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K G Subramanyan
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Born in Kerala on 15 February 1924, K G Subramanyan was among the leading artists who sought to explore a post-Independence Indian identity through art. He completed his Bachelor’s degree in Economics from the Presidency College in Chennai before pursuing his interest in art to Santiniketan in 1944, where he studied under the tutelage of Benode Behari Mukherjee, Nandalal Bose and Ramkinkar Baij for four years. In 1955, Subramanyan was awarded a...
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Born in Kerala on 15 February 1924, K G Subramanyan was among the leading artists who sought to explore a post-Independence Indian identity through art. He completed his Bachelor’s degree in Economics from the Presidency College in Chennai before pursuing his interest in art to Santiniketan in 1944, where he studied under the tutelage of Benode Behari Mukherjee, Nandalal Bose and Ramkinkar Baij for four years. In 1955, Subramanyan was awarded a British Council Research Fellowship to study at the Slade School of Art, University of London.
A writer, scholar, teacher and art historian, K G Subramanyan was also prolific in his art, employing a range of mediums and styles. His belief in the revival of Indian traditions led him to create a new artistic idiom, and his practice incorporated drawing, oil painting, watercolour, murals and sculpture alongside toy making, set design, glass painting, pottery and weaving. His dedication to his art transformed Indian modernism and made it more diverse.
Subramanyan’s career began in earnest in the 1950s, and his early training in Santiniketan was evident. “[His early works] trace his transition from an impressionable student, influenced by two dissimilar mentors - Ramkinkar [Baij] and Benode Behari [Mukherjee] - to a young artist putting together the rudimentary framework of a visual language and vision of his own.” (R Siva Kumar, Self Portraits and Other Early Drawings, Kolkata: Seagull Foundation for the Arts, 2020)
In 1966, Subramanyan was awarded a J D Rockefeller III Fund Fellowship, which entailed a year-long stay in New York. It was during this period that his ongoing interest in semi-abstraction further evolved, reviving traditional techniques by infusing them with a unique plasticity that contemporised them and increased their reach.
From the 1980s onwards, Subramanyan’s expanded artistic vocabulary grew to incorporate elements from a popular bazaar tradition of glass painting. According to R Siva Kumar, “Subramanyan’s late works were provoking and celebratory, teasing and subversive, humane and irreverent at once. Done with scintillating spontaneity, they were not merely expressive and complex like most things he had done in the past but were also some of his most vibrant paintings. This came partly from his deep engagement with the world and partly from the way he moved from one level of communication, or expression, to another through calculated inflections of his visual idiom. ”
The artist's interest in writing elevated his work, which became an exemplar of what the combination of language and art can achieve. “Subramanyan’s understanding of art as a kind of linguistic system allows him to envision a living tradition in which artists constantly renew traditional as well as modern forms by not only accepting the eclectic nature of the ‘modern’ world but also by maintaining contact with the world.” (Margaret Richardson, “Conclusion: An Artist of Modern Life,” The Aesthetic Vision of K G Subramanyan, Kolkata: Seagull Books, 2013, p. 157)
In a career spanning nearly seven decades, K G Subramanyan’s work has been exhibited in over fifty solo shows, including an extensive 2015-2016 exhibition by Kolkata's Seagull Foundation for the Arts in collaboration with the Jehangir Art Gallery, Mumbai, and the Harrington Street Arts Centre, Kolkata.
Subramanyan was also an inspiration to generations of students as a member of the Fine Arts Faculty at M S University in Vadodara. He passed away in Vadodara on 29 June 2016 at the age of 92.
