वाभाविक तौर पर वह चित्र प्रस्तुति में ज्यादा प्रयोगशील तब भी होते हैं जब अपने घर में यानि जयपुर में कोई प्रदर्शनी करते हैं। वर्ष 2005 में जयपुर के जवाहर कला केन्द्र की चित्रदीर्घा में प्रदर्शित उनके सारे कैनवास वृत्ताकार थे। “छोटे कैनवास आकार की अपनी सीमाएं हैं । अगर मुझे प्रकृति के विशाल और उद्दाम रूपों को बोल्ड ढंग से चित्रित करने करना है तो बडे़ आकार के कैनवास ही चाहिएं।” इन के दृश्यचित्र पूरी तरह अमूर्त होते हुए भी बेहद आकर्षक हैं : एक खास तरह की आधुनिकता के सौन्दर्य से मंडित। हालांकि कई दफा़ वे महज़ खूबसूरत ‘कंपोजीशन’ भर दिखते हैं। या कभी कभार व्यावसायिकता के दुनियादार तकाजों से घिरे चित्र। इन के यहां कैनवास की सफेद सतह को अवकाश के बतौर छोड़ने और बरतने का विवेक तो स्पष्ट ही है।कुछ एक बार वह लयात्मक या जैविकीय से दिखलाई पड़ने वाले रूपाकारों को एक खास तरह के ‘जमाव’ के द्वारा अभिव्यक्त करने की इच्छा में डूबे जान पड़ते हैं। नदी किनारे के गोलाकार पत्थरों आकाश के धब्बों और पठारों के सुदूर बिम्बों को बार बार पकड़ना चाहती इनकी कलाकृतियां हमें असल कथ्य से इतर भी पृष्ठभूमि के आलोक और धुंधलकों का लगातार परिचय देतीं हैं।
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जो चीजें मूलत: फलक पर आई हैं उन की भूमिका के बतौर विद्यासागर उन की पृष्ठभूमि के अंकन में भी ख्चिशील हैं और शायद असल में यही इन के अमूतढ दृश्यांकनों की चैत्रिक ‘सुन्दरता’ का रहस्य है। कभी अपनी रचना की अंदरूनी मांग पर और कभी प्रेक्षक की प्रफुल्लता के लिए विद्यासागर अपने चित्रों और रेखांकनों में ‘टैक्सचर’ उकेरने का काम करते हैं। तैलचित्रों में वह कैनवास के अपने‘ टैक्सचर’ का भी यथा जरूरत उपयोग कर लेते हैं पर अच्छी बात है कि चित्रों का आन्तरिक अनुशासन ये ‘ टैक्सचर’ कभी भी भंग नहीं करते।वे जहां भी आते हैं बहुत जरूरी अंशों की शकलों में शिष्टतापूर्वक । वे ‘ टैक्सचर’ इतने वाचाल नहीं कि मूल कथ्य से ध्यान हटा कर वे हमें अपने ‘होने’ में ही भटका दें। “अगर चित्र एक सम्पूर्ण ‘डिजा़इन’ भी है तो सतह के वैविध्य के हित में पेन्टिंग का हर हिस्सा महत्वपूर्ण है।उस के सौन्दर्य का विस्तार करने की दृष्टि से टैक्सचर का अपना महत्व है। सरफेस और मैटीरियल दोनेां की अपनी सीमाएं है़ं परन्तु टैक्सचर दोनों ही सीमाओं का अतिक्रमण कर सकते हैं। “एक्सप्लोरेशन’ खुद कलाकार पर निर्भर है।“ विद्यासागर का मानना है।


यह देखना आश्वस्तिदायक है कि कला की राजनीति में भी गहरी सजगता रखने या चित्रकार के रूप में उन तक आई सफलता ने खुद विद्यासागर को एक दोस्त या मनुष्य के तौर पर या उन की कला को अब तक भी नष्ट नहीं किया है और वह अपनी प्रतिभा और कौशल का नियमित उपयोग करते हुए इधर कुछ ज्यादा चचिर्त अपने चित्रकार बेटे चिन्तन उपाध्याय की तरह हमारे समय के नए कला परिदृश्य को सम्पन्नतर करने में गम्भीरता से जुटे हुए हैं।


हेमन्त शेष

Monday, February 9, 2009

Poetry that distilled emotion


"VRIKSHON KE SWAPNA"
COVER DRAWING : VIDYASAGAR UPADHAYA








on 2/10/2001 Renowned Critic and Columnist DURGA PRASAD AGRAWAL wrote in www.outlookindia.com
"...There are so many good and great poets in Hindi today, that it will take at least a full issue of 'Outlook' to list allo of them, but here I would like to mention a few of them : Rajesh Joshi, Arun Kamal,Rituraaj, Hemant Shesh, Nand Bhardwaj,Harish Bhadani, etc."









