Foreign Influences in Indian Art

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By Arushi Mishra

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    Indian traditional arts are a repository of culture and part of the country’s rich history. It is the reason for the vibrant culture that has emerged within India in recent times. 

    The periods of Mughal (1526-1857) and the British colonial (1858-1947) rules have left more than just historical accounts in the books. These periods also saw the blossoming of various arts and crafts in the country. The Mughals were known to be ardent lovers of art and actively patronised various forms of art during their rule. On the other hand, the British colonists had primarily come to the country for the purpose of trade.

    The presence of these foreign rulers in India also influenced traditional art and culture. 

    This article will talk about a few Indian art and craft traditions, which were further glorified due to the infusion of native and foreign influences. 

    Kalamkari Art

     

    Tree of Life: Kalamkari Painting by Harinath. N

     

    Kalamkari is one of the oldest art forms of India, originating from the state of Andhra Pradesh. These works are mostly produced in Kalahasti, Machilipatnam, and other smaller regions of the state. The colours used in this artform are naturally derived and the art is primarily carried out of cotton cloth canvases. The intricate style of Kalamkari paintings is usually done by hand or through block printing, depending on the region in which it is being practised. 

    Kalamkari art has had Persian and European influences over the years. The art evolved during the 16th century, under Mughal patronage. The detailed and stylistic floral patterns, representation of animals such as birds, lions and deer, and many other motifs have been influenced by Persian art. This influence can be directly seen in the ‘Golconda style’ of Kalamkari paintings, where there is a heavier focus on the geometrical patterns.The word ‘kalam’ is a Persian word meaning pen and ‘kari’ means craftsmanship. Therefore, together this word implies the art that is made on a cotton canvas with pens made from pieces of bamboo or date palm stick. 

    Moreover, one can also trace European influences in this artform, particularly Portuguese and Dutch. During the 17th and 18th centuries, the Dutch and the Portuguese colonists were robustly trading spices and Indian textiles, which included Kalamkari artworks, in the European markets. The Coromandel coast emerged as one of the busiest places for such trade.  This consequently led to the incorporation of many Western motifs such as floral patterns, and cherubs; even the colour scheme was seen to be influenced by Western ideas. 

    Thus, Kalamkari art has had a long journey of influences from various parts of the world, making for a highly versatile and skilled work of art. 

    Rogan Art

     

    Tree of Life Rogan Art by Rizwan Khatri

     

    The intricate painting technique of Rogan hails from the Kutch region of Gujarat in India, and also in some parts of Peshawar and Sindh in Pakistan. The inception of Rogan art in India had foreign impressions. This art came from the Persian region, about 300 years ago, to the Kutch region. The word ‘rogan’ itself is a Persian word, translating to ‘varnish’ or ‘oil’. As the term indicates, this art is done with specially prepared castor oil paint on a cloth. 

    The art is known for its beautiful and intricate patterns, with stunning colour schemes. One of the most popular motifs in this art is the Tree of Life, which has also been inspired by Persian art.

    Being true to the Persian form of art, Rogan art has also adopted detailed geometric patterns and floral designs in its ambit. These designs are made with a free hand on textiles which are mainly made out of cotton. It is interesting to note that the art itself is made on half cloth, which is then folded to get an exact mirror impression on the other side of the cloth.

    Over the years, Rogan art has come to blend a few Indian motifs within its circle as well. However, the Persian influences are still prominent and can be seen even today. 

    Kashmiri Paper Mache

     

    Paper Mache Box by Riyaz

     

    Kashmiri paper mache is a unique technique of creating handicraft items through the method of paper mache. Although the technique of paper mache did not originate in the country, it made its way to India due to trade exchanges with Central Asia during the middle-ages. This style was adopted by the Kashmiri artisans with the integration of locally inspired motifs, such as the Chinar, and style of painting as inspired by the miniature paintings. Thus, many handicraft items are made from the Kashmiri paper mache technique, incorporating various intricate floral designs. 

    This craft was initially introduced in India by Sultan Zain-ul-Abadin in the 15th century. Therefore, many traditional Persian motifs are also seen in the Kashmiri paper mache craft form, like the Chinar leaves, gul-andar-gul (flower within flower) pattern, and many other geometrical patterns. 

    Mughal Miniature Painting

     

    Radha-Krishna’s Divine Harmony in Mughal Miniature by Mohan Prajapati

     

    During the Mughal period (1526-857 CE) in India, the traditional arts reached a new zenith. Many of these artforms had immense influences from Persia or had been directly adopted from traditional Persian arts. 

    One such artform was the Mughal miniature painting. The first Mughal emperor of India, Babur, was passionate about the arts and brought with him various Persian and Central Asian cultural influences. The second Mughal emperor, Humayun, invited the renowned Persian artists Mir Sayyid Ali and Abdul Samad, to his court, in order to train the Indian artists in the cultural painting style of Persia. This led to a fusion of Indo-Persian arts, which resulted in the Mughal miniature painting, which eventually led to the birth of numerous other forms of miniature during the period. 

    Therefore, one can see a heavy influence of Persian motifs and styles in the Mughal miniatures. Various Persian literary themes along with Persian words on the borders of these paintings can be seen even today. Geometrical patterns, which are a quintessential feature of the Persian style of art, on the borders and within the paintings are also seen in the Mughal miniature paintings. 

    The incorporation of vivid and bright colours in these paintings was again something influenced by the Persian style of paintings. 

    The Persian influences along with an Indianisation of the art in terms of themes and stylisations made these paintings a distinct form of art in India. During the later reign of Akbar, most themes of the Mughal miniature paintings were inspired by Hindu mythology and folklore. With the dispersion of artists during the reign of Aurangzeb, there was a rise in various regional schools of miniature paintings, each with its own theme and regional characteristics. 

    Chikankari Embroidery

    The Mughal emperors were known to have a deep sense of appreciation for arts and crafts. The origin of the Chikankari embroidery was also a result of this appreciation. 

    However, this rich form of embroidery also has its roots in the Persian art tradition. The term ‘chikankari’ is a Persian word for embroidered flower work. This form of delicate embroidery is done on a fine muslin cloth and traditionally incorporates pastel colours. 

    This delicate and intricate hand-embroidery technique is known to have found its way into India many centuries ago, during the reign of the Mughal emperor Jahangir (1569-1627). Jahangir’s wife, Noor Jahan (1620-1627), was known for her passion for intricate and rich needlework. She was extremely impressed by the Persion form of embroidery and sought to bring a few Persian artists to India, in order to teach the Indian artisans this art. The local Indian artisans evolved this technique of embroidery and created a unique style of embroidery which came to be widely popular. Lucknow became one of the biggest hubs for the propagation and trade of this art. 

    Many Persian-influenced motifs and themes can be seen in this form of embroidery. The white-on-white embroidery in this technique is something that was typical of the Persian form of embroidery. 

    Traces of intricate geometrical patterns, detailed floral designs and patterns with creepers and the delicate needle-work are all memories of the Persian roots of this technique. 

    Conclusion

    While many arts and crafts do not have their origins in India, it is important to note that they did not develop in a way similar to their homeland. Instead, they adopted numerous elements, motifs, styles and colour schemes from the Indian subcontinent and developed into a unique style. They grew as an amalgamation of numerous cultures with a history of their own in the subcontinent. 

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