Ambivalence in modern Nepali art

Nepali artists found the modernist technique a useful way of shifting their focus from a society with traditional values to the self.

Two separate letters that I received from two different persons made me browse through the art reviews and articles about Nepali paintings that I have written over several decades. The theme of both letters was more or less similar—they referred to modernism in Nepali art. One was written by a well-known painter, editor and writer of books about Western art in Nepal and a teacher at Sirjana College of Fine Arts, Navindra Man Rajbhandari, and the other was written by John Tain whom I have not met in person. John Tain says he is working with his colleagues on a theme of 'modernism and modern art histories across South Asia, including Nepal'. He mentions my three qualifications, my 'familiarity with modern culture', my 'work as an art critic', and my 'familiarity with the artists of the last few decades'. This came as a trigger as well as a challenge for me. Here I do not want to dwell on Navindra's 'motif' as I am already writing an article for his journal on the theme of modernism in Nepali arts in general that includes Nepali poetry, and Nepali paintings in particular. My conversation with John Tain via Zoom coincides with the writing of this column.