This postcard flips. Image side: Portrait orientation. There is a woman seated on a low charpoy, cooking. She is wearing a striped saree and like the elderly woman before her, faces left. She has all her cooking equipments near at hand, with some vegetables and spices too. Smoke billows out of the pot in which she cooks. She is surrounded by small animals, insects and birds, who share her kitchen space. Caption on the right reads Soyna randhchhe, or Soyna cooking. Writing side: A densely packed letter by Nandalal written to his "Banu didi." The text spills over and has to be fitted at different angles along the card's edges.

Soyna Randchhe (Soyna cooking), Postcard to Banu-didi 

10 January 1956

Collection: DAG Museums

Although perhaps unintended, this postcard to Nandalals “Banu-didi,” titled “Soyna randhchhe” (Soyna cooking), appears to be a companion piece to his 1944 depiction of an older woman, cooking. In this case, she is surrounded by a host of insects, birds and small animals, that share her kitchen space with her. This sketch can be set in the context of Nandalal’s reflections in one of his postcards to Ramesh Charan, where he writes: 

“...the subject is domestic but the mood [bhava] may be idealised. Thus, a Bengali woman sits cooking rice. It is as if Radha is doing her everyday household work. She is pining for Krishna, but she carries that feeling inside her and that is the sense I have tried to bring to what I have drawn. This may not show up, but this is the feeling I found in this picture....When the lyric mode does not come to me, then I turn to the narrative form and think it best to use mythology to bring life to the picture. This is because our mythology is a living presence in our homes. I will write on this more extensively later.”​

Nandalal Bose to Ramesh Charan Basu Majumdar (in another postcard)

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