Blues. Paeans to an Art

In these difficult times of constant anxiety – stress & worry are deceitful mistresses. While our environment seeks to fill us with dread, the ‘Colour Blue’ serves to create a sense of calm, peace, tranquillity and has a soothing effect on our mind, body and ‘soul’. Blue is a ‘peacemaker’. Blue, as a hue, has no time for baseless fears. Blue inspires us to live in the present and bid farewell to our stress. By creating an air of serenity, the colour does just that. On a particularly challenging day, consider looking up at the sky and feel the stress melt away.

 Stretching across the wide spectrum of blue, Dr Kausik Ghosh’s photos drape us with tones that soak away the blues. Precisely, their blue tempts us, soothes us and balms our eyes with that such heavenly tints that dispel the distress. His pictures goad us not only to look up to the sky but also nudge us to pick finer details of blue in nature and objects all around us. The peace and stillness of the blue in his pictures brush aside the sadness and adds stability to our thoughts – precisely what music does. Indeed, there is music in each of his frames. The angelic note of a harp going there, a violin’s note ringing there and a flute blown so close to our earlobes that even the heart tingles. I could see the golden caterpillar ‘glide’ on the painted blue cable, the ice flakes rappelled down the branches of the tree set against the cerulean blue. Whether it was the colour blue in ceramic motifs outside a house or the unending blue tiles running from columns to the domes of Central Mosque in Bishkek, Kyrgyzstan. Each shade of blue brings us closer to the divine touch moving us towards serenity, as if holding our hands and offering the much-needed trust.  

In his pictures you’ll find an oasis of calm gazing up at the clouds. ​Known for its composed demeanour, blue has a tranquil presence. It doesn’t intrude or pester. Instead, it merely makes itself known. In terms of the psyche, the colour blue is known to impact the mind positively. Blue represents patience and understanding, which is why we feel so comfortable around it. When overwhelming emotions consume us, we’re encouraged to decompress with the colour blue. It’s also commonly associated with the ocean, which further highlights its soothing essence.

Creating pictures for larger comfort is a yearly ritual with him; this being Dr Ghosh’s 15th exhibition. He heals not just with his expertise in orthopaedics but also with his sensitive eye. Fifteen years of commitment to humanity with his blessed hands. The hands that for some set a bone and the same hands when holding a camera – for some set the mood.

 As a peacemaker, the colour blue doesn’t intend to stir the pot. In fact, it loathes the idea of creating conflict. Blue doesn’t like being in the spotlight, so it keeps to itself. Regarded as one of the more reserved hues, blue is tight-lipped. Though it doesn’t have a strong personality, blue does have a unique spirit.

 Cool, calm, and collected that’s how I have always found Dr Kausik Ghosh – and that’s what – his latest creation is – ‘Presence and Perception of Blues’. Now, the blues here are not the pangs of Heart but paeans to an Art. 

Rajinder Arora, 29 December 2025, Delhi

St. John-in-the-Wilderness Church, Naini Tal

I bought this booklet from a street vendor walking The Mall outside the Naini Tal Club sometime in the winter of 1978 or 79  (I prefer the usage Naini Tal instead of Nainital). This booklet, together with a set of four colour slides, cost eight rupees.  Printed in 1914 (111 years back), in Cawnpore (Kanpur), this 28 page booklet about St. John-in-the-Wilderness Church in Naini Tal continues to be a treat, probably one of the first collectibles I acquired unknowingly. Accidently pulling it out of the shelf today, triggered a chain of thoughts about my one-time-favourite pahad or what people call as hill-station (which sounds so impersonal and bechara). 

I don’t have any pictures from that trip. This picture of the church is not my picture. Our family’s Kodak Box 120 format camera was an expensive hobby those days, thus picture postcards were all one could afford over and above one roll of film, its processing and prints. I acquired a 35mm film format camera much later.

Those days the way up to the elegant stone structure church was from behind the Talli Tal (तल्ली ताल) over a kuccha or a mule trail through thick Banj (Oak), Deodar and Cheed (Pine) trees. Even at peak noon very little sunlight filtered down to the path. It would feel colder under the foliage. The hills behind the church were an untended jungle, completely covered with trees and very few locals had their houses up there. The trail up to Kilbari and snow view ridge was infamous for bear attacks. One would go up only on clear sunny days, more to look  at the shimmering, blue, kidney-bean-shaped Naini Lake from the top and not so much for the Himalayas which lay perpetually hidden by the clouds. Only a few people came to Naini Tal in winters. There was no direct bus from Delhi, one had to board the Naini Tal bound bus either at Haldwani or Kathgodam. Some of these buses reached Nainital via Bhimtal. Sighting mule-trains, bringing essentials from the plains, was common sight enroute. 

The soothing bells of Naina Devi temple enticed even atheists and lazy city boys like us to line up for prasad on a freezing winter morning when even the Sun took leave off work. The Mall was a peaceful place. I miss that bansuri wala who played painful yet magical notes leaning on the stone wall. Sitting on a bench by the placid lake had a calming effect unlike any ‘substance’. Locals used to smile more often and were helpful to visitors. Tourists respected the hills and hill folks (pahad and pahadis). Mules had the right of way over Marutis or Marshalls. No one ogled at hand-holding lovers strolling on serene Thandi Sadak which was pedestrian only. The soothing scent of flaming red Buransh (rhododendron) and the pine needles is what we missed when back home.

