Paper Trails: Khushboo Jain

Andrea Potts spoke with Khushboo Jain, an independent curator, writer and researcher, about decolonising Indian miniature art.

Andrea: What is the key focus of your work?

Khushboo: I am a curator of art from India, and my primary focus is Indian miniatures. Miniatures have been in the Indian subcontinent since at least the eleventh century, and the art form reached its peak in the Mughal empire. Eventually, with colonisation, this art form started to be disregarded. It was viewed by the British as something that was merely exotic and as something that was lesser because of its small scale. Under British rule, there was no longer royal patronage for artists, so it was no longer a viable practice. The art form had nearly been lost altogether, but today, a generation of artists are experimenting with Indian miniatures in exciting ways. My goal, ultimately, is to provide a new form of patronage for these artists by creating a market for their work.

It was viewed by the British as something that was merely exotic and as something that was lesser because of its small scale.

Another key focus of my work is questioning how we speak about miniatures. Even the term “miniature” is a colonial label, one that diminishes the immense labour and technical mastery involved in this art form. Miniature painting is highly intricate, slow, and deeply meditative. The process – from making the paper to preparing pigments – requires a level of dedication that deserves to be fully recognised. I believe that the way we define an art form shapes its perception and value, so I am interested in shifting that narrative.

While miniatures are at the core of my curatorial practice, I am also deeply interested in other artistic traditions that have historically operated within similar frameworks – ones that are rooted in meticulous technique, spiritual engagement, and complex storytelling. These include lesser-known artistic lineages from regions such as Himachal Pradesh and the Tibetan plateau. I am drawn to how these traditions have intersected over time, particularly along the Silk Road, where artistic and cultural exchanges have profoundly shaped visual languages. Understanding these connections and how they continue to evolve today is something I see as an important part of my practice. I am also interested in examining how these traditions have not only survived but continue to evolve, adapting to new contexts while retaining their intricacy and depth. Understanding these historical and artistic exchanges allows us to see miniature painting not as a relic of the past but as a dynamic and evolving practice with continued relevance today.

A: Tell me more about your curatorial practice.

K: In my curatorial practice, I like to draw out intersections between history and contemporary expression. Bringing historical context into my exhibitions is important to me, not just as a reference point but as a way to strengthen our collective knowledge of the form and its evolving language. Narrative is central to this process. Every miniature has layers of meaning – folkloric, spiritual, political, social, and cultural – and I want to highlight those connections. I’m also interested in how artists are transforming Indian miniatures into a contemporary art form. They are drawing upon the past and making it relevant in the present, experimenting with traditional formats, integrating new iconographies, and, most importantly, asserting their own narratives and voices. That evolution fascinates me.

Beyond that, I also want to bring back the sanctity of the artistic process itself: the sacredness once attached to the act of making. Miniature painting was deeply rooted in devotion, storytelling, and an immersive way of seeing, and I think there’s something essential in preserving that spirit in contemporary practice.

Another key aspect I want to explore through my exhibitions is Rasa Rasika: the sensorial and emotive way of engaging with art. I want to challenge the white cube model that often distances the viewer and instead integrate Indian artistic traditions of experience, interaction, and deep engagement. How do we reconnect with art in a way that feels organic to our cultural landscape? How do we create exhibitions that invite immersion, rather than just observation? These are some of the questions that drive my curatorial approach.

I want to challenge the white cube model that often distances the viewer and instead integrate Indian artistic traditions of experience, interaction, and deep engagement. How do we reconnect with art in a way that feels organic to our cultural landscape?

A: That sounds wonderful. Which artists have you worked with?

K: I’m working with artists from around the world, not just within South Asia, which I find really exciting. Indian miniature painting is no longer confined to a specific geography or lineage: it has evolved into a global language. Artists from the UK, trained in Jaipur under masters of Indian miniature painting, for instance, have transformed the vocabulary of the tradition by playing with color, scale, and abstraction. An artist from Ecuador, inspired by Indian miniatures at the British Museum, incorporates earth from her surroundings, turning it into pigment as a way of infusing her own Andean heritage into the form. Across different diasporas, artists are bringing their unique cultural influences into this practice. In India, contemporary miniature artists are reinterpreting tradition in bold ways, some by experimenting with modern compositions, while others incorporate humor, feminism, and social narratives that were historically absent from courtly and religious miniatures. Meanwhile, neighboring Pakistan has already paved the way for the ‘contemporisation’ of miniature art, infusing it with bold political and philosophical narratives.

A: How did you become interested in this art form?

K: I was born and brought up in Jaipur, Rajasthan, which is known as the Pink City. A lot of my cultural influences really do come from Jaipur, but I largely work between Bombay and Delhi. And in Jaipur, the practice of miniatures is still ongoing here in city, and the state that I live in. So, I’ve always been surrounded by this art form. I come from a Jain philosophy, so miniature art is something I’ve grown up with through our religious books and our temples. But when I left Jaipur for my college studies, I found that this art form was largely missing elsewhere and that many people were unfamiliar with it. And for somebody who was so used to seeing it in traditional and contemporary forms, the fact that I could not see that art form made me realise that there was a gap that needed to be addressed.  

A: How do gallery visitors engage with the art?

Many people feel a sense of awe of the fact that something so traditional can also be so modern. I’ve seen a lot of people wanting to know more about the history of Indian miniatures, but they also really appreciate how the art form is being played with. This curiosity naturally leads them to want to learn more about the historical depth of miniatures, which is something I hope my exhibitions can facilitate. And another lovely thing is that these are very intimate works because of their scale. I think that is really beautiful and I hope to share these works with a wider audience in the future.