manju

In my farewell panel Mahashraman[13] is singing a song ‘Shasan kalpataru… rakho rakho rakhwali’. It describes, by implication, the Terapanth[19] sect, as well as addressing Acharya[1] Tulsi[20][3] to be its spiritual protector, even as Acharya[1] Tulsi[20][3] has left for his heavenly abode on 23rd June 1997 at Gangashahar[7] (Bikaner[5], Rajasthan[17]). His demise is a fact of mortality. His presence through bodily absence is, in fact, so pervasive that I have drawn it, imaginatively though, through the life-sustaining intimacy between a milch-camel and its young one drawing milk. Acharya[1] Tulsi[20][3]’s nourishing presence is felt by everyone attached to the sect, directly or indirectly. Acharya[1] Tulsi[20][3] was the ninth Acharya[1] of the Terapanth[19] sect. He left this world with first acharya[1], Bhikshu[4]’s presence felt on his life ‘Om[15] Bhikshu[4]’.

In the nether part of the panel main entrance of Jain Vishva Bharti[3], Ladnun[5], is drawn and at the right end of the entrance is shown a fruit tree which symbolises fruitfulness of purpose for which Vishva Bharti was founded.

The logo of Jain Vishva Bharti[3] Institute (Deemed University) is drawn in brown colour. Established in 1991, it is situated in Jain Vishva Bharti[3], Ladnun[5]. These two institutions are the great achievements of Acharya[1] Tulsi[18][2]’s life.

The scene in panel 5 shifts to Rajasthan[18]. In the nether part of the panel a logo of ‘Terapantha[26] Yuvak Parishad’, established in Bikaner[5] in 1964 with a motto of service, dedication, and organisation, is shown in a pink lotus. At the upper part of the panel, a black milestone with a logo of ‘Mahila Mandal[11]’ (ma ma) inscribed on it is shown. The Mandal[11] was established in 1968 in Bidasar[4]. These two institutions have now spread all over India.

The picture of a woman, with a boy on her lap, is sitting near her hut, as though she is confined to her domesticity. Her face covered with a part of her sari is suggestive of the then Rajasthani[19] women’s condition not to have exposures to the outside world. Acharya[1] Tulsi[27][2] opposed this age-old purda convention and he found it necessary that this convention, has to be removed. He successfully created awareness among them about their dignity and importance in social, intellectual and spiritual life.

A year before Tulsi[19] came to Kolkata[6] his followers established ‘Mitra Parishad’ in 1958, with the motto of Seva[15] (service) and Samarpan (dedication). In the course of his journey on foot Acharya[1] Tulsi[19][2] arrived at Kolkata[6]. Before his arrival he travelled many provinces in his pada-yatra. Hence, the phrase ‘Jai Guru[4] charaiveti’ at the end of a flag. In the upper section ‘Sammed Shikhar’ a mumukshu[9] sister Kala[5] (Sadhvipramukha[13] as she is called today) is shown standing devotedly. At this place she got the order from Acharya[1] Tulsi[19][2] to become a Sadhvi[12].

Kalighat temple, a landmark of Kolkata[6], has been drawn close by. A holy cow is shown trotting towards Acharya[1] Tulsi[19][2]. This motif is a piece of artistic imagination to bring home the fact that Acharya[1] Tulsi[19][2] was very fond of this docile animal. We notice a look of quietness and affection in the eyes of cow and those of Acharya[1] Tulsi[19][2].

We find Acharya[1] Tulsi[19][2] in blessing mudra[8] showing three fingers for his primarily important preaching: friendliness, tolerance[18] and peace. The preaching is written behind his back, as he is seen seated on a stool with his right leg resting on the left. It is to be noted that Acharya[1] Tulsi[19][2] has used the public address system through microphone. Two fish drawn on the architectural motif stands for ‘agar’ and ‘anagar’ i.e. house holders and sadhu[11].

In future, Acharya[1] Tulsi[19][2] wants to travel in South India. A passionate follower of Acharya[1] Tulsi[19][2], Sri Khemchand Sethia, coincidentally requested Acharya[1] Tulsi[19][2] that he be given an opportunity to arrange for his travel south. All his hesitance was dispelled when Acharya[1] Tulsi[19][2] agreed. It was a rare moment of bliss for Sri Khemchand Sethia, shown here with folded hand standing before Acharya[1] Tulsi[19][2], with a person by his side, Late Suganchand Anchalia, who was a friend and philosopher of Sethia. The panel depicts Gopuram, an entrance to the temple (southern style). In his sleep Acharya[1] Tulsi[19][2] had a dream of Bahubali[3] (Shravanbelgol’s Gommateshvaram), where he had had his visit already. Acharya[1] Tulsi[19][2], in his southern yatra composed the ‘Arhat-Vandana’, an evening prayer which we say now-a-days.

Despite opposition from several sects, language barriers etc., Acharya[1] Tulsi[19][2] won over a considerable number of followers, who welcomed him with the words ‘Vande Guruvaram’. At the far end of the panel, above Mysore[10] Palace, a snake is shown swishing away, suggesting the idea that venom disappears in presence of sacredness.

A regular evening prayer in Terapanth[33] sect was, initiated by Acharya[1] Tulsi[34][3], has been shown: ‘Om[20] jai jai tribhuvan …’. A dark patch in the sky suggests evening time with associated images, namely the sky, the moon, a star, an owl on a tree, and a village girl waiting for her cattle to return home.

In the nether part of the panel a life-span motif is shown through the depiction of the stages of life: childhood, adulthood and old age. The relevance of the motif is in its emphasis that no stage in life should be wasted.

Panel 2 starts with the picture of Mantri Muni in a sitting posture. An orange flag with the digits 5,6,7,8 and 9 as well as with the sun and the moon is seen on his person. The digits denote the fact that he has seen all five Acharyas of the Terapanth sect. The sun and the moon represent time.

Seeing Tulsi’s determination on his vows (cf. panel 1) his guardians at last allowed him to take ‘Diksha’ (i.e. to become muni). Customarily, a Shobha-yatra (procession) is performed a day before the ‘Diksha’ and the boy is, adorned as a bridegroom. ‘Mangal-Prasthana’ is written horizontally in the lower portion of the Panel.

The subject matter of this mural is the life of Acharya Tulsi. First, I have shown Yaksha (as protector) whose face resembles Ganesha’s. He is shown in a standing posture, with his left foot towards the space of the entire mural (signifying past) and his right foot towards the present. Yaksha’s ‘navel’ (i.e. the centre of energy) appears exactly at the centre of the mural (considered in its height). The theme of the painting, however, starts with a homage to ‘Jinendra’ (Om Jinendraya namah). A dream of the Dev-vimana, seen by Tulsi’s mother before his birth, appears on the right side of the homage.