SOME OF THE BOOK COVERS DONE BY POET HIMSELF


Tuesday, February 3, 2009

Hemant Shesh's Poetry











Poems published in 'Kalpana', 'Poorvagrah', 'Naya Gyanodaya', 'Lahar', 'Samkaleen Bhartiya Sahitya' and other magazines:


A POET DEPARTS
And Other Poems translated from Hindi/

And ultimately a poet unsung
Leaves the world silently
And shatters nothing, anywhere!

The world snoozes in slumber and wakes up with eternal ennui
Trudging on beaten paths planets and the Universes revolve!
Waves brim all seas
Flora breed on the plateaus...and thus the scenes grow old & older.

A mute scream like a lump
Plugs into throats
When sons aspiring to prosper
Leave our homes without bidding any one a good-bye and
Daughters falling in love, just fleet away
Thousands and thousands board trains to earn their daily bread
Buses carrying pilgrims collide and crash.

New born open their eyes in an unrelenting commotion
Ultimately the dead bodied are made to rest on the chilled floors

The scenes: soaked in ample of acid and affluence of salt
Strangulate inside the poet
Like a fish breathing last strangles in the net unknown

Catalogs of thousands of strange sorrows
Threadbare flags of feeble hopes
Helplessness mirrored in millions of images
A fathomless expanse of violet pathos

Within his nerves flows a counterworld:
A wishful thinking
-Of finding a world full of love, set in order!

He was a speechless bird
A mute butterfly
A dumb honeybee
Away from his abode he is missing from a life that was

Once again
Staying far far from the clutches of corpse
The poet would once again feel
The secret tears of scenes peeled off
And
The world shall continue to nap
And wake up as ever before!



****
Translated by the poet





THE DECLINING MINAR



Our home was a sagging Minar
Where aspirations lived like cloths, worn,
The weathers wavering often visited it
As our bodies were just spaces to rest?
For years together the flowers would never know
The art of blooming
Weeping could be set off, any moment, anytime
Sometimes the Dal tasted bitterly salty
But hardly anyone would go on a long journey!

Letters dropped by relatives often came
The ritual of STD lessened their frequency
We bid farewell in youth, to some of our friends, who demised
Some dearly loved ones never turned up again once gone.
Wives and children bought expensive stuff only in the Ads
And looked contented.
Anarchy and Scarcities became natural, just as breathing!

Our home was ours
And we were not the inhabitants of an unknown planet- aliens,
We had full poise and pride about it
Like anyone has, or one ought to have!

Earlier this Minar used to quaver a bit
We were unconscious a little, then almost infatuated considered it as distinctive

But out of the blue it trembled
And now even with a slightest blow of wind
This could collapse off, to the earth.

But, you must ponder it over too-
If so happens some fateful day,
Responsible for it shall be, who?

***
The mystique of Music

D.C. Sharma*
(The learned author recently passed away at 74)

Shakespeare's appreciation of music as the food of love and his invocation to give excesses of it falls short of stirring the reader. Music merits a better deal than merely being fodder to love. Read portrayal of 'Savitri' as conceived by Aurbindo, says he :

O strong forerunner, I have heard thy cry.
One shall descend and break the iron law,
Change Nature's doom by the lone Spirit's power
A limitless Mind that can contain the world.
A sweet and violent heart of ardent calms
Moved by the passion of the Gods shall come
All mights and greatness shall join in her,
Beauty shall walk celestial on the earth,
Delight shall sleep in the cloud-net of her hair
and in her body as on his homing tree
Immortal Love shall beat his glorious wings
Music of griefless things shall weave her charm
The harps of the Perfect shall attune her voice,
The streams of Heaven shall murmur in her laugh,
Her lips shall be the honeycombs of God,
Her limbs his golden jars of ecstasy.


