Evolution of Painting in India

Evolution of Painting in India: From Ancient to Modern Era

Introduction

Painting is one of the oldest and most enduring art forms in India, serving as a visual chronicle of the country’s cultural, religious, and social evolution. The tradition of Indian painting spans over 30,000 years, from prehistoric rock art to contemporary digital media, reflecting the diverse artistic sensibilities and historical transformations of the Indian subcontinent. For UPSC aspirants, understanding this evolution is essential as it forms a significant component of the Art and Culture syllabus.

Prehistoric Period: The Dawn of Indian Art

Bhimbetka Rock Shelters (c. 30,000 BCE – Medieval Period)

The earliest evidence of Indian painting comes from the Bhimbetka rock shelters in Madhya Pradesh, which represent the oldest known rock art in South Asia. These prehistoric paintings, dating back to approximately 30,000 years ago, offer invaluable insights into early human civilization in India.​

Chronological Phases of Bhimbetka Paintings:​

The paintings can be classified into distinct periods:

• Upper Paleolithic Period (c. 30,000-10,000 BCE): Simple and minimalistic depictions using natural pigments like red ochre, hematite, white, and green. These earliest paintings featured wild animals such as gaur (wild ox), deer, monkeys, wild boars, and elephants.​

• Mesolithic Period (c. 10,000 BCE onwards): Clear evidence of human figures engaged in hunting, dancing, and daily activities. The paintings show improved sophistication and depict ritual practices, women digging out rats, and foraging for fruits and honey.​

• Chalcolithic to Medieval Period: Later paintings show evidence of contact with surrounding civilizations, including depictions of gods like Ganesha and Shiva, the Mother Goddess, and symbols like the trishul and swastika.​

The natural pigments used in these paintings—derived from vegetable and mineral sources—have remarkably endured for millennia, partly because they were created deep inside rock niches and on inner walls, protected from weathering.​

Ancient Period: Cave and Temple Paintings

Ajanta Cave Paintings (2nd Century BCE – 6th Century CE)

The Ajanta Caves in Maharashtra represent one of the greatest achievements of Buddhist religious art and have had considerable artistic influence both in India and throughout Asia.​

Development in Two Phases:​

• First Phase (Hinayana Buddhism, 2nd-1st century BCE): Caves 8, 9, 10, 12, 13, and 15A were excavated under the patronage of the Satavahana dynasty. These early caves served as viharas (assembly halls) with attached dormitory cells.​

• Second Phase (Mahayana Buddhism, 5th-6th century CE): During the golden age of the Guptas, under Vakataka dynasty patronage, richly decorated caves were added. This phase marked a change in layout with the centrality of the Buddha image in both sculpture and painting.​

Artistic Characteristics:​

• Tempera Technique: The cave walls were illustrated using the tempera technique, with paintings created using vegetable and mineral-based colors including red, ochre, and black.​

• Natural Pigments: Artists used black from lampblack, red from lead, yellow from arsenic, and blue from indigo.​

• Themes: The murals primarily depict Buddhist stories, including the Jataka tales (previous lives of Buddha), scenes from Buddha’s life, and teachings of Dharma.​

• Exquisite Detailing: The artwork showcases expressive facial features, delicate jewelry, intricate textile patterns, and sophisticated compositional techniques.​

Famous Paintings at Ajanta:​

• The Padmapani and Vajrapani Bodhisattvas (Cave 1): Masterpieces showcasing enlightened beings with celestial grace

• The Dying Princess (Cave 16): An emotional depiction of sorrow

• Various Jataka tales including King Mahajanaka and the Chaddanta Jataka

Ellora Caves (6th-11th Century CE)

While Ellora is primarily known for its monumental rock-cut architecture, some Buddhist caves feature murals influenced by the Ajanta artistic style. The Kailasa Temple (Cave 16) represents a marvel of rock-cut engineering from this period.​

Medieval Period: Manuscript Painting and Regional Schools

Pala School (8th-12th Century CE)

The Pala School represents the earliest examples of miniature painting in India, developed under the Pala dynasty in Eastern India (Bengal, Bihar, and present-day Bangladesh).​

Characteristics:​

• Medium: Paintings on palm-leaf manuscripts, primarily Buddhist texts like the Astasahasrika-prajnaparamita

• Date: The earliest extant manuscript dates to the reign of King Mahipala I (c. 983 CE)​

