Jagdish Swaminathan is regarded as one of the finest visual artists from Indian visual art practice scenario. Along with his practice of painting, Swaminathan was also a poet and writer. One the major contributions in Swaminathan’s artistic journey was his contributions towards the establishment of the Bharat Bhavan which is a multi-art complex in Bhopal, India, established in 1982. Swaminathan’s visual language reflected realms of freedom and the imagination in neo-tantric art in visual arts practice of India. Swaminathan was prominently one of the twelve co-founders of one of the formed visual artist groups entitled ‘Group 1890’ from India. This research paper is based on an analysis of Swaminathan’s representations of visual art practice in India, existing in the visual arts practices of the regions in India. The history of Indian visual arts has a prosperous existence in tantric forms. Tantra found its artistic impressions with the various symbols like the lingam and yoni in sculptures and scrolls of ancient India. According to Tantra, the individual being and collective, universal being are the same and one. Thus the visual language all that exists in the universe must also exist in the individual body. In the art practices of Swaminathan, reflections of neo-tantric forms has been identified with expression of realms of freedom and imagination. The research study gives a clear understanding and vision into the precise depiction through the evaluation of case studies. The study aims to develop a framework through focusing the Jagdish Swaminathan’s art practice.
Key words: Jagdish Swaminathan, visual language, realms of freedom, imagination.