Since
March 2002
An International,
Registered & Referred
Monthly Journal :
Research Link - 135, Vol - XIV (4), June - 2015, Page No. 93-94
Impact Factor - 2014 - 1.8007
ISSN - 0973-1628  RNI - MPHIN-2002-7041 
F ine Arts
Image of Woman in the Art of Amrita Sher-Gil :
An Analytical study of her approach and
representation of the woman in her paintings
The image of female form has always had a significant representation in Indian
art since the ancient times. Women in Indian art have primarily been projected as an
epitome of beauty an 'object to desire'. This projected image has largely been made by
male artists for over centuries. In the beginning of the twentieth century many
contemporary male artists used woman as the central focus of their work. Artists like
Raja Ravi Varma, Jamini Roy, Nand Lal Bose and many others made women centric
paintings full of beauty and imagination. But it was only in the 1930's, that a women
artist, highly talented, professionally acclaimed with charismatic personality, rocked the
artistic scenario in India with her bold projection of women themes never painted earlier
by a women artist in India. The first serious investigation into projecting a woman image
beyond its conventional representation by a woman artist was initiated by AMRITA SHERGIL. This research paper I will be giving an analytical study of her approach and her
representation of the female form in her paintings. Being a woman and a painter her
projection of women form was not as an 'object' but as the “subject' of the paintings.
DR.GUNEETA CHADHA
I
n the context of the Indian art the image of woman
has been given prime importance with the physicality
objectified to make it more desirable. This image repeated
over centuries has been primarily shaped by the male artists
and sculptors. With a history of more than four thousand
years, to understand the image of woman represented in
Indian art in the present contemporary context we need to
look back retrospectively.
A historical overview of the representation of woman form
in Indian art :
The 'Natyashatra' a classic written by Bharatmuni
around 200 B.C-200 A.D classifies woman as a 'Devi', as a
'Naiyka', and as a Ganika, meaning a goddess, a heroine and
a courtesan. The Indian literature and the Indian art have
innumerable references of woman fulfilling these categories.
With the flourishing of the Tantra philosophy around the
7th, the woman images become more sensuous, sexual and
erotic. This imagery is rampantly seen in the sculptural
images of Khajuraho and the Orissa temples. Around the
11th century inspired from the Sanskrit literary texts, paintings
were being done in the series of “Chaurpanchasika” and the
“Laurchanda”. Projecting women as passionate lovers is seen
in the Pahari miniatures as The 'Sohni Mahiwal' love story
and the romance of 'Radha Krishan' are so frequently seen in
Indian art. The type casting of these images was so deep
rooted in the psychological and sociological settings that it
continued for centuries to be type casted and represented in
these popular imageries.
By the beginning of the 20th the political, social and
artistic spheres of the nation seemed to be poised on the
brink and changes began to happen with the change in
attitudes by the 20th century. With the changing sociopolitical scenario during the pre-independence era, we see a
surging change in the status of the Indian women in context
to their socio-economic status as well. This subtle change
started to surface in the art and many women artists come in
the professional art scene. This brought new perspective
towards the image of woman in Indian art.
It was in the 1930's that a women artist, highly talented,
professionally acclaimed with charismatic personality, rocked
the artistic scenario in India with her bold projection of women
themes never painted earlier by a women artist in India. The
first serious investigation into 'being' a woman was initiated
only by AMRITA SHER-GIL and no other artist singularly
Associate Professor & Head (Department of Fine Arts), PG.Government College for Girls, Sector-11, Chandigarh
 Research Link - An International Journal - 135  Vol - XIV (4)  June - 2015  93
had the impact which her paintings created. Her thematic
depiction emphatically changed the perception of the image
and the role of women in Indian art, both as an artist and as
the subject of art.
