Page 14 - C.D. Mistry || Master of Fantasy || The Arts Trust

observed beauty in almost everything—textiles, temple who inspired artists beyond the walls of his own alma

carvings, paintings and metalworks, even the small mater, his commitment to art education eventually led
details of his home. He found himself surrounded by him to serve as the Principal of C. N. College. While

inspiration at every step, and this environment informed he was still teaching, Mistry began his artistic journey
his art, which to this day resonates with people. His in 1962, participating in the All India Exhibition of Art

colourful palette, while influenced by his native state, held in Mysore (now Mysuru). Though it marked the
only added to his natural love for painting. Inspired by beginning of his public art career, major recognition

his father, a skilled carpenter, he found himself drawn came a few years later, in 1970, when he was awarded
to making things with his hands. As he observed his a gold medal by the Hyderabad Art Society for his

father and the other carpenters wielding their craft, he painting titled Holy Worship. The work stood out for
began to understand the method of woodwork, later its strong influence from Gujarat’s folk art traditions,

collecting leftover pieces of wood from the workshop a style that would later become a defining feature of
and making small toys out of them. Mistry’s artistic voice.

The Mistrys’ village visits often extended beyond the The artist often travelled extensively through the villages

nearby areas, and from one such trip, they brought and remote corners of his native state, immersing
12 back a special sticky clay called kaadav. With this, himself in the rich folk and tribal cultures. He closely 13

young Mistry began shaping bullock carts and bulls observed their traditions, especially the decorative
or bull-balad as they were known. It became evident art created for festivals and religious ceremonies.

that he had a gift, which was enhanced by imagination, What left a lasting impression on him was the unique
patience and hands-on skill. After completing his high iconography of gods and goddesses painted in a

school in 1959, he moved to Ahmedabad to pursue simple yet striking manner using natural and vibrant
formal training in art and joined the C. N. College of Fine local colours. These depictions stood apart from the

Arts, from where he gained his Diploma in Painting in formal portrayals often seen in temples, offering a raw
1960. During this time, he studied under well-known and deeply rooted perspective that intrinsically spoke

artists such as Rasiklal Parikh. Mistry then went on to to him. Even as he adopted the traditional form, he
complete the Art Master course the following year and, continued to experiment with style and technique.

in 1960, he continued his journey at C. N. College of Fine
Arts, joining as a teacher in the Fine Arts department. Mythological themes, in fact, continued to be the biggest

catalyst for Mistry. Extracts from the Ramayana, the
For the next 30 years, Mistry dedicated himself to Mahabharata and the Puranas came to be depicted in a

teaching art across various colleges. A true academic more primitive form, which was refreshing and unique