Delhi art society and culcutta sculptors put up 100 artworks by 14 sculptors.
Sculptural art is going places in the capital as Chawla Art Gallery, in collaboration with the Delhi Art Society and Calcutta Sculptors put up, The Forces of Imagination, an extensive and first-ever exclusive sculpture exhibition. With over 100 captivating artworks by 14 renowned sculptors at the India Habitat Centre, New Delhi, the event celebrates the profound and tactile art form of sculpture.
The exhibition was inaugurated by Dr Karan Singh who presided over a felicitation ceremony for the legendary sculptor Padma Bhushan Ram V Sutar. Known for creating the world’s tallest Statue of Unity, Sutar’s monumental contributions to Indian art were celebrated during the event.
Hosted by Shibani Chawla, director of Chawla ArtGallery and curated by the distinguished art critic Nanak Ganguly, the opening night was attended by luminaries. Bharat Lal, secretary general of the National Human Rights Commission; Ajit Pai, chairman of the Delhi Urban Arts Commission; Dr Mahesh Verma, vice chancellor of IP University; Sunit Tandon, director of India Habitat Centre and Dhanender Kumar of the Competition Commission were present. Renowned sculptors Neeraj Gupta, Vibhor Sogani, and Tapas Sarkar were among the distinguished artists, alongside other prominent names from the art and cultural community, making it a grand celebration of sculptural brilliance.
Reflecting on the show, Shibani Chawla remarked, “This exhibition is a tribute to the transformative power of sculpture. For the first time, we’ve brought together a diverse group of exceptional sculptors to showcase how tradition meets innovation in the contemporary art world.” She added, “With a focus on blending classical techniques with modern creativity the show celebrates sculpture as an enduring and evolving art form.”
The exhibition features an eclectic mix of works created from materials such as bronze, marble, stainless steel, wood and aluminium, offering visitors an unparalleled visual and sensory experience. The lineup of artists includes Tapas Sarkar, Ratan Krishna Saha,
Somnath Chakraborty, Debabrata De, Subrata Paul, Barun Pramanick, Saumen Kar, Chandan Roy, and Pabitra Ganguly from Calcutta Sculptors. From the Delhi Art Society, Neeraj Gupta and Vibhor Sogani showcase their innovative creations. Independent artists like Narayan Lakshman, Bolla Srinivas Reddy, and KR Nariman also contribute to this extraordinary collection. Highlights include Vibhor Sogani’s futuristic stainless steel sculptures and Neeraj Gupta’s intricate marble works, each piece a testament to the transformative power of imagination. The exhibition will move to Chawla Art Gallery from January 1 to 31, 2025.
From wedding ritual wall art, kohbar finds places in contemporary art, says Kavita Kanana Chandra
The Lalit Kala Academy in Patna was vibrant with the colours of Kohbar paintings, the ceremonial wedding paintings, celebrating the Maithili roots. The show held from November 15 to November 17, 2025 offers a glimpse into Mithila’s traditions. Mithila is the northeast region of Bihar and its inhabitants, Maithils, have retained the ties of traditional rituals and culture that make it distinct in its language, art, culture and cuisines.
Aptly titled; Kohbar – Route to Roots, the organising team of Mithila artists duo Alka Das and Nibha Labh, along with INTACH Patna chapter’s Bhairab Lal Das put up a spectacular first-ever Kohbar exhibition of 52 artists, most of them displaying Kohbar as an art in an exhibition for the first time. For them Kohbar is a traditional art, they have seen from childhood, passed from one generation of women to another.
“Kohbar painting is a ritual painting done during the wedding in Mithila, on the eastern wall of the nuptial room, locally called Kohbar Ghar. All the puja (worship) happens before the Kohbar. It is one of the most symbolic paintings, where man, nature and culture are represented symbolically,” says Manisha Jha, a Delhi-based National awardee Mithila artist and architect, founder of Madhubani Art Centre.
In the contemporary world, people talk about saving the environment. But, the women of Mithila have been worshipping nature from ancient times and depicting the co-existence of humans and nature in Mithila paintings, which include the Kohbar.
“Kohbar is very important in the Mithila region and without Kohbar a wedding cannot be solemnized,” informs Alka Das. The concept of holding an exhibition, exclusively on Kohbar came to her when she participated with a group of Madhubani artists in a popular television show. During conversations on folk art from Mithila, she was taken aback by a remark by a man, with roots from Mithila, that Kohbar was merely a folk art and had not much significance.
It was important for her that the younger generation and those outside Bihar are aware of Kohbar’s relevance in Mithila weddings and how it is elevated as an art by womenfolk; hence Kohbar-Route to Roots was conceptualized. The exhibition took place due to the encouragement and help from Ashok Kumar Sinha (Additional Director of Bihar Museum). Scholars, artists and art lovers graced the occasion.
Hailed as the living legend of Mithila art, Bimla Dutta from the Ranka village in Madhubani, enlivened the occasion. She started painting in her village courtyard and today her paintings are displayed in museums around the world. For the visitors it was a delight to walk through the gallery, admiring the myriad forms of Kohbar, each artist interpreting it in their way. Some were painted in single colours like red, yellow or blue; some in a combination of colours, except black. The number of items depicted in a Kohbar is fixed.
Artists Saroj Mallick, Saroj Thakkur, Alka Das, Nibha Labh, Nutan, Kavita Das, Kavita Dutta, Kalpana Madhukar, Radha Das, Radha Kumari, Rashmi Prabha, Bijay Dutta Mani, Saumya Aanchal, Amrita Das and several other artists showcased their beautiful Kohbar art. The young artist Saumya’s Kohbar in blue won the hearts of several viewers.
Amid women painters, Shardendu Anand’s intricate Kohbar in multicolour stood out for its fine work and artistry. Saroj Mallick explained that red or multihued Kohbar are made in the bride’s house to decorate Kohbar ghar, a separate room where the newlyweds spend four days. On the fourth day called “Chaturthikam”, Chauthhari puja is done after which the groom leaves for his home.
In early times, the girl would remain in her parent’s house for six months to a few years before gauna (when the girl would leave for her husband’s home) took place. At her in-laws’ home, a Kohbar in yellow was made for rituals and puja for the day the bride arrived.