About Amrita Sher Gil's life :
Amrita was born in Budapest in 1913, and spent the
formative years of her life in Europe. She dabbled in paint
from her early childhood. She had a Hungarian mother and a
Sikh father. Her intelligent mother detected the talent latent
in her, and encouraged her to paint. She took her early training
in Italy and Paris. Her earlier works are influenced by the
post-Impressionists. Yet by the 1930s, Sher-Gil was convinced
of the need to come back to India to her roots and she returned
home in 1934. Settling down in Shimla in 1935, she was
passionate to depict the Indian themes in her paintings and
she wanted to achieve this with her own technique.
Projection of women in her paintings :
Amrita primarily depicted woman form in her paintings,
because she could relate most easily to their condition. Woman
in her paintings were not objects of desire but assertive
subjects depicting the very essence of womanhood. She
understood the predicament of Indian woman and her women
were a lot more than just pleasing patterns of body contours.
Her paintings can be formulated into three categories,
leading an insight into her progression, her evolution as an
artist and more so her journey of self discovery. Her paintings
like ' Hill Women' , 'Child Bride', 'Banana Sellers' are formal,
create atmosphere and appear to treat woman as an abstract
progenitive symbol. These paintings of her have an echo of
the colours of the European palette. The second category is
the Self portraits painted during her Paris years. Though
they were much a part of her academic training yet they
stand distinctly apart and in a way defined Amrita as a person,
becoming in every sense her exploration of her complex selfimage. She painted more than twelve 'Self Portraits' while she
was a student in Paris painted mostly over a period of four
years (1930-34). The third category had her depicting her
woman as the essence of womanhood by trying to emphasize
on the subjective depiction more than on the body or the
female form. The paintings like 'Woman at Bath',' Woman
resting on the Charpoy' are her path breaking depiction of
woman at that point of representing the image in
contemporary Indian art by a woman artist.
By emphasizing on the essence of womanhood rather
than objectifying the body, she gave an interesting and path
breaking shift in projecting the image of women reflecting
the feminine sensibility from a female perspective.
Conclusion :
Amrita Sher-gill was an academically accomplished
painter, a keen observer and her quality to emulate her thoughts,
feelings and emotions in her paintings made her one of the
most important women artist of India to be recognized
internationally then and till now. Her study and execution of
Indian themes, especially the projection of woman form in her
works has left innumerable impressions on the Indian art. She
explored the rural sensibilities of the Indian woman by
projecting her doing ordinary mundane tasks, household
chores, so much a part of a woman's life. These narratives
were painted for first time in Indian art, projecting the true rural
India, and especially the image of the rural woman. Amrita
Sher-Gill was not only an icon but the single biggest role
model for the post-independence women artists, in search for
their roots and identity. She was a source of inspiration to
many women artists of India who ventured out of their secure
homes to be professional artists just like her. In Amrita SherGil's works, her woman form represented a persona, a complete
will of their own. She morphed her own life and experiences in
her woman forms, as if she could feel the enclosed and
circumscribed lives of her woman subjects in her paintings.
Thus we can say that Amrita Sher-Gil's contribution to Indian
Art is far more than we realize. She liberated the Indian women
painter in more ways than one way. Not only did she set the
precedent of women painter, painting the woman as a subject,
but she forced the art loving public, limited as it was, to look at
the paintings by women not only in a playful and indulgent
way but serious works of art.
References :
(1) Anand, M.R., 'Amrita Sher-Gil', National Gallery of
Modern Art, New Delhi, 1989.
(2) Anand, Mulk Raj, 'The Album of India Painting', National
Book Trust, New Delhi, 1973.
(3) Archer, W.G., 'India and Modern Art' , London, George
Allen & Unwin Limited, 1959.
(4) Beckett, Wendy, 'Contemporary Women Artists', Phaidon,
Oxford, Phaidon Press Limited, 1988.
(5) Berger, John, 'Ways of Seeing', British Broadcasting
Corporation and Penguin Books, London, 1972. Section 3.
