Untitled

The temple as a site of piety became an interesting representation for many artists such as D. C. Joglekar in the context of Indian modernism. Many of these artists found themselves situated as cultural authorities through colonial institutional education, often using the temple site as a symbol of valence for proto-nationalist cultural activism. The common people, especially women, began to appear in this exhibitory space of the middle class. This Untitled work by Joglekar brings in the emotive essence of an Indian aesthetic into his painterly vocabulary.