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Mr. Dharma Raj Shakya |
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Each and every artist posses a particular way of self
expression. The creative mind inherent in artist's mind
expresses its feelings of beauty in a way which suits the
temperament and ideals of its own culture. The traditional
artists of Nepal had always valued socio-religious and
spiritual concepts emphasising more on ature than on
anything else. So, we find in the apperception and creation
of the beautiful, nature plays vital role; and
in the arts of divinities and human beings, the inner
apperception of beauty, the subtle and mysterious way of
self expression of young Nepalese traditional artists mind
has been unfolded here in the present displayed works of
sculptor Dharma Raj Shakya |
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Mr.
Shakya, a resident of Chapat Tole, Patan belongs to the
traditional artistic family. His father Mr. Nunem RaJ Shakya, is
an experienced instructor of Sculpture In the fine arts campus,
Bhotahity, Kathmandu, Dharma Raj Shakya has obtained the primary
skills of chiselling the stone from his own father, later he
developed and nourished this talent which introduced him as a
talented young sculptor of Nepal. His energetic spirit and
inquisitive mind established him as one of a few good sculptors
in patan area. Mr. Shakya, basically belongs to Omkuli Rudravama
Mahavihara lineage, and descents from social organisation of
Shakyas from Mahaboudha Sangha. at Patan. Anancestral congnetic
kindship of Mr. Shakya is affiliated with the famous medieval
artists Jivaraja and Abhayaraja, the father and son,
respectively. According to perceval landon. Jivaraja is credited
to have built the famous shikhar styled terracotta temple of
thousand buddha's i.e. Mahaboudhha temple, before 1585 A.D.,
during the reign of King Mahendra Malla. Nepalese chronicles
state that this building, was a facsimile of India's Buddnagaya
temple, but on a smaller scale. The remaining construction was
carried out by Abhayaraja, a descendant of Jivaraja. As a
cognitive descendent of an artisan family Dharma Raj Shakya also
possesses his ancestral occupation of craftsmanship. His
workmanship testifies and categorizes his inertia of
perfection's. Dharma's creative genius overflows through his
creations. Which is not just confined to the ordinary and
beautiful enough to put any viewers into a delightful state of
mind having the movement of a cognitive state in it; at the same
time it has an end to realize the beauty of his art object.
Dharma following the footprint of his father, has chosen the
stone media as his medium of art expression. This unique and
solitary display of his stone expressions are the final products
of time consuming studio works. The subject matters of these art
reproductions are merged and based in socio-religious and
spiritual theme. Generally the traditional Nepalese art works
are based on literary sources i.e. iconographical tests. Such
art works which are grounded on spiritual literature can be
explained as classical art. The basic essence of classical art
specifies to the execution of art form extracted from the
literary descriptions and to illustrate it, in other to make the
rhetoric more illustrative. In other words, the aspiration of
classical art is to glorify and visualise the theme of lyrics in
the more convincing and illustrative manner. The process of
artistic visualization can be metamorphised and imagined as : to
lit the lamp with cotton thread deepen on oil. Once the lamp is
lightened up over the cotton thread, the particular name of
cotton thread and oil disappears and assumes the name and form
of light, due to its illumination. Hence, it is then called fire
or light but not the cotton thread or oil. In such way when the
sculptor executes the image on the surface of stone, in the
compendium contour line of iconographical manner, gradually the
existence of stone particles submerges into the definite form
and shapes of chiselled image then it manifests an icon of
deity. Neither the stone nor the iconographical textual extracts
are remained which vanishes quickly from the viewers' mind but
remains the votive image of worship able one. With the simple
blow of percussion of hammer and chisel on the surface of stone,
an experienced artisan moulds it into the visual form of
divinity. Therefore, the sheer aims and ideals of true sculptor
should be to dedicate and meditate upon the aesthetic and
iconometric norms, numen and value of the concerned subject
matter. This unique display of young Nepalese sculptor Dharma
Raj Shakya Demands, right at the moment, to judge and to testify
from among the intellectual art connoisseurs and viewers, to
analysis and ratification of the enormous skills of Mr. Shakya.
The question is whether it fits with matrix of iconography,
iconometrics or aesthetical ambiences of the traditional
Nepalese socio-cuttural contexts or not ?
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