Music is a serious matter. It is the fulcrum balancing life and death. It is the germ of creation. It is the 'Naad-Brahma' of the Vedas. It is the blossoming event of human psyche. It is the sub-terrainian passage to 'Samaadhi'. Else how would the world have been ensured of it in divine madness?
The Greek concept of the music of spheres is not a fancy. It is an endorsement of the store set it by Indians.
Be it admitted that it is in India that due tribute has been awarded to Music. There are legends galore to substantiate it. More than legends, the legendary characters whom this supreme genre of Art blessed glorify the edifice like great frescoes. Our land is fertile in this respect. Swami Haridas, Pandit Tansen, Ustads- Allauddin Khan, Faiyyaz Khan, Bade Ghulam Ali, Pt. Omkar Nath Thakur, Amir Khan and Ali Akbar, beside many others were luminary stars who illuminated the firmament.
It is the note heard a like by the kings and the commoners, wafted over the high seas (Keats verifies) for one note, tuned to the proper 'Shruti', man cringes and fawns at the feet of Minerva.
Such was the note that transported Yahudi Menuhin when he heard Ustad Amir Khan to seventh heaven. That is what transpired when the author heard Darbari sung by
Amir Khan at Jodhpur in January 1960 (Described in an article 'Reliving An Aesthetic Experience'published in Kala-Prayojana- the multi-arts literary journal being edited by Hemant Shesh for the West Zone Cultural Center, Udaipur, India ).
Pandit Omkar Nath Thakur sang 'Mishra-Kafi' at the zoo of Lahore in early 40s and the lion in the cage swung his head so long as the maestro sang.
Not only Homo Sapiens but the whole kingdom of animals starves for music.
Satyanarayan, the violinist of A.I.R, Jaipur saw dozen serpents listening to the Sarod playing of 'Vageshri' by Ustad Alauddin Khan of Meyhar at 2 AM being disturbed by the sudden arrival of the maestro pupil, they slithered away.
Satish Sharma, Delhi guitarist in classical music was at Ramgarh, Nainital hills, when he was accompanied with subdued voice by a small black bird, perched upon a tree at dawn when the maestro was playing a morning raga. The shifting of octaves followed with precision by the dove.
A couple of centuries back, at Jaipur, a few horses were starved for three days to measure the impact of classical music. The nosebags were hung round the heads but the horses spared to move lips so long as the singer performed.
Pt. Tejpal Singh and Dr. Prerna Arora, biographers of Ustad Amir Khan mention how the lights dimmed when Ustad opened his note. Another time, Ustad Vilayat Khan was anguished on hearing Ustad Amir Khan. His observation was that such transcendental notes are only angelic and don't augur well for the longevity of maestro.

The author heard raga 'Jhinjhoti' sung by a Sindhi gentleman Brahmanand Goswami, a teacher residing at 'Heeda Kee Mori' in Jaipur's walled city: 'Bansuri Kaun Guman Bhari'. The notes made way to my bone marrow and I took a full week in regaining my usual frame of mind. This haunting quality is the ambrosia that music awards.
Albert Einstein with his visionary character could not have ignored music. His mastery over Piano/ violin indicates how logical Physics and musical Meta-Physics have one root.
Music liquefies our psyche and awards it the desired shape. One is prone to the address to the musician; " How be it that you imperceptibly extend thy empire? How be it that you can dissolve my psyche by one cadence. You glide over hills and dales, wafted over feathers, and I am not my true self any more!"
George Bernard Shaw says that it is on paper that man achieved perfection. However, one has to substitute ' musical-note' in place of paper. Melody, like a gas-filled balloon, rises up to transcend the horizon. In a nut-shell, we find the true, the good, and the beautiful. This is witnessed only in music i.e. classical music!


A Vast Tradition

Classical music prides over a truly elaborate tradition which, at times, seems to be ritualistic. Every note or 'swara" has three dozens of 'Shrutis'. There are notes that are forbidden in a raga. Then above all, there happen to be prescribed parts of the day, especially in North Indian classical music, when particular 'Raagas' are to be sung or performed. A prince from Madhya Pradesh forced a singer to sing 'Kalingadaa' a Raag of predawn hours one evening and the singer went mad.
'Aalaap', 'Vilambit' (a slow tempo) and 'Drut' (fast tempo) is an established order that human sensibility accepts. 'Taraanaa' is not a hoary tradition but it has proved its worth and serves as a crowning glory. The fast tempo repetition stirs the soul right up to the roots of the listener.
Aalaap dwells upon the substratum of all sounds- 'Aa'-The singer fondles the notes as Yashoda fondled child Krishna. However, the destiny of 'Aalaap' lies in 'Vilambit' and 'Drut'. 'Taraanaa' is said to originate with Tansen, the illustrious vocalist of Akbar the great. Taraanaa is certainly the acme of melody. The one who conceived it deserves accolade. It is the super-most device to thrill to audience.

Paintings of Raagas.