• Style: Naturalistic and serene depictions with sinuous lines, delicate brushwork, and subdued color tones​

• Iconography: Vajrayana Buddhist themes, depicting various deities

• Technique: Outlines drawn in black or red, then filled with flat areas of color—red, blue, green, yellow, and white​

• Influence: Pala style spread to Nepal, Tibet, Myanmar, Sri Lanka, and Java through Buddhist monks and pilgrims​

Western Indian (Jain) Painting

Parallel to the Pala School, Jain manuscript painting flourished in western India from the 9th-10th century onwards. These miniatures featured wiry, vital line drawings with less robust colors than Hindu paintings and very repetitive character scenes.​

Mughal Period: The Golden Age of Miniature Painting (16th-18th Century)

Origins and Development

The Mughal School of painting represents one of the most significant developments in Indian art history, emerging during the reign of Mughal emperors from the 16th to 18th century.​

Historical Evolution:​

• Foundation (1530-1556): Emperor Humayun invited two Persian artists, Mir Sayyid Ali and Khwaja Abd al-Samad, to join him in India during his exile in 1540. These artists founded an academy of over 100 painters from various parts of India.​

• Flourishing under Akbar (1556-1605): The earliest and most important undertaking was the Dastan-e Amir Hamzeh series, which numbered approximately 1,400 illustrations of unusually large size (22 by 28 inches). The Akbar-nameh (“History of Akbar”) represents another dynamic illustrated history from this period.​

• Refinement under Jahangir and Shah Jahan: The style became more refined, with emphasis on portraiture, natural history illustrations, and delicate botanical studies.​

Characteristics:​

• Hybrid Style: Fusion of Persian styles with Indian artistic traditions and European Renaissance influences (brought by Jesuit missionaries)​

• Naturalism: Increasing naturalism and detailed observation, moving away from Persian ideals​

• Subjects: Primarily secular—historical works, Persian and Indian literature illustrations, portraits, natural life studies, and genre scenes​

• Technique: Fine, delicate lines (Persian influence), bold vivid colors (Indian influence), and use of Nasta’liq script​

• Scale: Miniature format, typically small-scale highly detailed compositions​

Significance: The tradition was essentially a court art that declined when rulers lost interest. By 1707, after Emperor Aurangzeb’s death, the Mughal miniature tradition entered full decline.​

Post-Mughal Regional Schools

Rajput Painting (15th-19th Century CE)

With the decline of the Mughal Empire, the new patrons of paintings were provincial governors of Rajasthan and Pahari kingdoms (c. 1700-1900 CE).​

Two Main Branches:

1. Rajasthani School:​

• Origin: Flourished in Rajputana from 15th-19th century CE under Rajput rulers

• Themes: Deeply rooted in Indian culture, drawing inspiration from Ramayana, Mahabharata, Puranas, folk tales, and musical texts like Gita Govinda​

• Characteristics: Bold outlines, brilliant colors, use of gold, religious and romantic themes, depictions of Rama and Krishna, royal portraits​

Major Sub-Schools: Mewar, Kishangarh, Bundi, Amber (Jaipur), Marwar, Bikaner, Kota, Malwa​

Notable Feature: The Mewar school resisted Mughal sovereignty the longest and developed its distinct style. Artist Sahib din was extraordinary in depicting literary texts like Ragamala, Ramayana, and Bhagavata Purana.​

2. Pahari School:​

• Origin: Developed in the sub-Himalayan northern India (17th-19th century), stretching from Jammu to Garhwal through Himachal Pradesh​

• Central Theme: Depiction of eternal love between Radha and Krishna​

• Characteristics: Distinct lyricism, spontaneous rhythm, softness, minute intricate details, intense portrayal of human emotions​

Major Sub-Schools:​

• Basohli (mid-17th century): Bold and intense style, credited with initiating the Pahari school

• Guler: Transition style showing Persian and Mughal influences

• Kangra: Delicate and lyrical paintings, reached pinnacle with Radha-Krishna themes inspired by Jayadeva’s Gita Govinda​

• Garhwal: Poetic and cinematic representations by Mola Ram

Key Artist: Nainsukh was a famous mid-18th century master, followed by his family workshop for two generations.​

Traditional South Indian Painting Styles

Tanjore Painting (16th-19th Century)

Originating from Thanjavur (Tanjore) in Tamil Nadu, this classical South Indian style developed during the Nayaka and Maratha periods.​

