Why M F Hussain
Offends
The article was
originally posted on January 26, 2013 and is being reproduced without any update.
This
article is being written in response to certain questions raised at a social
networking site. The principal question was why Hindus find certain paintings
of M F Hussain (MFH) offensive. The paintings under consideration depict
various Hindu deities in the nude. Further, the inquiry asked for a
justification for this feeling of being offended in the background of sexually
explicit sculptures in certain Hindu temples and Sanskrit erotic literature.
Setting the Context
Before
these issues are addressed it is necessary to set the context clearly so that
there is no dilution or diversion of the discussion. Artistic freedom is not
the issue that is being discussed. Every artist has the right to freedom of
expression as long as he or she is not violating the law of the land. Certain
paintings can justifiably cause offence to a section of the viewers, even if
they are very obviously within the ambit of the law.
Before
getting involved with paintings of MFH, it is also essential to understand in
general terms what in a painting can be offensive to a group of viewers.
Sometimes images, icons or symbols depicted in a painting represent persons or
objects held in reverence or admiration by the group. If the painting misrepresents
what these images actually stand for and denigrate the persons or objects
depicted then they will cause offence. Here a couple of clarifications are in
order. The finished painting is the complete product for the viewer group. The
viewer group is not concerned with what clarifications the painter may have
externally issued, nor is it concerned with how the critics have evaluated the
painting. The viewer group is only concerned with the response that the
finished painting invokes in a majority of the group members. The viewer group
is also not concerned with the intent of the painter, in the sense that whether
the painter intentionally desired to offend the viewers or not. The viewers can
belong to the public domain without knowledge of academic matters in art
evaluation. Absence of academic knowledge cannot rule out the viewer from being
a bona fide one. Hence the crucial question is whether there is reasonable
justification for a homogenous group of viewers to perceive the paintings
as denigrating those it holds in esteem or reverence.
Hanuman in Flight
It would be
counterproductive to discuss the issue taking the said paintings of MFH
collectively. Each painting is unique and can have different reasons for being
offensive. Therefore, this article selects one representative painting
from the lot for analysis. Other paintings of MFH can be analyzed in a similar
manner to assess whether they are justifiably offensive to Hindus, and if so to
what extent.
The
painting being selected is titled Hanuman in Flight. The painting has been
sourced from the Internet. It is being reproduced below for ready reference.
The painting bears the signature of MFH and this is being taken as evidence of
it being a genuine work of MFH.
Hanuman, Rama, and
Sita
The status
of Hanuman in Hinduism is well established. Given the title and that Hanuman is
a vanar, one can reasonably conclude that the monkey in the center of the
picture is a depiction of Hanuman. Hanuman has several attributes, but two are
relevant to this discussion. The first is that he was an avowed celibate or
brahmachari, which means that he eschewed sexual contact of any kind. Yet in
this painting MFH has depicted him between two explicitly naked human figures,
one a man and the other a woman. To Hindus this would be a derision of
Hanuman’s celibacy. MFH has shown no justification for juxtaposing naked
figures alongside Hanuman. There is no evidence from the scriptures, mythology
or folklore that Hanuman encountered such naked persons. In the absence of any
rationale for the naked figures, it is understandable for Hindus to be
justifiably offended by the painting, which beyond doubt misrepresents the
celibacy of Hanuman.
The
question that automatically arises is whether these two nude figures represent
any nudes or specific personages. It is here that the second attribute of
Hanuman becomes important. Hanuman was an ardent devotee of Rama and Sita.
Whenever he has been depicted in painting or sculpture with a couple, that
couple has been Rama and Sita. One of the most iconic representations of
Hanuman in Hinduism is of his tearing open his chest to reveal Rama and Sita in
his heart. MFH has himself depicted this in one of his paintings. In the
absence of any other explanation, it would be normal and justifiable to
perceive the nude couple in this MFH painting as Rama and Sita. If seeing
Hanuman with naked figures would be offensive, then the feeling of being
offended would be compounded manifold when the naked figures are Rama and Sita,
whom Hanuman revered as his Lord and Mother respectively.
Naked
figures of Rama and Sita, particularly Sita, would directly offend Hindu
sensibilities as well. And there is justification for this. Hindus worship Sita
as the paragon of fidelity and to see her depicted in the nude will hurt. And
to add insult to injury, the depiction in the MFH painting is crass and
provocative. It can be argued that in so many years of marriage Rama and Sita
must have had their moments of intimacy. But the fact remains that no credible
narration of Ramayana depicts any moment of intimacy in this explicit manner
and any such intimacy is not crucial in the events in the Ramayana. And do not
forget that Hanuman is present in the painting, which in fact is named after
him, and this puts an end to any argument of personal intimacy. Therefore, on
several counts, icons have been misrepresented and the feeling of being
offended is more than justified.