“It is compulsory in Mithila wedding for the bride and groom to worship the Kohbar with sindoor (vermillion) after the wedding”, said Saroj Thakkur, another artist. The bamboo depicts male and purain ka paat (lotus leaf) indicates female energy. The Gods and nature are witnesses to their worship.
Mythologically, it is believed that the Kohbar of Lord Ram and Sita was done by Goddess Parvati herself. Traditionally when the wedding is fixed, the oldest ahibati (married woman) puts a red dot on the wall. Afterwards women of the household sketch and paint the Kohbar.
Though Kohbar is made for weddings in Bihar and other places, those from Mithila are a class apart. Artistically done with intricate details with symbols of love, fertility and prosperity depicted by celestial objects, plants and animals. “There is instruction through pictures for the newlyweds how to navigate their married life and also how to handle the ups and downs and the good and bad in their lives together,” explained Mallick.
Common motifs include lotuses, fish, turtles, trees, celestial and religious figures. The lotus grows in abundance, a symbol of fertility. Each Kohbar has a central mandala surrounded by six mandalas of stylized purain paat (lotus leaves), surrounded by figurines and abstract drawings. The vertical stem cut across the mandalas and has a female face on the pinnacle.
There are motifs of bushes, bamboo, bel (wood apple), banana, lotus, paan patta and laung (cloves). It is an ecosystem, where everything exists in harmony. The pictures of deities and celestial objects are invoked to bless the couple. The Sun, moon and navgraha (9 planets) symbolize life-giving energy while Panch Devta (Vishnu, Shiva, Ganesha, Shakti and Surya) bless the couple. The painting shows pictures of things that grow rapidly, symbolising fertility, like fish, bamboo, lotus, purain ka paat (lotus leaf), among others. But all the efforts in painfully decorating the Kohbar would be transient for these would fade with time, the walls whitewashed and ready for another wedding and a new Kohbar. However, with time, as with Madhubani paintings that transformed from paintings on mud walls to canvas and paper; Kohbar also emerged as a form of art. At the exhibition, Manisha Jha’s PowerPoint presentation; “Kohbar the Mystical Painting of Bihar: Journey from Ritual Wall art to Contemporary Art, from Mud Walls to Paper”, traces the mythical and historical origin of Kohbar in Mithila painting from 1934 to 2024.
It was very informative as she explained the main elements of Kohbar’s painting and its symbolic meaning. Why is there a border in Kohbar and why a pair of parrots are entangled? The border in Kohbar is drawn to make a boundary. The space is created for the God and Goddesses to sit and bless the couple. The latpatia suga shows the entangled parrots in love. The Goddess Naina Jogin-the veiled one-eyed Goddess- is there to protect the couple. Slides showed the great artists of Mithila painting like Shashikala Devi, Ganga Devi, Mahasundari Devi, Bimala Dutta and other pioneers and contemporary artists working on different mediums. Ganga Devi, known to draw different representations of bamboo was shown painting Kohbar at Crafts Museum Delhi in 1989. There was Kohbar by early painters in ink on Nepal paper from 1968, natural pigments on paper pasted on cloth by Mahasundari Devi, acrylic on canvas by Bimala Dutta and poster colour on handmade paper by Manisha Jha. She also showed the metamorphosis of Kohbar through contemporary adaptation, where a part of Kohbar is artistically visualized as art. Traditionally a domain of women, contemporary artist Santosh Kumar Das has artistically represented Kohbar, acrylic on paper. The three-day exhibition was a forum for discussions on Kohbar as an art and craft and the commercialisation of folk art.
India, with its treasure trove of culture and spirituality, has always been a haven for artists. Among its contemporary talents, Sandeep Chhatraband stands out as an artist whose work resonates deeply with the spirit of erstwhile Benaras and today’s Varanasi. Born in 1979 in Ambajogai, Maharashtra, Sandeep has carved out a niche in the art world with his ability to transform Varanasi’s sacred Ghats into living,
breathing pieces of art. Renowned for his adept use of both acrylics and watercolours, Chhatraband’s artistic journey is deeply intertwined with the spiritual and cultural essence of Varanasi, India’s eternal city. His work stands as a testament to his ability to not only capture the visual splendour of the sacred Ghats but also convey the profound spiritual energy that flows through them.
What makes Sandeep’s artistry extraordinary is the immersive quality of his work. Through his paintings, he transports viewers into the heart of Varanasi, allowing them to feel the sun’s warmth, hear the rhythmic ripples of the Ganges and witness the hypnotic glow of evening lamps. His art is an invitation to pause, reflect and connect with the timeless essence of this sacred city. His art evokes the sacred heartbeat of Varanasi, where the ancient and the eternal coexist harmoniously.
An Artistic Pilgrimage: From Ambajogai to Varanasi
Sandeep’s journey into the world of art began in the quiet town of Ambajogai, Maharashtra. But it was his first encounter with Varanasi that truly redefined his artistic path. For Sandeep, this city was not merely a destination; it was a revelation. The sacredness of the Ganges and the spiritual aura of the Ghats captivated him in ways he had not anticipated.
Over the years, Sandeep’s bond with Varanasi deepened. Frequent visits to the city allowed him to immerse himself in its rhythm—whether it was the serene calm of early mornings, the hypnotic rituals of the aarti, or the bustling life that unfolds along the riverbanks. This immersion fuels his art, enabling him to continuously explore the city’s essence through his paintbrush. Varanasi became more than a muse for Sandeep—it became a spiritual guide, shaping his artistic expression and infusing his work with layers of meaning.
The Ghats of Varanasi: A Timeless Muse
The Ghats of Varanasi, with their ancient steps and sacred rituals, are at the heart of Sandeep’s artistic endeavours. These riverfront terraces leading to the Ganges are not just places of worship and activity—they are living symbols of India’s cultural and spiritual heritage. For Sandeep, the Ghats represent the duality of life: the chaos of human existence and the peace of spiritual surrender. Sandeep’s paintings are a vivid celebration of the Ghats. He captures their architectural intricacies with remarkable precision—the worn out stone steps, the ornate carvings, and the reflections of temples shimmering in the Ganges. His attention to detail is such that each painting feels alive, almost as though the viewer can hear the echo of temple bells and the murmur of flowing water.
