Chantal Jumel

Between Beauty and Sorrow

At the beginning of the year, I returned to India, arriving in time to immerse myself once again in the Tamil festivities that have become so dear to me. I found joy in listening to the recitation of Andal’s verses from the Tiruppavai, whose devotional poetry has accompanied generations of worshippers. The Mylapore Festival, with its vibrant streets and magnificent kolams drawn on the ground, filled me once again with wonder. My journey continued towards northern Kerala, where I documented kalam paintings dedicated to the goddess and to Lord Ayyappan, ephemeral images created through patience, devotion and an extraordinary mastery of colour and form. At the end of January, I attended a kolam competition in Thiruvananthapuram, held in front of the Padmanabhaswamy Temple, another celebration of this living tradition.

In February, my son joined me, and together we travelled through Thanjavur, Chettinad and Goa, sharing the discovery of places rich in history, architecture and culture. Then I returned to France, where I discovered a magical place: the carved rocks of Rothéneuf in Brittany, near Saint-Malo, a landscape where stone, imagination and the sea seem to merge.

Summer arrived with its fruits and the quiet work of gardening. Yet, despite the beauty surrounding me, my mind remained haunted by images of war and by the countless lives lost. In October, the trial of the men accused of raping Gisèle Pelicot while she was unconscious under the effects of sedatives ended. Held publicly, the trial transformed her image into a symbol of the fight against sexual violence, in France and throughout the world.

Moon calendar 2025. Ink on paper 142x66cm, 56x26in.

Details, Moon calendar 2025. Ink on paper 142x66cm, 56x26in.

The Best and the Worst

At the beginning of January, I was in India for Pongal, the Tamil harvest festival, a celebration filled with colour, gratitude and the renewal of life. In February, I returned to France. The rain seemed endless, falling day after day until July. During the summer months, I found refuge in my garden, caring for its plants and watching the slow rhythms of nature. From 26 July to 11 August, Paris hosted the Olympic Games, followed by the Paralympic Games from 28 August to 8 September. A moment of celebration and shared emotion, when the world gathered together through sport. Yet, alongside these moments of joy, the suffering of the world continued. A video of a young Iranian woman standing in her underwear in front of Azad University in Tehran spread around the world, making her a symbol of Iranian women’s resistance against compulsory veiling. In Palestine, ruin and destruction continued, a tragedy unfolding day after day. Meanwhile, the cranes took flight once again. Each time they passed above me, I felt the same sense of wonder, watching their ancient journey through the skies. In December, I returned to India, ready to immerse myself once again in the Chennai Season and the Mylapore Festival, where music, dance, rituals and kolams celebrate the richness of Tamil culture.

The Best and the Worst

2024, Ink on paper 142x66 cm, 56x26 in

2024, details. Ink on paper 142x66 cm, 56x26 in

2024 details, Ink on paper 142x66 cm, 56x26 in

Ephemeral beauties

Moon calendar 2023. Ink on paper 142x66cm, 56x26in.

Travelling to Tamil-Nadu, Vrindavan, Odisha, Kerala, Hazaribagh, and Kerala again.

Detail, Moon calendar 2023. Ink on rice paper, 142x66 cm, 56x26in.

Travelling to Jharkhand and Kerala

“So the tree rustles in the evening, when we stand uneasy before our own childish thoughts: Trees have long thoughts, long-breathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.” Herman Hesse

Brahmamudi, the unending line

Some sikku kolam are called Brahma mudi, literally "knots of Brahma". They are drawn with a single, continuous, and uninterrupted line to symbolize nature within its endless cycle; dissolving into primal chaos followed by restoration of order. The knots are not only present in kolam, but they are also the symbol of seamless and unending union that binds the three sacred threads of a Brahmin. During a Hindu wedding, the commitment between a bride and a groom is represented by the ritual of “tying the knot” in the literal sense. The bride and the groom are bonded by tying the end of the sari to the scarf of the groom.

Brahmamudi kolam

Brahmamudi kolam, 2023, Ink on rice paper, 142x66 cm, 56x26in.

