Wednesday, 6 February 2013

The Pattern of Guns

One of the first things I learned in art school was to make a pattern. I recollect how we were instructed to study flowers, leaves and vegetables and then abstract the shapes by repeating the forms across the page in different ways. This above all aspects of designing textiles has fascinated me. I love pattern; the idea that anything, even an innocuous vegetable like Bhindi [okra], when repeated can become an attractive design, something to adorn your body or environment with, is a fabulous thing.
The desire to decorate is instinctive in mankind and even the most primitive of societies have demonstrated this tendency. The history of ornamentation began with primitive man observing and translating the harmonies he saw in nature into tattoos. From this they progressed to wearing or stamping their bodies with animal skins. This was followed by weaving of straw and strips of bark and then we developed the skill to carve, to decorate weapons of defence after which comes architecture, followed by the sophisticated means of embellishment we now call design.  

A pattern, generally speaking, is formed when a single unit called a motif is used collectively and then repeated according to a geometric system. In other words when decoration is made by repeating a combination of specific form elements [for instance, the Bhindi] according to a pre-determined scheme they form a motif. When these motifs [or motives] are used collectively they become ornament, which when combined and repeated according to a specified geometric format they form a pattern. In textiles most designs are repeated in half-drop, brick laying or mirrored formats. I remember how we use to make one inch square grids in these formats to draw in the Bhindi motif to see which would be the most complimentary pattern that emerged.

Textiles patterns are what I have been absorbed in creating and studying for decades. The other day, however, I saw a contemporary, water-colour drawing by an Iranian artist, in the style of a Persian miniature, where the traditional four-sided border that finished the composition was not made up of filigree and flowers but of rifles lined up one after the other, to form a border.  The resultant effect was a repeating pattern. One rifle joined the other with equal spaces between them, the same part protruding and touching the next rifle at the same point across the length of the border. Hundreds of tiny guns were thus uniformly drawn.  

Now the idea of a rifle becoming a pattern, such that I have learned to imprint on fabric is a frightening thought. But that aside, what interested me, was how something mechanical, with associations of murder, terror and violence could appear almost benign.  The artist had not sought to abstract its form. The rifles that looked like AK 47s were drawn with all recognizable detail and facets. The artist has also constructed medallions with pistols and knives and these formed parts of the extended border. This concept, that anything which becomes a pattern could find acceptance was even more daunting when considering the associations attached to a gun. But there was also something profound going on here, because I did not recoil, but went right up to the painting, to take a closer look.

In the emotional dimension of being, seers are constantly telling us to break patterns of thought or habitual ways of thinking that limit our perception of people, places and things. As I reflected upon my response to the painting, I was reminded of this. In addition, the paradox of pattern as being both attractive and non-desirable was also coming into play. There are certain things that I do, which I like and some that I dislike. Not so much in the doing but often what happens after. So naturally, I jump to the conclusion that it is the ones that I do not like the consequences of which I need to dispense with. But the rifle border made me pause and reconsider this, because it also showed me that what I think as unacceptable also has the possibility of becoming palatable when it becomes a repeating pattern. In other words, by implication, when you keep repeating something it loses its hurtful associations to acquire an attractiveness you would not generally associate with it? Can that be possible?
I wonder. Does this mean that guns, with all their associations of killing, become acceptable as part of life and therefore acquire a quality that attracts us rather than makes us recoil in fear? They have been used for centuries to hunt for food and even game but, these days, they are being used to kill fellow humans in rage, out of revenge, and in the name of religion. None of this is for basic survival, as I understand it. Perhaps the notion of survival has changed because our values have changed and food alone is not enough. We need a sense of self that goes beyond this. While this argument could be plausible, I considered how it could ever legitimize the violence perpetrated by a gun.
As I finished breakfast, settling down with a pot of tea, I scanned the post and right on top of the pile of unopened letters was ‘The World Wisdom Review’. I turned to the ‘Book of the Month’ page to read an extract from ‘A Profound Mind’ by the Dalai Lama entitled ‘Identifying the Self’. The passage outlined that “to know and experience the nature of self correctly is to experience nirvana”, but “to know the nature of self in a distorted manner is to experience samsara[i]” thus suggesting that it is imperative to devote ourselves to understanding the difference between self as ‘me’ and the permanent, unchangeable or ever-changing self, distinct from the mental and physical parts of the human being. Where as a ‘Yogi’ engaged in profound, analytical, meditative investigation, we can experience ‘me’ as inherently real, to eventually negate this and merge with the permanent unchangeable self.

In the same newsletter Swami Nikilananda Saraswati of the Chinmaya Mission added that this state of enlightenment cannot be attained by non-performance of action. Meditation, he says, is about transcending action through knowing. “We have to go through each experience, doing whatever we must with a certain watchfulness, to be able to transcend the emotional disturbance that identifies ‘me’ as the doer, towards ‘doing’ with detachedness, because “action is the very nature of nature.”

 Hmmm, so it seems that, in experiencing the world, we encounter a distortion of the spirit and guns and violence are as much a part of this as anything else. And the pattern I saw, which made them look more attractive than my association with their function, seems to fall into this thinking. It is a part of living today, and acceptance without judgment, seems to be the key to transcending it.

