PROJECT R N JOSHI

About

The Project:

The project is dedicated to preserving and documenting R. N. Joshi’s paintings and documents for the purposes of a retrospective survey of his work, and also to make it accessible to researchers, curators, students, and the general public. In addition, the project is also involved in the digitizing of the original art work and publishing the catalogue in print and online, thus making it accessible the world over. As a future plan, the project will also explore developing R N Joshi centre for Fine Arts (RNJC), which will be an independently run not-for-profit art institute dedicated to the development of modern and contemporary Nepali art, with a particular emphasis on such diverse artistic specialities as painting, watercolour, sculpture, photography, design (graphic communication), illustration, and animation.

About Artist R N Joshi

Rama Nanda Joshi was a pioneering force in Nepali art, whose vision oversaw the birth of Nepali modernism and whose talents defined an entire epoch.

Drawing from two very rich artistic traditions — the Western and the Nepali — he sowed the seeds for the development of an essentially Nepali aesthetic in modern painting. In his paintings he gave modern representations to ancient Tantric symbols and depicted landscapes and everyday life in his distinctive style — often characterized by a stark white canvas background — which served to reflect his love and passion for the subject of his work.

In addition to being a great artist, Joshi was also a formidable art educator, a preservationist, and one of the earliest art activists in Nepal. He was responsible for the foundation of modern art pedagogy in Nepal, and in the sixties, during the formative years of Nepali modernism, he placed great emphasis on learning by the observation of nature. These instructions would lead to the formation of an entire school of landscape painters in Nepal whose primary medium was watercolour. Added to that, he was the founder of Nepal's first prominent art school for modern art education and also its first independent, artist-run gallery — the Park Gallery. As a preservationist and activist, he battled hard and selflessly against the steady destruction of heritage sites of the Kathmandu Valley and for an independent Academy of Fine Arts in Nepal.

R. N. Joshi's vision has been instrumental in the shaping of a modern art culture in Nepal, and his work and example have influenced an entire generation of Nepali painters.

Rama Nanda Joshi was born near the Patan Durbar Square in Kwalakhu Tole, Patan. He was the eldest son of a prominent Newar astrologer.

He was the recipient of an Indian Government Cultural Scholarship in 1959 and studied art at the J. J. School of Art. During his studies he travelled widely through India and began exploring the possibilities of outdoor painting. In 1964 he returned to Nepal and held his first exhibition. These consisted primarily of modernistic paintings that displayed Cubist and other Western influences. However, he would soon put these aside to explore far flung parts of his native land and concentrate on paintings that depicted landscapes and everyday life.

In 1965, choosing to live an independent life he left his parental home and moved to a rented house with his wife and child. Without a patron, he faced enormous financial difficulties and struggled to provide for his family while remaining true to his art, and it was only his strong will and determination that helped him over this very difficult period in his life.

It was during this period that he began studying in depth the history and development of Nepali art and culture. This gave him a new understanding of his own heritage and not only lent a renewed vitality to his artistic endeavours but helped transform completely his style of expression. The culmination of this transformation was the series of painting, in 1980, based on Tantric motifs. These paintings, infused with a deep knowledge of Tantra and its symbolism, accentuated the importance of spiritualism in world that was becoming ever more materialistic. Joshi's tragic and untimely demise in 1988 left an immense void in the Nepali art world; a void that perhaps never will be filled. However, his example, devotion, and enthusiasm still inspires all Nepali artists and art lovers.

Early paintings (First Exhibition 1964, Kathmandu)

  • 12. Last Journey

  • 4. Atom and Peace

  • 25. Untitled

  • 10. Mother and child

  • 20. Struggle for existence

  • 2. Stream of file goes on instead of famine and war

  • 6. Toilet

  • 7. Divine Conjugation

LIST OF THE PAINTINGS

  1. Splendour in Life
  2. Stream of file goes on instead of famine and war
  3. Dream
  4. Atom and Peace
  5. Pilgrims
  6. Toilet
  7. Divine Conjugation
  8. The crow and the cactus
  9. Agony
  10. Mother and child
  11. The Blind Singer
  12. Last Journey
  13. Bathers
  14. Solace
  15. Gossip
  16. Motherly Instinct
  17. Worried Family
  18. Rising Nepal
  19. The last word
  20. Struggle for existence
  21. A Prayer
  22. Hope
  23. Birth of Lord Buddha
  24. Nirvana of Lord Buddha

From The Exhibition Catalogue

One man show Exhibition of Paintings — Ramananda Joshi

Introduction

It gives me great pleasure in testifying to the artistic excellence and skill of Shri Ramananda Joshi Joshi who was one one of the outstanding students of the Department of Drawing and Paintings in the Sir J J School of Art, Bombay, from 1959 to 1964.

Born in 1938 in Lalitpore Nepal, Shri Joshi received his general and collegiate education in Kathmandu and Lalitpore up to 1958. He was awarded a " Cultural Scholarship" by the Government of India to undergo a five year course in Drawing and Painting at the Sir J . J . School of Art, Bombay, in 1959. After successfully completing his course he passed the 'Diploma' examination in " Drawing and Painting" in 1964.

Following are some highlights of Shri Joshi's career as a student of this institution.

* Second prize of Rs 200/- in the Miss Dolly Cursetjee annual prizes competition in 1963.

* 'Kala-deep' sketch club prizes in 1959, 1960 and 1963.

* 'Best critics' prize of the 'Sketch Club' in 1962.

*'Merit prize' in 1963

He has travelled through official excursions and privately to different places in India and painted many sketches and landscapes throughout these tours which are highly interesting.

Shri Joshi has also completed a short term course in' Fresco painting' conducted by the Banasthali Vidyapith' in Rajasthan(near Jaipore) in 1962 and during that period, held a one man show of his Paintings at Jaipore.

He has acquired considerable skill in portraiture and " Life" painting and his creative paintings also reveal a peculiar and characteristic style of his own.

By nature amiable and modest Shri Joshi was very popular amongst his fellow students.

I understand that Shri Joshi is shortly to hold exhibition of his paintings in Kathmandu, Nepal, I am sure that his works, which are bound to be interesting and mature, will be very well appreciated by his countrymen and he will get the necessary encouragement and support to pursue his goal as an artist.

I wish his all success.

B. D. Shrigoankar

Professor and Head of the Department of Drawing and Painting

Sir J J School of Art, Bombay

25th August, 1964

Visitor's Comments

I am impressed by the artworks of young artist Mr. Ramananda Joshi. May he achieve further success in this field- this is my best wishes.

-Birendra Shah, 2021 Margh 21st B.S. December, 1964

There can be no definition of art. This is a spiritual experience. I wish for abundant progress of Mr. Ramananda Joshi.

-Bhimnidhi Tiwari, 2021 Margh, Margh 18th B.S., evening

Mr. Joshi’s oil paintings are really touching. His paintings, especially on ‘Hope’, ‘Agony’, ‘Dream’, are indeed very powerful and appealing. The wonderful use and combination of colors and their symbolical significance have made his paintings all the more powerful. I am sure; he is one of the greatest young painter of modern Nepal. Wishing him bright future.

- Kedar Bhakta Mathema, 4th December, 1964

Until the artworks of an artist are not exhibited we cannot recognize the artist. Painting is one such medium that clearly displays the psychology and thoughts that persist in society. But in this it is very important for the viewers to understand the psychology of the artist through the artworks. I am extremely delighted to view the priceless paintings by Mr. Ramananda Joshi. Through the paintings that are exhibited here, his psychology can clearly be understood. Lastly, I hope he will achieve much success in art.

- Binod Kumar “Bhabuk” 21/ 8/ 17 (December, 1964) Kathmandu

Landscape Exhibition "From himalayas to Kanyakumari"

Pioneering landscape painting in water-colour and sketches

Pioneer Landscape Artist

His own country Nepal is a land of amazing extremes with the highest Mt. Sagarmatha (i.e. Everest) and the forested plains in the south with hot climates and fertile farming land where the cultures, life-patterns, nature, daily activities of the people are varied and very different from the hill people. Moreover the landscapes have different charms and beauty due to vegetation and forest. So, in such a diverse geographical patterned country the harmony of mountains and the lush green vegetation with varieties of flora attract the lovers of nature, and are alluring especially to those who find beauty in nature and enjoy painting landscapes. If one watches carefully one finds the colours of the sky, clouds and the mountains changing with the beautiful, alluring picturesque peaks while the sun is rising or setting, if the viewer is on the peak of a hill one finds the sea of clouds down below the valleys and river banks. All these natural extremes and the colourful grandeur attracts nature-lovers due to its richness and beauty. How is it beautiful and alluring ? Thus, the mountaineers and trekkers climb up to enjoy nature and finally achieve serene peace in their minds and profound feelings in their souls. Nonetheless, unexplored areas of the sandy and rocky deserts beyond the snowy mountains give the onlookers the feeling of abstract painting due to mountains, hills, rocks and contours which are dramatically different from the landscapes of inner valleys and southern plains. So, the landscape painters never get tired, they could go on painting and producing the colourful paintings with sky, clouds, mountains, vegetation and rocky deserts.

A landscapist can sit at a site and paint figurative paintings as well as abstract. It is wonderful and enjoyable. So, there are myriad possibilities for lovers of nature and landscapists. And on the other side, the thick jungles and the surging rivers with forest and rocky banks are other side of nature where landscapists find traditionally isolated settlements of huts with thatched roofs and hamlets near the rivers, all these are fascinating sights for nature lovers and landscape painters.

Thus, one can enjoy the unparalleled beauty of nature with spectacular views in this country.

On the other side, in towns and cities one can find old buildings with carved windows, medieval palaces, temples, stupas. The pagoda temples, shrines and streets have their own beauty and charms with hills on the far-off background. The religious sites Pashupatinath, Lumbini, Swayambhu, Boudha, the ancient Changu Narayan Temple, Muktinath, Bahara–Kshetra, and the Himalayan Khumbu area with Buddhist monasteries and Chortens are other beautiful attractions for landscape artists.

