Mausham Raj¹ and Balaji Gangadhar Bhange^2 
1Department of Fine Arts, Lovely Professional University, India
²Department of Fine Arts, Lovely Professional University, India
*Corresponding Author: Mausham Raj, Department of Fine Arts, Lovely Professional University, India Email: maushamrmanglla@gmail.com

Citation: Sanjhi Art and Nilima Sheikh: Understanding the Influence of Traditional Stencils in Indian Contemporary Art. Journal of Science, Technology, Engineering, Arts & Mathematics 2025. 1 (2): 01.03
Submitted: December, 2024 Approved: May, 2025 Published: July, 2025

Abstract: Stenciling has been an art form since ancient times, with evidence of its use found on the walls of prehistoric caves. In nature, similar patterns can be observed in the form of insect‑made holes in leaves or natural wood surfaces. A stencil is a sheet of material with a specific design or letter cut out. When ink or paste is applied over the cutout, it creates a precise impression on another surface. Sanjhi is a traditional paper stencilling art of India, prevalent in Mathura and Vrindavan, and closely associated with Vrajabhoomi. It consistently incorporates themes and motifs from Krishna stories. Traditionally, paper cuts, known as “Sanjhis,” have been closely linked to Krishna devotion. These Sanjhi stencils have been a significant source of inspiration for many artists and designers, including Nilima Sheikh. Nilima is a well‑known Indian contemporary artist whose works revolve around the theme of women and cultures. Sheikh creates powerful work that evokes mystical landscapes, addressing feminine experiences from her own life. She learned the Sanjhi art from Sanjay Soni and his family. It›s her mastery that she used the traditional art form in a contemporary way. In this paper, we aim to analyze the influence of Sanjhi art on Nilima Sheikh”s body of work and conduct a comparative study of Sanjhi and Nilima’s stencils. Additionally, we aim to investigate the link between tradition and innovation in contemporary Indian art. Data is meticulously gathered from engaging personal interviews and comprehensive literary materials, thoroughly examining the artist’s collection.

Keywords: Stencil art, Nilima Sheikh, Indian contemporary art, traditional art, Tempera, miniature

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