Delhi Art Gallery presented an exhibition of works by 34 artists called ‘Still Life – Adaptations in 20th Century Indian Art’ recently. The show is one of the rare exhibitions on ‘still life’ in India and provides a historical interpretation and examination of the changes in the concept and expression of still life.
Taught as an academic genre along with ‘portraiture’ and ‘life study’ at the art schools established mainly in Bombay, Calcutta and Madras in the late 19th century, ‘still life’ was initiated as a classroom exercise but pursued later as a studio composition by artists.
The introduction of easel paintings and the medium of oil challenged artists to acquire enviable skills to add life to their paintings. The consistent drill equipped the artists to create a sense of touch through the visuals.
Says curator Roobina Karode, “The idea to host the show sparked off from a casual encounter with some paintings in the gallery’s collection which had works of Indian artists who were introduced to still life painting by the British colonial system of art education. The relative invisibility of still life paintings in mainstream art today makes this exhibition an unexpected treat.”
Though a typical still life is easy to picture – with its wine bottle, an overturned glass on the table, the bowl or platter of fruits, etc – one is impelled to examine beyond the visuals, whether these works have an underlying meaning.
The early manifestations of still life in an academic realist style can be seen in the works of Pestonji Bomanji , M V Dhurandhar, Ambika Dhurandar, G S Haldankar, S G Thakur Singh (work dated 1925), V A Mali, Abalal Rehiman to name just a few. Then there are some modern still lifes, like those done by Nandalal Bose, Benode Behari Mukerjee, Chittaprasad Bhattacharya (work dated 1950) and Gopal Ghose.
The modernist take on the genre is seen in the works of F N Souza (work dated 1953), K H Ara, H A Gade, P T Reddy and later by Laxman Pai (work dated 1952) and Jyoti Bhatt. There are also some artists like Robin Mandal, R R Bhaskaran, Dharmanarayan Das Gupta, Prokash Karmakar (work dated 1988), Kanchan Chander and Partha Pratim Das who employ still life to communicate quiet sentiments and unspeakable emotions.
A solo exhibition of more than 40 paintings named ‘Shadow of Inner light’ was held at Kumar Gallery in New Delhi recently. Acrylic painting on canvas, water colours and red pearl ink on silk, archaic paper and rice paper and works in mixed media were done by XIIth Kuanding Tai Situpa.
According to Sunit Kumar Jain, Director of Kumar Gallery, Tai paintings are a new experience for the students of art. He says, “Tai paintings will take you back to a time where artists were reclusive creatures, cut off from all worldly trappings and oblivious of any profit-making practices. We wouldn't have got the rare opportunity to see his works if it was not for his disciples.” The Tai Situpa is a renowned Buddhist teacher and scholar, a poet, calligrapher, artist and has authored several books on Buddhism and exhibited his arts and paintings in several countries.
Born in 1954 to ‘Liu’ family in Dherge, Eastern Tibet, Pema Donyo Nyinje was formally recognised and enthroned at the age of 18 months by the 16th Gyalwang Karmapa, as the 12th in line of the successive incarnations of the Tai Situpas that span over 600 years and whose history is integral to the religion and scholastic development in Eastern Tibet.
The Tai Situpa as a kid, painted on the floor with charcoal. However, he broke the norms of being a recluse and approached a gallery in Italy 15 years ago to exhibit his works. His union with the official world of art has continued since then.
‘Shadow of Inner light’ is Tai's first ever showing in India. Says the artist, “I need to feel nice about the paintings; otherwise it holds no value. Through my works, I try to share my own inner experience with others. I am sure that it will not only remove all confusion but also give focus in life.”
According to the tradition, the Tai Situpa is an emanation of the Bodhisatva Maitreya, the next Buddha, and of Guru Padmasambhava, and has incarnated as numerous Mahasiddas of Indian and Tibetan origin who have appeared since the time of the historical Buddha.For Tai Situpa, wisdom is conveyed not only through Dharma teaching, but also through the visual medium and, therefore, he chooses to paint and to enlighten all. Through his paintings, he breaks the shackles of religion and culture and gives a universal appeal to humanity and integrity.
In fact, the Tai Situpa shares his own insight to the betterment of human kind through his serene and spiritual works. His art works are the result of a deep meditation which holds unlimited qualities and potential. Each and every individual can relate to his canvases which reflect harmony.
