The Forests are Dark and Deep with Oh! So many Lovely Trees

The forests are inviting, dark and deep/ But I have many promises to keep/ And many miles to go before I sleep/ Many miles to go before I sleep.

Let us hope the forests are deep enough but not too dark because it looks like Sarita Dongol will be not be going to sleep anytime soon since she wants to, " paint thousands of more trees." To anyone familiar with this young artist's work, the question does arise, "how many more trees can she conceivably paint in different ways?" because everyone knows that Sarita has already put on canvases thousands of trees.

Of course, as every art connoisseur knows, nobody else quite paints trees like Sarita does. Each canvas is a delight to behold, such is the pleasing blend of colors; such is the artistry with which the individuality of its subjects, trees of course, is brought to the fore. If not already, then possibly in the near future, Sarita Dongol could well feature in the Guinness Book of World Records as the artist who has painted the most trees. And painted them very beautifully as well.

One does wish however, that she would add to the individuality of her subjects by christening each canvas with as poetic a name as is each of her canvas. For there is no doubt that every single one of Sarita's works deserves to be treated as a unique piece of creativity. Even if the subject is always trees. Trees. And more trees. So naturally, one would like to ask the bubbly artist, 'why only trees?'

With her eyes brightening up visibly, and with small and neat gestures, Sarita explains, "Trees are probably the most fascinating part of nature. Each tree has its own distinct personality. I find trees to be an absorbing subject." Listening to her and looking at her paintings, one begins to then comprehend what it is about trees that captivates her so. Looking more closely at each of her work one begins to understand that she is indeed right. One realizes that trees are not simply the 'trees' one has seen a hundred times in a day, trees are not merely the 'trees' we have come to take for granted.

Sarita, born 19^th September, 1973, is no doubt one of the youngest artists in the country but her maturity in the profound knowledge of her favorite subject is deep, as can be deciphered from what she says, " Trees have anatomy, are moving, and are symbolic of man's sufferings and joys." If nothing else, Sarita Dongol must be congratulated for making people aware of the fact that indeed, trees are a special creation of the Almighty, and that indeed, trees are not something that are to be taken for granted.

The artist has gone into many deep and dark forests and spent hundreds of hours in solitude with her beloved trees. Eight years ago Sarita married Sirish Man Dongol, who manages a trekking agency, Tin Tin Trekking and Adventure in Jyatha, Thamel, and has a two-year old daughter, Sudikshya. This has however not deterred Sarita from her sojourns. "I have gone to a lot of jungles and have found the trees in Ghandruk and Makalu regions to be the most interesting. I often go to Chobar and paint. Sometimes the well-known poet, Manjul, gives me company. He says that my paintings act as a muse to him for composing poetry."

She has painted her trees in many different colors, in many different moods. Looking at the artist's portrayals of different trees in their varying manifestations, the viewer must soon come to the conclusion that every tree has its unique identity and that every tree has its own unique characteristics. Sarita succeeds in making us look at forests with more focused eyes so that we also see the thousands of trees that stand tall and proud, strong and sturdy, as testimonials of nature's true glory.

Today many of them are displayed on the walls of 'Dongol Atelier' in Sanepa. Not only are the compositions a mirror of an artistic soul's reflections on the sentinels of nature, they are as much a feast for eyes in search of blends of appealing colors. Born in Mikhabahal, Patan, to retired topographer, Ganesh Bahadur and Ram Kumari Maharjan, Sarita has two siblings younger than herself, a brother, Amar who is studying in Australia and a sister, Ramita who has done her masters in rural development as well as in music. However, Sarita reveals, " In my family's entire history I believe I am the only artist."

Sarita adds, "Although even today many of my elder relatives do not understand the work I do, there are many more who are proud of what I have achieved." Sarita finished her Bachelor's in Fine Arts in 1998 from Lalit Kala Academy and is hoping to do masters if and when the course is started at the institute. She did her early schooling from Srichandi Vidyashram and says, " I started to draw when I was in class seven or eight. The teachers noticed my talent and I was selected to participate in every inter school competition after that."