The skating rink and the football ground reverberated with the laughter and excitement of children and the young ones. The elderly sun-bathed or sulked depending which team they were backing. Thankfully Nanak restaurant had still not debuted with its golgappas and chicken tikka. Those days we drank endless glasses of hot and sweet tea without ever thinking of Old Monk.  A late evening show at Capitol cinema was all that one needed to get a high and entertain oneself. During sunny afternoons we watched shining Cadillacs parked outside the most expensive hotel in Naini Tal, The Metropole. Some of the Chauffeurs of those guzzlers looked as handsome as Bollywood actors. A decade later I had the opportunity to stay in that hotel when I almost spoiled their three-tiered German Pipe Organ with a pedalboard. Despite that they offered us excellent tea in the well-provided tea lounge. 

Naini Tal was all that I had dreamed of when in Delhi and Naini Tal was where I wanted to own a small cottage with my own small library ‘all for myself’ – just like the White House Cottage my friend Bipin Pande owned on higher slopes. His father owned a shop next to the Ghoda stand. Bipin was the one who took me to (NTMC) Nainital Mountaineering Club and stoked my passion for mountaineering. I wonder where Bipin is now !!! The last time I met him was in Jipti camp during the Kailash-Manasarovar Yatra. Pahad nostalgia will kill me sooner than later. And now Mary Hopkins is killing me with her husky voice singing ‘those were the days my friend we thought they’ll never end…’, the song, btw, was produced by another great – Paul McCartney. Mary Hopkins too belonged to mountains.

Coming back to the booklet and the St. John-in-the-Wilderness church. In the booklet put together by Mrs I. D’O Elliott – she tells us that it is an Anglican church and one of the oldest buildings in Naini Tal. The site for the church was earmarked in 1844 by Bishop Daniel Wilson. Its cornerstone was laid in October 1846. Captain Young, an executive engineer with the Company, made its design plans and had it constructed at the cost of Rs 15,000 raised from private subscriptions. Built in a Gothic style, it was inaugurated on 2 April 1848. A memorial in the church commemorates those killed in the 1880 landslip. There have been many landslips (landslides) since then when parts of the church building have been damaged. The once famous Sookha Tal (Dry Lake), which was behind the church, has since been lost. Similarly, no records are available to dig out more information about Mrs I. D’O Elliott. Rest in Peace Ma’am, your booklet is precious and useful.

The last time I visited the church was sometime in 1993 or 1994 with Rajni, my wife. Till then its exterior, the prayer benches inside, and its large sized beautiful stained-glass windows were all intact. I have those colour negatives tucked safely somewhere (meaning untraceable now). The church keeper and an attendant had opened the main church door for us with a metal key that was nearly 12 inch in length.  I wonder if they still hold Sunday Service in the church. I must visit it soon.  I miss you Naini Tal. 

There is another church by the same name ‘St. John-in-the-Wilderness’, which is a Protestant church dedicated to John the Baptist. It was built in 1852 and is located near Dharamshala, on the way to McLeod Ganj, at Forsyth Gunj. True to its name that church is still in the wilderness with few visiting it.

Sun God and Mother Earth

A new artwork that we recently acquired is titled “Sun God and Mother Earth”. It is done by eminent Gond tribal artist Mr Veerendra Kumar Dhurvey, based in Bhopal, Madhya Pradesh. The story behind the artwork is mentioned below as given by the artist. The details are: Acrylic paints on canvas, 2024. Size 36 x 48 inch.

There was only water in this world, there was no earth, at that time Mother of the world is sitting on a lotus, on her the form of a deer has been given, Mother Earth is Mother Earth, on which Gond farmers are plowing and tribal villages are celebrating the festival of greenery. Women and men are dancing and celebrating festivals.
And there is a man on the tail of a deer, he is plowing, he is sowing seeds there and there is the Sun God who is coming on his chariot with seven horses and the trees are the whole world. Just as the whole world looks beautiful in the light of the Sun God, I have given the form of the world on my body on the basis of that.

​​पृथ्वी नहीं इस संसार में जल ही जल था वह समय जगत जननी मा कमल पे बैठी है उसके ऊपर हिरण का रूप जो दिया है माता पृथ्वी धरती मां है जिसके ऊपर गोंड किसान हल चल रहा है और हरियाली के त्यौहार मनाते हुए आदिवासी गांव ​की महिलाएं और पुरुष नाचते और त्यौहार मना रहे हैं। और जो ये हिरण की पूंछ पर एक आदमी है ​वह हल चल रहा है वहां पर वे बीज डालते जा रहे हैं और सूर्य देवता हैं जो अपने सात घोड़ों वाले रथ पर चले आ रहे हैं और पेड़ जो हैं वो सारा संसार ​हैं। ​जैसे सारा संसार सुंदर लगता है सूर्य देवता के प्रकाश में उसके आधार पर ही संसार का रूप ही मैं देह पर दिया हूं।

​Prithvi nahin is sansar mein jal hi jal tha use samay Ma Jagat-Janani hai jo Kamal per baithi Hain uske upar Hiran ka roop Jo Diya hun Mata Prithvi Dharti Ma hai jiske upar Gond Kisan hal chala raha hai aur hariyali ke tyohar manate hue aadivasi gond mahilayen aur purush naachte aur tyohar Mana rahe hain aur jo yah Hiran ke Poonch per ek aadami hai Kisan hal chala raha hai vahan per vah bij dalte ja raha hai aur Surya Devta Hain Jo Apne sath ghode Wale Rath per chal rahe hain aur ped jo hai vah sansar hai Jaise Sara sansar Sundar lagta hai Surya ke Prakash mein uske Aadhar per hi sansar ka roop main is ped per Diya hun

Prithvi Nahi Jal hi Jal Tha. Veerendra Kumar Dhurvey