Traditional miniature painting was a prominent art form during the Mughal rule, but it is an art form that has been deeply ingrained in the cultural heritage of South Asia for centuries. Its existence was endangered during the 19th century due to the waning imperial support and the impact of British colonialism. Despite these challenges, the movement has been revived and transformed in the modern era. Notably, the National College of Art in Lahore, Pakistan, has played a pivotal role in this revival, later echoed by artists in the UK and the USA. The exhibition Materials, Metaphors, and Miniatures looks at the revival of traditional miniature painting through the works of contemporary South Asian artists, who have innovated by moving beyond the traditional format and exploring contemporary themes.
This exhibition featuring works from the Hundal Collection, presents significant artists who are at the forefront of this international movement of contemporary miniature painting. Contemporary South Asian Miniature or Neo-Miniature art is distinctive in that rather than rejecting convention, the artists innovate through acquiring a mastery of traditional skills and then move beyond its boundaries. Early in their training, miniaturists are taught traditional technical skills, which they are required to practice by reproducing historical works. The intimacy of those early encounters is frequently reflected in many contemporary miniature works, which often bear a strong resemblance to the earlier paintings. While the artists start their training with traditional technical skills, they innovate by exploring other forms of expression and even other mediums such as photography, textile, ceramics, and sculpture.
Everyday societal and political tensions significantly shape an artist's practice by dominating the intellectual space within which the artist lives. Neo-Miniature artists frequently explore their reactions to political and social injustices, and religious and cultural taboos in their paintings. The exhibition highlights their satirical approach to socio-political commentary, utilizing imagery inspired by traditional miniature art. Ustad Bashir Ahmed has commented on how Shahzia Sikander, trained in the traditional style, “transitioned to broader mediums for a more globalized expression.” The artists unique reinterpretations challenge the boundaries of the form, exploring a spectrum of themes from personal psychology to broader global concerns. Through their creations, the exhibition underscores the dynamic nature of South Asian miniature painting, evolving and adapting to the contemporary context.