Joshi knew of many of these places, but hearing more about them made him want to visit them and paint there. It was a sort of adventure but risky too. However, he decided to travel, he prepared and packed up every thing needed as an artist. He climbed up the hills, and soon on the way he experienced difficulties and hardships, on occasions he met ruffians, while at times he found helpful and generous persons but continued his journey. He painted sometimes under showers and hot sun. On most of the occasions all went well, he enjoyed the beauty of nature, painted landscapes and fulfilled his urge of painting plein air, he had various feelings and experiences, when returned he had not only paintings but wonderful stories to tell his friends. In this sense he was a pioneer in travelling and painting landscapes.

Poet, Artist/ Art Writer Prof. Banshi Shrestha

Ref: R N Joshi: Widening the horizon of Nepalese Art.

R. N. Joshi: Master of Watercolour Painting

R. N. Joshi – one of the greatest figures in Nepali modern art – was not only one of the greatest modern painters in oil and acrylic but also an unmatched master of Nepali watercolour landscape painting. A pioneer in open-air watercolour painting, he not only established watercolour as a medium in Nepali art but also widened its scope and possibilities. Joshi practised extensively and honed his craft to such an extent that he had remarkable command over his medium, and this allowed him to paint on the spot and in a spontaneous manner without any loss of control. A grant from King Mahendra allowed him to fulfil his long cherished dream of exploring the country. These travels would provide the material for his ground-breaking series of paintings depicting hitherto unexplored facets of his native land. These paintings – which are masterpieces of on the spot open-air watercolour representations of Nepali landscapes and people – not only offered a fresh and unique perspective but helped establish watercolour itself as a respectable medium in Nepali painting and set the benchmark for a whole generation of Nepali artists. A study by leading Nepali art scholars suggest how these paintings led to the development of one of the most popular movements in Nepali art – that of artists dedicated to outdoor watercolour paintings; a movement that continues to thrive even today. Many mark this as a critical point in the history of Nepali art and as the moment of birth of Nepali Modern Art.

The voice of silence: Paintings based on Tantra

  • 1. Shree Ganesh The Lord of Mind

  • 2. The Life Vehicle

  • 3. Yoga Meditation

  • 4. The Creative Force

  • 6. The Symbol Of Good Luck

  • 7. The Yantra

  • 8. The Gem Site( Manipur)

  • 9. The Symbol of Nine Planets

  • 10. The FIve Subtle elements

  • 11. Three Mental Dispositions

  • 12. The Hope Of Today

  • 13. Asta Dala Yantra

  • 14. The Eclipse On Earth

  • 16. Three Elements

  • 17. Anti polution Yantra

  • 18. Tree Of Modern Civilisation

  • 19. The Ritual Yantras

  • 20. The Mind

  • 21. The third Eye

  • 22. The Cause Of Death

  • 23. The Diagram Of Five Elements

  • 24. Five Senses Of Perception

  • 25. Three Mental Dispositions

  • 26. Pranayam The Motor force

  • 27. OM The Tri Seed Syllable

  • 28. untitled

LIST OF THE PAINTINGS

  1. Shree Ganesh The Lord of Mind
  2. The Life Vehicle
  3. Yoga Meditation
  4. The Creative Force
  5. Missing
  6. The Symbol Of Good Luck
  7. The Yantra
  8. The Gem Site( Manipur)
  9. The Symbol of Nine Planets
  10. The FIve Subtle elements
  11. Three Mental Dispositions
  12. The Hope Of Today
  13. Asta Dala Yantra
  14. The Eclipse On Earth
  15. Missing
  16. Three Elements
  17. Anti polution Yantra
  18. Tree Of Modern Civilisation
  19. The Ritual Yantras
  20. The Mind
  21. The third Eye
  22. The Cause Of Death
  23. The Diagram Of Five Elements
  24. Five Senses Of Perception
  25. Three Mental Dispositions
  26. Pranayam The Motor force
  27. OM The Tri Seed Syllable
  28. Untitled

About My Paintings

It has been said in the Shastras that the whole Universe and life on earth are controlled, governed and sustained by the cosmic rays of planetary and divine forces, and this divine power could be acquired and accomplished by Yoga and Tantra is at the hands of devoted and successful adept, A Brahman or Tantrika or an Enlightened one.

An adept, in course of his practise and meditation to evoke Psychomatic force, visualise or uses numerous forms and symbols, These symbols, thousands of which appears as pure abstract design all having their own significance representing particular divinities that work in action.

These symbolic forms of Art to me are so appealing and inspiring that seeks to draw more and more clear picture of secret values of human life in real sense. Most of my work presented in the Exhibition are based on the very philosophy of Nepalese Cult in general inspired by not only the aesthetic values of the symbols, for several years. So, I have tried without breaking the basic philosophy, reshaping and remoulding them to express my feeling in Psychic truth of it with possible purity in color, simple form, medium and different style suitable to the subject theme in present context.

My land and my people series

My Land and My People

Rama Nanda Joshi started paintings under the title "My Land and My People", it was his own love for native characters, and his own inspiration for producing genuine art works. So it could be said that in some way he wanted to reflect local life and nature, so he visited suburban areas and local villages with their unique communities and environment.

Artist Joshi, highly enthusiastic and spirited wanted to search in some adventurous way, the essence of Nepal, and he travelled to remote hilly and untouched areas of the country. He worked under the open sky in rain and hot sun and had his own sweet and sour experiences but returned with paintings reflecting upon Nepalese life.

He organized the exhibitions under the title "My Land and My People" six times. In these paintings he captured the forms, figures, colours, environment, background and psychology of the local people and the reflection of their natural surroundings. He prepared colourful illustrations to reflect the social, cultural and daily lives of the working people, where he gave life to the forms with his brush-strokes and colours. The effect is lively, viewers are amused as they find some feeling of pleasure and attraction. The illustrations also show his concept building. In some landscapes he painted the sky with local weather and colours and in others he left this background blank to produce an effect.

Poet, Artist / Art Writer Prof. Banshi Shrestha

Ref: R N Joshi: Widening the horizon of Nepalese Art.

Mandala painting work in Japan

Park Gallery : First Art school and art gallery in Nepal

Nepal Academy of Fine Arts Foundation Committee (NAFA)

NAFA through the string of time

The seed of Nepal Academy of Fine Arts was sown in the year 1965 A.D. in the form of Nepal Association of Fine Arts to promote and uplift the fine art in Nepal. Later, this art association was merged with the Royal Nepal Academy due to which the fine art sector got less and less preference and the development in this sector became next to none. Therefore, in the year 2037 B.S. Nepal Academy Foundation Committee was initiated with the purpose of maintaining a strong ground for the academy as there were various issues to be sorted out to establish the Academy in the country. This Committee was formed by the founding fathers of Nepali Art in the likes of Chandra Man Maskey, R. N Joshi and Thakur Prasad Mainali. The movement received tremendous support from many eminent artists, art scholars comprising contemporary and traditional Artists. As per the documents, the movement was endorsed by many eminent artists like Pramila Giri, Uttam Nepali, Prem Man Chitrakar, Batsa Gopal Vaidya, Govinda Dongol , Kul Man Singh Bhandari, Madan Chitrakar, Mani Ratna Sakya, Shankar Raj Suwal, Puspa Ratna Shakya, Raj Manandhar, Chanda Shrestha, Manuj Babu Mishra, Gahendra Man Amatya, Krishna Manandhar and more.

NAFA through a Telescope

The then King Mahendra in the year 1957 A.D. (2014 B.S.) established Royal Nepal Academy in Kamaladi in order to promote various sectors such as science, art, music and literature in Nepal. The field of science, literature and music witnessed visible enhancement; however, not much happened in the art sector. The reason behind this was that the art materials were quite expensive and was not easily at the disposal of the artists. Moreover, there were very few exhibitions happening and due to lack of publicity, not many from the public were aware of the modern art forms. Thus, nothing noteworthy happened in the art field even with the establishment of the academy in 2014 (B.S) up until 2021 (B.S). Keeping this in mind, the then crown prince Birendra took it upon himself to improvise the art sector by establishing a separate association for the fine arts. This is how in the year 1965 A.D. (2022 B.S.) in the chairmanship of the then crown prince Birendra, Nepal Association of Fine Arts (NAFA) was e stablished at Sita Bhawan Naxal. Birendra left the chairmanship of NAFA due to his busy schedule and in the year 2034 A.D. the advisory committee of NAFA again merged NAFA with the Royal Nepal Academy, but this time it was agreed that the fine arts would be treated separately in order to promote this sector efficiently. However, due to the carelessness of the officials of the academy, they became more and more oblivious to this sector and paid less attention in commencing art related activities. So, once again the fine arts were left out and its promotion staggered behind. NAFA was almost inactive. Due to lack of accountability and transparency, political meddling and discrimination towards visual arts, majority of the artists became unhappy and thus they united to create new NAFA — this time with new vision, values and identity as Nepal Academy of Fine Arts. Therefore in the year 2037 B.S. the community of artists hailed a voice of solidarity in order to eradicate this problematic issue. A movement bega n addressing this issue which was lead by artists such as Chandraman Singh Maskey (Chairman), Thakur Prasad Mainali (Vice Chairman), Rama Nanda Joshi (Secretary), Pushpa Ratna Shakya (sahaayek sachib Joint Secretary), Uttam Nepali (Treasurer), and amongst the members were- Pramila Giri, manuj Babu Mishra, Govinda Dangol, Raj Manandhar, Shankar Raj Singh Suwal, Chanda Shrestha, Mani Ratna Shakya and Prem Mann Chitrakar. Later this group was joined by artists Batsa Gopal Vaidya and Krishna Manandhar.

