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拍品專文
The paintings of G.R. Santosh and Biren De are prime examples of Neo-Tantrism, an art movement originated by the artist, K.C.S. Paniker in the 1960s in India. The artists were inspired by Hindu, Buddhist and Jain concepts of dualities between male and female and between macrocosm and microcosm. Santosh's painting is neither abstract nor representational, but evolving from Indian religious imagery involving yantras, mandalas, chakras, and the lokapurusha (cosmic man). Biren De however, used geometric forms and the juxtapositions of color and light to embody notions of Shakti, and the pure energies of a universal life force.
Indian tradition is based on the universal concept of the ultimate reality manifesting itself in myriad shapes and forms in time and space. My own self is preoccupied with the same universal concept. My paintings are based on the male-and-female concept of Siva and Sakti and, therefore, construed as Tantra. It is not just the man and woman concept. Any semblances in my paintings in this respect is symbolical, but my stress is on the more fundamental male-female principle with its infinite connotation with all the pervasive light emanating from the objective reality. (Artist Statement, Obeisance to Sharika Santosh, exhibition catalogue, New Delhi, 1978)
Indian tradition is based on the universal concept of the ultimate reality manifesting itself in myriad shapes and forms in time and space. My own self is preoccupied with the same universal concept. My paintings are based on the male-and-female concept of Siva and Sakti and, therefore, construed as Tantra. It is not just the man and woman concept. Any semblances in my paintings in this respect is symbolical, but my stress is on the more fundamental male-female principle with its infinite connotation with all the pervasive light emanating from the objective reality. (Artist Statement, Obeisance to Sharika Santosh, exhibition catalogue, New Delhi, 1978)