I don’t like violence of any kind, even in film or on TV. And when I encounter any episode or film that disturbs I either cover my eyes with my hands or turn off the TV. More so, I dislike firing guns: saying things that diminish someone’s sense of self. I wish I did not have to get involved in telling someone that what they do or don’t do matters to me and that I do not like it. So I try and avoid saying anything but end up hurting myself because I have not transcended the anger and am curtailing it because of inhibition. When and where it matters, when others diminish your sense of self by their pattern of behaviour, I guess the missives need to be fired. It’s about survival, where identity is still an issue. 
Decoding emotional patterns of behaviour is an uneasy subject, but the way the human mind devises patterns both physical and intellectual is a fascinating facet. Take for instance the intricate jaalis[ii] of the tomb of Itmad-ud-daullah[iii] on the outskirts of Agra or the geometric and arabesque patterns of Islamic art as seen elsewhere in the world. When I look at these patterns, the mind boggles.

It is said the Koran bans figurative representation and thus Islamic art was built upon pattern generation through intricate interlacing of geometric forms. However, the evolution of this ideal is complex and interwoven with Christian Neoplatonic ideas. Geometry was important in the Islamic world as its figures and constructions were imbued with symbolic, cosmological and philosophical significance. The Greeks developed this knowledge and manuscripts containing this were widely dispersed and available to the Arab world by end of eighth century.

Revelations of the Koran affirmed a divine unity and Plato’s ideas were significant in reconciling this with Classical and late-Classical philosophical systems. He believed that number and form were keys to a deeper understanding of the universe and was sympathetic to the Islamic perception of the gross material world as a place of corruption and illusion. Plato also had a very low regard for the art of representation, seeing this as ‘a copy of a copy’, removed from the ‘truth’. True beauty could not be conveyed by representation or imagination. It had to express at least some of the eternal quality of his ‘Ideas’, which he found some sense of only in geometry.
The Neoplatonists, who conveyed Plato’s ideas to the Islamic world, had elaborated his philosophical system into a complex cosmology of their own, influenced by Pythagoras, Aristotle as well as Plato. In its later development, it also absorbed Jewish and Christian precepts. In time, Muslim scholars were able to separate out the older Classical philosophies from later accretions and made their own interpretations of the original material.
However, It is interesting to see that the Neoplatonic ideal influenced by many religions and great minds, imbibed and applied by Islam, in whatever stages and interpretations, also reflected ideas that both the Dalai Lama and Swami Nikilananda also spoke of, citing ancient philosophies of Buddhism and Hinduism which correlated with Plato’s sympathetic perception of the Islamic idea of the gross material world as a place of corruption and illusion and affirming the transcendent ideal of divine unity as delineated in the Koran.
Is there a pattern here through which we can transcend that of guns and words firing missives in self-defence? It seems to be a way forward, towards understanding the underlying pattern of existence. Through this could we dissolve those illusionary boundaries defined today by dogmatic religious identities? Ironically, even a cursory study of the basic principles on which each religion is based shows that they all sought to inspire devotees to transcend identity to merge with divine unity of the permanent unchangeable self. But paradoxically, as Swami Nikhilanada suggested, we have to go through each experience, doing whatever we must with a certain awareness, to be able to transcend the emotional disturbance that identifies us with “me” before we can comprehend the subtler realities.
Guns continue to be fired in all parts of the world; on demarcated borders that define countries and at unspoken borders in relationships and more, but are we doing it with the requisite watchfulness to arrive at the point of transcendence? The rifles in the water-colour miniature were neither attractive nor non-threatening but their pictorial form allowed scope for thought which a gun pointed at my face would not. Thus the artist’s voice and vision as the conscience of society gains relevance because this border patterned with guns did not make me recoil in horror, its finessed presentation made me think. It must therefore have made many other viewers think too.
And that means there is hope. The ideal may be eons away. It may never be reached but it is hope that keeps us going, aspiring for a better life, greater happiness and a better world.

[i] The world
[ii] Carved stone trellises
[iii] Lord Treasurer and Noor Jehan’s father’


  1. really enjoyed reading this one,not least of all because you make the point in a calm way though it is held together by a thread of tension but with an acceptance...hope not resignation...similar to the way i have approached my set of works in two ongoing group shows you may have seen.

    1. Thanks Saba for reading and writing your comment.I am glad that you enjoyed reading through this post and was able to feel the thread of tension [albeit subtle]through it all. Yes, hope not resignation is the only way forward in any situation, particularly where there is hostility. I did not manage to see the works you speak of but maybe at some point you will let me see the videos with you. Would like to.

  2. I could understand your dilemma Gopika. On the one hand is violence, on the other is the wise words of men encouraging us to experience life as it comes and to know, that this too will pass. Essentially, as you say, it is all our perception. If the pattern of a gun, or making a picture out of guns brings therapeutic relief to the painter, then so be it. At the moment of the drawing, stitching, whatever, we emote in ways that will make sense of a world we are unable to understand in any other way. So maybe, the gun, which spells violence to us, is a smooth metal, hard and strong and has a hole in front, through which it voices the holders mind. At other times, it sits in close union, end to end with fellow speakers. Who knows what was in the mind of the person who drew it? For that matter, it is just another point of view of someone, we know, or we do not know. Yet, we have heard his/her voice, haven't we.
    A lovely write, much thought gone there; naturally it evokes a bouquet of responses.

