INDIAN PAINTINGS HISTORY
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PAINTINGS AS AN ART FORM HAS FLOURISHED IN INDIA FROM VERY EARLY PERIODS AS IS EVIDENT FROM LITERALLY SOURCES AND ALSO FROM THE REMNANTS THAT HAVE BEEN DISCOVERED. MOVED BY THE CHARM OF NATURE AROUND HIM, MAN HAS EXPRESSED HIS APPRECIATION OF IT IN WORKS OF ART PRODUCED BY HIM. THIS GOES TO TIME WHEN HE WAS STILL A PRIMITIVE. ART HAS HAD A SOFTENING INFLUENCE ON HIM. THE EARLIEST PAINTINGS OF THE PRE-HISTORIC AGE IN THE CAVES ALL OVER THE WORLD GIVE US MAGNIFICENT EXAMPLES OF THE OBSERVANT EYE AND THE TRAINED HAND EVEN IN MAN'S SAVAGE STAGE. THE COLOURS CHOSEN, THE MOVEMENT PENETRATED AND THE EXPRESSION SUFFERED IN THE PICTURES REALLY MAKE US MARVEL EVEN IFALL OF THEM ARE NOT OF THE STANDARD OF THE PAINTINGS AT AJANTA. THE PRE-HISTORIC CAVE PAINTINGS IN INDIA GIVE US A PICTURE OF LIFE IN THOSE FAR-OFF DAYS OF EARLY MAN IN INDIA.
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IT IS A GREAT AND TRUE EXPERIENCE THAT KALIDASS EXPRESSES, WHEN HE FEELS THAT EVEN THE HAPPISEST MAN IS ELATED WHEN HE SEES BEAUTIFUL THINGS OR HEAR MELODIOUS NOTES. THOUGH MUSIC, LIKE ART, DEEPLY STIRS THE HEART, IT IS THE IMPRESSION OF BEAUTIFUL FORM ON THE EYE THAT HAS AN EVENT GREATER EFFECT. WHILE IN CHINESE ART, THE DELINEATION IS AS THE EYE THAT HAS AN EVENT GREATER EFFECT. IT IS THE IMPRESSION OF BEAUTIFUL FORM ON THE EYE THAT HAS AN EVEN GREATER EFFECT. WHILE IN CHINESE ART, THE DELINEATION IS AS THE EYES, IN INDIAN ART, IT IS BOTH AS THE EYE PERCIEVES AND AS THE TOUCH FEELS. THE DEPTH OF THE FIGURE IS THUS INDICATED.
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THIS IS CORROBORATED BY THE FACT THAT THE CONCEPT OF PORTRAYAL AS ITS BEST IN HIGH OR LOW, IS ARDHCHITRA AND THE PAINTING RESEMBLING SCULPTURE IS CHITRABHASA. THE TERM CHITRBHASA ITSELF INDICATES THAT THE AIMS IS TO PORTRAY SOME KIND OF MODELLING TO SUGGEST DEPTH. IN THE SIX LIMBS OF PAINTINS OR SHADANGA DESCRIBED IN VATSYAYAN IN KAMASUTRA, MODELLING IS GIVEN AS AN IMPORTANT LIMB, OTHERS ARE VARIETY OF FORM (RUPABHEDA), PROPORTION (PRAMANA), ON THE INFUSION OF EMOTIONS (BHAVA YOJANA) CREATION OF LUSTRE AND BID ESSENCE (LAWANYA YOJANA), PORTRAYAL OF LIKENSS (SADRISYA), COLOUR MIXING TO PRODUCE THE EFFECT OF MODELLING (VARNIKABHANG).
