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Correspondent

21 August 2024 at 10:20:16 am

Beacon Blues

India in general and Maharashtra in particular have long waged a rhetorical war against VIP culture. Yet every few months a small incident reminds the country that the old habits of privilege die slowly. The recent controversy over flashing lights on the official vehicle of Mumbai’s mayor, Ritu Tawde, offers another glimpse into the stubborn afterlife of political entitlement. Social media posts earlier this week showed red and blue flasher lights mounted on the bonnet of the mayor’s official...

Beacon Blues

India in general and Maharashtra in particular have long waged a rhetorical war against VIP culture. Yet every few months a small incident reminds the country that the old habits of privilege die slowly. The recent controversy over flashing lights on the official vehicle of Mumbai’s mayor, Ritu Tawde, offers another glimpse into the stubborn afterlife of political entitlement. Social media posts earlier this week showed red and blue flasher lights mounted on the bonnet of the mayor’s official vehicle and its escort car. The images quickly spread online, prompting activists and citizens to question why such lights had returned to the streets. The Brihanmumbai Municipal Corporation soon stepped in, announcing that the lights had been removed and even the designation plaque on the vehicle covered. The explanation offered by the civic body was procedural in tone. Vehicles, it said, are allotted to office bearers by the administration once they assume office, and the lights were removed as soon as the issue came to public attention. Chief Minister Devendra Fadnavis, defending the mayor, suggesting she was being unfairly targeted for something she had not personally authorised. Yet the controversy is revealing precisely because of its banality. Nearly a decade ago, the Union government took a clear decision to abolish the red beacon culture that had come to symbolise the distance between India’s rulers and its citizens. In 2017 the cabinet amended the Motor Vehicles Rules, banning the use of red beacons atop government vehicles except for emergency services. The reform was widely hailed at the time as a symbolic blow against a culture of entitlement. For decades the red beacon had functioned as a badge of power. Mounted on the roofs of ministerial cars, it parted traffic like a royal standard. Drivers were expected to yield, police to salute and citizens to step aside. In a democracy that prides itself on egalitarian ideals, the spectacle sat uneasily with the rhetoric of public service. The abolition of the beacon was meant to change that psychology. The reform had a theatrical flourish to it, but symbolism in politics often matters. Removing the red light was meant to remind officials that authority flows from the people, not from flashing bulbs on government vehicles. When a mayor’s car is seen sporting the very symbols the law sought to abolish, it suggests that the instinct to mark status visibly still lingers within the machinery of governance. India’s struggle against VIP culture has always been about more than traffic privileges. From airport queues to police escorts, public life still carries traces of an older hierarchy in which the powerful glide past rules that bind everyone else. The removal of a few lights on a municipal vehicle will not transform that culture overnight. Yet the episode is a reminder that vigilance matters. Laws abolishing symbols of privilege are only the first step; ensuring that officials internalise their meaning is a longer battle.

Art market in a 'crazy boom'

  • PTI
  • Mar 22, 2025
  • 3 min read

MF Husain's 'Gram Yatra' sold for record shattering Rs 118 crore

New Delhi: The record-breaking auction of legendary painter MF Husain's work has thrilled gallerists, art collectors and emerging artists alike, as excitement grows over the "crazy boom" in the art market and the much-awaited entry of Indian artworks into the 100-crore club.


Husain's Untitled (Gram Yatra), billed as one of his most important and sizable works from the 1950s, went for USD 13.8 million (over Rs 118 crore) at a Christie's auction in New York on March 19, setting the new record for the most expensive work of modern Indian art.


The artwork, according to industry sources, is bought by Indian art collector and philanthropist Kiran Nadar. However, the Kiran Nadar Museum of Art (KNMA), where Nadar is a trustee, has declined to comment on the acquisition.


The milestone event has sparked widespread enthusiasm across the art community, some even calling it as a transformative moment for Indian art on the global stage.


“It is an absolute delight to see this world record being achieved for M F Hussain, this was long overdue and the world is finally waking up to the glory of Indian talent. For many years now from the modern and even contemporaries, there's so much talent that's emerging that had not previously found a world stage.


"With this milestone, we would bring attention to what can be achieved with talent that is present in the land of India, M F Hussain has been at the forefront of attention," said Arjun Sawhney, avid art collector and co-founder of Delhi-based Gallery Pristine Contemporary.


Pooja Singhal, founder of Pichvai Tradition & Beyond, echoed Sawhney's sentiments and said the art market is going through a crazy boom, reminiscent of the period between 2000 and 2008, when the sales peaked in 2006 and 2008.


Similarly, buoyed by the over-118-crore sale of Husain's masterpiece, Mohit Jain of the Dhoomimal Art Centre said the staggering figure would undoubtedly impact the market—and the Indian art scene as a whole—which he believed is on an upward trend.


"Fortunately, since 2005, the Indian art market has seen a very positive trend and will continue so. This will also attract new collectors globally, where they can trust Indian Modern Art and also get inspired to acquire. But, I believe the effect of this figure will still be limited to the era, the strength, the subject and the size of each artist," he explained.


Comprising 13 unique panels spanning nearly 14 feet on a single canvas, "Gram Yatra" - meaning 'village pilgrimage' - is widely regarded as a cornerstone of Husain's oeuvre. The work celebrates the diversity and dynamism of a newly independent nation.


The momentous sale nearly doubled the previous record-holder, Amrita Sher-Gil's 1937 "The Story Teller", which fetched around USD 7.4 million (Rs 61.8 crore) at an auction in Mumbai in 2023.


The 1954 painting, which left India the same year, remained largely unseen since its acquisition by the Ukrainian-born Norway-based doctor Leon Elias Volodarsky, who was in Delhi to establish a thoracic surgery training centre for the World Health Organization (WHO).


Volodarsky bequeathed the painting to Oslo University Hospital in 1964. The sale proceeds will support the training of future generations of doctors at the institution.


Born on September 17, 1915 in Pandharpur in Maharashtra, Husain remains one of India's most important and sought after artists whose oeuvre inspires art and conversations across the globe.

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