Musawwari carries a story of resilience, creativity, adaptability and transformation.

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And to truly understand the artform, one must begin with its name. 

 

Though often called ‘miniatures,’ the works vary in size—from smaller than postcards to nearly a metre in height. Despite this variation, ‘miniature’ persists. But why is the artform still confined to this term, and what might its local nomenclature be? 

In Persian texts, the term 'musawwari' appears often, in reference to traditional painting styles associated with miniature art across Central and South Asia. The painters themselves were called ‘musawwirs’. Even Mirza Ghalib’s poems have occasional mention of ‘musawwari’— referencing painting. 

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Given so, one may wonder– why not reclaim this term in the contemporary context?

 

To understand its contemporaneity,  it is essential to look into the many courses musawwari has taken over time. Originating in the eleventh century AD under the Palas, the art form reached its peak during the Mughal Empire between the sixteenth and nineteenth century. Later, under British rule,  western aesthetics gained popularity, relegating  the artform to ‘tourist kitsch’ and ‘exotic imagery.’ Furthermore, it began to be labeled as ‘miniatures’, implying ‘smallness’. All of these exchanges moulded the unique visual language of musawwari, exemplifying colonial influence on redefining cultural identities and artistic legitimacy.

 

Historically, while musawwari engaged with its own philosophy and history — iconographically it has always remained open. Engaging with Chinese and Central Asian landscapes and figures in Timurid, Herat, as well as European prints within the Mughal court has crucially developed the visual language of musawwari.  This openness is closely related to the current stylistic evolution of miniature art, as it transcends geographical boundaries and intersects with various cultures, remaining relevant through its pluralistic engagements. 

 

Today, a new generation of artists are reinterpreting and redefining the art form, combining traditional techniques with modern themes. This approach is seen in works of Amaranta Peña who explores her Andean heritage through art that reflects interconnectedness with nature. Ayesha Gamiet, a London-based artist, blends Persian and Indian traditions with modern storytelling. British-Syrian artist Yasmin Hayat examines migration and memory, while Vaishali Prazmari reimagines the tale of 1001 Nights through miniatures.

 

Contemporary artists deftly navigate globalisation and socio-cultural shifts, abandoning the classic format, but also ensuring its relevance while embracing scale and newer folios. UK-Based Pakistani artist Amjad Ali Talpur creatively examines social dynamics through intricate puzzle-like compositions, while Iran-born Maryam Baniasadi rethinks borders as realms of discussion and possibilities, exploring themes of hybridisation and coexistence in her art.

 

While traditional forms depict stories from religious texts and poetry, its contemporary form is more complex and deeply enmeshed with matters of geopolitics, identity, nationhood and post-colonial sensibilities. These subjects are explored in the works of Lahore-based artist SM Khayyam, who delves into loss and impermanence through fading faces and frayed edges, and Nasik-born Pavan Kavitkar, who captures psycho-physical shifts by embedding objects of memory in his works. Similarly, Dubai-based Maha Ahmed Qureshi investigates identity and memory through hybrid creatures and imagined landscapes.

 

Throughout the history of miniatures, artists have recognised and honoured the skills and expressions of their masters, thereby, grounding their practices in tradition. This reverence informs their work, enabling the incorporation of new iconographies and innovations. Artists like Divya Pamnani, who trained under Mahaveer Swami, blends traditional techniques with contemporary motifs in her exploration of Ragamala paintings, while Gargi Chandola, who trained under Kangra masters, critiques power dynamics and social hierarchies with humor and intricate narratives.

 

The revival of the atelier system in miniature painting is noteworthy. Artists like Alexander Gorlizki, based in New York, bring their visions to life through his atelier in Jaipur, led by Master artist Riyazuddin. Interestingly, Western artists are adopting Indian miniature techniques, reversing the historical trend of Western patronage shaping Indian art. This is evident in the works of British artist Jethro Buck, who captures natural landscapes with vibrant detail using miniature techniques, while Zimbabwe-born British artist Linda Edwards celebrates nature’s beauty in rich, jewel-toned paintings, and Annelie Solis focuses on spirituality and cosmology in her dreamlike portrayals.

 

Even as postmodern artists deal with newer concepts and materials, traditional miniature imagery and ethos continue to inform their work. For example, US-based Pakistani artist Murad Khan Mumtaz explores the significance of stylised landscapes, often relegated to mere backgrounds in traditional miniatures. Additionally, Keerat Kaur combines Sikh philosophies with surrealist imagery, evoking spirituality and complex themes.

 

To contribute to this discourse, it's vital to honour the master artists who preserve the lineage of miniature painting. Though the resurgence of contemporary miniatures should be celebrated, traditional forms must continue to remain relevant. Juxtaposing contemporary art with those from masters like Mahaveer Swami, Vinita Sharma, and Manish Soni acknowledges the continuity of the art form while challenging the distinctions.

 

At this crossroad where tradition converges with innovation, blurring boundaries between the conventional and the experimental, one must ask - when does art transition from traditional miniature painting to miniature-inspired painting or an attempt at miniature painting? Rameshwar Broota’s work brings this nuance and interrogation to the dynamics of miniatures.

 

Embodying these shared sensibilities, we invite you to witness and explore the dynamic intersections of tradition and innovation that musawwari offers.