Everywhere in the world art had a close nexus with society, it is simply impossible to segregate art from the issues that affect life. The drawings of Lakshaman Prasad outspokenly cite the inside story of exploitation of women. The growing subjugation in our gender biased society, here the empowerment of women leads also to disgrace the women herself and the artist is clear-sightedly bestowed onto the viewer to perceive the latent intolerance growing in the social milieu. From the primitive and ancient times the disservice by psycho-maniacs and lust driven male made this world worst. Through the ages each generations of girls are combating lecherous people and we have come a long way after the proscription of “Sati”. The tradition and social norms are there only to disedge the consciousness.

Though it is difficult to believe that there can be any man so spiritually dead as to have no respect for the mother community but without being sentimental or judgmental Lakshaman Prasad has tried to invoke a spontaneous dialogue with the spectator with his own conscience. The incident of Nirbhaya and many more like her were the source of inspiration for the artist, to stand with them in consolidation through his humble offering to those combating spirit.

Lakshaman Prasad had his initial moorings in Kopaganj, Mau, U.P. An alumni of Banaras Hindu University Lakshaman got many prestigious awards in his creative sojourn. At present he is serving as an Assistant Professor in IGNOU. A fresh perspective can be seen in his recent works, with a new insight the artist had tried to evaluate the root cause, and significantly, in some of his paintings he had been able to capture the very phenomenon of lust and libidinal urge. Representations in black added a sense of agony and dilemma. Black as the absence of colour symbolizes sorrow and death while white is inclusive of all seven colours stands for purity, spirituality, and integrity but propensity of both black and white got heightened when he used it with neutral grey. The charcoal drawings depicted different layers of mood; layered by numerous tints of black, leaving breathing white space for glare. The artist used the plastic space to stretch as well as to circumscribe.

A shift to Post modernism brought the feminist reaction to the archetype social culture. The archetype tradition elsewhere leads women to get succumb to the trauma and for obvious reasons everywhere in the world the female populace feel an urge to emancipate. But the male counter-part was only to explore the woman’s world through fantasy, ecstasy, dreams and induced trances. It is not new, art had always vociferously revolted against the norms involving social taboo, sexuality and the position of women in society. The alluring assumption of love, dignity, recognition woos women towards getting involved but gradually the things evolved differently. These dark-scapes of social reality originated from human subconscious rendered by Lakshaman Prasad has its relevance in present and future.  Lakshamana Prasad had no inclination to the feminist approach rather his drawings are basically a contemplation, observation and introspection of a thinking soul.  He is witty enough not to go to the way of blaming but the sensitivity based on reasoning led him to evaluate all the aspects. Through these charcoal drawings he had succinctly delivered almost everything about the substructure of human lust allegorically.  The fallacy of erratic men that had been engendering the havoc of discrimination on women plays the central theme in his paintings. The approach of this artist corroborating his conviction on this particular theme is indeed subtle with inherent symbolism.

The elastic beauty comes with a sense of cognized coherence of forms.The artist had used the tints of grey with black and white to conspicuously convey the eluctable fate of the female fraternity. The interlaced equivocal figures in his drawings elaborate the enigma with delightful design. Aesthetically, spiritually and socially artist had conveyed so much in one statement.



Reflections of Folk Elements in Contemporary Indian Art

“If a sparrow comes before my window, I take part in its existence and pick about the gravel.”

                                                                                                         John Keats

Only Artist has the singular ability to draw the outer object into his/her own being—to sense its qualities and to feel one with it. It is also a proof of the spiritual entity living in us. Through Art, artists not only disclose and express their mood but also transcend their personal feelings. This changing world with its changeless laws is beautiful and mysterious. This mysterious beauty is the epi-centre of spiritual energy. Artists are uniquely devised to transunite the beauty of nature and the striving of soul. Beauty is a quality of trees or colours for a superficial being; actually it is a manifestation of spiritual anxiety. 

