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拍品专文
Closely related to Krishen Khanna's series of paintings from the same period titled The Game, this painting offers the artist's take on the tense political situation in South Asia during the 1970s. "The outbreak of war with Pakistan and the subsequent liberation of Bangladesh had a euphoric effect amongst the larger public, even as the artist community reacted with a degree of restraint, if not alarm. Krishen's response to the severance of Pakistan and the emergence of Bangladesh was a series of painting entitled The Game." (G. Sinha, Krishen Khanna, A Critical Biography, New Delhi, 2001, p. 108)
Extending his own anti-establishment rhetoric, and laying the foundation for the acerbic political narratives of artists like Rameshwar Broota and Arpita Singh, here Khanna points the finger at warmongers. In this painting, the artist correlates the massive displacement and loss of life that resulted from political violence in the Subcontinent with just another series of meetings and negotiations between starred generals and greedy politicians and businessmen across conference tables far removed from the frontlines. In these dark works, as one critic noted, "The compositions portray how [war] is 'played' around the table, the brass hats at conference at the army or field head quarters and the war mongers and ammunition magnates talking 'shop' over brandy and cigars." (G. Sinha, Krishen Khanna, New Delhi, 2001)
"Bangladesh and the catastrophe which characterized that period of violent change and fight for liberty, both national and individual are the implied themes of Krishen's series called The Game [...] besides the brass-hats, we see also personages who represent politicians and administrators. War, and those who let loose the dogs of war are palpably identified." (R. Bartholomew, "Attitudes to the Social Condition: Notes on Ram Kumar, Satish Gujral, Krishen Khanna and A. Ramachandran", Lalit Kala Contemporary 24-25, New Delhi, 1977-78, p. 31)
Reminiscent of the work of German Expressionists like Otto Dix, who was deeply scarred by the brutality of the World Wars, there is a brooding silence that hangs over this painting. The artist's somber palette only adds to the stillness and chilling ambiance that he imbues this war room with.
Extending his own anti-establishment rhetoric, and laying the foundation for the acerbic political narratives of artists like Rameshwar Broota and Arpita Singh, here Khanna points the finger at warmongers. In this painting, the artist correlates the massive displacement and loss of life that resulted from political violence in the Subcontinent with just another series of meetings and negotiations between starred generals and greedy politicians and businessmen across conference tables far removed from the frontlines. In these dark works, as one critic noted, "The compositions portray how [war] is 'played' around the table, the brass hats at conference at the army or field head quarters and the war mongers and ammunition magnates talking 'shop' over brandy and cigars." (G. Sinha, Krishen Khanna, New Delhi, 2001)
"Bangladesh and the catastrophe which characterized that period of violent change and fight for liberty, both national and individual are the implied themes of Krishen's series called The Game [...] besides the brass-hats, we see also personages who represent politicians and administrators. War, and those who let loose the dogs of war are palpably identified." (R. Bartholomew, "Attitudes to the Social Condition: Notes on Ram Kumar, Satish Gujral, Krishen Khanna and A. Ramachandran", Lalit Kala Contemporary 24-25, New Delhi, 1977-78, p. 31)
Reminiscent of the work of German Expressionists like Otto Dix, who was deeply scarred by the brutality of the World Wars, there is a brooding silence that hangs over this painting. The artist's somber palette only adds to the stillness and chilling ambiance that he imbues this war room with.