Abstract Signs and Temple Frieze
From 1947 to 1952, Samant studied at the Sir J.J. School of Art in Mumbai, where he was exposed to a colonial curriculum, copying plaster casts of classical sculpture and studying Indian miniature painting. The latter, particularly Basohli painting, aided the development of his own aesthetic sensibilities. During this time, Samant visited numerous historic sites in India, familiarizing himself with the classical arts of the country, which provided images and motifs that he would reference throughout his career. In 1957, he was awarded a cultural exchange scholarship to Rome, sponsored by the Italian government. He also befriended an Egyptian painter with whom he travelled to Egypt, where he was influenced by hieroglyphics on temple walls and objects. A Rockefeller scholarship brought Samant to New York from 1959 to 1964, and in 1968, he moved permanently to New York.
Abstract Signs and Temple Frieze is a consummate example of Samant’s synthesis of a multitude of references into a diverse range of imagery. The grey frieze of suggestively erotic figures recalls a common feature on early Hindu temples, especially those of Khajuraho. In the lower quadrant of the painting, the simulated figural frieze of signs and symbols arranged in columns was a favored device of Samant and was also popular with European and American artists of the time like Jasper Johns. These symbols could also be possible manifestations of his interest in pre-Columbian glyphs from Mexico. By using plaster and sand to build this painting’s highly textural surface, Samant may have been further alluding to architectural friezes in ancient temples.
Abstract Signs and Temple Frieze is a consummate example of Samant’s synthesis of a multitude of references into a diverse range of imagery. The grey frieze of suggestively erotic figures recalls a common feature on early Hindu temples, especially those of Khajuraho. In the lower quadrant of the painting, the simulated figural frieze of signs and symbols arranged in columns was a favored device of Samant and was also popular with European and American artists of the time like Jasper Johns. These symbols could also be possible manifestations of his interest in pre-Columbian glyphs from Mexico. By using plaster and sand to build this painting’s highly textural surface, Samant may have been further alluding to architectural friezes in ancient temples.
Artwork Details
- Title: Abstract Signs and Temple Frieze
- Artist: Mohan Samant (Indian, Mumbai 1924–2004 New York)
- Date: 1964
- Medium: Oil, plaster, sand, charcoal on canvas
- Dimensions: 53 1/2 × 21 1/2 in. (135.9 × 54.6 cm)
- Classification: Paintings
- Credit Line: Gift of Jillian Samant, 2017
- Object Number: 2017.650.3
- Curatorial Department: Modern and Contemporary Art
More Artwork
A slider containing 5 items.
Press the down key to skip to the last item.
Press the down key to skip to the last item.
Mohan Samant
1964
Mohan Samant
ca. 1956
Mohan Samant
1975–80
Sudhir Patwardhan
1998
Christine Ay Tjoe
2021
Research Resources
The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
To request images under copyright and other restrictions, please use this Image Request form.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.