The Blue Lotus 50 by martin bradley

Lotus 50 The Blue

50th Issue 2021

Shoba ghare jittipunpachara tampattanakul le anh can chrissie westgate sanjoy banerjee chandrima bhattacharyya supapong yuneyong mrinal mandal haziq syawal poonam kishor tuan trinh avijit mukherjee 1

Lot 5 The Blue

tus 50

contents p6

p10

p20

p30

p40

p50

editorial

editor’s comment

sessue hayakawa heart throb martin bradley

shobha ghare

paintings from bhopal

processing phnom penh martin bradley

jittipunpachara tampattanakul paintings from thailand

le anh can

images from vietnam

The Coach House p60 the coach house short story by martin bradley p64

p78

bangladesh photo essay chrissie westgate

sanjoy banerjee

watercolours from bengal

Cover art by Shobha Ghare, 2021

p88

p100

p110

p124

p132

p144

chandrima bhattacharyya

indian insights from santiniketan

supapong yuneyong thai cubism

chalchitra academy

mrinal mandal

haziq syawal

paintings from malaysia

poonam kishor

paintings from india

tuan trinh

lacquer paintings from vietnam

p154 avijit mukherjee

woodcuts from kolkata

p164 great british food diversity

Lotus The Blue

editorial THE BLUE LOTUS 10th ANNIVERSARY YEAR This FREE online Asian arts and culture e-magazine, Blue Lotus, is 10 years old and this is the 50th issue. I founded this magazine, as a solo project way back in 2011, occurring online at Issuu and as a pdf, at a time when Malaysian art had no digital presence. Flip through and read more... This issue comes to you from England, and will continue to feature Asian artists both in Asia and elsewhere. Submissions are encouraged to be sent to martinabradley@gmail.com Take care and stay safe for Covid 19 is still with us.

Martin (Martin A Bradley, Founding Editor) lettersfromthejungle.blogspot.com correspondances-martin.blogspot.com facebook.com/bluelotusartsmagazine

Lotus 50 The Blue

colors of c

school

# 270 Mundull 1 Village, Sway Don Tel: 855 (0) 63965021; Tel: 855 (0) 122

cambodia

l of art

Colors of Cambodia provides free art education for Cambodian children through our gallery and in local schools. We also host various workshops and lectures by local and internationally renowned artists and hold full-scale art exhibitions regularly. The art gallery at Colors of Cambodia features art by our students and teachers. Proceeds from the sale of art works by students, teachers, and our founder go directly to assist students and schools. Advanced art-training classes are offered to children showing special talent. Advanced teaching in drawing and painting is available to assist students in higher education, and to prepare them for a possible career in the arts. One long-term goal of Colors of Cambodia is to be able to offer scholarships to exceptional students.

ngKum Commune, Siem Reap District, Cambodia 214336 - Phany; Email: colors@colorsofcambodia.org

siem reap, cambodia

Sessue Hay heart throb

yakawa

sessue hayakawa with anna may11 wong

sessue hayakawa and fannie ward in ‘the cheat’ (1915)

Sessue Hayakawa heart throb

by Martin Bradley Until recently, I had never heard of Sessue Hayakawa, although I have must have watched him as Colonel Saito in David Lean’s ‘The Bridge on the River Kwai’ (1957) which, in the England of my youth, played on TV screens most Christmases, though I frequently confuse that film with Nagisa Ōshima’s ‘Merry Christmas Mr Lawrence’ (1983).

none of those actors were Asian.

All that was to change for me when that Hong Kong legend, Bruce Lee, came on the Kung Fu film scene during the 1970s. I was quickly to learn that not only did Hong Kong have its own films, but so did China. China’s first film being ‘Dingjun Mountain’ (1905) and Hong Kong’s ‘Zhuangzi Tests His Wife’ in 1913, though there From that youth I only remember Asian is much debate about which really was first characters, not Asian actors. The ‘Chinese’ China, or Hong Kong. detective Charlie Chan was, incidentally, written by the non-Asian Earl Derr Biggers for The Japanese actor Sessue Hayakawa didn’t a series of ‘Mystery' novels. The character of get to play either Charlie Chan or Fu Manchu, Charlie Chan was occasionally played on screen but between 1914–1966 he did act in 80 feature by nine different actors over the years, these films (including ‘The Bridge on the River Kwai’). include George Kuwa (Keichii Kuwahara) in a 1926 serial, Kamiyama Sojin in a 1928 film, E. Kintaro Hayakawa (later known as Sessue, L. Park in a 1929 film, then Warner Oland in 16 and as Kinbo by his friends) was born into a films, 1931-37; Sidney Toler, in 22 films, 1938-47; Japanese samurai family, on the 10th of June 1890. Roland Winters in six films, 1948-52, and none He lived in Nanaura township, Boso Peninsular, of those actors were Chinese, although the early Honshu Island, Japan, with his father Yoichiro actors, George Kuwa and Sōjin Kamiyama, were Hayakawa, the Governor of Chiba Prefecture, Japanese. In 1981, the British actor of Russian his mother Kane and four elder siblings. descent Peter Ustinov (Peter Alexander Freiherr von Ustinov) played the lead in Clive Donner’s As a young man Kintaro Hayakawa was fit and ‘Charlie Chan and the Curse of the Dragon skilled in ‘Kendo’ and ‘Judo’, and longed to be in Queen’. the Japanese navy like his father had been, but mishap and illness prevented that. Hayakawa Then there was the Chinese character Fu felt disgrace (renshi-shin) that he had failed Manchu in some 18 books written by another his warrior family and, to atone, he attempted non-Asian writer, the British Arthur Henry hari-kari (Japanese suicide). Miraculously he Sarsfield Ward, better known as Sax Rohmer. The survived the sword cuts to eventually embark character Fu Manchu continued after Rohmer’s on a journey to San Francisco, America, in 1909, death in 1959, and his total appearances are 25 aged 19. Crossing the United States from the West to date. to the East, then to North, Hayakawa became an undergraduate in the University of Chicago In films, the dastardly evil criminal genius then, in 1913, graduated with a Bachelor of Arts Fu Manchu had been played by Harry degree in Political Science. Agar(1924) Warner Oland (1929 - 1931), Boris Karloff (1932), Lou Marcelle (1939–1940), Henry Intending to return to Japan, for a political Brandon (1940), John Carradine (1952), Glen career, Hayakawa’s attention was soon taken by Gordon (1956), Christopher Lee (1965 - 1969), amateur dramatics in a small Japanese theatre Peter Sellers (1980) and Nicolas Cage (2007), and in Los Angeles, where he was awaiting the boat 14

sessue hayakawa

to return home. After being bitten by the acting bug, he soon changed his name from Kintaro, which he deemed unsuitable for an acting career, to ‘Sessue’, which means snow in Japanese, as he originated from Japan’s main island harbouring the famous snow-capped volcano Mount Fuji. Sessue Hayakawa acted in black and white silent films at the beginning of his film acting career. He was seen by the great film producer Thomas H. Ince in Hayakawa’s own production of the play ‘Typhoon’, (made famous by the great Laurence Irving in the Haymarket, London. 1912), Ince soon persuaded Hayakawa to follow him and starred him in his production of the play with Reginald Barker directing. In that film, Hayakawa was supported by fellow Japanese countrymen and women Tsuru Aoki, Henry Kotani and Thomas Kurihara (1914), the latter two formed part of a Japanese actors support group in the US, until returning to Japan in 1920 to be leaders of cinema there.

‘Typhoon’ and ‘The Cheat’ (directed by Cecil B. DeMille, 1915), helped Hayakawa make a name which was in every way equal to Charlie Chaplin and Douglas Fairbanks. However, in the 1930s, Japan went from being friend of the United States of America to being an enemy. It became harder for Japanese actors to exist in US cinema. During the Second World War, Hayakawa was in France, fighting with the Resistance against the invading German army. He was rediscovered there by Humphrey Bogart's production team and was offered a role in the film ‘Tokyo Joe’ (1949), and later ‘Three Came Home’ (1950). As well as acting, Hayakawa wrote several plays, painted watercolours, performed martial arts, wrote ‘Zen Showed me the Way’ (his autobiography, 1960), and in 1961 became a Zen master as well as a private acting coach.

