Tan Yuan Chameli, was born in Santiniketan in 1940 to Professor Tan Yun-Shan and Chen Nai-Wei. She was named ‘Chameli’ by Rabindranath Tagore. Her artistic journey was profoundly shaped by a synthesis of her Chinese heritage and Tagore’s expansive philosophy. Growing up in Santiniketan, where Indian and Chinese cultural streams intertwined, Chameli’s formative years were steeped in a unique cultural milieu that laid the groundwork for her distinctive artistic vision.

Her education at Patha Bhavana and Kala Bhavana, under the tutelage of such luminaries as Benode Behari Mukherjee and Ramkinkar Baij, further honed her artistic abilities. Graduating with a Diploma in Fine Arts and Crafts in 1960, followed by a B.A. Hons. in Indology in 1964 and an M.A. in Ancient Indian History & Culture in 1966 from Visva-Bharati, Chameli’s academic credentials reflect a robust integration of artistic and intellectual sensibilities.

Xu Beihong’s influence notably enriched Kala Bhavana’s pedagogy during her formative years. Invited by Tagore, Xu Beihong, the celebrated figure in modern Chinese painting, served as the first Chinese visiting professor of the art school from 1939 to 1940. Xu’s engagement in cultural exchange through exhibitions in Visva-Bharati and Calcutta underscored Tagore’s vision of an artistic synthesis among Eastern civilizations. Xu Beihong’s expertise in Chinese ink brush painting and calligraphy not only broadened the artistic vistas of his Indian contemporaries but also underscored the ethos of Visva-Bharati—where the world met in a nest.

In 1967, Chameli married fellow artist A. Ramachandran and relocated to Delhi, where she balanced familial responsibilities with artistic contributions. Although her personal artistic endeavours were momentarily eclipsed by her role in supporting Ramachandran’s projects and contributing to children’s books published in India, Japan, Korea, and England, her artistic spirit remained resilient.

The early 1990s marked a pivotal return to her artistic practice as her children pursued higher education abroad. Reconnecting with Chinese ink and brush techniques, Chameli developed a personal style reflecting her enduring interaction with nature. Her early experience of living in communion with nature in Santiniketan continued to enrich her during her stay in Delhi and annual visits to Huntsville, Toronto and Rochester. This dialogue with nature, intertwined with memories from her travels and familial connections, became the essence of her artistic expression in her later years. Short trips and the presence of plants and flowers brought by visitors further deepened her engagement with nature, enriching her work through direct engagement and creative recollection.