What makes his work truly special is its emotional depth. Sandeep doesn’t just depict the Ghats, he invites viewers to feel their essence.
Light and Colour: The Heartbeat of Sandeep’s Art
One of the defining aspects of Sandeep’s work is his extraordinary use of light and colour. The Ghats, with their ever-changing atmospheres, offer a challenging canvas for any artist. Yet, Sandeep navigates this challenge with grace. Whether it’s the golden hues of sunrise, the soft lavender of dusk, or the deep indigo of night, he captures the city’s many moods with breath-taking accuracy.
One of the defining features of Sandeep’s work is his masterful handling of light. The Ghats are constantly bathed in changing hues—whether it’s the soft pink of dawn, the golden glow of the evening sun, or the flickering flames of the nightly aarti. Sandeep captures these transitions with remarkable skill, making each piece a living representation of Varanasi’s dynamic atmosphere.
His skill in portraying light reflects not just his technical expertise but also his deep sensitivity to the subtleties of Varanasi’s environment. His paintings are alive with the glow of sunlight bouncing off temple domes, the shimmering reflections on the river, and the interplay of shadow and light that adds depth and dimension to his scenes.
A Master of Mediums: Watercolours and Acrylics
Sandeep Chhatraband’s versatility as an artist is evident in his mastery of both watercolours and acrylics, each of which he uses to bring out different facets of his vision.
His watercolour pieces are delicate and fluid, capturing the fleeting beauty of moments like the morning mist over the Ganges or the soft glow of twilight. The fluidity of watercolours allows him to create dreamlike compositions that reflect the transient nature of time. In contrast, his acrylic works are bold and striking, bringing out the vibrancy of the Ghats. Acrylics allow him to emphasize the intricate architectural details of temples and steps, portray the vibrancy of rituals, and capture the riot of colours that define life in Varanasi. The medium’s versatility allows Sandeep to explore both the permanence and the dynamism of the city. By skilfully alternating between watercolours and acrylics, Sandeep creates the perfect balance in presenting a multi-dimensional view of Varanasi that is as complex as the city itself.
A Legacy of Art and Spirituality
Sandeep’s work is deeply rooted in the idea that Varanasi represents the journey of the soul. The Ghats serve as a powerful metaphor reflecting life’s contradictions: the bustling energy of rituals and ceremonies contrasted with moments of meditative stillness. This delicate balance between activity and serenity is a recurring theme in Sandeep’s work and one of its most compelling elements. Through his mastery of light, colour and form, he brings the Ghats to life, allowing viewers to experience their magic first-hand.
Sandeep Chhatraband’s art is more than a visual experience; it is a journey into the heart of Varanasi. His paintings capture the city’s timeless allure, offering viewers a chance to connect with its spiritual energy. Through his work, he brings the sacred and the everyday together, creating narratives that speak to both the soul and the senses.
The Bengal village has given us one of the outstanding creators in BIKASH PODDAR, Says, Subhra Mazumdar.
The way to the residence of artist Bikash Poddar, through one of the localities tucked behind commercial spaces of the capital city, is a far cry from his art leanings. Being surrounded by the hustle and bustle of daily living, with neighbourhood housewives clustered in front of their doorsteps, toddlers milling around, and men picking their way through vegetable vendors, corner shops and children at their street games, one would be led to believe that his art output would carry an impact of this phenomena. Yet his creations belie such circumstances, and instead offer a palimpsest of country living, opening up fold by fold, on his canvases. Hence at the first encounter with his practice, the viewer is taken aback by the spread of calm landscapes, depicted with soft brushstrokes, in the style of Chinese wash works, by way of comparison.
While the high-pitched exchanges carries on intermittently outside, one is struck by the spruce and well-ordered studio space, from within which, this slightly built, middle-aged artist, has been offering up his stunning creations. This curious contrast between his art making and his work environment, according to their maker, finds its muse, in his childhood upbringing in Kaliyagunj, a remote village in the Uttar Dinajpur district of West Bengal. And like any average rural set-up in the countryside, the study of Fine Art as a scholarly pursuit, was an unknown phenomena in these places. In fact, confesses the artist, Bikash Poddar and his kin did not even know about the existence of an art institution for learning art and seeking admission into it, was nothing short of a chimera.
But much before Poddar’s admission to the prestigious College of Art at Kolkata had come about, the child Bikash was completely taken up with his childhood surroundings. There was a patch of forested area behind his Kaliyagunj home and this slice of Paradise was grist to his artistic mill. No matter where he is residing or working, the imprint of those deep woods behind his childhood home, never fails to surface on his mental trajectory. Thereafter, memory becomes his subject of art making and lo and behold! A painting is born.
When it came to choosing art as his choice of professional studies, Poddar, surprisingly had not opted for a course in Fine Art at the prestigious Kolkata College of Fine Art. Instead, he had been admitted as a student in the five year course in Applied Art which he had mastered and emerged with brilliant recognition. However, even at this stage, painting was his hobby admits the master . With his formal education coming to an end therefore, his employability had taken him in the direction of the advertising firm Alfred Advertising Private Limited .
The work was in keeping with his education, where, using his computer generated skills, the young employee Bikash Poddar, spun out advertising campaign matter, every fortnight. While the work was somewhat far removed from his hobbyist inklings, the artist was scrupulously quality conscious as far as his output was concerned. But the urge to paint and share his creations with the viewers remained a persistent urge, that surfaced every now and then with relentless regularity. The need of the hour was to take a life changing decision and give way to his innermost urges, irrespective of the consequences.
The professional turned hobby painter took a somewhat untried path to make known his capabilities to the viewing public. Yes, it meant clearing a space on a public path a path that led to some embassy addresses and begin an on-the-spot demonstration of his works, as also his artistic skills at work Not only was this a rather unprofessional start point to a serious career in Art, it was also fraught with a complexity of mistakes, that would spell ultimate doom, however sincere the effort behind it might be.
