Jain Spirit 2001 12 No 09

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

Page 41

Anekant Art
a pool of light drawing attention to the fragility of man's construction within the power of nature. By contrast, the trees on the opposite side of the mountain are painted in stronger shades. Although the trees grow out of the ground at a distorted angle, their position within the landscape appears to be stronger.
The Longevity Crane, which was a key picture in an exhibition of Raju's work at the Meghraj Gallery, was much admired and indeed purchased by Caroline Blunden, an expert on Chinese painting. Commenting on Raju's work, Caroline said that "while escaping sentimentality, Raju's paintings capture the character and essence of his subjects." Often cranes are depicted in pairs, symbolising monogamy and in Raju's work the single crane combines longevity, majesty and wisdom. The proceeds from this exhibition were donated to the M.P. Shah Cancer Hospital, in Ahmedabad, India.
Much of Chinese brush painting shows the importance of all nature from tiny insects to monumental mountains, with the role of man playing a less significant part. This reverence for nature is a reflection of the principle of ahimsa in which respect is given to all living things. By adopting a style which is not indigenous to himself, Raju has demonstrated broadmindedness. Not only does he paint in the Chinese style, but he has also carefully studied the traditions behind Chinese painting. This demonstrates respect for the doctrines of faiths and beliefs other than his own. This is the Jain spirit of anekant.
Following a painting trip to China in the summer, Raju Shah will be exhibiting his recent paintings along with three other artists in an exhibition entitled quAR Tet, at Burgh House, New End Square, Hampstead, London from 29th November to 9th December 2001. Raju is a writer and adviser to Jain Spirit. Alison Kent is an art consultant for Jain Spirit.
Art demands concentration
Raju in his studio The moment the brush is placed on the rice paper the ink spreads as the paper is very absorbent. The artist has to be rapid in his strokes, making sure that he has exactly the right amount of ink in the brush. Once the image is made it cannot be changed. The placing of the paint is also important. Traditionally almost two-thirds of the picture is left unpainted. This represents heaven and the space below is equated to earth. The painting itself is the connecting element which joins earth to heaven. Chinese painting has a few basic principles, one of the most important being that the picture should have life and vitality. Most of the paintings show the love and admiration for nature in all its various facets. This principle is apparent in Raju's work.
The painting Mountain and Water Landscape, (which is in the style of Shen Zhou, an old master from the Ming dynasty circa 1494) celebrates the monumentality and drama of the landscape. There is a strong vertical access running from the rock through the pine trees to the mountain. The depiction of nature has strength and vitality shown by stronger tones and more clearly defined lines. The mountain appears almost to burst out of the earth, illustrating the strength of that which comes from the earth. Both the mountain and the trees have a vigour, which contrasts with the depiction of the human element.
Whilst man is included in the composition, his influence is shown to be peripheral. In the foreground donkeys pass over the precariously placed bridge. Lighter tones have been used to represent the tiny village at the base of the mountain. The people's occupations can barely be identified, perhaps hinting at the futility of human endeavour. Interestingly, the human element of the composition could be removed barely detracting it from the whole. Visually, the artist states the importance of the influence of nature above that of man.
To the right of the craggy mountain there is another small bridge, suspended between two rocks. Raju has painted it in
RAIL SHAH
Longevity Crane Brush and ink on rice paper
December 2001 - February 2002 • Jain Spirit For Private & Personal Use Only