N Kalyani interviews Jyotirmoy Bhattacharya, art historian, researcher, and curator of hand-painted postcards’ exhibition.
Earlier this year Sangeet Shyamala’s Surrendra Paul Art Gallery hosted an exhibition of postcards, in New Delhi, entitled Bengal School Painted Postcards. The exhibition was curated by Kolkata based Jyotirmoy Bhattacharya, the well-known art historian, researcher, and curator. In an interview with him, N Kalyani discovers how these postcards are of interest to the artist, the historian, the philatelist, anyone. Postcards have always been an interesting and inexpensive way to communicate and correspond with family, friends, and acquaintances. Bright, colourful postcards were always collectibles. Sometimes they came in from foreign countries with collectible postage stamps too. It isn’t without reason that ‘picture postcard’ is a term used to mean a perfect setting, a perfect picture, an idyllic place.
The popularity and all-pervasiveness of postcards may have fallen in a big way today with speedy communication means offered by modern technology. But postcards remain a part of yesteryear’s memories. And postcards are still an interesting and an inexpensive way to communicate, with a personal touch and an old-world charm. Even today there are postcard collectors. Read on to discover more about the Bengal School Painted Postcards exhibition…
There were 56 postcards displayed at the Bengal School Painted Postcards exhibition. It felt like a rewind as we go back in time to an era of postcards. Doesn’t it?
Communication has undergone a revolutionary transformation over the last two centuries. Today, we live in an era of instant messaging through email and texting. However, there was a time when handwritten letters were the only form of communication. These letters, though often delayed, carried a deep sense of personal attachment and emotional resonance.
As with everything in our world, the art of letter-writing also evolved. In the late 19th century, postcards became the new norm for communication. Postcards often featured illustrations or photographs, introducing a new form of storytelling and memory-sharing.
Please tell us more about the postcards displayed. How did you procure them?
I procured these from private collectors in Kolkata. All these postcards were sent to just one person, Pulin Behari Sen, who was one of the Directors of the Visva- Bharati Granthan Vibhaga, the internal publication department at Santiniketan. Several students from Visva-Bharati sent him there postcards. I collected these postcards from private collectors who had access to the Pulin Behari Sen Estate collection. The artists were unknown to me, but their art and style caught my attention, reminding me of the modern Bengal Art School. This inspiration led me to gather these postcards and conduct further research on them. I plan to publish a book by the end of the year.
What kind of postage do these cards carry? Please tell us something about this.
The postcards have both printed postages on them and, manually stuck stamps. The postage is all Indian, and of various denominations.
Please tell us how these cards are designed. What is the material of the cards?
These are all normal Indian postcards. The cards are not designed; artists have just drawn on them. The colour and material is similar to that of parchment.
These postcards are not ordinary; in my opinion, they are made of acid-free paper. The quality of the postcards is exceptional—they have withstood various hands, different weather conditions, and the distances they have travelled without showing any damage.
Are they watercolours, oils, or acrylics? What are the various media used for the artworks?
The medium used to draw on the postcard varies. Some are done using watercolours, some with ink, and others with tempera.
What are the themes of the paintings/artworks?
They do not adhere to a specific subject. They are mainly landscapes and some are untitled.
Please tell us something about the genesis of these postcards with such artworks.
During this period, Bengal was witnessing a cultural shift with the rise of art. The Government School of Art was established in 1854, and around the same time, Rabindranath Tagore was developing Shantiniketan. Several young students, including Abanindranath Tagore and Nandalal Bose, joined these institutions. The students of these schools often communicated with each other through postcards, many of which featured beautiful illustrations that enhanced their appeal.
Several postcards by Nandalal Bose have been discovered, filled with exquisite illustrations. In this exhibition, we showcase the postcards of Bose’s students, such as Satyen Bishi and Shailesh Deb Barma, written to Pulin Behari Sen. Through this collection, we honour the art of postcards and the creativity of these talented artists.
What inference can be made from the themes portrayed on the cards?
The artists used to draw pictures on the postcards to send them to friends and family. They weren’t always intended for a particular person, it was just a part of their artistic expression.
The text on the postcards is handwritten. Please tell us something about the text on the cards.
The writing on the postcards is by the artists who painted the pictures. All the letters are to one person, and they reflect conversations between friends.
