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Bijan Paul



Group Shows 1980-USA,London 1982-Canada 1983-Japan 1984-Bangladesh,Dhaka One Man Shows 1981-Paris 1985-Germany 1986-USA,London 1987-Home Stores(Art Division),Telok Karau,Singapore One man show-India 1982-AIFACS-New Delhi 1984-Tj Art Gallery-Bombay 1986-National Redemption’86 Invited by Govt of India ,ministry of textiles 1987-Academy of fine arts,Calcutta 1988-Jehangir Art Gallery 1994-Crafts Mela 94 invited by dastkari haat samiti 1995-Craft mela 95 dillihaat invited by development comm of handicrafts.govt of india 1996-aniha art gallery -saket ,newdelhi 1996-Gandhi Memorial Hall,Indore 1996-1997-Karnataka chitrakala parishad His portrayal of men and women and their human or environmental situation is full of depth and emotional richness that is rare in the realm of modern world of art. And the most interesting thing is that his characters are from real life, from ordinary middle class which produces feeling full personalities capable of bearing both pain and pleasure alike yet not abandoning its class character. That is why it is full of dreams, hopes and aspirations those lower down the ladder would not have. Needless to say, Bijan Paul’s canvases breathe of life. The strong line in these works provide strength to both the characters as well as the figuration. Indeed, it is difficult to imagine Bijan Paul canvas without the strength of his line that is both the fort and fetters of his strong imagery. Color seems to secondary to his works though it is what creates the atmosphere his men and women live in and the sun and the moon and the stars prefer to band in above. His configurations are sometimes linear (geometrical) and some times lyrical, depending on the theme or the subject he is handling. But they are sensitive all the same. And this is a quality which ought to be lost site of. There is of course no uncertainty about his line and therefore no fudging and his attempt to use full vibrancy of his color results in strong visual impact. But all this comes from the humanism and sensitivity of the artist to the human situation. The emotional investment on the part of the artist in his creations is a factor to be reckoned with. And nothing in art could be achieved without such personal investment by the artist famed or otherwise. However, there is a tendency to stick to an academic approach to art, in that the expression is contained within certain parameter and not exaggerated unduly. So everything is controlled up to a point in Bijan Paul’s work. That is why there is no loose ends and no negative spaces in his works whether it is portrait or an interior setting with a female with in it. The character and the themes may vary, but not the sensitive approach to image-creating which is the life and lure of artist’s canvas. Very often it is the division of the his picture-space that achieves dramatic results. And there is the allotment of color areas which in certain case may approximate the flat color areas of Mughal or Rajasthan miniatures. Blues, reds, yellows or glaring white might strike one as feit accompile. But then these are there to support and strengthen an already strong image. And there is an element of design which engage the critical eye most . This design is of course not pre-determined. Bijan creates it as he proceeds with his imagery, certain things come to mind and the structure emerges of its own accord. Bijan also deals in powerful symbolism. Trees, plants, moon, flowers and flower vases, birds and huts and animal on the rural scene. All these are appropriately represented and meaningfully add to the central image (and of course to the message the work gives.) However, it may be noticed that such symbolism as Bijon is never overbearing. It is just additive of a supporting nature and that is the beauty of it. It is also interesting to note that Bijan Paul retains a folkish touch in most of his works like the vertan Jamini Roy and makes the depicted characters a real life phenomenon. These men and women and situations they are in are not the product of the artist’s mind but have come from the very lively fabric of life on which the artist has condensed his creative vision and produced an imagery that is full of life and vigour. No matter what the mood or the situation. This at times makes the viewer nostalgic (if he is from rural back ground). But that is a healthy dimension of Bijan Paul’s work. For he is certainly not the artist of Bizarre and cold urban scene (and probably would not like to be). He is close to a cultured millied and keeps close to it.

Bijan Paul

    • Lives and Works :
    • New Delhi
    • Education :
    • Self Taught


Artist Statement

His portrayal of men and women and their human or environmental situation is full of depth and emotional richness that is rare in the realm of modern world of art. And the most interesting thing is that his characters are from real life, from ordinary middle class which produces feeling full personalities capable of bearing both pain and pleasure alike yet not abandoning its class character. That is why it is full of dreams, hopes and aspirations those lower down the ladder would not have. Ne
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Artist Biography

Group Shows 1980-USA,London 1982-Canada 1983-Japan 1984-Bangladesh,Dhaka One Man Shows 1981-Paris 1985-Germany 1986-USA,London 1987-Home Stores(Art Division),Telok Karau,Singapore One man show-India 1982-AIFACS-New Delhi 1984-Tj Art Gallery-Bombay 1986-National Redemption’86 Invited by Govt of India ,ministry of textiles 1987-Academy of fine arts,Calcutta 1988-Jehangir Art Gallery 1994-Crafts Mela 94 invited by dastkari haat samiti 1995-Craft mela 95 dillihaat invited by development comm o
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  • Untitled I

  • untitled II

  • Untitled III

  • Untitled IV

  • Untitled V

  • Untitled VI

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