Paintings basically reveal the inner aesthetics of truth. It may rightly be said that truth is the inference drawn from disciplined and analyzed experience. Art is the experience with the discipline of form; it emanated from experience as well as submerged in experience. There is no truth outside intellectual construction. The forms those are intellectually constructed in painting are made beautiful by the emotional reaction to it.

Experiences may be same in totality but its impact varies from person to person; depending on the individual’s sensitivity. The conditions under which one live is the result of one’s state of consciousness that he or she belongs to. Seeking to change the conditions without changing consciousness is, in vain. Men strive for going closer to the almighty, from time immemorial; from incomplete to complete state; this journey will be going ever. 

Faith nurtures hope, hope gives strength, and strength develops spirituality. As spiritual being we are in search of our true identity. The true identity is that, which is not imposed or told to us: true identity is the realization of the substance of which we are made of: the experience is such a thing that we cannot leave behind and this realization is beyond sensory. Identity investigation is in itself a dialogue with the self and many artists attempted in this realm. But most of them lost path in socio-politico consciousness. The boarders create the boundaries. Artist may or may not conscious about his knack towards spirituality but always walk in the path of expressing the core contents of life that is imagination, illusion, experience, reality, humanity and spirituality. Artists as a spiritual and universal being, found themselves as a misfit thus transgress into visual world to balance.

Artist or a lay man both adapts in order to harmonize with the worldly norms which are instrumental to convert them as an archetype social being. With an inherent sense of duty the soul strive for perfection and excellence. After experiencing the disillusionment one fathom-ably try to connect to the serious and profound: to the inner self. And self realization asserts spirituality. Some people are of the view that spirituality, wisdom, morality are to practice in the last phase of life that is in old age. But spirituality is not about ageing rather it is all about experiencing and seeing life in particularly appropriate perspective.  

There are innumerable aspects of spirituality. It is therefore difficult to segregate spiritualism in sub-themes. Birth, Copulation, death, soul, spirit, universality, consciousness, conscience, perfection, excellence, ethics, morality, spirituality, is all encompassing life as a whole. Here it must be acknowledged that religion and spiritual practice are though complementary to each other but more often they stood against one another. Spirituality compared to Religion is a far broader concept.



Flowers of steel,

Lotus in stone,

Petals of metal  bloomed –

The steel edges cut eyes,

The softness of stone hurt egoes.

Volcano erupts

While thrusting the metal cores,

Magma , lava entwined with stone

All liquid-

whirlpool of flowing metal,

Melts in core to take shapes of flower.

The earth surrounds with numerous flowers,

Unravelling colours dots the ground,

The divide , the contrast

Comes along with the civilization

When dichotomy of metal and nature

Narrate the intolerance for ephemeral

Now the aesthetical metal flowers

Dominate nature……….

“It’s a matter of existence, art aims at the political as the ultimate means of emancipation”. Socially conscious characteristic of artist had entered in the Indian scenario in 1905 and made their presence felt in the contemporary art field from 1940s. The Calcutta Group and the Progressive Artists’ Group’s significant shifts not only in themes but also in their representations chiselled out a historic moment in the contemporary art scenario. The artists of Calcutta Group responded to the corresponding apparently the harshness of life.

The communal riots following devastating Bengal Famine made the artist felt the necessity to express primarily the reality-social and political. Through the emergence of Calcutta Group, a different mode of artistic expression can be noticed, that followed the transformation of artist’s internality. Evolving new narratives they voiced the time but refused to work within any defied parameters or to serve any particular political interest. It was for them, initially a social mission also that gradually after the post-independence to the more relevant artistic cause to search new visual idioms. A few outside Calcutta Group had political involvement with communist party that negotiation brought them instant recognition as their works were regularly published in the newspapers “Janayudh” People’s war “Publicized by communist party.