Synthesis is a highly respected term in English poetics and aesthetics. The subject of a sense is perceived through another sense. You may hear through eyes or see through ears. Raaga-Raagini painting tradition is a genre of its own kind. Not much is known as to the origin of the genre. Why is a melody to be visually perceived ? There are 'Raaga"s visual presentations from all parts of India. More so in the Himalayan mountainous tract. It can be a couple's dalliance or a plain landscape. Gods are also the subject of this mode of painting.
The genre calls for a serious examination at the hands of competent thinkers*.
If repetition is permissible, we may avert to the seriousness of classical music. We have to remind ourselves of this rare achievement. Evidently, there is a dilly-dallying with classical music, especially at the hands of A.I.R. They have started marketing the old records. The frequency of concerts is low. Hindustani music is becoming a back-bencher. We are negligent towards our musical heritage. Performance before distinguished audience is much less frequent. Let us avert to this treasure of ours without delay.

OOO
_________

*Hemant Shesh's Note: A great deal of research has gone into this subject and it is still being perused vigorously. For further studies on this subject, suggested reading- "Raag Mala Painting" by Clause Ebb ling. A Garland of Melodies or Ragamala may seem a symbolic but too abstract a concept to be pictorially depicted, but one has to only witness the magic of Ragamala paintings to change one's mind.
The rich tradition of Indian Classical music is structured on the foundation of ragas. A raga is a melodic mode, which literally means ‘to color'. It is believed that these melodies are capable of producing a pleasant sensation, mood or an emotion in the listener. Some Hindustani (North Indian) ragas are prescribed a time of day or a season.
The 'Sangeeta Ratnakara', an important treatise of the 12th century A.D. for the first time mentions the presiding deity of each raga associating them with certain Gods and Goddesses. The 'Sadhakas' (practitioners) decided to capture and comprehend the divine qualities of the ragas and these paintings are the results of that very endeavor. There are six principal ragas - Bhairava, Deepak, Sri, Malkaunsa, Megha and Hindola and these are meant to be sung during the six seasons of the year; summer, monsoon, autumn, early winter, winter and spring. There are 'Raag-putras', 'Up-ragas', and various Raginis that have been classified by Hanumat, Matang and others and symbolically painted in different schools of Indian Art. Apart from seasons the ragas are also related to different parts of the day; dawn, morning, afternoon, evening, night and midnight. During the monsoon, for example, many of the Malhar group of ragas-associated with the monsoon-are performed. However these prescriptions are not strictly followed. There has also been a growing tendency over the last century for North Indian musicians to adopt South Indian Ragas. These do not come with any particular time attached to them. In Karnataka Classical Music there are no such compartments .The result of these various influences is that there is increasing flexibility as to when ragas may be performed These melodies were personified in vivid verbal imagery by Indian musicologists of the late mediaeval period, which provided the source of the Ragamala illustrations.Under the patronage of the aristocracy, artists explored in great depth the relationship that governs sound and sentiment and the Ragamala art form soon became a dynamic, vibrant movement, making music and dance the subject of art through colour and mood. The earliest Ragamala paintings are from the Deccan and were probably painted for Ibrahim Adil Shah 11 of Bijapur, who was an authority on painting and a fine artist and illuminator himself.
It is quite interesting to note that in the entire Kishangarh school of miniature paintings, not a single set of Raagmaala has been painted.

Would someone like to explain the reasons thereof?









Hemant Shesh
Administrator, Poet, Editor, Art-Critic, Columnist and Painter




Born on: 28th December 1952, Jaipur (India)
Mother: Mrs. Jaya Goswamy MA Father: Acharya Bhalchandra Goswamy 'Prakhar', BA L.L.B., D.P.A
Marital-Status: Married to Punam Yadunath Goswamy, M.A.
Children: One Daughter: Neha and One Son: Nimish.
Education: M.A. in Sociology from University of Rajasthan, Jaipur, 1976
Permanent Address: C-8, Prithviraj Marg, C-Scheme, Jaipur-302001
Present Position: Working in the Super time Scale of the Rajasthan Administrative Service (1977 Batch)
As Secretary, Rajasthan Public Service Commission, Ajmer
Telephonic Contact: Office: 0145- 2627643
e-mail: hemantshesh@rediffmail.com
and
hemantshesh@gmail.com



Major Books Published

1. "Jaari Itihaas Ke Viruddha" (Long Poem): ……… Lok Sampark Prakashan (1973): Jaipur

2. "Beswaad Hawaaen" (Poet's Monograph) ……Rajasthan Sahitya Academy (1981) Udaipur

3. "Ghar-Baahar" (Poetry Collection) ………Shilpi Prakashan (1982) Udaipur

4. Kripal Singh Shekhawat ( Artist's Monograph) …Rajasthan Lalit Kala Academy (1984) Jaipur

5. "Vrikshon Ke Swapna"(Poetry Collection) ……… Sanghi Prakashan (1988) Udaipur/Jaipur