Revolution and Despair

Revolution and Despair

Moon calendar 2022. Ink on rice paper, 142x66 cm, 56x26in.

Revolution and Despair

detail, moon calendar 2022. Ink on rice paper, 142x66 cm, 56x26in.

Revolution and Despair

Detail, moon calendar 2022. Ink on rice paper, 142x66 cm, 56x26in.

Perseverance and the twelve moons

Another year spent away from social life, soaking in the serene atmosphere of my garden and flowers, remembering the Atharva Veda poems dedicated to medicinal plants that heal both the body and the soul. Enjoying the undulating flights of the cranes during the spring and fall migration. l am so lucky to live in a migratory corridor, and contemplate in awe these mythical inhabitants of another universe. Perseverance is another one, the robot landing on Mars may not changed the world but the first images of the Red Planet were mesmerising, I cannot help but be in awe of the infinite evolving Space. Doesn't the name itself refer to one following a path steadfastly without being waylaid or dismayed by difficulties? A key word that has set the tone for the last two years.

Plantes Médicinales (Atharva 8.7)

Brunes et blanches, rouges et bigarrées, foncées et noires, toutes les Plantes nous les invoquons. Qu'elles sauvent cet homme du mal envoyé par les Dieux. ces Herbes ! leur père est le Ciel, leur mère est la Terre, leur racine est l'Océan.

À l'origine étaient les Eaux et les Plantes du ciel c'est elles qui ont aboli de tous les membres le mal né du péché.

Les Plantes qui jonchent, celles qui forment touffe ou n'ont qu'une tige, celles qui s'étendent, je les invoque ! J'appelle pour toi les Herbes riches en suc, celles qui ont des nœuds et celles qui ont une ramure, les Plantes qui appartiennent à Tous-les-Dieux, les redoutables, celles qui donnent la vie aux hommes.

Avec la puissance qui est vôtre, Ô Plantes puissantes, et la force et la vigueur, délivrez cet homme de ce mal ! je vais préparer le remède.

Perseverance and the twelve moons

Detail, Ink on rice paper, 142x66 cm, 56x26 in, 2021

Perseverance and the twelve moons

Ink on rice paper, 142x66 cm, 56x26 in, 2021

Perseverance and the twelve moons

Detail, Ink on rice paper, 142x66 cm, 56x26 in, 2021

Perseverance and the twelve moons

Detail, Ink on rice paper, 142x66 cm, 56x26 in, 2021

A year of thirteen moons

During two long months outside of human time and even if the benevolent garden rocked me every day with its colors and smells, the terrifying feeling of an invisible threat has left an indelible mark on me. I conjured up the spell by repeating the moons as I would pray a rosary. The following excerpts are taken from the novel written by Pierre Loti, “Reflets sur la route sombre” and those lines have inspired my drawing.

“Du noir intense autour de moi, et sur ma tête des scintillements d'étoiles. Du noir intense, des confusions de choses noires, ici, dans l'infime région terrestre où vit et marche l'être infime que je suis ; un air pur et glacé, qui dilate momentanément ma poitrine d'atome et semble doubler ma vitalité éphémère."

“ Et je regarde, au-dessus du noir de la terre qui m'entoure, scintiller les mondes. Alors, peu à peu, me surprend le sentiment particulier qui est l'épouvante sidérale, le vertige de l'infini.”

A year of thirteen moons

Ink on rice paper, 142x66 cm, 56x26 in, 2020

A year of thirteen moons

Detail, Ink on rice paper, 142x66 cm, 56x26 in, 2020

A year of thirteen moons

Detail, Ink on rice paper, 142x66 cm, 56x26 in, 2020

Pierced papers

Geometry like thoughts, spooling, forming, evaporating, folding, unfolding, forming new shapes, dissolving.

The diagrams are drawn by hand, but sometimes bamboo, plastic or metal sheets pierced with a pattern of holes are used as stencils to draw the kolam or the borders surrounding them. They remind me of the pin-pierced papers in vogue in Europe throughout the 18th century until early 19th. Little is known of the history of cutting and pin-piercing paper apart from they were a favourite and popular pastime. They were also part of devotional art works created by nuns or monks as souvenirs at religious pilgrimages. The obsessive nature of the technique emphasizes the awareness to the “Here and now”.

