As a new form of miniature art emerges, the question arises: should the upcoming discipline evolve and be given a new name? Traditional miniature paintings known for their intricacy, high degree of detail, technical precision and bright pigments, adhere to defined folios within margins or borders. However, contemporary artists today aren’t confined to the same boundaries, margins, or history.

 

Denoted by terms like ‘neo-miniature’ today, the persistent use of the term miniature still echoes colonial influences. Labeled by the British, the term ‘miniature’ implies a sense of smallness and subordination to Western art forms, diminishing its cultural and artistic value. By the 20th century, there was a sharp decrease in miniature painting ateliers owing to the decline in Mughal patronage, the pervasive influence of Western styles and their value judgments against the traditional South Asian forms. Today, artists are breaking new ground and renewing the miniature art form through experimentation with form, techniques, materials, iconographies and narratives.

 

Arslan Farooqi brings dynamism to the static miniature form while delving into existential inquiries. Divya Pamnani shifts from traditional colour and composition, offering new renditions of ancient Indian games. Gargi Chandola introduces themes of feminism through a humorous approach on the masculine ideas of territory and power. Laxmipriya Panigrahi turns a city into a vibrant soundscape, awakening the senses to acoustic experiences. Lekha Shastry plays with traditionally miniature elements by transforming them into a large-scale mural-style composition. Pavan Kavitkar captures a modern shift in our natural and urban spaces, transforming the psycho-physical to relate to our current social and political contexts. Ravi Kumar Chaurasiya examines the hidden implications of development and class differences. Sukanya Ayde shifts traditional miniature margins to the centre, vividly portraying scenes of a secret garden that extend beyond the boundaries