Epifanio 1 Epifano 2 Epifanio 3 Epifano 4 Epifanio 5 Epifanio 6 Epifanio 7 Epifanio 8 Epifanio nr 9 Epifanio nr 10 Epifanio nr 11 Epifanio 12
Epifanio 13 Epifanio 14 Epifanio 15 Epifanio 16 Epifanio 17 Epifanio 18            
Igasugune tagasiside on teretulnud. KONTAKT: augustkunnapu@gmail.com

Eestikeelsed artiklid



Milind Ranadive

Vilen Künnapu

August Künnapu, Vilen Künnapu


Kaido Ole


Mehis Heinsaar

Mart Aas


Indian drawings

When I once flew back from Nepal, the Siberian shaman sitting next to me said that I would get a good contact with people through drawings. He watched me make sketches of people from memory. From that time onwards, I have taken up drawing on my trips. I treat people and buildings as equals. For me, they both live and have their own character. This character is sometimes called spirit. In Santorini, I took up watercolour that some consider drawing. I am now leafing through my India-drawings and feel their moods and energy clusters that I had perceived in various places.

Francis D'Souza

is an Indian artist, an exceptionally sensitive painter and drawer. He teaches me to respect drawing. According to him you must produce at least 10 drawings a day to achieve proper peace of mind. I make a small portrait of him that seems to please him. Francis gives me and August some ultra-thin felt pens, which he regards as the best, and Sri Nisargadatta Maharaj's book I am That, which he adores. Francis D'Souza is a man whose life is art. He asks us, once we've got back home, to find him the old version of Buratino, illustrated with paintings. Francis remembers this book from his childhood when the relations between India and the Soviet Union were still warm.

  Drawings: Vilen Künnapu

Subodh Kerkar

is another Indian artist, a prominent conceptualist with a wide grasp. We live in his hotel in Goa, where the walls are adorned with Subodh's father's remarkable sensitive paintings. They resemble a bit the work of Gauguin. The hotel also comprises an art gallery, art residence and restaurant, designed by Subodh himself. Subodh Kerkar has a great power and a bit demonic energy. His work in tightly linked with the ocean and the Goa beach. Subodh gets very well on with August, to whom he predicts a bright future. Behind his power you can sense his father's subtle spirit. I produce a small watercolour of Kerkar during the last days of our trip in Delhi.


Shirish Beri

is a prominent Indian architect. He lives in Kolhapur and we are his guests. In addition to architecture he also draws, paints, writes poetry and makes films. His philosophy is holistic – God is everything and every­where. It is difficult to point out any details from his works (only perhaps his house by the lake in Andur), but it all forms one splendid whole, including his own person, home, work, connections and organisational skills. His life's pragmatic side and spirituality seem to be well balanced. As with most Indian intelligentsia, he has a solid English foundation, which happily blends with ancient Indian wisdom and customs. August and I interview him for Epifanio, and deliver a few lectures to the inhabitants and architecture students of Kolhapur. Upon his request, I give him the small pencil drawing I make of him.


Is my son, friend and travelling companion. A Kenyan woman sage once said that we have a joint karma. I wanted to know what that meant and she said that if one was doing well, so was the other. When we travel together, August is quite childish, reminding me of Buratino. He takes a special delight in swimming, in an ocean, lake, pool and a temple pool. In addition to childishness, he exudes a kind of ancient wisdom and his sprightly talent has a healing impact on people. I make a smack sketch of him in profile.

Chi Ti-Nan

Is a mysterious Chinese man, one of the reasons of our trip. Architect and lecturer Chi constantly organises various cultural events in different parts of the world. He is one of the gray cardinals of the new world order and it seems as if August and I have a role in his script as well. To be honest, we do not mind at all. I make three pencil drawings of him, and give one to him. Chi seems to be sincerely happy about it. He promises to get it framed.


I look at the Varanasi sketches and recall the softness, holiness and brightness of the Ganges. Thousands of pilgrims and townspeople gather at the steps of the riverbank at sunrise, to do some yoga, bathe in the holy water, pray and meditate. The dead are being burnt here and there, red towers rise towards the sky from the town silhouette that seems like a rock wall. After sunrise the trained monks on the steps start their fire ceremony. Torches, candlelight, stupas, in magical rhythm, the monks are whirling some kind of weird items that resemble oil lamps. Little bells tinkle, there are songs, smoke, thousands of bright-eyed Indian women, holy men sadhus and hundreds of boats on the Ganges carrying tourists, Buddhist monks, wealthy Hindus and heaven knows who else. Spiritual vibration is high, many, including myself, are crying.


Sarnath stupa

Not far from Varanasi stands the Sarnath stupa. Allegedly, Buddha delivered his first lectures there. It is one of the most energetically powerful buildings I have ever seen. Maybe also the biggest. The image of the lingam like plastic brick vertical produces a strong effect in the viewer. I realise that the stupa is an instrument or a machine of cosmic energy. Covering this conical masterpiece with red watercolour, I feel sweet excitement and indescribable sense of joy.



Jantar Mantar

is a complex of cosmic architecture in the heart of New Delhi. The seven ancient buildings are simultaneously clocks, calendars, apparatuses for star-watching, astrological instruments and the means to determine equinoxes. The central staircase of the composition is pointed towards the North Star. We know that this is the only star that stays at exactly the same place. Jantar Mantar is a work of architecture where time becomes space and space becomes time. It is no wonder that several works of Kahn, Le Corbusier, Melnikov and Legoretta are directly influenced by that geometry. I have always thought that energetic architecture should be massive, occasionally red, and rely on the base images, such as the circle, square and triangle. Shirish said that jantra means machine, mantra is a concept and tantra stands for energy, which ignites that instrument. Again I make a few pencil drawings.

The cook

The New Delhi hotel Connaught, quite near the Connaught Circle, has a small restaurant, where two cooks, a man and a woman, prepare omelette for breakfast. I am fascinated by their cylindrical headgear, a kind of stupa or perhaps an energy machine. How else can you explain the fact that the omelette is so delicious? I go upstairs to my room and paint the image in my watercolour book.


The taxi-driver

The taxi-driver with a red turban is a friend with the taxi-driver with a lilac turban. The lilac-turban driver is a Sikh and takes us for a bath in the Sikh temple pool. August's turban falls off in water and the guards with spears, shields and curved swords take us to the large office of the senior officer of the temple, where a trial is conducted. The taxi driver is found guilty and we are offered a glass of holy water. The turban is probably also a jantra.


beach is an amazingly long stretch of sand by the ocean. In the central part we are harassed by the local tourist-catchers, but in the north we find almost empty huge hippie beaches. There is an odd fisherman's boat, cosy thatched-roofed bar and flags of various countries. The tide is doing its magical universe job and the waves are writing Indian poems on the semi-wet sand. I make a spontaneous sketch of all that, and another moment has been captured. It belongs to me and I carefully put it into a glass box. The events and images are quietly moving away.

I have often wondered why a good drawing produces such a sense of happiness. It might be that at the moment of sketching, the consciousness of the person making a spontaneous drawing joins the universal pattern of the common field, which grants him divine information about the person being portrayed. You feel especially wonderful when you perceive the golden mean or the dimension that has created the whole existence. Producing such drawings could be compared with whatever meditation, rite or prayer. After all, the taxi-driver with a pink turban claimed that God lived in his heart.

Once again we are sitting in an airplane on our journey home. For some reason, everything seems to make me cry. The sun shines behind the small window, and it feels good and light.

Vilen Künnapu
is architect and artist. He likes to draw houses and people. See also: vilenkunnapu.pri.ee