Other film roles followed, up to and including Hayakawa’s smouldering good looks soon ‘The Bridge on the River Kwai’ in which had the ladies swooning. His career was built, Hyakawa was nominated for ‘best supporting not just on good acting, but on his oriental ‘bad actor’ in the 1958 Academy Awards. boy’ appeal to women. He was undoubtedly a precursor to the matinee idol Rudolf Valentino, Sessue Hayakawa died in 1973. and had quickly became cinema’s hottest property. At the height of his career Hayakawa was reputed to be earning over 2 million dollars a year, the equivalent to 28 million dollars in modern terms. In Kalton C. Lahue’s book ‘Gentlemen to the Rescue’ it’s indicated that… “He [Hayakawa] owned a greystone castle at the corner of Franklin and Argyle in Hollywood (since replaced by a motel), where lavish entertainment in the early twenties was almost continuous—weekly luncheons were held for 150, buffet suppers for 900 with three different orchestras playing, and sit-down dinners hosted for 250 guests. Seven servants ran the place while Sessue and his wife, Tsuru Aoki (also a screen star) worked hard and played hard. Charles Ray with his solid gold doorknobs had nothing on the most cunning Oriental of the screen— Hayakawa owned a gold-plated Pierce-Arrow complete with liveried footman…” A slew of best selling films, including 17

‘the bridge on the river kwai (1957)

no title

Shobha Ghare Shobha Ghare was born in Madhya Pradesh in 1951. In 1968 she completed her drawing course from Royal Drawing Society, London and finished her Higher Secondary in Bhopal. In 1972 she received her Government Diploma in Fine Arts from Sir J. J. School of Arts, Mumbai. In 1973 she received her Government Diploma in Applied Arts from Sir J. J. School of Arts, Mumbai and completed her graphics course including Linocut, Woodcut, Drypoint, Etching, Lithography and Serigraphy from Sir J. J. School of Arts, Mumbai. In 1973 she received her Government Diploma of Art Master from Sir J.J. School Arts, Mumbai. Ghare is inspired by nature, light, colour, movement and space. Being brought up in Bhopal she resonates with the history of Gwalior and Bhopal with their lakes and hills. J. Swaminathan writes about her, “An austere lady in her own life she brings a wealth of detail to her prints. Broad expressionistic strokes are not enough. They are mere gestures, Shobha Ghare instead builds up a filigree of intricate questions and answers, stories and myths..” Ghare received numerous awards including the Kalakaustabh Samman by Kalavart, Ujjain in 2002, the National Award by the Lalit Kala Akademi in 2001, 21

Silver Medal at the Drawing Biennale held in Chandigarh in 1994 and a Gold Medal at Sir J. J. School of Art, Mumbai in 1972. She was also a recipient of the Amrita Shergil Fellowship for creative work in art, a fellowship from the Government of India, Lalit Kala Akademi, New Delhi and Ministry of Culture. Ghare has held various solo and group exhibitions of her work in India and globally. Her work is represented in several public and private collections. Ghare lives and works in Bhopal, Madhya Pradesh.

nature

flying mountain

no title

mela

no title

Processing Phnom Penh by Martin Bradley

sat in that long distance taxi, be-masked Outside those small towns, on that crazy ride at my journey' s beginning, alternatively a to get a Covid-19 Pre-Departure Test (PDT) at the little anxious and a little excited. National Institute of Public Health Government building, thin white cows with short horns I had left behind the keys to my former house, grazed; strange straw mushroom shaped in Kuala Lumpur, in that small room at the haystacks with wooden centre posts seemed to children's charity, in Siem Reap. I also left behind grow as we passed. Then, all of a sudden, Vuthy my young Khmer friends and the beautiful hugs pulled the car over to the side of the road, and from twin sisters Sorphany and Sorphanin. I had onto the red earth verge. He exited the car and clambered into that Toyota Highlander feeling proceeded to urinate in the ditch. A call of nature, sad, knowing that I couldn't stay any longer and nurtured. that I had to start a new life, somewhere. We moved on by small brick kilns fronted by In the mild heat of the Cambodian morning piles of orderly red bricks, saffron clad monks I was driven by Vuthy, through Siem Reap city, with yellow sun-masking umbrellas and white past early morning markets, sellers of bottled Covid face masks, emaciated horses with hair petroleum, Khmer women in pyjamas, on tied in small plumes pulling carts of long wooden bicycles, and men, their sarongs wrapped and planks, and curious tractor-lorries pulling their tied around them, performing their ablutions on loads of coal black charcoal. the pavement. After five hours of alternate green fields and As we travelled, in roadside pools gracious small towns we were suddenly there, driving pink lotus flowers blossomed, while advertising across a bridge of the Tonle Sap river, Phnom signs sprouted up and towered over us Penh, caught up in a traffic jam. The first that displaying Gansberg German Premium beer, we'd encountered all morning. Vuthy pulled the Boostrong energy drink, Anchor and other beers, car up, onto the curb, outside the Government as the driver and I passed and the sun glowed health building. He spoke with a young man shocking orange and brightening. who beckoned me to follow. Follow I did, through gaps between parked cars towards a We slowed through market laden small towns, side street. He then pointed, and I went where he greeted by stacks of locally woven baskets, piles pointed. There were signs, in English,TESTING of green coconuts and swathes of the fresh green THIS WAY, followed by red arrows painted on leaves Khmer people love to eat. a pathway leading into the Government space, and around and in between buildings. 30

Eventually, after emulating Dorothy and following the yellow brick road there was a door. I went inside. There were rows upon rows of empty plastic chairs. I mooched towards the counter and was immediately shooed away. I had inadvertently gone in through the out door. A man motioned for me to go out the way I had come in, and go around the building. Yes, yet another building. I went round. There were no more arrows but, instead, men draped in personal protection gear at an outside desk. I proffered my papers. One (fully personally protected) man pointed to a rope system, like those you see at the airport while waiting to check in. The path twisted hither and thither and was empty, nada, no human traffic, zero. Being the dutiful alien I traverse the path keeping my distance from the non-existent fellow travellers. Around and around I went in that imaginary queue.

to shut my mouth. No offense was given and none taken. A thinner swab (thank God for small mercies) was however rammed into my right nostril. It hurt, and I was surprised that there was no blood. I waited. Then I waited, and after waiting was eventually told to go. I asked if I had to return the next day. I’d done my reading, you see, and understood the procedure. In a round about fashion this date was confirmed. I was to return for my Covid 19 test results the next day, at 5pm.

Lunch beckoned. It was my first time at the New Season Indian Restaurant, with its commanding river vista. I had no expectations, good or bad. I asked and was told that yes they do have Dosa, Masala Dosa. When it came the Dosa was folded neatly into a triangle, and really did look appetizing, as did the chutneys too. But looks can be deceiving, howsomever this wasn't. The Dosa (and it's chutneys) were all that I could have hoped for, bringing back happy memories of my travels in India. And the lassi was good, Worthy of Brian Rix, I eventually walked so good that I drank 3 glasses. That's something back into the building I had just exited, but by I've never done before. I just have to go back… a different door. Then the fun began. Online, and in my haste, (and on my hand phone which Like various Asian cities, Phnom Penh was tends to be too small for both my eyesight and quite the enigma. There were main roads with my plump fingers), I had put my name as it is on copious high value cars sharing space with low my debit card, and not as it is in my passport (i.e. rent tuk tuks which vie with the Indian made in full and not initials). This oversight caused a Bajaj and (Honda made) Scoopy motor scooters. small amount of consternation as I attempted Adverts for the rich, or the wannabe rich, to explain to three different Cambodian peered down, while in back streets Khmer life Government health officials, why I had done so. continued as it has done for millennia. Women Stupidity and blatant disregard for officialdom scooped rice from sacks to sell, others had set out being the answers which sprang immediately to their vegetable or fruit stalls selling dragon fruit, my mind. The scene before me was like watching or durian. Still others sold fresh pork and the chickens when a fox enters their coop. Khmer version of Chinese Lap Cheong sausages, by the side of the road. Finally, and after much explaining, I was asked to pay US$130 and had another piece While waiting to fly back to another life I was of paper added to my growing stack. I was finally on holiday and enjoying Dosa, Dim Sum requested to go back three stages and wait. and Udon noodles in that conflicted city. By then there had developed a massive crowd of two (other victims). I waited in my Kafka 4pm came and went. Vuthy was not evident. dystopian nightmare until I was practically dragged into the presence of two women who In Cambodia you frequently have to add an were dressed in full surgical attire, replete with extra half, or even a whole, hour to your expected plastic shielded faces. I felt a little under dressed time frame. However, trying to be positive, no with my pathetic, flimsy, blue paper mask. amount of waiting is actually wasted. As I sat waiting for my perennially late driver, three A swab was taken in my mouth, then I was hornbills flew past the hotel. I had no idea that told, in good but obviously accented English, hornbills even existed in Cambodia, let alone in 35

