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BOOSTING RIVAL ELEMENTS OF NATURE AND URBS

Jagannath Panda’s art revolves around complexity and contrast, says senior art writer Shubhra Mazumdar.

The soft spoken, well compacted voice at the other end of the phone line, at once puts a hesitant caller like me, at ease. After all, his formidable reputation today, with its rich narrative layers, meaningfully blended motifs define the urban imagery and its unfavourable fallout. It also brings to the forefront the harsh reality that rapid urbanization is ringing the death knell of the city as a modern-day ‘crystal city’ utopia. No wonder his portfolio of exhibitions over the years, boasts of top spaces ranging from prime addresses in India, such as the National Gallery of Modern Art (New Delhi) and Lalit Kala Akademi, New Delhi to Vadehra Art Gallery, Akara Art (Mumbai) and Emami Art (Kolkata).

Beyond Indian shores, Panda has showcased in Mori Art Museum (Tokyo), Modern Art Museum (Shanghai) and the Pizzuti Collection (Columbus, Ohio), to name a handful.

Jagannath Panda’s journey of art has modest beginnings in his home surroundings where the artist pursued art by making copies of Ramayana characters and copies of images printed in the children’s magazine, Chandamama. It was when he saw the clay image makers visit every year near to his home, that his art awakening took a decisive launch. He quietly visited the workshop of idol makers and learnt with the local craftsman and was introduced to the age-old techniques of making clay idols.

One of the accountants of the B K College of Art Training School at Bhubaneshwar met Jagannath’s father and informed about the new BK college of art and craft that proved a prophetic turn, virtually. The enthusiastic young Jagannath was fired to apply for admission at the institution, in 1986.

Another landmark development in his favour that spurred his career in the right direction was his close association with the then founder Principal of the institution, Dr Dinanath Pathy.

As the founding principal of the B K College of Arts and Crafts, Bhubaneswar (1984), he along with Deboraj Sahoo influenced and supported Panda, through the undergraduate years at this institution. Under their able guidance, Panda learnt traditional techniques, such as dhokra bronze casting and terracotta sculpture, among others, to a more academic layout. All of these inputs however, were to stand him in good stead in future. While this solid grounding would have sufficed for the majority of his classmates, Panda’s course of action was directed towards

further enrichment of his career graph. He had applied for the Master’s degree in Fine Art at both Benaras Hindu University and the Maharaja Sayajirao University of Baroda, in Vadodara, he chose to pursue the course in Vadodara. At the same time, there were constraints of other sorts that had bogged his steps. As his father could only spare a modest sum of Rs 300, for his board and lodging expenses, Panda was left with little or nothing for buying art materials.

This was a blessing in disguise for Panda. Due to a lack of conventional materials, he was driven to find alternate resources for art-making. His senior Artabandhu Rout of MSU introduced him to clay. Panda thus switched his attention towards wood and terracotta for art. Another important event was his association with Prof Raghav Kaneria of the Faculty, who used unconventional materials and found objects, such as wood, metal, scrap iron and nails, to create abstract sculptures. These associations had an impact on his learning.

“Baroda opened up the critical aspect of art. I became interested in questioning, delving into the history and politics behind art making and much more,” Panda recalls. In fact, it was the professor’s telltale query that had pressed the trigger and led Panda towards a deeper understanding of art history. This helped him understand how tradition and modernity in art are inter-connected. It also laid the foundation for his writing ‘Folk Elements in Modern Indian Art’. This study gave added confidence to his persona.

At the same time, his years of academic pursuit were drawing to a close. His well-wisher, Prof Dinanath Pathy from his alma mater, had by then moved to Delhi to take up the reins, as Secretary Lalit Kala Akademi. He invited Panda to come to Delhi and explore his career in art. Panda was offered a Lalit Kala scholarship. Promptly, the young post-graduate took up residence in the capital and began research on documenting art history. As living in the metropolis would have been impossible, his mentor had kindly offered him shared lodgings, along with other Odiya artists which Panda readily accepted.

While the living conditions in the city were extremely Spartan, on the work front at the Mandi House residency, this assignment on a scholarship, gave Panda an opportunity to examine where his interest in artmaking. was heading. “I was hungry for making art and I plunged into making a series of drawings, paintings, collage making, which collectively became a new language of personal expression, as also a means of supplementary subsistence for me,” he reminisces.

This intense interest in art opened up a new and unexpected avenue. On the advice of his mentor, Panda applied for a Japan Foundation Visiting Fellowship programme in 1996. This was being offered for the first time at Fukuoka University of Education, Japan. During his stay there, Panda was drawn towards a close study of Japanese culture. Besides, he was also taken up with Japan’s tradition of ‘land art’ where he found artists creating their art right into the landscape, by the use of ‘natural’ materials, such as soil, and even found twigs. The site-specific masterpieces, far removed from gallery art, made the surrounding environment a part of the art itself. “This cornucopia of study, travel, exposure to traditional art, made me realise the efficacy of Shinto philosophy which states spiritual energies exist in nature itself, such as in mountains, trees and rivers, (thereby) encouraging a respectful co-existence between Man and Nature,” Panda narrates excitedly.

