Revered as one of the country’s outstanding makers of public commissioned sculptures and builder of art institutions is also a well-respected teacher to generations of art students. Subhra Mazumdar in a free-wheeling conversation with renowned octogenarian artist and sculptor Biman B Das.
When I visited sculptor-cum-artist, top notch art administrator and a significant mentor of generations of art makers, there was hardly any need to ask for directions to his studio. A motley crowd of helpful bystanders surrounded the guard post to the locality, chorusing .…“Oh the Murtiwallah! Yes, we will guide you there…” expressing thereby their utter intimacy and close knowledge of their venerable neighbour, professor Biman B Das, whom the art fraternity reveres as one of the country’s outstanding makers of public commissioned sculptures, as also, the builder of art institutions, a teacher to generations of art students during his years as principal, Government College of Art and Craft Kolkata and various other academic and administrative capacities. But despite all these prestigious linkages around his persona, the octogenarian master, with his trimmed beard ringing the jaw line complementing the receding hairline with a crop of snow-white hair, turned a questioning gaze with childlike simplicity when asked about his life’s work. And every answer to the question bowled, led to his face lighting up with sheer pleasure, as if privileged to be answering the queries of a mere journalist. Then as one took a comfortable seat in the spacious studio and feasted one’s eyes on the spread of sculptures in various stages of completion, as also a series of representative works adorning shelves and occupying every conceivable shelf, podium and ground space, he pointed to each work with his signature fervour drawing attention to the finer details with childlike enthusiasm. Then, as if upping the ante, a little deeper, he posed the query: ‘Which is your best sculpture in the room?’ awaiting the reaction all around, in utter humility.
Having completed the introductory round of the exhibits, it was time for a session of ‘chai per charcha’ as the master acceded to a session of recall of his early life and student days. One gathered hereafter, that the master’s hometown is Tamluk, located in East Midnapore district, by the banks of the Roopnarayan river. Growing up in this historically and culturally prosperous atmosphere of rural West Bengal, he was exposed in large measure to various facets of local art, such as clay modelling, drawing and even music and drama. His academic initiation into art was at Kolkata’s Government College of Art and Craft, where he had enlisted for the five-year diploma in modelling and sculpture.
During the learning years at this historic institution, he was guided and trained by none other than the renowned British-Indian sculptor, late Chintamoni Kar. Thereafter, as a recipient of a National Cultural Scholarship of the Government of India, Biman B Das had undertaken further research on terracotta in Bengal, as also wood and stone, as can be witnessed in temple carvings in the state. His area of research had significantly thrown light on several simplifications of the artistic form, particularly those works that were of Oriental origin, such as Buddha and Krishna forms, to mention a few. Expanding his research findings further into the realm of pragmatic experimentation, the master delved into simplification of Oriental forms in his own practice. Besides these studies, the young researcher Biman Das had also concentrated on the technique of vitrified sculptures, besides further research into the methodology of carving.
Thus, he had emerged from the scholarly experience armed with knowledge that was scientific, rooted to his own culture, as also practical, being linked to applications in the use of vitrification for substances such as ceramic and pottery. Thus, even as one takes the first glance all around the displays in the studio room and the adjacent storage spaces, the pictorial landmarks gracing the walls, is bound to imbibe further authenticity about his sound groundwork of knowledge. This cornerstone of preserved knowledge, no doubt has in large measure, exuded into the genius of today.
But the amiable master prefers to speak about his days under his revered tutors, instead of waxing eloquent about his own abilities. Indeed, the master shares the pertinent life lessons he has imbibed from his legendary guru Chintamoni Kar and other icons of the world of Art. In fact, it is Kar’s cryptic statement, “there is a life” that has remained his lodestar in his sculpting practice, as he tries to extract a lifelike sensibility from the malleable stone or wood in his hands. Another significant influencer in his life during his learning years was Geoffrey Smedley, who was a senior lecturer at the Portsmouth College of Art, ( 1956–1958) and head of sculpture at Portsmouth Polytechnic, 1968–1978; as also visiting artist at Queen’s University, Kingston, Ontario. Biman Das being there at the time, was impressed by his academia as also by his personal habits of vegetarianism and more importantly, his high regard for India.