Points of vision

During early 1980s, this new force that advocated on art demanded a strong need of an independent academy of fine arts in Nepal. Amongst various significant points they raised, the most important one was - due to the gravity of objectives in promoting the art field, the title Nepal Association of Fine Arts be converted into Nepal Academy of Fine Arts. The new NAFA be established according to the law of His Majesty’s Government, confer equal importance as the Royal Nepal Academy and grant be allocated in order to initiate activities to promote fine arts in Nepal. The then prince Birendra was requested to become the patron of NAFA. Two art organizations were not necessary to promote the art in Nepal, therefore, the Nepal Art Council that was formed in 1959 A.D. was to merge with NAFA and the funding of the Art Council be provided to NAFA. There was only one artist Lain Singh Bangdel at Nepal Art Council; the rest are personnel related to other fields such as literature, politics, science etc. Therefore, only handful of artists are benefiting from Nepal Art Council. Since its establishment, most of the vital awards are always awarded to literature and art and music are given less importance; therefore, in the context of awards also, the fine arts be given equal priority. Besides these significant point they stressed on, here are some of the primary objectives they proposed :

1. To make more independent and dedicated art platform for systematic development of visual arts in Nepal. (During that time, visual arts were the least prioritized and thus were neglected compared to literature, music and drama.)

2. To encourage and create artistic, creative and lively scholarly environment.

3. To promote study and research in the fields of visual arts.

Voicing on such significant points the art community which was represented by the body of artists mentioned above raised a common voice.

Time inevitable

Later, with the flow of time some of the significant artists passed away precisely, Chandraman Singh Maskey and Rama Nanda Joshi. In 1994 two academicians were elected at NAFA, namely Uttam Nepali and Shahsi Bikram Shah. After their terms concluded another artist Bijay Thapa became the academician of NAFA. However, until then due to the unsettling political scenario Nepal Association of Fine Arts could not get altered into Nepal Academy of Fine Arts; however, the abbreviation was the same, i.e. – NAFA. After the establishment of federal multiparty representative democratic republic in 2008, with the flow of time the Nepal Academy of Fine Arts (NAFA) was established by the government of Nepal in 2009 A.D (2067B.S.). The Team of NAFA was led by Kiran Manandhar as the chancellor, Thakur Prasad Mainali- Vice Chancellor, Kanchha Kumar Karmacharya- Member Secretary followed by Council Members and Assembly Members. The term of this team recently came to an end in early 2014 A.D. and the newly elected team at NAFA is lead by Ragini Upadhyaye Grela- Chancellor, Sharada Chitrakar- Vice Chancellor, Navaraj Bhatta as the Member Secretary and new Council and Assembly Members.

Ref: Nepal Academy Foundation Committee documents / Park Gallery Archives

Heritage preservation

His voice in words

Saturday Special

Saturday, Falgun 9, 2021 BS ( February 20, 1965)

Why We Require Art?

By: Ramananda Joshi

Nepali art had attained the great heights of development once upon a time with Nepali artists showing remarkable dexterity. There were no limits; as if the whole country was full of artistic prowess, as a result, many significant artifacts are present still to this date. They weren’t confined to the national boundaries; rather they’d travelled to the international arena irrespective of the distance and confinements and were a matter of great pride and joy even to the masses of the country. However, the concern today should be the message left behind by those grand artists and what meaning can we derive from them, and this should be made an intensive issue.

In the successful leadership of the head of the state His Majesty Mahendra Bir Bikram Shah Dev, Nepal is heading in the path of social and economic prosperity and it is mandatory to enhance the living standards of the people as well as achieve the socially inclusive development. In order to obtain these goals, understanding the questions like what is the position of the art sector, what role could it play and what level of development in that particular sector is vital, however these things are seemed to have been constantly overlooked. It also can be said that until and unless there is adequate progress in the living standards of the people and the nation is economically sound; we can’t achieve desired advancement and interest in the art scenario can’t be stirred as well. It’s also reasoned by one school of thought that people will be leaned towards art, literature, and music among others only when the basic amenities of an individual are fulfilled. Proponents from this school argue that art is only a means of entertainment, not an indispensable element of life, however this argument can’t be considered as praise-worthy. It’s partly today; art has metamorphosed itself from only being an eye-candy to a medium of seeking the truth of the life. Sir Fredrick Cyces famously remarked, “Art is an unprecedented light of human history, cultures and intelligence.” Although art is exclusive compared to the physical objects, it’s very close to those objects that pops up in our human lives, so it can be considered it has marks in every sphere of our lives, it’s because art is life and life is art. Oscar Wilde has aptly said, “The mystery of human life depends on the art.” Art is a mirror of the human history. Scholars have pointed out that, “Art is the measuring gauge of the civilization of any country.” Therefore, to solidify our concept of a developed and prosperous nation, upliftment and regeneration of art sector in a country is equally vital. It’s a huge bonus for us that our king and prince are huge aficionados of art.

The development of any country depends upon the level of development of the society and the individuals residing in it. A society can’t be expected to develop itself unless the individual has a degree of consciousness, sense of responsibility, love and sympathy. So we can pinpoint that national advancement and prosperity are far-fetched until we have sufficiency in those ideas; and art revokes those in an individual and assists in the intellectual growth of a person. We can see art is growing accompanied by its presence felt not only in an impoverished country like ours, but in the whole world. There is not a single example that happiness and peace is directly linked only with the level of development in a country. If we looked closely at the western and developing nations, then we may able to understand the idea why and what is the growth rate and demand of art is at the moment; also we can see that the use of destructive products by the unscrupulous politicians, businessmen, and similar thinking people resulting from the one-dimensional scientific advancement has led to the erosion of the human values and essence. Even in this Sputnik age, one man views another as guilty and inferior; not the least, detonation of a single atom bomb still threatens to wipe out the source of the entire humanity and this fear and anxiety has been deeply rooted in the human minds. Contrarily, it’s the art that is helping to check the flow of such malign in the world; and it assists in removing the corrupted feelings and activities arising out of the rudimentary scientific achievement. Therefore, humans have felt the equal importance, if not less, the need for art as it is for the material developments. In Nepal too, if the economic development is accompanied by huge strides in art, then only the nation can uplift its economic status and an individual can always feel responsible towards his society and country, in general.

Changes in Creation of Arts

Nonetheless art has been initiated out of economic and social pressure at previous times, its effect at the imagination and opinion of the artists can be seen naturally and we can see the national sentiment in their arts today. It’s tough for the masses to easily grab the concept of the arts, quite out of spontaneity and intelligently crafted ideas by the artists, however one can, if they tried to understand by looking at them seriously deep from their hearts. It’s similar to identifying diamonds which require meticulous vision and experience; we too need intense curiosity and earnestness accompanied by interest and knowledge to comprehend arts. It’s said that Arts shade realistic light on the problems of today’s times.

If we don’t bother what’s reeling in the society, country and humanity; if we don’t have the consciousness regarding these issues then one wonders how are we to find a solution for the progress and dreams of the society and country? To fill such void, an artist is able to find the truth and convey it out of his artistic prowess. In ancient times, this may be the case; so they were able to spend huge amount of time without any doubts and fear for even a single painting, however the times are changing rapidly. It’s not abnormal for them to be affected by contemporary social issues and other various like life and death; thus as per the demand of time, he sacrifices his own will and conscience and prepares art in brief periods contrarily. It’s been a similar experience that requires education to understand the issues and activities of the globe like it was to infer the arts, which was derived basically from the feelings portrayed in them.

Psychological Impact & Relation

It should not be the objective of the humans to eat, wear and to enjoy the material possessions; a human is a living being full of ideas and strength whose life is full of various similar components. Humans have developed into a powerful being, born with the amalgamation of senses like sight, smell, hearing, and touch with other imagination, mental, physical and intellectual abilities. These senses are always eager to fulfill their respective wants and experience things, which is a vital ingredient in the development of an individual. However, we seem less concerned about them and satisfy their needs; one reason may be due to lack of resources and another may be that we don’t feel they’re that important, and it is a blatant weakness of ours. If we view this from a psychological perspective, we can see that life fulfills those demands of the senses directly or indirectly albeit in differing proportions. Some may know this fact and try to reduce the demand and supply gap, however there’re many more who don’t have an idea about this whole episode, and don’t do anything in this regard yet the situation prevails; and this fulfillment of the wants of senses depend entirely on the knowledge and intellectual development of an individual. If we are to make our lives meaningful, it’s highly essential to develop the skills to comprehend the arts, its underlying intent, and its requirement and consume it as well. The reason for this is life is dull and incomplete without arts. There’s a deep relation between life and art, that is invisible and boundless and it’s to be felt by the individual himself and can be considered as similar to feeling and understanding the essence of life itself.

The Second Aim of Arts

Art is an image and symbol of the society. It generally lets us to understand about the ancient social system and its lifestyle as well as illuminates us with the knowledge of the present and upcoming days. It reminds us about the various activities of the world and assists us with aptly presenting the obstacles of the humanity and helps us to keep in our remembrance, the main motive and responsibilities of the life. Art can be compared as the fountain of sorrow and happiness pouring from the core heart of the artist; it is more than a medium of the entertainment. As the world renowned artist and painter Pablo Picasso has clearly said, “Art and artifacts are created not just for showcasing in the empty walls, rather they’re the true depiction of the grief and joy of the society. Art is not just a colorful rectangular piece to show the modern maladies of the society.” Let’s imagine a few things; the melodious symphonies of music, the exquisite paintings, picturesque statues, splendid architecture, grand buildings, temples, and monasteries, swift moves in dancing, revered and fabled Gita, Dhammapad- what would have been to the world had such magnificent miracles have never happened ? Perhaps the world would have been a huge dwelling populated by the grieving souls.

