Abdul Rehman Chughtai

 Doe-Eyed Beauty:

·       Abdur Rahman Chughtai (21 September 1894 – 17 January 1975) was a renowned Pakistani painter, artist, and intellectual hailing from Punjab. He was a descendant of Ustad Ahmed lahori, the chief architect of Shahjahan. He was also the designer of the Jama Masjid and Red Fort in Delhi and Taj Mahal in Agra. His distinctive painting style, influenced by Mughal art, miniature painting, Art Nouveau, and Islamic art traditions, solidified his position as 'the first significant modern Muslim artist from Pakistan' and earned him the title of the national artist of Pakistan.

·       Born in Lahore in 1897, Chughtai belonged to a distinguished Punjabi Muslim family with a rich heritage in arts and craftsmanship. After completing his education at the Railway Technical School, Lahore, he joined the Mayo School of Arts, later known as the National College of Arts, Lahore. Under the guidance of Abanindranath Tagore and Percy Brown, he flourished as an artist, eventually becoming the head instructor in chromo-lithography at the Mayo School.

·       Chughtai's artistic journey began in 1916 when his first painting in a revivalist 'oriental' style was featured in the Modern Review magazine. His reputation grew, leading to exhibitions and contributions to Lahore's burgeoning modern art scene. He was not only proficient in watercolors but also excelled as a print-maker, refining his etching skills during visits to London in the mid-1930s.

·       Throughout his prolific career, Chughtai produced nearly 2000 watercolors, thousands of pencil sketches, and around 300 etchings and aquatints. He was also a writer, creating short stories and articles on art, and a designer, contributing to stamps, coins, insignia, and book covers. His three books, including the Muraqqai-i-Chughtai, a beautifully illustrated edition of Mirza Ghalib's Urdu poetry, are considered significant works in the field.

·       Following the creation of Pakistan in 1947, Chughtai became a celebrated representative of the country, with his paintings admired by prominent figures like Allama Iqbal, Pablo Picasso, and Queen Elizabeth II. He passed away in Lahore on 17 January 1975.

·       Chughtai's art evolved over the years, starting with influences from the Bengal School of Art and later developing his own style strongly influenced by Islamic art traditions with a touch of Art Nouveau. His subjects drew inspiration from legends, folklore, and history of the Indo-Islamic world, Punjab, Persia, and the Mughal era.

·       In addition to his artistic contributions, Chughtai designed the iconic logo for the Pakistan Television Corporation (PTV) and created a set of stamps known as the 'Chughtai Art set,' considered among the most beautiful stamps globally at the time. Salima Hashmi, a prominent artist and gallery owner, recognizes Chughtai as one of South Asia's foremost painters, highlighting his role in establishing an indigenous identity in the subcontinent's art scene and rejecting the British Colonial aesthetic hegemony. He was given the title of Khan Bahadur by the British Empire in India in 1934, awarded Pakistan's Hilal-i-Imtiaz (Crescent of Excellence) Award in 1960 by president of Pakistan.

 - "Radhika"

·       Abdul Rehman Chughtai, influenced by Abanindranath Tagore, Gaganendranath Tagore, and Nandalal Bose, experimented with the wash technique.

 

·       In "Radhika," he combines wash and tempera on paper, infusing a distinct character of calligraphic lines reminiscent of Mughal manuscripts and Persian paintings. The painting portrays Radhika walking away from a lighted lamp in a gloomy background, reflecting a state of trance or remorse.

·       Chughtai's work draws inspiration from Hindu mythology, legends, folklore, and the Indo-Islamic, Rajput, and Mughal worlds.

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Nur Jahan:

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·       The poetic qualities in his art, seen in works like  Gloomy Radhika, Omar Khayyam, Dream, Hiraman Tota, Lady under a Tree, Musician Lady, Man behind a Tomb, Lady beside a Grave and Lady lighting a Lamp, Heer, Cry Of The Nightingale, Down The Staircase, Doe-Eyed Beauty, Arjuna as a Victor, Heer Ranjha, In The Realm Of Hafez, In The Wilderness, Jahan Ara At The Taj, Kashmeeri Apples, Krishna and Radha, Kunti - Mahabharat Queen, Maryan, Mughal Princess, Nightingales, Nur Jahan And Jahangeer, Portrait Of Ghalib, showcase a lyrical quality of calligraphy in every line, turning each piece into a visual poem.