And like all sculptural aspirants, the high point in his learning years was his meeting with the sculptor Henry Moore. As Moore was a friend of his guru Chintamoni Kar, Biman’s acquaintance with him went far beyond a reciprocate handshake. Moore one learns, was genuinely appreciative of the “Great Country” of India which he had not been fortunate enough to visit, but was an admirer of its skills and traditions. Thus, he had urged the young Biman to pursue a path of creativity so aptly demonstrated in the poem by Robert Frost stating, “I took the one less travelled by, and that has made all the difference”.
The young Biman had understood how forging out an individual path would give him a chance to show his own abilities. This significant decision was also the root of a lifelong habit he has acquired of keeping two sketch books on the dining table at home. In his conscious and sub conscious moments, the artist even today, draws image after image bifurcating his efforts into a set of figurative and another of non-figurative sketches, thereby bringing him closer to his deep and sincere affiliation with his culture.
In later years, when Biman devolved a style of his own in his sculptures, he did not indulge in handpicking some out-of-the-way form or material, as his raw material or tool for depiction. A staunch believer in the power and potential of stone, as also the manysided possibilities with bronze casting, this artist has made bronze casting his unique speciality. As for the stone figures, even an amateur in the space where his sculpture is on view, cannot miss the inner energy of the form, exuding from the likenesses that the master has replicated in his depictions of Buddha, both in the form seen in Sarnath and the one known in South East Asian countries, such as Bali.
But this adherence to his culture is not a narrowminded approach, as is stated by Biman Das. It is a way of transferring “the simplicity of my culture” to breathe soul into his art. Thus, he had made it a point to make extensive tours of places such as Cambodia, Bali, Indonesia and Sarnath, before he had chiselled the iconic Buddha forms that today, stand as style statements of his marksmanship, as also his inner philosophy Going beyond the realm of Buddha forms, the master likes to turn viewers’ attention to his Krishna forms, that are both stylized as also mythical. Yes, the figures are depicted with the accompanying flute, but instead of holding the instrument in its characteristic sideways posture, in Biman’s sculptures, the inseparable instrumental accompaniment is held close to his neck and shoulders, the pair of hands intertwined in their grasp around the fluter giving the image yet another dimension of unmitigated blessings for all those who embrace the lord in their minds and hearts. The raiment too, is not the flamboyant dressage of an atypical association but resembles closely the simple drape of an ascetic, while the surrounding halo is centred to a Shiva linga at the top, thus giving the viewer a lot to mull over, when gazing at the overall sensibility that the composition has uplifted.
And then, in the studio, there is the usual crop of busts of industrialists, national leaders, including Gandhiji, all of them detailed with lifelike touches. But here too, the persona of the artist is at the forefront of his art making. Instead of being dictated to, in terms of their being commissioned works, Biman Das stresses that though true-to-life portrayals, these sculptures in his understanding, must be ‘realistic-cum-creative’. Thus, at the installation of the Gandhi busts undertaken in Brazil, followed by others in Venezuela and Spain, the inherent personal ideology was not compromised. When it came to the installation in Mauritius, Biman Das had been invited to personally witness his handiwork on public display, making it a momentous event. Indeed, his fame and genius have also been recognised at Cambridge where a realistic and lifelike bust of J C Bose is installed at Christ College. Biman Das, the creator of this prestigious artwork, had shared the stage with Shiv Shankar Mukherjee, the then High Commissioner to the UK , the directors of Saha Institute and the Bose Institute, at its unveiling. This gesture of showering unprecedented recognition to the much deserving scientific genius, was rightfully rounded up by giving the creator of his bust his rightful regard. A natural fallout of this commission was that it had led to a series of assignments for more prestigious installations, namely at the Bose Institute in Kolkata, the Indian Institute of Science in Bengaluru, the Darjeeling residence of the great scientist. All these projects were assigned to the master, and which were thereafter completed on “my own choice and not forced by sponsors”.
It is this streak of genius, born of his individuality that gives his realistic representations a sincerity of purpose, despite several versions of the subject matter. Adopting the stance of focusing on the figure’s expressions above all else, the bust of Hari Shankar Singhania, the scion of the industrial house of the Singhania’s has been in current focus for his eloquent execution. Examining the macquet on the podium, the sculptor points to the integrity which he has poured into his creation, even as it awaits the fine go-ahead of his client. On his own part, the bust is subjected to a close scrutiny even as he runs his fingers over it and examines it from far and near, to assess how closely he has been able to bring out the personality of his subject and the human likeness of the facial features into a lifelike depiction of the character behind the face. But this is not all. According to the sculptor, his execution of India’s legendary hockey wizard Major Dhyan Chand is an instance of everlasting joy and commitment to his task. The final result, now graces the island of its own, facing the National Stadium, New Delhi.
