Rabindra Pokharel

Kathmandu:

While tracing the genesis of modern art and the distinct ‘western representational’ influence on Nepali art, the prevailing trend is to lay more stress upon the advent of certain ‘isms’ as a new beginning. Little attempt is made to identify the actors who deserve the credit of taking epoch-making strides in Nepali art incorporating western style natural realism in their original creations. Nevertheless, the fact of the existence of certain actors who must have expedited the process of transformation can hardly be refuted, especially when indisputable evidence buttress assertions.

‘Icon of transition’ by Madan Chitrakar is a lucid exposition of the process of this momentous transition from the traditional to the modern phase in the history of the art of painting in Nepal. The book is replete with eulogies and is a just appreciation of the contributions of the great master. It is an earnest plea to acknowledge enormous contributions of an art legend - who coincidentally happens to be the author’s own father — Tej Bahadur Chitrakar.

The present developments in modern art and its extravagant creative exercises, as the author argues, are made possible on the edifice of representative art forms of the west -introduced and propounded by Tej Bahadur Chitrakar and Chandra Man Singh Maskey.

The professed icon of transition, Tej Bahadur Chitrakar, whose adventures and hardships the book recounts, was born to Shivadas and Ashamati as their fourth child on October 25, 1898 at Haugal Tole, Patan — a predominantly Buddhist town within Kathmandu valley. Born to the family of Chitrakars — a clan traditionally performing art related tasks — and having spent his childhood at his maternal grandparents home, who happened to be a ruling Thakali of Bhimsensthan, Chitrakar inherited a strong inclination towards sketching from an early age. He had a virtual tryst with destiny, after his few years’ stint at Darbar High School as a secondary student when he had a face-to-face encounter with the then all powerful Rana prime minister Chandra Shumshere at “Naksa Adda”, where he was employed to paint curtain works for the just completed Singha Darbar. The Maharaja impressed by his diligence and simplicity arranged to send the young boy to Calcutta to acquire an art education. Calcutta in the 20th century was the cultural capital of the whole Indian subcontinent and Tej Bahadur Chitrakar who completed his diploma, first class with distinction in ‘Head Studies’, was the first Nepali formally educated in western style of painting. The trend of commissioning western painters to paint portraits for the Palace almost ceased when Tej Bahadur was art teacher of Juddha Kala Pathshala — the first ever art school in the country. An art educationist all his life, he strove to propagate western representational art and the concept of natural realism and led the art of painting in Nepal to the modern era. Under his excellent tutelage, many students emerged as successful painters. DB Chitrakar and Kulman Singh are but a few of them.

The book has been divided into four different parts — “Setting”, “Life — The Journey”, “Works — The Enduring Images” and “The Social Relations” in order to facilitate a closer and comprehensive study of the different aspects of Tej Bahadur’s personality and life. The first part of the book illuminates the prevailing social and cultural circumstances which preceded the beginning of the modern era in the art of painting in Nepal. The second part describes relevant events from the protagonist’s personal life. The third quarter of the book classifies some available representative work of Tej Bahadur and is an attempt at an impartial critical appreciation of the work. The final chapter is an assessment of Tej Bahadur’s contribution as a pioneer painter in the country. Upon a close study of the information presented by the author, it would be sheer injustice against this pathbreaking artist, if we do not consider him a veritable “icon of transition” the legacy of whom we’ve inherited with complacent pride.