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Raza’s work signalled the painter’s identity through associations with transcendence and tradition, offering an Indian interpretation of abstraction, a national modernism. The task of questioning such an approach towards synthesis would fall on the subsequent generation of artists. Raza’s work remained distant from their concern of challenging the exoticising expectations of an international art market.

Untitled (Temple Scene)

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Untitled (Temple Scene) Art Print
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Untitled (Temple Scene) Art Print
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Untitled (Temple Scene) Canvas Print
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Untitled (Temple Scene) Canvas Framed Print
Framed • 12x11 inches

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Untitled (Temple Scene) Canvas Print
Wrapped • 12x11 inches

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Compact Size

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Untitled (Temple Scene) Canvas Print
Rolled • 18x17 inches

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Medium Size

Medium Size

Untitled (Temple Scene) Canvas Print
Rolled • 24x22 inches

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Compact Size

Compact Size

Untitled (Temple Scene) Canvas Print
Wrapped • 18x17 inches

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Compact Size

Compact Size

Untitled (Temple Scene) Canvas Framed Print
Framed • 18x17 inches

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BEST SELLER
Medium Size

Medium Size

Untitled (Temple Scene) Canvas Print
Wrapped • 24x22 inches

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BEST SELLER
Medium Size

Medium Size

Untitled (Temple Scene) Canvas Framed Print
Framed • 24x22 inches

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Untitled (Temple Scene) Framed Print
Framed with Mat • 12x11 inches

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Untitled (Temple Scene) Framed Print
Framed with Mat • 18x17 inches

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Medium Size

Medium Size

Untitled (Temple Scene) Framed Print
Framed with Mat • 24x22 inches

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Raza’s work signalled the painter’s identity through associations with transcendence and tradition, offering an Indian interpretation of abstraction, a national modernism. The task of questioning such an approach towards synthesis would fall on the subsequent generation of artists. Raza’s work remained distant from their concern of challenging the exoticising expectations of an international art market.

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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