Sense of an icon, idol

IF someone from the IT industry explained the meaning of the word ‘icon’ (noun), we would learn that icons were small images on computer screens that the eye makes contact with. Each image or icon works like a push button. Using the cursor to click on the icon, that particular site can be accessed. Icons were images (simile, Latin; from Greek eikon; mid-16th century) indicating similarity or likeness, in their earliest usage. The word ‘icon’ took on religious connotations over a period of time, although pictures and images were venerated from earlier times. Images of Christ, Madonna, angels, martyrs and saints, made in wood and metal, took on connotations as religious symbols. Icons were a significant part of ritual adornment in the Eastern Orthodox Churches around the early 19th century.

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Icons, or symbols, have also been revered in other religious traditions. Two-dimensional icons or images, when replaced by three-dimensional forms or statues were termed ‘idols’. While idols were venerated in some religious cultures, idol worship or excessive devotion to idols was frowned upon and dismissed as ‘idolatry’.

The word ‘icon’ and ‘idol’ are now often used in contexts far removed from religion. People who excel or make an outstanding contribution in any walk of life capture the imagination of friends, peers and followers and subsequently become cultural icons or idols. Most humans idolise friends, parents, older siblings and other public figures and try to emulate their qualities. Icons and idols thus serve as significant role models.

Sachin Tendulkar is a cricket icon while Viswanathan Anand enjoys iconic (adjective form) status in the world of chess. Shiamak Davar is a modern Indian dance icon while BKS Iyengar remains an iconic (adjective) figure for thousands of yoga enthusiasts the world over. Lata Mangeshkar is the longstanding icon of Hindi film songs. Meanwhile, pop stars and cinestars are idolised the world over and media reportage accords all aspects of their lives with iconic significance.

Bollywood actresses are icons of motherhood on the silver screen, although in real life mothers remain devalued. Shashi Kapoor’s retort: “Mere paas Ma hai”, effectively diminishes Amitabh Bachchan’s material success in the film Deewar.

India draws upon a prolific number of icons from myth, history, folklore, and everyday lives. Our most powerful icons, however, remain men and women, who have lived extraordinary lives. The recent passing away of Abdul Kalam, India’s 11th President plunged the nation into shock. Dr Kalam was born in South India and belonged to a minority community. His diminutive frame notwithstanding, Kalam straddled several worlds. Growing up in religious Rameswaram, he specialised in nuclear technology. Wearing several hats and at ease as statesman, environmentalist, humanist, teacher, scientist and Indian, Kalam reached out with enthusiasm and warmth, even ensuring the distribution of potted herbs to lay visitors to the Rashtrapati Bhavan gardens. Mourned by a large cross-section of people, dignitaries of state, jhuggi dwellers, old, young, jawans, kisans, Kalam touched and ignited lives in perceptible ways. His life and work collates into the ‘iconography’ (compilation of images and symbols) of a pluralistic India, irrespective of the vagaries of wealth, religion and community. The idolatry occasioned by Kalam’s death endorses our pride in being Indian. The magnitude of Kalam’s achievements recalls 18th century Sufi poet Bulleh Shah’s famous kalaam (written verse) — “Bulla ki jaana main kaun” — poignantly rendered by Rabbi Shergill in recent times. When very ordinary persons encounter an effulgent icon, they are struck by the shared humanity and the enormous difference that both connects and separates them. The query “main kaun” (who am I?) subsequently directs self-analysis, inspiration and growth.