Lounge
‘Musawwari': Contemporary artists usher miniature painting into the modern era
Summary
At an ongoing exhibition at Ojas Art, 21 artists from across the globe interpret miniature traditions from South Asia in context of their own heritage and backgrounds
At Ojas Art, New Delhi, Lesson by Moonlight by Bristol-based artist Jethro Buck catches the eye. Through one canvas, he has brought the past and present of miniature painting together. In what seems like an autobiographical work, the artist can be seen sketching while seated within a lush landscape. Facing him is a master painter—perhaps Ajay Sharma under whom Buck learnt the techniques of Indian miniature painting—, who too is creating a work, while seated at a traditional desk as seen in the ateliers of Rajasthan. Both are creating their own interpretations of the surrounding landscape, which is populated with the real and the fantastical. For instance, a crescent moon hangs from a tree, while animals and birds watch on.
This Untitled work stands out for creating a contemporary interpretation of the miniature painting tradition, as Buck celebrates nature in his own style. Many such works by 21 artists—from South Asia, the Middle East, Europe and the US— like Gargi Chandola, Keerat Kaur, Maha Ahmed Qureshi, Manish Soni, Yasmin Hayat and Vaishali Prazmari form a part of the ongoing show, Musawwari: Miniatures Today.
The title of the show draws from the Persian term, musawwari, referring to the traditional style of miniature painting in South Asia. According to curator Khushboo Jain, the art form has been porous in nature, engaging in dialogue, over time, with elements from the Chinese landscapes and Central Asian figures. This exchange has played a key role in developing the visual language of musawwari. “In a similar pattern, artists today have recognised the art form by linking contemporary iterations of the artform with its traditional forebears. Transcending geographical boundaries and intersecting cultures today, musawwari remains relevant through its pluralistic engagements," she says.
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In an interview with Mint, Jain further elaborates on how artists have adapted the techniques of this tradition to their own contexts. Edited excerpts:
Over the past few years, there has been an increasing engagement of contemporary artists with miniature painting. There is also a greater understanding now of the different styles of miniature painting practised centuries ago. How does this exhibition take forward both the contemporary engagement and understanding of older styles?
It’s rewarding to witness the renewed interest in miniature painting today. In this exhibition, I have tried to curate each artist’s work based on influences and practices from various art schools, cultures and geographies. For instance, New York-based Alexander Gorlizki reflects on the intricacies of pichvai in his pieces, where the vibrant patterns—typical to this genre—have been intriguingly swapped for subtle pastel shades. Toronto-based Keerat Kaur explores Sikh miniatures, infusing her work with deep cultural and spiritual themes. British-Syrian Artist Yasmin Hayat incorporates Islamic and Persian influences, bringing narratives around heritage and identity to the forefront. Master artist, Mahaveer Swami ji, adheres to the Mughal school style, showcasing the opulence associated with this tradition.
Meanwhile, Delhi-based-Gargi Chandola draws from the delicate techniques of the Kangra school, infusing themes of feminism with humour and sarcasm. Lahore-born and US-based Murad Khan Mumtaz reflects on the Pahari style of painting, shifting the focus to landscapes and removing the prominent figures typically found in traditional works. Contemporary artists engage with and reinterpret traditional forms, making them resonate not only in today's context but also to their own narratives and heritage.
Could you elaborate on the term ‘musawwari’?
The word appears frequently in Persian texts and refers to traditional painting styles across Central and South Asia, especially associated with intricate miniature art. In the context of this show, calling it musawwari is an attempt to reconnect with its local found terminology, and find a more relevant term to the art-form. Doing so opens up new perspectives, raises questions, and encourages a deeper exploration of its history, while potentially shedding some colonial associations. Interestingly, this term is still used in Pakistan to describe miniature painting, highlighting its ensuing cultural significance. Given this background, it made me wonder, why aren’t these paintings called musawwari anymore? After all, the term, ‘miniatures’, which was propagated by the British as a blanket term for all miniature painting traditions, and carries colonial connotations.
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You have mentioned how many exchanges in the past informed the various styles practised across the subcontinent. Taking that forward to the present, what are the influences and exchanges informing the contemporary iterations of this painting?
Broadly, miniatures keep running into different courses at different paces, and with varying energies. Several streams of development have run parallel to each other. The miniature style is believed to have originated in the 11th century AD under the Palas, and is said to have reached its peak under the Mughal empire, between the 16th and 19th centuries. Later, under British rule, western aesthetics gained popularity, relegating the artform to ‘tourist kitsch’ and ‘exotic imagery’. Furthermore, it began to be labelled as ‘miniature’, implying ‘small-scale’, thus highlighting the colonial influence on redefining cultural identities and artistic legitimacy. All of these exchanges moulded the unique visual language of musawwari. Iconographically, musawwari has always remained open for interpretation. This openness is closely related to the current stylistic evolution of miniature art, as it transcends geographical boundaries and intersects with various cultures, remaining relevant through its pluralistic engagements.
If you could talk about the choice of artists in this show, and the kind of themes that they have worked on?
The artists selected for this exhibition come from diverse backgrounds, reflecting the global reach of musawwari today. Artists like Ayesha Gamiet, Yasmin Hayat, Keerat Kaur and Amaranta Peña merge traditional miniature techniques with personal narratives drawing from themes of identity, migration, spirituality, and socio-political discourse. Others like S.M. Khayyam, Maryam Baniasadi and Amjad Ali Talpur tackle issues related to post-colonial identity, borders, and geopolitics. Annelie Solis and Linda Edwards explore astronomical and comic aspects. Collectively, these artists explore a wide range of subjects, from the exploration of memory and loss to the integration of heritage in contemporary contexts, while staying true to the meticulous detail that defines miniature painting.
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How do exhibitions like these keep the artform relevant today?
I feel the best way to preserve a tradition or to maintain its relevance is to keep practising it. Once it is understood as a living system, and not as a static thing of the past to be viewed only in museums and catalogues, then the question of relevance does not even arise. Miniature art is a tradition, a word that is derived from the Latin trādere, literally meaning to be handed down or imparted. Therefore, it is not something relegated to history. By integrating miniature art into exhibitions, dialogues, and scholarship, platforms like this help keep it relevant in the contemporary context.
The exhibition can be viewed at Ojas Art, New Delhi, till 24 November, 11 am to 7 pm (closed on Monday).