(6) Betterton, Rosemary, 'An intimate Distance: Women Artists
and the Body', London, Routeledge, 1996.
(7) Chaitanya, Krishna, 'History of Indian Painting: The
Modern Period', New Delhi, Abhinav Publications, 1994.
(8) Craven, Roy, C., 'A Concise History of Indian Art', Prager
Publishers, New York, 1976.
(9) Chawla, Rupika, “Talent, Tragedy and the Myth of Amrita
Sher-Gil”, Ed. by Sinha, G., 'Indian Art an Overview,' Rupa & Co.,
New Delhi, 2003.
(10) Dalima, Yashodhara and Sambrani, Chaityana, et. al.,
'Indian Contemporary Art Post Independence,' New Delhi, Vadehra
Art Gallery, 1997.
(11) Dalima, Yashodhara, 'Amrita Sher- Gil- A Life',Viking
Publication,Penguin books,New Delhi, 2006.
(12) Doctor, Geeta, 'Amrita Sher-Gil: A Painted Life,' Rupa
& Co, New Delhi, 2002.
(13) Kapur, Geeta, 'When was Modernism: Essays on
Contemporary Cultural Practices in India', New Delhi, Tulika Books,
2000.
(14) Khandalavala, Karl, 'Amrita Sher-Gil', New Book
Company, Bombay, 1943.
(15) Urmi Kesar, 'Women and Women painters,' 'Women in
Indian History,' Ed.by Kiran Pawar, Vision & Venture, New Delhi,
1996.
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 Research Link - An International Journal - 135  Vol - XIV (4)  June - 2015  94
Since
March 2002
An International,
Registered & Referred
Monthly Journal :
Research Link - 135, Vol - XIV (4), June - 2015, Page No. 95-97
Impact Factor - 2014 - 1.8007
ISSN - 0973-1628  RNI - MPHIN-2002-7041 
F ine Arts
Representation of Altruism in Ajanta Paintings : A Study into
the Content and Aesthetical aspects of the Shyama Jataka
The Ajanta paintings are so famous not only for its excellent aesthetic expressions
but also for its underlying spiritual ideas which are meant to bring peace in individuals as
well as in society. By touching the affective domain of individuals, the Ajanta art attempts
to pursue public to adopt spiritual ideas in their life. By identifying the human emotion of
desire as the root cause sufferings of mankind, the Buddhists encourage people to follow
the 'middle path' as preached by the Buddha. Renunciation of material pleasures becomes
an integral part of the principles of Buddhist ideals along with 'Ahimsa' to make the
human life more meaningful. The visual treat given in the 'Jataka' story shows the limitless
love of Shyama towards his blind old parents. The character Shyama turns into the status
of a symbol of selfless service in the legacy of Buddhist ideals. Ajanta art also turn out to
be an example of the visual manifestation of moral principle that was aimed at building
up a healthy and peaceful society. The present paper attempts to study the content and
aesthetical aspects involved in the Shyama Jataka from Ajanta.
DR. O. P. PARAMESWARAN
Introduction :
The Ajanta paintings present excellence not only in
the aesthetical aspects but also in conveying the need to
inculcate spirituality in individuals as well as in society. The
visual manifestations of the Buddhist ideals attempted at
the Ajanta occupy a high position not only in India but also
across the world. Even though the Ajanta paintings are
considered as being the available earliest examples of the
Indian mural traditions, the surviving examples itself presents
higher quality in terms of its execution of the art works. All
these paintings are spread over in various caves at Ajanta
and their period falls between 2nd Century B.C. to 7th Century
A.D. The theme of the Ajanta art works are based on the life
and the teachings of Buddha. The production of art based
on the Buddhist ideals deserved to be considered as one of
the best examples of art ever attempted by the history of
mankind. As the Ajanta art is based on the ideals of
Buddhism, acquiring an appropriate idea of the teachings of
Buddha becomes extremely important to have a profound
appreciation of the Buddhist art.
