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 20^th 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 2^nd century red sandstone sculpture below.

Medieval Indian Art

From the 4^th to 6^th 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 7^th to 14^th century AD, is the influence of religion and religious texts. As evident in the above 8^th 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 12^th 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.

Painting Courts and Indigenous Art

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 19^th 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 18^th and 19^th 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.

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.

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 20^th 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.

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.

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 20^th Century

The latter half of the 20^th 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.

“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.

Rashhi Parekh of Saffronart picks her five favourite pieces being offered for sale in the boutiques and collections on newly launched website, StoryLTD

Mumbai: Launched earlier this week, StoryLTD by Saffronart brings together carefully curated collections of beautiful and significant objects from the past and present. At StoryLTD, you can browse through, learn the nuances of, and acquire some of the most coveted objects – ranging from fine art, antiquities and jewellery, to vintage and designer furniture and unique accessories for the home.

Partnering with some of the most creative artists, designers, collectors, manufacturers and dealers from India and soon, around the globe, StoryLTD offers consumers a unified and convenient shopping experience for objects and collectibles encompassing all styles, designs and budgets.

Here are my five picks from the many beautiful objects available on the website. Not surprisingly, they are all art related!

Maqbool Fida Husain: Eternal Mother

Collection: Serigraphs

The venerated figure of Mother Teresa first appeared in Maqbool Fida Hussain’s art in 1980. Since then he has devoted a number of his works to Mother Teresa, whom he depicts as a faceless entity. This approach underlines his efforts in exploring not just the figure of Mother Teresa, but motherhood in general.

Having had the opportunity to meet Mother Teresa in 1994, he says, “I have tried to capture in my paintings, what her presence meant to the destitute and dying, the light and hope she brought by mere inquiry, by putting her hand over a child abandoned in the street.. That is why I try it again and again, after a gap of time, in a different medium.”

Works like the ‘Eternal Mother’ have been converted into serigraphs by Husain, to make his art more widely accessible. He stated that the idea of creating prints from canvasses was to make his work available to common man and also make his inner psyche available to a larger audience. This painter is distinct and different from most others because he wants to share his paintings. He says that all his life, he has sought just one image – the image of his mother, whom he had never seen. He tried to depict his mother whenever he painted women; that is why he never painted their faces, merely just an outline as shown in this serigraph of the Eternal Mother.

Raja Ravi Varma: Sri Shanmukha Subramaniaswami

Collection: Dressed Oleographs

Considered one of the greatest painters in the history of Indian Art, Raja Ravi Varma was an artist who achieved recognition for his depiction of scenes from the epics of the Mahabharata and Ramayana. This oleograph like many of his other works, is a fusion of Indian traditions with the techniques of European academic art. His representation of mythological characters has become a part of the popular Indian imagination of the epics. Although his works are often showy and sentimental, they are very popular throughout India.

Here, Shanmukha or the six-faced Karthikeya, the elder son of Shiva and Parvati, is pictured on his peacock mount. Also known as Skanda, Subramania and Murugan, he is the God of War and Victory. Ravi Varma has depicted Shanmukha flanked by his two wives, Valli and Devasena, while the snake he is frequently associated with lies at their feet. The group is framed by the magnificent plumage of Shanmukha’s peacock, which symbolizes the deity’s victory over the ego.

Due to his vast contribution to Indian Art, in 1993 art critics curated a large exhibition of Raja Ravi Varma’s works at the National Museum in New Delhi.

Bhuri Bai: Speaking Tree

Collection: Gond Art

Bhuri Bai made her first mural painting at the age of ten. She was one of the very first women of her tribe to paint on paper and canvas. The forms depicted in her paintings appear to be in a state of weightlessness. The figures in this painting are made in bright colors, similar to paper cuts.

Many of the subjects in her painting depict the conflict between the woman, as a creator and the man, as a predator. These themes, which are often found in other early painters, may also be seen as metaphors for the theft of land, the relationship between man and animal, the domestic and the wild, the nature and the modern world. Her works share an ancestral view according to which every body is made out of particles.

Lado Bai: Sun and the Deer

Collection: Gond Art

Lado Bai started painting on canvasses at the same time as Bhuri Bai. Her main motifs are taken from the animal kingdom and Bhil rituals and festivals. Lado Bai’s art reflects “the flora and fauna of her environment along with rituals and festivals of her tribe. She draws Bhil Gods and Godesses in the centuries old Bhil style which is steeped in ethnic animism and spirituality.”

Today, this artist works at Adivasi Lok Kala Academy; however she was guided by artist Jagdish Swaminathan, who encouraged her to paint on canvasses instead of painting on mud walls in her village. Lado Bai has been able to make new statements through her art within the ambit of traditions, like other fresco painters of her generation.

Bose Krishnamachari: Stainless Steel Chandelier

Collection: Seven Art

Bose Krishnamachari’s stainless steel chandelier is an extremely unique piece of art. This chandelier can be viewed as an installation piece as well as a piece of furniture, because it has a unique combination of utility and design. The chandelier which appears to be the culmination of a number of individual lights put together haphazardly, is actually an extremely well designed object. It allows the viewer to depart from the perceived notion of a chandelier which is supposed to look elegant and somewhat symmetric. This chandelier is made with an extremely modern and contemporary outlook, almost as if it were the result of an experiment. According to some, it also looks like an asymmetrical space station.

This work by Bose Krishnamachari is abstract and dynamic. In all his works, weather it be paintings, photography or installations, these are dominant forces.