The Artist of Indian Art History: Prof. B.N. Goswamy

While researching on Pahari paintings, one chanced upon an interesting conversation on YouTube, taking place in the scenic environs of the Maldives. Moderating it was none other than the very distinguished William Dalrymple and opposite him was a stalwart from the world of art history. As the host of the session, Mr. Dalrymple recalled a conversation with a few American friends on how to introduce the man on his left but, such his uniqueness that he was short of words or any other comparative figure in the world of art and culture. The person in question was none other than Prof. (Dr.) Brijinder Nath Goswamy – a scholar, intellectual, poet, a man filled with wisdom that has few parallels. Unfortunately, we lost Prof. Goswamy earlier this month, having led a long life of over ninety years. His demise has left the world of art and culture a lot poorer. But his legacy leaves much to get inspired by, not only for art lovers but also for the people at large.

Prof. Goswamy’s list of achievements is so extensive that it would indeed take considerable time to fully list them. A recipient of prestigious awards like Padma Shri (1998) and Padma Bhushan (2008), his life and career were defined by much more than these accolades. His journey to the world of art history was sparked by a casual read of an introduction to Kangra paintings by MS Randhawa. This pivotal moment led him to step away from a promising career as an IAS officer, to embrace a path less travelled, dedicating himself to the study of Indian art and history. His journey led him to become a Professor Emeritus of Art History at Punjab University, a visiting faculty member at various prestigious international universities, and a key figure responsible for major exhibitions of Indian art worldwide. He also held prestigious roles, such as the former vice-chairman of the Sarabhai Foundation, in Ahmedabad, overseeing the Calico Museum of Textiles and is credited with developing the Museum of Fine Arts, Chandigarh as its director.

The cultural and artistic landscape in our country, needs more visionaries like Prof. Goswamy, whose unwavering dedication to art history set a high standard for others to aspire to. Prof. Goswamy’s impact on art history has been profound, particularly in how he made the field approachable and captivating for the general masses, through his engaging talks, lectures, and writings. His scholarship has not only brought global recognition to Indian classical art on the international stage but has also played a pivotal role in decolonizing the perspective through which Indian art is viewed, reconnecting it to the ancient ‘rasa’ theory outlined in the Natyashastra by Bharata. His commitment to teaching has been an inspiration to many, fostering a new generation of art historians. In essence, Prof. Goswamy has not just illuminated the path for future art historians in India but also ensured that the rich tapestry of Indian art is appreciated and understood worldwide.

Prof. BN Goswamy’s transformative approach in art history brought an engaging and relatable perspective to what was once considered an esoteric field. An exceptional scholar and prolific writer, Prof. Goswamy had the rare skill of making complex art forms legible to laymen, layer by layer, while preserving their scholarly essence. He had a true and complete understanding of Indian ethos, philosophy, and way of thinking. He did not just think of paintings as just a visual, but he made the paintings talk through his writing, to be testaments of the larger contexts and histories, in which they existed and thrived. His profound understanding and simplification of artistic complexities set him apart.
Prof. Goswamy consistently encouraged his readers and audience to experience a painting through ‘rasa’ and ‘bhav’; to immerse in the mood and grasp the sentiment, rather than merely analysing the visual elements. His approach rooted in the Indian theory of art and aesthetics, such as the Natyashastra of Bharata, dating back to the beginning of the Common Era, effectively decolonized the perspective through which Indian art is viewed. Professor Goswamy took the focus away from the regular that historically has been the patron himself – to the individual artists, their lineage. He went an extra mile to trace their families, the techniques, idiosyncrasies and stylistic nuances, among other aspects.
The eighteenth century witnessed a remarkable flourishing of miniature paintings in the Hill States, notably in the small Rajput principalities nestled in the lower Himalayas of present-day Jammu, Uttarakhand, and Himachal Pradesh. These kingdoms or small domains were vibrant centres of art; with poetry, narrative texts and courtly events being illustrated through brilliant paintings. While Mughal courts meticulously recorded both patrons and artists, the histories of Pahari kingdoms were often poorly documented, especially details of the artists.

Prof. Goswamy’s analytical approach and methodology in art history opened new avenues in our understanding of the Pahari School of art. His discovery of the Bahis of the Pandas of Haridwar, with the definitive pilgrimage records and lineage of the Pahari artist families especially that of Pt. Seu, Nainsukh – Manaku, was pathbreaking and gave all further research a fresh perspective and direction, putting an end to the earlier conjectured art history as it existed. This detective-like curiosity towards uncovering the hidden symbolism, context and pedigree of paintings made him unlike any other art historian of his time. His work, particularly in “Pahari Masters,” co-authored with Eberhard Fischer, illuminated the nuances of these familial styles, tracing their evolution and impact across generations, as artists migrated for economic opportunities, enriching the artistic landscape.

Goswamy’s expertise shed much light on other Indian artistic traditions as well. In his book ‘Conversations,’ Prof. Goswamy demonstrates an astonishing breadth of interests and topics he wrote about, from textiles to photographs to contemporary Indian art and artists. Each topic, be it the history of paper, the intricacies of the art market, or the allure of old book covers, is approached with the same level of enthusiasm, inquisitive spirit, poetic lightness and subtlety. Cutting across mediums, the impact of his work is evident from the film ‘Nainsukh’, which portrays the life, work and story of the eighteenth-century artist.

The passing of B. N. Goswamy undoubtedly marks the end of an era in Indian art history. His unmatched poise, wit, and mastery of his subjects have left an indelible mark in the field. As we celebrate his enduring legacy through his extensive scholarship and captivating lectures, we remain hopeful that a new generation of scholars will be inspired by his profound contributions. His seminal works that will remain essential reads in the study of Indian paintings include ‘Essence of Indian Art’ (1986), ‘A Jainesque Sultanate Shahnama and the context of pre-Mughal painting in India’ (1988), ‘Nainsukh of Guler: A Great Indian Painter from a Small Hill-State’ (1999), ‘I See No Stranger: Early Sikh Art and Devotion’ (2006), Masters of Indian painting, Vol. I & II (2011) and ‘The Spirit of Indian Painting: Close Encounters with 100 Great Works 1100-1900’ (2014) among others.

Jayesh Mathur is an architect, independent scholar, and Indian art collector.
Supriya Lahoti is a museum professional and consultant with the Ministry of Culture