Characteristics:​

• Technique: Panel paintings on wooden planks (palagai padam)​

• Materials: Rich, flat vivid colors, generous use of 22-24 carat gold foil, gesso work (raised relief), inlay of glass beads and precious stones​

• Subjects: Primarily Hindu gods and goddesses, episodes from Puranas and religious texts, placed in architectural spaces like mantapa or prabhavali​

• Influence: Shows influence of Deccani, Vijayanagara, Maratha, and European (Company) styles​

• Religious Significance: Devotional icons adorning temple walls and home prayer rooms throughout South India​

• Recognition: Granted Geographical Indication (GI) tag by Government of India in 2007-08​

Mysore Painting

An important classical South Indian painting style originating from Mysore, Karnataka.​

Historical Development:​

• Traces origins to Ajanta period (2nd century BC to 6th century AD)​

• Evolved from Vijayanagara Empire paintings (1336-1565 AD)​

• After the Battle of Talikota (1565), artists migrated to Mysore, Tanjore, and other places​

• Raja Wodeyar I (1578-1617 AD) provided vital patronage by rehabilitating painter families at Srirangapattana​

• Crystallized under patronage of Krishna Raja Wodeyar III​

Characteristics:​

• Elegance, muted colors, and attention to detail

• Delicate lines and intricate brush strokes

• Graceful delineation of figures

• Discreet use of bright vegetable colors and lustrous gold leaf

• Themes: Hindu gods, goddesses, and scenes from mythology

• Medium: Handmade paper or cloth on wooden planks, gesso paste, natural pigments, 24-karat gold foil​

• Strict adherence to iconographic proportions defined in Shilpa Shastras​

Pichwai Painting (17th Century onwards)

Originating in Nathdwara, Rajasthan, Pichwai art is a subset of the Mewar school.​

Characteristics:​

• Etymology: Derived from Sanskrit words “pich” (back) and “wais” (hanging)​

• Purpose: Intricate cloth paintings hung behind the idol of Shrinathji (child manifestation of Krishna) in temples​

• Origin: Began in 1670 when the image of Shrinathji was installed in Nathdwara to avoid Mughal emperor Aurangzeb’s iconoclasm​

• Themes: Various aspects of Krishna’s life, holding Govardhan hill, surrounded by cows and peacocks, seasonal festivities​

• Technique: Painted on traditional cotton cloth using natural dyes and 24-carat gold​

• Significance: Each painting considered a seva (offering) to the deity, depicting Shrinathji as a prince with jewels and luxuries​

• Community: Artists live in Chitron ki gali (Street of paintings) in Nathdwara; often a group effort under a master artist​

Folk and Tribal Painting Traditions

Kalighat Painting (19th-Early 20th Century)

A unique urban folk art tradition that originated in 19th century Kolkata around the Kalighat Kali Temple.​

Historical Context:​

• Emerged in the first or second quarter of 19th century, coinciding with establishment of Kalighat Temple

• Created by Patua community artists who migrated from rural Bengal to Kolkata​

• Evolved from traditional Patachitra scrolls to single-scene paintings​

Characteristics:​

• Bold outlines and vibrant colors on neutral backgrounds​

• Sweeping brush strokes and strong lines​

• Opaque figures with minimal background details​

• Medium: Watercolors on mill-paper treated with lime paste​

• Themes: Initially Hindu gods and goddesses, later expanded to socio-political commentary​

• Size: Similar to A3 paper, also smaller postcard-sized paintings (13 cm x 8 cm)​

Evolution:​

• Adapted from narrative Patachitra scrolls to commercial souvenirs for temple pilgrims

• Shifted from mythological subjects to contemporary events and social satire

• Used both natural and industrial pigments​

• The Victoria and Albert Museum, London, holds the largest collection worldwide (645 paintings)​

Warli Painting (10th Century AD onwards)

An ancient tribal art form of the Warli or Varli tribe from Maharashtra-Gujarat border region.​

Characteristics:​

• Basic Elements: Rudimentary geometric shapes—circle (sun and moon), triangle (mountains and trees), and square (sacred enclosure or “chauk”)​

• Color Palette: Monochromatic—white on mud walls or earthy red background​

• Technique: White paste made from rice flour applied with wooden sticks​

• Subjects: Non-mythological—depicts social life, daily activities, hunting, fishing, farming, festivals, dancing​

