A FEW PROBLEMS OF CONTEMPORARY INDIAN ART

Unveiling the Realities of Contemporary Indian Art: A Visionary Essay by Saibal Ray

In April 2008, Saibal Ray penned a bold and thought-provoking essay titled “A Few Problems of Contemporary Indian Art”—an original blog post that remains sharply relevant even today. With remarkable clarity and fearless critique, Ray delves into the complex socio-political, cultural, and institutional challenges that continue to shape—and often hinder—the evolution of Indian art in the modern era.

The essay begins with a sweeping yet precise overview of India’s spiritual and artistic legacy. Ray reminds us that Indian art has always been deeply intertwined with its philosophical roots, shaped by the epics Ramayana and Mahabharata, and enriched by both classical and non-Aryan traditions. However, with the advent of globalisation, the landscape has transformed dramatically—introducing new patrons, new consumers, and, unfortunately, new crises.

One of the essay’s most significant contributions is its insightful commentary on the effects of rapid urbanisation on rural art forms. From folk music to indigenous theatre like Jatra, many of these expressive traditions are either fading away or being forcibly adapted for an urban audience, resulting in a loss of authenticity. Ray rightly underscores the urgent need for research, development, and robust archiving systems to preserve these vanishing voices before they are completely erased from cultural memory.

Ray does not stop at diagnosis—he interrogates the very logic that allows decay to masquerade as ‘natural progress.’ Why should a form be allowed to die simply because it is no longer commercially viable? He advocates for the creation of global platforms—digital archives, educational networks, and collaborative projects—that could both preserve and revitalise India’s rich artistic heritage.

The essay further ventures into political territory, exposing how vested interests and vote-bank politics obstruct the organic growth of the arts. In a searing example, Ray discusses the underutilisation of public spaces in West Bengal that could serve as modern cultural venues but are instead ignored for fear of politically sensitive content. He also examines the notorious case of Taslima Nasrin, illuminating how freedom of expression in Indian art and literature remains vulnerable to both religious fundamentalism and political cowardice.

Yet, amidst all this, Ray retains hope. He celebrates the courage of independent artists, the quiet rebellion of little magazines, and the rising voice of an apolitical, educated, art-loving public that refuses to be silenced. His conclusion is both poignant and empowering: true art may emerge from pain and solitude, but it deserves recognition, preservation, and a global stage.

Written with a mix of scholarly rigour and journalistic urgency, this essay is not just a chronicle of challenges—it is a call to action. Saibal Ray’s “A Few Problems of Contemporary Indian Art” stands as a foundational text for anyone interested in understanding the undercurrents of India’s contemporary cultural scenario.