6. "Neend Men Mohanjodaro"(Poetry Collection) ……… Panchsheel Prakashan (1988) Jaipur

7. "Ashudhha Saarang"(Poetry Collection) ……… Panchsheel Prakashan (1992) Jaipur

8. "Kasht Ke Liye Kshamaa"(Poetry Collection ) ……… Sanghi Prakashan (1995) Jaipur

9. "Rang Agar Rang Hen"(Poetry Collection) …………Bohra Prakashan (1995) Jaipur

10. "Kripayaa Anyathaa Na Len" ( A Long Poem) ……… Sanghi Prakashan (1998) Jaipur

11. "Aap ko Yah Jaan Kar Prasanntaa Hogi" (Poetry collection) …National Publishing House( 2001) Delhi

12. Jagah Jaisee Jagah" (Poetry collection) ………………… Bhartiya Gyanpeeth (2007) New Delhi

13. “Bahut Kuchh Jaisa Kuchh Naheen” (Poetry collection) …Vani Prakashan ( 2008) New Delhi

Books Edited and Published


14."Saundaryashastra Ke Prashna"(Art & Aesthetics) ……………. National Publishing House (2000) New Delhi
15."Kala-Vimarsh" (Discourses on Arts and literature) …………… National Publishing House (2000) New Delhi
16." Bhartiya Kalaa-Roop"(Indian Art-Forms)……National Publishing House (2000) New Delhi
17."Bhartiyata Kee Dharanaa" : (Collection of Essays on Indianness)…… National Publishing House, (2005) Delhi
18. "Bhartiya Rangmanch" : (On Indian theatre)………………………National Publishing House, (2005) New Delhi
19.” Jaltee Hui Nadi “( Poetry Collection) …………Education Department, Govt. of Rajasthan, (2006) Bikaner
20. “Kalaon Kee Moolya Drishtee” ……………….Vanee Prakashan, New Delhi (2008) New Delhi


Works Included In Other Books

20. "Rajasthan Ke Kavi" Rajasthan Saahitya Academy (1977) Udaipur

21. "Great Indian World Poets" International Poetry Society (1978) Madras

22. "Indian Verse by Young Poets" Indian Verse (1980) Calcutta.

23. "Rajasthan Kee Samsaamyik Kalaa" Rajasthan Lalit Kala Academy(1987)Jaipur

24. "Das Samsaamyik Chitrakar" Rajasthan Lalit Kala Academy (1988) Jaipur

25."Roopankan" Printwell Publishers (1995) Jaipur

26."Indriya Bodh Aur Kavita" Hansa Prakashan (1995) Jaipur

27. "Laya" Rajasthan Patrika Prakashan (1997) Jaipur

28. "Sadi Ke Ant Men Kavita" Udbhavnaa Prakaashan (1998) Muzaffarnagar



Soon to be published Books

29. "Samkaleen-Kala-Paridrashya" : (Art-History)

30. "Iti Jaisa Shabda" : (Poetry collection)

31. " Khed-Yog Pradeep " : (Poetry collection)

32. "Prapanch Saar Subodhni": (Poetry collection)



Journals and Periodicals Edited

· "Chetnaa": (student-editor of Central School Magazine) (1968)

· "Samvet" : Anthropological Journal on South Indian Culture and Andhra rituals(1976)

· "Prayaas" : A Publication on plastic and performing Arts (1978-1979)

· "Kalaa-Yatraa" : A Multi-color Art Publication on behalf of the WZCC (1998) Udaipur.

· "Vayam" A tri-language research journal for Rajasthan Sanskrit University (2006-2007)

· "Kalaa- Prayojana" : Bilingual, Art and Literary Quarterly of WZCC, Udaipur ( editing since 1995 till date).

· “Pratidhwani” : A Quraterly magazine of The Rajasthan Administrative Officers’ Association (2000- 2007)



Other Publications

1. Creative writing and Publication widely since 1970 in almost all important literary magazines, periodicals, Journals and Newspapers of India. Hundreds of poems, art-criticism, essays, comments, articles, Book-Reviews, literary critiques and translations published and widely acclaimed. Works translated in many Indian and foreign languages.

Prescribed as one of the major Hindi Poets in the Senior Higher Secondary (optional Hindi literature Paper) by the Rajasthan Board of Secondary education, Rajasthan, Ajmer.

