Important Notice

“The introduction of the representational context in terms of colour geometry gives birth to psycho-symbolic connotations. Thus a mountain remains not a mountain but becomes the abode of Shiva. It becomes a totem capable of exercising its magical eternal influence on those who come within its field of vision.”
– JAGDISH SWAMINATHAN

During the time Jagdish Swaminathan was working with the symbology of ancient and folk and tribal... “The introduction of the representational context in terms of colour geometry gives birth to psycho-symbolic connotations. Thus a mountain remains not a mountain but becomes the abode of Shiva. It becomes a totem capable of exercising its magical eternal influence on those who come within its field of vision.”
– JAGDISH SWAMINATHAN

During the time Jagdish Swaminathan was working with the symbology of ancient and folk and tribal art forms, such as seen in lot 34, he also began experimenting with pure geometric forms and then, with colours such as “pale greens, pinks, mauves, and lemon yellows - hues not usually associated with traditional art.” (Amrita Jhaveri, A Guide to 101 Modern & Contemporary Indian Artists, Mumbai: India Book House, 2005, p. 92) By 1968, he began “combining elements from nature in purely conceptual landscapes,” eventually leading him to his celebrated ‘Bird, Mountain, Tree’ series to which the present lot belongs. Spanning over two decades, paintings from this series feature the three symbolic objects in various permutations, colours and relationships, while retaining subtle distinctions.

Drawing from basic symbols and geometric shapes found particularly in Central India and Himachal Pradesh, the paintings in the series are “luminous and induce a meditative calm. They are suggestive, open to interpretation: as an expression of the self’s unity with nature, they can be seen as a visual equivalent to the transcendental principle expounded in the Upanishads. They also approximate the numen, the basis of most primitive art. Formally, they relate to the paintings of Paul Klee and to Pahari miniatures - Klee sought in his art the power of communion and an affinity with nature; the mystical aspirations are characteristic of Kangra paintings.” (Jhaveri, p. 93)

As evident in the present lot, many of the formal qualities of Pahari miniature paintings can be recognised in these compositions - the flat expanses of saturated colour, the fine detailing of the rocks and mountains, and the simple white bands that contain these elements at the upper and lower edges. Much like in miniature paintings, Swaminathan uses “sublime colour expanses” in this series “to create imaginary worlds that were poetic and often communicated a deep tranquility.” (Abhilasha Ojha, “Jagdish Swaminathan,” Masterpieces of Indian Modern Art, New Delhi: DAG Modern, 2016, p. 427)

The unique flexibility between form and colour opens up Swaminathan’s paintings for multiple interpretations, in which “one confronts a curious dualism. There is assertion, and also submission. There is defiance, and also prayer... there is a homage to the quiet, almost placid splendour of timelessness, of contained animation.” (Suren Navlakha, Exhibition of Paintings by J Swaminathan, New Delhi: Dhoomimal Gallery, 1979)

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