The enthusiastic artist did not always paint only trees. In her early years after college she painted many landscapes. In fact, the first 'tree exhibition', most appropriately titled, 'Defining Trees', was held at the Siddartha Art Gallery in 2000. However, Sarita had already won the 1^st prize with her 'Human Happiness' in an art competition at the Srijana Contemporary Art Gallery as far back as in 1992. "That was the first time I felt that I had really achieved something." Sarita has participated in many group exhibitions, the earliest being in 1994 and 1995 during 'Vision 51' and 'Image' at Lalit Kala Campus.

The young and friendly artist is grateful to her parents whom she says were, "educated, liberal and supportive", and she is especially indebted to her mother for her unstinted support in her pursuit of artistic excellence.  Today Sarita Dongol lives in Balkhu and has her studio in Dongol Residency in Sanepa. After finishing her SLC, Sarita taught art in Maitreya Shishu Sadan in Swaymbhu for three years besides giving tuitions at home. From 1996 to 1998 she worked as a trainer for arts and crafts with ECCA, a Swiss INGO involved in environment conservation.

Sarita remembers that the first painting she sold was on 15^th November 2000, "I think it fetched a price of about Rs.3000 to Rs. 4000." The highest price she has received for a painting of hers is Rs. 50000. She remembers this too, "It was bought by a Belgian and was about 100 cm by 89 cm in size." Her most inexpensive paintings at the moment are priced at Rs.5000 each and come in sizes of 12 inch by 12 inch. Nevertheless, she adds, "Of course some paintings come out so well that their price can be much higher without consideration to size." As an example, Sarita points to a small sized canvas that portrays a tree stump that has been splayed wide open and one can observe the play of strong winds on and around the stump, "This is one of my favorites. Sometimes I just don't want to part with some of my works because I like them so much and become very attached to them."

Many dignitaries including the Ambassadors of Korea, Japan and Australia have her collections, and among local connoisseurs, "Keshab Sthapit, former Mayor of Kathmandu, has bought one of my canvases as has architect Manohar Sherchan." Sarita has also done experimental works that she calls, 'installation art' which are not of a permanent nature and so is not meant for collections. Of course, besides this, all other paintings are done using oil and are semi abstract in nature. Sarita claims to do her paintings in one sitting and does not believe in re-touching her works, and says, "re-touching will only dilute the original expression of my work and will result in a mixture of my different moods." In many of her paintings the color black dominates and she informs that the color lends boldness to her canvases. The nature of her work is inspired by current events and she declares that she still has a lot of deep study to do on trees.

In 2002, Sarita had been invited by a museum in Japan for a three-month residency program and will be going there again in March 2005 for another workshop. She obviously enjoyed her stay in Japan, and says, "people on the streets used to recognize me and compliment me." From 2000 to 2004 she has done eight solo exhibitions at various art galleries in the capital as well in Pokhara, France and Japan. The latest, 'Screams of Nature' at the Lumbini Art Gallery (NAFA) in Kathmandu, portrayed trees that 'tell stories of suffering and whisper tales of peace as well'. Sarita informs that this January she might be doing an exhibition at the Yak and Yeti Hotel.

From 1994 to 2004 she has participated in sixteen group exhibitions in Kathmandu, France, India, Bangladesh and the United States. She was awarded the first prize in 'The Second Eastern Region Art Exhibition' in Kolkata (India) in 2001. Sarita has also taken part in ten workshops in the period 1999 to 2004 in Kathmandu. The 'Nugha Mikha' international artist workshop, Sutra, Bhaktapur, in 2004 was the most recent one. The accomplished artist admires works of Shashi Shah and Shasikala Tiwari and is also highly respectful of the works of old masters like Vincent Van Gogh, Cezanne and Gaguin. And although she is firm in her view that her works are original she does say that she has heard critics claim her work to be influenced by the impressionists. 

