An RSS think-tank, VVM is responsible for organising seminars and debates in universities across the country.

As part of its know-your-glorious-past programme, VVM is circulating a rather innovative version of the man of India.

The VVM map stretches the Indian boundaries far beyond Kargil -- to Karakoram on one end and Myanmar on the other. And, this `Vision of India' (as the map is titled) is filled with icons lifted from various Husain paintings -- the very same that got the painter into trouble with RSS and VHP not so many months ago.

Bajrang Dal activists had mutilated his paintings in Ahmedabad and ransacked his apartment in Mumbai. Also, an annotation to the paintings, which questioned Husain's right to draw uponHindu mythology, was printed and widely circulated. Now all that is buried for good.

Instead, at the heart of the Hamara-Bharat-Mahaan map is a replica of Husain's dancing Ganesha. The Western Ghats take the form of the `half-clad' mythological goddess for which the saffron brigade refuse to forgive Husain. His famous peace dove is shown flying over the eastern horizon.

AVVM activist from Jawaharlal Nehru University (JNU), where a copy of this map has been put up, categorically stated that the images had not been lifted from Husain.

``This map has been conceived by a young boy from a village in Bihar. What does he know of Husain? It came from his own heart,'' said Krishnand Maharaj, a student of JNU's School of International studies.

On being shown a print of the Husain original, another VMM activist Ashok Sharma acknowledges, ``So, it was Husain inspired. But what's wrong in that? After all he is an important artist, the young can get influenced.''

Asked why then was their sister organisationaccusing the artist of distorting traditional Indian images? ``That was a religious issue. Here we are talking about history. We are trying to remind people of our glorious past. The map depicts Ashokan India''.

Responding to the issue of recycling of Husain's art by the same organisation, art historian Geeta Kapur said, ``It is politically ironical at one level and naive at another. Husain's handling of our mythology is so much part of the contemporary visual vocabulary. We use these without realising that it's his. It's almost like a language''.

Describing as mischievous earlier attempts to debunk Husain's work as objectionable, Kapur said that he is one artist who is provided us with contemporary mythology.

VVM activists, however, refuse to give Husain any special place. They drop names of senior professors in School of Languages and School Social Sciences who are members of VVM and say, ``They would have told us if we were wrong.''