Who Founded The First Western Art School In India?

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Who Founded The First Western Art School In India
History Of Design Education In India | DOT School Of Design In the year of 2011, Design education in India entered its centenary year. Since then, design education has been thriving and has found a significant place in our educational system. The initial design schools were set up by the British in 1850 and one Dr.

Alexander Hunter founded an art school at then Madras in the year 1850 as a private institution. In 1854, the School of Industrial Art was started in Calcutta followed by the Sir JJ School of Art in Bombay in 1857 and in 1866 Jeypore School of Industrial Art. It was with the introduction of these institutions that commercial graphics got introduced in the Indian System.

Sir JJ School of Art started of as an Arts and Crafts institution and slowly introduced architecture in 1900. The department of Commercial Art, which was established in 1935, laid down the foundations for Graphic Design in India. Also Read: In 1958, the Government of India invited Charles and Ray Eames to make recommendations for a training programme that laid the foundation to aid and support small industries.

  • Their recommendations resulted in the ‘India Design Report’, based on which in 1960, the Government set up National Institute of Design (NID) at Delhi later moved to Ahmedabad.
  • The institute started with programmes in Industrial Design and Visual Communication that was followed by setting up of the Industrial Design Center under the guidance of the Indian Institute of Technology (IIT), Bombay in 1969.

Both these institutions carried the mantle of design in India. The Indian design education system offers varied programmes, including certificate, diploma, and programmes in diverse design disciplines. After starting with the core design disciplines, many design institutions have started to offer distinct and specialized design programmes, like “Applied Arts” within graphic design.

  • Applied Arts is a four-year programme post 12 years of the school education which is mandatory to have approval from All India Council for Technical Education.
  • Madras School of Art On May 01, 1850, the Madras School of Art as a private art school was established by Alexander, a Resident Surgeon of the Madras Presidency.

This was the first art school founded in India and one of the first in Asia. The Government School of Design was founded in London in 1837. The development of the first art schools in India was closely associated with the Government School of Design in Britain.

When the Madras School of Art opened an industrial arts section after its foundation, the term “design” was added to the school’s name. While undertaking his medical duties in India, Hunter began experimenting with pottery production and was also interested in developing local resources into local industries.

The local techniques he learned were developed into a pottery production program in the industrial arts section of the Madras School of Art. The institution was developing toward academic naturalism, an interest in decorative arts and crafts was also developing in Britain and Europe in the 1880s.

  • Havell became superintendent and, during his decade long tenure, he started developing art education based on Indian rather than western models.
  • Both Havell and his successor Hadaway belonged to this new generation of the Arts and Crafts movement proponents.
  • Morris was a pioneer of both the Aesthetic Movement and the Arts and Crafts Movement.

That is when Britain and India were shifting from industrial arts education to art education and/or arts and crafts education in the late nineteenth century. Calcutta College of art and craft The Government College of Art & Craft in Kolkata was founded by Garanhata Chitpur as the School of Industrial Art on August 16, 1854, as a private art institution.

  • It was one of the oldest art schools in India.
  • In 1864, it was renamed the Government School of Art, and in 1951 it became the Government College of Art & Craft.
  • Before the foundation of the Calcutta school, there was a Mechanics Institute or Institution in Calcutta founded in February 1839 for providing mechanical arts training for young men to provide adult education to working men in mainly technical subjects, they were often funded by local industrialists as they would ultimately benefit from having more knowledgeable and skilled employees.

While similar organizations were sometimes simply called Institutes, none were art schools. In Calcutta, Locke the then principal stressed the imparting of art education along the lines of the South Kensington School in London. He remained principal of the Government School of Art until 1882.

Later on, Havell was principal of the Government School of Art, Calcutta from 1896 to 1905, where he developed a style of art and art education based on Indian art and design rather than western models along with Abanindranath Tagore, a nephew of the poet Rabindranath Tagore who was going to establish Visva Bharati, today’s Visva Bharati University, in Santi Niketan, West Bengal.

Sir J.J. School of Art and Industry The School of Art and Industry or Sir J.J. School of Art and Industry was founded on March 02, 1857, by a Parsi-Indian merchant and philanthropist, Sir Jamsetjee Jeejebhoy, who was impressed by the quality of the craftworks at the Great Exhibition held in Hyde Park, London, in 1851.

  1. He understood the need for a school for art and industry in Bombay to train Indian craftsmen.
  2. The school started with elementary drawing and design classes at the Elphinstone Institute, but its main purpose was to provide instructions in painting, drawing and design, ornamental pottery, metal, and wood-carving and turning.