The Indian visual world is my main inspiration. I have documented in length the floor paintings in South-India. The diagrams are drawn by hand, but sometimes bamboo, plastic or metal sheets pierced with a pattern of holes are used as stencils to draw the kolam or the borders surrounding them.

Tamil Geometry 01

Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil Geometry 01

Detail, Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil Geometry 02

Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry 02

Detail, Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry 02

Detail, Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry 03

Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry 03

Detail, Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry 03

Detail, Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil Geometry 04

Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry 04

Detail, Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil Geometry 05

Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry 05

Detail, Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry 06

Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry

Detail, Khadi hand-made paper, (89x55cm, 22x32in), 2023

Tamil geometry 1

Detail, Arches paper, 25X25cm, 10x10in

Tamil geometry 1

Arches paper, 25X25cm, 10x10in

Tamil geometry 2

Arches paper, 25X25cm, 10x10in

Tamil geometry 2

Detail, Arches paper, 25X25cm, 10x10in

Tamil geometry 3

Arches paper, sanguine ink, 25X25cm, 10x10in

Tamil geometry 3

Detail, Arches paper, sanguine ink, 25X25cm, 10x10in

Flowers 1

Arches paper, 25X25cm, 10x10in

Flowers 2

Arches paper, sanguine ink, 25X25cm, 10x10in

Flowers 2

Detail, Arches paper, sanguine ink, 25X25cm, 10x10in

Flowers and parrots

Arches paper, sanguine ink, 25X25cm, 10x10in

Flowers and parrots

Detail, Arches paper, sanguine ink, 25X25cm, 10x10in

Bamboo and rice flour

Bamboo pierced with a pattern of holes.

Metal stencils

Metal plates pierced with various patterns of holes

Metal cylinder

Filling rice flour in a metal cylinder pierced with a pattern of holes

Prakriti-Purusha

Prakriti personifies and symbolises Nature. As the mother of all, she represents the universal womb, in which every form and object manifest. Purusha is the Supreme principle, who represents the one, indivisible, inactive, unchangeable, infinite, independent cosmic reality. In us, Purusha personifies the Self, while Prakriti represents the mind and body. Together they manifest in the world as Jiva, the living being or the embodied soul.

Prakriti, the Universal womb

Prakriti, ink on paper, 30x40cm, 12x16 inches

Prakriti, the Universal womb

Prakriti (detail), ink on paper, 30x40 cm, 12x16 inches

Purusha, the Universal Principle

Purusha, ink on paper, 30x40 cm, 12x16 inches

Purusha, the Universal Principle

Purusha (detail), ink on paper, 30x40 cm, 12x16 inches

Circling the unseen

Circling the Unseen

Circling the Unseen 1, ink on paper, 30x40 cm, 12x16 in

Circling the Unseen

Circling the Unseen 2, ink on paper, 30x40 cm, 12x16 in

Circling the Unseen

Circling the Unseen 3, ink on paper, 30x40 cm, 12x16 in

Circling the Unseen

Circling the Unseen 4, ink on paper, 30x40 cm, 12x16 in

Gaïa

Gaïa

Ink on rice paper, 142x66 cm, 56x26 in, 2020

Gaïa

Detail, Ink on rice paper, 142x66 cm, 56x26 in

Gaïa

Detail, Ink on rice paper, 142x66 cm, 56x26 in

Gaïa

Detail, Ink on rice paper, 142x66 cm, 56x26 in

Gaïa

Detail, Ink on rice paper, 142x66 cm, 56x26 in

Gaïa

Detail, Ink on rice paper, 142x66 cm, 56x26 in

Elements

Elements

Ink on rice paper, 50x70cm. 20x70 in.

Elements detail, Fire, Ink on rice paper, 50x70cm. 20x70 in.

Elements detail, Air, Ink on rice paper, 50x70cm. 20x70 in.

Elements detail, Water, Ink on rice paper, 50x70cm. 20x70 in.