But even when Poddar had adopted the tried and tested route to public attention as regards his creativity, his luck was no better. When he approached galleries with his work, there were no offers by them, for bookings. Elsewhere, the paintings were sent back as outright rejects. Hence there was no publicity in the Press about his art making. Thus the entire exercise of exhibiting his Art was being met with closed doors. But the urge to paint on his own terms had not dimmed, despite so much negativity along the route.
Then, as the saying goes: “No winter lasts forever; no spring skips its turn,” his individual case was no different. In 1999, a year that is embedded in his mental makeover, Poddar got his first response to display his artworks, at the prestigious Taj Art Gallery, in Mumbai’s Taj Hotel. There were enough footfalls to cheer his artistic heart as guests and regulars streamed in, to view his novel creations and fill their individual remarks in the Visitors’ Book. This show was soon followed by an offer from the capital’s Lalit Kala Akademi, India’s National Academy of Art, to display his artworks at the Rabindra Bhavan Gallery on their premises. Thus these initial recognitions from places of repute gave way, expectedly to more interest in his art making. Before long, Poddar was receiving enquiries for his workmanship from gallerists, in cities like Hyderabad, Bombay, Delhi, Kolkata and Baroda, to name a few. And while many an art maker would begin to rest on his laurels and develop a signature style of Art, the young Poddar ventured into every exhibition with the conviction that his works should be different from the works of others, in terms of technique, besides their subject matter.
And to this day, Poddar recalls his interaction with his first buyer, a Mrs Gupta, who had acquired his art a quarter century ago. “It was an exhibition on the premises of the Embassy of Japan in India, when this art lover had acquired my work for her personal space.” Naturally the subject of the painting too, is etched in his memory as an ever fresh experience. “It was the painting of a bird in flight across the open countryside, on a two-by two feet canvas spread; a black and white artwork, that is still fresh in my thoughts.”
Yet on the other hand, there was no denying the fact that while he was suffused with elation at the recognition that his works were receiving, he was also conscious of the chasm of ignorance he was under, regarding the process of painting. In all sincerity, Poddar admits, “I had nograsp of what is painting. I was in need of education as also assistance to fathom the grammar of painting, the requirement of neatness in the work and the all-important need of a meticulous finish to an artwork. Besides these external requirements, the works needed to exude my capability of balancing the different inputs in the work, the compositional strengths in the entire work and by far, the need to maintain an ever vigilant eye on quality consciousness, in the finished product. These above tenets made me imbibe the habit of assessing my output with a critical eye every six months to one year. In fact, I am still a learner.”
As to what makes his art so appealing to the viewer, Poddar puts it down to his well-researched and unique technique of painting. What he informs his viewers is that the entire process is undertaken with the precision of a scientist in readiness for an important experiment that is headed in the direction of a discovery? Known widely for applying the wash technique of water colour onto the canvas surface, via a self- evolved technical expertise, he freely admits that it is the task of keeping the canvas surface moist, by placing it on a board. In-between, when the surface looses its required moisture, the artist revisits his process of water application, taking care to control the flow, from the sides of the canvas. This process lasts for the maximum period of an hour, and since he is an early riser, it is usually around 4.00 a.m. that the work of the master begins.
Interestingly there is no prior sketching on the surface, and as he pours colours with his expertise, he also tilts the canvas, with studied control. This is how the imaginary landscapes, harking back to his days in the village and the jungle surround, come to surface on the works. Then when he introduces a figurative inclusion on them, he resorts to using the drawing pencil, for the faintest of strokes.
All his technical exercise is preceded by a pre-process of due contemplation. Thus the order of placement of every item and colour combination on the surface, is mentally sketched prior to the actual visible strokes and washes. Then there begins a controlled flowing of colours, so that the end result, is a precise execution and not a figment of imagination yielding surprising outcomes.
Not just the colour control, the subject that the master intends to paint are also predestined and the color for them pre-ordained in a way, as the painter sees the image mentally, before the product takes shape on the canvas.
And this is not all: “Sometimes if I am not satisfied with the output, I resort to corrective measures and this might take up hours of work, into the late hours.” But these incidents of drastic correctional routine is according to the mental picture of the work in the painter’s inner trajectory, and before the product takes shape on the canvas. And this is not all: “Sometimes if I am not satisfied with the output, I resort to corrective measures and this might take up hours of work, into the late hours.” But these incidents of drastic correctional routine are few and far between, as the years go by, he admits.
Curious to know more about his painting process, invariably leads visitors into queries about his favoutrite themes. While the artist anchors the beginnings to his native village and its surrounds, today, the range has not shifted drastically, for he sums up his themes for Art making in the words…”nadi, pahaar, pukur, maatir ghar, bamboo, figures in singles and in conversation, domestic animals and pots and pans, that help to imbibe atmosphere into my work.” Hence it is his rural beginning that have provided an inexhaustible wellspring for his creative energies and have led to an emergence of a imaginative look at rural Bengal in all seasons, ranging from the season of lashing rains, to cloudy days, to times of sunset and sunrise, scorching afternoons and soothing twilights. In the figurative category, it is the feminine form that takes precedence in the thinking stage. But there is never any forced inclusion in the work. “I often recall a scene in a Satya Jit Ray film shot where a small intervention in the placement says a million words. In my case too, taking succour from such ideas, I place as few people as possible and interpret each figure’s presence on the surface, in a different light.”
And like any an art maker, Bikash Poddar too, has delved into a few asides in his art making process. These include making well defined artworks with found objects, like a water carrier poised in the act of carrying his load, using a piece of found wood. In his studio space theye rests on a handful of sculptures of facial forms, complete with intricate finery and adornments, or even an arrangement of artifacts and reading matter, where he is at ease seated on a floor mat, while the room is spaced out with greenery, books, a sofa-bench and plenty of light streaming into the room. In these modest surroundings, it is all the more inspiring to realize the depth of /poddar’s art making expertise. While he has built up a substantial collective of art collectors world wide, as also a considerable of admirers who gasp at his workmanship when Face to face with it, what the artist cherishes above all, is none of these. For him, the pleasure lies in his being an Indian artist who has pioneered the wash technique on acrylic works, on home ground, and till date, according to the artist, he is the sole ‘ferreter’ of it on the Indian art scene.