Besides the obvious, this learning opportunity also registered lifestyle opportunities, that the programme had ingrained within him. He was introduced closely to Western art making practices, through his visit to the various museums in the country. Also, his young mind gravitated towards the disciplinary stance of art making, besides acquiring a deep respect for the process of creating art, which became akin to meditation. Naturally, such exposure left the artist with enduring insights, which Panda now sums up as, “the process of learning, observation and understanding of the art practice, emerged as a form of thought… something that is both repositioning and yet rooted.” Thus, when Panda received Inlaks Scholarship in 2000-2003, which allowed him to pursue a Master’s degree at the Royal College of Art, London, he had learnt the importance of making use of diverse materials.

What Panda now needed to do was to strengthen his ability to hold a ‘critical conversation’ around his art, via a new vocabulary of artist language to ideate and thereafter explain his creations.

Soon Panda began to prioritize ethical practices into his response towards his art. “It was a sediment of understanding, a sort of accumulation of endless contexts, bringing together a reality building in my art, a sort of known way to amplify myself,” he says. And by way of a more circumstantial explanation, the artist recalls his father’s morning ritual of repeating the couplet: “Daya karo deen bandhu, shubhey jaaye aaji deeno”, which according to him, is a mirror amplification of the methodology and meaning that prompts him into making art.

Moving beyond the discourse on personality and creativity, Panda laments the rampant urbanisation all around. In 2004, the artist chose Gurgaon area for his residence so he could be close to nature. Looking back Panda says, “Gurugram then, was a small village on the outskirts of Delhi in contrast to the high-rise skyline of today. Back then, it was full of bullock carts, leather cottage industry and large stretches of grass land which then metamorphosed into a concrete jungle and the economy vocalized into ‘how much money’ one could fathom, all around. These contradictions between the then and the now led me to the theme of migratory birds, which occupied my sensibility.”

The phenomenon of the ever-encroaching urbanisation of his home turf, has triggered thematic exhibitions questioning the efficacy of the ‘new’ world we are building. While it is a valuable ‘finger pointing’ factor for our times, one is drawn to questioning whether his art in the future would suggest a plausible solution out of this problem. Unlike most artists who would be satisfied to simply lay down the bare facts through their body of works, for Panda, there is an underbelly of spiritual experience that has been thrown up. “In my works the spiritual experience and urbanisation echo each other rather than compete as memory encounters,” he suggests.

And to factorise the elements of fact and fantasy deeper, a distinct category of animal and bird forms that are at once recognizable to the viewer, have become his iconic message bearers, on his canvases and sculptures. According to the artist, such a choice of forms is very important, being both intuitive and deliberate. Panda elaborates, “These creatures are inherently territorial and the creative juxtaposition principle behind their appearance in my art, identifies with bringing Nature into a man-made space. This placement of course is not a simple layout, as of actors on a stage, but as humanised beings, questioning the current scenario.” In short, he claims, “I don’t want to depict the avian gaze on the city as a sense of their presence. They are bringing into reality not just familiar contexts where they are standing in, for humans, but also the informed suggestiveness, between the familiar and the tense, to reflect on India’s transition towards intense urbanisation. They also effect a stylized narrative to depict a world surcharged with dream and reality; with other creatures standing in the place of humans, who by virtue of their placements, are forced to live out their lives within a changing social milieu.”

As for his material choices, the inclusion of textile scraps represents a close, intimate presence that comes via a contemporary material choice. It becomes a new reality in the art, storytelling in its own voice in the present-day context. Hence, like all artists with a message to portray and a concern to voice, the current practice of Jagannath Panda, too, is a finetuned offering of history, memory and ideas that are not watertight entities, but mingle in a continued dialogue comprising Indian art, inheritance, urban encroachments and culture. As the artist and a viewer of what is unfolding, he claims, “I am interested in the complexity, the contrast, the unsolved tensions within rival elements of the natural and urban, not as a declaration, but as a process that is ongoing. My art amplifies this negotiation on how we move, to engage relevantly, with the changing situation.”

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Tribal Art Comes Of Age

With the Tribal Art Fair 2026 in the backdrop, the Minister for Tribal Affairs, Shri Jual Oram, underscores how Tribal Art is emerging as a dynamic force in today’s creative economy and seamlessly aligns with the vision and mission of Viksit Bharat. The minister, in a special interview to Art Soul Life, spoke on a wide range of topics ranging from livelihood creation and cultural identity to tribal knowledge systems. Excerpts from the interview are presented below.

ASL: In your opinion, how can events like the Tribal Art Fest create livelihood opportunities for tribal communities?

The Tribal Art Fest has been a successful initiative. This festival has achieved an important milestone in promoting tribal artists and their work. During the 12-day exhibition, more than 800 artworks were sold, resulting in direct sales of over `1.25 crore. More than 10,000 people participated in the event.

The overwhelming response from art lovers, collectors and visitors reflects the growing appreciation for tribal art. By bringing together the art gallery ecosystem, corporate buyers, and institutional partners, we have created a platform that not only showcases tribal art but also, directly strengthens the livelihood of tribal artists.

ASL: In today’s era of globalization, how do you see the contribution of tribal art to India’s broader cultural identity?

India’s tribal communities possess an extraordinary treasure of art, culture, heritage, food traditions, and traditional knowledge systems, which is truly incomparable. These vibrant traditions reflect a deep connection with nature, community and knowledge passed down through generations.

In line with the Prime Minister’s vision, we are continuously working to create sustainable and ambitious livelihood opportunities for tribal communities. With the support of other ministries at the global level, our tribal artists are gaining recognition worldwide for India’s traditions.

The Tribal Art Fest is one step in this direction. Several conferences are also being organized in the capital where guests from foreign countries are participating.

