Small is the New Big
Miniature painting has a long history in India. Of late, it has been steadily experiencing a resurgence among contemporary artists. Khushboo Jain, curator, self-taught artist and researcher, on the sidelines of the second in the series of exhibit for the Mumbai gallery, Art & Charlie, titled Land that Lives through Us, says that the miniature style of painting “is believed to have originated in the 11th century AD under the Palas and reached its peak under the Mughal Empire, between the 16th and 19th centuries.
Later, under British rule, western aesthetics gained popularity, relegating the art form to ‘tourist kitsch’ and ‘exotic imagery’.” The current evolution and use of the style in contemporary art transcends geographical boundaries and intersects cultures for a pluralistic engagement.
Ayesha Parikh, founder of the gallery strongly believes that subtle and intricate works get easily sidelined in a world where large-scale works dominate. She says, “Through this exhibition, we aim to contribute to the ongoing discourse of decolonising miniature art and reclaiming its place as a dynamic, evolving practice. Miniature painting in contemporary art not only transcends its classic format by embracing scale, newer folios, and commentary, it also ensures its relevance.”
The theme for the ongoing exhibit emerged from a desire to shift the narrative perspective, placing the landscape, often relegated to the background, as the protagonist. Jain says, “Landscapes are more than just settings; they are living, breathing entities that hold memories, histories, and identities. The title reflects the idea that land is not a passive canvas but an active participant in shaping our lives, cultures, and collective consciousness.”
This perspective not only celebrates the beauty of these settings but also confronts the realities of transformation and disruption that permeate our environments. Jain feels that pressing socio-political issues, such as climate change and displacement, are addressed, illustrating how human actions leave lasting imprints on the land. Some of the works on display have an oriental quality similar to those of Japanese art depicting the flora and fauna. While there are also modernistic takes in monotones.
The curator believes that while traditional forms maintain depictions of stories from epics, religious texts, and poetry, contemporary art is complex and deeply enmeshed with geopolitics, nationhood, post-colonial sensibilities, and creative subjectivities.
Bhavna Kaker, founder of Delhi’s Gallery Latitude 28, has engaged with this style for over a decade. “It fascinates me for its intricate storytelling, rooted in rich traditions yet brimming with contemporary relevance. We value how contemporary artists reimagine this meticulous form, blending historical narratives with present-day themes, and creating a dialogue between the past and present,” she says.
The resurgence of traditional art forms is palpable. Gallery Ojas Art in Delhi is another one that explores contemporariness in indigenous and ancient arts. “Miniatures have a unique ability to speak volumes using a small space. They are truly idioms in the language of contemporary art,” says Director Anubhav Nath.
Further, many Western artists have embraced the traditional miniature style by training under South Asian and Middle Eastern masters. Contemporary artists weave personal stories with broader narratives, connecting individual experiences to collective memory. For instance, Gopa Trivedi, an Indian-born artist, addresses social and individual anxieties by creating subversive idioms using seemingly objects.
In her work, she uses lines as a compelling visual element capable of connecting and separating simultaneously, like drawing two parallel lines on a piece of paper, which ultimately meet at one point and are completely disconnected at another. Ramsha Haider, Quetta-based artist, inspired by a Sufi poem Conference of the Birds by Attar explores the possibilities of an internal journey of self-discovery.
She says her works have an inward self-introspective experience, blending both traditional imagery and contemporary meaning. Yasmin Hayat, a Syrian-British artist draws from Middle Eastern cosmography, or description of the universe. Using elements from description of the cosmos in the Middle East, she tries to represent the balance between agriculture, the sea, and human life. Cultures miss, art rejoices.