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.