Inclusion and reception of the modern idiom in the 40s represent the articulation of large struggle. The connections among the works of the artist’s of the transitional phase of 40s to wide 50s can be seen in the light of pre Independence and post independence political concerns re- understanding of the art is not different for Calcutta Group and we find they were neither can be linked with nationalism directly through the stylization of art nor to the colonial concept of academicism. They distinguished their art from the trade mark of Indian identification in fact they were advance in finding and creating new conceptions of Indian  identity well ahead from their time form 1930s. Calcutta Group’s works from 1940s demonstrate the deconstructing vision of Nationalism, affecting the visual Calcutta in the 40s. Making grounds for western concepts and experimentative excursions in art to come to this subcontinent. Sovereignty of India from 1947 is a point from which a shift can be noticed in larger scenario later all the three groups Bombay Progressive Artists Group, Delhi Shilpi Chakra, and Calcutta Group, with their genuine efforts succeeded to carve a niche’ of Indian contemporary art also creating a new authentic relation with the world.  The intermingling, understanding, exchanging, enhancing and affecting of each other’s perception led to a forceful movement. Formed in 1943 but most of the artist of Calcutta Group were constantly engaged from the early stage of their career though the inheritance of colonialism was not so prominent in the works they created often before 1942 except a few.

It’s interesting to find what the key behind their thinking is. What made them think ahead of their time? Kolkata was the hub of all cultural activities; the eminent artists were doing their best to spread their consciousness through events and training. Their disciples, artists of Calcutta Group understood and acknowledged the situation of colonial India. Through constant questioning and negotiating with both colonial and nationalist rhetoric, they evolved their new narrative idiom connecting world art movements, bringing insightful global modernity. Calcutta Group’s works were pioneering opus created by understanding of the three manifold aspects – Indian art, universal art, and presumptively western art. They sought to change in modernism’s pursuit. Calcutta Group should be seen and evaluated as first step of the emergence of self conscious Indian Modernism.

Now it is proved that the Famine of 1943 was fabricated by the ruler community. Bengal famine marked the contretemps in the history of mankind,.  Geoffrey Moorhouse had given evidences to prove, it was the negligence of natives, who were in the Calcutta municipal corporation. However, discursively their share of inhumanity did not lessen, particularly when, they reserved their authoritative power as superior race. The harm inflicted was disconsolate. It dismantled the superficial role played by the British Government. It is indeed marked in these stark piece of verse published in Desh, the most widely read Bengali periodical titled, “Song of the Meek, Tred, 8 Introverted” (Niriha, Klanta Marmanwesider Can) in May 1943, written by Jibananando Das (1899-1954).

We want nothing in particular now,

Our dark light has brought much that is trifling,

Undistinguished we have spent many days like this Yet with to spend many more this very same way.

In bite autumn and amazing pithy pulp coalesces in back waters?

In water chestnuts, in rice gruel;

Or perhaps, nothing coalesces at all to fruition.

An elder brother though ailing,

Yet scolds his sister in law on sight;

With eyes open, with eyes closed

We have seen many times such sickly famine.

And when it grew much colder that evening,

We finally went hot such an autumn silence inside,

Come once again-Far as the stars in the sky reveals meekly,

Just so separation, death fear sin around like gears of some machine,

All of us – every one of us-

Unjust such a silence,



I know every details of my life as well as my own loved ones’s lives also. All works of all of us are not justifiable in one aspect, there are other aspects also in which those are fully justified because the main cause is struggle for existence. For that reason everyone does according to one’s own choice, capacity, necessity, circumstantial need and so many such things. So no use of writing any biography narrative, comparative, assertive humanist work or project.  To establish a real characteristic of a worthy person merely for it is counted as a moral duty to write an autobiography of a great men. It is to worship those who must be identified and acknowledged so as they may not fall into the pit of oblivion.

To act or not act, it is a classic dilemma. It is only honest conscientious people who agonize over such perplexing situations. As for selfish unscrupulous men, they are guided and motivated only by their own desires and narrow interests.  And Kurikshetra is the plane of action- the battle here is not a fight between armies, but a war within soul. The chariot symbolizes the body in which the min (Arjuna) is seated, along with Krishnais the the ‘Atman’ Self.The horses represent the five senses that we need to rein in.All of us must fght the good fight, for the just cause.