Early Modernists and Indian Traditions

Against the backdrop of this political struggle, early modernist artists used a variety of approaches to negotiate between the need to create a national style and a desire to develop personal modes of expression.

Although most of the artists working in the Indian subcontinent at this time mixed several artistic traditions, some consciously brought together what might be considered antithetical practices. One such artist is Amrita Sher-Gil (1913–1941), who combined a Post-Impressionist style of painting that she learned at the art academy in France with approaches used in Indian miniatures. Within this format, she depicted ordinary Indians and village life. Another artist melding diverse artistic practices was Jamini Roy (1887–1972), who made images based on traditional Indian pat paintings and European modern art. In Calcutta, where artists revived handicrafts yet shunned commercial art, Roy was a pioneer in using styles of painting developed by artisans in bazaars.

Like Ravi Varma (1848–1906), who preceded them, several artists chose a painting style developed in the West. They made works with oil paints and used a naturalistic approach to the human form and landscape. Allah Buksh (1895–1978), for example, painted indigenous subjects in this mode with a romantic and often dramatic flair; even though he adapted an academic style, Buksh never attended art school. Fyzee Rahamin (1886–1964), later in life, took on a traditional Indian miniature style, yet his earlier work is marked by the European academic approach to painting. Many others throughout the twentieth century followed in the use of Western-style painting. However, as was the case with Varma, they often depicted Indian subjects.

Over the centuries, painting in South Asia developed through a process of copying. A new generation of painters paid respect to the ones who came before them by making copies of older works. Yet they frequently updated the previous style with contemporary trends reflected in fashion and jewelry. Or they used newer art materials. These changes affected the appearance of the paintings, even if slightly. Some artists in the twentieth century continued in this tradition of copying older works. In this way, Hajji Muhammad Sharif (1889–1978) kept the craft of miniature painting alive at the Mayo School of Arts in Lahore, where it continues to be practiced today.