EMOTIONS PORTRAYED IN PICTURES ARE BEST ILLUSTRATED IN SUCH MASTER PIECES AS THE MOTHER AND CHILD BEFORE BUDDHA OR THE SUBJUGATION OF NALAGIRI FROM AJANTHA. THE FORMER EFFECTIVELY PRESENTS KARUNARASA, WHILE THE LATTER SHOWS FIRST BHAYANAK RASA IN THE STAMPEDE OF THE ELEPHANT NALAGIR AND SANTARASA WHERE THE FURIOUS ANIMAL LIES HUMBLE AT THE FEET OF THE MASTER. THE VISHNUDHARMOTTARA HAS SPECIALLY STRESSED SUGGESTION AS AN IMPORTANT ELEMENT IN ART. DIFFERENT METHODS FOR SUGGESTING VARIOUS ASPECTS OF NATURE ARE HERE ENUMERATED.
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* PORTRAYING LOTUSES IN BLOOM AND RISHIS HURRYING FOR A BATH TO SUGGEST DAY BREAK.
* PROWLING THEIVES AND AMOROUS DAMSELS GOING TO THE PLACE OF THEIR TRYST FOR INDICATING NIGHT, LOTUSES AND AQUATIC BEINGS FOR THE SENSATION OF WATER,
* OVERCAST SKY AND WHITE CRANES FLYING IN THE SKY TO SIGNIFY THE RAINY SEASON,
* PLEASANT FLOWER DECKED FORESTS AND GARDENS TO RECALL SPRING,
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ALL THESE DEVICES ARE CAREFULLY FOLLOWED IN PAINTINGS AND ARE TO BE UNDERSTOOD IN ORDER TO FULLY APPRECIATE THE MEANING OF A PICTURE, SPECIALLY IN THE LATER - DAY MINIATURE PAINTING FROM RAJASTHAN, BARAMASA PAINTINGS AND THOSE PORTRAYING THE LOVES O THE NAYAKAS AND NAYIKAS.
THE SHORT NOTE ON MODERN INDIAN PAINTINGS
MODERN INDIAN PAINTING CAN TRACE ITS ROOTS IN PRE INDEPENDENCE INDIA WHEN WESTERN INFLUENCES STARTED TO MAKE AN IMPACT ON INDIAN ART. A NUMBER OF INDIAN PAINTERS DREW INSPIRATION FROM THE WESTERN SCHOOLS AND USED WESTERN PRINCIPLES AND TECHNIQUE IN THEIR PAINTINGS. RAJA RAVI VARMA IS A PERFECT EXAMPLE OF SUCH PAINTERS. SOME PAINTERS LIKE JAMINI ROY MADE A CONSCIOUS EFFORT TO KEEP HIS PAINTINGS, IN BOTH FORM AND TECHNIQUE, AS ROOTED AS POSSIBLE.
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COLONIAL INFLUENCE IN MODERN INDIAN PAINTING
AS STATED ABOVE, THE COLONIAL HANGOVER IN INDIAN ART WAS AN UNMISTAKABLE ONE, BUT YET THER WAS AN ATTEMPT TO INTERNALIZE THE MODERN TECHNIQUE AND USE THEM TO DEPICT INDIAN THEMES. THEREFORE, MODERN INDIAN ART CAN BE CALLED A PHENOMENON BECAUSE ALTHOUGH THE ARTISTS ARE STEEPED IN WESTERN MODERNISM, THEY ALSO RECOUNT THEIR CHERISHED STORIES, OR IMBIBE HINDU PHILOSOPHY IN THIER WORK.
👀 THE POST INDEPENDENCE ERA 👀
BY THE TIME THE INDIAN TRICOLOR WAS UNRUFFLED FOR THE FIRST TIME IN DELHI IN AUGUST 1947, SEVERAL ART SCHOOLS WITH FRESH AND INNOVATIVE IDEAS HAD BEEN ESTABLISHED IN INDIA. URBAN INDIA BOASTED OF GALLERIES FOR THE DISPLAY OF INDIVIDUAL ARTISTS WORKS. MAJOR ARTISTS LIKE RABINDRANATH TAGORE AND AMRITA SHERGIL WERE BEGINNING TO GAIN INTERNATIONAL REPUTATION.