Elements detail, Earth, Ink on rice paper, 50x70cm. 20x70 in.

Involving-Evolving

Imagining the laws of dynamics governing the body fluids as well as thoughts and feelings.

Inv-Evol 01, Ink on paper, 25x25 cm, 10x10 in.

Inv-Evol 02, Ink on paper, 25x25 cm, 10x10 in.

Inv-Evol 03, Ink on paper, 25x25 cm, 10x10 in

Inv-Evol 04, Ink on paper, 25x25 cm, 10x10 in.

Inv-Evol 05, Ink on paper, 25x25 cm, 10x10 in.

Inv-Evol 06, Ink on paper, 25x25 cm, 10x10 in.

Passage

Passage I

ink on rice paper, 50x70cm. 20x70 inch.

Passage I, detail, ink on rice paper, 50x70cm. 20x70 inch.

Passage II

Ink on rice paper, 50x70cm. 20x70 inch.

Passage II, detail, ink on rice paper, 50x70cm. 20x70 inch.

Passage III

Ink on rice paper, 50x70cm, 20x70 inch.

Passage III, detail, ink on rice paper, 50x70cm. 20x70 inch.

Passage IV

Ink on rice paper, 50x70cm. 20x70 inch.

Passage IV, details, ink on rice paper, 50x70cm. 20x70 inch.

Passage V

Ink on rice paper, 50x70cm, 20x70 inch.

Passage V, details, ink on rice paper, 50x70cm. 20x70 inch.

Kolam, Tamil geometry II

Autumn bloom, ink on paper, 20x20cm, 8x8 inch.

Birth of a star, ink on paper, 20x20cm, 8x8 inch

.

Deep within, ink on paper, 20x20cm, 8x8 inch.

Rising star, ink on paper, 20x20cm, 8x8 inch.

Blooming I, ink on paper, 20x20cm, 8x8 inch.

Blooming II, ink on paper, 20x20cm, 8x8 inch.

Deep within, ink on paper, 20x20cm, 8x8 inch.

Extending waves, ink on paper, 20x20cm, 8x8 inch.

Birth of a star, ink on paper, 20x20cm, 8x8 inch.

Life path

Life path I

Ink on rice paper, 75x72 cm, 30x28,8 inch

Detail, ink on rice paper, 75x72 cm, 30x28,8 inch

Life path II

Ink on rice paper, 75x72 cm, 30x28,8 inch

Detail, ink on rice paper, 75x72 cm, 30x28,8 inch

Life path III

Ink on rice paper, 75x72 cm, 30x28,8 inch

Detail, ink on rice paper, 75x72 cm, 30x28,8 inch

Life path IV

Ink on rice paper, 75x72 cm, 30x28,8 inch

Detail, ink on rice paper, 75x72 cm, 30x28,8 inch

Life path V

Ink on rice paper, 75x72 cm, 30x28,8 inch

Detail, ink on rice paper, 75x72 cm, 30x28,8 inch

Life path VI

Ink on rice paper, 98x66 cm, 39,2x16,5 inch

Detail, ink on rice paper, 98x66 cm, 39,2x16,5 inch

Portraits of vegetables

Tomatoes, ink on paper 20x20cm, 8x8 inches.

Red cabbage, ink on paper 20x20cm, 8x8 inches.

Artichoke from above, ink on paper 20x20cm, 8x8 inches. (priv.coll.)

Kiwi, ink on paper 20x20cm, 8x8 inches.

Red cabbage, transversal cut, ink on paper 20x20cm, 8x8 inches.

Peas, ink on paper 20x20cm, 8x8 inches. (priv. coll.)

Resting papaya, ink on paper 20x20cm, 8x8 inches.

Ladies fingers, ink on paper 20x20cm, 8x8 inches.

Leaning artichoke, ink on paper 20x20cm, 8x8 inches.

Sangam poems

I received as a gift the book "Love stands alone" . It is a selection from Tamil Sangam poetry. The liveliness of the situations and the translation of Thangappa have inspired me quite a few images. The poems belong to Sangam literature spanning from (c. 300 BCE to 300 CE) and were composed by Tamil poets, both men and women, from various professions and classes of society. Primarily secular, they deal with everyday themes such as love, war, governance, trade and bereavement.

