Lawastla ajéc Jaþmanda

Lawastla ajéc Jaþmanda (English: A cuddle next to the Jaþmanda) is a 1988 painting by Clesé Adilili. Controversial at its release for its subject matter, depicting two naked women cuddling and likely having sex beside the Jaþmanda river from a distance, it is today (2047) seen as an icon of Mangátle, remaining controversial in the rest of Covtle. It was a finalist for Lageðba ad lazudba ad latordo ad Mangátle (English: the University of Mangátle art prize) in 1989, but lost to another painting.

Background

Before 1986, Clesé Adilili was considered to be a fairly new artist, mostly known within her hometown of Mangátle. Her 1986 painting Cientla an lasoli was well regarded, and featured the uncontroversial subject matter of the Cientla mountains and the sun, with no people in the painting. She was primarily known following that painting for her background, being the youngest daughter of farmers rather than an established city family. Following the success of Cientla an lasoli, she began work on a more ambitious project, which was to be revealed by 1988.

Reveal and controversy

When Clesé revealed Lawastla ajéc Jaþmanda, controversy immediately followed. She was accused of not having respect for Adcovtle artistic traditions, which tend to avoid human figures, especially in intimate situations. Clesé defended the work, saying that she was painting life as she saw it. This caused more controversy, with some people, especially in Glisng, denouncing Clesé as an unsavoury figure.

However, the work's attention to detail, ambiguity, positioning of the subjects in a larger scene, and provocative nature won over a number of admirers, especially in Mangátle. In 1989 it was nominated for Lageðba ad lazudba ad latordo ad Mangátle (English: the University of Mangátle art prize) and became a finalist, before losing to another painting.

Subsequent developments

Clesé continued to paint additional paintings, some with similar themes and some with less controversial themes. Lawastla ajéc Jaþmanda was displayed for a time at the University of Mangátle art museum, before moving to a smaller private art museum in 1999. It later moved back to the University of Mangátle art museum in 2016.

Opinions remain divided on the artwork. Its popularity in Mangátle has grown since 1989, while its popularity elsewhere in Covtle has shrunk. It is considered iconic of Mangátle. It is currently (as of 2047) displayed at the University of Mangátle art museum.