• Human Figures: Two inverse triangles joined at tips (upper = torso, lower = pelvis); faces shown as circles without features​

• Gender Distinction: Males identified by larger upper triangle and hair bunch; females by wider lower triangle and special hairstyle (Ambada)​

• Uniqueness: Unlike other Indian folk art, Warli doesn’t depict mythological characters or use bright colors​

Madhubani Painting (Mithila Painting)

Originating from the Mithila region of Bihar and Nepal, Madhubani art is known for intricate patterns, bold colors, and themes revolving around nature, mythology, and social events.​

Patachitra (Bengal and Odisha)

Pattachitra, meaning “cloth picture” (Patta = cloth, Chitra = picture), is a traditional scroll painting tradition.​

• In Bengal tradition: Paintings made by Patuas using natural colors​

• Artists produce their own scroll canvas (taking 1-2 weeks), painting with locally sourced natural colors​

• Depicts mythological narratives, religious stories, and folk tales

Colonial Period: Company School (18th-19th Century)

Company Painting emerged as a hybrid Indo-European style during British colonial rule in India.​

Historical Context:​

• Flourished during late 18th and 19th centuries under British East India Company presence

• First emerged around 1760s-1770s in eastern India (Murshidabad, Bengal)​

• Spread to Benares (Varanasi), Delhi, Lucknow, Madras, and Patna​

• Major centers: Calcutta (Lord Impey, Marquess Wellesley as patrons), Varanasi, Madras, Delhi (after 1803), Patna​

Characteristics:​

• Hybrid Style: Blend of Mughal/regional Indian miniature traditions with Western perspective and shading techniques​

• Medium: Watercolor on paper (occasionally on mica sheets)​

• Subjects: Everyday Indian life, occupations and castes, festivals and rituals, local rulers, flora and fauna, architecture, monuments​

• Patronage: Commissioned by British East India Company employees and officials​

• Artistic Approach: “Picturesque” aesthetic—romanticized and exoticized portrayal of India from British perspective​

Significance:​

• Served as valuable historical records of colonial India

• Indian artists adapted traditional techniques to European tastes

• Natural history illustrations often rivaled or exceeded contemporary European scientific drawings​

• By early 19th century, artists assembled portfolios of standard subjects for speculative sale to British travelers and tourists​

• Represents cultural encounter and artistic adaptation during colonial period

Market: Today, Company School paintings fetch high auction results, with strongest markets in London, followed by New York and Paris.​

Modern Indian Art: Bengal School and Indian Renaissance (Late 19th-Early 20th Century)

Raja Ravi Varma (1848-1906): The Father of Modern Indian Art

Raja Ravi Varma is often regarded as the first modern Indian artist, introducing European academic art techniques while maintaining Indian themes and iconography.​

Contributions:​

• Innovation: Introduced oil painting on canvas to India​

• Style: Fusion of European academic art with Indian sensibility—realistic portrayal with Indian mythological subjects​

• Themes: Hindu gods and goddesses from epics (Ramayana, Mahabharata), portraits, compositions based on great Hindu epics​

• Accessibility: Made art accessible to masses through lithographic prints, which were widely reproduced and worshipped in millions of homes​

• Models: Used beautiful South Indian women, often his elder daughter, as models for deities and mythological characters​

Famous Works:​

• Shakuntala: Depicts the Mahabharata character in romantic longing

• The Galaxy of Musicians: Women from different Indian regions with musical instruments

• Damayanti & the Swan: Scene from Mahabharata

• Rama Vanquishing the Pride of the Ocean​

• Goddess Lakshmi paintings widely reproduced and worshipped

Legacy: His works reconciled Western aesthetics with Indian iconography, opening debates on defining individual genius, cultural adaptation, and pictorial narration. Geeta Kapur called him “the indisputable father figure of modern Indian art”.​

Bengal School of Art (Early 20th Century)

The Bengal School emerged around 1905 as India’s first modern art movement, closely associated with Indian nationalism (Swadeshi movement).​

Founder and Philosophy:​

• Founder: Abanindranath Tagore (1871-1951), nephew of Rabindranath Tagore​

• Collaborator: E.B. Havell, Principal of Government School of Art, Calcutta​

• Objective: Rejection of Western academic realism taught in colonial art schools; revival of authentic Indian style free from Western influence​

