THE LIVING ART TRADITIONS OF INDIA

1. Background

• India has always been a repository of indigenous knowledge, transferred across generations. Art is one such field of knowledge that made its way through generations.
• It is heartening to note that people enjoy some traditional art forms even today, proving that ancient paintings contribute to the living art traditions of India.
• Each generation has created the best works out of available materials and technology. Different scholars have named these art forms differently, and some of the names include folk art, utility art, ritual art, tribal art and people’s art.
• Delving into the history of how art came about enriches the entire domain and reveals how magnificent it is. Knowing more about the living art traditions of India can be extremely interesting as well.

2. The timeless tradition of art forms

• References of artist communities are found everywhere even during the early history and subsequent times, although not necessarily known by their present-day names that focus on paintings and sketches.
• These communities used to make pots, clothing, scriptures and jewellery.
• These art forms are the living art traditions of India that make historians beam with pride.
• These art forms were mostly based on symbolism and natural materials and colours, and the methods of making included typical motifs. In addition to this, there were no definitive painting methods like today, but art was categorised based on the result.
• The Warli art or Mithila paintings are some interesting art forms.
• There is a thin line between folk art and crafts that many people do not discern.
• It is fairly easy to confuse as both involve creativity, instinct, necessities and aesthetics.

Post-Independence India witnessed a revival of the handicraft industry, which further contributed to the living art traditions of India.

• Though there was continued practice, the sector became organised for commercial production and became something of its own, having an identity of sorts
• Unique art forms developed in different states and union territories
• Traditional paintings had religious overtones with heavy symbolism and unique decorative aspects associated with the day-to-day rituals at home

3. Popular Painting Traditions

3.1 Mithali Paintings

• Mithila painting is folk painting practised in the Mithila region of India (especially Bihar) and Nepal.
• It is also known as Madhubani paintings which mean ‘forest of honey’.
• It has been mentioned in ancient Indian texts like Ramayana.
• It originated in a small village known as Maithili in Bihar.
• Initially, women from the village drew paintings on freshly plastered mud walls of their homes as illustrations of their thoughts, hopes and dreams using fingers and twigs forming two-dimensional imagery using a paste of powdered rice.
• With time, it became part of festivities and special events like marriage.
• It was made from a paste of powdered rice.
• It also used colours derived from vegetables and plants.
• Now they are also painted on cloth, handmade paper and canvas.
• The central themes of Mithila paintings are based on Hindu Gods and Goddesses.
• Its main theme is supported by traditional geometric patterns.
• Some of the main attributes of these paintings are a double line border, abstract-like figures of deities, ornate floral patterns, bold use of colours bulging eyes and jolting noses of the faces of figures.
• The various styles of Mithila painting include Bharni, Tantrik, Katchni, Godna, and Kohbar, which were historically painted only by women from the upper strata in the caste system, who used to make them on mud walls on special occasions.
• Mithila painting has been accorded the coveted GI (geographical Indication) status as it has remained confined to compact geographical areas and skills have been passed on through centuries, but the content and the style have largely remained the same.

3.2.Warli Painting 

• Warli art is another popular art tradition in India
• The Warli community inhabits the west coast of northern Maharashtra around the north Sahyadri range, with a large concentration in the Thane district
• One of the most important paintings in this art form, called the Chowk, was mainly created by married women on special occasions like rituals of marriage, fertility, harvest and a new season of sowing, to name a few. The Chowk shows that Warli art painting is one of the living art traditions of India
• The Chowk representing the corn goddess, Kansari, is dominated by the mother goddess, Palaghat, the goddess of fertility
• Her escort and guardian is a headless warrior who is shown riding a horse or standing beside her with five corn shoots springing from his neck. Called Panch Surya Devata (five-headed god), he symbolises the guardian of the fields, Khetrapal
• The painting has pointed designs along the outer edges that symbolise Hariyali Deva, i.e., the God of Plants
• Scenes of everyday life, including hunting, fishing, farming, and dancing, surround the central motif of Palaghat
• These paintings are traditionally done with rice flour on their homes’ earth-coloured walls, bringing contrast to the entire aesthetic
• These are painted to promote fertility, avert diseases, propitiate the dead and appease the spirits
• Warli art is another fascinating form that carries intricate details and motifs spun around, making it a living art tradition of India

3.3. Gond Painting

Gond painting is one of the most famous artworks of the Gond tribal community who have their natural habitat in central India. The Gond painting is mainly done to preserve, remember, and communicate the rich culture of the Gond tribal community of India. Their art includes folk songs, folk dances, and Gond paintings. Presently, the Gond painting has evolved drastically from Digna and Bhittichitra.

