“The startling discovery of the art of children by a number of thinking modern artists was foremost a twentieth century phenomenon. European, or for that matter, western art had gained new insights not only from African and eastern sources, but also from other primitive and folk cultures, and indeed too, from the intuitive expressions of simple, untaught children.”
— Badri Narayan
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Born in Secunderabad in 1929, Badri Narayan was a self-taught artist, known for fusing traditional Indian themes and modern techniques. Narayan began his career in the late 1940s working with ceramic tiles and mosaics, and moved later to using ink, pastel and watercolour as his primary mediums. He started exhibiting in 1949 and continued to show for over 60 years within India and international, including the Paris and Tokyo Biennales.
A significant period of his career was spent working with Vitrum Studio in Mumbai, set up in 1954 by Polish émigrés Simon and Hanna Lifschutz, it emerged as a pioneering space for ceramic experimentation and artistic collaboration in post-independence India.
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Yes, the resolution is terrible, but images of the studio are very thin on the ground...
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At Vitrum, Badri extensively experimented with glass mosaics and ceramic tiles and plates-painting, glazing, and firing them at high temperatures to create vibrant artworks inspired by Indian mythology, folklore and everyday life. As the Studio's chief ceramicist, Badri's use of ceramics as a medium took on new dimensions. His works often featured vivid geometric patterns, houses and stylised representations of Hindu deities, mythological scenes and animals, influenced by classical art forms, including Indian miniature painting, Byzantine portraiture and Ajanta murals.
"I'm not sure how much money Badri made from the pieces he created at Vitrum, but I know he truly enjoyed the process. With ceramics, the colour of the glaze doesn't reveal what it will look like after firing. Badri loved those surprises and the learning that came with it."
- Dadiba Pundole -
His murals and ceramic tiles, many of which were commissioned for public spaces, offered a blend of narrative storytelling and ornamental beauty, showcasing his innovative use of mosaic and glaze techniques. Notably, his ceramic tile mural and mosaic-on-glass panels were displayed at the Gandhi Darshan complex in Delhi in 1969, marking a milestone in his career. He also illustrated children's books and wrote short stories and verse.
Interview with Narayan broadcast by All India Radio in 1991.
This example of his work form the Vitrum studio is modest in size, but extremely charming. It comes from a Scandinavian collection and is available to view at the gallery in London.
Of his style he commented: “I have picked up the imagery that surrounds me, the one I am born into, and it comes naturally.”
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