2. Published in Kalpanaa (Hyderabad), Pahal, Sparsh (Jabalpur), Bahuvachan, Naya-Prateek, Saptaahik-Hindustan, Hans, Samkaleen Bhartiya Saahitya, Vaamaa, Swaagat, Namskaar, Natrang, Kaadambini, Pratibha-India, Ravivar, Nandan, Vaicharikee, Jansatta, Aajkal, Gagananchal, Sunday Observer, Muktdhaaraa, Vishayavastu, Abhinaya, Akshar-Bharat, Sahitya-Amrit (Delhi) Nav Bharat Times ( Bombay, Jaipur), Dharmayug, Aakalp, Anu-Abhaa, Udbhaavnaa (Bombay), Lahar, Raaviraa (Ajmer), Poorvagrah, Saakshatkar, Abhee (Bhopal), Daily Tribune (Chandigarh), Poet (Madras), Jan-Sanskriti, Raashtriya Sahaaraa, Atev (Lucknow), Dastaavez , Antar-Bharati (Gorakhpur), Dhartee (Kanpur) Sahitya Sampark, Kathya-Roop, Pratigyaa, (Allahabad), Sambodhan (Kankroli), Bindu, Madhumati Kala-Prayojan (Udaipur), Shiviraa, Chiti, Vaatayan, Naya Shikshak (Bikaner), Samvet (Hyderabad), Utkarsh , (Lucknow), Samkaleen Srajan, Vagarth, Avkaash, Ravivar, Amrit Bazar Patrika, Anand Bazar Patrika (Calcutta), Vartman-Sahitya (Ghaziabad), Aaveg (Ratlam), Tatasth (Pilani), Sameeksha (Patna), Gavaah (Muzaffarnagar), Jansanskriti, Naandi (Varanasi), Kyon (Bhinmal), Antaraal (Laxmangarh), Kriti-Or, Lok-Sampark, Disha, Bhasha-Parichaya , Tantra, Lok Vikas , Navjyoti, Navchintan, Aayam, Animaa, Sharar, Dishaa, Sampreshan, Rajasthan Patrika, Itwari Patrika, Rastradoot, Kronch, Daily Bhaaskar, Daily Samachaar-Jagat, (Jaipur), Baatcheet (Munger), Nai-Duniya (Indore)] Anchal-Bhaarti (Dewaria), Nishkarsh (Sultanabad), Yatraa (Katni), Bhojpuri-Lok (Aligarh), Sandarsh (Philibhit), Vipaashaa (Simla), Kavitaa, Lok Prabhaat (Alwar),web duniya (indore) Indradhanush -e magazine etc. etc.

Membership of Voluntary, Philanthropic & Cultural Bodies


1. Convenor, "Prayas Kala Sansthan" (since 1974, till Date).

2. Advisor "Aadarsh Lok" (an autonomous art-institution of Bikaner) ( 1976-1984)

3. Founder member "Uttardeshiya-Andhra-Sangati" (since 1978).

4. Member, Voluntary Blood Bank Organization, Jaipur (since 1980).

5. Adviser "Dishaa" (Literary monthly) (1982-1984).

6. Member, Indian Red Cross Society (1983,1998).

7. Member, Rajasthan Sahitya Academy (1987- 1988-1989)

8. Advisor, Rajasthan Shiksha-Sahitya- Academy (1987,1988.1989.1990).

9. Member, Rotary Club International (1987, 1988,1989).

10. Founder member, "Sajag Upbhokta Manch " (since 1988).

11. Hon. Secretary, "Manjunath Smriti Sansthan" (since 1988).

12. Member, Art Council of Rajasthan (since 1990).
13. Founder member, Indian Institute of Data Interpretation & Analysis (since 1992)
14. Member, Program Advisory Committee, Doordarshan (1992-1993).

15. Founder member, "AWA" International (India-France) (since 1994 ).

16. Member JDA Sub-committee on Art & Culture for master plan of Jaipur (1994).

17. Advisor, Culture, International conference on Cardiology (1994).

18. Member , Advisory Board, National Crafts Institute , Jaipur ( since 1995).

19. Honorary Member, Research Board of Advisors "The American Biographical Institute" U S A ( since 1998)


Biography included in the following Anthologies


1. International Writer's Catalogue (1977) for American Libraries, USIS ,
Washington DC (1971)
2. Jaipur : Art and Artists (1977)
3. Who's Who of Indian Writers (1983) and (1999) Saahitya Academy, New Delhi
4. International Authors & Writers: Who's Who (1987).
5. Reference Asia Who's Who of Men and Women of Achievement & Distinction(1992).
6. Indo-American Who's Who (1993)
7. Indo-European Who's Who (1995).
8. Twentieth Century Distinguished Who's Who (1996,1998).
9. Sahityakaar-Kosh (1997.2000)
10. International who's who of Intellectuals (1998,1999,2000).
11. International Directory of Distinguished Leadership (1998,1999,2000).
12. Outstanding people of the 20th Century (1999,2000).
13. Dictionary of International Biography (1999,2000,2001).
14. International Book of Honor (1999,2000).
15. Rajasthan Varshikee (Yearbook) (since 1989 till date).
16. International Men of the millennium (1999,2000)
17. Authors and writers Who's Who (2000)
18. Infa Year-Book
19.Great minds of the 21st Century (2002)
20. Asia- Men & Women of Achievement