We will continue such efforts in the future in alignment with the Prime Minister’s vision of Viksit Bharat. This contribution is not only aesthetic but also ecological, economic and culturally significant.

ASL: How do events like the Tribal Art Fest help create livelihood opportunities for tribal communities?

The objective of TAF is to create a fair market environment where tribal artists receive the right value for their artworks. The festival establishes direct connections between artists and art buyers, galleries, corporate partners, institutions, and citizens. As mentioned earlier, many artists have benefited from this platform. Artists representing various traditions participated in the exhibition, including Warli (Maharashtra), Gond (Madhya Pradesh), Bhil (Madhya Pradesh, Rajasthan, Gujarat), Dokra (West Bengal, Chhattisgarh, Odisha), Sohrai (Jharkhand), Koya (Telangana, Andhra Pradesh), Kurumba (Tamil Nadu), Saura (Odisha), Bodo (Assam and Northeast India), Uraon (Jharkhand, Chhattisgarh), Mandana (Rajasthan, Madhya Pradesh), Godna (Bihar, Madhya Pradesh, Chhattisgarh), bamboo crafts from the Northeast.

Earlier, many tribal paintings and artworks were sold at very low prices, often through middlemen who collected them from villages. Now these artists are receiving national-level platforms and are learning the true value of their art. For example, an artwork that may sell for `100 in its local region can fetch ten times or more at national exhibitions. Thus, fairs and exhibitions not only provide recognition to tribal artists but also play a crucial role in improving their livelihoods.

The artists also gain insight into what people appreciate and what kind of artworks they should create—whether it is Dokra craft, Sohrai painting or other regional art forms.

ASL: What plans does the government have to connect the younger generation—both tribal and nontribal— to these traditions and help preserve them?

To preserve tribal culture and traditions, Tribal Research Institutes (TRIs) are documenting and researching tribal languages, traditions, medicinal practices and folk arts. This will create a digital database for future generations to learn about tribal traditions.

The government also celebrates the birth anniversary of Birsa Munda as “Janjatiya Gaurav Divas” (Tribal Pride Day) so that young people can learn about great tribal leaders.

Additionally, Tribal Freedom Fighter Museums have been established in different parts of the country to highlight the contributions of tribal freedom fighters. The Van Dhan Vikas Kendras have also been set up to link traditional skills such as forest produce collection and handicrafts with livelihood opportunities, encouraging youth to adopt traditional activities as businesses.

The ministry has also introduced tribal youth exchange programs, where tribal youth travel across different states to understand other cultures and exchange their own traditions.

Events like Tribal Art Fair and the National Tribal Festival are organized across the country. Young people are also being empowered to sell their local art and products through online platforms such as Tribes India. Additionally, the “Ek Bharat, Shreshtha Bharat” initiative encourages non-tribal youth to learn about different traditions, costumes, and cuisines, helping tribal culture reach a wider audience.

ASL: Are there any special plans to showcase Indian tribal art on the international stage, similar to how Indian classical arts have gained global recognition?

We have invited artists from countries such as Canada and Australia to participate in the Tribal Art Fest. Artists from other countries have also shared their artistic traditions with Indian tribal artists, creating a dialogue between cultures.

Various ministries and organizations are encouraging discussions about the fusion of traditional tribal art with modern techniques. Tribal artists are also being informed about the growing international demand for their work. Keeping global preferences in mind, artists are now creating new products and selling them through e-commerce platforms.

ASL: You have said that tribal art reflects centuries-old civilizational wisdom. How can this knowledge contribute to India’s vision of a “Developed India”?

We are conducting research and documentation of ancient tribal knowledge through excavations, inscriptions, paintings and other mediums. For example, historical evidence shows how houses and bridges were constructed even before the use of cement. Tribal communities still possess immense knowledge in various fields, which needs to be documented. They also have extensive knowledge about traditional medicine, and the Ministry of AYUSH is working to document it.

There is also valuable knowledge related to climate, forests and sustainable living, which needs to be compiled in one place. The government is working to ensure that the benefits of this ancient knowledge reach as many people as possible. The National Tribal Research Institute is conducting continuous research and promotion of tribal literature and art, deepening the understanding of these traditions. Tribal artists are also being issued identity cards so they can receive priority in government schemes and exhibitions.

ASL: Beyond festivals, what steps are being taken to provide permanent platforms for tribal artists, such as year-round exhibitions, art residencies, or collaborations with contemporary art institutions?

Apart from festivals, the ministry and TRIFED’s “Tribes India” network have established showrooms across the country that sell tribal crafts and artworks throughout the year. Through e-commerce platforms, these products are also being connected to the global market.

The Ministry of Culture’s regional cultural centres and the Ministry of Tribal Affairs organize art residencies throughout the year. These residencies allow tribal artists to collaborate with contemporary artists, learn new techniques and adapt their art to modern needs.

Prestigious institutions such as the National Gallery of Modern Art and the Lalit Kala Akademi are also organizing exhibitions of tribal art, helping elevate tribal art from “folk art” to the status of fine art. Efforts are also being made to obtain GI tags for tribal art forms such as Sohrai-Khovar painting and Gond art, ensuring their uniqueness and protection. Digital documentation is also being carried out for preservation.

ASL: The “One District, One Product (ODOP)” initiative aims to promote unique products from each district. How is the ministry ensuring that tribal artisans benefit directly rather than middlemen?

