The mother is revered as the ultimate symbol of selflessness and unconditional love. A mother's love is often termed as the purest, unadulterated form of love. Artists have constantly drawn, sketched and painted the subject of mother. More commonly, the Mother and Child has been explored by artists in the West (Christian art, like Michaelangelo's La Pieta sculpture, or otherwise) and Indian artists too, ranging from national treasure Raja Ravi Varma to M.V. Dhurandhar and Jamini Roy. This inspiration comes from their personal experiences and relationships sure, but also knowing that the subject is relatable across borders.
In light of the ongoing Lok Sabha elections in India, there has been a lot of chatter about Mother India when speaking of nation building and nation pride. However, artists in India have been exploring this theme for several years, ever since, the fight for Independence. Bankim Chandra Chatterjee, the great literary luminary, remembered for composing 'Vande Mataram' is often forgotten for being the first to sketch the famous ‘Bharat Mata’ painting. A few decades later the work was brought to life as a watercolour painting by the nephew of Rabindranath Tagore, Abanindranath Tagore. A saffron-clad woman, with soft, delicate features, exuding confidence and strength. My first impression of the work reminded me of the manner in which Goddess Lakshmi is humanised.
Was the artist drawing comparisons here as well?
Lakshmi is known as the creator and protector of the universe. Similar to a mother, the creator and protector of her children. In ‘Bharat Mata’, the woman holds a book in one hand, representing knowledge and the Indian scriptures, paddy in the other, a celebration of the land and all that it has to offer. A white cloth in the third hand is a symbol of peace and prosperity and given this was during the Swadeshi (the OG Make in India) movement, it could also be a representation of khadi and homegrown cloth. The fourth hand, she holds a rosary, representing the importance of spiritual strength.
Inspired by Japanese techniques of the time, several artists of the Bengal School of Art, adopted the wash technique as seen in 'Bharat Mata'. By giving the country a visual representation and humanising India, the artist attempts to make the work of art relatable. It is like speaking to someone on a call and then meeting them, which allows you to put a face to the name. Further, giving the pedestal of mother to this representation makes it a relatable work of art universally. It celebrates divine energy, unconditional love and organically evokes a sense of pride in the viewer, which was of utmost importance before Independence.
Despite modern Indian art transforming over the years, the subject of mother has remained constant. Amrita Sher-Gil’s work 'Mother India' for example, a realistic piece of art, portrays a woman protecting her two children. Given this was painted in 1935, just a decade prior to independence, to me it represents a sense of fear and insecurity as Mother India fights for independence. A sense of melancholy prevails in the expression of the Mother distilling the unknowing.
While nation pride is growing on a political platform, artists on the contrary are showcasing how Mother India is facing several triumphs and tests today. Contemporary artist Nalini Malani’s video installation titled 'Mother India' is a raw, stark representation of the ravages of partition and violence that continues to be instilled upon the nation and women as a whole.
As Mother’s Day approaches, this weekend, these works of Mother India bring me to question and think about what we give back to our mother.