Sarita Dongol, at the moment, is the very epitome of a successful artist at the height of her powers. Every painting that she does becomes one more beautiful part of her ever-growing collection. For those visiting her new studio, 'Dongol's Atelier' in Sanepa, it is like wandering into another world. A world in which trees in lovely colors, fascinating shapes and varying moods compel you to look at them in a different light, with a fresh perspective, and with a new awareness.

Welcome to the world of Sarita's trees.

The ‘Visual Interpreter’

His overall appearance is one of intelligent modesty. Upright, but not entirely unbending. These are some impressions one gets of Sujan Chitrakar after a few minutes of chit chat with the bespectacled artist. Additionally, if one were to go by what many of his young contemporaries in Kathmandu say about him, one would have to acknowledge that Sujan Chitrakar is one of the most gifted artists around town. And if one were to delve a little into the reason for his colleagues’ favourable opinions, then one would know that Sujan is highly regarded for, among other things, his innovativeness.

While he lives in Bijayshwori, on the way to Swayambhu,  his studio is on the first floor of one of the buildings around the expansive courtyard of Kathe Simbu temple in Shi-gal (the lane between the famous bangemudha near Ason and Chetrapati). Sujan has found for himself an apt setting in which to conduct his travails into the world of inventive art. The location is an attractive one to be sure (and surprising too to the first timer) what with it being a preferred hang out for many young people for whom the exotically defined spaciousness within an ocean of bricks and concrete, and congested lanes, is a most convivial place as a common meeting point. So, for an artist like Sujan, it could be an inspiring location, one in which the creative juices can flow unabated. This creativity, even if easily discernible in his many works, is also obvious by what he calls himself. “I prefer to be called a ‘Visual Interpreter’”, he says.

This rather clever sounding designation may be found to be justifiably earned on observing Sujan’s different and individualistic works, like for instance, www. meditateonself.com, now in a museum in Fukuoka, Japan. “I consider it to be one of the best works I have done till now,” he reveals. In the artist’s own words, “‘www. meditateonself.com’ makes a tough textual contact, each flap you turn corresponds to your own curiosity and an innate desire to flip through the pages, quickly, towards the end.” He adds, “It is very personal, therefore very satisfying, and yet at the same time, a good example of public art.”

This is one area in which Sujan wants to make a difference. “I wish to increase art appreciation among more of the general public and not limit it only to the elite.” No wonder the artist is now deep into what he calls art activity or ‘artivity’, in short. Some signs of his novel methods were apparent during the recently held (19^th to 29^th July 2006)  international workshops and exhibition held by Sutra Art Centre in Patan Durbar Square. Then he had used common vendor pushcarts as mediums in which to express to his works. At least that was what was immediately obvious, but it would be right to opine that the artist’s purpose was much more even if it was not so clearly apparent to the lay observer. Thus, how far he succeeded in achieving his objective is not certain, for sure, but to the keen observer the event signified something important, and perhaps could have been taken as a sign of things to come.

Sujan’s words give concurrence to the above, “I am now focusing on conducting another such ‘artivity’ in April. On a much bigger scale.  I want to trigger public interest in art by involving the public themselves in the activity of creating art.” No doubt it is a momentous task Sujan has taken upon himself and indeed, the art fraternity would be hoping that he succeeds mightily. At the same time, it seems to be a complicated task as well which is evident from his words, “I like to do process oriented projects rather than solo ones.” Maybe that is one reason why there have been very few solo exhibitions by the artist. Nevertheless, ‘Masticated Faces’ in Gallery Nine, inaugurated at 4:45 PM on August 3^rd 2004, was one of the few.             “My birthday, my birth hour,” explains the 31- year old artist. 