The ODOP initiative is a historic policy designed to link local craftsmanship with the national economic agenda. It was launched in 2018 in Uttar Pradesh and now covers over 770 districts, each defined by a unique regional product.

Through institutional governance, digital platforms, and global outreach, the program empowers artisans, boosts exports, and helps preserve cultural traditions.

Indian embassies in over 80 countries have promoted ODOP crafts, and dedicated outlets in Singapore and Kuwait have strengthened its presence in international markets. Examples include tribal coffee from Koraput (Odisha), lac bangles from Jharkhand, bell metal craft from Bastar (Chhattisgarh), bamboo crafts from Maharashtra, and tribal textiles from Nagaland—many of which were also showcased at the Tribal Art Fest.

ASL: What steps are being taken to protect the intellectual property of tribal artists so their designs and techniques are not commercially exploited without fair compensation?

Under international agreements such as the Dunkel Agreement, efforts are being made to patent and protect traditional arts. Many patents have already been registered. The ministry is paying special attention to documenting tribal art forms to ensure that others cannot misuse them for commercial benefit. Monitoring mechanisms are also being put in place to safeguard the rights of tribal communities.

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Tradition Reimagined

Rooted in Bonkapasi’s muddy waters and reaching global stages, Ashish Malakar gives a new shape to the ancient Sholapith craft with quiet mastery and boundless vision, says Subhra Mazumdar.

When the ring of his phone becomes annoyingly persistent, Sholapith artist Ashish Malakar considers it worthwhile to rise from his work bench in his studio upstairs to attend to the call. On the other hand, if a neighbour drops by, with a request for some neighbourly service, this art maker is undoubtedly, the first respondent. A long-term resident of village Bonkapasi, in the Burdwan district of West Bengal, his family, like generations of other Malakar craftsmen families here, have been making Sholapith items, for clients that range from villagers to national leaders, and in the case of Ashish Malakar, the delivery list for his craftmanship, goes way beyond our native shores. His desire to stay close to his roots and remain grounded to his art form, is what has made Ashish Malakar and his family a national luminary who has not just earned his art form of Sholapith craftsmanship a worldwide standing, but has been giving it national and international acclaim. At a time when the industry is undergoing challenges of material procurement and attendant problems of too many craftsmen regurgitating the same products with varying degrees of efficiency, master maker Ashish Malakar too, finds himself being engulfed into infrastructure and logistics challenges within his craft ambit.

But Ashish Malakar has risen above these seeming ‘formidables’. Despite the fact, the industry today, is facing the problem of overcrowding in the craft-making force and the lack of innovation and quality control, his family have refused to cower under pressure. That the family have been trailblazers, is evident from the rows of Awards and photographs all around, beginning with that of his late grandmother Ms Katyayini Devi, a National Awardee, in Sholapith craft of her time, followed by his late father, Aditya Malakar, who too, carried forward the tradition, going on to be honoured with the National Award in 1979 and 1990. He was also conferred the coveted title of ‘Shilpa Guru’ in 2018 and earlier in 2007. Ashish too, has earned for himself a distinguished track record by being conferred the National Award.

In addition, he has lent his services in an advisory and training capacity, to various government agencies, such as the Ministry of Culture’s autonomous body, the Centre for Cultural Resources and Training, (CCRT). Under this umbrella, he has undertaken bringing a group of talented and enthusiastic school children under his wing and instilled in them the basics of good quality Shola making artistry. Also, his services were regularly sought by the government’s erstwhile All India Handicrafts Board.

Wherever Ashish Malakar has engaged with his audiences he points out that Shola craft is mainly created from a humble aquatic reed, the Aeschynomene aspera of the family Leguminosae. There are two distinct types of cultivated Shola, namely the Bhat Shola (Aeschynomene aspera) and Kath Shola (Aeschynomene indica). Kath Shola is rather rigid and adamantine, while Bhat Shola or ‘phool Shola’ is light in weight, snug to the feel in the hands of the craft maker, and flocculent, having a loosely tufted texture.

For making the ideal craft product, these plants have to be plucked during the rains when they are between two-four feet in height. Wallowing in the muddy depths, Sholapith gatherers of the raw product identify the plant by recognizing its leaves which float in the murky waters and above the muddy surface. While the natural product from the muddied fields remains the go-to material source, many in its farming community have resorted to an alternative farming practice. According to Ashish Malakar, growers are inundating their fields after the regular harvest adequately, for commercial cultivation. This practice helps to increase cultivation and thus keep supply chains constant.

When the dry Shola bales are offered to buyers like Ashish Malakar, they are around two-four feet in length, and as many stalks as can be fitted into a two feet length of rope is considered to be one bundle of the raw material. Generally priced at Rs 500 for a bale, the work of artisans begins after the purchase is brought home, when Ashish sits down to splice each stalk to extricate the hard, stick-like central portion of each stalk. The furry exteriors of the raw stalks too, need to be carefully removed to reveal the snowy interior portion, which is then used by him for the craft. But being an innovator par excellence, Ashish Malakar is not satisfied with the age-old system of throwing away the core stalk and is now researching on using it for making other innovative crafts, in the near future.

Since these craftsmen are averse to using even the most rudimentary forms of mechanization, Ashish Malalkar visits nearby saw mills to buy discards of blades from these places. The broken blades are painstakingly sharpened by laying them on beds of sand, and rubbing incessantly with clusters of leaves from the ‘bel (wood apple)’ tree. Then when the blade reaches the required dimension of a two-inch width and a sixteen-inch length with a four inch length for holding, the tool is ready for use. Work begins for this craftsman as others, at 6 o’clock at daybreak and continues through the day, till ten, at night.

