Picture this – a canvas that breathes life into the valleys and mountains, accompanied by verses that echo the whispers of Dal Lake and the rustling Chinars. Have you traversed into the soul of Kashmir? This is what the book ‘Love Letter to Kashmir’ offers, a mesmerizing blend of visual elegance through the paintings of Masood Hussain and poems by Gabriel Rosenstock. The collaborative work captures the essence of a time when simplicity and authenticity prevailed, offering a nostalgic journey into a world unburdened by the trappings of contemporary life.
The ekphrastic poetry – a poetic form that responds to or is inspired by a work of visual art – in ‘Love Letter to Kashmir’ transforms the act of observing into a meditative experience, where the inward eye sees beyond the canvas.
As the poet starts from the arrival of spring, the verses become a celebration, reflecting a sense of warmth, comfort, and shared moments. But it also implies a sense of optimism and hopes that the hardships or difficult times eventually fade away or be left behind.
at last, it is Spring
i’ll fill up the samovar
and You will join me
we’ll slowly sip namkeen chai
winter will be forgotten
The poet draws from Sufi ideals of divine love to explore longing, separation and unity with the beloved in various guises. Nature serves as metaphor – the budding lotus and flowering trees mirror the blossoming of love..
Time and again, the speaker finds only ephemeral reflections of the beloved in the mundane world. Yet a persistent hope and remembrance of past union sustains the soul on its quest. Historical and contemporary conflicts fade into the background as an eternal, placeless love comes to the fore.
The poet’s reflection on the impact of hardships, the desire for divine love, and the unity within the care of the beloved create a poignant tapestry of emotions. The laughter of ancestral spirits, playing in the woods, evokes a sense of joy and liberation, as if they have forgotten the weight of sorrows.
boyi gov kaeyn
beni gayih thaein
brother hard as stone
sister soft as butter
let me be Your sister!
The use of Kashmiri proverbs and expressions adds a distinctive and authentic local flavor to the narrative.The simplicity of the language adds sincerity to the emotional appeal, making the lines resonate on a deeper, heartfelt level.
These verses add an extraordinary dimension to the paintings by acclaimed Masood Hussain, transporting us seamlessly between seasons and through the ages. The canvases come alive with vibrant images of traditional Kashmiri life—a mesmerizing display of Shikaras gliding on the Dal Lake, the grandeur and intricate beauty of Masjids, the hustle and bustle of streets, the old mud houses standing proudly with red dried chilies hanging on the outer walls, and Tonga reminiscing a bygone era.
A striking painting shows shepherds, adorned in pherans, navigating the terrain with their cattle, and the poet says-
when you came here
to Yusmarg, Jesus,
wolves and bears abounded
the wolves are still here
some in sheep’s clothing
It gives a message to see through disguises and not take things at face value. The wolves could represent forces that pose threats but masquerade as something benign. It hints at underlying tensions or conflicts beneath a seemingly peaceful surface.
Mughal gardens and chinars find a handsome share in the book, and they are portrayed with such finesse that they seem more beautiful and attractive than a photograph. Each hue is aptly chosen, adding to the allure of these masterpieces. The intimate portrayal of the Somavar, Laalteen (lamps), Daan (mud stoves) and Kangri – all serve as windows into the rich tapestry of Kashmiri life, inviting viewers to not only see but also emotionally experience the cultural nuances and daily rhythms depicted in each stroke of the artist’s brush.
What makes these paintings particularly captivating is their ability to blend the mundane with the mystical. In the intricate dance between realism and surrealism, earthly and ethereal, the paintings in this collection beckon viewers into a realm where boundaries blur and perceptions shift.
The last painting of Tongas, men and Children, with the poem alongside keeps alive a connection to the past and reminds others of roots/heritage. Being viewed as from “another age” implies a disconnect from modern realities and a clinging to more rooted cultural practices.
i will travel
in a tonga from village
to village singing songs for You
people will wonder and ask
is he from another age
Masood Hussain’s paintings are a journey through a myriad of emotions. They transport one to a place of deep calm, reflection and connection to something greater. It leaves one feeling soothed yet stirred; the beauty tinged with a hint of sadness adds depth to the emotional resonance. Overall, “Love Letter to Kashmir” emerges not just as a book but as a vivid composition that transcends the conventional boundaries of storytelling.
It’s worth noting the resounding praises this work has garnered from various perspectives. “An artist is someone who, through a glance, a fleeting smile, a subtle hand gesture, or the emotion in their voice, evokes the rasa (distilled emotion). An artist is true when they awaken the rasa with just a hint here, a trace there; anything more becomes redundant. Kashmir’s ace painter, Masood Hussain, and renowned Irish haijin, Gabriel Rosenstock, are masters in their respective fields, and their collaboration — Love Letter to Kashmir — is a testament to the above fact,” Kala Kamlesh, the author of ‘Beyond the Horizon Beyond’ writes.
“Evocative paintings and luminous poems bring together sensibilities as far apart as Irish and Kashmiri, yet they seem to emerge from a shared tradition of recreating homelands wrecked by colonial violence. Love Letter to Kashmir is a reverie. It does not offer pain; it symbolizes defiance,” another review reads.
- Author is news editor at the Kashmir Observer
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