Sohan Qadri

Sohan Qadri (2 November 1932 - 1 March 2011) is a yogi, poet painter from India, who has lived in the last 30 years of his life in Copenhagen. His paintings are the result of different stages of deep meditation, in which the colors of India: shades of dazzling colors, have been carefully engraved on the toothed paper made. During his long career, Qadri gave a wide spectrum of cultural exchanges, including Surrealist (a movement of the 22nd century in the field of art and literature) painter René Magritte, Nobel Prize winner Heinrich Ball and architect Le Kurzier. Ball once said, "With his picture Sohan Qadri frees the word of meditation from his fashionable interest and brings it back to its proper origin." He had more than 70 exhibitions in the United States, Europe, Asia, and Africa.

Early years in india चित्र:Sqportrait001.jpg After the initiation in Jalandar, Sohan Qadri, 1953. चित्र:Sohan Qadri, Yellow Green Duet.jpg Sohan Qadri, Yellow Green Couple, 1969. Oil on Canvas, 26x26 " चित्र:Sohan Qadri Lila Let's Play.jpg Sohan Qadri, Leela, It's Play, 1974. Oil on Canvas, 48 ​​x 48 " चित्र:Sohan Qadri spirited drop iii.jpg Sohan Qadri, Sprifted Drop III, 1974. Oil on Canvas, 48 ​​x 48 " चित्र:Qadri Untitled.jpg Anonymous, ND, oil on canvas, 27 x 35 "

Sohan Qadri was born in 1932 in Chachoki village in British India. Chanchoki is near the industrial town of Phagwara in Kapurthala district of Punjab. They grew up in a rich agricultural family - their mother was Hindu and the father was a Sikh. Chachori without power, tap water, road or cars is more than a few miles away from the cosmopolitan (cosmopolitan) city of Kapurthala, where there are many castles and government buildings in French neo-classical style, which were built by a Francophilie Maharaj. .

As a seven-year-old boy, two spiritualists living in his family firm have hypnotized him. The first of these was a Bengali Tantrik-Vajrayan Yogi Vikram Giri. The second was a Sufi Ahmed Ali Shah Qadri, who lived at a distance of two steps away from the ship. Both gurus taught them spiritual ideals through meditation, dance and music. Although none of these were teachers in the traditional sense nor were they interested in changing religion or belief, their effect was deep. His cooperation with Qadri started his lifelong commitment towards spirituality and art.

Qadri's artistic talent was first expressed in the village pond. Before bathing, they played with clay lobes and they used to shape different toys with sparrows and stones. They used to define forms such as eyes and nose by pressing with thumb, scratching and marking, which are still strongly marked in their work. His visual effects came from rural life, where nature is wide. Qadri grew up in the surroundings surrounded by mountains of Kangra mountains, attractive forests, waterfalls and waterfalls of cotton and wheat fields.

Qadri continued his schooling up to the eighth grade and he sat in his matriculation examination. His mother wanted to see the work of the family firm. Initially, he did not express any unhappiness, but its concern eventually led him to flee to the Himalaya. They went from there to Karnol and then lived in Tibet, where they lived in Buddhist monasteries for many months, lived between spiritualists and forest dwellers. Meanwhile, his mother sent a cousin and wrestler to bring them home. They tried to escape twice, but they were forced to return. After all, Qadri remained stuck on his stance. The denial of seeing the work of the farm dashed his mother's hopes of furthering the family. Qadri was the first boy of his village to pass the matriculation, but instead of completing three years of undergraduate degree from Ramgarhia College, he trained in art in the studio of Jalandhar in Jalandhar with photographer प्यारा सिंह.

After the lovely singh settled in England in 1952, Sohan left Jalandhar and went to Mumbai. Modernism was an urban concept and in order to pursue its interest in the field of art, he realized that he would have to leave the village life behind. Kadri settled in Parel and worked as an immovable (still) photographer at an early Bollywood studio in Andheri, Mumbai. Feeling unable to erase his desired artistic appetite, he resigned after doing only two films. During his stay in Bombay, he worked for the famous JJ School of Art and Modern Artists Krishna Ara, K.K. Heberer and Shanti Dave have been traced.

Through Aara, Hebber and Dave, Sohan went to know the existence of Fine Arts colleges, where he could get special training, and joined Shimla College of Art in Shimla in 1955. A renowned modern painter Satish Gujral used to teach in college after living with Diego Rivera, Fagrido Kahlo and David Alfro Sikoros in Mexico. Its curriculum was prepared in London on the basis of the Royal College of Art and was specialized in the Rajput and Mughal style of painting.