Human life is considered to be a blessing of the God in which he’s been given some powers, and this he regularly uses to bring happiness and prosperity in his life. An individual feels the real joy when he reckons the real peace in his soul, and this is the reason he tries to comfort his own soul by creating different things. Even to this day, we can find huge arsenal of drawings and paintings with beautiful vignettes, ravishing statues and colorful sketches even in those so-called savage and uncivilized habitation of the jungles. Why? The reason is they feel blessed by creating those and making their lives decorated. Their creations are their shadows, their way of life, their philosophy, and ultimately their lives. Humans want to prove the adage that life is ephemeral while the art is eternal. Renowned figure Arvind Ghosh has said that, “Poems, Stories and Music are the components, clear and the most appropriate means and education to develop and enlighten the soul.” There’s this great power in arts, which makes a tyrannical person to bow down, awakens the masses psychologically, touches the spirit, and makes one to understand the reality and enables them to think without fear. When we clearly comprehend and realize the status around us, we are better able to solve the problem by developing the feelings of contribution, consciousness and curiosity towards the scenario. Moreover, this is the real need of the country and the whole world; may we be able to clearly identify the truth and beauty of the life. If the human lives are to experience the satisfied and prosperous lives, then there are two prerequisites – Love and Arts.

RN Joshi Museum

Located on the first floor of the building, the small-scale museum is dedicated to preserving the paintings and personal artefacts of the late R. N. Joshi. The museum houses Joshi’s works from all three phases of his artistic career – the early pantings from 1964 to 1970. “The Voice of Silence” paintings based on Tantra motifs from 1980; and the “My Land and My People” series from between 1971 and 1988.The museum also features his pioneering water-colour landscapes, sketches, and his last creation titled, “The Universe”.

Visitor's Comment

"I discover a impressive work, most unexpected. I'm glad I've come and hope to come again." Visitor ( the signature could not be read )

" It is a great pleasure to see different types of art in Park Gallery. Life without art us monotonus. If one comes and dips in the depth of art of R N joshi, one can easily swim hours, learning and appreciating the true art of our time." Prof. Dr. A. M . Acharya

" It was interesting to see how his painting style evolved as he grew older and more socially conscious" Grame Lade, Australian Ambassador. 2007

" I love the latest Tantric phase of Mr. Joshi's work, the intimacy of the building & care with which it is maintained. Arpan Caur, (Indian Artist)

"This is a great moment for me to discover such an impressive artist from Nepal !" Kethalia, Switzerland

" In late 1950's and early 1960's R N Joshi was with me at Bombay University hostel. He was then the students of J. J. School of arts, Bombay. On week end, he used to come to my room for sharing his perspective of arts and future plan. He really had a passion for arts. In fact, he was a born artist. He could have continued more if he lived long. But in small things we just see beauty. In small measure life may perfect be". B. P. Shrestha, Economist. 2006.

Articles on R N Joshi and his exhibitions

Artist RN Joshi: My Land and My People

By: Bansi Shrestha (Poet/Art Writer /Prof)

( Travelogue, April,Year Unknown. Translation from writer’s manuscript written in Nepali language )

I remember there was a seminar being conducted at Park Gallery, Pulchowk demanding the establishment of fine art academy in Nepal around 2015 B.S. I was also amongst the active artists to participate in that seminar. There were sharing of ideas, interactions, and suggestions concerning the establishment of the academy. Afterwards it was decided in the meeting to print flyers and publish in the newspapers the ideas generated in the meeting to create awareness and put across the demands of artists on the issues of the meeting. The coordinator and active artist of this seminar was RN Joshi.

R N Joshi (Birth -1995 B.S., demise - 2045 B.S. / 1938 − 1988 CE) was deeply interested in art since his childhood; this can be understood through his own writings, notes and interviews. His father Brahmananda Joshi was an acclaimed astrologer, therefore, RN Joshi was familiar with various aspects of astrology such as the nine planets, stars, sun, moon, five elements, yoga and other icons and horoscopes. It is obvious that RN Joshi was keen and familiar with the meaning, mystery and forms of these images. The ideas toward these images became even more matured in his later works and as he painted by interpreting their meanings. In a strong will to pursue art even his educations took him to that directing. Where there is a will, there is away, he got an opportunity to study art in Sir J.J. School of Art. We come to know through his publication that from 2016 B.S. to 2021 B.S. (1959-64CE) he did his course in art from college and also learnt mural painting from Rajasthan India. He has exhibited his works in Delhi, Bombay, Rajasthan, Tehran, London, Hiroshima, and various times in Kathmandu. His art is collected in Australia, Japan, New Zealand, Norway, The Netherlands, Poland, Korea, Sweden, Switzerland, Singapore, Scotland, England, America, Russia, Hong Kong, Sri Lanka, Pakistan, Bangladesh, and Yugoslavia. All the information can be found in the book that he has published. After concluding his art education and upon returning to Nepal, he began painting with zeal. In 2021 B.S. (1964 CE) he did his first solo exhibition in Kathmandu. However, after this exhibition it seems that his opinion and vision changed; as a result he began exploring various places of Nepal and painted landscapes. This is when he got much attracted to towards ethnicities, life styles, culture, tradition, custom works etc. and the landscape as well. The artworks created during this time, i.e., the landscapes and the works depicting life styles are creative and genuine. The experience that he gained through his exploration motivated him to little his works "My Land and My People”. According to world art history, the identity of an artist becomes prominent by searching of inventiveness and experimentation. With these elements the expression through style and skill brings originality in the creator. In world art history such thoughtful contribution brings a leap which preserves the authenticity and identity of the creator. From this perspective RN Joshi can be taken as the pioneer of modern art in Nepal. This is how he became popular for well-planned ideas and principle in art. On the other hand his works are creative and site oriented. The authenticity of an artist comes out through his/her search, findings and representation of the native elements. It will be time if we start taking examples of European art of different times, that is why in brief an art will have authenticity, innovativeness, creativity, individualism when an artist focuses on specific idea, commences research and work on its findings. This is when an artist comes out with his/her own style. RN Joshi conceived an idea in 2024 B.S. and gradually began working on it. Later around 2030 B.S. he actively started showing and exhibiting his artworks through the title 'My Land and My People’. He represented native subject in art and indicated that the movements and trends that were popular in the west had no effect on him. This approach by the artist is a land mark; the artist asserts that Nepal was not ready for abstract painting. And a trend of blindly imitating the west, its fashion and tendency only develop pseudo tendency and ego that will merely cause illusion, imbalance and vulgarity by the so called fake modern art. Every artist has to keep distance from such pseudo attitude and find self contemplation and focus on the true destination while creating art. Acknowledging such through, values and ideas he travelled various distant areas of Nepal and created landscapes, life and people and their culture, painted on the lifestyles and customs, culture and festivals of the valley. Later he also exhibited these unique art works. These works in water color depicted places like Sankhamul, various sites of Kathmandu valley, narrow alleys of Patan and Kathmandu (city scape), rural houses, Pashupati temple etc. similarly he painted on life in Nepal, for instance- band of musicians, plating on the field, farmers etc. he spoke on his art- when artist creates, it has to represent his/her own social aspects, life, folk and cultural perspectives because it should introduce Nepal across the world and the art should effect everybody. We can briefly go into this matter- we can consider colors and originality of art as an international approach, further, the combination of colors, representation of subject and concept of artists are the originality and style of an artist. That is why the artworks which has been created in specific time and location can be understood in relation to times and conditions of a nation. This as a result can be connected with nativity and individuality. This viewpoint confirms that RN Joshi was searching for his identity and was willing to contribute in the art and culture of Nepal.

As mentioned above, the changing times growth of knowledge and wisdom has brought maturity and consistency in his concept. This is why after painting landscape we can see change in his interest, ideas and psychology. He changes his focus from external reality to the internal, the world of symbols and contemplation. From his school days he was much interested in astrology and tantrism. That is why he accepts that he was keen in depicting ancient Hindu and Buddhist philosophies. The clear example of this is the exhibition that he did in 2037 B.S. entitled the “Voice of Silence”. Some of the paintings done in oil color he exhibited in this exhibition were "Shree Ganesh", 'Seven Chakras', ‘Nine Planets’, ‘The Five Elements’, 'Astadal Yantra', 'Life Chariot’, ‘Third Eye’, 'Earth Eclipse’, 'Yog Pranab'. He has mentioned in his catalogue that the philosophy and tantra related artworks are based on the Nepali traditional philosophies. The art observes can easily find out the approach of the artist where he has beautified the various tantric elements through combining colors, motifs and patterns. There is a distinct difference between the tantric painting by Joshi and the Indian tantric paintings. The artist has brought distinct inventiveness in the application of colors; he has represented unique values and beliefs of his own country, society, geographical features and cultural tradition. This is his positive and successful display of clear ideas and authenticity. In this regard he himself has stated- "in these paintings I have attempted to find out the internal and essential meaning of the forms. At the same time, I have not distorted the shape and meaning of the traditional motifs so that the viewers could relate to them. This is how I have attempted to arrange them in an innovative ways through my creation in order to express psychological truth". In his paintings he is influenced by images and expresses his findings through art. He expresses-"every image has its own meaning and all the planets have their own forms. Through them or through yog mantra we can also attain their powers. All this has deeply influenced me." We can take example of 'Shree Ganesh' where Ganesh is shown as the spirit, mouse as restlessness and triangle as body. This painting is done in oil color. Similarly in 'Five elements' earth is nose or fragrance, water is tongue or taste, fire is eye or vision, air is skin or touch, and sky is ear or sense of hearing or words or sound. He has converted all these elements into forms composed them in his canvas and applied colors in them accordingly adding more beauty to it. Our body is composed of sky, air, fire (radiance), water and earth. This is ancient concept and the relationship of these elements to one another and their essential knowledge is also scientific. An artist changing according to age, knowledge, experience, time and situation is only natural. Therefore, RN Joshi after researching and painting on Tantra and its forms, he began delving deep within himself, bringing emotional aspects and ideas on the canvas. His interest in such subject brought him to subject of mandala in his paintings. Here Joshi has inclined towards his own native tradition and concept while depicting mandala in his work. In this regard he was invited to Japan to create a mandala. The mandala he created was a blend between Japanese and Nepalese culture. During the visit, he also created Karuna Devi (goddess of compassion) on Toyohina rock mountain. Through this artwork he gained international recognition. In the annals of Nepali art history RN Joshi was the second Nepali artist to gain international recognition after Chandra Man Singh Maskey in the modern art context. This series of tantra and mandala works by Joshi has inspired the later generations of artist such as Milan Shakya, Yogendra Dangol and Kiran Manandhar.

