Ramananda Bandyopadhyay

You have been a great admirer of Nandalal Bose. Your work, typical of the Bengal school, is reminiscent of Bose. What influence did the great master have on you?
The treasure of Nandalal Bose’s art has always inspired me. But one instruction of his has remained with me to this day - he (Nandalal Bose) used to say ‘whatever you create or draw, let it be your own, and not like somebody else’s. It is important to have...

You have been a great admirer of Nandalal Bose. Your work, typical of the Bengal school, is reminiscent of Bose. What influence did the great master have on you?
The treasure of Nandalal Bose’s art has always inspired me. But one instruction of his has remained with me to this day - he (Nandalal Bose) used to say ‘whatever you create or draw, let it be your own, and not like somebody else’s. It is important to have one’s own identity. I have always tried to follow this.

You had been associated with the Ramakrishna Mission in Kolkata. Your parents were ardent followers of the religious tenets of the Mission. To what extent the religious tilt has affected you as an artist?
From my childhood I have seen my parents inspired by both Shri Ramakrishna and (Rabindranath) Tagore. My long term relationship with the Ramakrishna Mission has helped me move forward in life, educated me, and taught me that there is much more to see and perceive in life than what is apparent, "The eternal truth". To me religion is light, where there is no space for darkness. Religion is broad with no place for any narrowness. Art is an extension of the same principle.

You are known for depiction of human figures; representing the body in its vigor and athletic grace. Could you please elaborate on your particular stylization of the human form?
Animals and birds move within nature, so do humans. I have always studied human beings in relation to nature. Therefore the human beings in my paintings are depicted in their basic simplicity. I have searched for their warmth in my work, and not made them distant by imposing other thought processes on them. They are an extension of nature. I am their representative in the city. My mission has been to capture the simplicity of the common man, one with nature.

Not many people know that you have also dabbled in other creative activities such as sculpting and writing. What are you favorite subjects or themes for sculpting and writing?
I also create icons, and everyday I write a few lines. The pleasure of sculpture is tremendous, as it is three-dimensional. I can move the creation all around, viewing it from all sides. I enjoy diverting into sculpture at times. Painting, sculpture and writing, all complement each other. I do not find any great difference between writing and sculpture as both come to me spontaneously. Through all the forms and mediums I am always depicting that human being, natural, simple, and spontaneous.

Is it true that the three or four prominent colors used in your paintings owe their allegiance to your mother's habit of chewing pan (betel leaf). Can you let us know about this intriguing color combination?
My mother was the first to introduce me to art. While she cooked I filled up the wall of the verandah with sketches. It was she who let me fill those sketches with color. She created the color from turmeric and paan. These few colors taught me the colors of the rainbow. My birthplace has contributed the colors to my work, the deep red soil of Birbhum, and the yellow green leaves. My work selects colors depending on the subjects and the people in it. The other influence is that of folk festivals, full of color and rhythm.

Your work is a curious blend of traditions and mythology as well as dilemmas of the modern world. How do you try to strike a balance between the two?
Viewers say that there is blend of the past and present in my work. In reality this is the rhythm of existence all over the world. What belongs to the present makes itself felt automatically, there is no reason to force it. The tree, which gives new fruits every year, was planted many years ago, and the roots are deep.

Where do you feel the Bengal School of Art heading? Do you see the tradition being carried forward by the new generation of artists?
In many artists of the new generation, traces of Indian culture are missing. They are forgetting their country in their pursuit for originality. There is no link between their thought and realization. As a result there is lack of individual touch in their work. They are keener on copying the west. They miss out on the truth that a good painting does not age, and it is difficult to find one’s own language when all one is doing is copying. They fail to understand that international does not mean leaving one’s own culture behind.