The study of Buddhist philosophy tells that Buddha
attempted to address various issues of mankind at a deeper
level. He says that life is suffering. Life can be made more
meaningful by the identification and removal of the root cause
of suffering. These high ideals are meant to create peace in
individuals as well as in society. The very conceptual frame
work of Buddhism reveals four noble truths which are very
significant in Buddhism.
To transform the mass in a qualitative sense, Buddha
laid out rules to be followed by each and every one. Among
the four noble truths, the first is the truth of 'dukha' .that
occurs due to sufferings, anxiety and dissatisfaction. Some
of the reasons of the human suffering can be due to the facts
like death, becoming old, physiological and the psychological
illness. Tension derives from the fact of attempting to keep
the present as being static from the continuously changing
life patterns. Suffering accumulates from the realization of
the impermanent nature of thing in the world and the inability
to reach to one's own expectations in life. The second is the
truth of the origin of 'dukha' (is from ignorance). The third is
the truth of the cessation of 'dukha'. The fourth is the truth
of the path leading to the cessation of dukha (wiki). While
attempting to deal with 'dukha', Buddha says that reason of
'dukha' can be find out and 'dukha' occurs due to the human
desires and it occurs due to the ignorance of the true nature
of things. He says that 'dukha' can be stopped or removed.
For the same cause he preached the 'noble eightfold path'
and these are also known as the path for liberation. The
'noble eightfold path' has been visualized in the form of
'Dharma Chakra'. The 'eight fold path' is a combination of an
Assistant Professor (Department of Fine Arts), P.G. Govt. College for Girls, Sector-11, Chandigarh (UT)
 Research Link - An International Journal - 135  Vol - XIV (4)  June - 2015  95
eight interconnected factors or conditions. Following strictly
all the factors together of the 'eight fold path' would only
result into the cessation of 'dukha'.
The most popular principles of Buddhist ideals seem
to be the 'Astang marg'. The first factor of the eight fold path
is 'right view' (or right understanding), viewing reality as it
is, not just as it appears to be. The second factor is 'right
intention' (or right thought), intention of renunciation,
freedom and harmlessness. The third factor is 'right speech',
speaking in a truthful and non-hurtful way. The fourth factor
is 'right action, acting in a non-harmful way. The fifth factor
is 'right livelihood', a non-harmful livelihood. The sixth factor
is 'right effort', making an effort to improve. The seventh
factor is 'right mindfulness', awareness to see things for what
they are with clear consciousness; being aware of the present
reality within oneself, without any craving or aversion. The
eighth factor is 'right concentration', correct meditation or
concentration, explained as the first four jhânas (wiki). In
order to tackle human suffering, Buddha preached the
eightfold path to be followed by each one so as to get rid
from the sufferings. Reaching the teachings of Buddha into
the inner deep of the people, Buddhist monks used art and
engaged artists to make great works of art. Even in the history
of Buddhist art there were many schools of art existed in
different times and different places. Among the various
schools of art, the art of Ajanta provides best examples of
Buddhist art.
Ajanta Paintings :
Though time as well as inattention seem to have made
lots of damages to the art Ajanta, the quality of creative
expression of Ajanta still occupies an elevated place in the
world of visual art. In case of mural painting the Aurangabad
district of Maharastra provided the space to flourish the
early Buddhist art in India. A total of about 30 caves are
situated at Ajanta. Paintings and sculptures were made in
these caves by the Buddhists from 2nd century B.C. to 7th
century A.D. Initially, there were mainly two phases like
Hinayana (Little vehicle) and the Mahayana ( Larger vehicle)
in Buddhism. The works related to the Hinayana falls from
2nd Century BC to 200AD where Buddha was represented
through various signs and symbols or in his previous
existences as described in the jataka stories. . We see this
mostly in the Chaitya (place of worship) of cave no.10 (2nd
century B.C) and cave no.9 (1st century B.C). During
Mahayana period Buddha was shown in human form. Cave
no 1,2 ,16 &17 provides examples of the later phase.
