Jain Spirit 2001 12 No 09

Author(s): Jain Spirit UK
Publisher: UK Young Jains

Page 40

RAJU SHAR
ART & LITERATURE
ANEKANT ART
Alison Kent explores why Raju Shah has adopted traditional Chinese painting as an expression of his creativity
HAT EXACTLY WAS IT THAT INSPIRED JAIN ARTIST Raju Shah to adopt the traditional Chinese style? At first glance this might appear something of a conundrum. However, by exploring the techniques and principles behind traditional Chinese brush painting, links with Jainism become apparent.
Born in Nairobi in 1938 Raju developed an interest in art during his early childhood. In 1957 he moved to London where he practiced his profession of chartered surveying. He became the curator of the Meghraj Gallery in London in 1996, which is dedicated to the promotion of contemporary Indian art. It was during a family trip to Japan in 1984 when
Raju first became fascinated by the Japanese ink painting known as Sumi-e. He then purchased all the appropriate brushes and paper and began his research into the subject.
Nature Inspires Art Mountain & Water Landscape Brush and ink on rice paper
As part of his research he discovered that Japanese painting originated from China.
Broadly, through much of its artistic history, Japanese art has been inspired by China, following its phases and adopting its media and techniques. The Japanese, like the Chinese and indeed the Jains, are great lovers of nature.
On his return to London and through
36 Jain Spirit December 2001 February 2002 Jain Education International
lucky coincidence, Raju was introduced to Mrs. Chien-Ying and her husband Cheng-Wu, who were trained at the Beijing Central Academy of Fine Art and the Slade School of Fine Art in London. Mrs. Fei was to become an important influence on the development of Raju's work. From reading about his new interest, she realised that he needed two other vital items for painting in the Chinese style, ink stick and ink stone, both of which he was able to purchase in London's China town.
The preparation of the tools and the medium, in particular the ink, is a crucial element of the creative process. As can be seen in the photograph, Raju's studio is representative of his work. The atmosphere is that of tranquillity and order. Unlike the typical western artist's studios there is little of the clutter of objects, images and tools. It is light, his books are on shelves and his desk is well ordered. As is typical of the tradition, his tools are simple and carefully maintained.
Raju says that whilst the artist prepares his ink, which is in a solid block, he meditates upon how to create the composition. This time is crucial to the final picture, since the medium demands that the composition is made in one sitting. The artist should be calm and think only of this process, the mind should be clear and without any distraction. Whilst grinding the ink the artist should think only of the potential subject matter.
An artist learning his trade in China or Japan will be at liberty to choose a section of a masterpiece and copy it. This is a recognised and accepted element of learning the traditional technique. The oriental attitude to the ethics of copying are very straightforward. Practice and improvement is achieved through copying. Art students are encouraged to examine the work of old masters and to select a section of the work and copy it.
Students take years to master brushstrokes. Most of the great Chinese masters were Buddhist monks who introduced this technique to Japan in the 12th century. Many of the old masters were in their eighties so, as Raju points out, he has a long way to go. Brushtrokes are the single most important element of Chinese painting. Unlike traditional Western watercolours, the artist does not draw the composition first. Not only does the brushstroke form the image, it also creates the movement, the structure and the texture of the painting. The brushstrokes convey the artist's most subtle feelings; they become an external expression of the soul. The variation in the tone of the monochrome black ink gives form to the artist's emotions.