.jpg?w=1)
拍品专文
From the late 1950s to the late 60s, Husain painted a series of works related to classical Indian music and dance. Inspired by classical Ragamala paintings, Husain's interpretation is dominated by three standing figures, one of whom holds a veena while above them is the orb of the sun symbolizing the passage of time.
(R. Dean and A. Jhaveri, M.F. Husain: Early Masterpieces 1950s-70s, Asia House Gallery, London, 2006, unpaginated).
The present work derives inspiration from the slender, ethereal figuration of Modigliani. However, in making this subject his own, Husain's greater emphasis is on classical Indian sculpture. Discussing the classical stance of tribhanga (three bends) in temple sculpture, Husain notes that "in the East the human form is an entirely different structure [...] the way a woman walks in the village there are three breaks [...] from the feet, the hips and the shoulder [...] they move in rhythm, the walk of a European is erect and archaic."
(P. Nandy, The Illustrated Weekly of India, December 4 - 10, 1983).
(R. Dean and A. Jhaveri, M.F. Husain: Early Masterpieces 1950s-70s, Asia House Gallery, London, 2006, unpaginated).
The present work derives inspiration from the slender, ethereal figuration of Modigliani. However, in making this subject his own, Husain's greater emphasis is on classical Indian sculpture. Discussing the classical stance of tribhanga (three bends) in temple sculpture, Husain notes that "in the East the human form is an entirely different structure [...] the way a woman walks in the village there are three breaks [...] from the feet, the hips and the shoulder [...] they move in rhythm, the walk of a European is erect and archaic."
(P. Nandy, The Illustrated Weekly of India, December 4 - 10, 1983).