• Alternative Name: Also known as ‘Indian style of painting’​

Artistic Influences and Characteristics:​

• Drew inspiration from Mughal and Rajput miniature paintings​

• Influenced by Japanese wash techniques and Far Eastern art​

• Studied Ajanta frescoes and indigenous traditions​

• Combined Western media (watercolors, oil) with traditional Indian themes and techniques​

• Themes: Mythology transitioning to common folk life and nationalist ideas​

Iconic Work: “Bharat Mata” (Mother India, 1905) by Abanindranath Tagore—depicted India as a four-armed goddess holding symbolic objects, became emblematic of anti-colonial resistance during Swadeshi Movement.​

Key Artists:​

• Abanindranath Tagore (founder)

• Nandalal Bose

• Jamini Roy

• Rabindranath Tagore

Legacy: The Bengal School sought to revive traditional Indian artistic practices and forge a unique national identity, producing a significant legacy that shaped the trajectory of modern Indian art.​

Nandalal Bose (1882-1966): The Pedagogue of Indian Modernism

Nandalal Bose was one of the pioneers of modern Indian art and a key figure of Contextual Modernism.​

Education and Influences:​

• Student of E.B. Havell and Abanindranath Tagore at Government School of Art, Calcutta

• Embraced Bengal School philosophy blending Western techniques with Indian traditions

• Influenced by Japanese art, especially woodcut prints

• Drew inspiration from Mughal miniatures, Ajanta frescoes, and traditional Indian forms

Artistic Style:​

• Characterized by rhythm, harmony, and national identity

• Combined traditional Indian art forms with modernism

• Unique synthesis of ideas from Abanindranath Tagore, E.B. Havell, Ananda Coomaraswamy, Okakura Kakuzo, and Mahatma Gandhi​

Contribution to National Movement:​

• Gandhi’s Salt March (1930): Created iconic black-on-white linocut print of Gandhi walking with staff—became the iconic image of non-violence movement​

• Haripura Posters (1938): Commissioned by Mahatma Gandhi for Congress session at Haripura, Gujarat—created 100 paintings (out of 400 total with disciples) depicting everyday village culture​

• Constitution of India: Hand-illustrated the original manuscript of India’s Constitution (1950) along with his students​

• National Emblems: Designed emblems of Padma Shri and Bharat Ratna awards at Jawaharlal Nehru’s request​

Legacy:​

• Recipient of Padma Vibhushan (1954), Lalit Kala Akademi Fellowship (1956), honorary DLitt from University of Calcutta (1957), Tagore Birth Centenary Medal (1965)

• Most paintings held at National Gallery of Modern Art, New Delhi

• Positioned among most influential Indian Modernists

Jamini Roy (1887-1972)

Jamini Roy developed a distinctive style heavily influenced by Bengali folk traditions, particularly Kalighat painting.​

Artistic Approach:​

• Rejected Western artistic conventions and Mughal-inspired Bengal School

• Embraced indigenous techniques and motifs from folk art

• Characteristic features: Bold lines, flat colors, iconic imagery

• Aimed to create art accessible and relatable to average Bengali people​

• Like contemporary Nandalal Bose, found Indian identity in contemporary folk art​

Famous Works: “Bride and Two Companions,” “Three Pujarins”​

Amrita Sher-Gil (1913-1941): The Pioneer of Modern Indian Art

Amrita Sher-Gil is celebrated as one of the greatest avant-garde women artists of early 20th century and a pioneer in modern Indian art.​

Background and Training:​

• Born to Hungarian-Indian parents

• Trained in European style (Impressionism and post-Impressionism) at École nationale supérieure des Beaux-Arts, Paris​

• Gained recognition at age 19 for “Young Girls” (1932)​

• Decided to make India her base and developed art with Indian themes

Artistic Mission and Style:​

• Mission: “To interpret the life of Indians and particularly the poor Indians pictorially; to paint those silent images of infinite submission and patience”​

• Technique: Assimilated miniature and mural traditions of Indian art with European modernism​

• Characteristics: Bold use of color, raw emotion, deep realism, earthy tones

• Subjects: Lives, struggles, and realities of Indian people, especially women; poverty and despair​

• Influences: Inspired by Ajanta frescoes and Mughal miniatures during South Indian travels​

Famous Works:​

• “Three Girls”: Poignant depiction of rural Indian women, showing hardships and silent resilience with earthy tones and expressive faces

