The Shahs of Contemporary Art

The young boy of Loharpatti, a village some 9 km from Janakpur, has come a long way. And it looks like the journey is still in its infancy. His recent exhibition, ‘Shanti Yagya’ at the Siddhartha Art Gallery from 26^th March to 18^th April 2006,  was perhaps one of the most successful ever held there. This was when 41 year old Umashankar Shah revealed his proclivity for newer styles of art rather than only those which have usually been credited to him so far. It was also during this exhibition that doubts were cast by the curator herself on the prices suggested by the artist as being probably too high for local consumption. But Umashankar had no doubts and his immense confidence in his own standing was proven right. Most of the works on display fetched very good prices. The 70 x 80in ‘Shanti Chakra’ alone sold for Rs. Two Lakhs. In fact, such was the appreciation of this work, a veritable masterpiece one could even declare, that commissions for similar works still haven’t stopped coming Umashankar’s way. A visit today to his residence, Atelier-2 in Mithila Kutir at Dallu Awas Chettra near Swyambhu, is most likely to find the artist at work on similarly large canvases in which prayer wheels dominate. One does hope that they turn out as well as the painting that started them all, ‘Shanti Chakra’. “Wasn’t it great that peace has returned to the country almost as a finale to my exhibition, ‘Shanti Yagya’?” remarks the good looking artist. “You know, artists are quite intuitive and I believe I had a premonition of the same which was reflected in my works.” But, Umashankar’s intuition doesn’t stop there. “I have a feeling that a strife of a different kind might follow. It will be more bitter. Almost a civil war.” He is of course referring to the conflicts that many foresee as a consequence of dividing the country along ethnic lines as is being loudly advocated by various parties today.

Be that as it may, the artist personally is living in a blissful world presently. The bliss is no doubt due largely to his bountiful professional successes in recent times. However, one cannot ignore the fact that having a great life partner to enjoy the success with, must be equally wonderful. Umashankar is married to Seema, an accomplished artist in her own right, and the successes she has enjoyed as an artist have been no less than her husband’s. Perhaps it is only her quiet, soft spoken nature in comparison to the ebullience of her mate, that gives the impression of the husband being more in the limelight. To lay to rest any doubts in this regard, Seema Sharma Shah’s ‘Explorations of The Magical Realm’ in 2003 was also one of the most successful art exhibitions in the history of the Siddhartha Art Gallery. “I remember that the curator was most pleasantly surprised to record sales of almost Rs. Eight Lakhs!” Smilingly, Seema adds, “I recall her exclaiming, ‘Where have all these people come from?’”. Doubtless, Seema’s reputation as one of the finest printmakers in Nepal, if not the best, must have brought discerning connoisseurs crowding into the gallery. Another point that must also be noted is that due to the time taking nature of her particular talents - printmaking and etching - Seema is perforce restricted to holding fewer displays of her works and this could also add to the novelty and build up expectations.

However, anybody who has seen her works will vouch for the fact that Seema is capable of living upto the highest expectations. After all, a Ph D in Printmaking from the Banaras Hindu University is no small matter. Nor is a Printmaking First Class First and a Gold Medal awarded during her Masters in Fine Arts from the same university. Before we forget to mention, it was while studying at this premium university that Seema and Umashankar presumably fell in love. Both did their B.F.A and M.F.A together. It is also interesting that Umashankar too did his M.F.A in Printmaking. They married in 1995 and have a son, Ayush, aged eight, today. “He likes to try out his hand at painting as well,” informs the mother proudly. The father adds, “He pays a lot of attention to what we are doing when working.” Certainly, Ayush is a lucky child to have such doting and more importantly, such understanding parents which will undoubtedly help him achieve his artistic potential if so inclined in the future too. Umashankar was not as lucky in this regard and says, “After doing my intermediate, my late father, a middle class farmer, wanted me, the eldest among three brothers and two sisters, to take up a job. I, on the other hand, wished to be a painter.” On the pretext of going to Kathmandu to look for a job, young Umashankar ran off to Banaras instead to learn about painting. The artist reveals frankly, “Initially, I had thought that art meant painting movie hoardings. I remember I was specially impressed by the painting of Manoj Kumar on a hoarding of the movie, ‘Kranti’. I promised myself that I would be the best in the business of painting such hoardings.”

Nevertheless, at the Banaras Hindu University, after being admonished by a professor for asking, “But when will you teach us how to paint hoardings?”, Umashankar, it could be said, finally saw the light and began to understand what art really was all about.  After viewing the late artist, Bimal Das’s, exhibition and seeing his works selling for almost Rs.50,000 each, Umashankar also began to realize what being an artist really meant, at least, from a professional angle. As he discloses, “I had never imagined that an artist could earn so much money. I was never in it for the money. I only wanted to be an artist. Period.”  Well, as said before, he has come a long way. Not only in the changing of his naïve  perceptions but also in the rapid progression of his own worth as a highly regarded artist.

