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Lot Essay
Although often referred to as the ‘National Artist of Pakistan’, Abdur Rahman Chughtai created works of a shared national identity more reflective of a unified pre-partition India. Descended from a long lineage of artisans and craftsmen, the guiding principle for Chughtai’s art was, from the very beginning, to renew the traditional Mughal style of painting. Speaking of the motivations behind his revivalist aspirations, he noted, “The only aim of art is that life should thrive. My art is living and will continue to throb with life, so that the land that gave me birth may be truly immortal [...] These humble creations are redolent of those good old days, when we were making efforts to live and dream with brethren of this land. I have painted about 200 pictures on Indian motifs. This background of my art should not be lost sight of” (Artist statement, Chughtai’s Indian Paintings, New Delhi, 1951, p. 7).
In response to a growing national consciousness and anti-imperial struggles across the Indian Subcontinent, several artists and writers looked for connections with their history and sought to reclaim a national identity that was separate from, and often predated the colonial state. It is within this historical trajectory that Chughtai’s work must be situated, as an invocation of precolonial artistic traditions. Painting scenes that encompassed both Hindu and Muslim oral traditions, folklore and mythology, Chughtai’s images are a true representation of religious syncretism.
The present lot, titled The Bond of Love, is one of his many paintings inspired by Hindu subject matter, depicting the divine couple, Radha and Krishna. The artist renders the subjects in his characteristic style of painting inspired by Persian miniature traditions, featuring smooth and delicate lines, a flatness of space and lack of chiaroscuro. His use of pastel colors and simplicity of form imbues the composition with softness and elegance. The romance between the couple is hinted at in a subtle manner – their gazes are turned away from each other and the only indications of the ‘bond’ Chughtai refers to in the title are their gracefully interlocked hands.
“This picture is steeped in the spirit of fairy romance. The romantic love of Radha and Krishna is portrayed with great thought and feeling. With an unerring skill and masterly touch, Chughtai creates enchanting forms and graceful movement. Clear colours blend in the background, lovely blues look cool and fresh, the gnarled tree, which, like another Naga, appears to be overpowered by the spell of Sri Krishna casts its shadow on the ardent lovers. This early picture reveals the peculiar charm of Chughtai’s style” (S. Kashmira Singh, Chughtai’s Indian Paintings, New Delhi, 1951, pl. 3).
In response to a growing national consciousness and anti-imperial struggles across the Indian Subcontinent, several artists and writers looked for connections with their history and sought to reclaim a national identity that was separate from, and often predated the colonial state. It is within this historical trajectory that Chughtai’s work must be situated, as an invocation of precolonial artistic traditions. Painting scenes that encompassed both Hindu and Muslim oral traditions, folklore and mythology, Chughtai’s images are a true representation of religious syncretism.
The present lot, titled The Bond of Love, is one of his many paintings inspired by Hindu subject matter, depicting the divine couple, Radha and Krishna. The artist renders the subjects in his characteristic style of painting inspired by Persian miniature traditions, featuring smooth and delicate lines, a flatness of space and lack of chiaroscuro. His use of pastel colors and simplicity of form imbues the composition with softness and elegance. The romance between the couple is hinted at in a subtle manner – their gazes are turned away from each other and the only indications of the ‘bond’ Chughtai refers to in the title are their gracefully interlocked hands.
“This picture is steeped in the spirit of fairy romance. The romantic love of Radha and Krishna is portrayed with great thought and feeling. With an unerring skill and masterly touch, Chughtai creates enchanting forms and graceful movement. Clear colours blend in the background, lovely blues look cool and fresh, the gnarled tree, which, like another Naga, appears to be overpowered by the spell of Sri Krishna casts its shadow on the ardent lovers. This early picture reveals the peculiar charm of Chughtai’s style” (S. Kashmira Singh, Chughtai’s Indian Paintings, New Delhi, 1951, pl. 3).