Page 27 - S.H. Raza || SOJOURN || The Arts Trust

La Terre
69 x 69 in (175.3 x 175.3 cm)
Acrylic on canvas
1985

interrupted by inverted and upright triangular forms that and prakriti, but with a more calm and distilled aesthetic. The
meet at the centre. colours grew deeper, the geometry more concentrated,
These triangles suggest balance, union, and the and the spiritual symbolism more pronounced.
generative forces associated with the feminine principle. A Raza also became a guiding presence for young artists
strong red border frames the composition, intensifying its and scholars. His studio became a quiet space of reflection,
presence and giving it a sense of importance and reverence. where thought, philosophy, and colour converged. He
At the bottom, Raza includes a line of Devanagari script, often spoke about Indian cosmology, music, poetry, and
grounding the painting in Indian philosophical thought the sacred geometry that underpinned his practice. He
and adding a spiritual dimension to the abstract forms. It explained how each canvas reflected a lifetime of learning,
reads यत्र नार्यस्तु पूज्यन्ते रमन्ते तत्र देवता meaning Where travel, and inward inquiry, transformed into a universal visual
women are honoured, the gods rejoice and are pleased. language. During these final years, Raza’s reputation soared
This well-known Sanskrit verse honours women and in both India and the global art market. Painting for Raza was
the feminine principle. By including it in Nari, Raza links a form of meditation until his last days. His works set auction
abstract geometry with Indian philosophy, highlighting records, and retrospectives noted his contributions to art
feminine energy as sacred and essential to creation. This history. Despite his growing fame, Raza remained humble,
work stands as a visual statement on the central role of emphasising that he was still learning, still searching. His
feminine energy in creation and existence, expressed canvases invited contemplation and silence.
through clarity, order, and colour. Raza’s story was ultimately one of return: to Self, to
Roots, to Meaning, and to his Homeland. He created a
visual language that continues to resonate with viewers. He
The Final Return: Settling in India remains one of the towering figures of modern Indian art,
After the passing of his wife Janine in 2002, Raza returned a seeker whose quest for the infinite continues to inspire
to India permanently. He was 80 years old but creatively generations around the world. The legendary artist passed
active. Returning to his homeland felt like completing a away on July 23, 2016, leaving behind a vast body of work
circle, a bindu-like closure and renewal. He settled in New and a legacy that continues to shape artists.
Delhi, where he continued to paint with remarkable energy.
His later works often revisited earlier themes such as bindu Geetanjali Jadhav Raza with his characteristic, charismatic smile

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