Veer Munshi
As I reflect on the life and legacy of the legendary artist Shri Trilok Koul, a wave of memories carries me back to my formative years in Kashmir. It was in the serene town of Ganderbal, during an art camp organized by the Jammu & Kashmir Academy of Art, Culture, and Languages, that I first encountered this extraordinary figure. I was just a young boy then, wide-eyed and hungry for meaning, and what I witnessed left an indelible mark on my soul.
These camps, conceived under the guidance of G. R. Santosh, became vital spaces where modern Indian art took root in the Kashmiri landscape. They were more than events, they were movements. Set in natural sanctuaries like Ganderbal and Harwan, they hosted some of the most celebrated names in Indian contemporary art: M. F. Husain, Arpita Singh, Paramjit Singh, Manu Parekh, Bal Chabda, Jatin Das, Ramachandran, Bikash Bhattacharjee, Shanku Chowdhury, Gulam Sheikh, and many others. Alongside them stood the stalwarts of Jammu & Kashmir, G. R. Santosh, Bhushan Koul, P. N. Kachroo, Bansi Parimoo, Ratan Parimoo, Gayoorhassan, Gokul Dembi many more and of course, Trilok Koul Sahib.
At that tender age, I found myself mesmerized by Trilok Koul Sahib’s presence. I still see him in my mind’s eye, paintbrush in hand, standing before a large canvas by the river, cigarette in mouth, working with sweeping, confident strokes of color. The aura surrounding him was magnetic: part mystic, part rebel, wholly artist. I sat near him for hours, silently absorbing the creative rhythm of his world. His painting, and the environment he nurtured, planted a seed in me. That moment shaped my destiny, leading me eventually to study at Baroda Art School, and later, to pursue a life in art for more than four decades.
Beyond the canvas, I often visited his home over the years, a sanctuary of paintings, books, brushes, and the ever-present Charminar cigarette. He was soft-spoken, dignified, and always willing to discuss art, form, and aesthetics. Politics rarely entered his conversations with me. His focus remained on the deeper currents of visual culture. But Trilok Koul’s contributions went far beyond painting. He played a seminal role in preserving and innovating the craft traditions of Jammu and Kashmir. As Director of the School of Design, he, along with P. N. Kachroo and A. K. Raina, initiated a powerful dialogue between artists and artisans. Their efforts transformed traditional crafts by introducing contemporary design principles, resulting in a unique model of art-craft integration. These collaborations birthed masterworks that earned national honour’s and were showcased at international craft exhibitions. Under his leadership, the School of Design also established an on-site museum, now a vital resource and inspiration for future generations. In the aftermath of the Kashmiri Pandit exodus, many of us were scattered across different parts of India. I reconnected with Trilok Koul Sahib much later in Jammu. Like many of us, he carried the pain and trauma of displacement. His voice was tinged with a quiet bitterness, yet his spirit remained deeply rooted in the ideals of art. We often spoke about his early struggles, his association with S. H. Raza, the movement to establish modern art in Kashmir, and his work alongside P. N. Kachroo and S. N. Bhat. These stories reflected not only his passion for art, but also the resilience and cultural awakening that Kashmir witnessed through its artists. Trilok Koul was a masterin the truest sense. His life and work must be viewed in the context of a complex history: of conflict and culture, exile and identity, struggle and self-expression. Through his paintings, designs, leadership, and mentorship, he shaped a legacy that continues to breathe within the artistic conscience of Kashmir and beyond.
As we remember him today, it’s not only for his art but for the spark he ignited in so many of us. May his legacy remain eternal, a guiding light for future generations. |
