Image & Text contributed by Amrita G. Haldipur
His name was Bhalchandra Ambadas Haldipur. He was my grandfather and we fondly called him ‘Daddy’. In this photograph he was being awarded the President’s Police & Fire Service Medal, highest achievement award for a police officer in that year.
Bhalchandra Ambadas Haldipur or Daddy was the only person I have ever been scared of. And that fear came from the immense respect I had for him and for the school of discipline he belonged to. I was all of 10 years old when Daddy passed away in 1992. But he left behind a few things which were to influence me for the rest of my life. Deep-rooted values and beliefs, a memory of his charming personality and the aura he impressed everyone one with, be it family or friends, his tongue-in-cheek humour in the most difficult times, and his last words to me.
My grandfather, Bhalchandra Ambadas Haldipur joined the Bombay City Police in 1939 as Sub-inspector , Thoroughly “clean” and incorruptible, he was known for his tireless and thorough investigations, and fearless drive against crime during his hectic career spanning 36 years in the Police Force. Whether working in the Crime Branch or Anti-Corruption Bureau (ACB), he remained a courageous, fearless crime-fighter who led his men from the front.
My grandmother has always had interesting tales to tell us about the way he worked and one of my favourite anecdotes is the the story of him Capturing two conspirators of Mahatma Gandhi’s assasination– Narayan Apte and Vishnu Karkare in 1948. What set him apart in his investigation procedures was a set of sketches he drew during his chase and trial of the killers.
Sifting through the album with yellowing sheets of these sketches, my grandmother said –
“Daddy was part of the special cell to trace Gandhiji’s assassins. A team set out to scour the country for the absconders soon after January 30, 1948. And he was asked to track Apte and Karkare, two co-conspirators of Nathuram Godse in the assassination. He was posted in the Red Fort, Delhi during the entire trial period. For his records, he drew portrait sketches of whomsoever he met – be it the then DSP of Delhi , a sub-inspector at Gwalior, a tailor from Pune or an IAF official. During the chase, for weeks he did not come home, and we never knew where he was. You are lucky to live in the age of mobile phones. I wish I had some such help to avoid sleepless nights wondering where and how he was. He survived on eating raw eggs and followed leads on the two assassins from Gwalior in Madhya Pradesh to Ahmednagar (their hometown), in Maharashtra. During daylight he would go hunting and chasing leads on both with guns and at nights, he sketched with pencil, portraits of those he had met or interrogated. The day Apte and Karkare checked into Pyrkes Apollo Hotel near Regal Cinema in South Bombay under assumed names, Daddy finally nabbed them after waiting there for them for seven hours.”
Daddy became a key official in the Justice Kapur Commission set up by the Govt. Of India to investigate the various events that led to the assassination of Mahatma Gandhi. During the completion of 150 years of Mumbai Police Commissionerate, he was declared as one of the most important Police Officers from the Bombay Police division to have significantly contributed to the country in the immediate post-independence era. But he never discussed his work at home or spoke about his achievements and never let anyone promote him either. All he said was, “I am working for the public and not for publicity.”
Daddy was also so much more than a great police officer. He was a body builder and a Pole Vault Gold medalist at the National Olympics in 1940. A multi-linguist, he had passed three examinations in Urdu while in service. He also initiated the Annual Ganesh Chathurthi festival at Santacruz Police Station in Bombay. After he retired in 1975 as the Deputy Commissioner of the Anti-Corruption Bureau (ACB) he was one of the founder members of the Senior Citizens’ Club of Bombay. He was a music and instrument buff, a loving husband, father and grandfather.
If I had a time machine, I would have had only one wish – more time with Daddy but I’m also glad that I have no such privilege because he would have only been disheartened to live and watch the country today, rotting with corruption and indiscipline.
I have been wanting to share my grandfather’s story for a long time now. He always makes my heart swell with pride and brings the widest smile. He is the hero, my Idol.
Aug 28, 2013 | Categories: 1940s, 1970s, Accolades & Awards, Achievements, Assassinations & Attempts, Body Building & Fitness, Bombay, Colaba, Crime and Illegal, Drawing, First of a kind, Freedom Fighters, Future icons from the Past, Gandhian, Goud Saraswat Brahmin, Indian Music, Indian Politics, Intelligence and Spies, Maharashtra, Medal, Men in Uniform, Most Popular, Police, Previous, Santa Cruz, Sports, Urdu | Tags: 1940s, 1948, 1970s, Amrita Haldipur, Anti-Corruption Bureau, assassination, Bhalchandra Ambadas Haldipur, Bombay, Bombay City Police, Chase, co-conspirators, Crime Branch, Ganesh Chathurthi, Grandfather, January 30th, Justice Kapur Commission, Mahatma Gandhi, Mumbai Police Commissionerate, murder, Narayan Apte, Nathuram Godse, National Olympics, Pole Vault, Police Officer, President's Police & Fire Service Medal, Pyrkes Apollo Hotel, Red Fort, Regal Cinema, Santacruz Police Station, Senior Citizens’ Club, Sketching, Urdu, Vishnu Karkare | 2 Comments »
Image contributed by Rukmini Varma, Text by Manu Pillai
In a time when the Indian Subcontinent was still a land of splendid Maharajahs and fabulous courts, Rukmini Varma was born in 1940 into one of its most early royal houses, with an unbroken dynastic lineage of over 1200 years.
