Hi,
I am Anamitro Biswas. This website showcases some of my paintings. The style I follow is derived from Bengal Renaissance School.
You can find some other irrelevant details about myself in this other website.
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The newest upload: Bhagīratha, the ancient prince who was an irrigation engineer
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Find my paintings on this website, based on specific genres (Click here)
Genres:
On plays. As plays can be enacted on a stage setting, so can the perfect stage chemistry be captured with expressions, costumes and lighting. Plus, the one mute frame should convey the abstract of a setting that’s essentially dependent on dialogues.
History. History and politics are interrelated, and once in a while I like to set out on tours, like the chronicler Kālakūṭa, in some of those far-away times.
The Mahabharata. It never ends, it began nowhere. It’s your story and mine, it’s a mine of acts and emotions, of virtue and abomination. An epic relevant to all eras and all cultures.
Ramyakapardinī. The depiction of feminity since the days of Indus Valley, in a land where the odes to the Goddess can very well be confused with love poems, such as this one by Ācārya Śañkara:
ali-kula-sañkula kuvalaya-maṇḍala mauli-milād-vakulālikulē...
(translates as: vakul flowers ornament her hairbun like bees buzzing around a blue lotus)
Themes derived from European literature. These are mostly from my high school days. I had read all extant plays of Euripides before any of Kālidāsa. But, really, in them, especially Greek plays and English perception of them, I found a treasure I can hardly exhaust as themes of my paintings and further work.
Paintings in series (Click here)
SERIES:
The Many Faces of Sita. The epilogue Adbhuta Rāmāyaṇa, attributed to Vālmīki, is an assimilation or glacial source for the Gītā (conversations between God and Man) and Śākta (the devotee’s odes to the Mother Goddess) cults. While the first discourse between Rāma and Hanumāna bears resemblance to the divine revelations of the Bhagavadgītā and other discourse texts, the ending shifts in an elegant way in Rāma’s ode to Sītā fitting the framework of Śākta literature. I tried to visualize and deify some of those attributes Rāma saw hidden in his consort. This series is far from complete; I have barely inked one frame and sketched two or three others, as of now.
“Frailty thy name...” Two frames: (1) Bhīṣṃa and Paraśurāma decide to duel over the debate whether the latter should marry; (2) Ambā understands in the end that the duel on her pretext was just a sport for the two warriors, former teacher and student. She understands that Paraśurāma’s defeat, while devastating her life, had actually made the overpowered teacher happy. She, indeed, didn’t matter in the whole scenario: that’s worse than the shackles of a patriarchal society. Mahābhārata Udyōgaparva Chapter 177 (Just sketched now.)
The Mother Goddess and The Ten Great Muses. The way Bougereau or Alphonse Mucha’s themes blossomed through petals of human persona; however, these themes are more spiritual: each form of the Goddess has multiple philosophical attributes. What’s common is the manifestation of these divine feminine qualities in a most humane way; whereby the deity and the daughter are not much different for the Indian society. The sketches had been planned from traditional iconography of Navadurgā and Daśamahāvidyā, with interepretation that I tried to convey.
Some painters whose works have helped me learn (for those who are interested in the craft, you may click here to learn more):
Abanindranath Tagore
The monks and artisans of Ajanta
Kshitindranath Majumdar
Tibetan thangka scrolls and temple murals
Alphonse Mucha
Nandalal Bose
[Mongolian iconography]
Itsushika Hokusai
Hergé
Albert Uderzo
Painting is not a detached art form. Hence, other artists whose works I particularly like and have learnt from:
Saradindu Bandyopadhyay (novelist, playwright, screeplaywright)
Buddhadeb Basu (essayist, playwright)
Chandraprakash Dwivedi (scriptwriter, film-director)
Bhāsa (playwright)
About the site's functioning:
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