This intriguing exhibition was much acclaimed and it can be presumed, helped in further bringing to the forefront, an interesting ‘Visual Interpreter’. ‘Masticated Faces’, a mixed media presentation of sketches, paintings, masks and varied visuals, was also exhibited in Lahore, Pakistan, on 5^th December 2004 as part of the international show, ‘Old Masters,  Young Voices – South Asian Masters at Alhamra’. In June 2004, Sujan had displayed another collection titled, ‘Utopian Introspection’ at the Siddhartha Art Gallery in Kathmandu. Besides these, the artist has also participated in group shows around the world.  Asides from participation as a student in many exhibitions in India, Sujan has exhibited in Blackburn Museum and Art Gallery in the UK (2006), Fukuoka Triennale in Japan (2005), Colombo and Kandy, Sri Lanka (2002) and Lucknow and New Delhi ( 2000-2001).  In 1998 and 1999, Sujan’s works were displayed in Varanasi at six different exhibitions. Within Nepal itself, the bespectacled artist has been a regular participant in group shows as well. These include, beside others, ‘Uneven Fragments’ and ‘Nugu Mikha’ (2004), ‘Coaxing the Nature’ (2003), the National Exhibition (2002), ‘Confluence’ (2000),  the Bangdel Memorial Exhibition (1999) and ‘The Heritage of Chitrakars’ (1997).

Born to Misree Man, a commercial painter himself, and Tirtha Shova Chitrakar, Sujan is the eldest of three brothers, the other two being social worker Sanam and musician Suman. Two years into the long voyage of marriage, the artist’s wife, Jeny, is a professional in her own right. Sujan’s early education was at the then Raktakali School, now called Whitfield, and he did his I. Com from People’s Campus. Then, Sujan took the decisive step to follow his own dreams and  joined Lalit Kala Campus to study arts. “I am extremely grateful to my parents,” he states. “I am what I am today due to their encouragement and whole hearted support.” Disclosing that he was fortunate to have received early professional guidance from renowned artists, the late Amar Chitrakar and K K Karmacharya, Sujan did his IFA from Lalit Kala Campus in 1994. He went on to receive his BFA from Banaras Hindu University in 1999, and his MFA from the College of Art in New Delhi in 2001.

Presently, he is the Academic Programme Coordinator and Lecturer at the Centre of Art and Design, Kathmandu University, in Bhaktapur. In 2002 – 2003 he was visiting faculty at the Lalitkala Campus in Kathmandu as well as at Khowpa Engineering College in Bhaktapur. He is also a visiting lecturer at the Actor’s Studio in Swoyambhu. Among his non-academic activities, Sujan has been creative director of ‘Pen and Ink’; a freelance illustrator for children’s books and other literature as well as a founder member of  Sutra Art Group. Sujan regards teaching to be a great responsibility and asserts that he has taken it up as a challenge because art education is not good in the country.

He believes that it should be started from the basic level and declares, “My goal is to contribute towards making art education in Nepal, the best in the whole of South Asia.” This, of course, translates into the making of great artists. Sujan himself is enamoured by the works of the American artist Mark Rothko whose creations he defines as ‘colour filled abstractism’. “Rothko’s canvases pull you into their very beings,” he says. Sujan has some difficulty in answering to the question, “Any Nepalese artists you admire?” Nevertheless, among contemporaries, he does mention Sunil Sigdel as an artist whose works are interesting, and Salil Subedi, whose works have an infusion of art and music. Among his peers, he has high regard for Manju Babu Mishra as well as for Shashi Shah, whose paintings, Sujan says, are sensible and assertive.

Doubtless, although Sujan’s own works may be much more assertive in their depiction, one cannot expect them to be as sensible due to the very fact of them being more of  visual interpretations as compared to simply, pure expressions. And so, it is rather befitting that the artist is as dedicated to teaching art as he is determined to be an artist of a different calibre. Much therefore depends upon his own efforts in educating others to fathom the vast boundaries of post modernistic art, a form that Sujan Chitrakar, ‘Visual Interpreter’, seems to revel in. At the same time, it is a hard task indeed, seeing that the lay public, one which Sujan hopes will gain more of an appreciation for art than is the case now, still seems to lack even the rudimentary fundamentals of the same.  So, one cannot but wish him all the luck in the world and pray that his efforts pay off for the benefit of many. 

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.