In fact, it is the interconnected nature of the industry, right from its growing cycle to the making of the finished product being located within the village /hometown precepts, that has made Ashish Malakar and his fellow craftsmen so wedded to their craft. A common belief about the ancestry of their craftmaking, dates back to prehistory. Legend has it that Shola artists had been engaged to create the wedding décor for the auspicious marriage of Lord Shiva to the goddess Parvati. Not only did these craftsmen show their prowess in decorating the pandal and surroundings, but they even made the garland (mala) that the Lord had worn, and exchanged, at the wedding. Thus for the makers of this celestial essential in a wedding ceremony, the term ‘mala’ became the origin of their chosen surname,’Malakar’.

Others in his village are of the view that their associations recall the time when Lord Krishna’s sudden darshan (appearance) had left Sudama bewildered and the Brahmins too, were caught off-guard. They were perplexed as to what they should give as an offering to the Lord. In desperation, they resorted to making a garland out of Shola which was then offered to Lord Krishna, who wrapped it around his waist as a ‘janeyu’.

While the raw product is entwined with folkloric charm, Ashish Malakar has taken his craft beyond Indian shores. His landmark offering is in homage to the goddess Kali, a giant four feet tall figure, standing on a 16 feet wide base. Another of his much-talked-of masterpieces is that of the entire Durga tradition of creating the mother goddess with her children in a 5 by 6 feet tall creation. This epitome of his creativity was exhibited at the Surajkund Crafts Mela in Haryana, and drew large crowds of admirers and inquisitive onlookers.

Beyond his innovative skills to present the craft into larger and more eye-catching moulds, Malakar has also been a fine ambassador of his craft to more than a dozen countries, ranging from nearby Singapore to the far-off shores of Guyana in South America. And it was his visits to Italy that were the most interactive, as craftsmen and the public had flooded him with queries as to how he could get such precise cuts without the use of any form of mechanization.

Nearer home, his works have caught the attention of craft masters, who have been impressed by the versatility of his execution. In the iconic Durga form placed at Delhi’s Pragati Maidan, what visitors found most astounding was the fact that Ashish Malakar had even crafted the strands of the goddess’ hair, the vestment, and other finery also with Shola. For his inquisitive audience he had explained how the Shola strips had been made into fine ‘sheets’ and then used for the requisite décor purpose.

Another important reference is the statue of Mahatma Gandhi that he had created for the Museum at Goa. “ It is a two feet tall structure, where the figure of the Mahatma is seen with a copy of the ‘Bhagwad Gita’ in his hand. It is a well-preserved item, and attracts comments from onlookers and visitors alike.

But the bulk of his work is still centred around the time of the Durga Puja, when requests for pandal décor and full models of the goddess are increasingly in demand. This outlet has given Malakar the opportunity to take his craft to the next level of innovation. A case in point is the Durga image that he had executed in Jalpaiguri…a 15 x 22 feet creation, that was conceived and executed as a holistic depiction of the legend. Not only were the forms created with befitting care but even the surrounding décor of the backdrop was given due attention, right down to the form of Narayan, created with iconic appropriateness, within the space.

Yet when pressed to pick his best-loved creation, Ashish Malakar prefers to include a specimen of his late father’s art, in place of his own. “It is the work that still hangs in Delhi’s Vigyan Bhavan by my father that is a true specimen of our craft form.” He takes pride in stressing that even today, the work has an evergreen quality and visitors can still stop and admire it on their visit to the place.

In his own capacity, he feels that the best way to place the craft form on more solid ground, is by taking it out of its narrow confines within the original space alone. A step taken by him, in that direction, is that of holding training camps for the youth, in schools and other designated craft centres. Instead of giving them only a one-off acquaintance with the craft, Ashish Malakar goes down to the basics of the craft and gives these young enthusiasts the joy of creating miracles’ with a humble stalk and a little imagination.

As to keeping up the family tradition, within the familial fold, Ashish Malakar has engaged his son as his assistant in the craft. While initially, his son was simply put to tasks such as pasting the cut-outs with precision, later, the father-son duo would be engaged in a critical assessment of the work. This exercise was never meant to be for fault-finding at all. As a father, I would ask myself whether I was right. Then I would ask him to find out where the fault lines in the making had appeared. We would then discuss corrective steps to be taken. Finally, these learning sessions always ended with a word of encouragement, making way for better output in future.” Such an approach for Ashish Malakar is not his personal innovation, he concedes. “I often recall the way my grandmother would draw me into her Shola making , silently and eking out the desired behaviour not by demanding, but by providing opportunities for observing and mimicking.”

A day in the studios of Ashish Malakar therefore, is time well spent. One not only sees the various forms in their differing stages of completion, but can also see his closeness with his craft. According to one of the many beliefs that circulate in the Malakar community, the human task of beautification can only be achieved through a prescribed path. Though it appears outwardly untidy and somewhat confusing during the making process, it gradually unfolds into a more authentic understanding of the craft, as one watches the intricate drawings take shape.

It leaves the viewer stupefied, but also forges a silent link between human hands and their craft-making dedication.