Thus the persona and the artworks executed by the artist, have a deep-rooted relatedness. They are not conjoined twins: nor are they combined forms; they are individual art renderings, that speak to viewers on many levels. At one point they engage viewers by their unusual technique; at other levels they harken the rural connectivity as a long remembered afterthought. At still other levels they are impressive by their meticulous execution, and elsewhere they bring forth the pull of memories, from a little village in rural Bengal where a family that had no links with Art, has given us one of the outstanding creators of our time. His works therefore and his journey in art making are a cause of celebration and recognition in matters of all that exists under the umbrella of Fine Art.
Meet Pranav Lal, The Visually Challenged Photographer.
In a world that often connects success with the various aspects of physical ability there is no dearth of real life stories of individuals who defy these expectations. They are both inspiring and transformative. Pranav Lal, a blind photographer from Delhi, is an epitome of this spirit. Despite being visually challenged since birth, Pranav has embraced photography asa means to explore the world in ways that many can only imagine. His journey not only highlights his unwavering determination but also serves as a powerful reminder of the resilience and creativity that can arise from adversity.
Pranav Lal’s story is a captivating exploration of passion and perseverance. As a cyber-security specialist, his day job involves navigating the complexities of technology. Yet, it is through the lens of a camera that he finds a deeper connection to the world around him. His photographs, rich with emotion and texture, challenge perceptions of beauty and capability. Join us as we delve into the remarkable journey of Pranav, a blind photographer who has made an indelible mark on the art of capturing moments that resonate with all of us.
Pranav Lal’s venture into photography began during a honeymoon trip to Mauritius, a picturesque island renowned for its stunning landscapes. While admiring a scene where a strip of cloud gracefully cut across the sun, casting shadows over a dormant volcano, Pranav was struck by a revelation. The moment was beautiful, and he wanted to capture it—not through sight, but through an experience that was uniquely his own. With his wife, Sacheta, by his side, Pranav’s heart raced with the thrill of wanting to document what he felt in that moment.
Pranav realized that photography doesn’t just have to be about what he can see. He deciphered, it’s about the feelings and the stories one wants to tell. It’s his desire to perceive what he can’t touch that drives him to explore photography in ways that challenge conventional notions of visual art. Pranav’s unique perspective and unconventional approach to photography is deeply rooted in sensory experiences. He relies heavily on sound, touch and the insights of those around him to shape his artistic vision. For him, the rustling of leaves, the sounds of waves crashing on a shore, or the laughter of children playing in a park can evoke imagery that he translates into his photographs. This connection to the environment becomes a foundation for his work, allowing him to create images that are rich in emotion and texture.
One of Pranav’s most cherished photographs captures a scene in a bustling market. Although he could not see the vibrant colours of the fruits or the intricate designs of the clothing, he described the sounds of chatter, the scent of spices wafting through the air and the energy of the crowd as they moved through the stalls. He asked a friend to assist him by describing the scene, noting key details that would help him frame his shot. The result is a captivating image that evokes a sense of life and movement, inviting viewers to experience the market through Pranav’s unique lens. Pranav’s journey has not been without its challenges. Photography, especially in the digital age, often relies on technology that can be daunting for someone with visual impairments. However, Pranav has embraced these challenges, learning to navigate various devices and software with determination. He uses voice-activated cameras and apps that help him understand the settings and adjust them according to his needs. This adaptability has not only enhanced his photography skills but has also sparked a passion for technology that complements his work.
His experience in cyber-security has helped him understand technology better. It has made it easier for him to explore new tools that enhance photography, allowing him to push boundaries and experiment with different styles. Pranav’s tech-savvy nature allows him to stay updated with the latest developments in photography equipment, which further enriches his work.
Pranav is not alone in his pursuit of photography. He is part of a growing community of visually impaired photographers in India, all of whom share a common goal: to redefine what it means to capture beauty. Organizations and support groups have emerged, providing resources, workshops, and platforms for these talented individuals to showcase their work. Through these communities, Pranav has connected with others who share his passion and vision. They exchange tips, techniques, and encouragement, fostering an environment where creativity thrives. This camaraderie has been instrumental in helping Pranav grow as an artist, as he learns from the experiences of others while sharing his own unique perspective. Pranav’s story is an inspiring testament to the power of pursuing one’s passions, regardless of obstacles. By sharing his journey and showcasing his work, he aims to challenge societal perceptions of disability and creativity. He hopes to inspire others—both those with and without disabilities—to pursue their passions fearlessly.
Pranav wants people to understand that limitations are often self-imposed. Everybody has challenges to face, but it’s how one approaches the challenges that defines people. Pranav’s photographs have been featured in various exhibitions, drawing attention to the incredible capabilities of individuals with disabilities. His work continues to resonate with audiences, inviting them to see beyond the surface and explore the deeper meanings behind each image.
He is committed to using his platform to advocate for inclusivity and representation in the art world, urging galleries and institutions to recognize and celebrate the talents of disabled artists.
As Pranav continues to develop his skills and explore new techniques, he remains dedicated to his craft. He dreams of one day hosting a photography exhibition that showcases the work of visually impaired artists, highlighting their unique perspectives and experiences. He wants to create a space where people can come together to celebrate art in all its forms, where everyone feels included and valued.
In addition to his artistic pursuits, Pranav is also focused on raising awareness about the capabilities of people with disabilities. He hopes to collaborate with organizations that promote inclusivity in the arts, helping to create opportunities for others to share their stories and talents. Through workshops and mentorship programs, he aims to empower aspiring photographers to embrace their creativity, regardless of their circumstances.
Pranav Lal’s journey as a blind photographer is a powerful narrative of resilience, creativity, and passion. His story serves as a reminder that beauty transcends physical limitations and that creativity can flourish in the most unexpected places. As he continues to explore the world through his lens, Pranav invites us all to broaden our understanding of what it means to perceive, create, and share art.
