सुरिन्दर के० भारद्वाज | Surinder K. Bhardwaj

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भारद्वाज का जन्म लाहौर में 20 अप्रैल 1938 को हुआ था। 1947 में भारत विभाजन के कारण उन्हें लाहौर छोड़ना ...

भारद्वाज का जन्म लाहौर में 20 अप्रैल 1938 को हुआ था। 1947 में भारत विभाजन के कारण उन्हें लाहौर छोड़ना पड़ा। कला में अभिरूचि होने के कारण उन्होंने 1955 में पंजाब स्कूल आफ आर्ट्स शिमला (अब चण्डीगढ़) में प्रवेश लिया और पांच वर्ष के उपरान्त सन् 1960 में ड्राइंग एण्ड पेण्टिंग में डिप्लोमा प्राप्त किया। 

इसके पश्चात् उन्होंने एक कलाकार बनने का लक्ष्य निर्धारित किया और कला के रहस्यों का गम्भीर अध्ययन किया। उन्होंने श्रीनगर (काश्मीर), अमृतसर, अम्बाला, नई दिल्ली, बम्बई, लन्दन तथा शरजाह में प्रदर्शनियों आयोजित की हैं तथा श्रीनगर, पटना, बंगलौर, मनाली एवं ग्वालियर के कलाकार कैम्पों में भाग लिया है। 

सन् 1988 ई० के ललित कला अकादमी नई दिल्ली के राष्ट्रीय पुरस्कार के अतिरिक्त उन्हें पंजाब ललित कला अकादमी, जम्मू तथा काश्मीर, हरियाणा तथा अम्बाला आदि में अनेक राज्य सरकारों के पुरस्कारों एवं प्रशंसा-पत्रों द्वारा सम्मानित किया गया है। 

उनके चित्र भारत पेट्रोलियम कार्पोरेशन कलकत्ता, अमर पैलेस संग्रहालय जम्मू, हरियाणा राजभवन, पंजाब विश्वविद्यालय संग्रहालय, ललित कला अकादमी नई दिल्ली आदि के संग्रह में हैं। 

सम्प्रति ये आदर्श महिला महाविद्यालय भिवानी (हरियाणा) में कला-विभाग के अध्यक्ष हैं।

सुरिन्दर भारद्वाज के तप पूर्ण जीवन का उनकी कला में भी प्रभाव आया है। उनकी प्रथम चित्र प्रदर्शनी 1960 में श्रीनगर (काश्मीर) में आयोजित हुई थी जिसमें हुसेन तथा कुलकर्णी जैसे श्रेष्ठ कलाकारों ने उनकी प्रशंसा की थी। 

सन् 1967 में ताज आर्ट गैलरी बम्बई में आयोजित उनकी प्रदर्शनी को देखकर के०एच० आरा भी अत्यन्त प्रभावित हुए थे। इस प्रकार कला जगत् में निरन्तर आगे बढ़ते हुए उन्होंने अपने लिये एक सम्मानपूर्ण स्थान बना लिया है।

आरम्भ में भारद्वाज लम्बी नारी आकृतियों के माध्यम से जीवन के हर्ष-विषाद का चित्रण करते थे। 

इन चित्रों की नारी आकर्षक और पुरुष के अवसादपूर्ण मन को सान्त्वना देने वाली शरण स्थली थी उदास तथा लम्बे पुरुष चेहरों को अपनी बाहों, कन्धों अथवा वक्ष स्थल का आश्रय प्रदान करने वाली, किन्तु स्वयं शून्य आकाश को एकटक निहारती हुई ।

इसके उपरान्त जम्मू के मन्दिरों के स्थापत्य से प्रभावित होकर उन्होंने नगर- दृश्यों का अंकन आरम्भ किया जिनमें भारतीय शैली की रेखा पर बल था। 

उनके नगर चित्रों में यह रेखा शनैःशनैः गहरी होती गयी किन्तु नवीनतम चित्रों में रेखा का स्थान वस्तु के संयोजनों ने ले लिया है। भारद्वाज के नगर-चित्र अमूर्त-संयोजन की ओर झुके हुए हैं। 

उनमें चित्र के विस्तार का विचार बहुत सोच-समझकर आकर्षक ढंग से व्यवस्थित किया गया है। उनके रंग भी प्रयाप्त प्रभावशाली हैं। 

उन्हें देखकर रामकुमार के अमूर्त नगर- दृश्यों का स्मरण हो आता है; किन्तु रामकुमार के नवीनतम दृश्यांकनों में जहाँ प्रकृति की अमूर्त शक्तिमत्ता का आभास होता है वहाँ भारद्वाज के चित्रों में उदास रंगों का प्रयोग न होते हुए भी आधुनिक शहरी जीवन की व्यस्तता, अव्यवस्था और निम्न तथा मध्यवर्गीय विषम परिस्थतियों और गरीबी का प्रतिबिम्ब भी झलकता है। 

उन्होंने चित्रों में अधिकांश खिड़कियों ही अंकित की हैं। कहीं-कहीं तो वे समाचार-पत्र के टुकड़े भी काट कर लगा देते हैं क्योंकि कई बार खिड़कियों के शीशे टूट जाने पर अक्सर कागज चिपका दिया जाता है। 

अपने चित्रों के द्वारा वे प्रायः तंग ढलवाँ गलियों का वातावरण प्रस्तुत करते हैं।

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