a city like Phnom Penh. I'm British and male, one was open, selling filled croissants. In these I noticed many other kinds of 'birds' here, but Covid days Phnom Penh airport 'Departures' never expected hornbills. was closed until 3pm. Five hours of airconless air was already too much, only 1 hour in Vuthy eventually arrived and I returned to and business was as abnormal in Phnom Penh that mildly chaotic testing centre. I followed the airport, and I could actually count the number of arrows again, but this time there was a multitude people there. of humanity not obeying the two metre rule of pandemic safety. On reflection, that morning was interesting. I had taken an early breakfast at 'The Rising Sun There was jostling and pushing with no English Restaurant", and ordered a 'Half English evident queue or system. I was pushed so Breakfast', though I'm not terribly sure if hash that I inadvertently arrived at the front and, browns count as being English. The owner was simultaneously, with hopeful others thrust my half Chinese and half Khmer (she said when I receipt forward. A fully covered individual asked) but not as though that mattered to the looking like someone out of the Quatermass construction of breakfast.. Experiment took my piece of paper, folded it and marked it with the number 2. It is only then that The food was good, and after its consumption I saw the writing on the wall, literally. Numbers and a small chat with the establishment's 1 to 3 were scrawled on the wall. I had number 2 owner, I wandered along the riverside watching on my receipt, and stood before it, or as much as earnest looking men release cages full of small I was able to. birds back into the wild, which is a custom of gaining Buddhist merit (called Fang Sheng). Again my outstretched arm gained attention Those actions were accompanied by a small and I received an official looking A4 paper Khmer orchestra near a Buddhist shrine. I need proclaiming me to be Covid 19 free (for now to research why... anyway). Whoopee, I was free to fly back to Blighty and spend ten days sequestered in one There was an awful lot of admin to do before room. Ah what fun. the flight. Specifically arranging Covid tests after my arrival in the UK and the signing in to the Of course, I really didn't need to worry UK Government Passenger Locator Form. My about my results, for reason alone dictates that poor eyesight and pudgy fingers found those had I been proved positive in the test, there tasks Herculean. Ho hum. However, I persisted would have been a squad of police and medical (with a lot of venting and ejaculating words I've professionals at my door long before I had even not used for a very long time). It must have been thought of going out that day. the effect of returning to the UK and to my roots. But I got through it, well sort of. Before my stress levels were allowed to drop, there was Immigration to endure. It is at that point when things could have gone terribly, terribly, wrong. Would I be dragged off to an overstayers prison ready for eventual deportation, or simply allowed to pass, as I was leaving anyway. Do bear in mind that I had overstayed for thirteen months after all. Phew! It was the latter. But, before that, there were five hours at the airport to consider. Phnom Penh airport is not Siem Reap airport, where all kinds of facilities await the eager traveller inside. No, Phnom Penh airport has facilities, though less, outside too, although only 38

Jittipunpachara Tampattanakul Exhibition : 2019 The 34th PTT Fine Art Contest 2019 2019 The art exhibition "Dharma Racha" 26 April - 26 May 62, Seacon Square, Srinakarin 2019 The Thai Hor Sin Group KMUTT Exhibition (Transparent) Phra Pikanaworn Art Gallery, Faculty of Fine Arts, Maha Sarakham University 2019 Creating art works "Khru Art Generation 10" at the Supreme Artist Hall 2019 Art Exhibition "13 Artists Visit Korat" to help build a hospital And buy medical equipment To Nakhon Ratchasima Hospital 2018 "Sister Mueang Nong" Exhibition at Bantan art gallery, Khon Kaen Province 2018 Art camp Exhibition of the year 2018 by the statesman General Prem Tinsulanonda Foundation at Art mill, Songkhla province. 2018 Honorable Mention Phra That Yaku drawing contest, Kalasin 2017 Best Art Thesis Exhibition 2017, Queen Sirikit Art Gallery, The queen Bangkok 2017 Exhibition of Remembrance of His Majesty's Majesty's benevolence His Majesty King Bhumibol Adulyadej Na Sermthai Complex Maha Sarakham 2015 participated in the 2nd Thai Art Competition

2015, titled Art in Honor of HRH Princess Maha Chakri Sirindhorn. On the occasion of the 5th Anniversary of the 2nd Cycle, 2 April 2015 2007 Attending the King's Birthday Painting Contest in honor of the auspicious occasion of the 80th Birthday Anniversary of Kasikorn Bank on December 5, 2007 2006 9th Art Thesis Exhibition of final year students Visual Arts Program Faculty of Fine Arts Maha Sarakham University at Champasri Art Gallery Champasri Art Gallery Office of Academic Resources Building B Maha Sarakham University 2004 Exhibition of landscape paintings by 2nd year students in Visual Arts Faculty of Fine Arts Maha Sarakham University at Champasri Art Gallery Office of Academic Resources Building B Maha Sarakham University

Le Anh Can

Le Anh Can Born in 1985 in Quang Binh province Vietnam. graduated from Hue Fine Art College in 2008. Le Anh Can is currently living and working in Ho Chi Minh City Vietnam.

2012: Participation at the art Auction of operation smile in HCM. 2013: Solo exhibition " call season" in HCM

2013: Group exhibition ” Life, Colours anh purity” in Singapore 2015: Participation at the ” Art for Heart” EXHIBITIONS 2007: Group exhibition young artist in Ha Noi Charity of Heart Beat Viet Nam in HCMC. – Viet Nam. 2015: Exhibition affordable art fair in Hong 2008: Group exhibition young artist Viet Nam Kong. in Melbourne- Australia 2015: Exhibition “Heritage” in Singapore. 2008: Exhibition project performance art “one 2015 : Exhibition in Intercontinental Danang sun peninsula resort week sneaky” in L’Espace- Ha Noi. Awards 2008 : Top ten of Hochiminh City’s artists was 2016: Exhibition in Montreal Canada. granted sponsor by Australian Consulate in 2017 : Exhibition Le Brothers group in HCM city. Hochiminh City 2010: Group Viet Nam artists exhibition in 2018: Exhibition Le Brothers in Tours France 2018 : Exhibition biennale International in Singapore 2011: Participation at the art Auction of France. operation smile in HCM. 2012: Exhibition “4 season ” at Tu Do gallery HCM.

thanh xuân Sơn mài

thì thầm

dạ Nguyệt

dưới mái hiên nhà

thiếu nữ thưởng trà Cl

dưới cội hoa đào

mai Phương Nam

thiếu nữ thổi sáo

The Coach House A short story by Martin Bradley

hiswick, West London, held particular memories for the now middle-aged Blicton-on-Sea lad, Colin Baker. Those stolen weekends with Uncle Bill and Aunt Ivy in particular. As Colin was growing (in the early 1960s), every now and then his parents, having had enough of parenting, would shove Colin onto a train from the small Essex seaside town of Blicton-on-Sea in the general hope that he might arrive at Liverpool Street Station (London) not too frazzled an hour-and-a-half later.

craft some forty- five years earlier at Blicton School of Art & Design. It was in those scarce remembered days when ‘cut and paste’ was, quite literally, just that). Secondary-school boy Colin, with a decent size chip on his working-class shoulder, could not believe his luck when his social media friend ‘Nushy’ (Indian artist et al aka Nushrratt Bose) had, while staying for a short spell in London, introduced him, virtually, to ‘The London Monthly Repository’ magazine (founded 1806).