• Gond painting is a traditional art of Madhya Pradesh that carries an old, rich tradition of paintings
• These Gond paintings of Mandla and the nearby regions have recently transformed into colourful art pieces which depict humans, animals, and flora
• These paintings are geometrically drawn on the walls of the hut. These include portraits of Lord Krishna, crows with pots, young boys, and girls
• The Gonds paint Digna is a traditional geometric pattern formed on the floors and the walls of the houses
• Bhittichitra is painted on house walls that include paintings of plants, animals, and trees

3.4. Pithoro Painting

The pithoro art comes from the rich history of India. Over the years, this art form has shown immense versatility. From depicting ‘langot’, ‘horses’, or ‘dhotis’, painters now form ‘trousers,’ ‘bikes’ or ‘trucks.’ As a result, many schools and colleges deposit Pithoro paintings on their walls.

• Pithoro paintings are done by Rathva Bhils from Jhabua in Madhya Pradesh and a small part of Gujarat. These are hand-painted on walls of houses, especially on important occasions or festivals
• It is a tribal painting of India that primarily belongs to regions like Bhilals, Nayaks and Tadi tribes, Rathwas, residing in and around Kawat and Chhota Udaipur in the eastern part of Gujarat and other parts of the western Madhya Pradesh
• In the olden days, the Pithoro paintings were revered only by the Rathwa tribe
• These paintings are massive in size, representing numerous, colourful horse riders in a row. These rows represent the cosmography of Rathvas
• The topmost section of houses depicts the heavenly bodies, world of gods, and mythical creatures
• This section is separated by a wavy line where the wedding procession of Pithoro is depicted along with kings, minor deities, goddess of destiny, domestic animals, an archetypal farmer, and so on. These represent the Earth
• To complete the pithora painting, the painter mainly uses a combination of colours like white, orange, green, blue, red and yellow
• These paintings are formed inside a rectangular-shaped space that depicts Rathwas’ mythological or revered events.
• The unique selling point of the Pithoro Paintings is that there is no painting that is similar to one another as all artists leave a distinct mark on all their paintings

3.5 Pata painting

Done on fabric, palm leaf or paper, scroll painting is another example of an art form practised in different parts of the country, especially, Gujarat and Rajasthan in the West and Odisha and West Bengal in the East. It is also known as Pata, Pachedi, Phad, etc.

• Pata painting, also known as the scroll painting is a traditional art form most commonly practised in different parts of India including Rajasthan and Gujarat, West Bengal in the East, and Odisha. Artwork done on palm leaf, fabric, or paper is called pata art
• The pata painting commonly known as the patachitra is a traditional art form which is characterised by social and religious imageries and motifs. Pata is derived from a Sanskrit word called “Patta” which means cloth. Pata is a Bangla word. In simple terms, Pata can be defined as any artwork which is done on a piece of silk or cotton
• Bengal patas include practices such as making art on Pata or cloth. It is the most receptive oral tradition which seeks new themes from the major incidents happening in the world
• The pata painted vertically is often termed as a prop used by a performer during the performance. These Patuas or the performers commonly belong to communities around Birbhum, Midnapore, and Bankura regions of West Bengal, some areas of Jharkhand and Bihar
• People belonging to these communities have been practising this art for ages and this, fortunately, has become their hereditary profession. They travel from one place to another while showcasing their art and singing the narratives they painted
• There are specific places where the performances happen. Every time the Patuas come, they narrate three to four stories and explain the meaning behind their art. After the performance, the Patuas are given either cash or a gift that provides them with a living
• Puri patas or paintings originally came from the temple city of Puri in Odisha.
• Earlier, these paintings were only done on palm leaf or cloth; however, today, it is also done on paper
• Themes: The festival veshas of Jagannath, episodes from the myths of Jagannath, Balabhadra, and Subhadra, an amalgamation of the lateral and aerial view of the temple
• Pattachitra is made on cotton cloth prepared by glue generated from the tamarind seeds and coating the cloth with soft white stone powder
• Colours: The colours used are locally produced and all organic
  • Black: From Lampblack
  • Red: From Hingal stone
  • Yellow: From Haritali
  • White: Conch shells
• Palm manuscripts are made on Khar-taad, a palm variety. These paintings are not made using a regular brush but these are incised by a steel stylus along with ink, and sometimes, tinted with paint

