SANJAY PANDITA
Ghulam Rasool Santosh, widely revered as G. R. Santosh, stands as a towering figure in the annals of Indian art and literature, his legacy etched in the luminous interplay of color, form, and verse. Born in the mystical valley of Kashmir in 1929, in the modest quarters of Chinkral Mohalla, Habba Kadal, Srinagar, Santosh’s life is a testament to the triumph of the human spirit over the vicissitudes of fortune. His journey from the son of a humble policeman to one of India’s most celebrated painters and poets is nothing short of extraordinary.
Santosh’s early life was marked by adversity. The untimely death of his father thrust him into the harsh realities of life, compelling him to abandon formal education. Yet, what could have been the end of a young boy’s dreams became the fertile ground for Santosh’s artistic awakening. Taking up odd jobs—painting signboards, weaving silk, and whitewashing walls—Santosh began to engage with the world in a tactile, intimate way that would later inform his artistic practice. His encounter with these mundane tasks was not just a means of survival, but an early, unintentional apprenticeship where he first began to understand the language of forms, textures, and colors.
His passion for art found its first formal expression when, in 1954, he won a Government of India scholarship to study fine arts under the tutelage of the esteemed N. S. Bendre at the Maharaja Sayajirao University of Baroda. This period of study was transformative. Under Bendre’s guidance, Santosh honed his skills in painting and absorbed the influences of Western art, particularly the works of Cezanne and the Cubist movement. However, it was not in the Western idiom that Santosh would ultimately find his voice, but in the spiritual and mystical traditions of his native Kashmir. This realization marked a turning point in his artistic journey, where he began to search for an expression that was deeply rooted in his cultural and spiritual heritage.
The late 1950s and early 1960s were a time of intense spiritual exploration for Santosh. Immersing himself in the esoteric practices of Kashmir Shaivism and Tantric art, he began to develop a unique visual language that synthesized the ancient with the modern, the mystical with the material. Kashmir Shaivism, with its profound philosophy centered around the non-dualistic concept of the union of Shiva and Shakti, provided Santosh with a metaphysical framework that deeply influenced his artistic output.
Kashmir Shaivism posits that the universe is an expression of the divine consciousness, manifesting through the dynamic interplay of Shiva, the formless absolute, and Shakti, the divine energy that animates all existence. This union of opposites—of male and female, form and formlessness, creation and dissolution—became the cornerstone of Santosh’s artistic vision. His paintings from this period are a riot of vibrant colors, precise lines, and symbolic forms—each work pulsating with spiritual energy and profound sensuality. These were not mere visual representations but invocations, meditations on the divine union of Shiva and Shakti, of Purusha and Prakriti.
The influence of Shaivism on Santosh’s work is most evident in his use of symbols and motifs drawn from Tantric art. Mandalas, yantras, and other geometric forms that are central to Tantric iconography feature prominently in his paintings. These symbols, which represent the cosmos and the divine structure of the universe, are rendered in a style that is both intricate and bold, reflecting the dynamic tension between the finite and the infinite, the temporal and the eternal. Santosh’s use of these elements was not merely decorative but deeply symbolic, each line and color imbued with spiritual significance.
Santosh’s art transcended the boundaries of the canvas, resonating with audiences both in India and abroad. His works were exhibited at prestigious venues, including the Tenth São Paulo Art Biennial in 1969 and the ‘Neo-Tantra: Contemporary Indian Art Inspired by Tradition’ exhibition at the University of California, Los Angeles, in 1985. His art was not just a personal exploration but a bridge between cultures, a dialogue between East and West, tradition and modernity. The critical acclaim and global recognition he received underscored the universal appeal of his work, which, while rooted in the specific spiritual traditions of Kashmir, spoke to the universal human quest for meaning and transcendence.