Soon after, Colin had been tactfully summoned Generally Colin, who had soon deciphered to The Coach House, Rupert Street, Chiswick the intricacies of Harry Beck’s London Tube (with its captivating Georgian architecture), by Map (at twelve), could navigate his way via the former Public-school boy Roger Percy, architect Circle Line (from Liverpool Street), changing (FRIBA), owner and occasional Chief Editor at Gloucester Road and finish his journey at of the aforementioned prestigious literary Turnham Green Tube station on the District Line. magazine. Ostensibly, it was for Roger to attend It was there that, inevitably, partially bald, lanky the celebration of Mid Summer via a garden and ramrod straight Uncle Bill would greet him party for ‘The London Monthly Repository’ its with a big smile, while Aunt Ivy would be busy friends and supporters. Guess who was Oberon putting the kettle on for ‘a nice cuppa tea’ or and who was Bottom. Actually there is no need three. to guess, that was rhetorical. Uncle Bill was every inch the Scout Master and, with his very distinct view of the rights and wrongs of the world, the role of benign masterat-arms suited him, as did the slightly worried, constant short term memory loss suit Aunt Ivy and her generalised pottering about their quite spacious Chiswick flat. Together they were polar opposites, thus proving Robert Francis Winch’s findings that opposites attract.

Percy had bought the (practically defunct) magazine some twenty years previously, with the misguided intention of returning that magazine to its halcyon days and, no doubt, furthering his own literary aspirations but, due to a vast array of other commitments, the monthly magazine had shortly become an ad hoc publication and then, mostly sporadic.

The experience of The Coach house, its Years later, and at the frequently disobliging occupants and the ghost of gentility was to seventy, Colin fancied himself somewhat of a prove, for Colin at least, intriguing or, at the very magazine designer (having been trained in that least, full of intrigue… 60

“So Colin, it is Colin isn’t it?” Colin mumbled in acquiescence.

bricklayer’s, Nushy continued her matter-of-fact diagnosis of The London Monthly Repository’s casual staff.

“You’ve now met Roger. We go back twenty “Good, excellent in fact. Glad to have you in years, we are very much like brother and sister, the family, so to speak. As you know, I’m Roger. though maybe husband and wife in some ways, Roger Percy of the Northumberland Percys but we do love each other.” and, before that, 13th century France.” Without drawing breath Roger Percy continued “Here at Colin’s heart sank. The London Monthly Repository we’re a small team. We rub along quite nicely in fact. All are “ You know that deep understanding that dedicated to the magazine, our child as it were, people can sometimes achieve, well we have though in reality our great grandfather if you that sort of thing going, difficult to explain really. see what I mean.” Roger gushed on after a little He really is a beautiful man, musically talented, chuckle. you must hear his violin, a wonderful poet and Indophile scholar too as well as his obvious Colin smiled and nodded a lot. talents in architecture.” “So glad that you’re joining us, the last chap Colin was feeling all of two inches tall, and he we, er... I’ll not dwell on that, Nushy can fill you was realising that the one thing a man doesn’t in if you desire. Anyway, we’ll meet later, chat want to hear, is another man being praised to his about your role etcetera. Is that alright?” it was a face by the woman he fancies. rhetorical question “I’m sure it is, Nushy tells me that you’re a decent chap and all that…” “Roger is still virile at this age, hence…. well I’ll get to that. There are alliances and allegiances The multi-talented Nushrratt Bose (known to in this tiny complement that you’ll need to be her intimates as Nushy) was a shapely and petite aware of.” Bengali actress who, though now approaching an age of gravitas and authority, in looks Colin’s interest was piqued but he, overall, reminded Colin very much of the Bollywood still felt crestfallen. actress younger Urmila Matondkar. The protean, and multitalented Nushy had been revealed to “I’ll take you downstairs to meet the lady of be a renowned artist and an accomplished poet the house shortly, but a small word of warning et al, (and someone whom Colin not so secretly Colin, you have to take her as you find her. had a crush on). After a year of chatting on social Seriously, don’t have any expectations and you’ll media, Nushy had finally met Colin at London’s be fine.” Turnham Green Tube station, by the flower stand. And, on the walk to the Rupert Street Colin issued a quite involuntary “Huh!” Coach House, she had begun to prep Colin about the magazine and it’s staff (but mostly about the …………………… staff). Later, downstairs, in the elegantly ‘cottage’ After the one-sided conversation with Roger, kitchen, toward the rear of the house and opening Nushy led Colin up the steep staircase, brushing onto the garden where the celebratory party was past ancestral paintings on the walls, and into the to be held, stood a very pale, shapely platinum compact kitchen at the top of the house, luckily blonde and not unattractively tall elderly this was before lunch otherwise it would have woman. She was fiddling with something Colin been a bit of a crush with Roger’s other team, the couldn’t see. The black of her Chanel ‘little black architect services team microwaving their many dress’ perfectly contrasted with the paleness of and varied luncheons. the woman’s skin. Over tea, which decidedly was not for

“Ekaterina,

this

Colin.”

Announced 61

Nushrratt Bose.

a few horse owners he had met, just to prove that experience is never wasted.

“Who, he? I’ll deal with him later.” She looked, briefly, as if she was studying for Wilde’s Every now and again, Nushy would resurface Lady Bracknell and instantly sizing Colin (Jack with someone in tow. as Earnest) up. The word flounced is inadequate to describe Ekaterina Rostov’s next move after “Colin I’d like you to meet Leia, she’s part of Colin’s blatant dismissal and her quick exit from our family here.” his company, but it will have to do. Leia was tall for a woman. Her ‘Adam’s “So” said Colin, staring in the woman’s wake, apple’ was quite prominent. Not quite knowing “no hello or handshake then, obviously.” the formalities, Colin relaxed when she came in for a hug. “I did warn you” ejected Nushy. “Leia, so nice to see you, are you Chinese?” There was a faint whiff of Lily-of-the-Valley perfume (Dior Diorissimo Eau de Parfum) in “Actually I’m Malay. Leia Osman.” Then the air, and then it was gone, as was the White turning to Nushy “you didn’t tell me he was Russian. such a dish, where have you been hiding him?” …………………… Colin smiled and blushed at one and the same The party to celebrate English Summer, and time. Nushy, also smiling, put a well manicured incidentally the reinvigoration of The London finger to her lips “now that would be telling Monthly Repository, began at 6pm. Ekaterina, dear.” a former ballerina, channeled Isadora Duncan replete with scarf. Colin unkindly hoped that As Leia wandered off. “Hands off she’s not she might reach the same fate as that unfortunate your type, besides she’s spoken for.” Nushy dancer. The spritely Ekaterina was followed by mentioned with a big smile. choreography of a Chinese leaning, as a Gaiaclad Chinese wood nymph twisted and turned “Only admiring, and yes I realised, but who’s on stage to pre-recorded music. But the real to say that I wouldn’t be tempted.” entertainment was in the audience. “I do Colin, she belongs to Roger.” “Roger, I thought he was faithfully married to At the party, which really consisted of those Ekaterina for decades.” present talking about those who were not, Colin “Married, yes, faithful no.” was introduced to a host of individuals whose “Ah. Well, lucky Roger.” names he instantly forgot. Nushy wandered away “She’s only the latest. Earlier, the girl dancing chatting to old friends and acquaintances, never in the green dress, Kaiting Chen, well she”s last letting an opportunity to network escape her. year’s model.” Occasionally Colin, who availed himself of each “What, you mean..” passing glass of wine, caught sight of Nushy’s “Roger cares for them all in his own sweet illustrious Indian turban as she appeared here way. He rescued them.” with a Duchess and there with a Countess, writer “Rescued?” or some other in-crowd luminary and ‘friend’ of “From the hands of their respective pimps my The London Monthly Repository. dear.” “Pimps?” Colin’s eyebrows shot up. “You The party was a grand affair, but in miniature mean they’re…” and, when cornered, Colin talked horses. He “Whores, yes.” dredged up the curry-combing and horse “Okay, prostitutes, really?” Said Colin with mucking-out days of his youth. This he tempered genuine surprise. with what he had internalised from a former “Were, but then nothing’s for certain is it?” lover who had been a hippophile and a racing “Ekaterina too?” fanatic. Indirectly, Colin managed to name-drop “She was his first rescue.” 62

“And does Ekaterina know about the others? “Oh she has her own lovers too.” Colin looked on incredulously. “Ah”. And finally Colin was lost for words.

situation. Colin’s body revealed to him how it felt about Nushy, but it was proving far too difficult for him to bridge that chasm between friendship and, well, whatever.

