Sohan qadri biography templates
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Artist, poet and Tantric guru Sohan Qadri has been immersed in painting and meditation for more than 30 years. His dye-suffused paintings on meticulously serrated paper reflect his Vajrayana Tantric Buddhist philosophical beliefs. Dr. Robert Thurman, professor of Eastern religions at Columbia University and director of Tibet House, says, "If words were colors, Qadri's art would not be as essentially necessary as it is."
Qadri has lived in Copenhagen, Denmark, for the last 25 years, but his career has taken him across Asia, Africa and North America. Sohan Qadri was born in India, in the village of Chachoki in the Kangra Hills, an area renowned for its tradition of Indian miniature painting. His early education consisted of practicing writing by scratching script into ash scattered on the mud floors of his outdoor classrooms and using sticks and stones to gouge, scratch and form lumps of mud into fanciful animals and human faces. At age seven he was initiated into yogic practice first by Bikham Giri, a Bengali Tantric Vajrayana yogi, and few years later he became close to a Sufi saint-like figure, Ahmed Ali Shah Qadri, whose last name he adopted. From them he imbibed an ecumenical and a deep spiritual yearning and later, as a teenager, ran away to Tibet to a Buddh
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Artist, poet and Tantric guru Sohan Qadri (1932-2011) is one of the only internationally acclaimed artists deeply engaged with spirituality. Qadri abandoned representation early on in his long career, incorporating Tantric symbolism and philosophy into his vibrantly colored minimalist works. Born in India, he was initiated into yogic practice at age seven. In 1965, he left India and began a series of travels that took him to East Africa, North America, Paris and Zurich.
Settling in Copenhagen, Mr. Qadri participated in more than forty one-man shows, in Bombay, Vienna, Brussels, London, Oslo, Stockholm, Montreal, Toronto, Los Angeles and New York. He distilled Tantric symbolism into his own abstract, modernist language using broad areas of open color, capturing the northern landscape and sky of his Scandinavian surroundings. Although he began his career in the 1950s painting in oil on canvas, he worked on paper from the 1970s onward. He covered the surface of the paper with structural effects by soaking it in liquid and carving it in several stages while applying inks and dyes. In the process, the paper was transformed from a flat, two-dimensional surface into a three-dimensional medium. The repetition of careful incisions on the paper was an integral part of his meditation&
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