But Santosh was not content to express his creative impulses solely through visual art. He was also a poet, dramatist, and essayist, contributing significantly to the literary heritage of Kashmir. His poetry, written in Kashmiri, is imbued with the same spiritual intensity that characterizes his paintings. In 1979, he was awarded the Sahitya Akademi Award for his collection of poems titled Be Soakh Rooh (BesukhRuh), a work that delves into the depths of the human soul, exploring themes of longing, transcendence, and the ineffable beauty of the mystical experience.
His literary output, however, extended beyond poetry. Santosh wrote plays and essays that reflected his deep engagement with Kashmiri Shaivism, and he was one of the few scholars who could read and write in the ancient Sharda script, a script that had all but disappeared from use. In this, as in his art, Santosh was a preserver of tradition, a custodian of the cultural and spiritual heritage of Kashmir. His scholarly pursuits in understanding and preserving these traditions further enriched his art, providing him with a deep well of spiritual knowledge from which he could draw inspiration.
Santosh’s life was also marked by personal courage. In a conservative society, he made the bold decision to marry his childhood love, Santosh, a Kashmiri Pandit woman. This union, unusual and controversial at the time, was not only a testament to his deep love and commitment but also a reflection of his broader worldview—one that transcended the narrow confines of religious and social boundaries. In taking his wife’s name, Santosh symbolically embraced a new identity, one that was as much a fusion of his personal history as it was a declaration of his artistic and spiritual independence.
As an artist and a poet, Santosh’s contributions were widely recognized during his lifetime. He was honored with numerous awards, including the Padma Shri in 1977, one of India’s highest civilian honors. He also received the National Award from the Lalit Kala Akademi multiple times, a recognition of his exceptional talent and his significant contributions to Indian art. In 1997, the University of Jammu posthumously conferred upon him the degree of Doctor of Literature, acknowledging his extraordinary contribution to art and literature.
Santosh’s later years were spent in deep contemplation and artistic creation. His works from this period are marked by a profound tranquility, a quiet yet powerful exploration of the inner self. The vibrant colors of his earlier works gave way to more subdued tones, reflecting perhaps his own journey towards spiritual fulfillment. In these later works, the influence of Shaivism is still palpable, but it is expressed in a more introspective, meditative style, as if the artist, having traversed the outer realms of the mystical experience, had turned inward to explore the depths of his own soul.
Ghulam Rasool Santosh passed away on March 10, 1997, in New Delhi, leaving behind a legacy that continues to inspire and resonate. He was survived by his wife, a son, and a daughter, but his true legacy lies in the body of work he left behind—a legacy that continues to speak to the deepest longings of the human soul, to the eternal quest for truth, beauty, and the divine.
In the annals of Indian art and literature, Santosh occupies a place of honor, not merely as a painter or a poet, but as a seer—a visionary who, through his art and his words, sought to bridge the chasm between the material and the spiritual, the seen and the unseen. His life and work are a testament to the power of art as a means of spiritual expression, a vehicle for the exploration of the deepest mysteries of existence. His ability to synthesize the esoteric teachings of Shaivism with contemporary artistic practices resulted in a body of work that is both timeless and timely, resonating with audiences across cultures and generations.
Even today, more than two decades after his passing, the art of G. R. Santosh continues to captivate and inspire. His paintings, with their intricate symbolism and vibrant energy, invite the viewer to embark on a journey of self-discovery, to delve into the mysteries of the universe and the self. His poetry, with its profound spiritual insights, offers a glimpse into the soul of a man who, despite the challenges of his early life, achieved a rare synthesis of artistic and spiritual fulfillment.
In a world increasingly dominated by materialism and superficiality, the life and work of G. R. Santosh stand as a beacon, a reminder of the transcendent power of art and the enduring relevance of the mystical traditions of Kashmir. His legacy is not merely that of a painter or a poet, but of a sage—a man who, through his art and his words, sought to illuminate the path to the divine, to bring a little of the infinite into the finite world of human experience. His life is a celebration of the eternal, a tribute to the indomitable spirit of creativity and the transformative power of art.
The writer can be reached at sanjaypanditasp@gmail.com