Through his captivating images and unwavering spirit, Pranav is not only capturing moments, he is redefining the very essence of photography. His work challenges us to look beyond what is visible and appreciate the depth of experience that lies within each of us. In doing so, he reminds us that art, in all its forms, has the power to connect, inspire and transform.
Ashok Kumar Biswas’ herculean task of reviving the ancient art has borne fruit. Kavita Kanan Chandra interviewed the Padma Shri awardee at his home in Patna. She also visited a village near Danapur, one of the many centres, where he teaches Tikuli art for free to women.
As you step into Ashok Kumar Biswas’ house, you find several paintings and utility items made of Tikuli art everywhere. Numerous awards adorn the shelves, including the coveted Padma Shri award, spanning over five decades of his artistic journey. He fondly recalls his first exhibition abroad in Seoul in 2008, when visitors were curious about an art unheard of then. It’s the people’s appreciation and Biswas’ dedication that Tikuli art is now a part of the ‘Make in India’ and ‘One District, One Product’ movements. “Our culture would be known throughout the world through our folk art”, says Biswas, who brought global recognition to it.
An artist, a teacher
His artistic skills, dedication and contributions to Tikuli art are exemplary. Since 1991, he has trained more than eight thousand women for free, to paint Tikuli art on utility items and make it commercially viable. Biswas teaches the girls and women in villages near Danapur. He instructs a bunch of students in a friendly way- how to draw the nose with a curve, a line there, a dot here so the image of a woman should be in the right proportion.
“The girls come with pure heart, taking time from household chores, working on farms or studies,” says Biswas. “The folk art should be simple, taught to many, should have economic value so that it survives and prospers”, he quips. Through exhibitions or his enterprise ‘Sona Art Unit’, he sells Tikuli art products made by needy women, at a narrow profit to ensure constant orders, thus empowering women. From trays to coasters, over 22 lakhs of Tikuli art products have been sold to date. He has training centres around Patna, conducts workshops and trainings across India. “It’s like the branches of a tree, the art spreads,” says Biswas.
Oeuvre of work
His oeuvre of work is vast- from themes on mythologto contemporary subjects. His canvas is not limited to wall-mounted paintings but extends to utility items. “If the rich cultural heritage of India is showcased through Tikuli art, why not its contemporary spirit?” There are exquisite paintings of Chhath puja, Ramayana, Mahabharata, Krishna and Hanuman Chalisa. His latest work, ‘Unity in Diversity’, shows India’s integrity despite its diversity and its progress in modern technology.
Early life
Hailing from East Bengal, Biswas’s grandparents settled at Majdia village in Ranaghat in West Bengal. His father, Devendranath Biswas moved to Dehri-on- Sone in Bihar, to work as a compounder in a local hospital. Born on October3, 1956 in Dehri-on-Sone, Biswas’ childhood was mired in financial struggles. His mother tried to supplement family income by tailoring work but with seven children, it was not enough. Biswas recalls how he had only one pair of shoes to wear to school and no slippers until class fourth. He moved barefoot till he got his first pair of ‘Hawai Chappal’. “The memory remains etched in my mind when once I had to walk to the market on a scorching summer afternoon, my feet would burn. I would run from tree to tree, cooling my heels under the tree’s shade then run to take shelter in another,” Biswas recalls wistfully. The deprivation of childhood made him yearn for some money. From seventh class he started painting signboards and banners, becoming adept with paint and brushes.
Education
Despite modest means, Biswas’s schooling went off well because of nominal fees in local missionary and Government-aided schools. Hestudied at Elim Bengali Missionary School, and Gandhi Middle School and passed matriculation from Dehri High School in 1973. Financial constraints forced him to appear for the IA exam as a private candidate in 1975, but his academic excellence got him a full free ship to pursue graduation from Nehru College. Blessed with a flair for art, he was spotted by a designer, G P Bakshi, and got to learn Tikuli art for free at eminent artist Upendra Maharathi’s Shilpa Anusandhan Sansthan in Patna. In company with artists T K Sengupta and Lal Babu Gupta, Biswas honed his artistic skills.
Once in an exhibition in Mumbai, all of Biswas’s paintings were sold within three days. As demand grew, Biswas taught Tikuli art to his friends and family. The 1982 Asiad Games was a turning point when Biswas Tikuli paintings were gifted to sportsmen as official gifts by PM Indira Gandhi, after which Biswas never looked back. Meanwhile, Biswas topped the Employees State Insurance Corporation exam in Bihar and got employed as an assistant in Dehri-on-Sone. “The best part of home posting was that I could continue Tikuli art unhindered,” said Biswas.
What is Tikuli Art
Tikuli art is a form of hand painting, originating in Patna, derived from the colloquial ‘bindis’ – colourful dots, worn on the forehead of women. Biswas explains that Tikuli art is much more than bindis, it is time-consuming and intricate.
Historically, no records exist but the female sculptures excavated during the Mauryan period had tikulis, cites Kautilya’s Arthshashtra. It thrived during the Sunga, Gupta and Pala periods, and gradually declined. However, a few artisans in the localities of Lodi Katra, Diwan Mohalla and Malsalami Mohalla of Patna carried on as a cottage industry, not as an art.
Traditionally tikulis were made of gold or silver, on glass. It was a collaborative effort between Muslim males, who melted the glass and cut it into shapes, and the Hindu males cut gold foil and pasted it onto glass pieces. The artistic engravings were done by Hindu females using fine bamboo sticks.
So, the present Tikuli art has genesis in Tikuli even though its form has drastically changed. In the 1950s, the tikulis transitioned to creative works of art on glass pieces, using the same laborious process. Lal Babu Gupta, whose ancestors did Tikuli work, made spectacular artwork of Goddess Durga in 1950.
The present Tikuli art follows the Japanese craft but the style and content are inspired by Patna Kalam, Rajasthani miniature painting and Mithila painting. The recurring themes of Tikuli art are traditional encompassing Hindu religion, festivals, culture, rituals and ceremonies.
“We follow the technique of Patna Kalam to add intricate detail to the paintings. Just as the human figures are presented in Patna Kalam with correct body proportion, it is in Tikuli art,” says Biswas. It was Padma Shri Upendra Maharathi, who replaced glass with wood and used enamel paint, inspired by Japanese artists and encouraged Tikuli artists in Patna to follow.
