If an artist were to seriously contemplate a portrayal of Guru Nanak, he should concentrate on study of general features, physical and facial contours of the Guru’s distant descendants in the Bedi clan. The relevant age group should be observed for skin texture and the hair patterns. Several things have to go into composition of such a portrait. Firstly, the basic features have to be extracted from the ethnic Bedi stock and relevant modifications should be made after looking at the skin of the people who have traveled outdoors and are engaged in farming. Add to this the most difficult part of introducing the Divine look. The artist should have extensive practice of portraiture of the present day holy men and saints in our and other religions. The idea is to extract the common factors, which will depict a higher level of spirituality. Again, the artist should primarily be painting people’s portraits a landscape artist; abstract or surrealistic painter should not venture into painting an occasional portrait.
The portrait of Guru Gobind Singh dressed in all regalia riding a gray blue horse with a white falcon seemed to activate a feeling of strong devotion and chivalry into the psyche of the believer. It is said that such a picture kindles the spiritual flame, thus bringing the human soul closer to the Guru and, ultimately the God: Without this picture, no such phenomenon would have occurred; it is hard to repudiate such a logic. On the contrary, we are falling into Brahamanical traits which make us move away from the truth and the reality. Subconsciously, we all tend to worship the picture on the paper, which is forbidden.
The worst still is that many a time the Guru’s pictures get transferred onto calendars, mainly of auto parts and gas stations. The advertising agencies and the patrons gain business by marketing the Guru’s image. Many such calendars, after the year is over, along with newspapers with Gurus picture on them, unfortunately find their way into the paper garbage.
Our great grandfathers went about practicing and defending the Sikh faith without the help of any portraits. Their commitment was to the Shabad in the Guru Granth. The portraiture is a relatively recent phenomenon and religion prospered well without these. I believe that our religious sanctity and spiritual devotion will be better served without the pictures.
It is best to paint certain landmark occasions depicting the times and lives of Gurus without the Gurus themselves being in the picture. It is quite possible to portray the founding of Khalsa in 1699 without the Tenth Guru being shown. The composition of this event would be as electrifying and as impressive as it existed then. The timing shown should be such that the Guru is going to step into the scene within the next moment; there could be eager anticipation with awe for the holy event to occur. In a similar context, you could show the great and honored scribe, Bhai Gurdas compiling the manuscripts of Adi Granth under the directions of Guru Arjan Dev. In the painting, the Gurus seat should be shown unoccupied, as if he has left momentarily. The burden then falls on the artist to depict the sanctity of the occasion with Bhai Gurdas alone, surrounded by all the pot his, verses and manuscripts.
Our belief in God has developed via our ancestors through the worship of nature, stone, woodcarvings, and paintings. Presently we are directed by our faith to understand and follow the Divine Word. Haying known this, hanging Gurus unreal portraits, attempting to worship them and, worse still, projecting them as representatives of Sikh faith is retrogression in the path to spiritual salvation.
Shivdev Singh MD 2710 West Avenue O Palmdale Ave 93551
Article extracted from this publication >> April 13, 1990