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Being a successful artist, for Nushy, meant being busy. Her time in London was divided It wasn’t ‘rain stopped play’, but play stopped between painting, cosying up to her collectors, play. It was entertainment of a different sort. advising on the magazine and trying to attend Football Finals dragged the willing and the TV interviews, radio interviews, exhibitions and unwilling away to strategically placed screens lunches with reporters. She had no time for a within The Coach House, allowing guests to private life, much to Colin’s chagrin. peer at twenty-two men (in shorts) chasing a spherical object. That evening, after dining with Nushy in an interesting Eritrean restaurant, each intimately Colin and Nushy exited to The Tabard so eating with their fingers, hands occasionally that Nushy could watch the match in relative touching and eyes flirting, alone Colin dragged peace. Meanwhile Colin watched the watchers his tired body to Liverpool Street Station and and downed a spicy tomato juice which wasn’t found a train waiting. quite a ‘Bloody Mary’ but close enough. Nushy enjoyed her taste of The Black Stuff. On the train back into the wilds of Essex, Colin had an hour and a half to consider his In the pub’s partially secluded nook, sitting in situation. Trying to build a relationship with the wrong place meant that only half a TV screen Nushy would always be like chasing a willowcould be seen. Colin sat in that place, allowing the-wisp, phantom, mirage. Her head was full of Nushy a clearer view of the screen. It wasn’t in her plans, hopes and aspirations and his, full of any sense Colin’s sacrifice. His passion was in her. hating football. Realistically it had to change. Colin was no Seated to one side, or rather partially seated longer a young man of eighteen running after as they were inclined to jump up and down his soul mate. At seventy running was no longer at auspicious moments, sat four young girls an option. While Nushy had a future, Colin only as if chosen by some casting director for their had a past. Colin gazed out of the train window representation of Britain’s ethnicities.There was as the evening countryside lights blurred past. an Indian looking female, a Latino, an Afro- He thought about ships passing in the night. Carribean (with a Union Jack painted in her cheek) and a larger white friend, all engrossed in the game. The night ambled on and, at match end, Colin and Nushy stood outside The Tabard and said their goodbyes. Colin closed for a goodnight kiss, but retracted just in time. He had had his signals crossed, but managed to retrieve a little dignity. Nushy turned, and began her return to her temporary small room at The Coach House. Colin stood watching, wondering if she would turn at any point. She did. He waved, then mooched to his double room next to Turner Green Tube Station. That night Colin lay on the not so uncomfortable double-bed, listening to late night trains, thinking of Nushy. It was a delicate 63

bangladesh by Chrissie Westgate

Chrissie is an international award-winning photographer with many years experience. She specialises in street and informal portraiture, and also enjoys all aspects of this art form. Chrissie is a regular visitor to India and her stunning portraits have become very collectable and are held in many private collections around the world. Chrissie says “A photographic image can expose so many emotions and almost always transcends nations. Images are such a capable and powerful way of exposing situations of conflict and misery throughout the world and offer a compelling means of bringing about change. The essence of being a people photographer is gratitude. I am constantly grateful for the opportunity to see and spend time with people and to make images that allow me to share what 64

I have seen with others. When I am working in a country such as India, I am not just a photographer, I am also a witness. I try to have a balanced view of people and to connect with them as human beings, rather than strangers worthy of my compassion. I look for what we have in common, not for that which makes us distant. I constantly hope that I just might take a picture that will make a difference. I can immerse myself in all genres of photography, and see it as a privilege to be asked to photograph a wedding or take family photographs, knowing they will be treasured and stay with those families forever. Landscape photography, particularly around my home on Mersea Island, can be enthralling. I find it difficult to describe that great 'inside thing' I get from creating an instant image that

reflects how I felt at the moment I chose to press the Gallery, The Royal Albert Hall, The Greenwich shutter. However, if I had to find words, 'Harmony Museum, Liverpool Street Station and many local and 'Delight' would spring to mind. Harmony - for at galleries. the moment of capture I am utterly captivated and absorbed in my subject whatever it might be. Delight All prints ordered from this site will be printed using - as so many things delight me, but encapsulating a Fotospeed papers. https://www.fotospeed.com/ precious moment in time, such as the light dancing on the sea, or the sun setting is such a wonderful High res jpg's are available to purchase for thing to be able to do. commercial use and are £50.00 each, some terms of usage may apply - please contact me I get a great feeling of satisfaction when people on 01206384315 or email chrissie.westgate@ look into my images rather than just at them.” btinternet.com Chrissie's work has been displayed at The Victoria and Albert Museum, The Mall Gallery, The Menier

rice harvesting

preparing supper

river gypsy family

the kite runner

the Fish seller

plastic child

loading the coal

Sanjoy Banerjee

eternal beauty watercolour

valley

Valleys inspire me and nature nurtures me. I grew up in a very beautiful place which is like heaven, situated in the border area of Bengal and Jharkhand. The valley cascades like tides, up and down; with hillocks and hills. The river, stones, and marshy areas almost take an abstract form. The valley changes her beauty with the changes of the seasons. I try to portray nature through the lens of my imagination; when my heart, mind and brain synchronise in perfect harmony. The present style caught the

attention of art critic Sovon Som in the year 2009 and has received positive reviews since then, from several critics. In a review in Desh , Som stated that my works are unlike anything that came before, as they capture the beauty of nature in its abstract form. According to him, my style is the first of its kind in the history of art in Bengal.

habitat

eternal beauty

monsoon

good morning

Chandrima Bhattacharyya Chandrima Bhattacharyya is a visual artist based in Santiniketan, West Bengal. She studied Ceramic design and Art history during her under and post graduate studies in Fine Arts from Kala Bhavana, Santiniketan, from 198287-89. Since 1990, untill now she has mostly been a freelance artist professionally, and has occasionally worked as a museum curator for Kaka A museum, Santiniketan, an art teacher for students of all ages from kindergarten level to undergraduate studies in Srishti School of Art, Design & Technology, Bangalore and Guwahati Govt College of Art. Drawing and painting have remained her primary passions and her profession. She has been invited to participate in more than 60 group and solo shows, and several art workshops, in most of the major cities of India, as well as in London, NY, Munich, Berlin and Kathmandu. She was awarded the Junior and Senior fellowships in Painting by the Ministry of Culture, Govt. of India, and over the years her works have been collected by many private collectors as well as some notable public collections like the National Gallery of Modern Art, Delhi, the Rubin Museum, New York, the Emami Art Foundation collection, Kolkata, Ministry of External Affairs, Govt of India, and the Alkazi Collection, etc.

the great indian mother

for the want of a shoe paradise was lost

rajani

bharatmata - ailing and abandoned

reminiscing

theory of beauty & the beast

goddess indestructible

broken wings and crushed dreams

Supapong Yuneyong Is a Thai artist, about whom not much is known

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figurative arts

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THE LONDON MISCELLANY NUMBER 63 - SUMMER 2021 FIRST FOUNDED 1825

3 ISSUES A YEAR

MONSOON WINTER SPRING SUBSCRIPTIONS UK £16

EUROPE £20/US $40/EUROS 35 REST OF WORLD £25/US $50/EUROS 40

RENEWALS AND ENQUIRES: 32 Addison Grove London W4 1ER Tel: 020 8 400 5882 E-mail: editorial @thelondonmiscellany.co .uk

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he London Miscellany was first founded in 1825 as an irreverent alternative to the established literary magazines of the day. Throughout its various publishing guises, it has maintained that initial character of the witty bystander, commenting with dry humour on the doings of his fellows. The magazine was refounded in 1990 by Christopher Arkell, who has published it ever since. Now reaching its third decade under his guidance, the magazine is looking ever further afield for the poetry, short stories, reviews and commentaries on current affairs which have made literary magazines published in Britain the admiration of the world. Recent contributors to the magazine include: Peter Porter, Ann Stevenson, Irina Ratushinskaya, Boris Akunin, Viktor Pelevin, David Benn and Adam Johnson (the poet who died so young and full of promise - "a modern Keats").

