Bikash Bhattacharjee’s paintings have a degree of complexity: a sense of isolation so deep that it makes one ponder. What goes on behind those seemingly empty glances? Why is ‘she’ unaffected by her surroundings? What is the significance of that doll carelessly strewn across the canvas? Amongst many other perplexing questions.
‘Pujo’ as the Bengalis call it, historically, was merely considered as a symbol of social elitism during the Mughal and British eras. Gradually, this celebration has become synonymous with the socially inclusive rituals of kola-kuli and sindoor khela. Amidst the conch shell’s ringing, beatings on the Dhaak, sound of firecrackers, the tinkling of bangles and the chiming of the tram bell- Goddess Durga defiantly stands. Mounted on a tiger, clasping the towering trident, heavily ornamented like a warrior princess- Durga is already a resistance to the social construct of a woman. Bikash beautifully takes this imagery one step forward. Through his Durga series, Bhattacharjee gives god-like reverence to ordinary women in each of his paintings. He artistically uses his brush by directing lighter tones to emphasise the holiness of each of his Durgas.
Her sultry kohl-rimmed eyes capture. Her steely glance pierces through. Her curled lips convey resoluteness. Even amongst the bustling crowd, she manages to isolate herself and transfix the onlooker with her panache. The depth of the aqua-cyan strokes mirroring the depth of her character. The texture of her modern sheer garment bearing a responsibility of bringing about a drastic change, possibly one that is far beyond her years. She defies the normative through the absence of vermilion hues and uncovering of her head. She is a proponent of a social feminist movement that is not necessarily an ostentatious revolution but rather a silent resistance reflected through the intentness of her gaze. She will continue to stare, she will continue to persevere. She is a Goddess.
Durga Puja as a tradition has been through monumental undulating changes, so has the status of women and so have Bikash’s paintings. Bengal created a Durga for every period. Bhattacharjee, leaving no poetic device unturned, creates a Durga for every stage of a woman’s life. Further, preceding his Durga series, the artist’s skilful representation of a girl child’s position in the society is marked by the Doll series through the helplessness of the doll strewn across different landscapes- lying in the scorching heat, hanging on a thin clothes line and hiding in a dark corner. The images are revolting.
The irony of Goddesses being celebrated yet girls and women being subjugated is highlighted by Bhattacharjee.
His reverence for women seems to be very deep-rooted. Probably since he lost his father at a tender age. In the contemporary world, he might have been paralysed by the Nirbhaya, Telangana and Hathras incidents.
Today, his work remains as modern and relevant as ever. ‘Darpamoyee’ from the Durga series is the inspiration for the recently sculpted idol of Durga, depicted as a migrant worker carrying a baby in her arms.
In his words, “Durga is at times mother, at times sister, at times wife, at times daughter. Again, sometimes, she is 'she'...'”
More work by the author at this link.