As a student, Kadri visited the art galleries of Delhi. He met famous artists Saloj Mukherjee and J. Swaminathan, who were in the process of launching the ununion group. They are the leading Indian modernists M.F. Hussein, Syed Haider Raza, J. Swaminathan and Ram Kumar are completely immersed in the artistic atmosphere. The period after the war became a very productive time for artists like Kadri to face, who faced the complete modernity. His predecessors, including the Calcutta Group (1942) and Progressive Artists Group, had already developed the vocabulary of Modernism based on certain Indian forms of expression and Western modernist syntax. Qadri and his contemporaries were able to refine their art on this terminology and even rejected the idea of ​​relying on the adornment of the predecessors, which is believed to be the first of them to define them as an Indian Used for.

After completing his degree, Qadri returned to his home in Phagwara and joined the Faculty of Phagwara Teachers Training College for three years. In 1961, Dr. Mulkraj Anand, the founder and editor of Art magazine Road and associate of the London Blumbsbury Group, recognized the talent of Qadri. After seeing his work in a faculty exhibition, he chose Qadri and promised to visit his village. Anand continued to support young talent of whole India effortlessly and he became the first great patron of Kadri. Anand reached Phagwara in 1963 with an architect and architect Le Corbijier's cousin Pierre Genèrent, who took a painting for his collection.

Anand and Gen.Ret invited Kadri to bring their work to the newly built capital city of Punjab and Haryana, Chandigarh, whose Le Corbusier designed it. Qadri's first exhibition was the second exhibition (first was MF Hussein's) to be held at the Punjab University Library Art Gallery, Gandhi Bhawan, designed by another Ginneret. During this time, Sohan removed Leo's last name as a mark of devotion towards Sufi teacher and kept Kadri.

After receiving critical acclaim, Qadri started painting seriously and started teaching about Paris school in a small town like Jalandhar. As is often with artists living outside of European artistic centers, modernity has been seen as secondary content - especially in the eyes of the print media. Sohan educated himself by studying International International, Illustrated Weekly of India and Modern Review as well as lectures and books. Along with reading controversial Indian art critic Francis Newton Sueja and his adventures in Paris, Kadri dreamed of traveling to the capital of modernity. In the meantime, he built a studio in Chachoki village with clay and straw knot and started teaching himself about the Indian and international art scene.

Qadri started doing rhetorical work and gradually started moving towards the abstract and eventually abandoned the illustration for the search for a transitional. He says, "When I start (depiction) on a canvas, I first clear the mind from all the images." They get scattered in an ancient setting. I feel that only emptyness should be communicated with the canvas of zero. "Instead of taking content from the unsatisfactory, conical urban world, like many contemporaries, they started looking for content that inspired spiritual feelings. And turn towards the expression of the eastern mode full of feeling or state of mind. They say, "I completely disinfected without ammunition Had focused on and form. "

During this period, Qadri developed the method of painting, which he still uses. They divided the pure color into three categories or parts: black or dark brown, hot or cold and light. The form of the element or lower level of the earth comes in black. Hot or cold color denote the energy, each of which is holding a separate vibration (it is energetic and gentle during cold stay while keeping warm) and makes a middle level and prepares the light colors at the upper level. This allows for a trilateral arrangement, which can be arranged in descending or ascending order.

In 1962, Kadri started a second exhibition in Sridharani Gallery of New Delhi. With the help of Randhawa and Dr Anand (then he was the President of Lalit Kala Academy) in Delhi after the Sridharani exhibition and in Delhi, many galleries have taken an interest in his work. At that time, Indian artists used to get patronage among diplomats or migrant communities along with some Indians, who were largely interested in modern art. Among the collectors of Kadri's early art collection were Belgian Consul in India and Ambassador of Canada and France. Trip to Africa चित्र:Sohan116.jpg Mr. Elimo Go, H.E. in Pa or Pa Gallery. Prem Bhatia and Sohan Qadri, Nairobi, 1966. चित्र:SQ Untitled.jpg Anonymous, ND, oil on canvas, 45 x 33 "

On the encouragement of Anand, Qadri decided to travel outside India and dumped himself in full-time painting. His first international show of art in Africa was. Qadri managed to get a fictional invitation to marriage in Nairobi, which helped him to get a passport, which was hard work at the time. When it came to know that they would have to wait for three to six months to leave for Nairobi to travel with poor laborers in the bunker class in place of luggage for a passenger ship, then he and a poet friend of his immediately Book tickets for the trip to Mombasa in Kenya. To spend time on an eight-day trip, he started drawing his co-passengers and one day he made a drawing of a passenger on the upper deck. Soon there was a crowd, and everyone wanted drawing in a realistic style, in which he had mastered Shimla. During the rest of the trip, he turned his paintings into food and whiskey.

