Bansi Parimu: The Forgotten Flame of Kashmiri Modernism

(Kashmir Rechords Exclusive)

Has the visionary artist, activist and cultural conscience-keeper faded from the memory of his own people?

By all accounts, Bansi Parimu ( Parimoo), (1933–1991) was no ordinary painter. He was a modernist with a mission, a fierce cultural force, an environmental and social activist, and a voice that once echoed with the conscience of Kashmir. Through brush and belief, he embodied the soul of a homeland that now seems to have forgotten him.

His death anniversary, July 29, passed once again this year without public homage—no tribute, no commemorative exhibition, not even a whisper of remembrance from the circles that once lauded him. Particularly silent has been Panun Kashmir, the very organization that once recognized Parimu as a mentor and inspiration. Is this the inevitable fate of a displaced artist? Or are we witnessing a deeper decay—a cultural amnesia that has crept into our collective conscience?

The Making of a Modernist

Born on June 2, 1933 near Habba Kadal, Srinagar, Bansi Parimu was shaped by the natural beauty of Kashmir. The meadows, chinars, snow-covered peaks, and glimmering lakes formed the palette of his early years. His initial works—delicate, lyrical landscapes in oil and watercolor—reflected that beauty. But Parimoo would not remain confined to romantic realism for long.

As he matured artistically, his language evolved into bold figurative and abstract compositions, echoing deeper turmoil and truth. He was entirely self-taught, guided not by academic institutions but by a lifelong pursuit of observation, questioning and refinement—rooted in the Vedic principle of Neti-Neti (“Not this, not this”), a process of stripping away illusion to uncover essence.

More Than a Painter

Parimu was more than an artist—he was an institution unto himself. He edited and wrote for the influential weekly Criterion in Srinagar. He was an environmentalist who opposed the felling of chinars and the construction of a concrete bridge over the Jhelum. He was a cultural crusader who fought to preserve Kashmir’s visual and architectural heritage.

In 1986, during a public event attended by Union Minister S. B. Chavan, Parimu posed a piercing question that now rings prophetic:
“Why talk only of wildlife conservation? Why not protect the other endangered species—the Kashmiri Pandits?”

Exile, Expression, Elegy

In 1990, when the Kashmiri Pandit community was driven from the Valley, Parimu too fled—leaving behind not just a home, but a living heritage. He relocated to Delhi, a city alien to his sensibilities. There, amidst illness and heartbreak, he continued to paint—translating pain into poignant, powerful visuals.

His last exhibition, with help from theatre maestro M. K. Raina, received critical acclaim. The works on display were elegies of exile—haunting, raw and searing. Cobwebs of Apathy, Smeared Snow, Red Knows No Creed—these were not just titles; they were laments rendered in colour and form. Blood in the snow. Women in flames. A homeland unravelled.

He passed away on July 29, 1991, at the age of 58.

A Mentor Silenced by Silence

In the immediate aftermath of displacement, Parimu was hailed as a cultural beacon. Panun Kashmir spoke of him with reverence, events were held in his name, and the Bansi Parimoo Awards were instituted to encourage young talent. He was spoken of not just as an artist, but as a visionary—someone who saw art as resistance and identity.

Yet over the years, that reverence has dimmed. The awards disappeared. Events dried up. His name faded from speeches and commemorations. Silence replaced celebration. Even those who once called him a mentor have let his legacy slip into obscurity.

Legacy That Still Whispers

Despite neglect in public memory, Parimu’s work lives on—in the National Gallery of Modern Art, the Lalit Kala Akademi, and private collections across the world. His art graced Republic Day tableaux, UNESCO publications, and Indian diplomatic missions. His vision transcended borders, his brush spoke to universals.

And yet, among his own people—especially within Kashmiri Pandit circles—he remains largely unspoken. As political slogans grow louder and communal rifts deepen, the quiet brilliance of Parimu’s legacy lies buried beneath the noise.

A Call to Remember

To forget Bansi Parimu is not just to neglect a painter. It is to disown a tradition of cultural resilience, artistic excellence and intellectual honesty. He stood for a Kashmir of depth, dialogue and dignity. A Kashmir where art questioned power and beauty carried truth.

We owe him remembrance—not as nostalgia, but as responsibility.
Let his colours speak . Let his canvases challenge us.
Let us remember Bansi Parimu—not just as a master artist—but as the conscience of a people who are still searching for home.

---

🔗 Explore Further

• National Gallery of Modern Art – Online Collection
• Lalit Kala Akademi – Artist Archives
• Interviews with M.K. Raina on Bansi Parimu’s Final Years
• https://autarmota.blogspot.com/2013/07/a-1964-untitled-oil-on-canvas-by-noted.html
• https://www.artkyk.com/bansiparimu

---

🕯️ Closing Thought

To remember Bansi Parimu is to reclaim a part of Kashmir’s soul.
A soul that painted even in pain. A soul we must not forget.