In the Context of Erotic
Literature and Sculpture
The issue
of erotic sculpture and literature must be addressed. Again, one cannot deal in
generalities. This painting depicts Hanuman, Rama and Sita and therefore it is
essential that the depiction of these three characters in sculpture and
literature be examined. There are temples with sexually explicit sculptures.
Most of these sculptures portray the normal humans. Some of them would also
portray deities and events from Hindu mythologies. However, no such sexually
explicit depiction of Hanuman, Rama and Sita has been generally reported. One
cannot justify depiction of a particular deity in a particular manner simply
because some other deity has been depicted in that manner. As explained
earlier, each deity has his or her individual characteristics and attributes
and mythologies.
Again,
while discussing Sanskrit literature one has to look at specifics. The passage
that immediately comes to mind is Ravana’s description of Sita in Valmiki
Ramayana, in which her figure has been explicitly described and praised. This
is a reflection of the lustful desire of Ravana. The MFH painting in question
is in a different setting. To use this passage or others like this to justify a
naked a depiction of Sita totally out of context cannot be considered
reasonable by any stretch of imagination. The fact remains that there is no
basis whatsoever for the painting and it misrepresents the attributes that
Hindus hold in Hanuman, Rama and Sita. It is natural for these
misrepresentations to offend Hindus.
The Way to Respond
In
conclusion, a discussion on how the offended Hindus should react is in order.
The best option by far is to ignore such provocations. If one has faith in
one’s religion then such misrepresentations, whether malicious or unintended,
should not become a disturbing element. If at all some reaction is warranted
then that has to be within the ambit of law. Several lawful options are
available. Threatening and inciting violence is a symptom of immaturity and
just because groups from other religions have resorted to it in the past, it
does not mean that the Hindus should follow suit. If the offended Hindus do not
respond or respond in a mild manner, it does not imply that there is no
offensiveness in the painting. That exists independent of the response adopted.
The article was
originally posted on January 26, 2013 and is being reproduced without any update.
This article is being written in response to certain questions raised at a social networking site. The principal question was why Hindus find certain paintings of M F Hussain (MFH) offensive. The paintings under consideration depict various Hindu deities in the nude. Further, the inquiry asked for a justification for this feeling of being offended in the background of sexually explicit sculptures in certain Hindu temples and Sanskrit erotic literature.
Setting the Context
Before
these issues are addressed it is necessary to set the context clearly so that
there is no dilution or diversion of the discussion. Artistic freedom is not
the issue that is being discussed. Every artist has the right to freedom of
expression as long as he or she is not violating the law of the land. Certain
paintings can justifiably cause offence to a section of the viewers, even if
they are very obviously within the ambit of the law.
Before
getting involved with paintings of MFH, it is also essential to understand in
general terms what in a painting can be offensive to a group of viewers.
Sometimes images, icons or symbols depicted in a painting represent persons or
objects held in reverence or admiration by the group. If the painting misrepresents
what these images actually stand for and denigrate the persons or objects
depicted then they will cause offence. Here a couple of clarifications are in
order. The finished painting is the complete product for the viewer group. The
viewer group is not concerned with what clarifications the painter may have
externally issued, nor is it concerned with how the critics have evaluated the
painting. The viewer group is only concerned with the response that the
finished painting invokes in a majority of the group members. The viewer group
is also not concerned with the intent of the painter, in the sense that whether
the painter intentionally desired to offend the viewers or not. The viewers can
belong to the public domain without knowledge of academic matters in art
evaluation. Absence of academic knowledge cannot rule out the viewer from being
a bona fide one. Hence the crucial question is whether there is reasonable
justification for a homogenous group of viewers to perceive the paintings
as denigrating those it holds in esteem or reverence.
Hanuman in Flight
It would be
counterproductive to discuss the issue taking the said paintings of MFH
collectively. Each painting is unique and can have different reasons for being
offensive. Therefore, this article selects one representative painting
from the lot for analysis. Other paintings of MFH can be analyzed in a similar
manner to assess whether they are justifiably offensive to Hindus, and if so to
what extent.