Stages of development
The survival and proliferation of the Tikuli art lies in its adaptation to changing times. Biswas enumerates the five stages of the development of Tikuli art. From the original Gold on glass pieces of Tikuli to wear on foreheads, the second stage was tikuli art on gold foil on large pieces of glass, the third stage in 1955 introduced enamel paint on the glass while the fourth stage in the 1960s replicated the Japanese craft of enamel paint on wood pieces. In the fifth stage, Biswas introduced enamel painting on hardboard and MDF (Medium-density fiberboard). Now a few of his students are experimenting Tikuli art on fabric. Inspired by acclaimed artist Jamini Roy, Biswas keeps Tikuli art simple for people to follow. The preparation behind the art, however, remains cumbersome. The carpenters have to cut the hardboard or MDF into round, square or rectangular shapes and enamel is applied with a flat brush.
Now charcoal has been replaced with water paper to achieve a smooth and shining surface after four successive coats of enamel and a waterproof surface. It takes 15 days to prepare a board and painting too is time-consuming.
“We first sketch on paper and transfer it into tracing paper. We apply chalk on the back of the tracing paper, put it on the hardboard and apply pressure, so the outline is transferred on it. Drawing is done freehand and painting with a double zero and a triple zero brush.” We paint on the dark brown board with red, yellow, blue, green, orange, black and white colours.
Lifelong dedication to art
Together with his wife, Shivani, they continue to propagate the folk art of Tikuli and also pave the way as a means of livelihood for many women.
Notable Awards
Padma Shri Award 2024 The Gold Medal at the IHGF Delhi Fair in 2020 The Kala Shri Award in 2009 Bihar State Award in 2008 Appreciation awards by the Government of Bhutan at the 9th SAARC fair Display of Tikuli art The Bihar Museum The Bihar Chief Minister’s office Eastern Zonal Cultural Centre Ministry of Culture of the Government of India and others.
Events:
The National Art Fair was organized by Lalit Kala Academy, Dilli haat, the Handicraft Fair in Kathmandu, Taj Mahotsav in Agra, and the Indian International Trade Fair in Delhi.
The show aimed to capture the essence and spiritual richness of Banaras.
Uchaan Arts showcased the works of Paramesh Paul in the exhibition titled Eternal Heritage. The show held at the Open Palm Court, India Habitat Centre, in New Delhi continued from September 5, 2024 to September 8, 2024. The exhibition made an effort to capture the essence and spiritual richness of Banaras, one of the oldest cities in the world, taking visitors on an ethereal journey into the heart of India’s cultural and spiritual heritage.
Eternal Heritage tried to explore the timeless allure of the pilgrimage city through Paramesh Paul’s artistic lens. The city’s ancient ghats and temples stand as enduring symbols of a heritage that transcends time, to celebrate the deep-rooted traditions that continue to inspire contemporary life. It highlights the unique identity shaped by the continuum of spiritual and cultural practices intrinsic to Banaras.
Born in 1970 in a West Bengal village, Paramesh is a self-taught artist who was seeped in a rich tradition of pottery and craft from an early age. His artistic journey began with creating clay sculptures of deities. Today, his works draw heavily from traditional Hindu iconography, featuring elements such as the Nandi Bull, Lord Shiva, the Ganges River and the sacred temples that define the landscape of Banaras. His vibrant paintings are a fusion of mythology and contemporary expressions, embodying a deep metaphysical connection with his subjects. Through his art, Paramesh examines the relationship between people and nature, exploring how individuals transcend the challenges of everyday life to seek a higher spiritual existence. His experiences in urban environments have deepened his understanding of modern complexity, informing his creative process. Paul believes that art should resonate on a personal level with ordinary people, which is evident in his multi-layered, mystical compositions.
His dedication to portraying relatable imagery speaks volumes about his love for life and the environments he depicts, particularly religious centres in India. Banaras holds a special place in his heart, alongside other sacred sites such as Haridwar and Rishikesh. Water, especially the Ganges, frequently emerges as a dominant theme in his artwork, symbolizing life, spirituality, and continuity. In the show Eternal Heritage, Paramesh Paul invites audiences to witness the Intertwining of spirituality and art, offering a glimpse into the enduring allure of Banaras and the traditions that inspire his work.
Next Exhibition at Kamalnayan Bajaj Art Gallery from Monday, 25th November to Saturday 30th November, 2024 daily 11:00 a.m. to 7:00 p.m. by Paramesh Paul.
Sarojini Datta honed her artistic skills after her husband’s demise at 50, turning her solace into opportunity.
Sarojini Datta, a visual artist from Noida, epitomizes the idea that “art washes away the dust of everyday life from the soul.” Her journey in the art world took root during her formative years, nurtured by the encouragement of her teachers at Mater Dei School in Delhi. While she initially pursued a degree in Psychology at Lady Sri Ram College—largely due to parental expectations— her passion for art remained a constant presence in her life.
After marrying an Air Force officer and devoting most of her time to the family, Sarojini sought creative outlets that allowed her to express her artistic instincts. She painted baby clothes, undertook commissioned canvas projects and designed backdrops for school productions, all the while managing her responsibilities as a wife and mother. Despite adhering to societal norms and expectations, the longing to paint and share her work remained alive within her.
A significant turning point came with the loss of her husband at the age of 50. While this event was profoundly heartbreaking, it paradoxically opened a gateway for Sarojini to re-engage with her artistic passions. With reinforced determination, she began to immerse herself in the world of art. She invested in supplies, studied various techniques and embarked on travels to over 42 countries, where she created artworks inspired by her experiences in each new locale.
Her artistic style predominantly embodies realism, employing a range of mediums including acrylics, pastels and her current favourite, water colours.
Sarojini’s vibrant colour palette is intentionally designed to uplift the spirits of viewers while evoking feelings of nostalgia, inviting them to experience her journey. A practitioner of Nichiren Buddhism, Sarojini draws considerable strength from her spiritual beliefs, which highlight the innate goodness within every individual.
