Particularities of Indian art
Unlike Western art, which is marked by innovation, Indian art is characterized by its permanence. Certain distinctive features, common to all genres, have endured for two millennia. In India, art with a religious vocation dominates, even if there is a profane art. However, religion and everyday life remain deeply intertwined.
The human figure is readily idealized. Generally represented in adulthood, it does not show any sign of aging or disease. The human body is magnified. The nude is barely veiled by a light garment. The woman proudly displays her sensuality, with refinement and softness.
The Indian sculptors and painters draw cheerfully from the pantheon of 33 million gods. However, the great trinity - Brahma, Vishnu and Shiva - is widely favored. Each one has several appearances and attributes, chosen according to the story to tell. In addition, local beliefs enrich the range of incarnations. The avatars are inspired by the animal kingdom, and the qualities of each species. Thus, Indian artists are particularly gifted in representing animals.
The Six Shadangas
Treatises define the canons of representation as early as the first century. According to these 6 Shadanga, every artist must infuse his creation with the beauty of form, harmony of proportions, emotion, aesthetics, realism, and balance of colors. However, standards have never hindered the dynamism and originality of Indian art. The same is true for the frescoes on which religious scenes take place. In all artistic fields, Indian art shows a masterful sense of balance and an exceptional taste for detail.
Indian sculpture
Sculpture occupies a place of choice in Indian culture. As early as prehistoric times, modest icons were fashioned in terracotta or stucco. A few centuries before our era, the first large-scale creations were sculpted in stone, then in bronze from the5th and 6th centuries. Long narrative reliefs were placed on the walls. This means of expression remained flourishing in India until the end of the 8th century.
But sculpture remains inseparable from architecture. Among the unforgettable temples of Rajasthan, the Chaumukha or "Temple of Four Faces" was built in white marble in the heart of the jungle, in the district of Jodhpur. The 1,444 pillars that support this place of worship dedicated to Adinatha are all unique. On the ceiling or on the columns, animals and sacred symbols are finely detailed. In this major place of Jainism, dating from the 15th century, every inch is engraved or sculpted.
More intimist, the sanctuary of Menal shelters a magnificent temple to Shiva, from the XIIth century. Shiva, the destructive god, is represented in many situations, among goddesses and nymphs. Numerous sculptures illustrate the positions of the Kâmasûtra. For educational purposes, of course.
Rajput paint
On the agricultural lands of Rajasthan have succeeded many empires and dynasties. Painting developed in this state more than in other parts of India.
Under the dynasty of the great Mughals (1528-1858), which was predominantly Islamic, painting workshops multiplied. Each work is the product of a collaboration. The creations are anonymous.
Several schools of painting emerged between the 16th and 19th centuries. The first were the Mewar and Bundi schools, in reference to the place of production. Dominated by illumination, this court art was gradually inspired by Persian miniatures and European engraving. Rajput painting illustrates Hinduism (Rama and Krishna) or, to a lesser extent, feelings such as love. The figures, seen in profile, have a huge eye and a tapered nose. The brightly colored background is embellished with natural elements.
During the reign of Shah Jahan (1628-1658), two genres were prized: the official portrait and the night landscape. In a style devoid of emotion, the ruler is shown in a frozen attitude, full of pride. A rich palette is used, however, to represent his authority in every possible way, including standing on a globe. The painters, inspired by Western iconography, introduce cherubs that unfurl odes to his glory on banners. In the manuscripts, naturalistic elements inspired by European trends appeared.
As can be seen in the collection of the National Museum of Delhi, the art of painting will decline with his successors.
The Taj Mahal
Symbol of India throughout the world, the Taj Mahal was built between 1631 and 1653 in Agra. This jewel of Indo-Islamic architecture celebrates the love that the Mughal emperor Shah Jahan had for Mumtaz Mahal. The majestic building is none other than the mausoleum of the third wife of the Maharaja. Mumtaz was in fact his first love, whom his father forbade him to marry because of his rank. He imposed two wives on him, with whom he did not consummate his marriage. When his father died, the emperor was finally able to unite with his beloved. Mumtaz gave him fourteen children, before dying on June 17, 1631. Devastated by her death, Shah Jahan demanded that his architects build a building worthy of paradise. A symbol of his eternal love.