Titled Her Highness Bharani Tirunal Rukmini Bayi Tampuran, Fourth Princess of Travancore, her early life was an idyllic fairytale, with all the enchanting auras and ceremonies surrounding a royal princess. Her grandmother, the Maharani Setu Lakshmi Bayi (1895-1985) was the revered matriarch of the house, who had ruled the State of Travancore and its five million people with much distinction in the 1920s. The entire family lived in her hallowed shadows. Rukmini was her eldest and favourite grandchild, and in a dynasty that traced its bloodline through female gene, her birth was of significant importance for matters of succession to the Gaddi (Throne) of Travancore.
Growing up in Satelmond Palace in Trivandrum, art came naturally to Rukmini. Her great grandfather, Raja Ravi Varma, was a master and celebrated painter, known as the Father of Modern Art in India. Some of his most fabulous works adorned the palace walls of Rukmini’s home. Her grandmother, the Maharani, was a patron of many local artists whose works ranging from portraits & landscapes to murals & dramatic scenes from the great epics, were a constant inspiration. But what impressed Rukmini’s attention the most were the hardbound, tastefully produced annual catalogues of all the major art galleries across Europe that her grandmother had collected. The works of great baroque masters like Rembrandt, Rubens, and Caravaggio fascinated her, and as a child she began to experiment with colour.
Observing her growing interest in art, Rukmini’s uncle gifted her with her first full set of brushes and paints on her sixth birthday, ordered specially from Bombay. Her grandmother too, noticing her general inclination towards the arts, appointed dance and music instructors, and in the years to come Rukmini would master forms such as the Bharatanatyam, Mohiniattam, Kathak, and more. With an appreciation of India’s cultural heritage as well as an interest in history, mythology, religion, architecture, she would reveal herself in her works in the years to come.
By the eve of India’s independence from the British Empire in 1947, things began to change in the royal household. Rukmini’s parents began to spend much of their time away from the palace, in the hill resorts of Kotagiri, Coonoor, and Kodaikanal. They also chose to enroll their children in public schools instead of having a train of tutors following them around. The slow lifestyle of the palace was replaced by an instilled regular routine focused on academic achievements instead of art. In 1949, the State of Travancore vanished from the map forever when it was merged with Independent India, and the royal family retired from active public life. The liveried servants, royal guards, and all the ritualistic ceremonies of palace life slowly faded away. Rukmini’s parents and her grandmother, the Maharani, moved to Bangalore. Satelmond Palace and the old world it represented became a mere memory.
For the next two decades painting took a backseat for Rukmini as school and college became more of a priority, followed by a marriage and children- all by the time she was 21 years old. But Rukmini kept her artistic interests alive, and recalls how she would try to recreate scenes from Greek mythology, painting Venus, Aphrodite, Paris, and other characters. Her classmates and friends were quick to ask for these pictures, encouraging her to paint more. Rukmini also excelled in science and despite her father insisting she focus on academics, her grandmother, the Maharani, advised her regularly, to aim towards perfection in her paintings. The encouragement helped- Rukmini chose art and not science.
By the 1960s Rukmini successfully dabbled in a variety of artistic spheres, a time she considers her ‘most creative phase.’ Around the same time Rukmini had also become an excellent dancer. Training under the renowned U.S. Krishna Rao, Chandrabhaga Devi and Uma Rama Rao, she gave several exclusive performances, including for charities. Film directors like Raj Kapoor began to approach her for acting roles, as did people with modelling offers, on account of her exceptional good looks. A then-prominent magazine, Mysindia, for instance, referred to her in 1968 as ‘an Ajanta painting come to life’. Magazine covers, including Femina and The Illustated Weekly of India, began to feature her regularly and she became the toast of Bangalore society.
In 1965 she started her own dance school in Bangalore in the halls of Travancore House, her family home on Richmond Road, which became an instant success. Still the orthodox social pressures and judgement on a ‘princess from a royal family dancing’, resulted in a premature termination of this phase of her career and to the greatest regret of her gurus. The Maharani, for whom Rukmini often performed in private, helped her move on by suggesting an alternative – Painting.
Rukmini returned to painting, an arena where it was felt society judgments were less pressing. Fortunately, soon enough she began to enjoy it actively and took it up with a renewed vigour. By 1970 she had completed her first series of oil paintings, which were exhibited in Bangalore to positive reviews. Her second exhibition in 1973 was opened by Governor Mohanlal Sukhadia of Karnataka State. 34 of the 39 paintings displayed were sold in a matter of days. Her third series in 1974 was inaugurated by the then President of India, V.V. Giri, at the Lalit Kala Academy in Delhi. Rukmini’s art began to bring her serious recognition in India’s art circles (including from Svetoslav Roerich, with whom Rukmini later sat on the Advisory Board of the Chitrakala Parishad in Karnataka).