Qadri brought all his big images, which were originally portrayed in Chakoki for an exhibition at Taj Art Gallery, Mumbai. They expressed the hope of their exhibition in Kenya. When they landed in Mombasa, the authorities of the port has thrown the crate of Qadri's pictures on the sidewalk, because they could not afford a porter. Qadri and his travel companions sat on that crate till three days and nights, until one acquainted and ready to take them 300 miles from Nairobi.

Once in Nairobi, he contacted Elimo Najau, a Kenyan cultural figure and often used to come to Delhi. Nazu was born in Tanzania and studied fine arts at Mackere University College in Uganda. Najau, a catalyst of contemporary culture founded two non-profit galleries, Pa-Pa-Pa in Nairobi and Kibo in Marangu of Tanzania, where regular exhibitions of both African and international artists were established. . Najau immediately recognized Kadri's work, which he saw in Kunika Art Gallery in Delhi. To make Qadri's exhibition more popular, he offered to hold another show. Then Kadri Mukal went to Prem Bhatia, the then Indian Ambassador to Kenya, with an introductory letter written by Raj Anand. Bhatia agreed to use the embassy machinery to become a sponsor of the show and promote the exhibition. Bhatia bought the first painting by paying 75 pounds. All the pictures were sold in the show and it was discussed in whole of Nairobi. After this show, the second exhibition was organized in the Stanley Gallery of the Stanley Hotel, which was owned and repossessed, which was equally successful. European Travel चित्र:Sohan118.jpg Sohan Qadri on Gallery La Fremierre, Zurich, 1967. चित्र:Sohan Qadri Untitled 1.jpg Anonymous, ND, oil on canvas, 45 x 33 " चित्र:Sohan Qadri Sruti II.jpg Sohan Qadri, Shruti II, 2008, ink and color on paper, 55 x 39 "

After his stay in Africa, Kadri went to Zurich. An ex-girlfriend arranges for her sitting in the house of her architect friend George Plang. Kadri and Planang got the mind and Plang gave them the keys to the huge villas, called Tiljenkamp of a colleague. In Tilgeenkamp, ​​Qadri made preparations for its first European exhibition, which took place in Brussels's Roman Louise Gallery in November 1966. The exhibition was done with the help of the respected Swiss art critic Mark Kuhn, although twenty three paintings were exhibited but only one sold.

Although they had little money, Qadri continued to paint. One day, Kuhna interviewed Suriyilst René Magritte's artist at the studio, and asked Qadri to join him. After the introduction, when he was talking, Qadri kept quietly watching the elaborate canvas cassi nest pess une pipe of Maggri on the picture of the artist sitting-sitting. After a few hours, Magratti announced that it was time to play his chess now and Kuhn should come back the next day to complete his interview. When Qadri told him that he had been a chess champion in Shimla, Maggri has challenged him for a game and then soon defeated him.

Qadri sold his five paintings to a couple of Montreal, before opening a gallery, before traveling on the road from Brussels to Paris, with the keen interest of first patron, Mulk Raj Anand and Indian painter Syed Haider Raza. Were in the way of returning to Canada. Once in Paris in December 1966, he received an important exhibition with prominent European artists including Pierre Sullage, George Mitch, Jean Paul and Louis Fatux. Seven years later he was able to show his work in the gallery of Amand's sister in Montreal.

When he returned to Zurich, Qadri received an invitation for an international artists camp in Khazlen of Poland, where he was given temporary accommodation, food and picture material for two months. The Souks Museum of Modern Art in Khushlin took a painting made during that period. After his studio, two Danish artists were painters Bent Cock and Printmaker Hele Thorborg, who were influenced by Qadri's work. In 1969 Thorborg arranged to travel to Copenhagen through the Danish cultural ministry.

Before going to Copenhagen, Qadri displayed his work in the public printing press, called Gallery Uni Generation and D'Orchai in Vienna. He also showed his paintings in Stenzel Gallery in Munich and stayed in Paris for some time in 1968, where he rented American artist Mimi Vaz's studio. There he met Indian artist Syed Haider Raza, Anjali Ela Menon, N. Vishwanathan and Nikita Narayan with Pierre Soulage and James Mykos, whom they had met in the Amand Gallery. He also met the famous printmaker Krishna Reddy, who was working with his wife Judy Reddy and British painter Stanley William Hatter.

