We all know that Aman Nath is an institution builder, co-founder and chairman of Neemrana Hotels. Now into the early part of the seventh decade of his life, he has had an eventful life, a long list of accomplishments in an artistic way. He has had a profound impact on Indian art world and me. To me the extraordinary thing about his journey is that he’s helped others, particularly artists, meet their potential and become a commercial success.
His space is reflective of the man he is. But now he wants to find a new home for these objects where they can be loved more publicly and appreciated. “Art is in the air,” I say. He betrays a smile, “I used to paint,” he tells me. I’m not surprised, a connoisseur of art is an artist in substantial measure.
A prodigy of Modern School-Barakhamba Road and St. Stephen's College-Delhi, I dared Aman to risk inviting 'just' me. He did for lunch at his residence in Nizamuddin East–not for the nude portrait! Anyway, January is too cold to inspire drawings with one's bare exuberance. He informed as soon as I entered, "I'm wearing four layers today."
Aman means so much to so many people. So much so that a childhood friend, Yogi Vaid had written a book celebrating their friendship— A Remarkable Friendship—with 101 bonds that mosaiced Aman Nath! Although I’ve in possession of this book for many years, read only read parts of it. I read it up before meeting Aman.
His school friend, Ajay Singh, a sportsperson who became a politician, celebrated the fact that with no background or training in architecture, Aman recreated ancient havelis with modern facilities. Ajay, rightly described Aman variously, “an author, a historian, art curator, journalist, a superb raconteur, philosopher, hotelier, and above all an adventurer,” is of the view that “Modern School and the freedom and encouragement at home, played an important part in his creativity.”
Aman’s college mate, Abhimanyu Singh, who served with distinction as an IAS officer and then as the first India director at UNESCO, calls Aman “sharp, fun loving, unconventional and creative” and adds “his artistic inclinations were apparent in his doodling notebooks and his bold, beautiful writing in capital letters.”
I tell Aman: it’s not about the heritage hotels that you built, but I’m a fan for your eye for detail; each room is different from the other, in the way it’s furnished, objects, sourced from various parts of the country, art and artifacts, blend beautifully in the symphony of the room. “His kind of restoration is very impressive,” says historian Romila Thapar, “Aman Nath is able to relate these buildings to current architecture, because he recognises the nuanced forms from the past and gives them a location in the present.”
Certainly, each room in Neemrana hotels points to the aesthetics of the mind that created it, a certain continuity in their variedness, past and present meet seamlessly. Sitting in Aman’s drawing room replete with beautiful arty objects, varied and distinct, yet seem part of the same whole, point to the same continuity.
I compliment him for his collection, paintings, artefacts, sculptures in wood, stone and metal, pictures and picture frames, gathered over a lifetime, now dulled by the passage of time, many of them way older than its owner and since have been spreading joy, testimony of a life well lived.
They all seemed at home here in the golden hue of the afternoon winter sun beaming from the big glass windows. The dullness of things has an endearing quality, and like the soft embrace. I was reminded of a poetry by Lord Bryron, made in a very different context, but somehow fits well to what I felt in that moment, ‘Thus mellowed to that tender light – Which heaven to gaudy day denies..One shade the more, one ray the less, Had half impaired the nameless grace.’
His space is reflective of the man he is. But now he wants to find a new home for these objects where they can be loved more publicly and appreciated. “Art is in the air,” I say. He betrays a smile, “I used to paint,” he tells me. I’m not surprised, a connoisseur of art is an artist in substantial measure.
Aman asks me to eat quietly assuring me that there will be ample opportunity to talk. Nice daal, steamed rice with Kerala style-fish curry was served with much love. I didn’t take his advice to speak less and eat more, kept uttering words in quick succession. He finally, to check my verbosity said, “do you have any specific questions?” I replied in an affirmative negative. “Being here in your space with you is a story in itself,” I retorted.
Aman has written sixteen books, and counting. He picks a large format book he has painstakingly put together. Like the book on the Tatas—Horizons: The Tata-India Century, 1904-2004. The making of the steel factory in Jamshedpur is not just about steel, but integral to India’s development story. The Howrah bridge was made using Tata steel. A picture from the book is etched in my memory where natives are taking a dip in the Ganges with Howrah bridge standing tall in the backdrop signifying the many layers of India, where modernity and tradition co-exist and reinforce each other.
He talks about association, friends, collaborations, and growing together. His family belonged to Lahore, is one of many families forced to migrate, crossed the border to India, and in the decades that followed did very well. India Today Group chairman Aroon Purie is from such a family. He calls Aman a ‘renaissance man.’ They have known each other for fifty years, and Aman is the best friend of his wife Rekha. Aroon describes Aman in social settings, “No one overawes him, and he loves to burst pomposity. He’s a perfect dinner guest for any party. That makes him quite indispensable.”
Aman led an art-full life, in the process, introduced the world to many artists, who went to become a legend in their own rights. He pointed out that in 1978, he was the first to exhibit the works of Anjolie Ela Menon— in Delhi at his house. She is now among India’s most famed lady artist and muralist.
Menon was a resident of Mumbai at that point in time and she recounts, “I was a bit lost in the capital, but for the fact that it was also the year I met Aman,” and then she adds, “my work was spurred on by Aman and inspired by the poet in him. I shared magical journeys to Mandawa with Aman…journeys filled with laughter, peppered by Aman’s very unique brand of humour and turn of phrase.”
Talking of his unique brand of humour, I got a few samples during the luncheon with him. Aman had fun cajoling his butler to inspire my drawings by shedding his clothes. Accustomed to such joviality, he just laughed it away. Or when he introduced the thought, “I don’t mind being bottom pinched.” And observed me get unsettled a bit before I could muster wit to say, “I too won’t mind if adequately forewarned.”
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