In a recall of this landmark artwork, Biman Das recounts his uncountable meetings with the then Secretary of Culture, regarding the most suitable pose of the player in action, that he should execute, in this realistic portrayal of this national hero. His only directive from the official was: “Prepare a memorial sketch,” leaving Das with the added responsibility of making the likeness of his subject a befitting national memorial output. Thus, the artist smilingly reminisces on the load of sketches he had made. In this effort Biman Das acknowledges the tremendous assistance that he had received from the late hockey legend’s son Ashok, who selected a sketch that would mark the ‘ideal pose’ of his late father. Thereafter, this iconic sketch became the blueprint for our sculptor-executor, to be installed on the special island, where it now stands.
Using his years of easel practice as a constant standby, Das had elicited the services an Art College karamchari to pose with a hockey stick, for preparing the model in clay. And this was not the end of the exercise, for the meticulous maker of this artwork, was keen on placing the work not on an elevated podium but within a realistic merger with the grass cover all around, giving the imagery a more hands-on makeover. Of course, the accolades had been pouring in right from the time the curtains had been pulled and the public gaze had wowed his masterpiece, but for Biman Das these were routine matters. It was only when the late hero’s wife had showered her blessings on him, did our artist feel fulfilled and satisfied with his attempt at giving the nation a lifelike hockey player, instead of just a statue of the man.
In the midst of this whirlwind career profile and dedication to one’s profession, it would be an unworthy act to overlook the contribution made to the life of the artist by his dearly beloved life partner, Archana Das, who passed away in a matter of minutes, during Covid. A true friend, by his side, a professional teacher in her own right, she had taken voluntary retirement to befriend her artist husband with her full commitment and companionship. While her spirit and memory remain his lodestar, it is the shared moments between father and son nowadays that make his days enriched and meaningful.
It would be a grave oversight to overlook Biman Das’s contribution towards institution building in the sphere of art. Mention must be made about his vast contribution towards the building up of the All India Fine Arts and Crafts Society (AIFACS)in New Delhi. Incidentally, his first encounter with the institution was not as an office bearer, but simply as an award winner in the 1967 AIFACS Award show, when he was an artist-participant in the competition. This initial success had been followed up by consecutive wins in 1970 when he had clocked a sizeable quantum of awards under various categories. Thus, the then secretary of the organization had inducted him as a life member and placed him on numerous sub-committees of the organization.
Having taken over the reins of this august institution, Biman Das felt duty bound to take the institution to greater glory and recognition. Thus, he had conceived and instituted the idea of introducing some ‘extra’ art related activities, in order to make the space a more engaging outlet with the art fraternity. His landmark introduction of a lifetime Award for deserving artists had been well received and the late Mohammad Yasin had been its first recipient, albeit posthumously. Again, for the first time in its history, the institution had organized art camps and in Mrs Das ‘s name a memorial Award too, was instituted.
Aside from this dedicated service towards the art community, Biman Das has done much to nurture budding Indian talent through his years as a lecturer and then as an administrator when he served as the principal of Government College of Art and Craft, Kolkata. In both capacities his services are still recounted with much regard as his years in the institution have left some indelible landmarks. Then it is in the year-2014 when the nation had risen to acknowledge the long and tireless contribution of the master to Indian art and culture, when from the precincts of Rashtrapati Bhavan, in the year 2014 Biman B Das was honoured with the Padma Shri. The deserving artist silently and reverently stood before the country’s first citizen Pranab Mukherjee, as the coveted honor was pinned on his person and a rolled scroll was given to him as a reminder of this great moment. While Biman Das has walked a long and arduous path to fame and glory, to his neighborhood dwellers, he still remains their beloved Murtiwallah’ summing up a life time engagement with stone, ceramic, wood and bronze to create a penultimate “murti” deserving of his endearment of the neighbourhood “Murtiwallah”.