    1. Yes Julia, you are right, we do not know what went on in the mind of the artist, but for me the whole point of art is what it evokes in the viewer, what sense we can make of it. The artist's voice is acknowledged when we talk about their work and whatever we share through the making of art or through writing about it, will always be a matter of individual perception. Thanks for reading and writing. I liked the way in which you interspersed the idea of violence, which I did not quite spell out in the essay,in the middle of your comment, drawing attention to the cold hard metal which unleashes its voice through a hole.It was evocative and an intersting interpretation. thanks for bringing this out.

  3. The rifle patterns remind me on those hunting based paintings from medieval periods, and ancient times too, where killing animals for recreation purpose was 'a way of life' .

    Guns, and killings, are a way for life for some in the world today. Cruelty, disguised as bravery, has often been sung about, painted about, written about and has shows presence in multiple art-forms.

    I recently saw a clip of some upcoming movie which showed how teen kids played openly with guns in the deep deserts of middle east. The rifle pattern looked like reflection of the same.

    Is the world into a self-destruction mode? Moving fast to the ....... 

  4. Your comment Ashish reminded me that the age old HIndu epic The Mahabharata, the essence of which is often quoted today - the 'Gita', is a discourse that takes place on the battle field, at the onset of battle, encouraging Arjun to overcome his dilemmas and fight for dharma, his duty/truth etc. I was reminded by this that the seer who wrote this and many luminaries thereafter who have spent years studying and translating this discourse, presenting varied interpretations for the proverbial Arjun's of each age,are all, in a sense, telling us that life is a battle and somehow or the other we have to brace ourselves to undertake it. Much as seers advocate love and peace too, it seems that peace means being at peace with the way your life is, including the battles you must fight. Thanks for writing and reminding me of this.

  5. Zindagi, har kadam, ik nai, jung hai....

  6. RL Stevenson talks of patterns of style in literature. Thought you might be interested. Here is an extract from

    Literature, although it stands apart by reason of the great destiny and general use of its medium in the affairs of men, is yet an art like other arts. Of these we may distinguish two great classes: those arts, like sculpture, painting, acting, which are representative, or, as used to be said very clumsily, imitative; and those, like architecture, music, and the dance, which are self-sufficient, and merely presentative. Each class, in right of this distinction, obeys principles apart; yet both may claim a common ground of existence, and it may be said with sufficient justice that the motive and end of any art whatever is to make a pattern; a pattern, it may be, of colours, of sounds, of changing attitudes, geometrical figures, or imitative lines; but still a pattern. That is the plane on which these sisters meet; it is by this that they are arts; and if it be well they should at times forget their childish origin, addressing their intelligence to virile tasks, and performing unconsciously that necessary function of their life, to make a pattern, it is still imperative that the pattern shall be made.

    Music and literature, the two temporal arts, contrive their pattern of sounds in time; or, in other words, of sounds and pauses. Communication may be made in broken words, the business of life be carried on with substantives alone; but that is not what we call literature; and the true business of the literary artist is to plait or weave his meaning, involving it around itself; so that each sentence, by successive phrases, shall first come into a kind of knot, and then, after a moment of suspended meaning, solve and clear itself. In every properly constructed sentence there should be observed this knot or hitch; so that (however delicately) we are led to foresee, to expect, and then to welcome the successive phrases. The pleasure may be heightened by an element of surprise, as, very grossly, in the common figure of the antithesis, or, with much greater subtlety, where an antithesis is first suggested and then deftly evaded. Each phrase, besides, is to be comely in itself; and between the implication and the evolution of the sentence there should be a satisfying equipoise of sound; for nothing more often disappoints the ear than a sentence solemnly and sonorously prepared, and hastily and weakly finished. Nor should the balance be too striking and exact, for the one rule is to be infinitely various; to interest, to disappoint, to surprise, and yet still to gratify; to be ever changing, as it were, the stitch, and yet still to give the effect of an ingenious neatness.

    The conjurer juggles with two oranges, and our pleasure in beholding him springs from this, that neither is for an instant overlooked or sacrificed. So with the writer. His pattern, which is to please the supersensual ear, is yet addressed, throughout and first of all, to the demands of logic. Whatever be the obscurities, whatever the intricacies of the argument, the neatness of the fabric must not suffer, or the artist has been proved unequal to his design. And, on the other hand, no form of words must be selected, no knot must be tied among the phrases, unless knot and word be precisely what is wanted to forward and illuminate the argument; for to fail in this is to swindle in the game. The genius of prose rejects the cheville no less emphatically than the laws of verse; and the cheville, I should perhaps explain to some of my readers, is any meaningless or very watered phrase employed to strike a balance in the sound. Pattern and argument live in each other; and it is by the brevity, clearness, charm, or emphasis of the second, that we judge the strength and fitness of the first.