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Born
February 15, 1924
Kerela
Died
June 29, 2016
Vadodara
Education
1955-56 Slade School of Art, University of London
1944-48 Kala Bhavan, Visva Bharati University, Santiniketan
1942-43 BA, Presidency College, Chennai
Exhibitions
Selected Solo Exhibitions
2018 Women Seen and Remembered,...
Selected Solo Exhibitions
2018 Women Seen and Remembered, Shridharani Gallery and Art Heritage, Triveni Kala Sangam, New Delhi
2017 K G Subramanyan: Drawings of Women, Nandan Gallery, Kala Bhavana, Visva-Bharati, Santiniketan presented by The Seagull Foundation for the Arts, Kolkata
2015-16 Sketches, Scribbles and Drawings by K G Subramanyan, presented by The Seagull Foundation for the Arts, Kolkata at Jehangir Art Gallery, Mumbai; The Harrington Street Arts Centre, Kolkata; Aakriti Art Gallery, Kolkata
2015 War of the Relics, Red Earth Art Gallery, Vadodara; Victoria Memorial Hall, Kolkata
2015 About this and that...., Sarjan Art Gallery, Vadodara
2014 New Works by K G Subramanyan, presented by The Seagull Foundation for the Arts, Kolkata in association with Chandigarh Lalit Kala Akademi at the Government Museum & Arts Gallery, Chandigarh
2013-14 Mythologies, Galerie 88, Kolkata
2010 Triveni Kala Sangam, New Delhi
2010 The Drawings of K G Subramanyan, The Guild, Mumbai
2010 Bangladesh Drawings, Sakshi Gallery, Mumbai
2010 Art Musings, Mumbai
2009 Magic of Making: Recent Artworks by K G Subramanyan, Akar Prakar, Aakriti Art Gallery and The Seagull Foundation for the Arts, Kolkata
2009 Nandan Gallery, Kala Bhavana, Kolkata
2007 The Painted Platters, The Guild Art Gallery, Mumbai
2007 The Magic of Making, presented by The Seagull Foundation for the Arts at The Seagull Arts and Media Resource Centre, Kolkata and Rabindra Bhawan, Lalit Kala Akademi, New Delhi
2006 Art Heritage, New Delhi
2006 Faculty of Fine Arts, M S University of Baroda, Gujarat
2005 Recent Paintings, presented by Sakshi Gallery, Mumbai at Jehangir Art Gallery, Mumbai
2004 The Guild Art Gallery, Mumbai
2004 Vadehra Art Gallery, New Delhi
2003 K G Subramanyan : A Retrospective, National Gallery of Modern Art (NGMA), New Delhi and Mumbai
2003 K G Subramanyan : Recent Paintings, Art Heritage, New Delhi
2003 Paintings in Enamel, The Seagull Arts and Media Resource Centre, Kolkata
2003 Chairs: An Exhibition of Recent Work, The Seagull Arts and Media Resource Centre, Kolkata
2002 Exhibition of Paintings by Professor K G Subramanyan, Sarjan Art Gallery, Vadodara
2001 Art Heritage, New Delhi
2000 K G Subramanyan, Vadehra Art Gallery, New Delhi
2000 Art Heritage, New Delhi
1999 The Seagull Arts and Media Resource Centre, Kolkata
1999 Sakshi Gallery, Mumbai
1999 Triveni Kala Sangam, New Delhi
1999 K G Subramanyan – Dissolving Contradictions, The Window, Mumbai
1998 K G Subramanyan : Paintings and Drawings, organized by Seagull Foundation for the Arts, Kolkata at Art Heritage, New Delhi
1998 A Recent Series of Large Paintings by Professor K G Subramanyan, Art Heritage, New Delhi
1997 Nazar Gallery, Vadodara
1997 K G Subramanyan, Cymroza Art Gallery, Mumbai
1996 Art Heritage, New Delhi
