Ishq Chaman
Ishq Chaman is an ode to contemporary Indians who, while recognised for their global outlook, remain firmly rooted in the traditions and culture of their heritage. As we look to the future, we also acknowledge the importance of preserving and honouring our past, which remains an integral part of our collective identity.
This exhibition reaffirms the enduring significance of Indian miniature painting in today's art world. At a time when digital and ephemeral art forms predominate, the meticulously detailed compositions of Kishangarh serve as a testament to the meditative act of creation, an artistic practice rooted in patience, devotion, and precision. More than a historical revival, Ishq Chaman underscores the contemporary relevance of miniature iconography, examining how themes of romance, spirituality, and nature continue to shape visual storytelling. Structured into distinct sections, the exhibition presents a comprehensive exploration of the Kishangarh school's unique artistic language, encouraging a critical engagement with its iconography, stylistic innovations, and thematic depth. Through this curatorial approach, we aim to foster a nuanced appreciation of how the Kishangarh school distinguishes itself from other North Indian miniature traditions, both in its aesthetic refinement and in its philosophical underpinnings.
This exhibition is particularly significant as it marks the collaboration between Art Centrix Space and Studio Kishangarh. As the second exhibition under Art Centrix Heritage, Ishq Chaman reflects the shared vision of Monica Jain, Founder, Art Centrix Heritage, and Princess Vaishnavi Kumari of Kishangarh, Founder, Studio Kishangarh, has been instrumental in preserving and expanding this tradition.
Monica Jain, with her expertise in art history and curatorial practice, has dedicated her career to fostering meaningful dialogues between traditional and contemporary artistic expressions. Meanwhile, Princess Vaishnavi Kumari founded Studio Kishangarh in 2010 to revive and sustain miniature painting through new patronage, ensuring that artists continue to flourish in this age-old tradition. Studio Kishangarh has pioneered a distinctive style that merges miniature painting and Pichwai techniques with contemporary sensibilities, drawing inspiration from the royal collection, fort architecture, and devotional poetry.
Siri Devi Khandavilli
Shoonya is a concept with varied meanings depending on the context.
In mathematics, it signifies the numeral zero, a critical element in numerical calculations and equations, as a placeholder and the starting point of counting.
Shoonya represents emptiness or the void in philosophical and spiritual traditions, often connected with the idea of nothingness or the ultimate reality beyond material existence.
It is perceived as a state of absolute stillness, silence, and transcendence, facilitating a deep
connection with the universe.
Shoonya extends beyond being merely a numerical or philosophical concept; it symbolizes
infinite potential, possibilities, and the interconnectedness of all beings.
In a society inundated with constant images and visuals, this becomes a silent witness, embracing
and consuming all that is around it.
I previously created a series called Zero Point Field featuring steel mirror inkblots, which, to me,
signifies a state of pure potentiality where all possibilities exist before manifestation.
This, no-thing, no image of a reflective surface and its limitless potential to transform in the
presence of the viewer continues to fascinate me.
Shoonya is the space from which everything arises and to which everything returns.
Every work is eternally made here and now.
