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2000 Years of Indian Art

December 7, 2021•Uncategorized

The Indian subcontinent has nurtured some of the oldest human settlements and civilisations in the world. Having hosted countless cultural awakenings, innovations and exchanges since prehistoric times, the region boasts a rich and fascinating artistic history that continues to influence aesthetic movements and captivate spectators even today.

Beginning with the sculptural masterpieces of Buddhist and Hindu art from the first millennium to the ground-breaking modernist art of the 20th century, here we explore India’s captivating art history through a selection of works from Saffronart’s upcoming Winter Live Auction this December.

Early Buddhist Art

Some of the earliest records of artistic experimentation in Northern India during the Common Era can be traced to the Kushan Empire, which, during its peak, extended from Ujjain, Mathura and Sarnath, across the Hindu-Kush to Afghanistan and Bactria. Under Kanishka, their fifth and most famous ruler, the empire witnessed a period of great wealth and flourishing visual arts traditions. The Kushans are credited with some of the earliest depictions of Buddha in sculptural form, which includes the 2nd century red sandstone sculpture below.

(L-R) Head of Buddha, 2nd century, Red sandstone, Estimate: Rs 1.5 – 2 lakhs ($2,055 – 2,740);
Ganga, 8th century, Sandstone, Estimate: Rs 10 – 15 lakhs ($13,700 – 20,550)

Medieval Indian Art

From the 4th to 6th century AD, a large portion of northern India was conquered and ruled by the Gupta Empire, who produced some of the most recognised and celebrated works of sculpture and architecture in Indian history. The incredible developments in technology, literature, religion and visual arts during this period went on to shape the artistic productions of the many smaller dynasties that emerged in the following centuries.

One of the most significant characteristics of art produced during the medieval period, i.e., the 7th to 14th century AD, is the influence of religion and religious texts. As evident in the above 8th century sandstone carving depicting Ganga, the river goddess in Hinduism, the representation of religious figures, storylines and even philosophies through sculpture grew to become a significant practice. This tradition is noticeable even in the sculptures of kingdoms of southern India, especially the Hoysala Dynasty. As observed in the 12th century grey schist sculpture of Lord Ganesha, the sculptures produced under the Hoysala Empire showcase a classical style that is distinct to that of the northern schools.

(L-R) Uma-Maheshwara, 12th century, Bronze, Estimate: Rs 12 – 15 lakhs ($16,440 – 20,550);
Standing Vishnu, 14th century, Bronze, Estimate: Rs 9 – 12 lakhs ($12,330 – 16,440)

Along with stone, bronze was another prominent medium in the sculptures of medieval India. While stone sculpturing was often practised on temple walls and similar architecture, bronze works were smaller in size and relatively easier to transport – giving them a prominent role in the diffusion of Indian philosophies, practices and religion, especially Buddhism, in Southeast Asia. The 12th century Pala sculpture of Uma-Maheshwara, and the 14th century Kulu sculpture depicting Vaikunta Vishnu from our collection showcases that bronze sculpturing thrived not only in the realm of artistic innovations, but also in transmitting cultural discoveries and tradition.

Painting Courts and Indigenous Art

Kalighat Pat, Circa 1860s, Estimate: Rs 8 – 12 lakhs ($10,960 – 16,440)

Following the golden age of Indian sculpturing was a period that saw the development of a diverse range of painting schools including Mughal, Rajputi, Deccani and Pahari courts. The period also saw the resurgence of age-old indigenous art practices such as Pat or scroll painting. Developed in then-Calcutta, Kalighat Pat is a scroll-painting technique that gained momentum in Bengal during the 19th century as the port city transformed into a thriving industrial and commercial centre. As seen in the above Kalighat Pat from the 1860s, practitioners of the Kalighat art form traditionally depicted scenes from the life of Lord Krishna as well as other narratives from Hindu mythology.

Early Bengal School

The presence of British and European trading companies and governing bodies in India during the 18th and 19th century led to the creation of a new school of art known as the Company School. The school depicted Indian people, sceneries and subjects in a traditional Royal Academy-style of painting, thus recording life in Colonial India from a foreign perspective.

Untitled (Radha in Jamuna), Estimate: Rs 12 – 18 lakhs ($16,440 – 24,660)

The Early Bengal School of Art was launched as a response to the increasing prominence of the Company School. Artists of the Early Bengal School, who remain largely anonymous till date, combined the artistic styles of the East and West to forge a direction that was vastly different from any other artistic movement prevalent during this time.

Pre-Independence

The final phase of colonial rule in India saw many attempts by artists to merge the artistic traditions of European schools with the age-old traditions, themes and practices of Indian art. One of the most significant artists from this time, Raja Ravi Varma was known for incorporating oil as a medium and adopting European naturalism and realism to portray distinctly Indian mythological themes.