This framework supports her creative endeavours and helps to maintain resilience in the face of life’s challenges. In 2020, after waiting for 44 years, Sarojini realized her dream of holding a solo exhibition, an accomplishment that was bolstered by the encouragement of family and friends. Over the past 15 years, she has participated in more than 30 group exhibitions, gaining recognition for her work, including an honourable mention in a competition hosted by the Hindi daily, Dainik Bhaskar. At 69, Sarojini’s life is fuelled by an unquenchable curiosity and maintaining a desire for continuous growth. She firmly believes that each day presents new opportunities for discovery, allowing her to constantly evolve as an artist. Her creative output remains a testament to her resilience, and passion for life, echoing her sentiment that she has “miles to go before I sleep.” As Sarojini reflects on her artistic path, she recognizes the significant impact that both joy and hardship have had in shaping her work. Every brushstroke is infused with the experiences and emotions she has encountered throughout her life. Her journey reflects a tapestry of triumphs, trials, and an unwavering commitment to her art. In a world where many may overlook the therapeutic nature of creativity, Sarojini exemplifies the transformative power of art to inspire both the creator and the observer.
Through her works, she invites audiences not just to view her art, but to connect with their own life stories, reminding them of the beauty that can emerge from adversity. As she continues to explore and express herself through her art, Sarojini Datta remains a beacon of inspiration, demonstrating that it is never too late to pursue one’s passions and share them with the world. Her journey is a vivid reminder that art is a profound force for healing and connection, providing solace and joy in an often tumultuous world.
Artists, designers, illustrators and photographers incorporate animals as subject matter in their work.
Rafael Mantesso turned to art as a mechanism to cope with depression.
“There are lots of contemporary artists out there doing dog-themed artwork.”
A delightful and unique exhibition inspired by dogs that opens a wide range of artistic creative possibilities, from playful and whimsical to evocative and reflective. It is intriguing to witness artists, designers, illustrators and photographers who incorporate animals as subject matter in their work. Jannie Parrish who conceived the idea for the exhibition called A Dog’s Life said, “There are lots of contemporary artists out there doing dog-themed artwork.”
The 20-21 Visual Arts Centre in Scunthorpe is a great venue for showcasing diverse work. One of the most phenomenal artists featured was Sophie Gamand, a French artist based in America. Miss Parrish said, “She makes paper flower crowns, which she puts on pit bull dogs and then photographs them. These are homeless pit bulls in shelters, and she’s been instrumental in finding home (for them).”
Rafael Mantesso, a Brazilian artist featured in the exhibition, turned to art as a mechanism to cope with depression following his divorce. He started creating illustrations around his bull terrier, Jimmy Choo, in his all-white apartment. This creative project not only helped him recover but also led him to instagram fame, gaining the attention of many with his imaginative and heartfelt artwork. Miss Parrish explained, “He has an all-white flat and he ended up drawing pictures around the dog, illustrations. And then he became an Instagram sensation.” The exhibition also showcases ceramics by Martha Todd, which dives into people’s fascination with dressing up their dogs. Further, David Shrigley, a British artist known for his cartoon-style doodles and sketches, has contributed his distinctive work to the collection.
Renowned artist makes his debut in UAE showcasing 66 paintings of Lord Krishna.
Renowned Indian painter Padmashree Krishna Kanhai recently organized an art exhibition in Dubai, marking his fifth international exhibition and his first in the UAE. The exhibition, held at the prestigious Hotel Taj Business, featured 66 paintings predominantly depicting Lord Shri Krishna. The event was inaugurated by Mr. Satish Kumar Sivan, the Consul General of India in Dubai, who lit the ceremonial lamp to commence the exhibition. The grand opening saw the presence of hundreds of visitors including a large number of people from the Hindu community and various other communities, reflecting the widespread admiration for Kanhai’s art.
This show was particularly significant as it was the first time in Dubai’s history that an exhibition dedicated to Hindu Gods and Goddesses was organized. The event received immense support from the local community and notable individuals such as Rohit Pal Sharma from Mathura, Banjul Badil from Meerut, and Vikrant Nigam from Dubai, who played important role in making the event a success.
The three-day exhibition, which ran from May 31 to June 2, 2024, garnered significant attention and drew a large number of visitors. One of the distinguished guests were Shri Brahmvihari das Ji, of the newly constructed Akshardham Temple in Abu Dhabi. The temple, which was inaugurated by Prime Minister Narendra Modi on February 14, 2024, has become a symbol of cultural and spiritual pride for the Indian community in the UAE. Shri Brahmvihari Das Ji’s presence at the exhibition added to its prestige and highlighted the cultural connections between India and the UAE.
The exhibition was like a pilgrimage for Krishna Kanhai, who was accompanied by his wife Kusum Kanhai, his son Arjun Kanhai, daughter-in-law Megha Kanhai, and Aaradhya Danwar. Their presence underscored the personal significance of the event for the artist and his family, who have been Lord Krishna devotees and deeply involved in his artistic journey.
In recognition of the successful organization of this exhibition, Prime Minister Narendra Modi sent a congratulatory message to Padmashree Krishna Kanhai on April 24, 2024. The letter from the Prime Minister was a testament to the importance of the event and the high regard in which Kanhai’s work is held at the national level. The Prime Minister’s acknowledgment served as an inspiration and a proud moment for the artist, his family and the entire organizing team.
Krishna Kanhai’s paintings, known for their vibrant depiction of Hindu deities, particularly Lord Shri Krishna, have gained immense popularity not only in India but also internationally. His exhibitions have been celebrated for their artistic excellence and cultural significance, making him a revered figure in the world of art. The Dubai exhibition was a milestone in his career, showcasing the rich heritage of Indian art and spirituality on an international platform. The success of this exhibition in Dubai has further established Krishna Kanhai’s reputation as a leading artist whose work transcends cultural boundaries. It also highlighted the growing appreciation for Indian art in the UAE and the potential for future cultural exchanges between the two nations. As the curtains closed on this landmark event, it left a lasting impression on all who attended, celebrating the timeless beauty and spiritual essence of Krishna Kanhai’s art.
