Seeking Sacred Beauty: The devotional art of Malay Bala
Seeking Sacred Beauty invites viewers into a meditative world where water, colour, and spirit merge in quiet harmony
Devotion and delicacy were the first things that came to my mind after entering the hallway of Malay Bala's exhibition. There was an immediate sense of calm, as though the soft tones of colour themselves had agreed not to speak too loudly, and the gentle strokes of the brush could quieten the noise of one's thoughts.
'Seeking Sacred Beauty: The Devotional Art of Malay Bala' is being held at the La Galerie of Alliance Française de Dhaka, Dhanmondi. Having opened on 18th October, the exhibition will continue till the 28th.
It marks the third solo exhibition of artist and Charukala Professor Malay Bala, featuring eighty traditional Bangali paintings across the narrative themes of Shakuntala, Dharma (Religion), Pobitro Nari(Sacred Women), and Prakriti (Sacred Nature).
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The 11- day exhibition was inaugurated by photographer Nasir Ali Mamun, artist Samar Majumdar, and writer Sharifa Akhter, and it was dedicated to the eminent wood sculptor, freedom fighter and Ekushey Padak recipient Ferdousi Priyabhashini. "It was a brave decision to dedicate it to Priyabhashini, especially at a time when our history of liberation is being questioned," said a visitor.
One of the most engaging features of Bala's work lies in his careful handling of colour and detail. Using Bangali watercolour, gouache, tempera, and Abanindranath Tagore's wash technique, Bala creates compositions that seem to live in their own quiet rhythm. His devotion to indigenous Bangali Art principles, content, styles and natural materials, aligns deeply with Ananda Coomaraswamy's sacred art ideals and Rabindranath Tagore's 'swadeshi spirit'.
Speaking about his practice, the artist Malay Bala shared, "It is a special technique of water colour called the wash technique developed by Abanindranath Tagore combining various forms and methods of art practice. Nowadays, very few people use it since it requires a lot of patience and devotion. To me, it's like a form of meditation and prayer."
About his famous series of paintings, Shakuntala, he said, "I have been amazed by the story of Shakuntala by Kalidas since my days of being a student. That's been one of my biggest inspirations to paint this Shakuntala series."
And perhaps just like Shakuntala being a divine creation of earthly sage Vishvamitra and celestial apsara Menaka, Bala's art traverses the space between the mortal and the divine, portraying sacred femininity, Buddha, Krishna, and other manifestations of celestial creation.
Water colour as a medium often resists control, too much water, and it runs away; too little, and it stiffens. It already provides a soft, delicate, and transparent vibe, perfect for ethereal looks and subtle details, so when it has been used by such devoted hands it went to another level of spirituality.
About his technique the artist said, "Here I have mainly used the wash technique, but even among these, I've used different forms of it." The Shakuntala series is a bit different from the Nature series. Though all wash techniques use water-dampened paper, the technique in the Shakuntala series required much more time and delicate handling.
"The depth of colour comes from the layering, each layer must dry before another can be applied. So I had to plan everything ahead, what I wanted to draw, how I wanted it to emerge. But in the Nature and some of the Sacred Woman series, I didn't plan at all. I just let it happen; left it to fate and the will of my brushstrokes."
TBS Picks
Sacred Love
Medium: Watercolour (Wash Technique)
The painting from the Shakuntala series portrays a few figures entwined in tree branches in a way that appears so intense. With the use of red for mostly the background, and the figures drenched in dark tones, the painting appears as if the colour of love, red, has surrounded the whole space and intensified within the figures, Shakuntala, her friends, and probably her lover.
Vajrasattva
Medium: Watercolour
I have never seen such a grim Buddha ever in my life like the one in this painting. The dark bronze-like tone, the intense grim face, the posture, the detailing, everything altogether carries some sort of weight in his stillness that appears immensely collected and strong.
The Sacred Union of the Souls
Medium: Watercolour (Wash Technique)
Two figures, seemingly Radha and Krishna, stand beside each other in front of a tree whose branches entwine and merge into their bodies. They appear to have become one with the tree itself, bound and inseparable. Even the colours reflect this unity, the gentle green, here, becomes a symbol of purity and devotion.