Complicated machinery was indispensable and training was provided by master craftsmen who could manufacture artistic craft products and preserve the traditional skills and techniques of Indian crafts. The School of Art and Industry operated as an experimental school during the lifetime of Sir Jamsetjee Jeejebhoy.

  1. Other art schools With the aid of Thomas Holbein Hendley, the Jaipur School of Art was established by Maharaja Ram Singh II in 1866.
  2. Unlike the three British government schools of art in Madras, Calcutta, and Bombay, where the main focus was drawing, a western skill, the Jaipur School of Art was established to promote more local technical and industrial arts.

The Jaipur durbar felt that the art schools of Calcutta, Madras, and Bombay focused too much on drawing, which they considered a western skill. Although they endeavoured to promote more local industrial arts, they also received support from a European surgeon, Dr de Fabeck, who was a Rajasthani art enthusiast and who also agreed to direct the Maharaja School of Art in Jaipur.

While the Madras School and Calcutta school followed traditional art, the Bombay school taught mainly western art. Although many teachers who came from Britain were graduates of the South Kensington School, their ideas about art and changed over the generations from industrial arts to fine arts in the 1860s-70s and from fine arts to the arts and crafts in the 1880s-90s.

: History Of Design Education In India | DOT School Of Design
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Who established the first art school in India?

From Wikipedia, the free encyclopedia

Government College of Fine Arts

Established 1850 ; 173 years ago
Location Chennai, Tamil Nadu, India 13°04′49″N 80°15′57″E  /  13.08028°N 80.26583°E Coordinates : 13°04′49″N 80°15′57″E  /  13.08028°N 80.26583°E
Campus Urban
Affiliations Tamil Nadu Music and Fine Arts University

The Government College of Fine Arts (initially known as the Madras School of Art ) in Chennai is the oldest art institution in India, The institution was established in 1850 by surgeon Alexander Hunter as a private art school. In 1852, after being taken over by the government, it was renamed as the Government School of Industrial Arts.
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When where and by whom was the first Western art school in India established?

The Government School of Art and Craft, Shimla: An Overview The history of art schools in India can be traced back to the British era, as many of these schools were established by the British almost 170 years ago. In the second half of the 19th century, the British administration established art schools in the presidency capitals of Madras, Calcutta, and Bombay (Neville 2006).

  1. In the beginning, these art schools taught only crafts; other subjects like drawing, painting, and sculpture were added later, followed by teacher training and commercial art courses.
  2. In time, a number of art schools and colleges were established, but they limited themselves to training students only in a few subjects, such as painting, sculpture, and applied or commercial art; optional courses included one or two years of printmaking and art history (Mago 1991).

Sir Charles Mallet established the first Western art school in Pune in c.1790 (Sadwelkar n.d.). This school aimed to train local painters in European painting styles so that they could assist British artists (Mitter 2007). Then, the Calcutta School of Fine Arts was established in 1834.

According to B.C. Sanyal, the famous Indian modernist artist, these art schools were established in India to train young local artists in arts and crafts because the British administration needed decorators, draughtsman, lithographers, photographers, sign-writers, and many other types of skilled artisans.

The British Government established art schools and invited the children of artisans to train, not only in crafts, but also in their hereditary professions, such as carpentry, smithing, wood turning and lacquer finishing, enameling and so on. However, they learned these skills through the lens of Western academic training, as they were taught to imitate and study Greco-Roman plaster casts and mid-Victorian styles of English painting (Sanyal 1980).

In order to promote industrial art in North India, a colonial school was established in Lahore in 1875—the Mayo School of Art; John Lockwood Kipling was its first principal, from 1875 to 1893. This school was dedicated to the late Lord Mayo, the Viceroy of India from 1869 to 1872. The main purpose of this school was to train local artisans in drawing, design and painting (Srivastava 1983), and also to encourage artisans to engage in all kinds of decorative and applied arts (Bhattacharya 1994).

Gradually, this school became a major art institution in northern undivided India, and it had a great impact on the art scene in Punjab. During the Partition of India, Lahore—the nucleus of artistic and cultural activities in Punjab and the founding place of the Mayo School—became a part of Pakistan, and Shimla became the new cultural capital of Punjab.

To encourage artistic activities in the region again, a new art school—the Government School of Art and Craft—was founded in Shimla, with the approval of the then Governor of Punjab. This school operated with the same ideology as the Mayo School. In the founding of the school in Shimla, S.L. Parasher, former vice principal of the Mayo School of Art, played a seminal role.