During this time, Qadri stopped painting with impasto oil on canvas and experimented with paper. Though oil-made paintings are better sold, paper-shaped images remain soft and more feminine and more favorable for those actions that grow beyond the state of meditation. They say, "deeper states of organisms can not be excluded from efforts". "When I work with ink and color, I do not fight with canvas, there is no painter without any brush stroke." This form of aura is the picture. "

While staying in Paris, the Danish Ministry of Culture offered Qadri an expo with travel expenses and a stipend. The gallery director of the ministry bought a painting, as did Sam Kenner of the New York Court Gallery. Cristian Oberg of the Graphic Department of the Louisiana Museum of Denmark bought many paintings and arranged five exhibitions for Kadri in Denmark. Life in Copenhagen चित्र:Sqportrait002.jpg Sohan Qadri, Copenhagen, 1973 in your Heliport studio चित्र:Dissolution III.jpg Sohan Kadri, Disruption III, 2008. Paper ink and color, 55 x 39 "

Compared to large cities like Paris or New York, Copenhagen was an ideal place for them, in which they could form a calm, meditative art form. Qadri initially lived with Dr. Kaj Bork, chairman of the Danish Art Society, but because he once arranged for many exhibitions, he needed a studio. Bork's daughter introduced Kadri's Dr. Fritz Schimitto, who was a freak rich and lived in a large villa herself. Skimitto was an economist in the Danish Ministry, who worked for thirty-five years by calculating the per capita income of Denmark on the same office in the same office. Since his mother's death two years ago, she had become unusually introverted and had little contact with anyone.

The villa in the Helrep region of Copenhagen near the Indian embassy was full of flying birds, fishes, dogs and turtles in the open sky. In one of the many upper rooms covered with dust, there was a huge toy train and in the second, Skimitto's mother's clothes were kept in the same way as the day she was dead. Schimitto asked only where he was, what his profession is and what he can paint in the odd environment of the villa. When Qadri said that he could do so, schemito invited him to stay and Kadri left for a brief period and stayed there for eighteen years.

In 1973, after some years of settling in Copenhagen, Qadri meets his most important second patron and Nobel laureate Henrik Ball. He was introduced to a reputable writer during a show at Bodo Galluab Gallery in Cologne, Germany. Ball bought many paintings and wrote about Kadri's work. Apart from this, during this period, Qadri took over the responsibility of an old gun factory with American drug addict Linda Wood and Pere Bacho and got acquainted with a free city named Christiana, which is still present in Copenhagen. Over time, everything was available in Christina. There was no privacy here and Hasis was available in the market in the open. Although he enjoyed this openness, but it was an impossible environment to work. Six months later, Qadri came back to Helrope, where he remained until 1986 to Dr. Shimito's death. Eventually he went to the government-sponsored artists' halls, where he is still living.

Although they continued to work on canvas, since the mid-1970s, paper became the favorite medium of Kadri. They say, "I was always looking for a medium, where effort is unnecessary. The deeper states of life are not brought out of the effort." They say They say that their work is not of a philosophical nature, it should not be to stimulate the thinking process. On the contrary, their purpose is to capture the thought process, as it is in meditation, whose kadri practiced and taught everyday.

Mostly, Qadri works on one colored surfaces, in which they enter with holes and granular points. Buddhist scholar Robert Thurman has described his points and granular figures as "bright bubbles of energy". Qadri changes paper to a three-dimensional surface. Despite the fact that he lives in Northern Europe, the spirit of Indian ethos is fully present in his art. Their colors are shiny - Synduris are red, mayary blue, deep orange color and even dark black and brown and are clearly Indian. The color is faded and it seems that the paper is loosened. The vibration produced by the colors is infinite and breaks the boundary between the inside of the image and the outer space of the viewer.

Qadri's artistic productivity has increased during the 1980s and 1990s and he was invited to exhibitions in Los Angeles, Copenhagen, Nairobi, New Delhi, Mumbai, Singapore and New York. Although he never married, but helped to raise his three children from two partners, one Christian from Kerala and another one. This was the time when he started planning to make a spiritual dead art project, a knowledge pillar or a knowledge stupa on an ancient trade route in Punjab of India. These structures will eventually be built on many acres of land and will be dedicated to knowledge and peace. Stupa is in progress. Along with his own art formation, Qadri has continued to teach meditation lessons to students of advanced levels in Scandinavia.