The theme of Ajanta paintings are related to the life of
Buddha and also his teachings. To convey the message of
Buddha, the Buddhist monks employed artists. The Jataka
stories provide information about his previous births and
legends that give information about his noble character,
intelligence, selfless service and compassion. Even though
the stories are very serious in nature, the artists of Ajanta
included various other elements like traditions and outfits of
their own era. While the artists tried to depict the lavishness
of court life, they also tried to incorporate various other human
emotions like life's comedy , tragedy, its sorrows, etc. (Edith
Tomory). The artists had taken a deep inspiration from nature
for marvelous depictions
Shyama Jataka :
During the Hinayana period, the Ajanta provides an
excellent painting called the Syama Jataka given in cave no10.
Bodhisattva in his previous incarnations had lived as Shyama
who showed his unlimited love for his blind parents. The
paintings show the image of the King of Varanasi standing
with ten of his attendants and they carry arms, spears and
bow. The turban which they have worn shows the
characteristics of Bharhut sculptures. Among them, three
attendants seem to have been worn shields made up of with
rhinoceros-skin. In this narration, the king's horse goes
behind him. In this painting one can notice two extreme kinds
of treatment as the portrait of the king has excellently been
carried out than the clumsy treatment of the horse. The
cleverly arranged pose of the king and like the drawing of
bow undoubtedly shows the skill of the artists. On the right
side of the composition we can see two plantain trees. It
seems from the top of the trees a male figure apparently the
earth spirit provides the king a signal. But before getting the
signal of the spirit that not to shoot arrow, the king seem to
have already shot arrow at Shyama.
In fact Shyama had gone to fetch water for his blind
parents from a river. The king misunderstood Shyama as
something else and shots arrow at him. So the next scene
shows that the arrow is being pierced through the heart of
Shyama who was carrying a pitcher of water. Another scene
shows the king is in a great shock for committing a blunder
mistake and stands near the dying boy. In ordered to
compensate his mistake, the king takes a promise that he will
consider the blind parents of the boy and meet all their needs.
Another scene shows that as a result of their intense pray to
the goddess Bahusodary, suddenly a miracle happens (Edith
Tomory). After the realizing the forcefulness of the pray, the
goddess gave back the vision of the blind parents as well as
returned the life of the boy Shyama. The boy bends his body
and also lowers his arm and attends to the king in a complete
incomprehensive state. One can also notices the presence
of the forest spirit. An excellent image of a deer is another
specialty of the composition. The deer was shown following
Shyama in the forest and when it understands that Shyama
was shot, it runs back to his cottage as if to inform his parents.
The last scene shows Shyama who is also a Bodhisatva
attempts to teach the king about the ten duties of ruler and
also 5 precepts. The king has been shown very seriously
listening to the Bodhisattva. Another element need to be
discussed in this composition is two images i.e. a buck and
doe who are shown looking at the Shyama with devotion.
The landscape is also made very excellently and would catch
the attention of any architecture students. The cottage,
being designed in circular shape and have vaulted roof
stands near a pond. The vertical wooden posts are placed to
 Research Link - An International Journal - 135  Vol - XIV (4)  June - 2015  96
construct the designs of the wall and it shows the design of
circular bands like as seen in cane or bamboo. The door
seem like having a bent beam and reminding the shape of
'Torana' of that time
Stylistic features :
Any attempt to study the aesthetic qualities of Ajanta
paintings, one would point out to the possibilities with the
usage of a higher degree of craftsmanship; proper usage of
all the rules lay down by ancient treaties on paintings and
aesthetics. A deep analysis of the works shows that the usage
of the six limbs of painting as given in the 'Vishnudharmottara'(
a text on aesthetics) can be seen here. The figures of male
and female are made according to the traditional standard of
beauty like eyebrows are shown resembling an arch shape,
eyes look like an almond shaped, noses are straight, chins
are slightly pointed (Edith Tomory). The Ajanta paintings
are filled with lots of figures. A close up view of the
compositions shows that figures are shown with tiny
changes in their poses, direction of faces and gestures. This
naturally does not give any repetitiveness or any
obviousness and creates variety. The kind of perspective
employed by the artists of Ajanta seems to be quiet different.