Butterflies with beautiful wings

Ink pen /sanguine and sepia/ rice paper, 63x47cm, 25,2 x 18,8 inches

"Butterflies with beautiful wings. Living by sucking nectar, tell me honestly, Is there any flower know to you more fragrant than the tresses of this girl my most dear friend who has close-set teeth and a peacock graceful mien ? "Poet Iraiyanar, Kurinji thinai, Kurunthokai

Butterflies with beautiful wings

Detail, ink pen /sanguine and sepia/ rice paper, 63x47cm, 25,2 x 18,8 inches

Only the thief was there

Ink pen /sanguine / rice paper, 63x47cm, 25,2 x 18,8 inches

" Only the thief was there, no one else.
And if he should lie, what can I do ?
There was only a thin-legged heron standing on legs yellow as millet stems and looking for fishes in the running water when he took me."

Poet Kapilar, Kurinji thinai, Kurunthokai

Only the thief was there

Detail, Ink pen /sanguine / rice paper, 63x47cm, 25,2 x 18,8 inches

There was a time when I was close to him

Ink pen /sanguine / rice paper, 63x47cm, 25,2 x 18,8 inches

"He's not from some country beyond the hills, or from a town so far you can't see the trees. He lives so near I can't help but see him: yet he acts distant, like some holy sect close only to a god. There was a time when I was close to him." Poet Nettumpalliyattan, Marutam thinai, Kuruntokai

There was a time when I was close to him

Detail, ink pen /sanguine / rice paper, 63x47cm, 25,2 x 18,8 inches

His seas swell

Ink pen /sanguine / rice paper, 63x47cm, 25,2 x 18,8 inches

"Friend, his seas swell and roar, Making conch shells whirl on the sands. But fishermen ply their little wooden boats unafraid of the cold lashes of the waves. Look my bangles slip loose as he leaves, grow tight as he returns And they give me away" Poet Ammuvanar, Neytal thinai, Ainkurunuru

His seas swell

Detail, Ink pen /sanguine / rice paper, 63x47cm, 25,2 x 18,8 inches

His seas swell

Detail, Ink pen /sanguine / rice paper, 63x47cm, 25,2 x 18,8 inches

Red earth

Ink pen /sanguine and sepia/ rice paper, 63x47cm, 25,2 x 18,8 inches

"Your mother and my mother do not know each other. Your father and my father are not related either. As for you and me, how do we know each other ? and yet like the mingling of rainwater with red soil, our hearts have mingled." Poet Champulapeyanirar, Kurinji thinai, Kurunthokai

Red earth

Detail, ink pen /sanguine and sepia/ rice paper, 63x47cm, 25,2 x 18,8 inches

My kolam stories.

Traditional floor paintings have been part of my Indian journey and I learned to draw the vibrant kôlam. The variety of designs has inspired me this story in image.

Ink on paper, 135X68cm, 54x27 inch

Detail, ink on paper, 135X68cm, 54x27 inch

Drought

Embracing the last tree on earth, Nayika thinks about water, the lack of it, the water fetching by women or children, the distress of farmers, the abandoned ships of Aral sea. The only worthy temples are the bâoli or stepwells in Rajasthan.

Drought

Ink on paper, 135X68cm, 54x27 inches

Drought

Detail Ink on paper, 135X68cm, 54x27 inches

Drought

Detail Ink on paper, 135X68cm, 54x27 inches

Drought

Detail Ink on paper, 135X68cm, 54x27 inches

Drought

Detail Ink on paper, 135X68cm, 54x27 inches

Drought

Detail Ink on paper, 135X68cm, 54x27 inches

Drought

Detail Ink on paper, 135X68cm, 54x27 inches

Drought

Detail Ink on paper, 135X68cm, 54x27 inches

Sullied Earth

Air, Fire, Water and Earth; the Elements that create, sustain and destroy the world.

