That painting was a calculated political tool—using the "wash" technique to fabricate a purely spiritual, "Indian" aesthetic while rejecting oil paints as "Western." But this Bengal School nationalism conveniently ignored that Mughal miniatures, which they cited as inspiration, were themselves Persian-influenced. In Sikkim, we live with layers of cultural exchange—our *thangka* artists use Chinese brushes, Nepali pigments. Seeing our kids build science models from discarded tea crates and Chinese battery parts, I know purity is a myth. Art, like community, grows through borrowing.
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