Parasher had previously sent a proposal to S.N. Kapoor (the then Director of Industries in East Punjab) to establish a government school of art and design in Shimla on July 26, 1948. Initially, the art school was meant to be established in Jalandhar, but as the Government Woodworking Institute was already based there, it made no sense to have two institutes in the same district.

  1. The Governor of Punjab gave administrative approval on 5 April 1951 (letter no.952-I & C -51/1133), and the school was set up under the ambit of the Department of Industries.
  2. In the words of Mago (2001, 82), ‘The school conducted five-year diploma courses in Painting, Sculpture, and Commercial Art, besides five-year diploma courses in five arts and crafts: ironsmithy, metal-craft, wood-craft, lacquer-turning and enamel jewellery.’ Besides this the school also introduced the study of the culture of the country.

This school was situated next to the Rashtrapati Niwas building (now known as the Indian Institute of Advanced Study).S.L. Parasher was made responsible for preparing the syllabus of the new school. Later, Parsher became the founding principal of the school in Shimla.

Apart from being an imitation of the Mayo School, the school in Shimla aimed at establishing and maintaining a tradition of good craftsmanship, propagating the study of design and imparting education to local artists. In addition, the school also provided employment to the many staff members from the Mayo School of Art, Lahore, who had moved to India after Partition, and were unemployed.

Parasher encouraged a number of artisans to join the school and develop the art scene, not only at the school, but also at the then capital of Punjab. Parasher appointed a number of illustrious artists who served in different capacities as instructors and mentors at the school.P.N.

Mago and N.K. Dey were appointed as senior teachers in the school. He appointed Baldev Raj Rattan, Maghar Singh, Master Pritam Singh (head of carpentry), A.C. Gautam (head of art), R.R. Trivedi (head of clay modelling) and Amar Singh (head of repousse and jewellery) as senior instructors. Besides this, Piara Singh, Kanwal Nain Kwatra, Vishwa Raj Mehra, Hazara Singh, Sujan Singh and Satish Gujral also joined the school at Shimla as faculty members.

Sujan Singh’s father, Sunder Singh, a former faculty member at the Mayo School, Ved Prakash Ghai, Bali Ram, Jit Singh, and R.M. Chatterjee were appointed as junior heads. The staff members had been trained at different art institutions in the country, like the Calcutta School of Art, Calcutta, Mayo School of Art, Lahore, Visva-Bharti University, Santiniketan, Sir J.J.

School of Art, Mumbai, and College of Art, New Delhi. In the beginning, most students came from rural backgrounds and were not adequately trained or educated to take a written admissions test. To bypass this, the staff held interviews with prospective students. The syllabus was divided according to the three main departments—Kala Bhaag (Art Department), Yantra Bhaag (Design Department), and Vaastu Bhaag (Architecture Department).

There was a compulsory preparatory course for each of the departments. The course included a general design section, architecture section, and subjects such as drawing and painting, commercial art, light metal work, iron work, wood work, clay modelling, and lacquer work.

  1. Students had to pass the compulsory sections in the preparatory course, following which they opted for other subjects.
  2. After completing five years of study, they were awarded diplomas.
  3. The specialisation subjects offered by the Design Department included free-hand drawing, design, geometrical drawing, clay modelling, art history and imaginative drawing.
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These subjects were meant to train fresh students, most of whom did not come from artistic backgrounds or have any training in art. Each topic was divided into various parts; for instance, in geometrical drawing, students would study geometrical shapes as well as ratio and proportion.

  • The syllabus was not just skill-oriented.
  • In addition to Western art history, students were also introduced to Indian art history, mainly Harappa and Mohenjo-Daro.
  • All the departments modified the syllabi according to students’ progress.
  • Craft courses in textiles, inlay, and ivory were also introduced, but these were optional.

After completing the preparatory course, students could take up a one-year postgraduate course. This course included handicraft design, theatrical and stage design and interior decoration, and students were free to choose the subject of their preference.

  1. In a short period of time, the school made a great impact on the art scene of Shimla.
  2. In order to encourage artistic activities and budding young artists, the staff made students go outside to paint and sketch.
  3. Gradually the ridge, the mall and other picturesque views of the valley became favourite spots for students to paint (personal communication with S.L.

Diwan, January 2018). Under Parasher’s principalship the Shimla School of Art and Craft produced a number of luminous artists—S.L. Diwan, Jawahar Diwan, Sohan Qadri, Shiv Singh, R.S. Rania, Gulzar Singh Gill, to name a few. In 1959, Parasher retired and shifted to New Delhi.

