The birth of Jesus Christ stands as a pivotal biblical moment that has inspired numerous Western artists. These artists have often infused their work with the beauty and creativity characteristic of their culture while portraying this significant event.
Such artworks dominate the landscape of Christian art, shaping global perceptions of this biblical narrative and often sidelining external influences. Yet, artists in India have historically interpreted the nativity story through their own artistic lenses, contributing to a rich tapestry of representation.
This article explores significant Indian artworks that present the birth of Jesus from a distinct local perspective.
Mughal emperor Akbar was instrumental in introducing northern India to Christianity by welcoming Jesuit missionaries to his court. These missionaries not only shared sacred texts but also European artworks that resonated deeply with court painters. Consequently, many commissioned murals incorporated Christian themes while integrating elements of Islamic art.
Historian Neha Vermani highlights a fascinating piece by Mughal court artists, where Emperor Jahangir is depicted in a nativity scene traditionally featuring Mary, Joseph, and the infant Jesus. She explains, “Mughal rulers viewed themselves as ‘just’ leaders, promoting harmony among diverse religions, a hallmark of their legacy.”
The 18th Century artwork in question showcases typical Mughal stylistic features, such as ornate detailing, vivid colors, and a naturalistic approach.
Jamini Roy, born in 1887 in West Bengal, is celebrated for merging Bengali folk art with Kalighat painting, a unique art genre from Kolkata. Art critic W.G. Archer noted that Roy’s portrayal of Christ reflected Santhal traditions, showcasing an appreciation for simplicity and sacrifice that resonated deeply with him.
Ashish Anand, a prominent figure in the art world, asserts that Roy’s interpretations of Christian themes are as vital as those drawn from Hindu mythology, unified by a distinctive modernist folk style.
Born in 1902 in Goa, Angelo de Fonseca revolutionized Christian iconography by blending Eastern and Western influences, reflecting his Goan heritage. In his portrayals, Mary is represented not as a Western ideal but as an Indian woman adorned in a sari and traditional jewelry.
De Fonseca transformed biblical narratives to resonate with Indian audiences, countering the notion that artistic beauty and creativity were solely Western traits. His artworks aim to locate Christianity within the Indian context, thus recasting its narrative.
