Time Travel Through Tradition: A Journey of Rediscovery

I’ve known Bibhu Patnaik personally for more than three decades, since our days together at the art college. Back then, while we were immersed in discussions about the essence of art, it was Bibhu who first sparked my awareness of the rich cultural identity of Odisha. Our friendship, now spanning over thirty years, remains strong. We have shared countless conversations, exchanging ideas on contemporary art, literature, cultural tradition, philosophy and personal matters regularly. Like me Bibhu is also writing short stories and writings on art in our regional language Odia. We both love and criticize our own culture and tradition. Bibhu’s unwavering belief in challenging and reimagining tradition has been a constant theme in his artistic journey.

His foundation in Odisha’s traditional art was strong. He had received formal training in Pattachitra at the State Institute of Handicrafts Training in Bhubaneswar before continuing his studies at Bibhuti Kanungo College of Art and Crafts. However, like many of our classmates, he also faced an internal struggle. At that time, there was a prevalent notion among us that Odisha’s traditional art forms were outdated, and that embracing contemporary art meant leaving these traditions behind. Despite Bibhu’s deep understanding of these classical forms, his mind gravitated towards contemporary artistic expression, constantly navigating the tension between tradition and modernity.

This internal conflict, however, never stifled his creativity. Rather, it shaped his work, making it a unique fusion of the old and the new. Bibhu experimented with and explored his dilemma and gradually built his distinct path. In recent years, his rediscovery of Odissi music and dance offered him fresh insights. He began to see the intricate connections between ancient literature, Odissi music, and traditional painting – elements that together revealed a rhythmic harmony in his work.

In his latest paintings, Bibhu has achieved a remarkable balance between the rich tradition of his homeland and the ever-evolving language of contemporary art. His current work reflects clarity, maturity, and a harmonious integration of these seemingly opposing forces. Tradition is no longer something to be discarded; it has become a source of strength, deeply embedded in his artistic language.

Nowadays, it has become quite fashionable, even a trend, to experiment by juxtaposing traditional elements and images in contemporary art. While this approach can sometimes yield interesting results, it is not always advisable to create traditional paintings without proper practice and knowledge.

Traditional art forms, such as Pattachitra, require practice, deep understanding, skill, and respect for their origins. Really there are two paths only; either commitment to learn and practicing it extensively to master its nuances, or collaborate with a skilled traditional artist who already possesses the expertise. Without either, the integrity and authenticity of the art form can be compromised.

One of the most striking features of Bibhu’s journey is his return to his roots after years of exploring other things. His latest exhibition is a testament to this return, where he brings forth new narratives from old practices, blending the past with the present.

It often happens that distance brings clarity, and Bibhu’s time spent studying contemporary European and American art movements gave him a fresh perspective on his own roots. He now views Odisha’s artistic heritage with a renewed appreciation, looking at it from the outside, yet feeling deeply connected from within.

A casual observer might initially mistake his works for traditional Pattachitra, the age-old traditional paintings of Odisha. However, a closer look reveals something entirely different. While rooted in tradition, Bibhu’s work stands apart. His interpretation and compositions are distinct and contemporary, offering a unique blending of dialogues between past and present.

Bibhu’s inspiration doesn’t always come from medieval literature or history. Sometimes, he seeks to depict contemporary short stories as well. From the short story collection Puri Ra Gapa by the renowned Odia writer Bijay Prasad Mahapatra, Bibhu draws his insights in a unique way.

He drew inspiration from the stories “Mahari Seva” and “Bada Deula ” for some of his paintings. However, it’s important to note that his work is not simply an illustration of Mahapatra’s stories. Bibhu has always valued creative independence, and these works are no exception.

While the stories provided the foundation, his paintings go beyond, offering a new interpretation that is uniquely his own. Bibhu’s paintings, though inspired by literary tradition, follow this spirit of artistic freedom. His work does not merely depict the storylines but introduces a fresh perspective that adds layers of meaning.

In this exhibition, Bibhu takes us on a time-travel journey, capturing both his nostalgic childhood memories and the glorious past of Odisha. Being naturally shy, he often prefers to portray solitary figures in his work. He has a particular fondness for depicting human figures.

Our childhood played always a crucial role in our life. We love to go that memory lane very often. Nostalgic feelings recreate a choreography of actions that controls our emotion. When you are bound to live your life in a metro city, you must find some solace in your childhood.

Bibhu has been living in Delhi for more than a decade now. In work like “The Boy is Verifying the Southern Direction While Facing Towards the Sun”, “The Evening Stroll”, “Hill Patna U.P. School”, “Evenings at Hill Patna”, and “Farmer Bira Gouda” Bibhu Prasad remembers his own past.