In 1976, upon the invitation of BK Nehru and Natwar Singh, Rukmini embarked on her first major international exhibition at India House in London, which was opened by Lord Mountbatten, the last Viceroy of India. Impressed by her skill and ability he asked her if she would paint a portrait of him in traditional Indian attire, wearing a turban and an achkan. They also became friends briefly, with Mountbatten inviting her to fox hunting and picnicking with him on his country estate. The commission of the portrait, however, could not be completed owing to Lord Mountbatten’s tragic assassination in 1979, just before he was due to visit India with Prince Charles and provide Rukmini with three promised sittings.
Subsequent exhibitions followed in Bonn, Cologne, and Neuenahr in Germany, along with invitations from Paris, Zurich, Madrid, and Rome. Queries for her work began to come in from collectors in Europe, America, Singapore, and the Middle East. In 1981 she had another highly successful exhibition in Bombay at the Jehangir Art Gallery and at The Taj Art Gallery winning her the appreciation of M.F. Hussain. The exhibition was a sensation and caused a ‘stampede’ because it included her ‘Flesh and Gems’ series, which had voluptuous female nudes in mythological settings, not meant to trigger ‘erotic fantasies’ but a celebration of the human, particularly female, form and experience.
Throughout her career Rukmini was always compared with her renowned ancestor, Raja Ravi Varma, but, while she followed his concepts of depicting scenes from the epics, there was a substantial difference: Ravi Varma’s women were always luxuriously draped. Rukmini, on the other hand, had no qualms about painting them nude. It was a courageous move for the times and drew in a lot of criticism too from people like Swami Chinmayananda, who commented that Rukmini ought not to have painted nudes based on the epics, which had some religious value and could give offence.
Despite objections, including from within family circles, through the 1980s, Rukmini experimented with nudes. Disillusioned by this prudish conservatism in art, years later she said: ‘I got fed up with all these restrictions. You couldn’t express yourself in the way you wanted. I am certain even Ravi Varma wanted to paint flesh as flesh is, without restrictions…’ Rukmini was going through a phase of rebellion. Interestingly, this corresponded with the time when her commercial success was at its peak, and artists and collectors alike would regularly show up to meet her at Travancore House. Her ‘Pratiksha’ series which included many nudes, was quietly sold into private collections in India and abroad, and was not exhibited anywhere so as not to provoke orthodoxy.
Tragedy struck in 1988 her youngest son, Ranjit, died in an accident at the age of 20. Rukmini, devastated by the event for the next several years did not pick up the brush. She moved out of her grand old house into a private flat to escape attention from the stream of visitors and the media. A separation from her husband too followed. In the mid-90s Rukmini picked up the brush to paint with a portrait of Ranjit (one of the few portraits she has done). Another one followed but she was unable to complete either of them. To the genuine satisfaction of her collectors and well-wishers, however, she slowly began to do other paintings as well. Her lifestyle remained reclusive, though, and she turned down all invitations to exhibit her latest works and did not receive visitors.
Over the last eighteen years until now, Rukmini has been painting in Bangalore, with a dedicated group of private collectors following the progress of her work. She continues to avoid visitors for most part along with requests from the press, even as her work, although much reduced in volume, remains singular in style and excellence. And even today, at the age of 73, she remains a singularly beautiful woman, with such a remarkable past, with so many stories and anecdotes from around the world, that perhaps one needs to dedicate an entire book to recording her life.
Aug 22, 2013 | Categories: 1800s, 1960s, 1970s, Accolades & Awards, Achievements, Artist, Bangalore, Beauty Icons, British Reign, Charity, Classical, Concerts, Dressed for an Occasion, Economic Status, Elite, English Medium, First of a kind, Future icons from the Past, India, Indian Dance, Indian Music, Kannur, Karnataka, Kerala, London, Matriarchy, Mourning, Music, Art, Dance & Culture, Palace, Personal Collections, Pre-1947 Indian Regions & States, Previous, Psychological & Emotional Trauma, Richmond Town, Royality, Sarees, Shikar (Game Hunt), Silk, The Illustated Weekly of India, United Kingdom, Women Empowerment, Women's Clothes | Tags: 1947, 1970s, assassination, Bharatanatyam, BK Nehru, Chandrabhaga Devi, Chitrakala Parishad, Coonoor, Father of Modern Art, female nudes, Flesh and Gems, fox hunting, Governor Mohanlal Sukhadia, Greek mythology, Independence, India House, Jehangir Art Gallery, Kathak, Kodaikanal, Kotagiri, Lalit Kala Academy, London, Lord Mountbatten, M.F. Hussain, Maharani Setu Lakshmi Bayi, Manu Pillai, Matriarchy, Mohiniattam, Mysindia, Natwar Singh, Painter, Pratiksha, President of India, Princess, private collectors, Raj Kapoor, Raja Ravi Varma, Rukmini Varma, Satelmond Palace, Swami Chinmayananda, The Illustated Weekly of India, The Taj Art Gallery, Travancore, Trivandrum, U.S. Krishna Rao, UK, Uma Rama Rao, V.V Giri | 1 Comment »