Sharma, a contemporary Indian artist, has dedicated his practice to preserving the history of the British Indian Army through paint. At a time when history is often compressed into files and digital records, he believes watercolor preserves what photography cannot, the humanity of uniformed figures and the cultural complexities woven into colonial period art.

View Santosh K. Sharma’s works

The curator's eye: When watercolor meets memory

Vinit first encountered Sharma's work during one of his art discovery journeys, recognizing immediately how these weren't just historical paintings but emotional archives. The moment he saw that first Punjab Regiment portrait, he understood how watercolor could preserve humanity in ways photography never could. For a gallery built on stories that resonate across cultures, Sharma's work represented something rare: art that honors difficult histories with dignity while speaking to universal themes of service and sacrifice.

The discovery felt like finding a bridge between worlds, Indian artistic tradition documenting British colonial military history with neither judgment nor glorification, but with the kind of careful attention that transforms historical subjects into universal human stories. Vinit recognized in Sharma an artist who understood that the most powerful historical art documentation comes not from political commentary but from patient observation of human dignity within complex circumstances.

The art of military watercolor: Technique meets history

Watercolor is a demanding medium for historical representation. Metallic insignia must catch the light without overwhelming the page, woolen fabric must appear weighty yet soft, and the human presence must remain central.

Sharma achieves this balance through layered washes and precise line work. The watercolor technique allows translucency to convey depth, so that garments seem lived-in and faces carry quiet dignity. His portraits demonstrate historical accuracy in art, where research and painterly sensitivity merge seamlessly.

His range is evident across subjects. The sweeping plume of the First Madras Lancer’s 1887, the ceremonial splendor of the Governor General’s Body Guard (1912), the modernized look of the 15th Lancer’s 1937—each work shows how British Raj art evolved, while remaining faithful to cultural identity.

The collector’s perspective: Living with historical art

A watercolor portrait changes a room differently than a photograph or print. Sharma's soldiers seem to inhabit their frames with quiet presence: the kind of artwork you notice anew each time you pass by.

Unlike decorative military prints, these pieces carry weight. Visitors pause before them, drawn into details: the way light catches a brass button, the dignity in a soldier's bearing, the careful rendering of ceremonial dress. The conversations that follow often surprise collectors - discussions about family military service, questions about historical periods, and reflections on how uniforms both unite and distinguish.

For many, owning one means living with a small piece of preserved memory. The work functions as both art and document, beautiful enough to anchor a room while substantial enough to reward close attention. They're particularly meaningful for collectors with military heritage, but their appeal extends to anyone drawn to art that carries human stories within historical moments.  These portraits enrich any military art collection, carrying the quiet dignity that makes them compelling to live with.