Qadri successfully led life in different cultures throughout his career. He says, "I did not want to limit myself to a place, nation or community." "The approach towards my life is universal and this is my art." Quote चित्र:Sohan Qadri Agamas.jpg Sohan Qadri, Agamas, 2008. Inks and colors on paper, 55 x 39 " चित्र:Sohan Qadri, Tripti VII.jpg Sohan Qadri, Trinity VII, 2008. Inks and colors on paper, 55 x 39 "

It is the privilege to introduce Sohan Qadri's knowledge and art, even in such a small form. The aim of such art is not to create the theory only. It can not have any purpose. It invites its partner to open the vibrant dimension from where it is born. It flourishes in the farm of the artist's experience of reality. After seeing through the illusion, it breaks into the form of pure beauty and flies free. Real freedom does not trap itself in the trap, it is free from itself alone, and therefore happiness and love for others engages in confusion with others. The deceptive delusion becomes transformed into the magic of providing salvation. The knowledge artist leaves the Anand Sagar. Anand unselfconsciously sees others with a loving eye, ahead of them also prepares the desire for happiness. The artist imagines the place of beauty, where her experience has touched another's experience.

डॉ॰ रॉबर्ट थुरमैन

There are artists. Tantric artists are. As far as I know, there are no Tantric Yogis, who are also artists. Sohan Qadri is an exception. He is an extraordinary artist. He is the master master (master) in the art of yoga. He is the master master in the art of painting. He is a Tantric yogi who practices, who from time to time use rituals (Punch-Maakar), which are forbidden food, drink, and adultery. By breaking the law in this case, he becomes a legislator in a way.

To become an idolist, one should know about creating images. To break the law, someone should be a learned lawyer. '

Qadri is a learned man. He is a virtuous, from which a halo is produced. Try to tell them as a fake sage or expose them and they will emerge as a great artist. Try to declare his art trick and he will emerge as a great scholar. Try to prove their knowledge false and it will prove that all these three-sadhus, aesthetics and knowledge exist in them.

There is no doubt in my mind that Sohan Qadri is emerging as a rare and fundamental partner. You can see his painting as instruments or chambers and can describe them as words like mantras. In his paintings, you can see the symbolic representation of the power of Kundalini or Bhujanga-power, which is said to be located in a curved shape at the end of the spine. You can see their painting as just a form or a color and enjoy them as a pure art form. It does not make any difference to which angle you are viewing, but it reveals a great attitude, which is mysticism. In its aesthetics, the union of Sakha reaches the climax with emotion.

Sohan Qadri can be a guru. He can be a Tantric Baba. It can be anything unconnected with art. He is a fantastic artist for me. Ajit Mukherjee's book Mechanism Art (which I reviewed in Studio International, December 1996) said, "It is amazing that many great Indian artists eventually became sages." But with Sohan Qadri, I feel that inverted, but maybe to return again.

- F. N. Souza (painter and author), New York, June 1976

The whole work of Qadri's art is to get the theory of emptiness in the form of this aesthetic reality. Whether their emblems emphasize emptiness, as is the sadness of the Nayan and Ankur, the dark, as well as the emptiness or the seeds of light surrounded by the dark darkness of the fourth part, such as the stimulatically vibrant colors, faith and religion of the seed . I believe that they are tense with the dialectics of zero and seed, which is the conflict of creativity.

-डोनाल्ड कुस्पिट

Using intangible to deliver the message of encroachment, they are the pre-eminent aesthetic secrets of modernism.

-डोनाल्ड कुस्पिट

Selected Bibiography (bibliography)

2009 Wonderstand: The Poems "Efforts" and "The Dot and the Doubts", point publisher, Stockholm, Sweden. ISBN 978-91-977894-0-0.

2007 Sohan Qadri: Presence of Being, Sundaram Tagore Inc., New York, United States ISBN 81-88204-35-8.

2005 Sikar: The Art of Sohan Qadri, Maple Publishing, New York, USA

1999 witness, seer, art and deal, New Delhi, India

1995 Interpolation, Punjabi Sutra, New Age, New Delhi, India

1995 Afroisimer, Danish translation of English formula, Omens Forlalung, Denmark

1990 Bund Samundar, Punjabi Sutras, Amritsar, New Delhi, India The Dot and the Dots, English Sutras, Writers Workshop, Kolkata, India

1987 soil soil, Punjabi formula, New era, New Delhi, India

1978 The Dot and the Dots Poem and Image, Stockholm, Sweden. ISBN 91-85778-00-1.

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