The lady paints

Reviewed by Kalakeerthi Edwin Ariyadasa

The artist then

While the world outside is agitated by trepidations, turmoils and the turbulences, that are largely man-made, artist Chandra Malalgoda Bandaranayaka, inhabits a serene oasis of her own. The troubling excesses of human interactions, do not register a marked impact upon her meditative soul.

Her creative exertions, that maintain an even tenor and a measured pace, reflect an unhurried style of life, that has succeeded in keeping out the residual flotsam and the jetsam discarded by a careless society, irresponsibly at work and at play. Discordant notes, do not mar the 'purity' of her artistic creations. Tainting and polluting infusions, do not enter into her system.

Her paintings, collectively communicate the news of a tranquil inner kingdom. The images she conjures up from the depths of her being convey a soothing softness. The figures pose in contexts that enhance their softness. These figures do not disturb the viewer even peripherally. On the other hand there are symbols of calmness and enduring affection.

In most instances, she paints feminine figures, that exude a subdued gentleness. She takes delight in the perennial mother-and-child motif, which depicts selfless love in all cultures.

Musician

Mother and child

Flutist

The women in her paintings portray a classical beauty. Their eyes are elongated and occupy much of the facial space. Their tresses are abundant. As a rule, these feminine figures are costumed with a high sense of decorum. Their female presence is bereft of even a mere trace of the erotic.

The details in her feminine portraits, artistically accentuate, the dominant theme of her paintings - serenity. In one, a comely lady concentrates with total attention, upon her companion playing the flute. The fingers that hold the instrument, display the suppleness of a creeper. You cannot help but get the impression, that, if you focus upon this painting for a while, you may begin to hear the soothing notes of the flute.

In yet another two-figure portrayal, one woman holds a lotus in her hand. Her companion looks on with understanding and affection, as if caressing the flower-holder with her compassionate gaze.

The sitar-player is a favourite motif. The lilt of the music she evokes, is reflected in the gracious deployment of her whole body.

The range of paintings concentrating on the feminine mystique, may easily persuade a viewer to describe her as given to portraying femininity, as her central creative concern.

But, to my mind, Chandra Malalgoda Bandaranayake does not make a pronounced effort to champion the gender cause in her paintings. As I see it, it is only the soft female figure or the infant, that can adequately equate the innocence, calmness and the tranquility, she shelters within her.

The artist has assiduously cultivated her gentleness and serenity, over long years, guarding them against those short-lived sensational ups-and-downs, that assail certain artists at individual level or at the level of groups.

Her palette too has remained unaffected by a need to resort to those colours that fairly 'scream'. The colour-range in her art is graphically simple, and commands attention in a heart-warmingly gentle style.

Throughout her life, she has been an ardent devotee of art. She learnt to acquire joy through Art, quite early in life. Propelled by a deep yearning to imbibe the pleasure of Art, she travelled extensively. Her solo and joint exhibitions, have a history that spans decades.

Currently her life-style is, reclusive in a way.

Her children have left the nest. She and her husband lead a life of satisfying simplicity, in an environment, that vibrates with a rural "feel".

Her atelier in the neighbourhood of a bustling township, is her safe haven. Here she is surrounded by her work, that enables her to recollect and recreate a past, that glittered with fulfilling artistic creations.

She has the leisure to reflect upon the waves of changes she has been able to witness in various areas of society.

The rural background in which she was raised, during her childhood, continues to sustain her inner calmness.

The routines of domesticity, could very well be a form of wholesome meditation for her, as she continues to look after the atelier, that houses facets of her inner life, expressed through a series of lasting works of art.