1994 Exhibition of Paintings by K G Subramanyan, Sakshi Gallery, Mumbai
1994 K G Subramanyan Recent Works, Centre for International Modern Art (CIMA), Kolkata
1993 Exhibition of Paintings by K G Subramanyan, Sakshi Gallery, Mumbai
1993 Art Heritage, New Delhi
1992 K G Subramanyan, Exhibition of Paintings, Sakshi Gallery, Synergy Art Foundation, Bangalore and Chennai
1992 Art Heritage, New Delhi
1991 Exhibition of Paintings by K G Subramanyan, Kala Yatra and Sistas Art Gallery, Bangalore, Karnataka
1990 Cymroza Art Gallery, Mumbai
1990 Gallery 7, Mumbai
1990 CCA Gallery, New Delhi
1989 Cymroza Art Gallery, Mumbai
1989 Of Myth and Fairy Tale, Recent Works- K G Subramanyan, Seagull Foundation and Birla Academy of Art and Culture, Kolkata
1988 Exhibition of Acrylic Sheet Paintings, Museum of Modern Art, Oxford
1986 Exhibition of Acrylic Sheet Paintings, Art Heritage, New Delhi
1986 Cymroza Art Gallery, Mumbai
1986 Gallery 7, Mumbai
1986 Centre for Contemporary Art Gallery, New Delhi
1985 Art Heritage, New Delhi
1984 Retrospective, Art Heritage, New Delhi
1983 Retrospective: K G Subramanyan, Birla Academy of Art and Culture, Kolkata
1982 Exhibition of Glass and Acrylic Sheet Paintings, Art Heritage, New Delhi and Nandan Gallery, Santiniketan
1981 Retrospective, Bharat Bhavan, Bhopal
1980 Art Heritage, New Delhi
1979 Exhibition of Prints, Art Heritage, New Delhi
1978 Exhibition of Terracotta Reliefs and Paintings, Nandan Gallery, Santiniketan and Art Heritage, New Delhi
1971 Exhibition of Polytichs, Kunika Chemould Art Centre, New Delhi
1969 Gallery Chemould, Mumbai
1969 Kunika Chemould Art Centre, New Delhi
1967 Gallery Chemould, Mumbai
1967 Gallery Navina, New York
1966 Gallery Chemould, Mumbai
1962-63 Kunika Chemould Art Centre, New Delhi
1961 Jehangir Art Gallery, Mumbai
1959 Jehangir Art Gallery, Mumbai
1958 Delhi Silpi Chakra, New Delhi
1956 Jehangir Art Gallery, Mumbai
1955 Delhi Silpi Chakra, Freemasons Hall, New Delhi
Selected Group Exhibitions
2018 In the honeycomb of stories, Art Musings, Mumbai
2017 Documenta 14, presented by Seagull Foundation for the Arts, Kolkata at EMST—National Museum of Contemporary Art, Athens
2013 Ideas of the Sublime, presented by Vadehra Art Gallery at Lalit Kala Akademi, New Delhi
2013 Edge of Reason- and beyond, into pure creativity, presented by Indian Art Circle at Lalit Kala Akademi, New Delhi
2013 Still Life, Gallery Art Motif, New Delhi
2012 Diva, Sakshi Gallery, Mumbai
2012 Contemporary: A Selection of Modern and Contemporary Art, presented by Sakshi Gallery at The Park, Chennai
2011 Adbhutam: Rasa in Indian Art, Centre of International Modern Art(CIMA), Kolkata
2011 The Art of Drawing, The Guild Art Gallery, Mumbai
2011 Roots in the Air, Branches Below: Modern & Contemporary Art from India, San Jose Museum of Art, San Jose
2011 Time Unfolded, Kiran Nadar Museum of Art (KNMA), New Delhi
2011 Pause: A Collection, Sakshi Gallery, Mumbai
2011 High-Light, presented by Sakshi Gallery, Mumbai at The Oberoi, Gurgaon
2011 Of Humour, Wit & Satire, Gallery Threshold, New Delhi
2010-11 A Collection, Sakshi Gallery, Mumbai
2010 The Living Insignia, Gallery Ensign, New Delhi
