This is a brush drawing from the 18th century depicting a lion hunt and is attributed to the Mughal style. As symbols of imperial wealth and power, the Mughal painting tradition frequently depicted elephants and lions as subjects, especially in hunting scenes. This visual documentation suggests that artists from the Mughal ateliers accompanied the Emperor… Read more »
“Set in Agra, 1627, Mansur: A Novel reimagines a day in the life of an imperial Mughal atelier. Ustad Mansur belonged to a distinguished group of master painters in the service of Jahangir. He specialised in watercolour life-studies—of unmatched realism and finesse—of flora and fauna, both native and exotic.” – Vikramajit Ram for Sarmaya Talks.… Read more »
This composition is a 23 carat gold on paper titled ‘The Canopy’ by Jethro Buck (b. 1986). Jethro Buck attempts to draw our attention away from ourselves and into a contemplation of treetops and the limitless space beyond. Through the canopy, we get a glimpse at the profound infinity of the universe. To the artist,… Read more »
Drawing from the practices of Rajasthani miniature painting and printmaking, Gopa Trivedi turns abstract concepts—time, decay, renewal—into provocative, fragmented frames
Varunika Saraf’s paintings draw you in with their vibrant splashes of colour, only to unnerve you with the details veiled underneath. She speaks to Sarmaya about her process, politics and perennial love for the miniature art tradition
We welcome some priceless miniature paintings into our collection, including the Mughal Hamzanama by exploring the many traditions of this practice in the Sarmaya collection
This miniature painting depicts Maharana Pratap Singh’s Horse Fatem Marakha. Maharaja Pratap Singh (1764-1803) of Jaipur was the younger son of Maharaja Madho Singh. He ascended to the throne at 14 and reigned for over 25 years. Following the decline of Mughal court paintings, the Rajput and Pahari schools of painting increased in popularity. During… Read more »
This miniature painting depicts Maharana Pratap Singh’s horse Dilsringar painted using opaque pigment on paper in the 18th century. Maharaja Pratap Singh (1764-1803) of Jaipur was the younger son of Maharaja Madho Singh. He ascended to the throne at 14 and reigned for over 25 years. Poems, art, and architecture were among Maharaja’s passions. The… Read more »
An initiation into the Sarmaya team involves the confrontation of and acclimating to certain books from our library. New ‘uns are told this is necessary reading meant to familiarise them with the genres of the collection. Each object inhabits a world that is resonant and multi-faceted and it’s impossible to know where to start. “Today… Read more »
Created using oil paint and 22 ¾ gold leaf on Gesso panels, Jethro Buck’s painting ‘Wild Things’ borrows and meshes together a potpourri of images from across the global landscape – from pastoral England to Mughal India. This miniature style painting teases a range of dynamic figures – animal and human – who go about… Read more »
In the West, hand-painting was only used to add delicate highlights or make modest adjustments to images. But the method took a special and distinctively vivid turn in India. Indian royals were first enamoured with photography, but they quickly began to believe that there was something lacking in the images. Something of the grandeur and… Read more »
A series of five paintings by the artist explores how apathy spreads like a stain on the consciousness of people and nations
This painting is an interpretation, Jesus prays to his father on the night before his crucifixion. The artist Manish Soni has employed a distinctive Hamzanama trope to convey the intensity and pathos of this scene.
This folio titled ‘Raising of Lazarus’ is a part of the Issanama series. The Issanama commission lies at the intersection of art and history, and offers lush evidence of the plurality and syncretism inherent in Indian culture. It’s an artistic collaboration between the founder of Sarmaya, Paul Abraham and traditional miniaturist and third-generation artist, Manish… Read more »
This folio titled ‘Calming the Storm III’ is a part of the Issanama series. The Issanama commission lies at the intersection of art and history, and offers lush evidence of the plurality and syncretism inherent in Indian culture. It’s an artistic collaboration between the founder of Sarmaya, Paul Abraham and traditional miniaturist and third-generation artist, Manish… Read more »
This folio titled ‘Calming the Storm II’ is a part of the Issanama series. The Issanama commission lies at the intersection of art and history, and offers lush evidence of the plurality and syncretism inherent in Indian culture. It’s an artistic collaboration between the founder of Sarmaya, Paul Abraham and traditional miniaturist and third-generation artist, Manish… Read more »
This folio titled ‘Calming the Storm I’ is a part of the Issanama series. The Issanama commission lies at the intersection of art and history, and offers lush evidence of the plurality and syncretism inherent in Indian culture. It’s an artistic collaboration between the founder of Sarmaya, Paul Abraham and traditional miniaturist and third-generation artist, Manish… Read more »
This intricately detailed triptych tells the story of Jesus calming the storm. The first of the panels, Jesus stands at the bank of the river, pointing towards the boat which will take him and his disciples to the island where they can rest.
This folio titled ‘The First Miracle at Cana’ is a part of the Issanama series. The Issanama commission lies at the intersection of art and history, and offers lush evidence of the plurality and syncretism inherent in Indian culture. It’s an artistic collaboration between the founder of Sarmaya, Paul Abraham and traditional miniaturist and third-generation… Read more »
The scene here shows Jesus and his twelve apostles huddled around a fire, on what seems like a cold and silent night, for a simple meal. This painting is the artist’s homage to a great work by the 18th-century Pahari master Nainsukh.