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Chalchitra Academy working to build a bridge between folk and urban artists all over West Bengal and India Mrinal Mandal

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ince 2012 Chalchitra Academy has been working to build a bridge between folk and urban artists all over West Bengal and India while simultaneously searching for the historical roots of the varied forms of traditional art-forms. It has been informing artists, students, and amateurs alike about the archaeological, cultural, and artistic values of lokaja and bhumija artistry through organising successive workshops in Kolkata and other districts. Those have entailed discussions about folk-art, displaying the folk-artists at work, and organising exhibitions. Though the original idea was that of artist Mrinal Mandal’s, the founder & Secretary of Chalchitra Academy, it was only through a collaborative effort amongst friends, artists and scholars alike, that we ventured 5 km outside the Jhargram town into the annals of the Junglemahals. There, in a small village inhabited by people hailing from the Lodha tribe we have started setting up a public and participatory art-project. Erstwhile named as Laalbazar, the famous scholar and writer Shivaji Bandopadhyay gave it the moniker of Khwaabgaon and from thence on Chalchitra Academy has envisioned to include each and every adult and child in that project to create a holistic sociocultural outreach. A picturesque hamlet surrounded by Shal, Mahua, Palash, and steeped in abject poverty, Laalbazar was originally set-up some 70-80 years ago as a farmland for the Malla Ugal Shandadev dynasty of Jhargram. But, owing to the Criminal Tribes Act (passed in 1871 and then extended to cover the erstwhile Bengal Presidency in 1876) and also due to the socio-political denigration and ethno-economic segregation faced in the hands of brahminism, the members of the Lodha community has always faced an inhumanly uphill struggle to make both ends meet and lead respectable lives. This project is thusly an earnest promise to remedy that situation as deeply and permanently as possible. Artists from all backgrounds have stepped in to provide their craft and expertise. The famous artist and Rajya Sabha MP Jogen Chowdhury has even created a logo for this project. Each Saturday we organise free classes on painting, sculpture, quilt work, kutum katam, etc. along with teaching the kids how to meditate. All the walls in the village have been covered up by humongous and mesmerising paintings done by various artists over the course of multiple workshops. With each passing day more and more artists, both traditional and contemporary, from cities, towns, and other villages alike have come to work with

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and for the villagers of Khwaabgaon. Bidhan Biswas, the much acclaimed alpana artist from Krishnanagar had come to Khwaabgaon teach the villagers how to use chalky soil to create intricate designs on red laterite soil upon the chitrapatas and the walls. Through a collaboration between Chalchitra Academy and Lalit Kala Academy, such traditional patachitra painters as Manu Chitrakar, Bahadur Chitrakar, Dukhushyam Chitrakar, and Swarna Chitrakar came from Nayagram to show them how to extract natural pigments and gums from leaves, flowers, tendrils, etc. and how to use those to create geometric and floral patterns on chitrapatas. Jayati Banerjee, the famous designer from Kolkata who is also the co-founder of Chalchitra Academy, has

a student of the Govt. Art College who worked along with the village-kids to paint graffities on another wall. Other than these artists from Shantiniketan, there were artists like Gopal Chandra Naskar and Rajkumar Baidya who painted graffities on the walls of Khwaabgaon. But, perhaps the most mesmerising of the lot was the artist Kaustav Chakraborty from Bolagarh, Hughly, whose brush endowed the walls with subjects varying from figments of rural life to stylised paintings of Tathagata Buddha, spreading a deep vibe of bliss, love, and beautiful wisdom. All these had immensely influenced the village kids who had taken up painting themselves and had covered many a walls with their own blooming artistry. 114

been taking classes to teach various forms of stitching and quilt work. Another designer, Paramita Kar Chowdhury, has taught the villagers the tenets of eco-print by using flowers, leaves, fruits, soil, and rusted metal-parts to create ecofriendly pigments used for creating vivid designs on cotton-based fabric. In an installation art-project named Sanglap Parva 1, three artists, formerly students at Shantiniketan, came to collaborate with the villagers and create art-works using various material and visual elements of the village-life. They were Nitish Kumar, Upama Chakraborty, and Deepanjan Paul. Yet another ex-student from Visvabharati, Babli Paul, later arrived to paint an enormous picture using the walls of a hut as her canvas. Then there was Ankita Sau,

Last winter Laalbazar witnessed a folk-festival titled as Khwaabgaon Parban. Countless artists and enthusiasts arrived to take part in the myriads of workshops dealing with lokaja art-forms, discussions, musical revelry, and a grand feast. Chalchitra Academy attempted at reviving Chhang, an ancient performative art-form of the Lodha tribe, by organising a workshop portraying this rich heritage of dramatic singing and dancing that uses miniature madals and another percussive instrument, named Changu, which is said to be unique to the Lodha community. The last year also saw programmes where Chalchitra Academy planted more than a hundred trees and distributed clothes to the villagers that would suffice for an entire year. Additionally there had been systematic drives at increasing the rate of literacy. 115

This year started off with the international workshop “Sanglap Parva 2: Exploring the margin” where the artists Tracy Lee Stum and Sayak Mitra arrived from the USA. With an active participation of the children of Khwaabgaon and neighbouring Jhargram, Tracy delved into the magical world of 3D painting. For the rest of this year up till the current lockdown was enforced to combat COVID-19, Khwaabgaon saw a steady stream of endless artists, scholars, activists, and enthusiasts who toured across the landscape, marvelled at the artworks, interacted with the villagers, provided their own inputs at socio-economically

summer months of 2021. Dr. Soumen Khamrui, Director of Rajya Charukala Parshat, Govt. of West Bengal visited us and conducted a Batik workshop. The entire village enthusiastically participated learning the process of an age-old resist dye technique from Indonesia. Over 50 brilliant squarish scarves were produced by the Khwaabgaon inhabitants unleashing their creative vision. Similar sessions are planned in 2021 to create some value-added fashion products, that will eventually economically benefit them. Dr. Khamrui also motivated children to pursue their studies and gifted them lovely school bags. The year ended with a fabulous interaction and performance session by Arindam Barman and Somnath Sardar;

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bettering the rural life, and lauded the organisers and village elders with precious words of appreciation and encouragement. Around the end of the year, in December 2020, two capacity building workshops and one Mime workshop were organized. The sand casting workshop conducted by Dr. Soujit Das of GCAC, Kolkata and sculptor Rishin Ketan Shaw, introduced children and young adults of the village in decorative sand tile casting with waste products. The attempt was to introduce ideas of recycling waste into art forms. A large sand-cast mural at site will be undertaken in the

two young members of the famous Jogesh Mime Academy, Kolkata. The children learned about the communicative power of mime performances and with only three days workshop and rehearsal, picked up the basics of the art. Our biggest moment of joy came as the select children of the community performed their first mime play before hundreds of audience at a local event in the CRPF base camp. Their play spoke about the ill effects of technology and how it affects our human relationships. Each year during the Badhna/Sohrai rituals, the walls are coated with fresh layer of paint,

