I discovered an old copy of the Span magazine, dating back to 1989. Unfortunately, this well brought out publication appears to have shut down like so many others. This particular copy had been kept by me because of the superb miniature painting printed on its cover. Titled Humayun seated in a Landscape, it was one of the best Mughal miniatures that I had seen and the same holds good even today.

The miniature was part of an art collection, recently acquired by the Arthur M Sackler Gallery in Washington DC. This particular gallery, along with its partner, the Freer Museum forms the National Museum of Asian Art in Washington. At the time of the publication of the magazine, the Sackler Gallery was comparatively new having opened in 1987 and a few of the priceless miniatures from its exhibition of Asian miniatures, had been reproduced in the magazine that I had stored away and re-discovered.

The works at this show had consisted of the collection of Henri Vever, a Parisian jeweller, with a passion for art and aptly titled A Jeweller’s Eye: Islamic Arts of the Vever Collection. Vever had collected a large number of Persian and Indian paintings and drawings, manuscripts, calligraphies and miniatures dating back to the period 11-19th centuries. Vever enjoyed painting and among his legacy are some of his original paintings. The Vever Collection is said to have disappeared during World War II, but were discovered stored in a New York warehouse and acquired by the Smithsonian Institute.

Vever was undoubtedly a man of high aesthetics as the miniatures that I have seen. There was one from the Baburnama, showing Babur receiving a courtier. The miniature dates back to 1589 and is ascribed to Farrukh Beg, a known painter of the time. From an Iranian Shahnama dating back to 1493, there was a lively battle scene titled A Battle between Zanga and Awkhast, said to be the work of Salik Sa’id.

There were many others including one showing Adam and Eve dressed in leaves.

The Vever Collection continues to be preserved at the Smithsonian and should be on the agenda of those keen on seeing some of the world’s finest miniatures.

Since we have been on the subject of miniatures, we need to take notice of the fate of miniaturists in India, particularly those who live and work in Rajasthan – particularly in Jaipur. Even as we compare the miniatures on display at international galleries, we need to remember that the miniaturists who are just about managing to make a living by painting and creating miniatures for tourists. Their work may not be as intricate or of as fine a quality, but they do not have the royal patronage that allowed them to spend time in creating masterpieces.

This brings us to an important point.

Where do fine art and craft meet? During colonial times, fine art in India included miniatures and stone sculptures, mostly of a religious nature. Somewhere along the way, these have been relegated to craft while modern painting styles have taken over. Let us once again applaud the Singh Sisters in the UK and have taken miniatures a step forward by bringing in new subjects and using traditional techniques.

But all is not lost. There is good news for Jaipur’s miniaturists, since a Mumbaibased art organisation, Ma Passion, is working towards creating a market for Rajasthani miniatures. Their plans include hosting travelling exhibitions to major Indian cities in the winter months. The launch is expected to be from Delhi in December.

(The writer is winner of numerous advertising design awards and a painter of repute)