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拍品專文
"I have claimed for myself a lineage that engages with tradition and history [...]". (Artist Statement, Edge of Desire, exhibition catalogue, Singapore, 2005, p. 48)
Nilima Sheikh studied history at Delhi University before going on to study Fine Arts at M.S. University in Baroda. Under the mentorship of K. G. Subramanyan and Gulam Mohammed Sheikh, she learned the significance of craft and folk art in modern Indian art forms and the power of narrative structure.
History features as an important aspect in Nilima's work and her paintings deal with issues of feminity, communal violence and suffering. Stylistically, the artist has always been interested in traditional art forms such as Rajasthani, Pahari and Mughal miniatures, and received a number of government fellowships in the 1980s to study Indian traditional paintings, in particular the Pichhvai of Nathadwara. These interests are reflected in her paintings with her use of delicate line and choice of color.
"Nilima Sheikh has worked out a style that has the fresh inventiveness of a combined aesthetic, bringing together the conceptual poetry of the miniature and the compositional clarity and mood of the seventeenth century Japanese woodcut, while employing naturalistic rendering in the case of specific images, as a figure, animal or vegetation. There is a coordinative sympathy between her style and her subjects, which refer to nature and incidents from everyday life, the drama of the home, the ambiguities of human relationships, animals and children at play." (Edge of Desire, exhibition catalogue, Singapore, 2005, p. 48)
Nilima Sheikh studied history at Delhi University before going on to study Fine Arts at M.S. University in Baroda. Under the mentorship of K. G. Subramanyan and Gulam Mohammed Sheikh, she learned the significance of craft and folk art in modern Indian art forms and the power of narrative structure.
History features as an important aspect in Nilima's work and her paintings deal with issues of feminity, communal violence and suffering. Stylistically, the artist has always been interested in traditional art forms such as Rajasthani, Pahari and Mughal miniatures, and received a number of government fellowships in the 1980s to study Indian traditional paintings, in particular the Pichhvai of Nathadwara. These interests are reflected in her paintings with her use of delicate line and choice of color.
"Nilima Sheikh has worked out a style that has the fresh inventiveness of a combined aesthetic, bringing together the conceptual poetry of the miniature and the compositional clarity and mood of the seventeenth century Japanese woodcut, while employing naturalistic rendering in the case of specific images, as a figure, animal or vegetation. There is a coordinative sympathy between her style and her subjects, which refer to nature and incidents from everyday life, the drama of the home, the ambiguities of human relationships, animals and children at play." (Edge of Desire, exhibition catalogue, Singapore, 2005, p. 48)