RN Joshi, one of the genuine and immensely creative artist passed away in the year 20445 B.S.(1938CE) In his memory and contribution young artist Jeevan Acharya write on Deshanter weekly "- Now the artist is no more at the Park Gallery- Ramananda Joshi is no more on Earth...- If he would not have been on earth, Nepal would have lacked many things in Nepali modern art to be proud of…" Another tragedy struck when Jeevan Acharya also passed away after a few years.

An artist who was active, powerful and fearless, RN Joshi wanted the Nepali art scene to have bright future. He gave importance to the contribution of artist rather than to awards and felicitations. He felt that the younger generations of artists have to be supported thoughtfully so that they could be guided to the right path. Alas but now there is only his contribution and memory in Nepali art space. (Astu) Rest In Peace.

Introduction and interaction

Ramananda Joshi

- Dhananjaya

 

( Published on Shaniwasarie Parishistanka / Saturday, chaitra 19, 2023 B.S. )

Mr. Joshi is a talented young artist. His talent is confirmed by strong brush strokes, effective color combination and imaginative quality in his subject matter. And all this confirms that he will in days to come surely contribute in the development of the Nepali art.

Mr. Ramananda Joshi was born on the 8th of June 1938 at Patan, Kwalkhu. He completed his metrics in 1956 from Patan school and afterwards he studied I.A. at Patan college for 2 years and also appeared in the exam. However, due to his ill health he did not attend the exam after appearing in 2 subjects. Later he spent some time at Agriculture College at Minbhawan, but this subject did not interest him. In the meantime he received cultural scholarship from his majesty’s government and in 1959 he went to Sir J.J. school of fine arts in Bombay. He successfully completed his diploma in art in 1964. Even before coming into art he as a young boy nurtured an imaginative dream within his heart. He had great respect and pride for Araniko. This happened because he was surrounded by stupas, temples and beautiful Nepali art images that were mostly invented by Araniko. The pride that Nepal has due to the contribution of Araniko established created a great self-respect. But when prominence of Nepali temples and styles that were introduced by Araniko were named in foreign terms, he used to get disheartened. This is why he imagined confronting these myths and bringing the truth into the fore. Therefore, even today he is highly proud of the Nepali ancient art traditions. All this ambitions and desires motivated him to advance forward in art field.

Mr. Joshi’s life as a student of art was very bright. The frequent awards and respect he received in various art competitions prove this fact. He received Miss Dali Kursetji 2nd prize in the annual competition in 1963. Similarly he was facilitated with Kuldeep Sketch award in the year 1959, 1960 and 1961. In 1962 he received best art critic award from sketch club and merit prize in 1963.

Mr. Ramananda Joshi is a painter with modern style. However, the later phase of modern tendency i.e. - the abstract style did not influence him. He does not consider following this style even in the near future. He primarily uses oil color to paint, but while painting landscapes he usually uses water color. Even though his subject matter presents reality, imaginative depth is also found in him. In this context, the image of the painting published in this article titled “stream of life continues in spite of war and famine”, the subject is realistic, but its execution and presentation is imaginatively very strong. Similarly there is a message in the painting “Atom for peace”. In order to prevent chaotic situation due to nuclear weapons, there is only one way and that is the path of Buddha. Such sentiments have been conveyed in this work. The message in these paintings might be faintly important, but due to Mr. Joshi’s cleverness in handling color compositions, he has been able to create much impact through his works. Similarly, matured lines and brush strokes have made his works even more impactful. As examples for this we can take his paintings titled “in the Bazaar” and “conversation”. We can find this quality in most of the paintings by Mr. Joshi and this is the artistic quality that his artworks offer.

Mr. Joshi learnt mural painting (fresco) for three months from Vanasthali Vidhya Pith, Rajsthan.

Recently one of his painting is purchased by Mr. Edg Demgard, the Director of an art gallery in Denmark and president of art and cultural affairs. This proves the excellence of his artworks.

Young artist Mr. Joshi has time and again received encouragements from art lover and national hero His Highness the King Mahendra and His Highness the crown Prince Birendra. As a result the artist got ample opportunity to explore the eastern and western parts of the country and closely observe the lifestyles and depict them on his artworks. Even today study of Nepalese art is one of his favorite subjects.

Upon returning from India after completing his diploma in 1964 A.D. he held his first solo exhibition in Nepal at Nepal-India Cultural Center. Asa matter of fact this was his first introduction as an artist to in the capital and through this exhibition he was successful to attract art lovers and artists of the valley. Afterwards his second solo was successfully held at Nepal Association of Fine Arts, Naxal in the year 1965 A.D. Prior to that in the year 1962 A.D. he held his solo show at Tatwawadhaan Jaipur at Vanasthali Vidya Pith in Rajsthan. He has also participated in group art exhibitions time and again.

Besides travelling within the country, he has also explored various parts of ndia. Through study excurtion organized by Sir J. J. School he went to Mysore (1960 A.D.), Madras (1962 A.D.) and Goa (1963 A.D.). Later he travelled alone to Keral, Madras, Rameshworam, Kanyakumari, Nasik, Puna, Delhi and Jaipur as education tour. Some of the artworks he created during this tour are interesting.

Presently he is assigned for the interior decoration of Soaltee Hotel and he is working hard to bring Nepaliness in his decoration. It is a commendable and a motivating effort by a grand hotel such as Soaltee to give space to Nepali art aspect.

Mr. Joshi is favorite to all, due to his friendly behavior. In 1961 A.D. he was appointed as the joint secretary of Nepali student association in Bombay. Later in 1962 A.D. he was appointed the general secretary of the association.

Mr. Joshi is the active and energetic member of Fine Art Association Committee.

“ Lines more prominent than words in the live depiction of society ” – Shree Byethit

(From our correspondent)

 

( Published on Gorkhapatra / Sunday, Margh 14 - 2021 )

Kathmandu, Margh 13. Today afternoon education supporting minister Mr. Kedar Mann Byethit in a function inaugurated an oil painting exhibition by Mr. Ramananda Joshi At Nepal-India Cultural Center.

In the occasion he mentioned that the depiction of society is more powerful through emotions of art than words. The emotions that are expressed through words can be complicated to understand due to lack of language and knowledge; however, a painting can express them in a simple way. He further expressed that a true art genuinely depicts happiness, satisfaction, and pain and struggle of a society. According to him art should aim for effective qualities of various aspects.

He stated that there is our own style in Nepali painting and we should not only continue ancient art, but we should be innovative with art.

He expressed that an artist’s brush can successfully portray various aspects of the society.

Prior to that Dr. Mohammad Mohsen praised the dedication towards art of Mr. Joshi and mentioned that there can be found a true depiction of life and society in art. He believes that such matters can be achieved from these art exhibitions.

Praising the qualities of oil paintings by Mr. Ramananda Joshi other guest spoke were Mr. Bal Krishna Sama, Mr. Lain Singh Bangdel, Mr. Chandra Mansingh Maskey and others also spoke on the occasion.

Mr Joshi’s painting exhibition

(From our correspondent)

 

( Published on )

Kathmandu, Margh 12. Education support minister Mr. Kedar Mann Byethit will inaugurate an exhibition of oil paintings by new artist Mr. Ramananda Joshi at Nepal India Cultural Center.

24 different modern paintings will be put on displayed in this exhibition. This exhibition will open for the public from the day after tomorrow from 9 A.M. morning till 7 P.M. evening.

Mr. Joshi completed 5 years diploma course in painting from Sir J. J. School of Art, Bombay through a cultural scholarship that the artist received from the Indian government. He has won several awards in various competitions in this subject while he was a student.

His Highness the Crown Prince Views exhibition

( Published on 2021 B.S. Margh 16 Tuesday )

Kathmandu, 15 Margh. His Highness the Crown Prince with keen interest viewed an exhibition of oil paintings today afternoon at Nepal India Cultural Center for half an hour.

Mr. Ramananda Joshi created 24 oil paintings that depicted Nepali life style. The paintings are on exhibition since 13th Margh.

National Paintings Exhibition: A Fun Filled Fair of Pencils & Colors

By: Dhananjaya

Asymmetrical redness at the top in the yellow background-it’s a symbol of the spring, and spring is the eventual symbol of the joy. On top of that, an actress grooming herself and the messenger crow symbolizes the season and depicts the most frivolous time of the life. Not only due to the aesthetics of the art and clear vision of the subject, the beautiful and strong lines of that particular art by Ramananda Joshi can easily draw the attention of any visitor. There’s this picture for comparison, from Lain Singh Bangdel; at the times of dusk, in whole blue background, a fragile man movingly depicts the closing stages of the journey of life. Regarding the artistic prowess, both these paintings have their own characteristics and berths. If we look at both from the specs of modernism, there are enough reasons that the painting by Mr. Joshi will be more popular. The rigorous efforts placed by Mr. Bangdel to give his painting a fine finish couldn’t be seen in the former painting. The graceful way Mr. Joshi has drawn to portray the beautiful hair of the actress with a single flat stroke, it can also be seen that the other free and bold lines have given unabridged life to the painting. Similarly, we can see some other oil paintings, landscapes and other conventional paintings of veteran artist Mr. Tej Bahadur Chitrakaar in one side whereas we can find paintings of Bijaya Thapa, Pramila Giri, Dipak Sinkhada among others in the other.

