The Indian-ness of Art!

As the headlines screamed controversies surrounding M F Hussain acceptance of Qatari citizenship, one stops to wonder at this strange ‘possessiveness’ that seemed to have gripped the Indian media. At age 95 Hussain, a nomad at heart, had been reduced to the status of a refugee. His country of birth and nationality was no longer a safe place given that he had inadvertently hurt the sentiments of fundamental religious groups. Without derailing into the mire of artistic freedom and censorship, let us consider that it was but human of Hussain to need a sense of security and belonging. It raises another question; does the fact that he now is a Qatar national make his art any less Indian? Does an artist’s passport lead to an automatic compartmentalisation of his art?

In today’s global amalgamation while cultural differences do exist, there seems to a greater desire amongst artists to break free of the strings of national boundaries and enter into a state of flux with global sensitivities. There is an ‘artistic osmosis’ as it were where ideas and concepts move fluidly and without restraint across borders – a parallel a-political universe as it were.  This is seen best in the case of artworks created by the Indian Diaspora of contemporary artists who share their common lineage but have also grown into the cultures of their adoptive countries. What emerges therefore is art that cannot be explicitly stamped as ‘Made in India’ but does have strong Indian overtones. Take for instance the works of Chitra Ganesh who while using tales out of the popular Indian children’s comics, ‘Amar Chitra Katha’ nevertheless speaks a global language through her works.

Does the artist’s name decide if his art is Indian? If this were true then perhaps one of the most famous British artists with an Indian name – Anish Kapoor, should have all his works labelled Indian! Which anyone who has seen his sculptures that redefine space and light would vehemently refute.  Or does it have to do with the physical boundary within which art is created? Most of S H Raza’s and those of Sakti Burman are created in France; does that make their art French? Raza had once said, “I have not let go of anything that is important from my own country. I've remained Indian, not become French!”

Speaking of the French, Ariane Mercier (an artist associated with bCA Galleries) though being a French national creates artworks that employ the style of miniature paintings and are replete with Indian imagery. Her delicately balanced works speak of the colours and life of Rajasthan where she studied Indian art with Mahaveer Swami and has even exhibited her works with him. Seeing their works in unison one realizes the effect of a new culture and style fusing with an artist’s personal experiences and background.

Besides how ‘Indian’ is Indian art anyway? This is a country that has seen a steady stream of invaders who have then set up base in the country – Indian art is nothing if not an amalgamation of global influences. This process began from the time of the Mughals with Persian calligraphic and palette influences seeping into traditional Indian folk art. Indian art has not remained immune to other Asian influences as elements from China and Japan are seen especially in Buddhist art. There are instances of Chinese lacquer ware to be seen in the works of Anjolie Ela Menon as well. The British brought their own sense of style and rendering. In fact much of modern day contemporary art is a reflection of European influence as most art schools still continue with the erstwhile standards of teaching.  In this sense, Indian art though having its roots in a common cultural ethos still cannot be termed ‘purely Indian’ in its style and execution. In fact, if defined in those terms only the traditional arts such as Warli and Madhubani remain now Indian in an ‘unblemished’ manner.

In an interview, Atul Dodiya, one of the most recognisable names of Indian contemporary art had said, “Ultimately, only that art which is strongly rooted will have universal appeal. I live in Mumbai and it is from this perspective that I create. Ultimately, all art is culture-specific yet has many cross-cultural references."

An artist, in a childlike manner, will but speak the language he has grown with. The bounty of experiences and wealth of traditions that Indian artists are exposed to will necessarily influence their art and form the foundation of their artwork. A purposeful and deliberate use of Indian symbology does not make a painting Indian, the hidden language that the work speaks definitely does. As Husain Saab makes Qatar his adopted home during his final years his son, filmmaker-writer-painter Owais Husain, says, “... You can take M.F. Husain out of India. But you can’t take India out of M F Husain.”

~ Razvin Namdarian

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