Patiala Court Seizes M.F. Hussain Painting – Exposing the “Victimhood” of a Serial Desecrator!
Recently, the Patiala Court ordered the seizure of M.F. Hussain’s objectionable paintings of Hindu deities at the Delhi Art Gallery (DAG). This directive reignites the debate surrounding M.F. Hussain’s controversial works. While some celebrate him as a “modernist genius,” others view him as a provocateur. He consistently disrespected Hindu deities and beliefs under the guise of artistic freedom.
The Patiala Court’s intervention is prompted by a complaint from Hindu organizations like Hindu Jagruti Org – exposing a deep cultural wound due to the deliberate and repeated desecration of Hindu religious imagery.
M.F. Hussian – Desecration or Artistic Freedom? The Misplaced Debate
M.F. Hussain’s defenders often argue that his paintings are expressions of creative liberty. Moreover, they cite his stature as a renowned avant-garde artist to present this view. However, when does artistic freedom cross the line into willful desecration? The paintings in question depicted revered Hindu deities, Bhagwan Hanuman and Bhagwan Ganesha holding nude women in their laps. Is this not a grotesque distortion of their divine essence in the name of cheap artistic liberty?
In temples, depictions of deities are crafted with sacred intent and imbued with divinity through rituals or samskaras.
People finding #art in nude paintings of deity are either mentally sick or not fit to live in #Bharat if they don’t know to respect natives’ sentiments!
MF Hussain is भगोड़ा, period!
Just wondering whether DAG is continuing his $₹€ peddling legacy? @dir_ed @Ramesh_hjs pic.twitter.com/iyDNlND9TV
— Shriram L (@shriram_l) December 14, 2024
The temple images are not mere “art”; they are forms of worship – a form of direct encounter with the divine. When such imagery is removed from its sacred context and placed in a public gallery, it becomes devoid of ritual and reverence. Thereby, rendering it vulnerable to misinterpretation, ridicule, or worse – deliberate provocation. Paintings of Hindu deities by M.F. Hussain strip them away of this sanctity. Thus, reducing the divine to crude, sensual caricatures that cater more to shock value than spiritual exploration.
M.F. Hussain – A History of Selective Sensitivity
1- how MF Hussain Paints Muslim Subjects (karbala)
2 – how he paints hindu Goddess (saraswati) pic.twitter.com/po0YbpLBJE— कुत्ता पकड़ने वाले बाबा (@Download_Drum) January 8, 2022
The hypocrisy in M.F. Hussain’s approach is glaring. He showed immense deference to Islamic sentiments – pulling his film “Meenaxi: A Tale of Three Cities” from theaters following Muslim objections to a song. However, he remained unapologetic about his obscene portrayals of Hindu gods and goddesses. Why this selective sensitivity?
Why was M.F. Hussian quick to placate Muslim objections but adamant in justifying his offensive depictions of Hindu deities?
To date, his supporters try to bury this glaring double standard. They cry foul over alleged “right-wing attacks” on his work. However, they conveniently ignore the fact that M.F. Hussain was more than willing to self-censor when it came to Muslim sentiments. It raises the question: was his persistent targeting of Hindu deities an intentional affront? Was it designed to provoke outrage and solidify his image as a rebel artist?
The Role of Hindu Jagruti Organisation and the Courts
📜⚖️ The Patiala Court in Delhi has directed the Delhi Art Gallery to preserve CCTV footage of its exhibitions. 📹
This comes after @HinduJagrutiOrg and other Hindu organizations filed a complaint against the gallery for displaying objectionable pictures of Hindu deities by… pic.twitter.com/EySesB1pbG
— Sanatan Prabhat (@SanatanPrabhat) December 20, 2024
The recent events at the DAG highlight the pivotal role of Hindu organizations in safeguarding cultural and religious dignity. Despite DAG’s attempts to quietly remove the offensive paintings after public backlash, the court has ordered the gallery to preserve CCTV footage. Consequently, it has initiated a police investigation into potential evidence tampering.
This is not just a victory for Hindu sentiments but a testament to the growing awareness and activism among Hindus to control how their heritage is represented and prevent its mockery!
M.F. Hussain’s supporters often argue that his works received widespread acclaim, pointing to positive reviews and high gallery attendance. However, as advocate Amita Sachdeva aptly noted, public exhibitions are not private spaces. They cater to a diverse audience, and showcasing offensive depictions of sacred Hindu deities in such spaces disregards the sentiments of millions. The court’s decision to seize these paintings underscores the importance of respecting religious diversity and drawing boundaries for artistic expression.
Rewriting the Narrative of “Victimhood”
Hussain and his proponents have long portrayed him as a victim of Hindu intolerance. They present him as a persecuted genius who was forced to live in exile due to death threats. This narrative conveniently ignores the repeated acts of cultural aggression he perpetrated against the Hindu community.
M.F. Hussain’s departure from India was less about artistic persecution and more about evading the legal and social consequences of his actions.
Watch This Video on MF Hussain – Hussain made paintings depicting Hindu Gods & Goddesses in an OBSCENE VULGAR manner. Shekhar Gupta, then with NDTV, whitewashed him like Hussain had done some "great work" #MFHussain pic.twitter.com/egiNGl7yCC
— Rosy (@rose_k01) August 13, 2024
Moreover, the claim that only “right-wing extremists” opposed his work is patently false. Islamists also made their wrath felt against his movie! And he bowed low to their wishes. However, Hindus were painted – across the spectrum as the intolerants against art! Hindu scholars, activists, and everyday devotees were rightly outraged by M.F. Hussain’s deliberate desecration of their faith. But they chose the legal route to showcase their protest. Hussain was no innocent artist caught in the crossfire of politics.
Instead, M.F. Hussain was a provocateur who thrived on controversy, unapologetically targeting one of the world’s most ancient and diverse religions.
A Double Standard in Global Art Discourse
The global art community’s silence on Hussain’s offensive works is deafening.
While there is a global outcry when art offends Abrahamic religions, depictions of Hindu deities are often dismissed as “cultural explorations” or “modern interpretations.” Imagine if Hussain had painted similarly obscene portrayals of figures from Islam or Christianity! Would the response from galleries, critics, and governments have been the same? The answer is a resounding no.
This double standard reflects a broader issue: the casual disregard for Hindu sentiments in global art and media. While other faiths are afforded respect and sensitivity, Hinduism is often relegated to the status of an exotic, misunderstood culture, open to distortion and mockery.
The Way Forward: Respect, Not Reverence
The seizure of M.F. Hussain’s paintings is a crucial step toward reclaiming the dignity of Hindu religious imagery. This is not about curbing artistic freedom but about ensuring that freedom does not come at the expense of Sanatani beliefs.
The Hindu community is not demanding reverence from artists like Hussain; it is demanding basic respect – a principle that should be universal in any pluralistic society.
As the courts continue their investigation into this case, one thing is clear: the days of unchallenged desecration and double standards are over. The legacy of artists like M.F. Hussain will be judged not only by their technical skills but also by their ethical choices. And in that regard, history may not be kind to M.F. Hussain.