A kind of multiple perspectives seems to have been employed.
The selection of colours in Ajanta paintings show that they
did not try for any extreme colour contrast. Their choice of
colours was the more refined expression of tonalities. In
Ajanta the relationship of proportion is relative. The factors
like emotional importance, spiritual reality, etc become
important issues in the Ajanta paintings. The artist had
inspired from the nature as a reference to make the figures
perfect and to enrich their imagination.
Conclusion :
There could be various aspects involved in the
discussion on Ajanta paintings. These paintings not only
become so important to our nation but would also remain as
excellent works of art across the world of art. Since the Ajanta
art are the visual manifestation of the Buddhist ideals, various
Jataka stories provide moral principles to be followed by
each and every one. The theme of Ajanta attempts to address
the basic issue of life through the visual manifestation of
Buddhism. To talk about those issues, the life of Buddha
and his previous births have very excellently been depicted
at Ajanta. The Buddhist ideals are given visual manifestation
through the usage of fine lines, excellent expression, natural
usage of colours, delicate ornaments, fine composition,
varieties of hair styles, beautiful textile design, etc. The basic
theme of these stories is to encourage people to follow the
middle path as preached by the Buddha by renouncing the
material pleasures to make the human life more meaningful.
The moral lessons which each one is expected to follow in
life are expressed through narration as given in the Jatakas.
The story of Shyama exhibits the unlimited love for his
parents. By mistakenly Shyama was shot by the king of
Varanasi while Shyama had been to a river to fetch water for
his blind parents. By realizing his blunder mistakes the king
begs for forgiveness from the blind parents. As a result of
their intense pray to the goddess Bahusodary, the goddess
has given back the vision of the blind parents as well as
restored the life of the boy Shyama. Being a Bodhisatva,
Shyama attempts to teach the king about the ten duties of
ruler who are expected to follow and also 5 precepts.
Excellently done by following all the aesthetical rules
developed during that time, the Shyama jataka becomes a
symbol of imparting the duties towards their parents through
selfless service. The Ajanta attempts to educate society
through unparallel visual expressions and attempts to create
a morally responsible individuals and society by touching
the affective domain of the individuals.
References :
(1) http://ajantacaves.com/html/jataka%20stories.asp
(2) A History of Fine Arts in India and the West, Edith Tomory,
Orient Longman Pvt. Ltd. 2002, ISBN 81 250 0702 4.
(3) Calambur Sivaramamurti, The Art of India, India book
house, Bombay, ISBN 0-8109-0630-9, 1977.
(4) Glimpses of World Religions, Jaico Publishing House,
Mumabi,2001, ISBN 81-7224-156-9.
(5) Indian Art A Concise History, Roy C. Craven, Thames
and Hudson1987, Great Britain. http://en.wikipedia.org/wiki/
Buddhism
(6) Joseph Campell ( Completed and Edited) Heinrich Zimmer,
The Art of Indian Asia, Its Mythology and Transformation, 1st
Volume, Published for Bollingen Foundation, Patheon Books, New
York, 1960
(7) The Art And Architecture of the Indian Subcontinent, J.C.
Harle, Yale University Press, Pelican History of Art, 1994, ISBN
0300062176.
(8) Vincent A. Smith, History of Fine arts in India& Ceylon,
third edition revised by Karlkhandalawala, D.B. Tavaporevala sons
& co. pvt. ltd. Bombay.
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