The
painting being selected is titled Hanuman in Flight. The painting has been
sourced from the Internet. It is being reproduced below for ready reference.
The painting bears the signature of MFH and this is being taken as evidence of
it being a genuine work of MFH.
Hanuman, Rama, and Sita
The status
of Hanuman in Hinduism is well established. Given the title and that Hanuman is
a vanar, one can reasonably conclude that the monkey in the center of the
picture is a depiction of Hanuman. Hanuman has several attributes, but two are
relevant to this discussion. The first is that he was an avowed celibate or
brahmachari, which means that he eschewed sexual contact of any kind. Yet in
this painting MFH has depicted him between two explicitly naked human figures,
one a man and the other a woman. To Hindus this would be a derision of
Hanuman’s celibacy. MFH has shown no justification for juxtaposing naked
figures alongside Hanuman. There is no evidence from the scriptures, mythology
or folklore that Hanuman encountered such naked persons. In the absence of any
rationale for the naked figures, it is understandable for Hindus to be
justifiably offended by the painting, which beyond doubt misrepresents the
celibacy of Hanuman.
The
question that automatically arises is whether these two nude figures represent
any nudes or specific personages. It is here that the second attribute of
Hanuman becomes important. Hanuman was an ardent devotee of Rama and Sita.
Whenever he has been depicted in painting or sculpture with a couple, that
couple has been Rama and Sita. One of the most iconic representations of
Hanuman in Hinduism is of his tearing open his chest to reveal Rama and Sita in
his heart. MFH has himself depicted this in one of his paintings. In the
absence of any other explanation, it would be normal and justifiable to
perceive the nude couple in this MFH painting as Rama and Sita. If seeing
Hanuman with naked figures would be offensive, then the feeling of being
offended would be compounded manifold when the naked figures are Rama and Sita,
whom Hanuman revered as his Lord and Mother respectively.
Naked
figures of Rama and Sita, particularly Sita, would directly offend Hindu
sensibilities as well. And there is justification for this. Hindus worship Sita
as the paragon of fidelity and to see her depicted in the nude will hurt. And
to add insult to injury, the depiction in the MFH painting is crass and
provocative. It can be argued that in so many years of marriage Rama and Sita
must have had their moments of intimacy. But the fact remains that no credible
narration of Ramayana depicts any moment of intimacy in this explicit manner
and any such intimacy is not crucial in the events in the Ramayana. And do not
forget that Hanuman is present in the painting, which in fact is named after
him, and this puts an end to any argument of personal intimacy. Therefore, on
several counts, icons have been misrepresented and the feeling of being
offended is more than justified.
In the Context of Erotic
Literature and Sculpture
The issue
of erotic sculpture and literature must be addressed. Again, one cannot deal in
generalities. This painting depicts Hanuman, Rama and Sita and therefore it is
essential that the depiction of these three characters in sculpture and
literature be examined. There are temples with sexually explicit sculptures.
Most of these sculptures portray the normal humans. Some of them would also
portray deities and events from Hindu mythologies. However, no such sexually
explicit depiction of Hanuman, Rama and Sita has been generally reported. One
cannot justify depiction of a particular deity in a particular manner simply
because some other deity has been depicted in that manner. As explained
earlier, each deity has his or her individual characteristics and attributes
and mythologies.
Again,
while discussing Sanskrit literature one has to look at specifics. The passage
that immediately comes to mind is Ravana’s description of Sita in Valmiki
Ramayana, in which her figure has been explicitly described and praised. This
is a reflection of the lustful desire of Ravana. The MFH painting in question
is in a different setting. To use this passage or others like this to justify a
naked a depiction of Sita totally out of context cannot be considered
reasonable by any stretch of imagination. The fact remains that there is no
basis whatsoever for the painting and it misrepresents the attributes that
Hindus hold in Hanuman, Rama and Sita. It is natural for these
misrepresentations to offend Hindus.
The Way to Respond
In
conclusion, a discussion on how the offended Hindus should react is in order.
The best option by far is to ignore such provocations. If one has faith in
one’s religion then such misrepresentations, whether malicious or unintended,
should not become a disturbing element. If at all some reaction is warranted
then that has to be within the ambit of law. Several lawful options are
available. Threatening and inciting violence is a symptom of immaturity and
just because groups from other religions have resorted to it in the past, it
does not mean that the Hindus should follow suit. If the offended Hindus do not
respond or respond in a mild manner, it does not imply that there is no
offensiveness in the painting. That exists independent of the response adopted.

