Dr. Hridaya Narayan
MISHRA
Brushstrokes of Tradition: The Artistic Legacy of Hridaya Narayan Mishra
On the ghats of Banaras, as sunlight touches the steps of the nearby temple and the narrow lanes come alive with daily activities, in the 1970s, renowned artist Dr. Hridaya Narayan Mishra used to paint the mood and spirit of Banaras on paper or canvas. This creativity continued for several decades. A visionary, who immortalized Banarasi culture on canvas, considered Kashi, the city of Shiva, as his karma Bhoomi throughout his journey. His earliest inspiration was from the murals of Hindu deities adorning the walls and the local artists who brought them to life in the lanes and neighborhoods of Banaras.
Hridaya Narayan’s fine work of over a hundred modern paintings of Lord Ganesha including a series of creations on ritual art "Sanjhi" of Uttarakhand blended fresh ideas of tradition and modernity. This new imagination has endorsed the need of a continuous dialogue between the past and future of Indian art. The theme of his paintings was mostly related to beauty, nature, women, rural life, and folk traditions. His rich collection of murals, portraits, and sketches—utilized a range of mediums, including watercolors, acrylics, oils, and mixed media.
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This artist , who dedicated his entire life to paint the spirit of Banaras was closely aligned with the Kashi painting style, a movement that sought to infuse Indian art with bold, modern expressions. This distinctive style drew inspiration from the rich traditions of Rajasthani, Pahari, Mughal, and Jain miniature paintings. Professor Ram Chandra Shukla, regarded as the father of the Kashi style, once remarked that Hridaya Narayan Mishra, one of the nation's foremost artists, was advancing the most contemporary evolution of the Kashi painting tradition, which had its roots in Banaras in the 1950s.
Born in 1945, Hridaya Narayan Mishra grew up in Banaras. In 1960, he was enrolled at the Faculty of Visual Arts at Banaras Hindu University for his undergraduate course continuing his further studies at the Government College of Arts in Lucknow and the prestigious JJ School of Arts in Bombay. He was awarded a PhD in History of Arts from Banaras Hindu University. From 1971 to 1975, Dr Mishra was a lecturer at Banaras Hindu University. In 1976, he accepted the new assignment as chief textile designer for the renowned Roshan Lal Saree Company, a key player in Banaras's famous saree trade.
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After five years in this position, he moved to Dehradun, where he was appointed a Reader in the Department of Painting at DAV College. He continued teaching there until his retirement in 2006.
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In the 1970s, Hridaya Narayan developed a passion for Hindi cinema and temporarily moved to Mumbai. There, he had the chance to work with a famous film Director Shakti Samant, where he designed the sets for two major hit films of the era, 'Kati Patang' and 'Geet'. Following this experience, he produced three documentaries for the University Grants Commission: 'Ritual Art: Sanjhi' (1989), 'Landscape Painting' (1990), and 'Wall Paintings of Darbar Guru Ram Rai, Dehradun' (1991). These documentaries were broadcast on national television, further showcasing his artistic talents. After this success, he established his own production company and directed two additional documentaries on folk art and cultural faith. This pivotal period marked the beginning of his remarkable journey in art and film.
Hridaya Narayana's fascination in photography sparked his love for travel, inspiring him to explore new perspectives through the lens. With his favorite SLR camera ever at hand, he sought to capture the unique and the extraordinary wherever he went. For many years, he documented the vibrant Nag Nathaiya, the Krishna Leela, a tradition initiated by Goswami Tulsi Das, held annually in Banaras during November. This cultural event was a testament to his dedication to preserving cultural heritage. Among his adored events was the world-famous Ramnagar Ramleela, a month-long theatrical folk performance that showcased the treasure of Indian culture. Hridaya Narayana's enthusiasm extended to other significant occasions, such as the Chhath festival and various folk-art celebrations, where his presence was a constant. He used to participate in every Maha Kumbh Mela held in Allahabad in 12 years, capturing breathtaking photographs of this grand festival of faith. His lens bore witness to the spiritual fervor that defined the Kumbh. The remarkable similarity between his photographs and his paintings often blurred the lines between the two art forms, making it challenging to discern when a painting began to resemble a photograph or when a photograph transformed into a painting. Today, hundreds of his photographs remain kept in his home in Dehradun, serving as a tribute to his artistic journey.​
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Hridaya Narayan, authored an impressive bundle of articles, photo features, and human-interest stories, with hundreds of his works gracing the pages of esteemed national and international newspapers and magazines over the years. His writing often focused on themes that deeply related to the vibrant culture of Banaras, the uncertainty of folk art, spirituality, beauty, and pressing public concerns. Among his significant contributions is the book 'Banaras ki Chitrakala', an extensive exploration of the art history of Banaras.
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In this researched volume, he weaves together historical narratives & artistic expressions for readers to go through the vibrant tapestry of Banaras. His writings serve as a bridge connecting the past to the present, fostering a deeper appreciation for the interplay of faith and creativity that defines the city.
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Over 30 solo and group art exhibitions were organized in major cities across India and around the globe. Among these, the exhibitions held at the Hertie Art Gallery in Berlin, Germany, in 1982, and the Milchstr Gallery and Glocken-gieser Wall Gallery in Hamburg in 1984 gained significant international acclaim, marking a pivotal moment in his artistic career. In 1998, one of his distinguished paintings was selected for display at the prestigious 18th Tenri Biennale in Japan, further establishing his reputation on the global stage.
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Beyond these exhibitions, this celebrated Artist has found a cherished place in the personal collections of more than a dozen dignitaries, foreign embassies, prominent hotels, and institutions in renowned locations such as New York, France, Germany, Italy, Japan, and Nepal. His art continues to elevate the profile of Indian art on the international scene. In India, his paintings have been showcased in almost every prominent art gallery, including the State Lalit Kala Academy in New Delhi and Lucknow, the Jahangir Art Gallery in Mumbai, and the Birla Academy of Art and Culture in Kolkata, as well as in galleries in Dehradun and Banaras. Through these exhibitions, Hridaya Narayan has not only enriched the cultural landscape of Indian art but has also inspired countless artists and art scholars ensuring that his legacy endures.
Banarasi painter Hridaya Narayan Mishra spent his final years in the peaceful city of Dehradun, where the tranquility of the surroundings mirrored his artistic soul. After a prolonged battle with illness, he passed away peacefully at his home in 2009, leaving behind a rich legacy that continues to resonate in the art community. His last masterpieces are lovingly preserved through the dedicated efforts of his son, Nilay Mishra. These artworks serve as a profound source of inspiration for new artists reflecting the depth of his creativity and the vibrancy of his vision. Each piece encapsulates his passion, skill, and connection to Banaras, inviting new generations to explore and express their own -artistic journeys.
