Nature is not always about pleasant views or picturesque scenery; it also involves philosophy, memory, and spiritual journey. Recently, an art and photography exhibition was organised at the Birla Academy of Arts & Culture. Titled ‘Reflections of Nature’, the exhibition brought together Chinese -style brushwork rooted in Indian landscapes alongside wildlife photography. Curated by Nandita and Sandip Bhattacharjee, it aimed to create a dialogue between art, reality and ecology. For Nandita Bhattacharjee, the exhibition is a part of a deeply personal artistic journey.
Trained in Chinese painting, she returned to Kolkata in 2014 with a decision to devote herself to reinterpreting Indian landscapes through Chinese painting techniques. Speaking to The Statesman she said, “The paintings displayed here are Chinese-style artworks, but they depict Indian themes and landscapes.” Her medium of art involves working on Chinese rice paper using pigmented Chinese watercolours. Her process allows no preliminary sketch. “Chinese style painting involves direct painting with the brush without sketching the drawing. Every stroke is different for that reason. Combining all these different strokes, I have attempted to create landscapes,” she stated. One of her works, ‘Openness’, draws inspiration from Nagarhole in Karnataka.
The Jacaranda trees she encountered there left a lasting impression. However, the art doesn’t just solely focus on visual beauty; it also emphasises ecological concerns. “The thought process begins with pollution and ‘un-pollution’. Mother Earth looks so beautiful when not polluted. But we are exploiting her and causing distress,” she stressed. This duality of beauty and exploitation is depicted through her art. Sandip Bhattacharjee’s wildlife photography complements the paintings. “Ultimately, both our works display nature. One through the artist’s lens, the other as pure reality,” Sandip shared. His photographs captured untamed moments from the wild, reinforcing the exhibition’s environmental consciousness.
Beyond aesthetics, the exhibition seeks to revive a nearly forgotten artistic tradition. Sandip pointed to the historical lineage of Chinese brushwork in India. Rabindranath Tagore had invited Chinese master Prof Xu Beihong to Shantiniketan, influencing artists like Nandalal Bose in the 1930s. However, the style faded over time. “We want to create awareness of this art form that Gurudev Tagore brought to India,” he claimed. He further added, “Nandita may be among the very few practitioners of this genre in the country today.” According to Sandip, Chinese painting is philosophical in structure. It is meant to be viewed from bottom to top. There is a simultaneous interplay of space and time within it. For instance, artworks like ‘Flow of Life’ and ‘Devotion’ visually chart human journeys.
The journey moves from mundane existence to spiritual enlightenment. It is depicted through shifting landscapes, rural imagery and cosmic unity. In conversation with The Statesman, Chief Guest and art critic Madhu Sarkar highlighted the rarity of such displays. “Chinese brushwork is one of the oldest artistic traditions in the world. Its nuanced strokes, calligraphic essence and metaphysical landscapes explore the flow of cosmic energy, ‘Chi’. Without mastery, one cannot progress in this style. It really feels great to be a part of such an exhibition.” Aptly matching its title, ‘Reflection of Nature’ showcased nature in different forms – be it through Chinese paintings or wildlife photography. Even though the style and technique may differ, what it wanted to convey was universal: a reconnection with nature and inner awareness.