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Traditional forms Artworks by Yugal Sharma and Chhotu Lal

“The best thing about great philosophical literature is how it prompts you to visualise every unravelling meaning as an image,” says miniature painter Chhotu Lal. His works, which along with those of Yugal Kishore Sharma, were displayed till yesterday at Nitanjali Art Gallery, attempted just that.

The exhibition, titled Journeys Through Metaphysical Spirit, was a rare one in the Capital, considering miniature painting is not commonly taken up by contemporary artists. Inspired by shlokas from the Bhagavad Gita and the enlightenment of Buddha, the display captured an Indian sensibility within a modern interpretation.

Indian miniature art dates back to the 11th Century. These are intricate creations produced using meticulous brushwork, unique techniques and materials. By all accounts, it is a fading art tradition with few practitioners reviving it in a contemporary mould. Lal and Sharma, both based in Udaipur, have been engaged in promoting this form for over two decades.

Lal’s collection with the focal motif of a pensive face explores the inner mind, personifying its nature in the shape of mythical beings. But what strikes you most about his work is the precision and detailing, using tiny dots that add a fascinating depth to his work.

In one piece, the background is painted with tiny leaf motifs, each one outlined flawlessly, creating an effect that can be best appreciated using a magnifying glass.

Sharma’s work on the other hand revolves around the philosophy of Buddha. “I visualise Buddha from dark to light to depict his enlightenment, and incorporate the patterns of Buddha, peepal leaves and flames to symbolise the extension of his knowledge,” he explains. He textures his works with minute dots and thin lines, in places inscribing patterns with a needle. He makes use of pure colours, with gold leaf and silver dust.

An untitled work with the face of the Buddha surrounded by floating peepul leaves is a particularly beautiful piece, with translucent golden leaves acquiring an almost illuminated quality.

The paintings compel one to wonder what evoked a particular rendition of an abstract thought. One can spend as much time deconstructing the imaginative process behind each creation as in understanding the composition itself.

Nitin Bhalla, the owner of the gallery, hopes to start a school to teach miniature painting in Udaipur. He agrees this is a good time to revive a traditional form, what with the broadening interest in Indian art. The collection is slated to travel to South Africa in June and later to China.

BHAMATI SIVAPALAN

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