Existence of Primitive Art and Culture in Society

Native Art of India Ed. by Sathyapal published by Lalit Kala Akademi, 2011

The essay explains the urgency of the need to reconsider cognitive categories in the definition, classification and hierarchisation of arts; to rebuild the crumbling bridges between life and arts, culture and development; and, to read the beginnings of human response to nature forwards into a sustainable relationship between culture and nature.

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

Paintings by patua women exploring various themes are currently found in museums and private collections worldwide. They have recently been on display at museums, galleries, art markets and fairs in various parts of the world. Today's patua women have participated in a wide range of artistic and social projects, and some have been either the central or secondary subjects of academic research. In recent decades the dissemination and recognition of these women's work have been impressive. This is particularly true not only in terms of its global reach, but also from the perspective of the diversity of the venues that have shown an interest in the women's work. In their various live presentations locally and internationally, these women are capable of an exemplary interweaving of localism and cosmopolitanism when they perform traditional or contemporary themes while unrolling jarano paintings and singing in rural Bengali. A sketch of the recent trajectories of Naya women painters or their paintings gives the impression that the world has "discovered" these women and their patachitra work. However, by merely acknowledging these trajectories, one does not gain a sense of the subjectivities of Naya patua artisans, specifically in the case of the women painters. In his work exploring the existence of differentiated cosmopolitanisms, Velho (2010) emphasizes the relevance of stressing the various consequences of globalization dynamics in the world today. He offers the example of two people from different generations who live in the same urban setting but who have different trajectories and understandings of their own accomplishments. He points out that it is important to draw attention to the diversity of people's trajectories, to the particular activities in their lives, and to the specific meanings people give to them. In rural Naya, women recently started pursuing trajectories similar to those of patua men. Thus, to begin my discussion of patua women's own perspectives on what they currently do, I will first briefly introduce a figure who played a key role in establishing women's visibility as patua artisans. Dukhushyam Chitrakar is a patua master who exemplifies the supportive role played by some men in the development and recognition of the women's activities, and his worldview frames the relationship between tradition and cosmopolitanism in the contemporary work of Naya's patua. This will be followed by a brief exploration of some of the women's own views. Some chose territories of Indian work of art have been taken to investigate and to show the expressive highlights of lines. Those are cavern painting of Ajanta, Mughal smaller than usual, Rajasthani scaled down, Pahari painting, Bengal school of craftsmanship and some individual specialists of present-day time span. The examination likewise suggests that the components of custom workmanship and people artistic creations of India how reflect in the canvases of Bengal, Bihar, Odisha, and Assam. These artistic creations are wealthy in society components. Use of lines, hues, European impacts all are talked about. Goal of the examination is to distinguish the famous workmanship themes delineating in the composition just as direct quality. Complex highlights, topics, components of patachitra works of art are examined.

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.

Brochures of Lalit Kala Akademi, New Delhi, 2014

A description of the motifs and meaning of Santal, Madhubani, Godna (Tattoo), Kalamezuthu, Gond Art, Ganesh Gopal Jogi's Art, explaining the continuing vitality and aesthetic charm in tribal art 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.

ABSTRACT In any traditional art form we see the trio 1. Performing artist 2. Performance Space 3. Audience work together in evolving an aesthetic sense to the regional culture. We shall see this in the art form “Koodiyattam,” which is an amalgamation of Aryan and Dravidian concept of performance. We see the link missing in the contemporary modern performances. Re- invention of design and aesthetics always happens in the field of performance arts, it shall looked by juxtaposing the classical theatre (koodiyattam ) and folk theatre ( Ottan Thullal) In this paper I will discuss koodiyattam and ottan thullal in the context of re-invention of genre, performance, audience, time and space. Through this exploration, I shall try to arrive what re-invention means in the performing arts.as both are regional forms of performance in the same area. It is possible for us to examine the aesthetics of space and performance through these tradition.The role of performance space and audience plays a significant role in the existence of an art form. To analyse a performance we need to look into performance space and the audience connected to it. Keywords: performance, space, classical art form, folk art form, Re-invention .

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...

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.

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.