On the auspicious occasion of birthday of the Crown prince Birendra, NAFA (National Academy of Fine Arts) has organized the First National Arts Exhibition, in which we can see not only the current styles and figures in the country; we can also witness the representation of the two varying generations of artists- old prominent ones and new aspiring ones as well. We can say this feature as the single most inspiring and remarkable achievement of the fair. In the carnival, we can see oil paintings of Tej Bahadur’s “Deshe Maru Jhya”, Balkhuko Jharana”, “Shree Muktinath” and other traditional paintings like “Shree Yantra”, “Devi Guheswori” among others while in the other hand, we can see the young budding artists like Ramananda Joshi, Dipak Sinkhada, Bijaya Thapa, Pramila Giri, Kulman Singh, Gehendra Man Amatya, Shilu Pyari Baral, Uttam Nepali among others. We can view the young artists’ creation in various medium and differing genres like, “Naayika and SandeshBaahak”, “Isnaanarthi”, “Antim Chinha”, “Jodi”, Ek Bridhhako Chitra”, “Gurans”, “Darjeeling ko Chaurasta”, “Ek Gaayak”, “Saundarya ko Antya”, “ SuryaMukhi Ful”, “Suryodaya”, “Pasale”, “Smriti”, “Abhibyakti” among others. If we were to divide the 147 paintings showcased in the exhibition, there were miscellaneous mediums used like oil and water color, tempera, ink and various arts like portraits, landscapes, sketches by pencils and crayon on the silk, cloth, normal paper and Nepali paper as well. Regarding the styles of art, we can find the widely vacillating styles from modern abstract style to Tagore’s Wash and popular landscapes used till the last century as well.

The fair doesn’t lacks in the works that can grab the attention of the viewers; however in the context of critical analysis, we can’t stop acknowledging almost all of the works of Ramananda Joshi as we can see his painting “Naayika and SandeshBaahak (Actress & the Messenger)” has been the torch-bearer of this article. Similarly, his other paintings like “Isnaanarthi (Bathers)” and “Antim Chinha (Last Symbol)” are also significant in terms of subject, color fusion, adjustment, and drawing. In context of subject choice and expression, his bold lines and strokes can be termed as highly successful; in that regards, his three portraits, “Ek Bridhhako Chitra (Portrait of an Old Lady)”, “Maharastri Mahila (Multinational Lady)”, “Mera Guru (My Mentor)” are highly appreciated and outstanding in the exhibition. His “Kaagka Joda (A Pair of Crow)” by tempera can be considered palmy in the context of depiction; in all of his works, we can find the qualities discussed above.

The title “Yatraako Anta (The End of Journey)” by Mr. Bangdel is one of the most flourishing works of the exhibition; the fusion of the illuminating colors and the subject handling are the best aspects of the painting. Afterwards, the works of Dipak Sinkhada are also praiseworthy as well; his works can be considered blossoming in terms of color adjustment and subject matter rendering however we can find deficient depth and feeble lines in his paintings. Regarding fusion, Bijaya Thapa’s “Gurans (Rhododendron)” can be called very good notwithstanding another one “Darjeeling ko Chaurasta (The Four Ways of Darjeeling)” which seems very ineffective lacking enough depth. Since it’s a portrait, there should be sufficient intensity whatever means and style he may use for his work. Kulman Singh’s “Gaayak (The Singer)” is a superb piece in all aspects; in the subject context, the efforts of the singer are vividly portrayed accompanied by the fact that the whole work has been very strong due to the sobriety of the background and color combination. Gehendra Man Amatya’s “Saundarya ko Antya (The End of the Beauty)” can be considered as a marvelous piece too. Likewise, Pramila Giri’s oil painting “SuryaMukhi Ful (Sunflower)” has presented a commendable example of thorough study of the non-living stills; done in the Nepali paper and with very fine strokes, this can be considered as one of the epic paintings. Similarly, another titled “Parbat (The Hills)” which is done in Chinese style (even, Gurans is done in the same pattern) is also very laudable and attractive. Moreover, Shilu Pyari’s “Udhyogko Maarga Maa (In the Path of Work)” and “Utsabko Tayari (Preparation of the Ceremony)”; such types of her works are basically done in Wash mode, barring the poor drawing and subject composition in this title, rest of her works can be termed as highly promising. In the similar fashion, all the paintings of Durga Baral are noteworthy; furthermore, “Yugma (Pair)” by Mr. Uttam Nepali has earned a special recognition among the exhibited paintings.

Commemorating all the paintings at solitude after the exhibition, we can point myriad of things about the styles of art used there. We can say, after deep srutiny that Nepali paintings lack serious dynamism. Today, in artistic context, there are many contemporary and new experiments happening regarding styles and ideologies outside the country, which it seems that our artists are less concerned about. It isn’t the case that we don’t have any paintings inspired from the ultramodern school of thought, however in the lack of maturity in it there’s no point mentioning about it here. From that perspective, Kulman’s “Gaayek”, Uttam’s “Yugma”, Gehendra’s “Saundaryako Antya”, and Deepak’s some works may give a glimmer of hope, nevertheless if we analyze them strictly, even the hope may fade away. Examining the landscape paintings, some modern trends have been already started, and in this context, except Bangdel’s one painting titled “Pandra Numberko Tel”, there are not enough titles worth remarking either. Even Tej Bahadur’s landscape paintings using water color and oil have been already repeatedly used for more than a century. Although Ramananda Joshi’s paintings are satisfactory in other aspects, it seems even his works have not been able to free themselves from the clutches of Bombay School’s thoughts; not only in the style of art, sometimes even in the subject matter as well. In the title “Nepal Pragatiko Baatomaa (Nepal, in the path of Prosperity)” the means used for decorative motive like symbol of paddy in one side and people playing Nagara in the other point to such lapses. Even the subject matter and figures of the title “Naayika and SandeshBaahak” is not the original, either. We can say the same about the works of Shilu Pyaari, too.

The above discussion doesn’t hold the motive that the Nepali artists should be completely free from the foreign influence; it isn’t possible in the era of open world with high amount of churning of ideas. However, it implies that Nepali artists should have their own school of thought; and we couldn’t disagree that our artists should have avant-garde specialties in their arts. Our national persona should be reflected in the works of our artists. If we look at the circumstances till date, there were none whom we could accuse of such lags; and with the inspiration and passion shown by the Crown Prince for arts, our artists have been able to be organized and showcase their works. The establishment of NAFA can be considered as a huge step towards reducing the gulf in the Nepali art sector; even the recently organized exhibition can be deemed a success of the academy, albeit with the short term preparations. Eventually, it turned out to be a fun-filled exhibition of pencils, colors and drawings. It’s claimed that till this date, such grand level of exhibition hadn’t been organized in our land. Even there’s apprehension that the artists from all the zones couldn’t be represented in the exhibition; anyway it should not be made a significant issue since the shortcomings are not meant to repeat in the next time and we can always overcome them in the days ahead.

It is a matter of great hope that with the establishment of NAFA in the country, Nepali art sector will be able to achieve new heights, new inspiration and encouragement. In addition, the academy should be thanked for the successful management of the exhibition. It can also be hoped that with the sound influence and guidance of the Crown Prince, the Founder and President of the academy, Nepali art scene will be able to develop its own personality in the coming days.

Art

( Published on January 27 2013, By Isha Gharti )

A closer look at one of Late Ramananda Joshi’s great works depicts a sense of awe and poignancy encouraged by recklessly progressive mankind.

A buffalo paces with a man and a woman riding on its back with a gloomy background of a brown sky and blue earth. The eyes of the crying buffalo are alert, the male rider ardently stares at the path while the female holds the shoulders of the male for safety. Perhaps in nervousness, the animal swings its tail as it moves forward with heavy living loads on its back. This is a description of “The stream of life in spite of famine and war”, a remarkable and renowned painting by the legendary artist, Late Ramananda Joshi, where he paints about human will which strives for survival even in times of hindrances like war and famine.

The artist belongs to the first generation of modern artists in Nepal and is credited for guiding Nepalese art to a new dimension. An artist, art teacher, social activist and culture and heritage preservationist, he is revered for his unbiased approach in promoting the entire art scene in Nepal. Born in 1938 in Lalitpur to a family of astrologers, right from his childhood, the artist was interested in various cultural and religious motifs depicted in many of his works. Educated at JJ School of Arts, Bombay, he brought back new techniques and skills to Nepalese soil. “He is probably the first artist to initiate a private art class in Nepal which later evolved into The Park Gallery,” shares his son Nabin Joshi, also the caretaker of the legendary Park Gallery in Pulchowk, Lalitpur.

“The mindset of the artist while creating this painting must be the consequence of excessive ambition of human beings towards material reality that has turned the world barren, empty and bleak,” says artist and art writer Saroj Bajracharya who along with Nabin, is researching R.N Joshi’s art work. “However, there is hope; the wind is blowing indicated by the fanning hair of the male and the female, and the brushstrokes also incline towards the direction of the hair,” adds Bajracharya. This is an indication of the artist’s mature understanding of harmony in painting. The content of the painting itself is not beautiful. On the contrary, the ambience is dim and sad. However, there is an element of deep human existence that makes this painting expressively striking, akin to the expressionistic style that evolved in the western art world in the late 19th century concludes Bajracharya.

Joshi accommodated this particular painting in his 1st solo exhibition in Nepal, in Kathmandu’s Indian Library in 1964, which he painted in 1963. He also included this painting in the first National Art Exhibition in 1965 which won him the 2nd prize. The painting is housed at R. N. Joshi Art Museum at Park Gallery, Pulchowk.

The Painter - Artist Rmananda Joshi (1938 - 1988)

The painter-artist Ramananda Joshi (1938 - 1988) with his creative concept "My Land and My People" will be, as his ideas are reflected and expressed in his paintings, ever remembered in the art-history of this country.

