Jesus Through The Indian Eyes
This is an adoption of an article by Cherylann Mollan. The link to the original article is mentioned at the end. The article highlights how Indian artists have reimagined Jesus Christ through centuries of cultural fusion.
Every year, I find myself driving down Park Street on the 24th of December, witnessing the splendid display of lights and admiring the sheer brilliance of human creativity. This year was no different and as I drove down my mind wandered and took me back to a time when I first read Satyajit Ray’s Tintorettor Jishu, which revolved around a painting of Jesus by Jacopo Robusti, the 16th-century artist better known as Tintoretto.
It was a sheer coincidence that the next day that is on the Christmas morning, I found myself reading an article by Cherylann Mollan on the BBC. In it, she explored how Indian artists envisioned Jesus Christ. Immediately I felt I would share struck something along those lines with my readers.
As Mollan aptly points out, the birth of Jesus Christ was had inspired many Western artists to create fascinating works of art. But as time marched on, and civilisations intermingled, cultures infused with each other forming new ones. And, of course, the world of art was not left behind. Paintings, found a new perspectives, and evolved to reflect this rich cultural enigma.
As Mollan mentions it was Emperor Akbar, who had extended his invitations to Jesuit missionaries from the Portuguese territories, in line with his secular practices. These missionaries arrived at the court bearing holy-scriptures and European artworks on Christian themes.
Their artworks influenced the court artists of the Mughals and they began to incorporate elements of Christian iconography into their work. Soon the paintings that were created were inspired by biblical themes blending Christian motifs with traditional Mughal styles.
The blending of such art works continued during the rule of Jahangir who himself was an art connoisseur. Jahangir for instance, commissioned a painting featuring himself in a nativity scene, a depiction traditionally reserved for Mary, Joseph, and baby Jesus. Such works reflected the Mughals’ vision of themselves as universal rulers, committed to maintaining harmony and balance within their realm.
The blending of Christian art and Indian traditions continued even after the Mughal era. Artists like Jamini Roy and Angelo de Fonseca reinterpreted Christian themes through distinctly Indian lenses, creating a unique visual language.
Jamini Roy, celebrated for his modernist adaptations of Bengali folk art, often depicted Christ and Mary in the style of Kalighat paintings. His works portrayed Jesus with the simplicity and dignity associated with the Santhal tribal community, reflecting his admiration for the themes of sacrifice and compassion.
Angelo de Fonseca, a Goan artist born in 1902, reimagined Christian iconography with a focus on Indian aesthetics. Mary, in his paintings, appeared as an Indian woman with brown skin, dressed in a sari and wearing a mangalsutra. Biblical stories unfolded in Indian settings, making Christianity more relatable to local audiences.
These artistic endeavours, across centuries, represent a fascinating example of cultural and religious integration. From the Mughal court’s innovative fusion of Christian and Islamic motifs to the modern reinterpretations by Indian artists, these works highlight the potential for harmony across traditions and cultures in India since ages.
The art produced during and after the Mughal era not only enriched Indian aesthetics but also underscored the vision of coexistence that defined some of its greatest rulers. This legacy continues to inspire, reminding us of the enduring power of art to bridge cultures and beliefs.’
All picture sources BBC.
To read the original article click HERE.
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