Achievements in Visual Arts and other Literary & Journalistic Pursuits

· Very keen and active interest in drawing & painting, photography.
· Six one-man exhibitions of oil paintings, poster-poems and drawings organized at “Chaturdik” and “Surekh” art-galleries of Jawahar Kala Kendra, Jaipur, Art gallery of the Rajasthan Lalit Kala Academy at Ravindra Manch and at Information Centre Art Gallery, Jaipur. Some of the works have been in permanent collection of Juneja Art Gallery, Jaipur. Paintings also included, exhibited and appreciated in international, national, and other Art exhibitions held by Rajasthan Lalit Kala Academy and other Art institutions. Works in many public and private collections all over the world including the Reserve Bank of India.
· Photographs also published in newspapers and magazines.
· Acted as Judge in various State and National Painting-exhibitions and on the spot painting competitions Organized State level Children's painting camps & competitions.
· Invited to write a regular column on art activities in newspapers and magazines, like Pratipaksha (New Delhi) Itwari Patrika (Jaipur) Rajasthan Patrika (Jaipur), Lahar (Ajmer), shivira (Bikaner), Vatanayan (Bikaner) etc.
· Was official art-critic of periodicals like "Pratipaksha" (New Delhi), " Muktadhara"(New Delhi), "Shuddha" (Jodhpur) and Daily "Rajasthan Patrika and “ Itwari Patrika, Jaipur ( from 1969 to 1982).
· Has also worked as the Campus correspondent for the national news service "Samachar Bharti" during under-graduate studies in the University-college for earning journalistic experience ( 1972,1973,1974).
· Active interest in writing scripts for documentaries and Vedio-films. Has directed numerous Vedio-films for art-centers like Jawahar Kala Kendra. A full -length U-matic documentary film titled as "Kalaon Ke Aakash Men Khuli Khidkee" conceived, scripted & directed for Jawahar Kala Kendra, Jaipur.
· Invited as a prominent young Hindi Poet to participate in "Antar-Bharati-3" -All India Poets and Critics joint Workshop in 1988 organized by the “Nirala Srijan Peeth” of Bharat Bhawan, Bhopal, where a number of poems were translated into Gujrati, Bangla, Tamil, Marathi and English by other participating litterateurs.
· Recitation of Poems was filmed by Bharat Bhawan for their archives and "Asian poetry Center"

. Ashok Atreya has attempted a 30 minites documentary film on the life and works of Hemant Shesh, tilted as "SHABD AGAR SHABD HAI" in 2007.
· Dramatization of a story "Baatcheet" was done by renowned theatre director-playwright Rizwan Zahir Usman in Jawahar Kala Kendra, Jaipur's, Annual Short plays' Festival (1996)
· Regularly Broadcasting Poems, talks and Discussions from Various Centres of All India Radio and Doordarshan (TV) since 1970.
· Participated in All India Radio's prestigious Multi National symposium of poets ("Sarva Bhashaa Kavi Sammelana") for the year 2000 at Pune, India.
· Has been reciting poems in many All India Kavi Sammelanas organized by Television, A.I.R, Universities, Academic and Literary and other cultural bodies.
· Convened many Symposia, discussions, Seminars, Conferences, Artists camps, Workshops on Art, Aesthetics, Literature and Culture.
· Has chaired many sessions. Delivered lecture-Demonstrations, talks, Inaugural and Valedictory Speeches on art and culture.
· Ph D degree awarded to a research scholar registered by Aligarh University who worked on

"the literary contribution of Hemant Shesh to contemporary Hindi poetry” (2000)
· Biographical Note included in international e-Yahoo-Group “Samaveta”, Yahoo, Wikipedia, Orkut, hi5, Bigadda, where are you now (WRUN), fricker, etc. and other websites.
· A felicitation function organized jointly by the Rajasthan Vidyapeeth ( A deemed University) and State Academy of letters followed by a detailed lecture on the poetic process (in Jan. 2002) at Udaipur.
· Chief Minister Rajasthan Mrs. Vasundhra Raje felicitaed on 29th April 2005 for literary achievements.
· Felicitation for outstanding literary contribution to literature by “Aastha Cultural Institution (2006)