For this journey through time, he uses Pattachitra languageas his vehicle, skilfully moving between the past and the present. Bibhu brings history to life, ensuring that the essence of Odisha’s cultural heritage resonates with a contemporary audience.

In 2007 and 2008, Bibhu conducted his first significant experiments with Odisha Pata painting. After completing his post-graduation at Hyderabad Central University and serving as an artist-in-residence at the Kanoria Centre for Arts in Ahmedabad, as well as exhibiting at the Galerie Foundation of Indian Artists in Amsterdam, he gradually shifted to a new state of mind.

During this period, he dedicated himself to developing his own unique language and carving out a distinct space in the contemporary Indian art scene. In works like “Firework” and “Mango Tree” and “The Scenery of the Past Epoch” from this series, he deconstructed traditional paintings by old masters, rearranging elements in an overlapping and disjointed manner. The line drawings and colors were deliberately moved from their original positions, creating a layered effect, almost like the result of a misaligned color print. This approach gave the artwork a unique graphical ambiance, offering viewers a fresh perspective on traditional Odishan art.

In search of the essence of Odisha’s identity, Bibhu delved into the state’s historical and cultural heritage. He created portraits of several famous Odia kings using the Pattachitra style and technique. Interestingly, these portraits have recently gained popularity in his home state through social media platforms, as there were previously no proper visual/ pictorial references of these kings available.

Through Bibhu’s work, now we have got interesting portraits of Raja Langula Narasimha Deva, Gangeshwar Anantavarman Chodaganga Deva, Kamarnava Deva II, and Gajapati Kapilendra Deva. These characters are not just historical figures. They are symbolic of the deep-rooted connection between art, literature, and culture in Odisha.

Bibhu’s series also includes depictions of notable Odia figures like medieval poet Banamali Das, 16th-century female poet Madhavi Dasi, musicologist Krishna Das Badajena Mahapatra, and poet Upendra Bhanja. In one particularly evocative painting, Bibhu portrays Upendra Bhanja seated in a traditional dance gathering, playing the veena. Bhanja’s poetry is celebrated for its literary value and musicality. Bibhu imagines him not just as a poet but as a skilled musician, bringing this image to life in his artwork.

The veena that Upendra Bhanja plays in Bibhu’s painting is no ordinary instrument. It is a traditional Odissi veena, called as Bipanchi veena now rare and almost forgotten. Bibhu’s depiction of this veena was not a simple task. It required extensive research to capture its authentic design. The result is a meticulously detailed painting that reflects Bibhu’s deep respect for Odisha’s musical and artistic heritage.

In this exhibition, Bibhu presents a series of paintings that reflect his journey through time and tradition. His work draws inspiration from the rich past of Odisha’s artistic heritage, while also looking forward to new possibilities. The title of his solo exhibition, “Lahara” (“Wavele), encapsulates this fluid, ever-changing dynamic.

Like a wave that moves forward while still connected to the ocean from which it came, Bibhu’s work flows between tradition and modernity, offering a fresh perspective on both. In other ways all of our traditional art form like music, song and dance having a very common ingredient – their lyrical quality.

Bibhu can be described as a traditionalist with a contemporary approach. He has a deep respect for traditional techniques. Yet he presents them in a modern context. His preferred mediums include watercolour and gouache on paper, which allow him to explore intricate details, while he also enjoys working with batik print and acrylic on canvas. These mediums offer him the flexibility to blend the precision of traditional art with the boldness and fluidity of contemporary expression. This makes his work both timeless and fresh.

In his recent work, Bibhu Prasad has explored both the continuity and evolution of Patachitra, inviting viewers to not only appreciate its enduring significance but also to see how this ancient art form can be reimagined for modern expression. Through this fusion of tradition and innovation, he highlights the timeless beauty of Patachitra while opening doors for its contemporary relevance.

His works reflects the interdisciplinary relationships between Patachitra, Odissi dance, Odissi music, temple sculpture and classical Odia literature. Bibhu’s artistic journey is a testament to his ability to embrace change while remaining rooted in his cultural heritage. His work is a reflection of the complex interplay between the past and the present powered by his personal philosophy and understanding of his own self.  

Therefore, it offers viewers a unique opportunity to engage with Odisha’s art in a new and meaningful way. This body of work definitely provides a window into Bibhu’s world, where tradition and innovation coexist in harmony, and where the past is reimagined for the future.