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Sayed Haider Raza, “S H Raza” is one of the most respected Modernists of India and is celebrated for his range of styles and the uniqueness of his vision. His early forms reflect a mastery of abstraction and after years of travel, exploration, and experimentation, he returned to Indian visual idioms for inspiration in the late 1970s, culling from tantric imagery. SH Raza looked to forms as the bindu (seminal source of energy), beej (seed), and garbagraha (sanctum sanctorum or hallowed space) for inspiration. Furthermore, he ascribed color with symbolic meaning and transformed local visual traditions into universal yet deeply personal spiritual iconographies.)

Still Life (1949)

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Still Life (1949) Poster
Rolled • 12x17 inches

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Still Life (1949) Poster
Framed • 12x17 inches

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Still Life (1949) Art Print
Rolled • 10x12 inches

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Still Life (1949) Art Print
Rolled • 15x18 inches

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Still Life (1949) Art Print
Rolled • 20x24 inches

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Still Life (1949) Art Print
Rolled • 25x30 inches

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Still Life (1949) Canvas Print
Rolled • 10x12 inches

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Compact Size

Compact Size

Still Life (1949) Canvas Print
Rolled • 15x18 inches

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Small Size

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Still Life (1949) Canvas Framed Print
Framed • 10x12 inches

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Still Life (1949) Canvas Print
Wrapped • 10x12 inches

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Medium Size

Medium Size

Still Life (1949) Canvas Print
Rolled • 20x24 inches

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Compact Size

Compact Size

Still Life (1949) Canvas Print
Wrapped • 15x18 inches

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Compact Size

Compact Size

Still Life (1949) Canvas Framed Print
Framed • 15x18 inches

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Large Size

Large Size

Still Life (1949) Canvas Print
Rolled • 25x30 inches

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Medium Size

Medium Size

Still Life (1949) Canvas Print
Wrapped • 20x24 inches

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Medium Size

Medium Size

Still Life (1949) Canvas Framed Print
Framed • 20x24 inches

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Large Size

Large Size

Still Life (1949) Canvas Print
Wrapped • 25x30 inches

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Large Size

Large Size

Still Life (1949) Canvas Framed Print
Framed • 25x30 inches

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Small Size

Small Size

Still Life (1949) Framed Print
Framed with Mat • 10x12 inches

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Compact Size

Compact Size

Still Life (1949) Framed Print
Framed with Mat • 15x18 inches

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Medium Size

Medium Size

Still Life (1949) Framed Print
Framed with Mat • 20x24 inches

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Large Size

Large Size

Still Life (1949) Framed Print
Framed with Mat • 25x30 inches

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Large Size

Large Size

Still Life (1949) Poster
Rolled • Life Size 24X33 inches

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Large Size

Large Size

Still Life (1949) Poster
Framed • Life Size 24X33 inches

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Still Life (1949) Large Canvas Print
Rolled • 30x36 inches

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Still Life (1949) Large Canvas Print
Rolled • 36x43 inches

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Still Life (1949) Large Canvas Print
Wrapped • 30x36 inches

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Still Life (1949) Large Canvas Print
Rolled • 48x57 inches

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X-Large Size

X-Large Size

Still Life (1949) Large Framed Print
Framed With Mat • 30x36 inches

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XX-Large Size

XX-Large Size

Still Life (1949) Large Canvas Print
Wrapped • 36x43 inches

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XX-Large Size

XX-Large Size

Still Life (1949) Large Framed Print
Framed With Mat • 36x43 inches

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Oversize

Oversize

Still Life (1949) Large Canvas Print
Wrapped • 42x50 inches

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Oversize

Oversize

Still Life (1949) Large Framed Print
Framed With Mat • 48x57 inches

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Sayed Haider Raza, “S H Raza” is one of the most respected Modernists of India and is celebrated for his range of styles and the uniqueness of his vision. His early forms reflect a mastery of abstraction and after years of travel, exploration, and experimentation, he returned to Indian visual idioms for inspiration in the late 1970s, culling from tantric imagery. SH Raza looked to forms as the bindu (seminal source of energy), beej (seed), and garbagraha (sanctum sanctorum or hallowed space) for inspiration. Furthermore, he ascribed color with symbolic meaning and transformed local visual traditions into universal yet deeply personal spiritual iconographies.)

Sayed Haider Raza, “S H Raza” is one of the most respected Modernists of India and is celebrated for his range of styles and the uniqueness of his vision. His early forms reflect a mastery of abstraction and after years of travel, exploration, and experimentation, he returned to Indian visual idioms for inspiration in the late 1970s, culling from tantric imagery. SH Raza looked to forms as the bindu (seminal source of energy), beej (seed), and garbagraha (sanctum sanctorum or hallowed space) for inspiration. Furthermore, he ascribed color with symbolic meaning and transformed local visual traditions into universal yet deeply personal spiritual iconographies.)

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