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welcoming the new harvest season. Many of the previous murals were erased during this event to accommodate new images. We at Chalchitra Academy see this process of erasure and creation as part of the larger living tradition. Artist Koustabh Chakraborty and later artist Upama Chakraborty spent few days in the village, creating two new murals. Koustabh’s work portrays the peaceful co-habitation between man and nature whereas Upama captured the snippets of rural life. Year 2021 started off with several positive notes. Chalchitra Academy organized a Shellac Doll workshop with legendary artist Sri Brindaban Chandra, who recently was praised by the Prime Minister for his excellent shellac Ganesha figure. Brindaban Babu taught his art to over 30 participants who joined from different districts of West Bengal along with the children of the village. Swami Bedpurushanandaji Maharaj, secretary of Ramakrishna Mission at Jhargram lifted the spirit of the workshop with his kind presence and words of wisdom. The children also got the chance to transform their clay modelling works into terracotta under the guidance of sculptor Rishin Ketan Shaw. The shellac dolls made during the workshop by the children are finding collectors and connoisseurs in visitors of Khawaabgaon. On the eve of the closing ceremony of the two day workshop, a classical recital: Moonlight Melodies was organized, where Sitar exponent Sri Ashish Majumdar, Violinist Sri Sunanda Kundu and Tabla artist Sri Swapan Shit mesmerized the audience with their jugalbandi. Two more capacity building workshops were conducted recently in February 2021. Designer Jayati Banerjee conducted a four day rigorous workshop with the working women and young girls of the village, teaching them new techniques of embroidery and appliqué art. Several small scale textile items were created to promote handmade products. Educator Mousumi Ghosh conducted a pickle making workshop producing over 50 bottles of different type of pickles with various kind of seasonal vegetables, chillies and local berries. The bottles sold out too quickly creating a huge demand amongst visitors to Khwaabgaon. We are planning to upscale the production soon. Recently a community fund has been created from the proceedings of the sale of various art and lifestyle products that are being created by the villagers. It is managed by the villagers and supervised by the Chalchitra Members. Many villagers are taking interest free loans for their own individual cause and timely replenishing the coffers. This has helped to develop a self-sustained model, which will be nurtured further in the coming days. A dedicated community workshop space is also in the pipeline. Chalchitra Academy’s work at Khwaabgaon, continues to inspire people from all walks of life. Famous Bengali Matinee Idol Anirban Bhattacharya recently took to social media platform to express his views on Khwaabgaon. He has been inspired by the wall paintings of Khawaabgaon and with a team of young local artists from his neighbourhood, transformed his locality into a colourful canvas. The trend continues from 2020 Durga Puja, when a young artist created a themedpandal in Dakshineswar area after Khwaabgaon’s painted houses. Recently in a century old prestigious school at the heart of City of Joy, painted their school premises taking inspiration from our work on the occasion of worshipping the Goddess Saraswati: the goddess of art and literature. Recently as part of our community outreach programme, two new nearby villages, Uranshol and Gangadharpur in Jhargram District has been added to our efforts. Three day weekly programme is presently being conducted where around 60 students 119

between the age group of 10-20 are learning the basics of visual art. The compost making culture of Khawaabgaon also made it to the headlines of a leading Bengali Daily. Chalchitra Academy feels really honoured and privileged by the visit of some important educators, artists and film personalities who recently shared some time with us at Khwaabgaon. Famous cartoonist and illustrator Sri Debashis Deb along with his family spent an entire day teaching the art of caricature to kids. He even supported our cause by drawing on one of the walls in the village with his signature brush strokes. The principal of prestigious Narendrapur Ramakrishna Mission College Swami Sastragyananandaji Maharaj along with his colleagues Swami Brahmeswaranandaji Maharaj, Swami Prabharanandaji Maharaj and Bhai Shrutichaitanya visited Khawaabgaon and praised the efforts of our team. They even collected several driftwood sculptures and other artworks for their newly constructed museum at the college premises. Scientist Dr. Santanu Bhowmik (Professor and Head, School of Engineering, Amrita Vishwa Vidyapeetham, Coimbatore) who has been working closely with DRDO and ISRO among other national agencies visited and encouraged us. Dr. Bhowmik is credited with the invention of light weight bullet proof jackets for Indian Army amongst many other path breaking patents. We had been fortunate to have a productive brain storming session about our future road-map. Possibilities of some collaboration for development of the basic facilities in the village are also in the talks. Dr. Prasun Ghosh, Dr. Mrinal Kanti Saha, Dr. Himanshu Roy, Dr. ANindya Sundar Patra and pharmacist Partha Chakraborty graced us with their presence by organizing the free complete health check up camp at Khwaabgaon. These leading doctors practicing at Jhargram super speciality hospital indulged in thorough check up of all villagers. Minor ailments were treated at site and medicines were distributed, and other critical issues were taken up later at the hospital. The doctors are now in close contact with the villagers, helping them in periodic consultation. They also helped two villagers with surgeries that were done free of cost. During the course of 2019-2021, our work has brought this once neglected village of Lalbazaar (rechristened as Khwaabgaon) into limelight, drawing attention of several local authorities. When we started work at the village, there was not a single proper lavatory that was available for the villagers. The people here have been neglected for their social status, their existence almost forgotten. Our artistic activity at Khwaabgaon brought PWD officials to the village, who has constructed few permanent lavatories in the village. This has helped to curb the problem of open defecation and has set new standards of personal hygiene and sanitation for the dwellers. As this project entails a holistically sustained dialogue between the rural and urban communities working towards a financial up-liftment of the former through the agency of art and craft (essentially a marriage of the folk and the contemporary traditions, i.e. a confluence of the lokayata and the cosmopolita), it might be termed as a public art project. Day and night the villagers are living inside a world of artworks, almost regularly they are 120

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entering into conversations with the visiting artists and activists. Their entire existence is experiencing an artistic rejuvenation, their lives are becoming a invocation for a kaleidoscope of varied art-forms, their economic condition is seeing a steadying tide of betterment. Chalchitra Academy has even encouraged the villagers to cultivate medicinal plants like Tulsi, Basak, Aloevera, etc. as viable cash-crops for the herbal medicinal industry. All in all both the rural and the urban worlds are gaining from each other symbiotically. This is nought but an ever-evolving organic gallery. An open-air diorama of sustained development. Each year the walls of the huts are getting decked up in newer paintings and graffities. Puja, Deep, Kiran, Shubha, Saptika, Priyanka, and all the other kids of the village are experiencing first hand the reincarnation of their quaint hamlet. Their boundless joy and are experiencing first hand the reincarnation of their quaint hamlet. Their boundless joy and active participation is perhaps the only dividend that matters after all. Shashthicharan Ahir, a differently-abled man from the village has been an artistic workhorse in his creation of endless examples 0f Kutum Katam. Tourists from all over West Bengal and India are coming in to purchase this and other examples of artistic items. Durga, Kajol, And other women of the village are getting increasing numbers of orders for exquisite quilt work, goyna-bori and eco printed dresses. Schools from all over West Bengal are organising excursions for the students to come to Khwaabgaon, collaborate with the village children, and experience this magical project of ours. An up and working wall magazine is just a token proof of this wonderful syncresis. Nabin Ahir, the aged chief of the village has been exceptionally supportive of our work and has proudly been witnessing how Chalchitra Academy has been slowly but steadily transforming the entirety of the landscape inside and out. The members chemistry. Sujata Tarafdar, a professor from Jadavpur University, department of physics, has helped to set up a burgeoning library for the kids. Chandana Ghosh, a geography teacher, has bought for them a globe. Whenever she gets the chance, Jayati Banerjee comes to teach Buddhist meditation to the kids and the elders alike. Moreover, students and scholars like Ankita, Rwisin etc. from different universities visit Khwaabgaon at every possible chances they get to teach the children. This enormous project has been undertaken by Chalchitra Academy without any constant help or support from any sources whatsoever, government or private. At few rare occasions we have been fortunate to receive workshop based grant from Lalit Kala Akademi, Ministry of Culture and Rajya Charukala Parshad, Govt. of West Bengal. Our members, collaborators, and a steadying number of enthusiasts have made it possible for this flow of activities to sustain itself seamlessly. Working as mentors, this project is being categorically documented by Soujit Das, a professor of art-history from Kolkata Govt. College of Art &amp; Craft, and Shubhankar Das, a researcher, art-writer, and scholar from Jadavpur University. It is but a cumulative effort of all of them that has made this open-air organic studio-cum- gallery possible. Lastly, with an everlasting pledge to work holistically for the environment and the lokayatik life through art, craft, and sincere dedication, its our heartfelt wish to welcome everybody to Khwaabgaon. Mrinal Mandal, Chalchitra Academy 123

