Perspectives

Explore writing and conversations on art, art history, and visual culture in South Asia through our original, critical, and interdisciplinary perspectives.

16th_century_mewar_paintings_european_ satirical_paintings

Parodies of Europeans; Mewar, Rajasthan, India; c. 1760-80; Opaque watercolour, gold, and ink on paper; 24.45 × 34.93 cm; Los Angeles County Museum of Art

Handcrafting Fonts: An Interview with The Typecraft Initiative

Handcrafting Fonts: An Interview with The Typecraft Initiative

Priyanka Sacheti Priyanka Sacheti

Beyond the Visible: ‘Dhvani’ in Visual Arts

Beyond the Visible: ‘Dhvani’ in Visual Arts

Peddinti Sri Kavya Peddinti Sri Kavya

The Art of Pichwai Conservation: ‘Delighting Krishna’ a...

The Art of Pichwai Conservation: ‘Delighting Krishna’ at the Smithsonian

Bindu Gopal Rao Bindu Gopal Rao

The Humble Allure of the Chhapa Sari

The Humble Allure of the Chhapa Sari

Dr Pritha Dasmahapatra Dr Pritha Dasmahapatra

Clothwork Opacities: An Interview with Artist Bhasha Chakrabarti

Clothwork Opacities: An Interview with Artist Bhasha Chakrabarti

Karno Dasgupta Karno Dasgupta

After Words: Ram Kumar’s Landscapes of Silence

After Words: Ram Kumar’s Landscapes of Silence

Aditya Pandya Aditya Pandya

Bringing Back the Gods: Repatriation Activism in Nepal

Bringing Back the Gods: Repatriation Activism in Nepal

Sarita Ramamoorthy Sarita Ramamoorthy

The Indian Kodak Girl’s Domestic Turn

The Indian Kodak Girl’s Domestic Turn

Dr Greeshma C P Dr Greeshma C P

Journeys

India Only Belongs to Me: Amrita Sher-Gil

Explore

Bride's Toilet, Amrita Sher-Gil, c. 1937, Oil painting, 88.8 ×146 cm, Wikimedia Commons.

Look a Little Closer

This royal chhatri, or umbrella, features intricate patterns and textures that we also see on the attire worn by the prince and princess portrayed underneath it. Their traditional garments, including jamas, angarkhas, paijamas and dupattas, contribute to our knowledge of culture and fashion at the time.

The vibrant red of the tent’s fabric here reflects the expertise of South Asian dyeing communities who were pioneers when it came to fixing vivid and long-lasting colours to cloth. The red colour we see is likely the result of the use of natural dyes such as lac or madder.

The painting depicts a huntress making love to a courtier who simultaneously aims his arrow at a tiger. Testing the limits of pleasure as well as strength, hunting has served as a metaphor for political and martial power, and the motif of tigers being hunted features widely across South Asian art.

Soft pastel colours and depictions of figures in profile as we see here, characterise Pahari painting styles of Rajput kingdoms at Basohli, Kulu, Guler and Kangra. The patronage of these courts is especially known to have established the careers of master artists such as Nainsukh and Manaku. Miniature paintings from these courts have also inspired contemporary artists such as Nilima Sheikh.

In addition to the intimate depiction of the two lovers we see here, notions of adoration are conveyed across South Asian art in a variety of ways. Mughal and Rajput paintings, for instance, often depict lovers swooning at each other’s sight.

The panels of this hunting enclosure, or qamargah, divide the scene temporally and spatially. Opulent fabrics such as these, have been used historically to also construct regal tents and shamianas that served as administrative centres, spaces of respite, entertainment, shelter and privacy, outside of palatial walls. Sign up for our Online Course to learn more about the various forms and functions associated with textiles.

Pleasures of the Hunt, c. 1800, Ink, opaque watercolor, gold and silver on paper, Metropolitan Museum of Art, New York