WARLI PAINTING: AESTHETICS OF INDIGENOUS ART FORM OF INDIA

Painting is an exquisite expression of human thoughts and culture. Indian art and painting is believed to be emerged from the prehistoric and proto-historic rock paintings. The genesis of tribal painting showed a direct correlation with the pre and proto-historic rock art. They are lively and vibrant tradition and unveil the hidden meaning of tribal symbol and are a manifestation of cultural expression. In Rajasthan, tribal population since time immemorial offered a rich variety of art and painting which would provide a deep insight into their traditional culture. It reflects the reality of living, pattern of culture, philosophy of life besides extensive reflection of memory and geographic mosaic. In the present paper an attempt has been made to discuss the painting tradition of the four major tribal communities of Rajasthan viz., Bhil, Garasia, Mina and Saharia in the context of continuity and change. The paper also unveils commonness and distinctiveness of painting tradition among the four tribal groups of Rajasthan.

2017

Indian painting art has a long tradition which is evolved from the time of stone age, when the human being had dwelling in rock shelter, they had practiced the painting work on the wall of rock shelter by the using of locally available colorants raw materials. The evidences of Indian prehistoric rock art painting has found in Bhimvetka, Azamgarh, Pratapgarh, Mirzapur and Vikramkhol, rock shelter sites. Later on cultural tradition of painting flowed down with Vedic, Buddhist, and Hindu period in ancient time. In this phase mural painting are found in Ajanta and Ellora and miniature painting are found in various manuscripts for illustration. The painting tradition has grown as usual professional caste based system that occupationally specialized art production. This painting art creativity attached socio-economic cultural behavior of certain primitive community. In this paper I attempt to study such traditional painting art producer community is Maharana community in a rural base Suba...

isara solutions, 2019

India had consistently been known as the land that depicted cultural and traditional dynamic quality through its customary arts and crafts. The 35 states and association regions spread the nation over have their very own unmistakable cultural and traditional personalities, and are shown through different types of workmanship predominant there. Each locale in India has its very own style and example of workmanship, which is known as folk craftsmanship. Other than folk craftsmanship, there is one more type of traditional workmanship rehearsed by a few clans or country populace, which is named tribal craftsmanship. The folk and tribal arts of India are extremely ethnic and basic, but then vivid and dynamic enough to say a lot about the nation's rich legacy.

Exhibition Catalogue

2013

I express my sincere gratitude to those without whose support I would never have undertaken such a project. Mentioning everyone who helped me directly and indirectly to bring this work to fruition will be a lengthy affair. Nevertheless, I acknowledge the support received from various museums and libraries to authenticate the data I have collected during my field research.

Granthaalayah Publications and Printers, 2023

Warli Painting and many more are passed down from one generation to another without changing its cultural and traditional vibrancy, that is why Indian folk arts are still alive and these are successfully taught informally. Indian folk arts are not just expressions of artists, but a way to portray their stories, memories, values, and beliefs. The folk arts are ethnic, simple, vibrant, and colourful in nature. Folk art plays an important role for the richness of Indian art and culture. The folk arts show the history and the heritage of India. In Indian art, culture and tradition, Rajasthan stands as the most colourful and breathtaking state with its various art forms and unique culture. Reflection of uniqueness can be seen in Mandana, Pichwai and Kavad. These traditional art forms depicting various gods, goddess, and folk tales. These folk arts are affected by many critical situations in time to time, but these folk arts are continuously maintaining their tradition vibrancy.

2021

Folk art is a form of art which represents the cultural identity of a society, and is made by individuals without any formal training in art. In the Mithila region of Bihar, Madhubani painting is a folk art depicting Hindu style of painting that has now attained worldwide recognition. In its original form, it was used by women to decorate the walls and floors of their houses during the time of festivals, and to this date, it is mainly women from the Brahmin, Kayastha, and Dalit communities who practice this type of painting. Thus, there is a distinct social as well as gender stratification involved in Madhubani painting, and the present study tries to explore these issues and their social, economic, and cultural impacts on the society in general, and women in particular. The study would use both primary as well as secondary sources. Data related to different forms of folk art and their micro regional variations, socioeconomic attributes etc. has been collected through primary survey that will include face to face interviews, focus group discussions, and in-depth observation. Based on these data, the study will try to assess the symbolic values of Madhubani painting as well as the role of sociocultural fabric of the geographic space within which it is located in the evolution and development of different styles of Madhubani painting in the region.

isara solutions, 2018

The research paper critically evaluates and brings out the impact of traditions on India's contemporary visual art. Indian art has come through a long passage from being traditionally oriented to imbibe several aspects of modern and western art yet to maintain its roots in the cultural heritage of India. The paper covers the impact of India's traditional artwork and its culture on Mughal art and subsequently the impact of British rule and western education system on Indian culture and its art. Today's contemporary art of India is indeed an amazing amalgamation of traditional Indian art and western art techniques and Indian artists actively exploring international avenues not only to contribute but make a mark across borders.

