Pinkfest Literature Dialogues - “Art is not a profession—it is a process. Its a spiritual essence of our culture.”

There is an urgent need for archival translation, academic integration, and public engagement to prevent cultural amnesia.

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The Subaltern Dimension of Visual Narrative: Exploring Traditional Art and Its Modern Relevance

Session Overview

The fourth edition of Pinkfest opened with an intellectually rich and culturally immersive session titled “The Subaltern Dimension of Visual Narrative – Exploring Traditional Art and Its Modern Relevance.” The discussion set the tone for the festival by reflecting on how India’s traditional art forms—particularly miniature paintings and folk narratives—carry a wealth of philosophical, spiritual, and cultural meaning. This session explored how these visual languages, often rooted in marginalized or less-celebrated traditions, remain deeply relevant in the modern world.

Welcome Address

The session was anchored by a warm and gracious welcome from the host:

“Namaskar and a very warm welcome to the first session of the fourth edition of Pink Fest. We begin this year’s journey with a thought-provoking conversation led by the distinguished Ms. Swati Ji—journalist, author, broadcaster, and TED speaker—whose work consistently highlights the intersections of storytelling, visual culture, and heritage.”

Opening Remarks by Ms. Swati Ji

Swati Ji opened the session with a reflective overview on the enduring power of visual narratives in Indian tradition:

“Visual narratives have coexisted with artistic expression since time immemorial—from Bhimbetka’s cave art to Kishangarh’s refined miniatures. These works are not mere decoration—they are layered with spiritual, philosophical, and social meaning. Today, we gather not only to reflect on them but to rediscover their subaltern voices and reimagine their role in our contemporary world.”

Panel Introduction & Highlights

🖼️ Lakshmi Ji – Kalatra Foundation

Lakshmi Ji emphasized the power of miniature painting to uncover overlooked histories. Her work, grounded in research and restoration, celebrates both well-known and obscure regional painting styles from Rajasthan:

“The real joy lies in discovering fiefdoms and visual languages that are not part of mainstream narratives. Digitization and documentation are key to restoring their place in Indian art history.”

🖼️ Shri Narmada Prasad Upadhyay Ji – Scholar, Artist, Thinker

In a deeply evocative and scholarly address (delivered in Hindi), Shri Upadhyay Ji highlighted the sacred unity between word (shabd) and form (roop) in Indian aesthetics:

“Our ancestors never saw images as mere illustrations. They were sacred extensions of texts—lived and performed, not just read. The fragmentation of word and form is a loss we must mend—not just culturally, but spiritually.”

He cited examples including:

The Valmiki Ramayana (Akbar’s folio, Mewar Ramayana)

The Gita Govinda and Ragamala series

Jain manuscripts (Kalpa Sutra, Kalakacharya Katha)

The documentation efforts of Dr. Amina Taha Hussein Okada across 11 countries

His plea:

“Let this session be a rekindling of that sacred unity. Let us bring these visuals home—not just physically, but emotionally and academically.”

🎭 Professor Gupta – Cultural Theorist & Educator

With poetic insight, Professor Gupta connected traditional art with natya (theatre) and the metaphysical journey of the hero:

“Art makes the formless visible. Every story is about a hero—divine or mundane. The moment art represents this ideal, it becomes an avatar. And when we feel catharsis while watching a painting or play, it is because the narrative elevates us.”

🎨 Dr. Tulika Gupta – Director, Indian Institute of Crafts and Design

Dr. Lika Gupta shared fieldwork experiences across folk traditions such as:

Cheriyal scrolls (Telangana)

Pabuji ki Phad (Rajasthan)

Mata ni Pachedi (Gujarat)

She stressed the urgency of preservation through pedagogy, while showcasing how these mediums are being used today for social messaging (e.g., Beti Bachao, Beti Padhao):

“These are not just art forms. They are vehicles of knowledge, activism, and community memory.”

🖌️ K. Bhaskaran – Senior Practicing Artist

In an impromptu sharing, K. Bhaskaran, a senior artist from Chennai, reflected on his 45-year-long artistic journey:

“Art is not a profession—it is a process. Every canvas I paint is a way to challenge myself and speak to the spiritual essence of our culture.”

Artwork Presentation: Kishangarh Miniature

The session then transitioned into an audience-interactive interpretation of a Kishangarh miniature painting depicting Swami Haridas, Tansen, and a disguised Emperor Akbar.

🔍 Narmada Prasad Ji’s Commentary:

The painting captures the scene of Tansen introducing Akbar to the saint-musician Haridas.

In Vrindavan’s sacred Nidhivan, the divine union of Radha and Krishna becomes the deity Banke Bihari—a moment of spiritual transcendence.

Akbar’s hidden presence reinforces the humility required to access true devotion and artistic excellence.

“When Akbar praised Haridas’s music, Tansen humbly said: ‘I sing for you. He sings for God.’ That is the spirit of Indian visual art.”

Contextual Insights: Narrative, Music & Mood

Professor Gupta elaborated on why music features prominently in Indian paintings:

Ragas are imbued with rasa (emotional essence)

Ragamala paintings act as visual memory aids for musical emotion

Indian art is a fusion of the seen and the heard, echoing Bhasa’s plays and Bhavabhuti’s illustrated narratives

Closing Reflections – Laxmi Krishnamurthy

Laxmi Krishnamurthy emphasized the encyclopedic nature of miniature art:

“It documents everything—architecture, flora, fauna, fabrics. Minimal in scale, but maximal in knowledge. We must stop saying India didn’t document history. Our visuals are the very pages of our cultural book.”

Key Takeaways

Visual storytelling in Indian tradition is both sacred and subaltern—rich in layered meanings often rooted in oral, folk, or regional narratives.

The interconnectedness of literature, music, and painting creates a cultural continuum that must be preserved and reinterpreted.

Modern applications—ranging from social awareness to pedagogical tools—prove these traditions remain relevant and resilient.

There is an urgent need for archival translation, academic integration, and public engagement to prevent cultural amnesia.

Conclusion

This session did not merely examine traditional art—it revived it, reimagined it, and re-established it as a living, breathing force in India’s cultural and intellectual ecosystem. The panel urged scholars, practitioners, and audiences alike to honor this visual heritage with commitment