A SELF-TAUGHT portrait artist from Jaipur in India has impressed high profile names and taken social media by storm.
Portrait of Shreya Ghoshal
With 109,000 Instagram followers, Rishika has had her work appreciated by celebrities, including Alia Bhatt, Shreya Ghoshal, Madhuri Dixit, Amitabh Bachchan, Tiger Shroff, Ameesha Patel and Indian Prime Minister Narendra Modi. The award-winning artist has had her richly coloured work presented at high-profile exhibitions and takes portrait commissions from around the world.
Eastern Eye caught up with the rapidly rising young art star known simply as Rishika to find out more.
What first connected you to art?
My whole life is art. I have been painting and drawing from my childhood but started seriously about seven years ago. Now I work as a freelance artist. I graduated in science, but an artist always lived in me, so I spent time finding my own voice and style through experimenting on a regular basis. In many ways, I am
still finding myself in every piece I paint. I express my emotions through colours
and have always tried to improve my technique. I started using drawing and painting as an outlet for my emotions, and thus my artistic journey began.
You started working mostly in graphite and charcoal but moved to oil paintings. What drew you towards portraits in particular?
I was encouraged to find a ‘real’ job by my parents, rather than to pursue my dream of becoming an artist. I completely dedicated myself to art and have never looked back. Being the only artist in the family made me determined to practise every chance I could. Over the years, my style changed as I trained my hand to catch up with the image in my mind, but an interest in portraits always remained constant for me.
Why is that?
Portrait of Meena Kumari
Portrait painting reflects the soul and personality. On every layer I paint, I feel I merge with their soul. A portrait’s strength is especially in the gaze, which is unique each time. Creating a complicated composition is a challenge during the process of creating my art, but very satisfying if the visuals of the theme in my head and the actual result meet well. The human portrait is my primary focus. My current style is a mix of figurative and surrealism by giving the artworks a unique style.
Your work is expressive…
The main purpose of my works is to spread inspiration for freedom of self-expression, emotion, and the courage of being myself. In my paintings, I try to convey a sense of ambivalence, peace, calmness, beauty, life, nature, and social issues. I combine reality with my fantasy world. Each painting has a little story. Each person reads them differently.
How long does a painting usually take?
Quick sketches take around two to three hours. Some paintings take around four-five days and others 15 to 20 days, depending on the complexity, before being dried and shipped out.
Which have been your favourite works?
All my artworks are a part of my soul. I am really proud of my journey and love all of my works.
with Ameesha Patel
What has been the most memorable moment so far?
Moments of great pride were receiving the Web Wonder Women Award by the Government of India in 2019 and an appreciation letter from the Prime Minister of India in 2018. A memorable response came from Ameesha Patel, who is a humble, positive person. She has always encouraged me to fulfil my dreams.
You create portraits for customers globally and work closely with them. But what according to you is the secret of a great artwork?
The secret is to let little pieces of your heart go into each artwork you make. Each time I paint from my imagination, it’s like discovering a new place and giving it a physical form. I often say a bad day painting is better than a day of not painting at all.
What inspires you as an artist?
I find inspiration in the world that surrounds me. That’s why I try to pay attention to every detail on my paintings, in order to capture emotions and feeling of the things that inspire me. I see beauty in the simplest things and fix these moments on canvas and paper. I am self-taught and look for inspiration everywhere. I love the freedom being open minded to the creative process brings.
Did lockdown affect you creatively?
No, it didn’t. I’ve created many artworks on whatever was happening at that time. I discovered painting as a means of meditation, relaxation, and self-expression. I’ve made donations to organisations, derived from the sale of my artworks. I would be able to paint whole day in a closed room with a paintbrush in my hand.
Your advice for aspiring artists...
You don’t have to be born with some extraordinary talent to master this art. Hard work and practice is the only key. I think the artist should not restrict themselves to a particular style or technique. The universe is limitless, so the art is as well. Learn through trial and error, and keep practising to show what you can do.
What are your future plans?
A picture can speak a thousand words, and so I want to share my perspective towards life, emotions and dreams with the world. In today’s hectic world, I am committed to inspiring more people to take up art as a way to find calm and build resilience. I want people to experience colours they haven’t seen before. I want my art to touch someone’s core, influence ways of thinking, give a voice to the silenced and show everyone that it is possible to live the life of your dreams. If I could convince my viewer that they have the power and key to free themselves from fear, and live their life to the fullest, while exploring exciting new possibilities, my goal would be fulfilled.
Why do you love painting?
I ask myself why I have dedicated my life to being an artist and the truth is that I make art because it is part of who I am. I feel that art makes me unique and without it I would be lost. I am addicted to painting. Just like water and air, art is a necessity for me. Finishing a painting fills me with a sense of accomplishment and pride. I am obsessed with the magic of colour and adore patterns. Sometimes I use my own face in my artworks to express feelings and emotions of a woman. I love making paintings that make people feel connected to themselves. Painting brings me closer to the feeling that life consists of magic and mystery, and that there is more life around us than we think. That there is energy in everything.
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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