Dancing in the Silent Countryside By Zhang Daqian

Source: Zhengguang Culture, Zhihu

Visual exchanges between India and China have often taken shape through the representation of the human body, where attire and gestures become sites of cultural interactions. In the above painting, one can observe that the dancer is donning a traditional Indian saree, stretching out her hands and swaying with a lively rhythm, her skirt spreading out to form an alluring sight. While the protagonist of the painting is Indian, her features appear to be borrowed from a distinctly “traditional Chinese” art style. “Dancing in the Silent Countryside” was painted by Zhang Daqian sometime during his visit to India around 1950 to trace the origins of Buddhist art. During his stay, he utilized Buddhist figure painting techniques to create several portraits of Indian figures, thereby revitalizing Indo-Chinese artistic engagement, bringing new perspectives to modern Chinese art.

Artistic exchanges between Asian countries are often overshadowed, but these interactions have paved the way for various art forms to evolve. Interactions between Indian and Chinese art can be traced back to the first millennium, when artists were encouraged to dabble in each other’s art forms. The earliest visual representations of Indian life in Chinese art emerged with the transmission of Buddhism during the Sui and Tang dynasties. These included Buddhist murals along the Silk Road, such as those at the Dunhuang cave complex, where Indian figures and narrative scenes from Buddhist texts were depicted. These murals laid the foundation for later, more conscious artistic engagements, which would re-emerge in the twentieth century when both civilizations faced colonial pressure from the West and dealt with the difficult process of modernization. In search of the idea of the modern, many Chinese art reformers gravitated towards India, believing its art to be “a convergence of multicultural traditions”.

Along with Zhang Daqian, other Chinese artists such as Gao Jianfu and Xu Beihong travelled to India in search of inspiration, studying and creating art and holding exhibitions to showcase their work. Zhang Daqian, for example, was deeply inspired by the attire of Indian women and painted several portraits depicting their beauty. He was also enamoured by Indian dance forms and folk tales and often featured them in his work. Similarly, Gao Jianfu undertook his trip to India with the intent to evolve Chinese painting techniques. Beginning with the Ajanta caves in Maharashtra, he travelled across India until he reached his final destination in Calcutta. His time in pre-Independence India allowed him to discover unique perspectives in modern Asian art.

Rabindranath Tagore’s Visva-Bharati, a university in Shantiniketan, further encouraged the interactions between Indian and Chinese artists and artistic forms. Xu Beihong visited the university at Tagore’s invitation and remained an artist in India during World War 2 and the Chinese Civil War. While he was not the first Chinese artist to visit the institution, he was the first reputed artist cordially invited by Tagore. During his stay, he taught Chinese ink brush painting and calligraphy. His time at the university encouraged him to produce several paintings depicting the country and its people. Some of his famous paintings include the portraits of influential figures like Rabindranath Tagore and Mahatma Gandhi, depictions of the Himalayas, and ink brush paintings of horses. He was also deeply inspired by the local workers' attentiveness and sincere demeanor and painted several artworks in ode to them.

A Painting of Rabindranath Tagore by Xu Beihong

Source: CFLAC Corporation, China-India Art Exchange

Other Chinese artists, like Chang Xiufeng, took Xu Beihong’s advice and moved to India in 1947 to attend the Institute of Art at Visva-Bharati and study under the famous Indian artist Nandalal Bose. During his time in India, he chose to focus his attention on learning from the Indian school of art and incorporating Indian artistic techniques into his own work. He also became the president of a Chinese high school in India and taught courses on Chinese history, art, and culture. Xiufeng stayed in India for 14 years, until he was deported from the country in 1961 after being imprisoned in Darjeeling on suspicion of being a communist agent.

Although such high-level artistic exchanges receive limited attention today, artists from both countries continue to engage with each other’s artistic traditions and culture. As recently as 2017, famous painters, including Zhang Weiren, M Luo Weimin, Wu Gang, He Wei, and more, visited India at the invitation of the Indian Council of Cultural Relations. Intending to promote a deeper understanding and appreciation of Indian art and culture, workshops and other sessions were held in the Indian cities of Agra, New Delhi, Jaipur, and Varanasi. These sessions encouraged leading artists from the Shanghai Artists Union to interact and engage with their Indian contemporaries. It was in the backdrop of this visit that a special exhibition of more than 100 paintings on Indian themes was displayed to the public at the Xuhui Art Gallery in Shanghai a year later. Beijing has also continually commemorated its famed artists and their artwork rooted in the Indian context. In November 2019, 20 of Chang Xiufeng’s paintings from his stay in India were displayed at Peking University. Titled “Land of Peace”, the exhibition’s primary focus was on uncovering artistic and cultural exchanges between the two countries. Such artistic interactions continue to occur, influencing the evolution of Indian and Chinese art forms.

Cultural exchange through the medium of visual art like paintings is building strong, positive goodwill and perceptions between intellectual communities and societies in India and China. For example, in March 2026, an exhibition of paintings by Wang Zhijie on the theme of “India Though Chinese Eyes” was displayed by the Consulate General of India in Shanghai, which showcased his works on Indian sceneries and characters. Since his visit to India with 24 other Chinese artists in 2009 as part of the “Go To India” initiative, he has only been painting scenes from Indian life. He wrote that “every painting epitomises my effort, passion and my deep love for India”, hoping that they “enhance mutual understanding and friendship of Chinese and Indian people.”

The enduring legacy of artistic exchanges between India and China highlights the rich tradition of mutual appreciation and ongoing efforts to foster these exchanges to ensure that intercultural communication remains vibrant. However, it is important to note that these artistic exchanges have occurred in the midst of unstable political relations, with periods of diplomatic tension limiting the unfettered flow of culture and art. Regardless, artistic engagement has demonstrated resilience between the two nations. This enduring exchange symbolizes the timeless nature of cultural collaboration and the importance of art in forming influential bridges between civilizations.