From my association with him also I personally found him full of zeal and enthusiasm for the development of paintings. He talked and worked, whereas most of his contemporaries only talked, encouraged the art-lovers and younger-artist by helping them. He was a painter-dashing, amiable, amused with, and so on.

In the early periods of his career, after his return with a diploma in paints, so far as I remember, in the second half of sixties, he painted some paintings under the influence of expressionism, but he never felt the urge of painting in abstract in this country. He was artist Joshi, after the master painter-artist Chandra Man Maskey, started painting landscapes with a concept on the spot, for which he travelled the different hilly-parts of the country by exploring the sites and the locations. He painted the varied aspects- such as cultural and social aspects and daily life of the people. But his concepts and ideas were seen to be changed in his latter art-creations.

On the one hand he himself, in his forties, seriously felt the inner and social necessity of an artist and understood. The social and political pressure that hindered his art-activities, then on the other hand he learnt how the artists were exploited and the art-media were misused.

So he turned to the "Secret values of human Life" and started his paintings with an outlook and novelty, for which he himself realized that his paintings "are based on the very philosophy of Nepalese cult in general, inspired by not only the aesthetic values of the symbols, but also my quest to discover the inner and secret meanings of the symbols." Therefore in his quest to express his "psychic truth" in his oeuvre in general he started his tantric i.e. Occult painting including MANDALA painting which influenced his contemporaries and emerging painters. The Tantra, or the tantric-mediation, helps a man to achieve one's overt-aim, or for deep meditation in understanding the purpose and secrecy of life and the universe. People who came in contact with him and are curious to study Nepalese art-history would definitely remember Joshi as a friend and as an artist.

- Poet, Artist/ Art Writer Prof. Banshi Shrestha

Short comments by Nepali Personalities

I recall a historical moment about Park Gallery, The establishment of the Park Gallery and preparation of enthusiastic students for its continuation by a common Nepali's son was not an easy job when the whole Nepali art field was slacking. It was a revolutionary moment in the field of Nepali art and the credit should be given to Park Gallery than to NAFA (Nepal Association of Fine Art)

Satya Mohan Joshi ( Historian and Cultural Expert),

— This remark was made in 2005, during R N Joshi's 67th birth celebration.

Being his student, I want to put lights on what others haven't yet mentioned. Before establishing Park Gallery, he was involved in teaching art by opening 'Evening Art Class' in Bag Bazzar where he taught paintings, Ratna Kaji Shakya taught Sculpture and Bina Joshi tutored Kathak Dance. In 1963, I went to learn paintings from Chandra Man Maskey, at that time, he aid to me that the right teacher for me would be Rama Nanda Joshi, a little different from us in thought and style. As said by Satya Mohanji, I too believe him to be a revolutionary artist.

Kiran Manandhar, Artist/ Former Chancellor, Nepal Acadmey of Fine Arts.

— This remark was made in 2005, during R N Joshi's 67th birth celebration.

Not only here, no school teaches you landscape. It has to be done by the student himself while on tour. Few time I was with Mr, Joshi on a tour. I had never done a landscape and was mesmerised by seeing Joshi's landscape paintings, he made them very good— whether it was in water color or oil. We both were students of J. J. school in Bombay. He was senior to me. He helped me a lot as senior student and I respect him as Guru. We artists used to come together and discuss about arts in Park Gallery. In real Mr, Joshi inspired youth very much."

Shahi Bikram Shah, Artist

— This remark was made in 2005, during R N Joshi's 67th birth celebration.

"One of the earliest to arrive with a clear conviction of modern thoughts and forms in early sixties was Ramananda Joshi - a graduate from Sir J J School of Art. At this stage, the arrival of Joshi remains significant for various reasons that include his clear vision and his tireless propagation of new thoughts right down through the people's level: and his efforts to sustain or last long. True that few others had arrived earlier than Joshi- individuals for example, with traditional wash style background or with no visible appetite to prop pagate to new thoughts. They proved to be of little consequence in this regard. Therefore, they remained of little interest in our here too. Instead, Joshi stand tall in many of the accounts argued here. His hard struggles to propagate and to sustain the modern forms and styles at such an early stage have come to stay as a legend. His dedicated efforts did inspire many to sow seeds of modern thoughts in art of painting. In 1963, when Joshi unveiled imageries of human pain, sufferings expressed in strong Expressionist rendering, it was absolutely a new and an exotic visual experience to the Nepali Public. One of the compelling works of the period " War or Famine_Life goes on" typically puts Joshi ahead of his time. In addition, his long affiliation with the rural landscapes mostly in water colors is capped by his later efforts to adopt motif from oriental philosophy. It assures his place as one of the leading pioneers in making the history of contemporary modern forms of Nepal."

Art writer/ Artist Madan Chitrakar

Ref: Nepali Art— Issues miscellany, Page No. 98/99, published in 2012.

"From the close observations and studies of Nepalese arts and their creative-arts it can be said that artist-painter R N Joshi born in a Kathmandu valley city called Lalitpur visited as the first artist to different unexplored parts of the country searching new dimensions/horizons for painting landscapes and the local inhabitants. This was definitely courageous and adventurous step and scientific/natural approach to view and study nature and local people. He painted the landscape and the life of ethic people as he saw and found. In this sense, he devoted a part of his career in widening the horizon of Nepalese arts and artists."

Prof. Banshi Shrestha,

Ref: R N Joshi widening the horizon of Nepalese art, Page no 55, Published in 2006

Art prizes and Grant

About the R N Joshi Prize

In 2013, Park Gallery, along with the Joshi family, initiated the R. N. Joshi Prize in tribute to the late Rama Nanda Joshi and his vision for the upliftment of Nepali art. Two prizes were announced, each consisting of a cash award of NRs 20,000 and NRs 10,000 respectively. The first prize was awarded to Buddhi Gurung and D. Ram Palpali for their consistent dedication to watercolour, with the winners each receiving an equal portion of the cash award. Similarly, the second prize went to, and was shared by, Dhoj Bahadur Gurung and Kamal Gurung for their promising work in the one day on-the-spot open air watercololur workshop titled "Return to Nature". However, major restructuring efforts meant that the prizes were put on hold for the year 2014. These efforts included the establishment of an endowment with an initial fund of NRs 100,000 and the revision and expansion of the prizes, and from 2015 on the R. N. Joshi Prize will be awarded in three categories : Art, Research, and Social Contribution/Heritage Preservation

The R N Joshi Art Prize

The R. N. Joshi Prize (Art) was instituted to support and encourage young Nepali artists practicing their craft in Nepal and demonstrating dedication, skill, and promise to explore new directions in the field of visual arts. The winner will be selected each year by an independent jury of distinguished artists and professionals in the field and will receive a cash award of NRs 15,000 along with a solo exhibition at the Park Gallery.

The R N Joshi Research And Fellowship Grant

The R. N. Joshi Research and Fellowship Grant aims to identify, encourage, and support art writers, researchers, and scholars working in modern and contemporary art in Nepal. Park Gallery understands the need for quality research and critical scholarship in the field of visual arts and aims, through this program, to facilitate and foster this community. The winner will receive a grant of NRs 25,000 based on a proposal presented to the adjudicating jury.

Social Contribution / Heritage Conservation Project Grant

The Social Contribution/Heritage Conservation Grant supports artists, writers, activists, and individuals working in the field of heritage preservation in Nepal and welcomes proposals for activities concerned with the same. It aims to generate awareness and facilitate the engagement between activists and the community so as to help put a stop to the steady destruction of heritage sites. The winner will receive a grant of NRs 25,000 based on a proposal presented to the adjudicating jury.

Art Education Events

Books / Publication

News / Reviews

http://www.enasha.com

RN Joshi : The art pioneer

One of Nepal's leading artists, late Rama Nanda Joshi has been credited for ushering in modernization in the Nepali art.

An artiste renowned for his landscape paintings, Joshi also founded Park Gallery, Nepal’s first modern art gallery, which opened in 1968 near Ratna Park in downtown Kathmandu. And the gallery was the venue for the book launch, “Rama Nanda Joshi: Aadhunik Kalama Nepalipan Ko Prarambha Bin.” On the occasion of his 73rd birth anniversary, August 9th, the book penned by artist and art critic

Mukesh Malla was jointly inaugurated by Bairagi Kainla, the Chancellor of Nepal Academy and Kiran Manandhar, Chancellor of Fine Arts Academy. Joshi, who passed away at 48, painted mostly in oils and water colors and delved with acrylics, later part of his life. A graduate from JJ School of Art, Mumbai, he is credited for pioneering and introducing the art of impressionism in watercolor landscape paintings in Nepal.

An avid traveler, his journey took him to various parts of the country and it was through his vision and art that the world got its first glimpse of the country.

Speaking about his experience, the author, Malla shared, “I wrote the book with authentic information from his family itself about the artist that Joshi was. It gives a glimpse into the life of an adventurous painter.”

Divided in four parts, the book presents a remarkable vision of the artist’s journey and his many talents. A collector’s item or a source of inspiration for upcoming artists, the book commemorates the life of an art virtuoso whose contribution still undulates through the Nepali art stratosphere.

Appreciating the effort put in by author Malla, Director of Park Gallery and son of Ramananda Joshi, Navin Joshi said, “Malla has done a commendable job, and the book will help preserve the legacy of an artiste who devoted his life for art.”

July 20, 2010, By Banshi Shrestha

 

http://ecs.com.np

R N Joshi widening the horizon of Nepalese art

Nepal is a land of talented art-ists, among whom Rama Nanda Joshi stands out boldly and whose paintings are admired by both Nepalis and expatriate art aficionados. RN Joshi also founded Park Gallery, Nepal’s first modern art gallery, which opened in 1968 near Ratna Park in downtown Kathmandu. Later, he moved his gallery to Pulchowk (Patan). The gallery is run today by Joshi’s daughters who have enlarged and refurbished it. Recently, Park Gallery was the venue for a retrospective show of the artist’s lifetime of painting. Joshi’s nicely illustrated biography was produced to complement the show and is now available in bookstores.