And no less worthy is Seema Shah, nee Sharma, who was born in Banaras in 1966. However, her family, being from a city fabled for its art and culture, obviously could be expected to be more artistically disposed. Her mother, 63 now, is, according to Seema, a good singer, and of her four sisters and two brothers, the three elder sisters are sitarists while both the brothers are good banjo players. “Nevertheless, I was the only one to take up artistic pursuits in a more serious manner,” says the gentle Seema. But, as far as professional work was concerned, Umashankar says, “It was only after we married, I think from 1996, that we really started working in dead earnest as true professionals.” After returning to Kathmandu, Umashankar and Seema both started teaching at the Fine Art Campus (TU) which they continue to do today as well. At the same time, Umashankar is already planning to take a long leave so that he has more time to complete his many assignments. Not only that, but since the couple are making earnest plans to have exhibitions in India in the near future, it does look like the Fine Art Campus might have to do without the talented duo’s services for a much longer time.

The couple, through observations made during many trips to India, cannot but fail to have noticed the gigantic leaps the art scene is making there in recent times. “Oh yes, “ says Seema. “India is a burgeoning market for artists now.” Umashankar adds, “And the value of artworks have reached such unimaginable levels.” He further adds, “We Nepalese artists should exploit the nearness of India and make efforts to make our marks there as well. After all, there are no visa hassles and since it is so near, it is much more economical to hold exhibitions there rather than in countries abroad.” Undoubtedly, the couple’s words make a lot of sense and since art is after all an international subject, they definitely have their priorities right.

Coming back to Umashankar’s triumphant forays into newer styles, it must be noted that transitions are never easy. As Seema says, “Initially, I used to paint only trees and jungles. Even when I wanted to change my theme, shapes of my favourite subjects would somehow creep into the picture.” Her husband agrees, “I have been fortunate to have made the transition smoothly.” Gigantic prayer wheels, portrayed with remarkable realism and a glowing translucence are indeed a far cry from the neatly crowded night cityscapes that Umashankar is so well known for. And although right now he is kept busy painting similar commissioned assignments, it can be expected that the artist will have been encouraged to try out newer subjects as well. As far as Seema is concerned, she continues to etch prints of richly illustrated religious figurative themes within the precincts of busy city scenarios. And her works, in most instances, are breathtaking in their fine detailing and lovely colours. 

Both Umashankar and Seema admit to being deeply impressed by the illustrious Indian printmakers, Krishna Reddy and Dipak Banerjee as well as the equally famous oil painters, Amitav Banerjee and the late Bimal Das. However, in spite of all such influences, Umashankar is firm in his belief that contemporary art should retain a nationalistic character. He says, “For example, Chinese and Japanese art can easily be identified as being from those countries. Similarly, Nepalese art, no matter how contemporary, should also be easily identifiable as that of Nepal.” The couple practice what they preach and one can easily observe definite elements of national character in their works.

For all their efforts and their prodigious talents, the couple have not received as many awards as could be justifiably expected. Seema is most proud of the Best All India Award she received for her etching, ‘Window’ in 1993. Doubtless, seeing that both the pair are only in their forties, it can be safely predicted that a bounty of awards as bountiful as present and future assignments will surely follow in their footsteps. Umashankar is right now, perhaps in the prime of his creative abilities and even highly charged, one can say. Seema, even if as highly motivated, and a paragon of excellence, as she always has been, is as soft spoken and as simple as ever, and so shows less of the ebullience of her mate.  This however, does not deter from the fact that she is firmly resolved to widen her own horizons. Her horizon today, as that of her husband’s, is most definitely the promising Indian art world. And even if Umashankar believes that within Nepal itself, there is very little support from the government regarding policies for the benefit of artists, and that things for artists were more promising in previous times, this has not stopped him from rapidly reaching the apex of his profession through mostly personal effort. At the same time he believes that even for the private sector to be more proactive in the art sector, it is the government’s responsibility to encourage the same by making policies that will help them do so. As Seema says, “We hear that in India there is a policy whereby large corporations have to spend some 1 to 1.5 % of their earnings to promote art work. This, I believe, is exempted from tax.” It should also be recalled here that during the 1800’s the French government had a policy to guarantee official purchase of at least 10% of all art work exhibited by French artists. This was obviously done with a mind to encourage artists and perhaps, the great success of making Paris into the art capital of the world which it is today, was made possible to some extent because of such a policy. Umashankar is adamant in his view that, “Government policy is most important for the progression of art in the country.”

All this aside, Umashankar Shah and Seema Sharma Shah have now been sufficiently motivated by success within the country and with great foresight, added to great determination, have made it their personal mission to conquer international boundaries. Their success will be a success for all of the Nepali art world. Their success will be a beacon to many others as well. So, it is right that they deserve everyone’s best wishes in this mission. What they will be succeeding at will be the earning of adulation for works that are richly embedded with the national character of Nepal.