Indian art
From The Art and Popular Culture Encyclopedia
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| + | The vast scope of the '''art of India''' intertwines with the cultural history, religions and philosophies which place art production and patronage in social and cultural contexts. | ||
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| + | Indian art can be classified into specific periods each reflecting particular religious, political and cultural developments. | ||
| + | *[[Hinduism]] and [[Buddhism]] of the ancient period (3500 [[BCE]]-present) | ||
| + | *Islamic ascendancy (712-1757 [[Common Era|CE]]) | ||
| + | *The Colonial period (1757-1947) | ||
| + | *Independence and the [[Postcolonialism|postcolonial]] period (Post-1947) | ||
| + | *Modernism | ||
| + | *Postmodernism | ||
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| + | Each period is unique in its art, literature and architecture. Indian art is constantly challenged as it rises to the peak of achieving the ideals of one philosophy in a visual form, then begins anew for another. This challenge and revolution in thought ovides, Indian artists with reasons for [[innovation]] and creation, and the process of visualizing abstract ideas and the culture of the land. | ||
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| + | Each religion and philosophical system provided its own nuances, vast metaphors and similes, rich associations, wild imaginations, humanization of gods and celestial beings, characterization of people, the single purpose and ideal of life to be interpreted in art. | ||
| + | ==Contemporary art == | ||
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| + | In 1947, India became independent of British rule. A group of six artists - [[K. H. Ara]], [[S. K. Bakre]], [[H. A. Gade]], [[M.F. Husain]], [[S.H. Raza]] and [[Francis Newton Souza]] - founded the [[Progressive Artists' Group|Bombay Progressive Artists' Group]] in the year 1952, to establish new ways of expressing India in the post-colonial era. Though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art. Almost all India's major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, [[Manishi Dey]], V. S. Gaitonde, [[Krishen Khanna]], [[Ram Kumar (artist)|Ram Kumar]], [[Tyeb Mehta]], [[K. G. Subramanyan]], [[A. Ramachandran]], [[Devender Singh]], Akbar Padamsee, [[John Wilkins (Indian artist)|John Wilkins]], Himmat Shah and [[Manjit Bawa]]. Present-day Indian art is varied as it had been never before. Among the best-known artists of the newer generation include [[Bose Krishnamachari]] and [[Bikash Bhattacharjee]]. Another prominent Pakistani modernist was [[Ismail Gulgee]], who after about 1960 adopted an abstract idiom that combines aspects of [[Islamic calligraphy]] with an [[abstract expressionist]] (or [[gestural abstraction]]ist) sensibility. | ||
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| + | Painting and sculpture remained important in the later half of the twentieth century, though in the work of leading artists such as [[Nalini Malani]], [[Subodh Gupta]], [[Narayanan Ramachandran]], [[Vivan Sundaram]], [[Jitish Kallat]], they often found radical new directions. Bharti Dayal has chosen to handle the traditional Mithila painting in most contemporary way and created her own style through the exercises of her own imagination, they appear fresh and unusual. | ||
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| + | The increase in discourse about Indian art, in English as well as vernacular Indian languages, changed the way art was perceived in the art schools. Critical approach became rigorous; critics like [[Geeta Kapur]], [[R. Siva Kumar]], [[Shivaji K. Panikkar]], [[Ranjit Hoskote]], amongst others, contributed to re-thinking contemporary art practice in India. | ||
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The vast scope of the art of India intertwines with the cultural history, religions and philosophies which place art production and patronage in social and cultural contexts.
Indian art can be classified into specific periods each reflecting particular religious, political and cultural developments.
- Hinduism and Buddhism of the ancient period (3500 BCE-present)
- Islamic ascendancy (712-1757 CE)
- The Colonial period (1757-1947)
- Independence and the postcolonial period (Post-1947)
- Modernism
- Postmodernism
Each period is unique in its art, literature and architecture. Indian art is constantly challenged as it rises to the peak of achieving the ideals of one philosophy in a visual form, then begins anew for another. This challenge and revolution in thought ovides, Indian artists with reasons for innovation and creation, and the process of visualizing abstract ideas and the culture of the land.
Each religion and philosophical system provided its own nuances, vast metaphors and similes, rich associations, wild imaginations, humanization of gods and celestial beings, characterization of people, the single purpose and ideal of life to be interpreted in art.
Contemporary art
In 1947, India became independent of British rule. A group of six artists - K. H. Ara, S. K. Bakre, H. A. Gade, M.F. Husain, S.H. Raza and Francis Newton Souza - founded the Bombay Progressive Artists' Group in the year 1952, to establish new ways of expressing India in the post-colonial era. Though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art. Almost all India's major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, Manishi Dey, V. S. Gaitonde, Krishen Khanna, Ram Kumar, Tyeb Mehta, K. G. Subramanyan, A. Ramachandran, Devender Singh, Akbar Padamsee, John Wilkins, Himmat Shah and Manjit Bawa. Present-day Indian art is varied as it had been never before. Among the best-known artists of the newer generation include Bose Krishnamachari and Bikash Bhattacharjee. Another prominent Pakistani modernist was Ismail Gulgee, who after about 1960 adopted an abstract idiom that combines aspects of Islamic calligraphy with an abstract expressionist (or gestural abstractionist) sensibility.
Painting and sculpture remained important in the later half of the twentieth century, though in the work of leading artists such as Nalini Malani, Subodh Gupta, Narayanan Ramachandran, Vivan Sundaram, Jitish Kallat, they often found radical new directions. Bharti Dayal has chosen to handle the traditional Mithila painting in most contemporary way and created her own style through the exercises of her own imagination, they appear fresh and unusual.
The increase in discourse about Indian art, in English as well as vernacular Indian languages, changed the way art was perceived in the art schools. Critical approach became rigorous; critics like Geeta Kapur, R. Siva Kumar, Shivaji K. Panikkar, Ranjit Hoskote, amongst others, contributed to re-thinking contemporary art practice in India.