Ghulam Rasool Santosh

Ghulam Rasool Santosh (1929 – March 10, 1997), Born as ghulam rasool dar in a muslim family, also known as G. R. Santosh, was a distinguished Kashmiri painter and poet, recognized for his contributions to Kashmir Shaivism. A trailblazer, he defied societal norms by marrying his childhood sweetheart, Santosh, assuming her name. Born in the picturesque village of Dab near Srinagar, Santosh's profound connection with nature, inherited from his early years, significantly shaped his artistic sensibilities.

Growing up surrounded by Kashmir's enchanting landscapes, Santosh's love for nature blossomed, influencing his art. His grandfather's expertise in traditional papier-mâché painting further fueled Santosh's early artistic inclinations. In 1950, his unique landscapes caught the attention of S.H. Raza during a visit to Srinagar, propelling Santosh into the art scene.

Joining the Progressive Arts Association in Kashmir in 1950, Santosh exhibited his work across India. In 1954, he secured a government scholarship to study Fine Arts under N.S. Bendre at MS University in Baroda. Initially excelling in landscapes, Bendre encouraged Santosh to diversify into portraiture, broadening his artistic repertoire.

Upon returning to Kashmir, Santosh blended Cubist ideas with his landscapes. However, his spiritual quest led him to Tantric texts, inspiring a profound transformation in his art. Santosh's paintings began embodying yogic anatomy, infused with imagery representing unity – Purusha and Prakriti, Shiva and Shakti.

Apart from his artistic endeavors, Santosh was an accomplished poet, receiving the Sahitya Academy Award for his book of poems, "Besukh Rug," in 1979. His approach to art was deeply philosophical, aiming to engage not just the sense of sight but also hearing. He viewed each painting as a vibration, a unique fusion of visual and auditory elements.

 Notable works -  G. R. Santosh's remarkable Tantra Series showcases diverse mediums, including watercolor and gouache. "Aspiration" (1957), a 22.5 x 15.75-inch watercolor, and "Enlightenment," a 34 x 41-inch oil and wax on canvas, exemplify his mastery. The acrylic piece "Portrait of Devi" (29.25 x 23.5 in) and the oil painting "Pyramid" (42 x 28 in) further illuminate his artistic brilliance. Santosh's legacy, marked by a harmonious blend of spirituality and artistic expression, continues to resonate in the world of Indian art.

Anjolie Ela Menon

Anjolie Ela Menon, born on July 17, 1940, in Burnpur, West Bengal, stands as one of India's most revered contemporary artists. Her journey in the world of art began in the mid-1950s, displaying an unmistakable and unparalleled style that has earned her descriptors like "magical," "enigmatic," and "mysterious." Anjolie's paintings resonate with a profound empathy, at times approaching the mystical, drawing viewers into a world uniquely her own.

Remaining staunchly figurative during the era of abstract trends, Anjolie's works, be they landscapes, cityscapes, or interiors, carry an inherent trace of the human presence through its absence. Her artistic evolution commenced in the 1950s, marked by strong intuitive conviction but limited formal training, which she acquired later. As a teenage painter, her canvases pulsated with energy and enthusiasm. Anjolie emerged early on as a colorist of rare virtuosity, characterized by strong tonal contrasts and compositions. Her early subjects often comprised portraits of friends and relatives, rooted in the intense personal experiences of her sensitive adolescence.

The celebrated painter M.F. Husain played a pivotal role in Anjolie's artistic trajectory. He orchestrated her first exhibition in a Delhi garden and introduced her to Mumbai's art circles during the late '50s and early '60s. Anjolie's exposure to art burgeoned during her visit to New York in 1959, leaving an indelible impact. Subsequently, she secured a scholarship at the Ecole de Beaux Arts in Paris, overcoming financial hardships and academic challenges.

While Anjolie's early work exuded youthful verve and absorbed various influences, her late 1970s paintings reflected a poignant undertone, possibly stemming from the grief after her father's demise in 1976. The empty chair became a potent symbol of mourning in her compositions. Paradoxically, this period, marked by bereavement, proved to be prolific for Anjolie. The years 1976-82 witnessed numerous exhibitions, establishing her as a cult figure in public consciousness.