3.6 Phads of Rajasthan

India has a vibrant culture that also includes many different art forms. The best part is the people of India themselves keep the art alive. One such painting style opts from Rajasthan which is known as the phads of Rajasthan. It is an indigenous painting style that finds its roots attached to India and has great stories. This style of painting successfully represents the Mughal and Rajput styles of painting. It originated thousands of years ago and is done on a long piece of canvas called Phad.

• Phads of Rajasthan are painted in honour of folk deities living in the region of Bhilwara in Rajasthan. These are horizontal, long cloth scrolls painted with natural colours
• To illuminate images of the Phads, a lamp is held against the phad so that the narrative of the phads can be made clear
• A series of musical instruments such as veena and ravanahatha are employed by Bhopa and his companions
• Although Phads are not traditionally painted by Bhopas as these are made by Joshis who used to paint the courts of kings in Rajasthan
• These painters are the experts in patronised miniature paintings
• The Phads paintings are extremely detailed as every ounce of the canvas is used to paint. These paintings depict ancient stories, human figures, and so on. To bring the acrylic effects, earthen paints are used to colour the Phads of Rajasthan
• Hence, they together place phads above all other similar cultural painting traditions

4. SCULPTURAL TRADITIONS

These refer to the popular traditions of making sculptures in clay (terracotta), metal and stone. There are numerous such traditions across the country.

4.1 Dhokra Art

• This is–a ferrous metal casting method using the lost-wax casting technique. This sort of metal casting has been used in India for over 4,000 years and is still used. One of the earliest known lost wax artefacts is the ‘dancing girl’ of Mohenjo-daro. The Bell Metal is an alloy of brass, nickel, and zinc that lends an antique appeal to the castings.
• The products of ‘Dhokra’ artisans are in great demand in domestic and foreign markets because of their primitive simplicity, enchanting folk motifs and forceful form.
• Dhokra horses, elephants, peacocks, owls, religious images, measuring bowls, lamp caskets etc., are highly appreciated.
• The lost wax technique for casting copper-based alloys has also been found in China, Egypt, Malaysia, Nigeria, Central America, and other places.
• It is essentially stunning metal figurines fashioned from bronze and copper-based alloys using a ‘lost wax casting’ known as ‘cire perdue’ in French.
  • There are several processes involved in the making of Dhokra art and hence, a single piece could take up to a month or two to be created.
• It originated in West Bengal, over time the tribes moved to Jharkhand, West Bengal, Orissa and Chhattisgarh as well as places like Kerala and Rajasthan and now it has spread all over India.
• Most Dhokra artefacts are human or animal figurines.

4.2.Terracotta art

• The more ubiquitous sculptural medium prevalent across the country is terracotta.
• Usually, made by potters, terracotta pieces are votives or offered to local deities or used during rituals and festivals.
• They are made from local clay found on riverbanks or ponds. The terracotta pieces are baked for durability.
• Whether it is Manipur or Assam in the North-East, Kuchchha in Western India, Hills in the North, Tamil Nadu in the South, Gangetic plains or Central India, there is a variety of terracotta made by people of different regions.
• They are moulded, modelled by hands or made on a potter’s wheel, coloured or decorated. Their forms and purposes are often similar.
• They are either the images of gods or goddesses. Like Ganesh, Durga or the local deity, animals, birds, insects, etc.