Saranjit Singh, mentored by Sardar Sobha Singh, has a family where each member is an artist.
In a world often driven by metrics and milestones, there exists a family whose compass is calibrated to creativity. The Singhs—a family having four creatives, each an artist in their own right, embodies the philosophy that art is not merely a vocation, but a way of life. Their journey, rooted in tradition and nurtured by passion, is a testament to how artistic expression can shape identity, preserve heritage, andinspire generations.
Origins in Ink and Imagination
It began with a boy in Pathankot, whose school notebooks bore not just dictated sentences but vivid illustrations that danced around the margins. Encouraged by his teachers and parents, this boy—Saranjit Singh—soon found himself under the mentorship of the legendary Sardar Sobha Singh in the lush Kangra Valley. The verdant Andretta* in the valley became home to this young boy during weekends. While his peers chased cricket balls, Saranjit chased colour, wielding brushes and spatulas to capture the fleeting poetry of life.
His devotion to art was unwavering. When the Punjab Board mistook his examination landscape for the work of a senior artist, he was asked to replicate it before a committee. The result? Astonishment and admiration. His talent was undeniable.
From Pathankot to Delhi: A Journey of Recognition
The turning point came when B.C. Sanyal, the doyen of Indian modernist art, saw Saranjit’s work and urged him to pursue formal training at the Delhi College of Art. Saranjit earned scholarships for both his BFA and MFA, thriving in an environment that sharpened his skills and broadened his vision.
Marriage brought Manjit into the fold—a studio potter steeped in traditional crafts. Together, they founded Studio Mayll Arts in Saket, New Delhi, and held exhibitions across India. Their shared ethos transformed their studio into a sanctuary of creativity.
Art That Adorns and Preserves
Saranjit’s works now grace the walls of international hotels like the Oberoi, Taj, and Hyatt, and institutions such as UNESCO, UNICEF, and the Delhi Golf Club. His preferred medium is watercolor, though he experiments with acrylics, oils, gouache, and pastels to explore new stylistic frontiers.
But his art is not confined to galleries. Fueled by a love for history, he ventured into India’s interiors—Rajasthan, Madhya Pradesh, Gujarat, Orissa, Punjab, and the Kangra Valley—sketching monuments, Havelis, Baolis, and forgotten architecture. His “on-the-spot” painting sessions became communal events, drawing locals who added their own stories and colors to the canvas.
Art as Heritage and Memory
Saranjit’s work is not just visual—it’s archival. He resurrects the lives of those who once inhabited the structures he paints, placing figures against historically resonant backdrops. His art becomes a bridge between past and present, urging viewers to value and preserve cultural heritage.
His passion echoes the patience of his mentor, Sobha Singh, who took 18 years to paint his Sikh Gurus series. Saranjit followed suit, creating his own Guru collection, which was inaugurated by Shri Khushwant Singh at Le Meridien on Baisakhi.
Echoes from the Archives
Three handwritten documents further illuminate the family’s ethos:
A 1976 Hindi note records a humble financial transaction between Mool Chand and Ram Kumar, underscoring values of trust and accountability.
A Gujarati school essay paints a heartfelt portrait of Khambholaj village, celebrating its people, festivals, and landscapes—an echo of Saranjit’s own rural inspirations.
A 1977 letter from R.L. Muni, Vice Chairman of Lalit Kala Akademi, commends a young Suresh Sangle for his dedication to traditional art forms, reflecting the generational transmission of artistic values.
Looking Ahead
Saranjit’s journey continues. He plans to explore South India, including the Andamans and Nicobar Islands, and has been invited to document Maldivian heritage threatened by environmental imbalance. His mission remains clear: to paint, preserve, and provoke thought.
In the Singh household, art is not a profession—it is a pulse. It flows through generations, across mediums, and into the hearts of those who encounter it. Their story is not just about brushstrokes and exhibitions; it’s about how art, when lived fully, becomes a legacy.
* About Andretta
Andretta, nestled in Himachal Pradesh near Palampur in the Kangra District, is both a serene village and a renowned artists’ enclave. Its transformation into a creative hub began in the 1920s, when Irish theatre artist and environmentalist Norah Richards relocated from Lahore and laid its cultural foundations. Set against the majestic Dhauladhar range of the Himalayas, Andretta has since become a magnet for celebrated painters, theatre professionals, and in recent years, skilled potters.
