Purush (Male)
Mukti Singh Thapa, 2015
Mineral colour
90 × 125 cm

© Mukti Singh Thapa

This artwork follows the traditional style of devotional Buddhist painting in Nepal, the so-called paubha style. In contrast to the usual content of paubha painting, the theme of this particular work is set in contemporary times. In traditional paubha works the themes are invariably of gods and goddesses in the Buddhist tradition, in which Hindu gods are also occasionally included in the iconography. These paintings were traditionally produced for ritualistic purposes, though more recently they adorn the walls of private and public venues, where they are appreciated more for their aesthetic value.

Despite being entitled Male, the dominant feature of this artwork is a female figure, featured to the right; she is seen beautifully clad and decorated with colourful flowers and ornaments. The painting’s narrative, however, is based on male perception, hence its title. The various forms of manhood are juxtaposed with the beautiful women, whereby the aim is to narrate the ways in which men misuse women for their own benefit.

Marriage ceremonies take place amidst elaborate rituals, expensive clothes, jewellery, music, merrymaking and a huge feast, as depicted in the lower part of the painting.

The artist compares women to the concept of satyam, sivam and sundaram (truth, goodness, or godliness, and beauty), one of the most wonderful and significant phrases in Hindu philosophy. The three words provide us with an insight into a wonderful viewpoint on life, one in which we should coexist in truth, godliness, and state of tranquil peace, beauty, and happiness. The artist feels that a woman is complete in herself with no superficial desires and needs. The male, by contrast, has diverse needs and desires, which he seeks to fulfil by using women. Our culture teaches us to respect and venerate the female, whereas contemporary society acts otherwise. In reference to the Wheel of Life, commonly depicted in traditional paintings, the artist composes a similar circle in the lower half of the painting, the centre part of which shows the practice of female infanticide and is flanked by the contemporary forms of violence against women. Disturbed by such typical attitudes, the artist wishes to draw the viewers’ attention to such malpractices.