Journal of Mathematics and Culture, 2022

In this paper we examine mathematical aspects of traditional art from the Warli culture of western India. The corresponding symbolism of the artwork is also analyzed. Observations include that most Warli art is made almost exclusively with triangles, circles rectangles/squares, and spirals. Moreover, the spiral shape represents the cycle of life, squares are used for the depiction of weddings and represent land, circles are used to represent the sun, moon, and Earth goddess, and triangles are used in the drawing of people and other important objects. In addition, the images and scenes in Warli art exhibit the close cultural ties they have with nature. Furthermore, the intentional style of Warli paintings depicts an abstraction of simultaneous images that are comprehended as a whole. Some examples are described that could be used in classroom activities to study geometric and numerical patterns that display the cultural context of Warli artwork.

Journal of international women's studies, 2016

Introduction The relationship among women, art, and society is a valuable framework for examining the changing social circumstances of Indian women artists. The cultural legacy of women artists and their visual art practices are now being accepted as an intellectual contribution in the world of art. Exposure on global platforms are motivating rural women to lead women artists from similar socio-economic backgrounds in the field of art practices. Indian art history has documented the artistic skills of rural women as house decorators. The tradition of house decoration is still prevalent in rural India in the form of painted walls, floors, and other handicrafts. Each decorated house reveals the cultural aspects of its own community, place and technique. Gond, Warli, Saura and Pithora mural paintings are known for their community art practices and Madhubani, Sanjhi, Mandana and Lippan mural arts are known for their place and technique. The cultural diversity of rural Jharkhand makes an...

Menaka Magazine ,Marathi Journal , 2009

Drawing and picture painting are two of the oldest arts, but it is rather a peculiar experience that those who visit a drawing and painting exhibition, rarely show any will to understand the exhibits. We are normally unaware that it gives us a special joy, increases our maturity of thinking. The ability to understand the shot began to acquire importance while we see a film or a serial one the screen. But we are still indifferent to drawing and painting literacy. This article is an attempt to make readers a part of this tour de force of the process of the cameraman Nemai Ghosh, who has to his credit the photography of fifty two artists.

This article tries to throw light upon how the elements of Indian civilization, mainly the mythical anecdotes of the Purānas, are portrayed in the Madhubani folk paintings. The endeavour is to contextualise how the folk elements of Madhubani folk art genre construct an ethos of Indian civilization and tries to continue its tradition in the frame of Indian civilization. The folk elements in Madhubani painting and its relation between local myths, the little tradition, and the Hindu mythology, the great tradition, are evident. Hence it can be opined that in this case, the oral tradition has been combined with ritualistic visual expressions to produce a complete art tradition. It bears specific cultural meaning and usually bound by the customs and conventions in form and content, style and pattern, as well as by their holistic folkloric character. The folk artists of the Madhubani tradition have bound themselves within the limits of social and cultural milieu of their own community. Madhubani folk paintings have four distinct styles, each with its different identity along with different art historical background. These four styles are Mithilā painting, Godhna painting, Gobar painting and Tantrā painting. All these styles are intimately interwoven with Indian tradition and civilization. With this background, this article ventures into salient issues-the networks of relationship among the castes, themes and styles of paintings, the emergence of specialised artists from a folk painting tradition, the transformation folk artists' village into the specialists' centre, and the way a traditional community art shifts from its traditional authenticity to more individualistic exercise of contemporary art production. This article also tries to document different internal and external social and cultural factors that act upon this folk art form.

Living in India means living simultaneously in several cultures and times. The past exists as a living entity alongside the present, each illuminating and sustaining the others. As times and cultures converges, the citadels of purism explode. Traditional and modem, private and public, the inside and outside continually telescope and reunite. Where popular culture in homes and streets extends in to the pre-industrial habits, we call religious and folk, far beyond the consumption of merely industrial products. The distinction between ‘Pop Art Popular Cultures in India’ is important to understand. ‘Kitsch’ art mass produced art& artifacts unsuccessfully aping the aesthetics standards of elite culture. The boundary of the culture associates with the word kitsch is Aesthetic. The needs, attitudes, etc., which results in the commodities of today, we are surrounded by which we see & live with. “Substitution” this differs from each class of society. If a middle class person goes for deckle a sheets for the look of classical with a lower economy which substitutes teak wood (with its effects) it is termed kitsch. similarly a man of better class compared to the above mentioned, goes for a furniture that tries very consciously to imitate the cupids of the great masters along with the decorative motifs, However the material here not being substituted, but the images which are imitated, at times like this, strongly manipulates as kitsch but slightly of a higher class.

The purpose of this book is artistic, not archaeological ; but I have ventured to differ entirely from archaeological ideas of Indian fine art, which seem to me to give a completelydistorted view of the intentions of Indian artists.