Important Notice

Manjit Bawa’s artistic idiom was refined through years of experimenting with technique. Bawa drew inspiration from nature, and from folk tales, myths and legends, which he often reinterpreted in a unique manner in his works. Mughal, Rajput and Pahari miniature paintings left an impact on his unique style. Their influence was not limited to the delicacy of line and suppleness of form in Bawa’s oeuvre. The artist subverted certain elements of the... Manjit Bawa’s artistic idiom was refined through years of experimenting with technique. Bawa drew inspiration from nature, and from folk tales, myths and legends, which he often reinterpreted in a unique manner in his works. Mughal, Rajput and Pahari miniature paintings left an impact on his unique style. Their influence was not limited to the delicacy of line and suppleness of form in Bawa’s oeuvre. The artist subverted certain elements of the miniature technique to define his visual syntax. The intricate detailing of miniatures was excessive for Bawa, and he distilled the details to arrive at his stylised figures. His backgrounds were often rendered in flat monochromes, forcing the viewer to focus entirely on the subject, rather than take in the entire scene. In this lot, his evocation of the tradition of miniature painting—albeit in his unique translation—adds a vitality and significance to the figures.

By limiting the current work to a small scale, Bawa has chosen to recall the exquisiteness of Mughal and Rajput painting traditions and scale, while paring down detail through his signature style. Here, he depicts Kali as the vanquisher, but prompts the viewer to delve deeper into the image and the interaction of the main characters. Bawa has perhaps reinterpreted the famous Dakshina Kali tale of the Goddess in her most fearful form. According to the narrative, Kali is consumed by rage after feasting on the blood of the vanquished demons, and is about to destroy the universe in her uncontrolled frenzy on the battlefield. Lord Shiva assuages her by lying beneath her feet to stop her, and she dances upon him. As realisation dawns, she is overcome by remorse, and finally calms down. Bawa does not depict Kali in her typical, fiery self—scimitar in one hand and decapitated head in the other—but in a remorseful mood. Her hands assume graceful mudras and her head is angled to look upwards. Her hair is unbound, flowing rhythmically. Shiva lies supine at her feet, hands, as if patiently waiting for her to rage to subside. This painting is of particular significance among Bawa’s works which draw inspiration from India’s rich mythology and artistic traditions.

Read More
Artist Profile
Other works of this artist in: this auction  |  entire site