.jpg?w=1)
拍品專文
"He [Husain] has tuned himself into the disciplines of several arts. The vibrations of dance, music and Urdu poetry are caught in a jagged thrust of lines and colors. He can draw and paint with complete surrender to the sound and graphic representations of these modes. Musical rhythm or pure sound finds its way easily into the schemes of the paintings." (R. Shahani, Let History Cut Across Me without Me, New Delhi, 1993, p. 1)
Throughout his long artistic career, Maqbool Fida Husain championed Indian cultural traditions in his paintings in an effort to capture and express his fascination with rasa or the concept of aesthetic rapture. The inter-disciplinary nature of music, sculpture, dance, painting and film provided enormous inspiration to the artist. The present work depicts Husain's masterful synthesis of the traditional Indian subject of a classical musician into a modern artistic language. Its skillful economy of line and form, with swiftly defined linear brushstrokes, evokes the physicality of the sitar player and yet maintains a tranquil, even idyllic, gestural simplicity with a beautifully muted palette.
In the present painting, Husain also creates a sense of drama in his rendition of a musician in the throws of a passionate performance. Framed centrally in the composition, the subject’s identity is not explicitly clear, especially with the use of Husain’s signature technique of stylizing facial features almost to the point of abstraction. This is contrasted with the artist’s precise rendering of the performer’s fingers playing a particular chord on the instrument. The musician’s open mouth too appears to convey a specific word or note, creating a sensation of a moment of rapture caught on canvas, perhaps one of the artist's reminiscences forever memorialized in paint.
Throughout his long artistic career, Maqbool Fida Husain championed Indian cultural traditions in his paintings in an effort to capture and express his fascination with rasa or the concept of aesthetic rapture. The inter-disciplinary nature of music, sculpture, dance, painting and film provided enormous inspiration to the artist. The present work depicts Husain's masterful synthesis of the traditional Indian subject of a classical musician into a modern artistic language. Its skillful economy of line and form, with swiftly defined linear brushstrokes, evokes the physicality of the sitar player and yet maintains a tranquil, even idyllic, gestural simplicity with a beautifully muted palette.
In the present painting, Husain also creates a sense of drama in his rendition of a musician in the throws of a passionate performance. Framed centrally in the composition, the subject’s identity is not explicitly clear, especially with the use of Husain’s signature technique of stylizing facial features almost to the point of abstraction. This is contrasted with the artist’s precise rendering of the performer’s fingers playing a particular chord on the instrument. The musician’s open mouth too appears to convey a specific word or note, creating a sensation of a moment of rapture caught on canvas, perhaps one of the artist's reminiscences forever memorialized in paint.