Important Notice

Gond artist Jangarh Singh Shyam’s body of work is replete with depictions of Gond deities and the natural world of his native Mandla. In lot 113 Shyam renders an intricate interpretation of animals that are recognisable but not entirely naturalistic. Writer Aurogeeta Das asserts that the primary function of the forms was to successfully convey the character of the animals rather than their physicality.

A Pardhan Gond deity features as... Gond artist Jangarh Singh Shyam’s body of work is replete with depictions of Gond deities and the natural world of his native Mandla. In lot 113 Shyam renders an intricate interpretation of animals that are recognisable but not entirely naturalistic. Writer Aurogeeta Das asserts that the primary function of the forms was to successfully convey the character of the animals rather than their physicality.

A Pardhan Gond deity features as the subject of lot 111, which was typical of Shyam. The writer and artist Akhilesh notes Jagarh Singh Shyam’s habit of “invoking deities into each new medium” by first rendering the cast of the Gond pantheon in every medium he picked up. Speaking of the artist’s profound relationship to his gods, Akhilesh says, “The mystical force of these gods and goddesses moved him; the fact that they remained invisible yet powerful filled him with astonishment. It is in these brief, wonder-laden moments that he calls out to them. And gradually, he brings them onto his paper and forges a physical relationship with them.” (Akhilesh quoted in Aurogeeta Das, Jangarh Singh Shyam: The Enchanted Forest: Paintings and Drawings from the Crites Collection, New Delhi: Roli Books, 2017, p. 112)

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