As we trace Bhanu Athaiya’s creative journey back to her roots in Kolhapur, we uncover a fascinating commonality between her, M.V. Dhurandhar, and John Lockwood Kipling. All three artists celebrated the essence of Indian life and craftsmanship, particularly through their depictions of fakirs and artisans.
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As a girl born into the priestly class of pandits from the royal house of Kolhapur in 1929, Bhanumati Rajopadhye may have appeared as an unlikely instigator of dramatic change in the sphere of mass aesthetics. But it is no exaggeration to say that she led the nation’s gaze in the appreciation of feminine beauty, mined the country’s craft and couture traditions, and created waves in the worlds of fashion and consumer desire. One of the questions around Bhanu Athaiya’s vast oeuvre is how do we address her art in the context of her work in cinema and vice-versa.
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Bhanu Athaiya's life story is a testament to the power of talent, determination, and passion. Born in Kolhapur, India, in 1929, Bhanu's artistic journey was shaped by her father Annasaheb Rajopadhye, an amateur artist who introduced her to the world of art. Kolhapur, a significant artistic center in the early 20th century, was a hotbed of creativity and social upheaval, with the local king actively promoting artisans. This environment exposed Bhanu to the likes of Abalal Rahiman, Dhurandhar, and Baburao Painter, who were prominent figures in the artistic circle of Kolhapur. Of particular note, Baburao Painter was a multifaceted artist who made significant contributions to both painting and filmmaking in India.
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Born in 1867 in Kolhapur, Dhurandhar was a master of watercolor. One of the most popular Indian artists, he was inspired to be an artist after he saw Raja Ravi Varma’s works of art. He studied at Sir JJ School of Art in Bombay and was an expert in the western academic style of painting. Although his subject matter was Indian in character, his works had the style of realism that western artists of that time had.
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