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拍品專文
Jagdish Swaminathan gained a profound knowledge of tribal art during his tenure as Director of Roopanakar Museum in Bhopal. He was fascinated by the manner in which tribal perceptions created symbolic forms. The present work was painted after leaving Roopanakar and bears some resemblance to his work of the early 1960's, where he had used familiar Indian cultural symbols and calligraphic imagery.
The distinction between this later phase and the 1960's series is in the later paintings Swaminathan is concerned with presenting the passage of a sign on its way to becoming a symbol, rather than merely employing symbols with known connotations.
During this last period Swaminathan also began experimenting with a new means of canvas painting. He employed a wax based medium that served as a binder for natural pigments such as red and yellow ochre and charcoal dust. He regulated the intensity of his colour by varying pressures on the rubber rollers that he used, acheiving a fantastic range of opaque and transluscent colours.
The distinction between this later phase and the 1960's series is in the later paintings Swaminathan is concerned with presenting the passage of a sign on its way to becoming a symbol, rather than merely employing symbols with known connotations.
During this last period Swaminathan also began experimenting with a new means of canvas painting. He employed a wax based medium that served as a binder for natural pigments such as red and yellow ochre and charcoal dust. He regulated the intensity of his colour by varying pressures on the rubber rollers that he used, acheiving a fantastic range of opaque and transluscent colours.