Bishan Singh (1836 – ca.1900) was a Sikh painter whom achieved high-acclaim during his life.[1][2] Much of his surviving works depicts scenes from the Sikh Empire and prominent figures of the era. His paintings have sold for large sums at auction.[3]
Baba Bishan Singh | |
|---|---|
 Self-portrait | |
| Born | 1836 |
| Died | circa 1900 |
| Known for | Painting |
| Notable work | The Court of Ranjit Singh (ca.1864) |
| Style | Sikh School |
| Children | Nihal Singh Jawahar Singh |
Biography
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Bishan Singh was born in 1836 into a family of artists that flourished in the 19th century.[4] He had a brother, whom also was an artist, named Kishan Singh.[4] His family operated in Lahore and Amritsar and were responsible for maintaining murals and motifs decorating the edifices of the Golden Temple complex in Amritsar.[4] It is likely Bishan Singh learnt his trade through this traditional, familial upbringing amongst artists.[4] Bhai Bishan Singh was both the pupil and nephew of Kehar Singh.[5][6] Many of Bishan Singh's paintings feature scenery and personalities from the period of the Sikh Empire, such as Maharaja Ranjit Singh.[4] His paintings are remarkable for this close attention to detail and accuracy, such as buildings being portrayed exactly as they had existed in real-life in his era and ensuring to paint an extra digit when depicting Dhian Singh.[4] However, Bishan Singh was a devout Sikh, which may have led him to omit important foreign, European figures from Ranjit Singh's court from his paintings, as he may felt it would impair the work.[4]
In 1866, ten of Bishan Singh's works were displayed at the exhibition of arts and crafts held at Lahore.[4] Baden-Powell and Percy Brown levied the following observations and critiques of Bishan Singh's work after viewing them at the exhibition:[4]
... the perspective of the buildings is incorrect but the figure drawing is admirable. The colour is tasteful and rich and likenesses are good and the expression is varied and truthful.
— Baden Henry Baden-Powell, Handbook of the Manufactures and Arts of the Punjab (Lahore; 1872), pages 354–355
Bishan Singh had two sons who became artists, Nihal Singh and Jawahar Singh.[7] Bishan Singh also was the art teacher of his two sons, Nihal Singh and Jawahar Singh.[5] Bishan Singh had a nephew named Kapur Singh (son of his brother, Kishan Singh), who became a successful artist in his own right.[8]
Style
editBishan Singh's style included vivid greens, yellows, and blues.[9] Meticulous detail was placed upon the depicted scene, especially regarding figures, botany, and architecture.[9][10] He often depicted tradespeople living their daily lives.[10] Bishan Singh was influenced by the Company School.[10] Furthermore, he came under the influence of the style of realism that had been introduced by the Europeans.[10] Bishan Singh was skilled in arabesque and was responsible for the commencement of fresh and bright brush strokes.[5] Bishan Singh was talented in depicting courtly durbar scenery.[11]
Legacy
editBishan Singh's surviving works have gone on auction numerous times.[1] One of his paintings of the durbar of Maharaja Ranjit Singh sold at a Christie's London auction for US$580,021 in 2022.[1]
One of his paintings was bought decades ago in North London by a taxi driver, who haggled the price down to £40 ($58).[3] The taxi driver, who did not realize or know the true worth of the painting he possessed for all those years, would sell it decades later for £92,250 (US$133,500) at a Roseberys auction.[3]
Much of the surviving works of Bishan Singh are in private collections, such as the Toor and Kapany collections.[9]
Exhibitions
edit- Punjab Exhibition of Arts and Industry (London; 1864)[3]
Gallery
edit-
'Royal Procession of Maharaja Sher Singh and His Sons', by Bishan Singh, ca.1870 -
Painting of Sikh Empire-era Amritsar from the 19th century, by Bishan Singh -
'Guru Prakash', painting of all the Sikh gurus and their followers from Gurdwara Ramsar by Bishan Singh, circa 19th century -
Painting of the court of Maharaja Ranjit Singh, by Bishan Singh, ca.1864 -
View of Srinagar, by Bishan Singh, 1872 -
'Ladies Escorted in a Horse-Drawn Carriage', by Bishan Singh, ca.1860's -
A shawl weaver's shop, by Bishan Singh, likely Amritsar, ca.1874–75
References
edit- ^ a b c "Bishan Singh". Mutual Art. Retrieved 9 September 2024.
- ^ Singh, Pashaura; Fenech, Louis E. (2014). "Sikh Art". The Oxford Handbook of Sikh Studies. Oxford University Press. p. 427. ISBN 9780199699308.
- ^ a b c d Curtis, Joseph (6 May 2016). "19th Century Sikh Painting by Bishan Singh Originally Bought for US $58 Fetches US $133,500". sikhchic. Retrieved 9 September 2024.
- ^ a b c d e f g h i "The Court of Ranjit Singh". The Sikh Foundation. Retrieved 9 September 2024.
- ^ a b c Kaur, Maneet (5 December 2018). "Mohrakashi and the Naqqashes of Harmandir Sahib - Overview". Sahapedia.
- ^ Singh, G.S. Sohan. "Bhai Gian Singh Naqash". G.S. Sohan Singh Artist Memorial Trust (art-heritage.com).
- ^ Kaur, Sukhandeep; Viranjan, Ram (January–June 2023). "A Historical Overview of Emergence and Development of Sikh Art in Punjab". ShodhKosh: Journal of Visual and Performing Arts. 4 (1): 389–402. doi:10.29121/shodhkosh.v4.i1.2023.293. eISSN 2582-7472.
- ^ "Lot 218: Kapur Singh of Amristar attributed, study of a glassblower, circa 1880, gouache on paper, within mauve border, 16.2 x 11.2cm". Roseberys. Retrieved 9 September 2024.
- ^ a b c "Lot 216: Bishan Singh (1836-1900) attributed, Worshippers at a shrine, probably Amritsar, North India, circa 1880, gouache on paper heightened with gold, 35 x 22cm". Roseberys. Retrieved 9 September 2024.
- ^ a b c d "Lot 217: Bishan Singh (1836-1900) attributed, Holy Man, North India,1870-80, opaque pigments heightened with gold on paper, depicted standing in a sparse landscape with attention to details of the figures costume and turban elements, painting 22 x 15.5cm.; folio 29 x 21.1cm". Roseberys. Retrieved 9 September 2024.
- ^ Kaur, Sukhandeep; Viranjan, Ram (January–June 2023). "A Historical Overview of Emergence and Development of Sikh Art in Punjab". ShodhKosh: Journal of Visual and Performing Arts. 4 (1): 389–402. doi:10.29121/shodhkosh.v4.i1.2023.293. eISSN 2582-7472.