ABSTRACT
Kalabhavan sits easily amongst the entirely single storey buildings of Sevagram ashram and the Talimi Sangh, distinguished, however, in the proportions of its huge verandah and the dimensions of the main space. In the first few years at Sevagram he organised and designed a number of exhibitions in connection at first with the art school and then, in a larger way, with the Gandhian constructive programme in general. In the field of his pottery during the Sevagram period, Devi really does come to define a modern Indian studio practice of an inspired quality, originality and excellence. In 1944 Devi Prasad was offered a position as art instructor for the first six-month teachers’ training camp wherein Sevagram could be looked upon as a model school for the country-wide Nayee Taleem work. The idea of self-discovery through creative endeavour develops into full-blown politics of peace in Devi Prasad’s account and analysis of his experience as an art teacher.
