Untitled [Assorted 20 postcards of M V Dhurandhar Paintings]

• Champavati, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• In a Garden of Roses, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• A Brahmin Lady, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• A Marwari Woman, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• Ghati Women Grinding Corn, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• Two Rupees Sir!, unknown publisher, circa 1904, halftone, undivided back,
• Street Sweepers, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• Parsee Priest, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• Shoe-lace Hawker, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• Borah Trader, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• The Prayer, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• Loading a Bombay Cart, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• Types of Women (I), Bombay: D B Taraporevala Sons & Co., circa 1910, photograph, divided back, 5.5 x 3.5 in (14 x 9 cm)
• Types of Women (II), Bombay: D B Taraporevala Sons & Co., circa 1910, photograph, divided back, 5.5 x 3.5 in (14 x 9 cm)
• Types of Men (II), Bombay: D B Taraporevala Sons & Co., circa 1910, photograph, divided back, 5.5 x 3.5 in (14 x 9 cm)
• In Bombay Harbour, unknown publisher, circa 1904, halftone, divided back, 5.5 x 3.5 in (13.9 x 9 cm)
• First Glimpse of Bombay Harbour, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• Pratapgarh, where Shiwoji (sic) Killed Afzulkhan, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• Bijapur Mahomedan Mosque, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)
• The Harvest, unknown publisher, circa 1904, halftone, undivided back, 5.5 x 3.5 in (13.9 x 9 cm)

M V Dhurandhar (1867–1944) was an influential Indian artist of the early 20th century. The postcards, produced during the British colonial period, represented Indian people, customs, and landscapes for both domestic and international audiences. While these images were commercially driven and catered to European buyers, they also presented a unique and complex depiction of India, offering a contrast to the more overtly exotic or reductive colonial imagery of the time.

Dhurandhar, a graduate of the Sir J.J. School of Art in Bombay, was known for his academic realism, which blended Western academic techniques with indigenous themes. He worked across various media, including paintings, book illustrations, and prints, but his postcard illustrations are particularly significant because of their widespread circulation and impact on popular perceptions of Indian society.

During the late 19th and early 20th centuries, postcards became a popular visual medium, especially among European travellers, colonial administrators, and collectors. British-run firms such as Raphael Tuck & Sons and Indian publishers like Clifton & Co. and The Ravi Varma Press produced “ethnographic” and “scenic” postcards that often depicted India through a colonial lens—highlighting exotic landscapes, stereotypical “native types,” and scenes reinforcing European perceptions of an “unchanging” India.

Dhurandhar’s work within this larger postcard industry shows how his illustrations both conformed to and subtly diverged from the prevailing colonial narratives.

Dhurandhar’s postcard series, “Scenes and Types of India,” depicted a range of subjects, including:
1. Occupational Types—merchants, farmers, snake charmers, street vendors, and other tradespeople.
2. Regional and Caste-Based Depictions—Men and women in traditional attire from different parts of India.
3. Religious and Festival Scenes—Hindu temple rituals, processions, and festivals.
4. Women in Daily Life—From market sellers to aristocratic women in palanquins.

Unlike many European-produced postcards that often portrayed Indians in a romanticized, exotic, or passive manner, Dhurandhar’s figures were more individualized and dynamic. His background in academic realism allowed him to bring a sense of depth, dignity, and personality to his subjects.

While Dhurandhar’s postcards were primarily commercial products, they also acted as subtle interventions against colonial stereotypes:
• Dignified Representation—His subjects were not merely “types” but were depicted with a sense of agency and realism.
• Indian Gaze—Unlike many colonial postcards where Indians were passive objects of the Western gaze, Dhurandhar’s figures often engaged the viewer directly, asserting their own presence.
• Cultural Authenticity—He carefully rendered the details of clothing, posture, and expression, capturing the diversity of Indian society beyond simplistic colonial categories.

Despite his artistic ambitions, Dhurandhar had to balance artistic integrity with commercial viability. Many of his postcard designs were produced in collaboration with British-run firms, which meant he had to adhere to some of the conventions expected by European buyers. However, he still found ways to infuse his subjects with nuance and complexity, avoiding excessive exoticism or caricature.

Dhurandhar’s picture postcards occupy a unique space within Indian visual history. While they were part of the larger colonial postcard industry, they offered a more textured and locally grounded representation of Indian life. His work paved the way for later Indian artists who sought to reclaim and redefine the visual narrative of their culture.

Dhurandhar’s postcards reflect how popular visual culture can be both a tool of colonial representation and a means of subtle resistance, shaping how India was viewed both within and outside its borders.

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