The Khoai Scroll: Painting as Alchemy between Place and Self

by  R Siva Kumar

All his life Benodebehari lived in a kind of hermetic solitude. A recluse by choice, nature was for him a pervasive presence that kept him company. He once compared himself to a solitary palm tree in a vast khoai - the expanse of eroded, arid, red laterite land that surrounded Santiniketan in

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The Flower Paintings of Benodebehari Mukherjee

by  Nilima Sheikh

Flowers are accessible: they can be plucked, smelt, held in the hand for scrutiny or sensuous pleasures, and put to many uses. Their formal riddles and life-cycles, their infinitesimal variety in pattern and colour, have provided artists studying nature a range of inspirational as well as learning material.

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