2010 Modern Folk: The Folk Art Roots of the Modernist Avant-Garde, Aicon Gallery, New York
2009 Think Small, Art Alive Gallery, New Delhi
2009 Kalpana: Figurative Art in India, presented by The Indian Council for Cultural Relations (ICCR) at Aicon Gallery, London; The Indian Council for Cultural Relations (ICCR)
2009 Tracing Time, Bodhi Art, Mumbai
2008 Baroda: A Tale of Two Cities, (Part I), Sarjan Art Gallery, Vadodara, Gujarat
2008 X at the rate of Jehangir, presented by Art Musings at Jehangir Art Gallery, Mumbai
2008 Freedom 2008 : Sixty Years After Indian Independence, Centre for International Modern Art (CIMA), Kolkata
2007-08 From Everyday To The Imagined: Modern Indian Art, Singapore Art Museum, Singapore and at Museum of Art, Seoul National University, Seoul
2006-07 Edge of Desire: Recent Art in India, National Gallery of Modern Art (NGMA), New Delhi and Mumbai
2006 Shadow Lines, Vadehra Art Gallery, New Delhi
2006 Drawing Show an Act of Art II, Priyasri Art Gallery, Mumbai
2005 Three Solo Exhibitions - K G Subramanyan, Manjit Bawa, Dhruva Mistry, Jehangir Art Gallery, Mumbai
2005 Remembering Bhupen, Gallery Chemould, Mumbai
2005 Cubism in Asia : Unbounded Dialogues, The National Museum of Modern Art, Tokyo, and South Korea
2005 Edge of Desire: Recent Art in India, Queens Museum of Art, New York
2004 Edge of Desire: Recent Art in India, Art Gallery of Western Australia, Perth
1998 Tryst With Destiny: Art from Modern India 1947-97, Singapore
1996 Jehangir Art Gallery, Mumbai
1996 Art Heritage, New Delhi
1996 Chamatkara: Myth and Magic in Indian Art, Centre for International Modern Art (CIMA), Kolkata and London
1994 Centre for International Modern Art (CIMA), Kolkata
1993 Seven Contemporary Indian Painters, Vadehra Art Gallery, New Delhi
1992 Journeys Within Landscapes, organized by Sakshi Gallery at Jehangir Art Gallery, Mumbai
1986 Grey Art Gallery, New York
1982 India : Myth and Reality, Museum of Modern Art, Oxford, UK
1983 Six Indian Artists, Tate Gallery and Royal Academy of Arts, London
Participations
2014 Ode to Monumental: Celebration, Visuality, Ideology, presented by Saffronart at Lalit Kala Akademi, New Delhi and Jehangir Art Gallery, Mumbai
2013-14 Transition, 20th Anniversary Show, Centre of International Modern Art(CIMA), Kolkata
2011 Ethos V: Indian Art Through the Lens of History (1900 to 1980), Indigo Blue Art, Singapore
2010 Masters Corner, organized by Indian Contemporary Art Journal at Jehangir Art Gallery, Mumbai; India International Art Fair, New Delhi
2010 Contemporary Printmaking In India, presented by Priyasri Art Gallery, Mumbai at Jehangir Art Gallery, Mumbai; Priyasri Art Gallery, Mumbai
2010 National Printmaking Portfolio, Marvel Art Gallery, Ahmedabad
2010 Roots, 25th Anniversary Exhibition of Sakshi Art Gallery, Mumbai at The Park, Chennai
2008-09 Modern India, organized by Institut Valencià dArt Modern (IVAM) and Casa Asia, in collaboration with the Ministry of Culture at Valencia, Spain
2008 Moderns, Royal Cultural Centre, Amman, Jordan organized by Lalit Kala Akademi, New Delhi in collaboration with Embassy of India, Amman, Jordan