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Patna: A Rising Star In Museum Landscape

Team Art Soul Life speaks to Anjani Kumar Singh, Advisor to Chief Minister, Bihar and Director General of Bihar Museum at Patna. He is the force behind showcasing the rich heritage of Bihar with a focus on storytelling and giving an engaging and dynamic experience to the visitors of the Bihar Museum, Patna.

ASL: What is the vision behind organising the Bihar Museum Biennale?

The Bihar Museum Biennale originated because there was no platform for museums and related art institutions. There are many famous art, design and architecture biennales in the world, but no platform for sharing collections, issues and innovations related to museums. We organised a conference of Indian museums of all types and floated this idea. There are more than a thousand museums in India, but we hardly knew each other in detail. We started the Bihar Museum Biennale to bridge this gap.

ASL: What has been the experience of organising biennales?

The first edition of the biennale in 2021 was for Indian museums. But because of the pandemic, we had to go virtual. Once it was virtual, besides a dozen Indian museums, half a dozen foreign museums also participated. The second edition of the biennale in 2023 had more than 30 countries participating in physical form. The highlight was the art exhibition for G20 and guest countries, in which 28 countries participated. The theme was Together We Art.

The third edition of the biennale in 2025 is focused on countries from the Global South and covers the continents of Africa, Latin America and Asia. In all these editions, we had exhibitions, seminars, talks, performing arts and films from participating museums and art institutions.

ASL: Why did the Bihar Museum become so famous?

Bihar Museum fills a huge gap in museum infrastructure in India. Unfortunately, in post-independent India, there was no major investment in creating museum infrastructure.

The vision of Shri Nitish Kumar, the Chief Minister of Bihar, was to create a huge cultural infrastructure in Bihar to boost tourism and showcase the heritage and culture of Bihar in India.

For creating this museum, we went for the best resources available in the field of museums. We had Lord Cultural Resources of Canada as our master consultant, Maki & Associates as the architects, Kingsmen and Citynecon as fabricators, and Lopez as brand and communication consultants.

Today, the Bihar Museum is one of the largest museum infrastructures in South Asia. It has developed as a cultural center more than just a museum.

ASL: How have the visitor numbers and their experience been?

We get about 5 lakh ticketed visitors annually, besides 1 lakh visitors who come free for various programmes in the museum. We are happy that 25 percent of the visitors are children and 30 percent are women. Bihar Museum is an experiential museum, and one of our focuses is on giving a happy and engaging experience to visitors.

ASL: How are younger visitors responding?

Before the making of the museum, we had detailed discussions with school children, street children and children with disabilities. Their ideas and suggestions were incorporated in the fabrication of the children’s section. In this section, we encourage children to touch, feel and play with the artefacts. You will see video screens at different heights to accommodate children of different age groups. Apart from a dedicated Children’s Section in the Museum, we also organise various activities for children on a regular basis.

ASL: Why are Indian artefacts not seen much in foreign art exhibitions?

It is true. Sending and receiving artworks in India is a little complicated. But the Bihar Museum did participate in the Tree and Serpent exhibition at the Metropolitan Museum of Art, New York. We also participated in the Asian Bronze exhibition at the Rijksmuseum, Amsterdam. We had a successful exhibition of contemporary art at the National Museum of Kazakhstan. An exhibition on Sita was sent to Guyana, where we have a large Bihari diaspora. The scene is changing, and we will be sending exhibitions to Mexico, the USSR and many more countries.

ASL: When the Patna Museum existed, why was there a need to create a new museum?

Patna Museum has beautiful architecture and a huge collection. As the collection was vast, there was an idea to create additional space. After examining this, the Chief Minister felt that we should go for a new modern world- class museum so that the artefacts are displayed properly and visitors get a better experience. It was also decided that the personality of the Patna Museum should be maintained and the building should be conserved. Thus, Bihar Museum became primarily a history museum, and the Patna Museum will be a modern and contemporary museum. We have modernised the Patna Museum as well.

ASL: Besides antiquities, the Bihar Museum has an impressive collection of folk and contemporary art. What is the rationale?

We wanted to give variety to visitors. We have galleries for folk art, contemporary art, the Bihari diaspora and even a restaurant specialising in Bihari cuisine. We have promoted the folk art of Bihar in a very big way by organising exhibitions in various museums in the country and abroad.

ASL: What are the major challenges for the Bihar Museum now?

Making the building and displaying the collection is the easier part. Running and maintaining the museum is difficult and requires a good, motivated team and adequate funding. The Bihar Museum has been lucky on both counts.

A museum cannot stand alone. A lot of collaboration and networking are required. We are also adopting modern technology to enhance the visitor experience.

ASL: How has running the museum affected your life?

It was during the planning of the Bihar Museum that I got to interact with a lot of artists of our country and dive deep into the world of art. Now I also have a personal museum known as the Himmat Museum, named after the famous artist Himmat Shah. It has about 300 artworks collected during the last ten years. My family also runs an art center named Arpana Kala Kendra, named after the famous artist Arpana Caur.

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Art Blends with Other Forms

Dr Sanjeev Kishor Gautam’s inventive approach will unleash fresh life in contemporary art scene. Subhra Mazumdar in conversation with the new Director General of National Gallery of Modern Art.