• “Bride’s Toilet”: Part of South Indian trilogy, inspired by Ajanta murals

• Various portraits characterized by profound sensitivity

Legacy:​

• Government of India declared her works as National Art Treasures

• Most works housed at National Gallery of Modern Art, New Delhi

• Influenced generations from S.H. Raza to Arpita Singh

• Her depiction of women’s plight made her art a beacon for women in India and abroad​

• Transformation in her work rivals that of Rabindranath Tagore and Jamini Roy of Bengal School​

Post-Independence Modern Art

Progressive Artists’ Group (1947)

Formed in December 1947 immediately after Partition, the Progressive Artists’ Group sought to break away from colonial academic art and traditional Indian styles to create new modern Indian art rooted in both international modernism and Indian identity.​

Founders:​

• F.N. Souza (leader)

• M.F. Husain

• S.H. Raza

• K.H. Ara

• H.A. Gade

• S.K. Bakre

• Later joined by Vasudeo S. Gaitonde, Tyeb Mehta, Akbar Padamsee

Philosophy and Context:​

• Formed as response to Partition of India and Pakistan (August 14, 1947) and resulting religious violence​

• Saw Partition as “turning point” for India; new art style was also turning point for modern Indian art​

• Rejected traditional art forms and believed in experimentation and abstraction​

• Wanted to associate with international art, not just Indian art​

• Post-Independence India searching for identity; artists helped define visual language​

M.F. Husain (1915-2011): The Picasso of India

M.F. Husain became one of India’s most celebrated and controversial modern artists.​

Artistic Vision:​

• Believed India no longer needed Western cultural influence; Indian history and Hinduism already offered rich inspiration​

• Concept of ‘Indianness’ in modern art that should be recognized by common people​

• Took inspiration from Khajuraho sculptures, obsessed with Indian female body

• Studied Hindu religious traditions, temple sculptures, Chola sculptures, Indian dance forms like Bharatanatyam for accurate body postures​

Themes and Style:​

• Imagined secular language for modern Indian art translating India’s ‘composite culture’ into rich mosaic of colors​

• Experimented with text and images, painted alongside musicians

• Transited between painting and poetry, assemblage and performance, installation and cinema​

• Commented on contemporary social and political themes: Indira Gandhi’s assassination, Safdar Hashmi’s assassination, Sachin Tendulkar, Mother Teresa, anti-corruption movement​

Legacy and Controversy:​

• Forced into exile due to controversies with Hindu nationalist groups over his paintings of Hindu deities

• Died in London on June 9, 2011, exiled from homeland

• Remained modern India’s foremost artist, renowned worldwide

• Central to whole business of modern Indian art​

Contemporary Indian Art (Late 20th Century onwards)

Characteristics of Contemporary Period (1990s onwards):​

Contemporary Indian art is characterized by rise in postmodernist practices based in performance, video, installation, and digital media.​

Prominent Contemporary Artists:​

• Anish Kapoor: Known for monumental sculptures and installations

• Bharti Kher (b. 1969, London): Diverse works including paintings, sculptures, installations; explores identity, mythology, human condition; famous for use of bindis in intricate patterns​

• Subodh Gupta: Known for installation art using everyday Indian objects

• Shilpa Gupta (b. 1976, Mumbai): Works with video, performance, sound, installation; concerned with human perception, knowledge acquisition, and arbitrary categorization​

• Sudarshan Shetty: Mixed media artist exploring themes of desire and loss

• Jitish Kallat (b. 1974, Mumbai): Diverse media including painting, photography, sculpture, installation; explores time, memory, intersection of historical and personal narratives; celebrates Mumbai and urban challenges​

• Mithu Sen: Performance and installation artist

• Neha Choksi: Video and performance art

• Thukral & Tagra (Jiten Thukral b. 1976, Punjab; Sumir Tagra b. 1979, New Delhi): Art duo blending traditional Indian aesthetics with modern concepts; unmistakable pop aesthetic with deeper social concerns; work spans painting, installation, digital media, advertising, fashion; address migration, globalization, mythological narratives​

• Himali Singh Soin (b. 1987, New Delhi): Winner of Frieze Artist Award 2019; evocative practice combining performance, text, film; focuses on natural world and ecology​

• Jogen Chowdhury: Developed individual style after studying at École nationale supérieure des Beaux-Arts, Paris; uses ink, watercolor, pastel​

Artistic Approach:​
Most artists employ eclectic practice using traditional and contemporary mediums, carrying social commentary and finding place in both Indian art market and experimental sphere.​

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