Sullied Earth

Ink on paper, 135X68cm, 54x27 inches

Sullied Earth

Detail, ink on paper, 135X68cm, 54x27 inches

Sullied Earth

Detail, Ink on paper, 135X68cm, 54x27 inches

Sullied Earth

Detail, ink on paper, 135X68cm, 54x27 inches

Sullied Earth

Detail, ink on paper, 135X68cm, 54x27 inches

Bhû, the Earth

During my learning days in India, my teacher used to quote the following verses taken from Atharva Veda. It is a prayer dedicated to the personified Earth. I still cherish these following lines : “What Ô Earth, I dig out of thee, quickly shall that grow again: may I not, Ô pure one, pierce thy vital spot , not your heart ”

Bhû I

Ink on paper, 95x63cm, 38x25,2 inch

Bhû I

Detail, ink on paper, 95x63cm, 38x25,2 inch

Bhû I

Detail, ink on paper, 95x63cm, 38x25,2 inch

Bhû II

Ink on paper, 95x63cm, 38x25,2 inch

Bhû II

Detail, ink on paper, 95x63cm, 38x25,2 inch

Bhû II

Detail, ink on paper, 95x63cm, 38x25,2 inch

The Elements

Earth

Ink on paper, 135X68cm, 54x27inches

Earth

Detail, ink on paper, 135X68cm, 54x27 inches

Earth

Detail, ink on paper, 135X68cm, 54x27 inches

Earth

Detail, ink on paper, 135X68cm, 54x27 inches

Water

Ink on paper, 135X68cm, 54x27 inches

Water

Detail, ink on paper, 135X68cm, 54x27 inches

Water

Detail, ink on paper, 135X68cm, 54x27 inches

Water

Detail, ink on paper, 135X68cm, 54x27 inches

Fire

Ink on paper, 135X68cm, 54x27 inches

Fire

Detail, ink on paper, 135X68cm, 54x27 inches

Fire

Detail, ink on paper, 135X68cm, 54x27 inches

Air

Ink on paper, 135X68cm, 54x27 inches

Air

Detail, ink on paper, 135X68cm, 54x27 inches

Air

Detail, ink on paper, 135X68cm, 54x27 inches

Parrots in conversation

For a short time I studied Kerala mural painting. As an exercise, my teacher asked me to copy the parrot seen down left. Later i did learn many kolam designs including parrots.

Ink on paper, 71x50 cm, 28x20 inches

Detail, ink on paper, 71x50 cm, 28x20 inches

Prakriti-Purusha

One school of Hindu philosophy envisions the universe as a combination of two principles : Prakriti, the ever changing material realm and Purusha, the universal principle that is eternal, indestructible, without form and all pervasive. Purusha and Prakriti have also been described as the primordial lovers, “Shiva and Shakti”, who are creating the Universe with their interaction.

Prakriti

Ink on paper, 55x75cm, 21,6X29,5 inch

Prakriti

Prakriti detail, Ink on paper, 55x75cm, 21,6X29,5 inch

Prakriti

Prakriti detail, Ink on paper, 55x75cm, 21,6X29,5 inch

Purusha

Ink on paper, 55x75cm, 21,6X29,5 inch

Purusha

Purusha, detail, Ink on paper, 55x75cm, 21,6X29,5 inch

Purusha

Purusha, detail, Ink on paper, 55x75cm, 21,6X29,5 inch

Mithuna, the union

Mithuna, Ink on paper, 55x75cm, 21,6X29,5 inch

Mithuna, the union

Mithuna detail, Ink on paper, 55x75cm, 21,6X29,5 inch

Sa-Ri-Ga-Ma-Pa-Dha-Ni-Sa

For The European Night of Museums, I created for the museum "Musée des instruments", Céret, France, a floor painting on the theme of Indian musical scale and its symbolic representation.Technic both inspired by the Tamil kolam and Kerala kalam.

Sa-Ri-Ga-Ma-Pa-Dha-Ni-Sa

Sapta Swaras.

SA (peacock)

RI (bull)

GA (goat)

MA (heron)

PA (cuckoo)

DHA (horse)

NI (éléphant)

India in Brittany

Treble clef as used as design.

Detail of a lotus