R.N. Joshi’s life (1938-1988) was all too short for someone of such immense talent. His biographer, Banshi Shrestha (himself a poet, writer, critic and artist), presents a brief but intriguing introduction to Joshi’s life as an artist, teacher and social advocate. It begins with a short overview of Nepal’s art history, followed by sections on Joshi: His Life, His Works and three sets of color plates.

The main period of Joshi’s life and art are presented in both his own words and hand. In Early Paintings (1963-1970), the reader is treated to his experimentations with modernistic art forms, reflecting cubist and other Western art fashions that he later put aside in favor of a more naturalistic style.

The section My Land and My People is illustrated by Joshi’s popular landscapes and figurative paintings. The landscapes include scenes from the towns and villages of Kathmandu Valley.

His figurative paintings are of common Nepalese folk going about their daily business. Each is set against a blank white background that makes them especially compelling. This series has been very popular, especially among expatriates.

The third section of plates depict a number of his more esoteric Tantra Paintings: ‘The Voice of Silence’ 1980. Here we find “Shree Ganesh: “The Lord of Mind”, “The Life Vehicle”, the “Asta Dala Yantra”and others.

Joshi painted mostly in oils and water colors and only very late with acrylics. Like many artists, some of Joshi’s work reflects childhood influences. Rama Nanda Joshi was born into a family of prominent astrologers, horoscopists and palmists. At his birth, his father interpreted the stars and declared that his son would one day become an artist. The boy was raised learning astrology, including the star signs and their meanings. His biographer speculates that his Tantra, Mantra and Yantra paintings, produced late in life, “might have been reflected in his tranquil mind...” since then. They include “religious, cultural [and] psychological aspects of people”. Joshi once said that “arts reflects social-reality, as it is a light, so helps to understand philosophy and spirituality.” He also spoke of “psychic truth” with the realization that through deep meditation one can come to understand the purpose of life and the secrets of the universe. The biographer discusses the significance and meaning of Joshi’s phase of symbolic paintings in considerable and interesting detail.

In 1987/88 Joshi was invited to Japan. There, he executed some exquisite Mandala paintings and other religious motifs in various locations. His work was featured on Japan national television and in newspaper accounts and seminars.

The biography of R.N. Joshi is short, but it presents a remarkably powerful vision of the artist’s life and talents. Art lovers will enjoy reading it and perusing the colorful illustrations. Hopeful young artists will gain inspiration from the life of one of Nepal’s finest modern artists.

From Issue #314 (08 September 2006 - 14 September 2006)

 

http://nepalitimes.com

RN Joshi retrospective

Park Gallery dedicates a new art complex to its founder

Back when Kathmandu had a cosmopolitan caf? culture, Ratna Park was where it was at.

It's all gone now, torn down by Kathmandu's demolition man mayor Keshab Sthapit. But in 1968, near Rani Pokhari was a complex that housed the famous Park Restaurant and next to it was the Park Gallery. People hung out at the caf? and strolled over to admire art.

Conceived of by artist RN Joshi, Park Gallery was not just Nepal's first gallery of modern art but also a school for budding artists. Joshi took his students out into the outskirts to paint nature in the raw. Years later, Joshi shifted to his native Patan and set up his Park Gallery in Jawalakhel.

Joshi died in 1988 at 50. Now, his daughter Nira (pictured) and son Navin have renovated the premises and turned it into a museum of their dad's work as well as a modern gallery to exhibit works by other artists. The complex is being inaugurated on Sunday by Indian ambassador Shiv Shanker Mukherjee and a retrospective of RN Joshi's work will be on display from 11-25 September.

RN Joshi was trained at Bombay's JJ School of Art under an Indian government scholarship. He returned to Nepal and at first shunned modern impressionistic styles, arguing that it would be difficult for Nepalis to understand it.

Unlike other Nepali artists of the time, he became a travelling landscape artist. He took his brushes, colours, and canvas and toured his magnificent country, sitting down to paint wherever the scenery fascinated him.

"My dad was a pioneer in travelling landscape art, he was very spontaneous," says Nira, who is curator of Park Gallery. Even though he only showed his landscapes and water colours in public, few people know that in private RN Joshi also painted impressionistic oil on canvas. Joshi also went through a deeply spiritual phase and used tantric motifs a lot.

'Earth Eclipse' and 'Voice of Silence' are from his spiritual phase. Indeed, it was when he returned from Japan that he started working on his exquisite work, 'Universe' depicting the divine Hindu trinity in a serene and cosmic blue-green backdrop.

Ninety percent of his works were snapped up by expats in the 1980s and are abroad, but the Joshi clan has collected what it can for this retrospective. RN Joshi's wife and five children are all artists.

Reference

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Support project R N Joshi: Currently center is being initiated by Joshi's heir, your generous support will help us further the Center's Initiative to archive, preserve and study to encourage scholarly discourse on Nepali visual culture

Short Nepalese art history

In Praise of Creative Artists

Poet, Artist/ Art Writer Prof. Banshi Shrestha
Ref. "The Creation", (A Souvenir, Sirjana College of Fine Arts, 2006 )

Nineteen fifties were the years of changes, transition and progression everyone was on the cross-road, but very few visualized the difficulties and challenges. The mist of political situation evaporated because of the introduction of democratic-system in the country, so the social and educational fields were open to all though financial-stress was pressing most of the common people and the business market. There were few and limited educational institutions, moreover no art-school/colleges were thee in the country, only one but primary-tape of art school named Juddhakala pathshala i.e. Juddha Art School was functioning without well-trained or high-level manpower. Clever and talented students wished to pursue higher art education. Most of the local- artists were following the traditional grammar, technique, style of making painting the few were exposed to European and modern-art. The art market was limited, so only affluent persons or very few businessmen were personally interested in art business. There were no good art-galleries for exhibitions and encouraging the artists and art-business. Moreover, there was no basic infra-structure of art-education.

New dimensions were open; the country was establishing friendly relations with other countries. His majesty King Mahendra Bir Bikram Shah Dev was bringing country to light; as a result Nepal got the membership of United Nations Organization. This opened the fields of opportunities and areas. The speed of transition and progression was very fast. Social, economical, educational changes were rapid, people were becoming more and more literate and educated, educational development was highly fast still no art-institutions were seen training the interested persons and art-pursuers. On the other side, educated persons were much more aware of the changes and developments inside the country and in the world in late fifties.

Scholarships were offered open heartedly by friendly countries, so chances for higher education were available for talented students, specially in the fields of art-education. The interested and talented got the opportunities to go abroad, particularly to India.

In the late fifties many students dedicated to art went to India and returned in the early sixties. Art movement was already growing, so movement was accelerated after the return of those gone to other countries. A national organization named National Association of Fine Arts was established in which the members of royal family were also involved. Thus, the artists were more enthusiastic for exhibitions, and the wave of creation was rolling high. Now, most of the foreign trained artists were following the western movements such as impressionism, Cubism, Dada and Surrealism Collage, Abstraction and Abstract Expressionism even pop-art to some extent. They were mostly influenced by the major European, some Indian and American artist.

Aspirations on the part of the artists were high but the ground was boggy and shaky. In a way it was the time of expression and experimentation, exhibitions and creation. It was a period of long stride and in some way jump also. Creative and commercial artists jumbled together, matured and novice exhibited in the same rooms, once the exhibited or took part in exhibition their alter egos flew high as that of the mythical character Icarus. Number of artists and art activities increased, but on the other side everything was messed together.

The art-lovers and viewers couldn't accept such a jump easily, debates, appreciations and criticism arose wide, few art-writers tried to explain and bridge together still the situation was loose. The creators argued of their freedom and liberty, choice of subjects and compositions.

Well, they were correct on their own part but the viewers and buyers were not completely prepared and satisfied to accept their arguments and opinions. So they argued that the Nepalese artists were following the style, composition, technique, presentation of foreign artists. They did not get the palatable taste, easily acceptable style, composition and presentation. Above all, they saw the creative and commercial artists in the same exhibitions, found the creative and imitators messed together, so they were in a dilemma to distinguish between the original/genuine paintings and imitative/forgery. On the other side they wished to get nobility, innovation and national milieu in art creations. They sought the representation of their own culture, society and life of people with native-nature. Very few arts –writers follow the grammar, theory and the history of art. Some mixed up the… events and interviews with the explanations and interpretations of the art-works, very little descriptions about compositions and art-works, are given. Art workshops, seminars, discussions are rarely held. Besides all these, there were no standard and regular art-magazines and journals. Since the late sixties, Nepalese art-journey has traveled a time period of three decades. The major-artists have presented their own individual characteristics; the emerging may have their ideas and possibilities. The creative artists have their positions and the commercial artists have their own but both are travelling to different directions with their own purposes and intentions.

Creative and commercial artists have their own poles as the north and south, creative artists have longer life, durable impression, valuable contributions and representative functions due to their nobility and innovation; whereas the commercial have different purposes and intentions because of their committed functions and professional-works. Creative artists do not copy and imitate though they may be influenced, they observe nature and society, and develop their ideas, concepts and compositions. Whereas the role and story of commercial artists are quite different. Creative artists represent their nation through their arts; on the contrary the commercial artists depend on demand, profession and market. They can travel in the same boat, track and level with the creative. Thus, they are the travelers to different destinations with completely different purposes and intentions.

Limitators and forgers are everywhere in the world, art viewers, lovers and buyers have their own acute sense and deep insight/knowledge. Thus, it is a high time for Nepalese art-world and art lovers to set a clear demarcation between creative and commercial arts and artists.

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