Raja Ravi Varma, Music Hath Charms (Kadambari), Circa 1900s, Estimate: Rs 12 – 15 crores ($1.64 – 2.05 million)

The movement towards India’s independence from colonial rule urged artists to launch a new style of art that accommodated the changing social, political and cultural conditions of the country. For Jamini Roy, this meant seeking a new aesthetic style that reflected his cultural roots and fulfilled his need for a more personal artistic identity. He went on to introduce a new style of modern painting that celebrated and preserved the country’s regional artistic traditions, particularly Kalighat patuas, while simultaneously reconceptualising them to adapt to the changing times.

Modern Art in Independent India

The year 1947, when India gained her independence, also welcomed the launch of one of the most influential artistic alliances in India: the Bombay Progressive Artists’ Group. Initiated by artists S H Raza, F N Souza, K H Ara, M F Husain, H A Gade and S K Bakre, the group went on to lead the modern art movement in India. Although most of these artists began with a formal training in traditional realistic painting, capturing urban scenes, landscapes and still life through their art, the post-Independence era encouraged them to reach beyond the scope of European Realism and the Revivalist movements of the early 20th century. While the immediate response to their entry in the art world was shock and aversion, their presence was met with national and international respect, recognition and admiration in the years that followed.

K H Ara, Untitled, Estimate: Rs 30 – 40 lakhs ($41,100 – 54,795)

The 1960s

The 1960s were a period of great artistic experimentation and discovery. Increased exposure to European and American modern art movements, as well as a renewed interest in the imagery of classical and regional Indian art, aided the artists of modern India – such as Ram Kumar, Prabhakhar Barwe, M F Husain, S H Raza as well as the other Progressives – to develop their own independent styles that eventually came to define their careers.

Ram Kumar, Untitled, 1962, Estimate: Rs 70 – 90 lakhs ($95,895 – 123,290)

During this period, artist Ram Kumar moved from figurative works to an increasingly abstract renderings of cities and landscapes, whereas M F Husain developed an artistic style that efficiently brought together European modern art traditions and classical Indian forms, subjects and motifs. For S H Raza, the ‘60s were a key period of experimentation, aided by his exposure to the works of American Abstract Expressionists, whereas for Prabhakar Barwe, it was a period when he delved into the genres of Pop Art as well as Tantric philosophy and its imagery.

While many of the modernists were settling into their own unique artistic style and identity, artists such as Jagdish Swaminathan and Bhupen Khakhar were still in the early stages of their career during the ‘60s. Swaminathan, who was concerned with the creation of a truly Indian modern art that was developed by turning inward, explored and adopted the symbology of ancient cave paintings and the nation’s age-old indigenous art during this period. Meanwhile, Khakhar, who had just moved to Baroda from Bombay, would create an iconic style that featured elements of Hindu symbolism and elements of the Baroda School in formats that were inspired by Western Pop Art.   

Late 20th Century

The latter half of the 20th century saw Indian artists experimenting with diverse mediums, techniques and disciplines, as one can see in the works of Himmat Shah whose sculptures were made from materials as wide as brick, cement, plaster as well as terracotta and bronze. Despite their differences in medium, the majority of art produced in this period of Indian history were connected by a similar purpose – an examination of life in the modern age.

From exploring the aftermaths of the Partition of India to examining the contemporary struggles of migrants, refugees and the destitute, art became deeply relevant, conceptual and heavy in metaphors alluding to matters of social significance. These qualities are demonstrated in Krishen Khanna’s bandwallah series as well as Zarina Hashmi’s semi-abstract woodcut and intaglio prints.

Zarina Hashmi, Debris of Destruction, 2016, Estimate: 40 – 60 lakhs ($54,795 – 82,195)

“The history of art is the history of revivals.” These words by British novelist Samuel Butler powerfully resonate with the evolution of Indian art. Since its ancient beginnings, a plethora of artistic traditions and movements have prospered in the subcontinent, each reflecting the distinctive and diverse political, cultural and social influences of the period from which they were conceived. Nevertheless, as seen in this brief journey through India’s rich artistic past, these multiple independent aesthetic movements bear many similarities despite their differences in time, geographic origins, and socio-political circumstances. From the influence of the Ajanta frescoes and Mughal miniature on the Early Bengal School of Art, to Himmat Shah’s sculptures that were inspired by the prehistoric masterpieces of the Indus Valley Civilisation, Indian art has frequently touched upon the past when directing the future.

What is the Use of a Book Without Pictures?