Nowadays, the sunrise and sunset halo the white marble monument in romanticism. Its facades inlaid with stone inlays play with the light.
Shah Jahan is at the origin of a vast construction program. Under his reign, the decoration took on an unprecedented scale. Every surface is inlaid with stones or finely sculpted in stucco. Marble was used in the most important parts. The first example of a garden tomb, built before the Taj Mahal, can be visited in Delhi. A jewel of the Mughal period, Humayun's tomb is dated 1560. The interior, octagonal in plan, has stone and marble inlays on red sandstone.
Tradition of Mandana
The wall painting that we discover today is a continuation of an ancient practice, the Mandana or "decoration". This exclusively female practice includes wall decoration, "Bhitti Chitra", and floor painting, "Bhumi Chitra". Stylized geometric patterns cover the houses to decorate them, protect them, or on the occasion of ritual celebrations. The facades of the houses are on the other hand adorned with figurative paintings. Freer scenes combine animal or human figures and plant motifs. Not to be confused with the spiritual and meditative painting of the Mandala. These concentric images, representative of the universe, are used by the three great Indian religions, Buddhism, Hinduism and Jainism. Nowadays, they continue to be used as a support for meditation or relaxation.
Contemporary art
The end of the twentieth century was marked by an upheaval in the art world. Several factors contributed to the explosion of contemporary art in India, notably the country's economic boom. More than fifty art galleries opened in less than a decade in Delhi and Mumbai. Emerging talents have begun to attract the attention of the international market. Some have appeared at major global events or received large commissions. One of the first, the minimalist sculptor Anish Kapoor, born in 1954, can be found in the world's major collections and art fairs. His installations, which borrow from both Eastern and Western culture, never go unnoticed.
These artists use a team of assistants to create their works. This is why they have set up shop in warehouses on the outskirts of metropolises. In Delhi, they have chosen the peripheral city of Gurgaon to open their workshops. Here we meet Subodh Gupta, the superstar of contemporary art. Born in 1964, Gupta comes from a modest background. Trained as a painter, he then experimented with photography, sculpture and installation. He now lives and works in Delhi. His gigantic installations require a whole team of craftsmen, notably metallurgists. At the beginning, Subodh Gupta elaborated his installations from traditional Indian tableware. Later, the size of his everyday objects was multiplied by five or ten: tea sets, door knobs, etc. So many reminders of his origins.
Many festivals animate the city of Delhi. Some of them are placed under the auspices of the Nazar Foundation. The association, founded by photographers Prashant Panjiar and Dinesh Khanna, aims to promote Indian photography. Among its collaborators, Kanu Gandhi shared images of his great-uncle, Mahatma Gandhi, in an exhibition at Photoink. Acclaimed for his socially conscious documentary work, Panjiar is involved in organizing photography festivals, exhibitions and awards around the world.
In the wake of street-art
In India, street art is a way of life. Bollywood stars are painted on rickshaws, advertisements on walls, and gods on storefronts to remind people of the ban on urinating in public spaces. Even in the most remote villages, painting in the open air is a tradition.
The first district of New Delhi to open up to street artists is Khirki Village. This is where a very noticeable Buddha face wearing an anti-pollution mask was once painted next to a garbage dump... unfortunately covered with white paint in the meantime. But this has not marred the dynamism of the locals. Khirki is home to a number of young galleries as well as Khoj, a contemporary art center that offers residencies and innovative events.
In the capital, the tallest (45 meters) and most iconic mural covers the façade of the Police Station. The famous portrait of Gandhi, all smiles, is the work of Anpu Varkey and the German artist Hendrick ECB Beikirch. It is the first official commission for public art. Its realization took place in January 2014, as part of the St+Art Delhi Festival. The association St+Art India promotes public art in the main Indian metropolises. Its objective? Bringing together local and international artists. In the long term, it hopes to generate creative hubs. And it works! In the district of Shahpur Jat, in the south of Delhi, nicknamed the district of the designers, the success of the festival was such that its streets were completely transformed. Trendy cafes, workshops, and fashion houses have sprung up. The following years, it was the turn of Lodhi Colony, Moolchand or Khan Market to contribute to the artistic development of Delhi. For our greatest happiness!
