This article aims to look at the contemporary neo-Vaishnavite style paintings of Assam which have their roots in the pre-modern age. An offshoot of the Indian Bhakti movement, neo-Vaishnavism was introduced in Assam in the 15 th century ce . A simultaneous artistic movement of painting the Vaishnavite deities was witnessed, with such paintings being made in the same style even today in the 21 st century. When one juxtaposes these contemporary artworks with the medieval paintings, it is obvious that there has been a transhistorical migration of the Vaishnavite themes and pictorial idioms. This indicates the possibility that it is not only images that are re-created but also their associated meanings of tradition and heritage, as well as their emotional and sensual responses which are attempted to be rekindled and evoked. At the same time, certain experiments, changes and therefore, fissures, in this continuing artistic practice reflect the role played by individual artists, consumers, cultural institutions and political and economic developments. Taking some of the contemporary Assamese neo-Vaishnavite paintings by current artists as a case study and studying the stylistic, materialistic and conceptual aspects of these artworks, this article comments upon the reciprocal relationship between art, artist and society .
Deeplakshmi Saikia (Sun,) studied this question.
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