June 22, 2019•Art, Collectibles, Literature

Taking our cue from these wise words by Lewis Carroll’s Alice, we explore the work of exceptional European illustrators from the late 19th and early 20th century. Many of the fascinating, fantastical illustrations by these artists can be seen in our upcoming StoryLTD auction of First Editions, Signed and Limited Edition Books.

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Drawing from Literature and Legend: 4 Inspired Paintings

September 12, 2018•Art, Literature

Four works from Saffronart’s upcoming Evening Sale in New Delhi on 20 September which draw upon themes and characters from folk tales, mythology and history.

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An Evening with Krishen Khanna

June 23, 2015•Art, Lecture Series

Vidhita Raina reports on Krishen Khanna’s lecture on “The Progressives” at London’s Courtauld Institute

Krishen Khanna (centre), Prof. Deborah Swallow (right) and Zehra Jumabhoy (left). Credits: Grosvenor Gallery, London.

Krishen Khanna (centre), Prof. Deborah Swallow (right) and Zehra Jumabhoy (left). Credits: Grosvenor Gallery, London.

“Is the artist only interested in being a unique individual? If I had considered my work to be unique, then I would have continued trying to be unique… and that is not what art is about,” said Krishen Khanna at a talk held at the Courtauld Institute of Art in London on June 8, 2015. This sagacious insight into his artistic motivations was one of the many gemstones that Khanna—a leading Indian Modernist painter—showered upon a rapt audience, eager in attendance to witness one of the stalwarts of Indian art reminiscing about its heydays.

With Deborah Swallow and Zehra Jumabhoy from the Courtauld Institute, and Conor Macklin from Grosvenor Gallery also on the panel, this debate was conducted as part of the “Contemporaneity in South Asian Art” seminar series.

The symposium was full of anecdotes as Khanna brought out his personal archive of letters exchanged between him and his many associates. Khanna’s nostalgic stories about his Bombay Progressive peers were unequivocally the highlights; particularly those involving his erstwhile roommate and one of the most celebrated Indian artists, the late Maqbool Fida Husain. It is common knowledge that Husain introduced Khanna into the Bombay Progressive Artists’ Group (or “PAG”, as they were generally called). But the evening revealed one more nugget of information—Husain, during one of his visits to Khanna’s then home in Churchgate, Mumbai, borrowed his copy of the English art critic Clive Bell’s 1914 seminal text Art, only to eventually lose it. This incident, according to Khanna, was a result of “certain forces which operate at the right time”.

Khanna’s association with the PAG, which was formed right on the heels of India’s independence in 1947, led to several accomplishments in his trajectory as an artist. He held major exhibitions in Mumbai and New Delhi in the late ’50s. The Tata Institute of Fundamental Research showed great interest in his work, and its founding director—the esteemed nuclear physicist Dr. Homi Bhabha—bought his very first painting. In 1960, Khanna had his first solo show with Leicester Galleries of London. Here Khanna drew upon a letter written by renowned British art historian, Sir Kenneth Clark, gloriously calling one of his major abstract artworks a “masterpiece”.

Khanna spoke at length about Francis Newton Souza’s role as the driving force behind the PAG, including calling the group as “Progressives”. However, the term was subsequently dropped as many of its members—which also included artists like S.H. Raza, Akbar Padamsee, Tyeb Mehta, V.S. Gaitonde, Ram Kumar, K.H. Ara, among others—felt that it had political connotations. It was a suggestion that rankled with Khanna, as the PAG never saw itself as a political group.

But even as the PAG was beginning to emerge as a new wave of artists in post-independent India unfettered by their political climate—and dissociating themselves from the nationalist spirit of the preceding Bengal School artists in the process—their art, Khanna’s in particular, couldn’t avoid resonating with social, economic and political undertones of a changing nation state.

Born in the city of Lyallpur (now Faisalabad of modern day Pakistan) in 1925, Khanna was, and is, no stranger to political turmoil. Following the Partition of India in 1947, his family moved to Shimla in northern India. Khanna himself accepted a job at Grindlays Bank in Bombay, a position he would hold for 14 years, before finally resigning to focus on his art completely.

Krishen Khanna on the 'Progressives' at the Kenneth Clark Lecture Theatre, The Courtauld Institute of Art. Credits: Grosvenor Gallery, London.

Krishen Khanna on the ‘Progressives’ at the Kenneth Clark Lecture Theatre, The Courtauld Institute of Art. Credits: Grosvenor Gallery, London.

A self-taught artist, Khanna created works that showed a strong preoccupation with the historical background of his time. For him, the humanistic element in a painting was a paramount. Khanna was deeply concerned with the condition of the individual. It’s an artistic anxiety highly evident in his paintings of tired workers piled in trucks, dhaba owners in twilight moments, and the uniformed “bandwallas”—the last vestiges of long-dead British imperial legacy. In her biography Krishen Khanna: The Embrace of Love, critic Gayatri Sinha has said: “the paintings constitute a powerful psychological engagement, one that also serves as a document of the passage of time in modern India.”