2008 Harvest 2008, The Stainless Gallery, New Delhi
1996 Contemporary Indian Paintings, Sothebys, New York
1995 Seven Contemporary Indian Painters, Gallery le Monde de l’Art, Paris
1988 Festival of India, Tokyo
1987 Festival of India, Moscow
1987 Coup de Coeur, Geneva
1987 Kala Yatra, Bangalore
1986 Indian Art from the Chester and Davida Herwitz Family Collection, Hood Museum, Hanover
1984 Kala Yatra, Bangalore, Karnataka
1982 Contemporary Indian Art, Royal Academy of Arts, London
1980 Asian Artists Exhibition, Part II, Japan
1980 Indian Art, Washington DC, USA
1980 Indian Art Exhibition, Tokyo
1979 Sao Paulo Biennale, Brazil
1979 Asian Artists Exhibition, Part I, Japan
1976 Mention Biennale, France
1975 3rd International Triennale, New Delhi
1971 Indian Art, Tehran, Iran
1968 1st International Triennale, New Delhi
1966 Indian Art Exhibition, Ghent, Belgium
1965 Art Now in India, Lanig Art Gallery, Newcastle
1965 Commonwealth Arts Festival, London
1964 Exhibition of Textile Paintings, Mural, Woven Hangings, New York World Trade Fair, New York
1964 Tokyo Biennale, Japan
1961 Sao Paolo Biennale
1956 Three Young Artists from Abroad, Hitchin
Honours and Awards
2012 Padma Vibhushan, Government of India
2006 Padma Bhushan,...
2012 Padma Vibhushan, Government of India
2006 Padma Bhushan, Government of India
2005 Lifetime Achievement Award, Academy of Fine Arts, Kolkata
2004 Lalit Kala Ratna Puraskar, Lalit Kala Akademi, New Delhi
2001 Gana Krishti Puraskar, Kerala
2001 Manaviyam Ravi Varma Award, Government of Kerala
2000 Jadunath Sarkar Gold Medal, Asiatic Society, Kolkata
2000 Abanindra Puraskar, Kolkata
1999 Kala Ratna, All India Fine Arts and Crafts Society (AIFACS), New Delhi
1994 Shiromani Puraskar, Kolkata
1991 Gagan – Aban - Puraskar, Visvabharati, Santiniketan
1980 Kalidas Samman, Government of Madhya Pradesh
1975 Padma Shri, Government of India
1968 Gold Medal, First International Triennale, New Delhi
1966 Fellowship, J D Rockefeller III Fund, USA
1965 National Award for Studio, Lalit Kala Akademi, New Delhi
1961 Maharashtra State Award
1961 Medallion of Honorable Mention, Sao Paulo Biennale
1959 Bombay Art Society, Mumbai
1957 Governor’s Prize, Bombay Art Society, Mumbai
1955-56 British Council Research Scholarship to Slade School of Art
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Subhalakshmi Shukla in conversation with K.G. Subramanyan.
Extracted from the exhibition catalogue Recent Works by K.G. Subramanyan, with the kind permission of the artist and the Seagull Foundation for the Arts, Kolkata
SUBHALAKSHMI SHUKLA. What is the process of your work? How does material transform or acquire particular meaning through/with it?
K.G....
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Subhalakshmi Shukla in conversation with K.G. Subramanyan.
Extracted from the exhibition catalogue Recent Works by K.G. Subramanyan, with the kind permission of the artist and the Seagull Foundation for the Arts, Kolkata
SUBHALAKSHMI SHUKLA. What is the process of your work? How does material transform or acquire particular meaning through/with it?
K.G. SUBRAMANYAN. There is no single process. Which is to say that I do not have a one-point agenda. And in their nature, my works are not end-oriented like those of some confirmed professionals. I am a groper. I find what I see around exciting, but at various levels. Sometimes, the sheer look of each unit. Then its configuration. Then the narratives it generates depending upon what I read into them. Covering a whole range of characteristics—liveliness, elegance, oddness, comedy, tragedy, metamorphic overlay, even allegory. My groping leads me to discover these. And I use various representational alternatives to give them body. I do not swear by a method nor stick to a process, as I do not want to lose this mobility, and with that my desire and power, to discover the world afresh.
I look at it from various viewpoints. And represent it through various media, each and all of which have the ability to unlock new perceptions.
I am not always sure how my work moves forward or what ground it covers. I do not want to be over-specific. I want it to flourish (so-to-say) in a ‘cloud of unknowing’. For a centipede like me to start counting my legs is suicidal. It will freeze me into inaction.
SHUKLA. Why has it been important for artists to look within (one’s own culture) to assert their (political) identity?
SUBRAMANYAN. I am not clear what this question is driving at.
The first part talks about culture (especially one’s own culture). To my mind, culture is, in one sense, what an individual gets from the society or milieu s/he grows within, which shapes to some extent his/her speech, thinking and behaviour, and which eventually gives him/her a ready language of expression. In another sense, it is the material effects (or hardware) of these comprising the living environment, love, institutions, art, literature and the recorded continuities in beliefs and practices.
All culture-workers are aware of their dependence on this ready inheritance (whether they say so openly or take it for granted).
Some find this an advantage and build forward from it. Some find it restrictive and burdensome and try to shake themselves free.
But, in the cases of most, there is a love–hate relationship. They want to hold on to that part that sustains them, but at the same time unshackles them and lets them grow forward.
That part of culture which has worked into one’s skin one cannot get rid of; it remains part of the system like one’s complexion or body-rhythm.
But cultural hardware is another matter. One can lay it aside or reject it when it becomes unhelpful or irrelevant.
Often, people don’t.
In this globalized world, people hold on to even these latter to preserve their group identities.
For me, politics pertains to another side of life; it is related to the power structure in organized society and its various ramifications. And the conflicts that come out of it. And the diverse postulates and action-plans for tackling these. In the context of colonialism, where people of one culture tried to lord over the people of another, culture sometimes gains a political dimension. On one side, cultural domination and re-education on the part of the rulers; on the other, cultural resistance and re-inscription on the part of the ruled.