In the spruced up and cool interiors of the office of the Director General of National Gallery of Modern Art, the mind is magically enveloped into an open and welcoming space, amicably kitted out with comfortable and underplayed seating arrangements. Offset with succinct touches of natural greenery, the space exudes an aura of a genuine welcome. Coming face-to-face with the occupant of this august space, one is doubly charmed by his introductory message, “I am deeply humbled and honoured to take the helm as director general of the National Gallery of Modern Art. Under my stewardship, the museum shall resolutely adhere to its imperatives of knowledge dissemination on Indian modern art and contemporaneous art practice while sustaining an inclusive and equitable space for the community stakeholders.”

Dr Sanjeev Kishor Gautum, a slight, vibrant persona, complete with shoulder length hair, pierced ear lobes, clearcut and fast paced delivery, opens up to visitors within the first five minutes of the meeting. His prolific charter of implementations and future projects to be undertaken, under the leadership of
the country’s national storehouse of art, runs across a gamut of choices, including a ‘polymathic’ layout of exhibitions, artist engagements, a nationalist oriented, broad-based series of activities and the public’s inclusivity in these enterprises. Even more impressive, is the DG’s pioneering move towards creating a combined effort of togetherness among the three branches of the National Gallery of Modern Art, spread across Mumbai, Bengaluru and New Delhi.

As the conversation takes off, one gets the feeling that underlining this emphasis on contemporary art practice, he is introducing a legacy of transcendence beyond physical demarcations. Thus, when a national art body, resonates with a true Indian identity, as is the case with NGMA, the gamut of activities under this umbrella take on enormous proportions, both at home and abroad. As if this overloaded charter of execution was not fulfilling enough, Dr Gautam had set the ball rolling, literally, through his recent and open call to all women printmakers of India, to participate in the avant-garde exhibition titled ‘Nabha Sparsh – Indian Women Printmakers’. This exhibition showcased works from more than 250 women artists. This compelling art narrative gave a clear view of the evolutionary journey of the printmaking process, in the hands of women practitioners, seeped with their resilience and creativity.

Dr Gautam’s administrative acumen is evident in his 25-year tenure in art academia, which has served as the foundation for the development of his skills. He has served on the faculty of esteemed national-level art institutions, including Banaras Hindu University and Agra University, among others. Right from the beginning, he went beyond traditional classroom teaching, immersing himself in the administrative workings of these academies as well. This multifaceted involvement gave him the unique privilege of understanding the very ‘pulse’ of contemporary art academia.

His sharp administrative acumen and role as a knowledge disseminator form the foundation of his upcoming master plan. This initiative is rooted in the idea of partnering with museums—not merely as venues for public exhibitions, but as active platforms for contemporary art education. The plan envisions a structured engagement with the works of great masters currently housed in museum and institutional storage, turning these collections into vital educational resources. It is this acumen of being an administrator and knowledge disseminator, that lies at the root of his forthcoming master plan. This stems from the idea of collaborating with museums, not as a source of public exhibitions, but also as platforms for the pursuit of present-day art education, via a systematic interaction with the works of masters, that are in our museums and art institutions.

The initial step toward integrating art education with the legacy of renowned artists involves exhibitions showcasing the works of, for example, the late Russian painter Nicholas Roerich. Renowned for his vivid use of pigment—especially his striking ‘blue’ hues— Roerich created many of his most iconic pieces during his extensive travels through the remote Himalayas and other regions. While his artistic mastery is well recognized, Dr Gautam emphasizes the deeper significance of these works: they serve as powerful tools of soft diplomacy, spiritual exploration, and an artistic engagement with the Himalayan landscape. Together, these elements resonate deeply within the Indian psyche, forming a meaningful bridge of cultural and philosophical connectivity.

To ensure that the exercise goes beyond merely viewing Roerich’s masterworks, it would be expanded to include more in-depth and far-reaching initiatives—such as establishing exchange programs with international
institutions and incorporating proven methodologies. This forward-looking approach will broaden the scope of art education, taking it beyond the classroom and into the wider world of active practitioners and their creative practices.

The proposed exhibition has drawn his close attention not just for the reasons mentioned above. On a broader scale, the NGMA is actively planning to create an immersive platform that highlights our cultural and artistic heritage to a global audience by exploring shared connections. As the visionary behind these initiatives aptly notes, “An artist doesn’t merely paint… he is also someone striving to uplift society, and in that sense, his art becomes his voice.” Drawing a powerful parallel with Picasso’s Guernica and its poignant message to a war-torn world, Dr Gautam opens new pathways for presenting our artistic legacy to the world.

In light of this integrated approach, even broader initiatives are being planned. With this forward looking vision, Dr Gautam has conceptualized a unique art framework that goes beyond the traditional appreciation of masterworks in museums and prestigious collections. This vision extends to the establishment of art studios for emerging artists— spaces where they can deepen their formal training while engaging with the cultural roots that inspire artistic creation. These budding artists, guided by structured programs, will benefit from interaction with Indian indigenous artists as well as contemporary printmakers and other practitioners.


Besides the immediate benefits of such a scope of art training, Dr Gautam is quick to point out its international level fallout. Pointing out the existence of museums and academies abroad where there are opportunities for internships, he reveals his explorative thought process being geared towards sourcing avenues for student and scholar exchanges where a reciprocal arrangement could be initiated. This step will give our students a chance to acquaint themselves with other artists in their line of practice and vice versa.