Another aspect of the debate, raised by Conor Macklin and Zehra Jumabhoy, was India’s relationship with Britain, and the impact of the European Avant-garde Movement on the PAG. Just as the modern art of Europe rose from the trenches of the World War I, the trauma resulting from the Partition of India also stimulated a new language of art production in its wake. In an effort to locate a new identity and language for Indian art, many of the modern artists such as Souza, Raza, and Padamsee—having studied or spent time in Paris—inevitably found themselves looking towards Western styles of art.

Khanna himself was a well-travelled and worldly artist: he was the first Indian painter to be awarded the Rockefeller Fellowship by New York’s prestigious Rockefeller Foundation in1962. As part of this fellowship, Khanna spent time in Japan where he found inspiration in the Sumi-e (Suibokuga) calligraphic style of paintings, practiced by Zen Buddhists during the 14th century. This led to a number of experiments in abstraction during the ’60s and ’70s, which Khanna reflected upon as “a series of events which formulate or assist in formulating the kind of action you have to take”. In the following year, he was invited as the artist-in-residence at the American University, Washington D.C., and exhibited at various museums and galleries throughout the United States.

Besides being a riveting trip down memory lane, the symposium was mainly a precursor to Krishen Khanna’s ongoing retrospective at the Grosvenor Gallery titled “when the band began to play he packed up his troubles and marched away”. A certain homage was paid to the presence of the seminar being held at the Kenneth Clark lecture theatre, named after the eponymous art historian and an old associate of the artist.

Khanna’s talk was one for the history books—significant moments during the early Indian Modernist phase were brought up, including when artist Bal Chhabda opened Gallery 59. It was Mumbai’s first, short-lived art gallery to showcase artworks by the PAG members in 1959. The group may be long gone, but they left an undeniable legacy for India and the world to treasure.

A Brief History of Indian Art

May 20, 2015•Art

We’ve put together a very, very concise guide on Modern and Contemporary Indian Art for our StoryLTD customers

If you’ve visited our sister site, StoryLTD by Saffronart, and spent hours (or minutes, for the impatient) sifting through our pages, this might come as some handy information for you. We’ve introduced succinct essays on most of our categories, going by genre and medium, to guide you on what each category has to offer. If you find yourself fancying some of the folk and tribal art paintings, or any of the landscapes for sale, browse through our collection and scroll to the bottom to learn more about them.

Here, we’ve summed up the Modern and Contemporary art movements, talking about the circumstances that shaped each generation’s approach to art.

An Overview of Modern Indian Art

We cover a broad spectrum of prints of Modern Indian paintings by Raja Ravi Varma, Sakti Burman, S. H. Raza, M. F. Husain, and other artists active in the early-to-mid 20th century.

During the early and mid 1900s, the dilemma for many artists centred around interrogating Western influences on artistic expression, establishing a distinct identity and idiom for Indian art, and engaging with the role and function of the artist in a country like India. The British encouraged a Western approach to art; a realistic, trompe l’oeil work was more valued than the practices previously favoured. As a knee-jerk reaction, different schools of thought, such as the Bengal School, cropped up to check colonialism and Western ideals.

Following India’s independence, artists addressed themes ranging from the everyday and trivial to the social and political, from the late forties through succeeding decades. Sculptors also experimented with different materials and techniques to lend a more personal and reflective quality to their work. By the 1970s, a number of social and political events unfolding across the country left an impression on artists. The role of the artist in a developing country and the need for social responsiveness were interrogated by these practitioners. This decade also saw many more women artists come forward on the artistic scene, the majority of them delineating a point of view that combined the feminist and the subjective.

Contemporary Paintings

Indian Contemporary art has come to include art made from the mid-80s onwards. Our section on StoryLTD features original paintings by contemporary artists for sale.

The modernism of the preceding decades set the tone of Indian artistic practice in the late eighties and nineties. The new generation had long moved on from the concerns that plagued artists in the earlier half of the century. During the 1990s, a pluralist and fragmentative mood dominated the creation of contemporary art. Artists had to respond to a plethora of stimuli, trying to address a new age of information, and the emergence and novel concerns of the ‘global Indian’. The Indian art market has ever since opened up abroad. Art galleries within the country have increased in number, and the Indian artist is now faced with the challenge of speaking to a more diffuse audience.

Today, the work of artists from the Indian diaspora, the blurring of design and art, and the videos, installations and digital spaces of an even younger generation of artists have all added new dimensions to Indian contemporary art, a vague and undefined concept ever-receptive to growth and change.

To buy Indian paintings and prints online, visit www.storyltd.com