Anjolie Ela Menon's preferred medium was oil on masonite, which she applied by using a series of translucent colours and thin washes. In addition to oil paintings and murals, she worked in several other mediums, including computer graphics and Murano glass.

Awards adorned her illustrious career, including the Padma Shri in 2000, recognition in the Limca Book of Records, a Lifetime Achievement Award from the Government of Delhi in 2013, and the National Kalidas Samman for Visual Arts from the Government of Madhya Pradesh in 2018.

Anjolie Ela Menon's notable works include Yatra, Looking Out of a Window, Acolyte, Portrait of a Young Actor, The Magician Story "Yashodha and Krishna," "Mother & Child," "Goat People," "Adam and Eve," "Nude Eden Revisited," and "Woman with Fruits." Her art, shaped by personal narratives and experiences, continues to captivate audiences globally, making her a luminous figure in the Indian art landscape.

Kanwal Krishna and Devyani

 

Kanwal Krishna (1912-1990) and Devyani Krishna (1910-2000): A Creative Partnership

Kanwal Krishna and Devyani Krishna were a remarkable artistic duo who significantly contributed to Indian modernism through their profound love, shared artistic journeys, and impactful works.

Kanwal Krishna:

• A pioneer of Indian landscape painting and a key figure in early Indian modernism.
• Born in Kamalia, pre-partition Punjab, in 1910.
• Studied at the Government College of Art and Craft in Calcutta from 1933 to 1939.
• Explored watercolor depictions of the landscape, with a focus on the Himalayas, Bhutan, Sikkim, and Tibet.
• In 1940, he documented and filmed the enthronement ceremony of the 14th Dalai Lama in Lhasa, making him the only Indian artist to achieve this.
• Co-founded the Delhi Silpi Chakra in 1949, providing a platform for modern art in New Delhi.
• Joined the Modern School in New Delhi in 1953, where he later experimented with printmaking.
• Traveled extensively, including visits to Europe, leading him towards abstraction.
• Known for his masterful landscapes of the Himalayas and innovative printmaking techniques.
• Visited Paris in 1953, studying printmaking at Atelier 17 for three months.

Devyani Krishna:

• A multifaceted artist excelling in painting, printmaking, and teaching.
• Devyani was born in 1910 ad. in Indore, Madhya Pradesh. In the year 1936, she moved to Bombay and joined Sir J. J. School of Art to pursue her interest in painting. After graduating in 1940, she also completed a specialization in mural painting.
• Worked in diverse styles, including landscapes inspired by travel experiences, studies of Indian toys, folk motifs, and batik designs.
• Recognized by art critic Richard Bartholomew as "India's foremost woman artist" during her time.
• Played a crucial role in documenting the arts and culture of the Himalayas during travels with Kanwal.
• Served as the Head of the Art Department at the Modern School, Delhi, for over two decades.
• Inspired countless students with her dedication to education.

Their Shared Journey:

• Kanwal and Devyani married in 1942, embarking on a shared artistic and personal journey.
• From 1949 to 1952, they retreated to the Himalayas, immersing themselves in the cultures of Sikkim, the Tibetan border, and the North-West Frontier Province.
• Their paintings from this period vividly depict Tibetan masks, ritual dances, and Buddhist art, reflecting the region's spiritual essence.
• Witnessed and were deeply impacted by historical events, including the loss of Tibetan autonomy to China.

Legacy:

• Kanwal and Devyani's artistic legacy continues to inspire generations, with their works found in major museums and private collections worldwide.
• Their dedication to art, love for travel and exploration, and connection with diverse cultures resonate with art lovers and historians.

Notable Works: Kanwal Krishna:

• Landscape of Ladakh (1942)
• Enthronement of the Dalai Lama (1940)
• Khyber Pass (1945)
• Norwegian Landscape (1960s)
• Shivering Sun

Devyani Krishna:

• Tibetan Mask (1950s)
• Veiled Mask
• Village Scene (1960s)
• Folk Motif Series (1970s)
• Batik Wall Hanging (1980s)

Their story serves as a testament to the enduring power of art, transcending borders and celebrating the love between two souls united by a shared passion for creativity and discovery.