Administrative Experience


1. Assistant Collector & Magistrate, Pali / Alwar (1977-78)
2. Manager, Rajasthan Small Industries Corporation, Jaipur (1979).
3. Sub- Divisional Magistrate, Neem-Ka-Thana / Deeg / Jaipur (1980-81).
4. Deputy Director, Department of Social Welfare, Jaipur (1982).
5. Officer-on-Special Duty, Directorate of Tourism, Jaipur (1983-1984).
6. Addl. Collector & Additional District Magistrate, Tonk /Bharatpur/ Pali (1985, 1986, 1987,1988,1990 )
7. Deputy Director, Indira Gandhi Panchayati Raj Sansthan, Jaipur (1988-1989 ).
8. District Excise officer, Sriganganagar (1991)
9. Additional Registrar, Board of Revenue, Ajmer. (1992)
10. Additional Director , Jawahar Kala Kendra, Jaipur (1993,1994,1995)
11. Registrar, Kota Open university, Kota (1995-96) .
12. Deputy Secretary to H E the Governor of Rajasthan, Jaipur (1996-98).
13. Additional Director & Deputy Secretary (Training ) HCM Rajasthan Institute of Public Administration, (1998 - 1999)
14. Deputy Secretary to the Government, Higher and Technical Education Deptt. (September 1999)
15. Special Officer to the State Minister for Higher Education, Government of Rajasthan
16. Deputy Secretary to the Government, Medical and Health Deptt
17.. Technical Education Deptt. Deputy Secretary to the Government, Technical Education Deptt.
18. Registrar, Rajasthan Sanskrit University, Jaipur (2005)
19. Deputy Secretary to the Government, Agriculture Department, Secretariat (2007)
20. Additional Director, Directorate of women empowerment, Jaipur (2008)
21. Deputy Secretary, State water Resources Planning Department, Secretariat, Jaipur (2008- sept. 2009)
22. Secretary, Rajasthan Public Service Commission, Ajmer ( Since 3-9-2009 till date)

Awards, Felicitations and Honors Offered/ Received

· Was awarded commendation certificate and First prize for "extraordinary" services as Principal Officer In-charge of the "Rajasthan Pavilion" in India International Trade Fair 1979 organized by Trade Fair Authority of India, Ministry of Commerce, New Delhi
· Cash prize and Merit Certificate (1986) awarded by the Govt. of Rajasthan for "Excellent creative writing."
· President of India awarded Silver Medal in 1992 and a commendation Certificate for "exemplary and outstanding contribution in 1991 Census Operations".
· Commendation Certificate (1996) awarded by Election Commission of India for" meritorious services rendered "as observer in Ujjain constituency in Parliamentary Elections of 1996.
· * Was offered conferment of honorary degree of "Aacharya" by Gemini Academy of Haryana for "outstanding services in the field of Indian literature " (1998)
· Was nominated for "International Cultural Diploma of Honor" for exceptional contribution in the field of Art & Culture by the American Biographical Institute, North Carolina, USA (1998).
· Was offered 'Diploma' by International Biographical Center, Cambridge, England for ""outstanding Achievements in literature" (1998).
· *Was nominated for "century's most notable Gold Medal" commemorating extraordinary achievement during the last on Hundred Years:" The 2000 Millennium Medal of Honor".
· Was selected by the American Biographical Institute, North Carolina, and USA as 'International Man of the year 1998' for outstanding accomplishments.
· Nominated for awarding a Gold Medal as international man of the year 1998-99 by The International Biographical Center, Cambridge, England.
· IBC also nominated for the prestigious international man of the millennium award (1999)
· Was nominated as 'one of the 500 most exceptional individuals of the world' for inclusion in the sixth World Edition of ‘International Book of Honor'.
· Was also offered to be included in the 27th millennium edition of "the Dictionary of International Intellectuals" to be published by the The International Biographical Center, Cambridge, IBC, England(2000)
· Was awarded Shrigopal Purohit Memory Award (2001) for outstanding contribution to Art-Criticism by the Pink City Press Club and “Sabrang” Cultural Institution (Jan. 2002)
· Was honored by the Rajasthan Sahitya Academy and 'Rajasthan Vidyapeeth' (A deemed University) jointly at Udaipur in “Srijan Sakshatkar” program : Feb. 2002
· Was honored on 13th July 2002 by  Mrs. Vasundhara Raje, the Chief Minister, Rajasthan for sucessful and consequtive editing Rajasthan Administrative Service Ofiicers’ literary magazine “Pratidwani”
· Was nominated by 'Gemini Academy, Panipat for the “RamVriksha Benipuri Birth Centenary Felicitation”
Was honored by ABI (American Biographical Institute ) as 'Man of the Year ' in 2008-2009