Haziq Syawal G13 Gallery is pleased to present an online exhibition, The Conversation by our local artist, Haziq Syawal. In this exhibition, Haziq presents his recent works that infused with the visual of momentariness of still life and landscape or what he calls the depiction of collective experience from places he goes. Known for his collages techniques, Haziq continues to embark his artistic practice in a new set of rules that focuses on the simplistic two-dimensional framework. Grounded by the foundation of complementary colour theory, these visual realities are painted in a frame-in-frame setting where Haziq explores his understanding of cold-warm contrast colour through the juxtaposition of selected hues in-between frames. It conveys the idea of both separation and unification of the subjects within the canvases. The difference in chroma and value of colour in between the edges evoke a sensation of different narratives of these mementoes; frozen in his timespace. Haziq’s ability to paint realistic images is shown in these beautifully rendered painting along with the contrasting choice of colour that is being separated and split apart through those framing. Creating an environment that is perplexing to the eyes, which raises the query on the non-existence missing pieces that would ‘complete’ this well-executed puzzle. The Conversation by Haziq Syawal runs from 1 to 14 July 2021 at g13gallery.com

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mountain and tulip

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still life - goldfish and banana plants

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still life - snake plant 2

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still life - snake plant 1

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still life - tortoise and banana plants

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Email: info@g13gallery.com Tel: 603 – 7880 0991 Fax: 603 – 7886 5755 130

mountain and cactus

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poonam kishor

Poonam Kishor has been an active and prolific painter for the past 23 years. Credited for coming up with an innovative and affordable alternative for painting on zinc plates, Poonam Kishor developed Broomia Art in 1998. She used bromide papers and exceptional etching technique to reduce the cost of painting. Since she was a class 6 student, her sketches and paintings started appearing on covers and pages of noted magazines and books like Hans, Gyanoday, Sahitya Amrit, Lamhi and many more. She also painted book covers for noted award winning writers like Ravindra Kalia (Zara Si Roshni), Doodhnath Singh (Dharamkshetra , Kurukshetra), Mamta Kalia (Jaanch Abhi Jari Hai, Chutkara, Uska Yauvan) and Ramdhari Singh Dinkar (Rashmirathi). A former assistant professor of fine arts at BBK DAV College for Women, Amritsar, she held special workshops in Pingalwara (Amritsar) for children with mental disabilities, made sketches for a documentary on noted singer of Allahabad Janki Bai’s life. She also painted the works of many famous poets like Bashir Badr, Rahat Indori, Javed Akhtar and Nida Fazli. Among her large body of works is a massive series of 550 canvas paintings on noted poet Harivansh Rai Bachchan’s Madhushala. She also designed a special creative pen for fine sketching on canvas. This single pen can help sketch from 0.1mm to 0.16 mm thinness doing away with the usual need of multiple pens. Poonam won many awards for her works including State Award in 2008 at Regional Lalit Kala UP Exhibition and She also won many scholarships including Young Artist Scholarship from MHRD in 2006 and Lalit Kala Akademi’s Delhi Grant scholarship in 2010. She has held various exhibitions pan-India including many solos.

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Tuan Trinh

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home sweet home

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mơ về anh

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xế chiều

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trong vườn địa đàng

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Trinh Tuan’s lacquer paintings are aesthetically rich and his work evokes curiosity and interest. Whether two figures are joined in an embrace or depicted with their backs against each other, Tuan has a remarkable ability to tell a story about love, loneliness, betrayal or obscure emotions. The artist questions what is real and what is an illusion. His scenes have the power to evoke unworldly beauty while concurrently including bits of reality in their seemingly simple titles such as "My Home", "Thinking of Love" and "Distant Thoughts". There is often an aura that shines behind the heads of his subjects, a mysterious touch that brings light and warmth to his art and perhaps symbolizes hope or resolve. Trinh Tuan is adored by his students and rightfully honored as one of the top lacquer artists in Vietnam. Many of Trinh Tuan’s followers claim that his sense of humor is equally balanced with his sensitivity toward human emotion. Apart from being meticulous and labor-intensive works, Trinh Tuan’s paintings are admired internationally because they are simply beautiful. From Toriizakaart Email info@toriizakaart.com

dấy là tình yêu

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nỗi nhớ mùa thu cũ

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avijit mukherjee woodcuts

forgotten lives 06

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Notions of tragedy, of pathos, of loss, of suffering are frequently present subliminally in my work. Even at my most exuberant and vivacious there is an underlying feeling of mortality. It, therefore, comes as no surprise to me that my response to the devastating crisis faced by migrant workers in India in the wake of the COVID 19 pandemic focuses on the human cost of this disaster rendered with agonising details to attempt to express a deep feeling of pain, sorrow and helplessness at the plight of thousands of my fellow citizens. These woodcuts are filled with heart-rending imagery of desolation and despair to haunt the viewer. The ravaged faces, architectural forms and surreal juxtapose-sitions express the extent to which I have been affected by the disaster and this response is very much that of any man of sensitivity appalled by the suffering he witnessed all around him. A single abandoned slipper sums up the havoc caused by nature and man. It is as though the proud worker who once wore it took it off to bid adieu to a world which will never be the same again. Gaunt, forlorn figures in a sense the living dead - are rendered expressionless by desolation. Ravaged heads surrounded by chains let out silent screams and demand justice. Who hears those screams though? Hands which once toiled in factories now carry meagre belongings to distant homes. Dark, surreal and terrifying, the intention of these woodcuts is to make the viewer confront the plight of these workers, abandoned by one and all, helpless in their own land and the real victims of an incalculable tragedy. This is the stuff of nightmares, of fears. It brings tears to my eyes and a tremor to my hand. This a very bleak series and my intention is to show how the danger which lurks beneath can come to the surface at any moment. Does it ever end? Does anything bring relief? Who ultimately survives and, if so, what are they left with? The triumph of death is the only lesson to be learnt as we abandon those who are in most need of help and succour.

Avijit Mukherjee

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forgotten lives 01

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Great(fooB

Diver

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British od)

rsity

Burger of the Month - The Korean 11 Church St, CO1 1NF Colchester +44 7415 028586

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Bengali Singara (Samosa)

236 King Street, London, W6 ORF. phone +44(0)20 8748 5959 166

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Mexican Quesadilla

2 Coast Rd, West Mersea, Colchester CO5 8QE, +44(0)1206 385820 169

Zula Eritrean and Ethiopian Restaurant

Injera

78 Goldhawk Road, Shepherd’s Bush, London, W12 8HA, +44(0)20 8762 0607 170

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Moroccan Kebab

2 Coast Rd, West Mersea, Colchester CO5 8QE, +44(0)1206 385820 173

martin bradley

Singapore 2012

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Martin Bradley is the author of a collection of poetry - Remembering Whiteness and Other Poems (2012) Bougainvillea Press; a charity travelogue - A Story of Colors of Cambodia, which he also designed (2012) EverDay and Educare; a collection of his writings for various magazines called Buffalo and Breadfruit (2012) Monsoon Books; an art book for the Philippine artist Toro, called Uniquely Toro (2013), which he also designed, also has written a history of pharmacy for Malaysia, The Journey and Beyond (2014). Martin wrote a book about Modern Chinese Art with Chinese artist Luo Qi, Luo Qi and Calligraphyism from the China Academy of Art, Hangzhou, China, and has had his book about Bangladesh artist Farida Zaman For the Love of Country published in Dhaka in December 2019. He is the founder-editor of The Blue Lotus formerly Dusun an e-magazine dedicated to Asian art and writing, founded in 2011.

Malaysia 2012

Bangladesh 2019

hilippines 2013

China 2017

Malaysia 2014

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THE BLUE LOTU

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US CHAP BOOKS

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THE BLUE LOTU

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US BACK ISSUES

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The Blue Lotus 50

Articles inside

processing phnom penh

the coach house

jittipunpachara tampattanakul

chalchitra academy

shobha ghare

sessue hayakawa heart throb