The work is documented in the DAG Museum Collection. It was later recorded in the collection/research databases of the Tuli Research Centre, which also identifies a 1964 Untitled by Piraji Sagara as a painting.
Piraji Sagara’s Untitled, created in 1964 is an Indian painting that uses enamel, encaustic and wood on a ply board. The painting measures 35.7 × 48 inches (90.7 × 121.9 cm). Is documented by DAG. Of showing a traditional scene in a realistic way Sagara builds the image using simplified forms, sharp lines, architectural shapes and bold areas of color. The mix of painted surfaces and wood gives the work a sense of material presence and texture.
According to DAG the painting looks at the connection between people and their homes. Sagara does not show a domestic scene. Instead he combines shapes with simplified human figures in an abstract layout. The sharp lines help define both the buildings and the people in the painting. Flat areas of color bring a sense of order and harmony. Bright colors appear underneath or between more subdued sections creating visual contrast.
The use of wood was very important to Sagara’s process. DAG points out his interest in burnt wood and links this material exploration to the work of his Jeram Patel. In this painting wood is not a surface for paint. It becomes a part of how the viewer sees and feels the piece. The mix of wood, encaustic and enamel lets the viewer notice both texture and form.
Made in the 1960s the painting shows the search for ways in Indian modern art. Its simple shapes, areas of tone and architectural lines move away, from traditional realistic styles. At the time the theme of people and their homes gives the abstract image a human and relatable focus. The painting brings together material experimentation, geometry and ideas about home and belonging.
In Untitled (1964), Piraji Sagara transforms a physical composition of wood, enamel, and encaustic into a deeply evocative reflection on the human relationship with space, structure, and home. Rather than offering a direct, realistic depiction of domestic life, Sagara uses an abstract, architectural language that invites the viewer to feel the structural and emotional essence of shelter. The painting relies heavily on simplified geometric forms, sharp linear boundaries, and defined blocks of color. These architectural shapes construct a sense of inhabited space—suggesting walls, doorways, and built environments—while organizing the composition with visual order and visual harmony.