But indiscriminate iconization of cultural forms and practices to sharp-profile the political identities of various groups (Hindu, Islamic, Jewish) is decidedly retrograde and dangerous. This is behind the fundamentalist polarizations of the present-day world and their mutual intolerance.
For me, cultural identity and political identity are not one and the same thing; the former is generally open-ended, the latter is necessarily closed and protective.
SHUKLA. In the present times as well as earlier (about 1970s onwards), artists have been assertive about their ‘identity’ in terms of their choice of materials (like rope, cowdung, Indian vessels, khadi cloth, etc.) suggesting specific identity. Why do you think the relationship between material and identity has been important in shaping the transforming trends in Indian art?
SUBRAMANYAN. I do not agree with any of these views—the fetishistic use of culturally specific materials is confined to very few in the scene you refer to. Nor can one link this use, in every case, with the issue of identity or give it the gravity of transforming the scene.
The use of culturally specific materials, processes, artifacts, manners, etc. can be seen in various parts of the world at various times, and the reasons are many. Some are related to the rediscovery of a forgotten past. Others, to the redeployment of old methods and techniques for new purposes or for the re-utilization of old image—-with new implications. Only a few of these may be related to the issue of identity. I presume this tendency surfaced after collages of diverse visual ingredients and the enaction of fetishized ritual and performance found entry and acceptance in the field of art creation.
All the same, these have their own limitations. Implications get dated and lose relevance, despite all the initial hullabaloo. Although cowdung may have cultural reference in rural India, to consider it a symbol of Indian identity is ludicrous. Similarly khadi may have had one kind of reference in Gandhian India, but not anymore. It is just coarse, home-spun cloth, a canvas-substitute. So I do not find any of these of serious import or consequence.
SHUKLA. What has painting (or art-making) to do with existential experience?
SUBRAMANYAN. What does ‘existential experience’ mean here? Artists’ images of this existence? Or the general human condition? Or life attitudes as stem out of the so-called existentialist thinking, where each individual distrusts the reigning mores in view of the various conflicts and irrationalities inherent in nature and culture and himself assumes the sole responsibility of making choices of action? Where he considers himself an ‘outsider’? Who disregards time-honoured conventions?
Whether art practice will have anything to do with this will depend on each individual artist’s choice.
Some may turn the focus on themselves and indulge in various categories of self-exposure; others may do the opposite. I am afraid terms like existential, etc. are used very loosely by art critics (just as they once glibly used ‘impressionism’ and ‘expressionism’ to denote any imaging off the realist track).
SHUKLA. Experiences of alienation are strongly linked to the culture of capitalism and the urban metropolis, and significant art movements have always acknowledged this aspect. Would you like to speak about your own experiences in terms of shifting geographies (urban, non-urban)?
SUBRAMANYAN. I am afraid I sense a kind of loose thinking here too.
One accepts that forces inherent in capitalist/industrialist economies progressively uproot people from their traditional moorings, where those who produced goods or provided services had close cultural links with those they did it for, and these exchanges functioned within a total circuit of implications and meanings. Which educated both. This uprooting I mentioned alienates the producer from the consumer and the product dwindles in reference, becoming a commodity that answers a limited use and is exchanged for money in the marketplace. This affects the total field of human relations. And our world today is controlled by the money-spinners. This can be called ‘alienation’, as it impedes or fragments human contact and minimizes direct human communication.
But this is situational, not geographical. There is today an equal sense of alienation in rural centres as in the urban. Rural youth flock to cities as much to escape the pressures of family or society that is becoming progressively materialistic, and seek companionships in like-minded individuals in a big metropolis; not just to find a job. And this includes a lot of aspiring artists and writers.
And this is not necessarily a recent phenomenon. Urban centres nourished such intermilling and keyed up the levels of creativity and intellectual exchange at various times in history.
So the notion of a rural arcadia as opposed to an urban hell is a little far-fetched. It may be that an over-communalized city like Bombay forces people to long for a rural retreat.
But who knows, the Ambanis may have already set up their buying and selling agents in even those distant places they choose to withdraw to.
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