To ensure that his carefully crafted initiatives were more than just lofty ideas and truly actionable endeavours, Dr Gautam took a pragmatic approach by actively participating in a public-private exhibition platform—the Viksit Bharat Ambassador Artist Workshop. This event was held at the iconic Purana Qila in the heart of the capital, serving as a fitting venue for a vibrant and inclusive celebration of art. The workshop brought together a diverse and comprehensive community of artists, with over 15,000 participants attending in person. Complementing this physical turnout was an impressive virtual audience of more than 50,000 art enthusiasts, all embodying the spirit of India’s deep-rooted cultural affinity for the arts.


The artists themselves, ranged in the age bracket of school children to parents and elders, from amateurs to professionals, with each of them examining the exhaustive canvas of a Viksit Bharat idea, through its representation in thought, words and deed. This could be likened to the work of Leonardo da Vinci, who drew inspiration not solely from fellow artists, but from the wealth of knowledge across diverse discipline surrounding his studio. Da Vinci never adhered rigidly to prescribed norms; instead, he infused his creations with the essence of his inner world, producing timeless masterpieces. In a similar spirit, the National Gallery of Modern Art (NGMA), through its programmatic vision under the national theme, seeks to awaken this immersive and introspective approach to art-making—an initiative, as its chief planner reveals, that aims to rekindle art as a deeply personal and interdisciplinary experience.

Beyond the diverse range of artworks on display, the variety of visitors to the exhibition was equally striking, according to Dr Gautam. Notably, it was none other than Dr S. Jaishankar, External Affairs Minister, who shared his impressions on social media after attending the event. He posted: “Stopped by the Viksit Bharat Ambassador Artist workshop at Purana Qila… Pleased to see the various expressions of Viksit Bharat through the medium of art align with the global move towards interactive and immersive experiences.”

Forging ahead with renewed vigour, Dr Gautam is now channelling efforts toward fostering deeper engagement between contemporary practices and the traditions of our indigenous art makers. The raison d’etre behind this move, according to Dr Gautam, is the resurgence of the intrinsic cultural rootedness of our tribal communities who regard the Earth as a deity and their daily rituals and actions, as their means of worship. Their art is not driven by international trends or an attempt to modernize ancient practices. Instead, it’s a celebration of indigenous materials and traditions. The National Gallery’s forthcoming mission mode therefore, is to exploit the skill of indigenous weavers, who have churned out representative masterpieces with ingenuity and skill. This select handful will now be approached for weaving the masterpieces of Indian art ensconced in the National Gallery’s permanent collection. The indigenous art makers, with the help of their traditional techniques, will innovate and produce a hitherto untried yet innovative amalgamation of the avante garde with the established, for all the world to admire.

More importantly, these initiatives represent a tangible step toward realizing the vision of Amrit Kaal—a long-term roadmap aiming to build a prosperous India by the centenary of its independence, where the fruits of development are accessible to every citizen. For Dr Gautam, the mission of the Prime Minister Vishwakarma Kaushal Samman (PM VIKAS) specifically focuses on enhancing the quality, scale and market reach of traditional products, while integrating artisans into the broader MSME ecosystem.

Departing from conventional marketing cantered approaches, the NGMA’s perspective prioritizes skill development, digital literacy, market access, and social security—particularly for marginalized communities. In essence, this unprecedented weaving initiative seeks to bring the spirit of Amrit Kaal directly into the heart of rural India, reaching deep into its villages.

Integrating closely with a modern outlook on the art scene of the country, the onward calendar of goals aims to give our music and theatre traditions a visual dimension, under another NGMA inventive approach. It examines the all inclusive training resources that erstwhile devadasis underwent, in order to equip them as spiritual artists offering their art learning as a ‘prayer’ to the deity. The ancient norms of dance propagation therefore, had made the temple a centre of cultural learning as well. It is this spiritual rootedness that Dr Gautam wants to infuse into the forthcoming joint attempt of Art integration, with the performing traditions of India.

The upcoming grand exhibition of Chitra Ramayana, slated for February, is envisioned as a major step toward deepening the integration of visual art with the performing arts. This initiative represents a significant stride in the ongoing journey of artistic convergence. What inspired Dr Gautam to focus on this theme wasn’t solely the visual richness of the Ramayana or its portrayal of Lord Rama as Purushottam—the ideal man—but a personal memory from his childhood.

The spark can be traced back to a moment of recognition when, as a schoolboy, he won a prize in a competition held by the children’s magazine Nandan Patrika. The contest asked participants to depict “The Most Influential Moment in My Life,” and Dr Gautam chose a poignant episode from the classic tale of Raja Harishchandra. His drawing focused on the tragic story of Rohit, the king’s son, who died of a snakebite—emphasizing the heartbreak of his mother, who lacked even the means to provide a shroud for her child. This early emotional connection to moral storytelling through visuals left a lasting impact, ultimately shaping his artistic vision.

The poignant episodes from the ancient tale on young Gautam, prompted him to make a solemn resolve—to grow up and become an artist who would use his work to make art a meaningful and socially relevant. Today, Dr Gautam has more than fulfilled this childhood aspiration.

Reflecting on his practice, he notes, “Space division in my work is the leitmotif of my art-making.” Yet, for those who engage with his creations, the experience goes far beyond a technical analysis. His work transcends the visual realm, inviting viewers into a deeper, layered realm of thought and interpretation.

Describing his own philosophy, Dr Gautam articulates it clearly: “My art is a visual language, where thought and its presentation can be likened to a stage and the final look at the work is therefore an association with all the other art forms.” This seamless blending of form and meaning allows his audience to not just see, but feel and interpret—a hallmark of his artistic journey.

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Biman Das: Transcending the boundaries of time

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”.