👀 THE PROGRESSIVE ARTIST'S GROUP 👀
SHORTLY AFTER INDEPENDENCE, A GROUP OF YOUNG ENTHUSIASTIC PAINTERS DECIDED THAT THEY NEEDED NEW WAYS TO EXPRESS INDEPENDENT ARTISTS, NAMELY - K.H. ARA, S.K. BAKRE, H.A. GAGE, M. F. HUSAIN, S.H. RAZA AND F.N. SOUZA. THIS GROUP DIDN'T HAVE A VERY LONG RUN (IT WAS DISSOLVED IN 1956), BUT IS LEFT AN INDELIBLE IMPACT ON MODERN INDIAN ART.
👀 SOME IMPORTANT MODERN INDIAN PAINTERS 👀
MANY LUMINARIES CONTRIBUTED TO THE GROWTH OF MODERN INDIAN PAINTINGS, IT WILL BE IMPOSSIBLE TO ENLIST ALL OF THEM. LISTED BELOW ARE A FEW OF THEM.
❤ JAMINI ROY JAMINI ROY'S APPROACHABLE PAINTINGS ASSURED THAT HE FOUND A VAST ARRAY OF ADMIRERS. HE HAD BOTH BENGALI MIDDLE CLASS AND EUROPEAN CLIENTELE. HIS WORK WAS EXHIBITED IN LONDON. NEW YORK AND MANY INDIAN CITIES. THE UNMISTABLE INFLUENCE OF THE FOLK TRADITION IS TO BE FOUND IN HIS WORK THROUGHOUT HIS CAREER. IN FACT ONE CAN SAFELY SAY THAT IS WAS A HALLMARK OF HIS WORK. HIS AWE-INSIPIRING BODY OF WORK HAS MADE HIM ONE OF THE MOST INFLUENTIAL MODERN INDIAN PAINTERS.
❤ NANDALAL BOSE NANDALAL BOSE'S CREATIVITY SPOKE MANY LANGUAGES. IT WAS A BLEND OF INDIA'S ARTISTIC TRADITIONS AND SEVERAL CONTEMPORARY STYLES.THE SINO JAPANESE INFLUENCE (HIS INTERACTION WITH JAPANESE PAINTERS IN CALCUTTA PROVED TO BE A FRUITFUL EXPERIENCE) GAVE COMPLEXITY TO HIS OTHERWISE SIMPLISTIC SOULFUL EXPRESSIONS. HE WAS ALSO ONE OF THE FEW PROMINENT ARTISTS TO PROJECT THEIRS WORKS ASA BACKLASH AGAINST THE COLONIALISM. BUT IT WILL BE UNFAIR TO TERM HIM AN "ANTAGONIST", FOR HIS WORKS WERE MORE OF AN ATTEMPT TO NOURISH INDIA'S FUTURE SENSIBILITIES WITH AN AWARENESS OF HER OWN HERITAGE AND THAT OF THE WORLD AROUND HER.
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❤ AMRIT SHERGILL AMRITA SHERGILL STUDIED ART IN PARIS AND SHE WAS AN ACCOMPLISH PAINTER, ACCOMPLISH IN ALL WESTERN PAINTING TECHNIQUE BEFORE SHE WAS EVEN TWENTY-TWO.
SHE RETURNED TO INDIA TO UNDERSTAND HER OWN ROOTS AND TO "PURSUE HER DESTINY AS A PAINTER". HER THEMES WERE VERY SENSITIVE TO THE CONDITION OF WOMEN IN INDIA. HER WORKS ARE VASTLY CELEBRATED ACROSS THE WORLD AND THEY FETCH MILLIONS OF DOLLARS IN VARIOUS AUCTION HOUSES. SHE IS WELL KNOWN FOR HIS PREOCCUPATION WITH THE FORMALIST MEANS OF EXPRESSION
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