Sushil Sarkar, a graduate of the Bengal School of Art, joined as the new principal. During Sarkar’s principalship, the school suffered from a lack of funding. However, this did not diminish Sarkar’s efforts. Sarkar worked hard to promote art and art history. He organised demonstration classes by well-known artists with the aim of providing the students with necessary exposure to new techniques and methods of painting.

He promoted new artistic practices while encouraging young students to take heed of art history. He also organised a lecture series by eminent art critics, and every Saturday, he showed the students documentaries on Indian art history and films on the art traditions of different countries around the world.

Sarkar’s vision for the development and expansion of the school is evident in the letters he wrote to M.S. Randhawa, the then vice president of Indian Council of Agricultural Research, New Delhi, editor of All India Fine Arts and Crafts Society, New Delhi, and a staunch supporter of art and culture in the northern part of the country.

In a letter addressed to M.S. Randhawa, dated April 29, 1960, Sarkar invited him to give a lecture on Basohli or Kangra paintings at the school. He also requested Randhawa to write an article about the school, which he intended to publish in an art journal named Roopa-Lekha, A letter from M.S. Randhawa to Sushil Sarkar, April 29, 1960. Courtesy: M.S. Randhawa Archives in the Library of Government Museum and Art Gallery, Chandigarh. In 1962, with the establishment of Chandigarh as the new capital of Punjab, the art school was shifted from Shimla to be the state’s new capital.

  • Even after the reorganisation of Punjab into Haryana, in 1966, the college remained in Chandigarh and came under the aegis of the Chandigarh administration.
  • The name of the institution was changed from the Government School of Arts, Punjab, to the Government College of Art and Craft, Chandigarh (presently, the Government College of Art).

This school was the only art institution in the city at the time that catered to a heterogeneous artistic sensibility and inculcated a fresh approach in artists, influenced by the adjoining three states—Punjab, Haryana, and Himachal Pradesh. The teachers and students of this college played an important role in improving and nourishing the art scene of North India.

References Bhattacharya, S.K,1994. Trends in Modern Indian Art, New Delhi: MD Publications. Mago, P.N.1991. ‘The Future of Visual Art: A Critical View’ Solids: A Monthly Art Bulletin: 8 – 14. ———.2001. Contemporary Art in India: A Perspective, National Book Trust, New Delhi, Mitter, Partha.2007. Art and Nationalism in Colonial India 1850–1922: Occidental Orientations,

New Delhi: Oxford University Press. Neville, Pran. (1993) 2006. Lahore: A Sentimental Journey, New Delhi: Penguin. Sadwelkar, Baburao.n.d. ‘Contemporary Art’, Marg XXXVI: 65. Sanyal, B.C.1980. ‘First Amrita Sher-Gil Memorial Lecture.’ Lecture delivered at the Auditorium of Government Museum and Art Gallery, Chandigarh, March 6 to 8.
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Who introduced the Western painting style in India?

The Bengal School – During the colonial era, Western influences had started to make an impact on Indian art. Some artists developed a style that used Western ideas of composition, perspective and realism to illustrate Indian themes, Raja Ravi Varma being prominent among them.

  1. The Bengal school arose as an avant garde and nationalist movement reacting against the academic art styles previously promoted in India, both by Indian artists such as Varma and in British art schools.
  2. Following the widespread influence of Indian spiritual ideas in the West, the British art teacher Ernest Binfield Havel attempted to reform the teaching methods at the Calcutta School of Art by encouraging students to imitate Mughal miniatures.

This caused immense controversy, leading to a strike by students and complaints from the local press, including from nationalists who considered it to be a retrogressive move. Havel was supported by the artist Abanindranath Tagore, a nephew of the poet Rabindranath Tagore,

Abanindranath painted a number of works influenced by Mughal art, a style that he and Havel believed to be expressive of India’s distinct spiritual qualities, as opposed to the “materialism” of the West. His best-known painting, Bharat Mata (Mother India), depicted a young woman, portrayed with four arms in the manner of Hindu deities, holding objects symbolic of India’s national aspirations.

The other prominent figures of the Bengal school of art were Gaganendranath Tagore, Abanindranath’s elder brother, Jamini Roy, Mukul Dey, Manishi Dey and Ram Kinker Baij, who is more famous as the pioneer of Modern Indian Sculpture. Another important figure of this era was Chittaprosad Bhattacharya, who rejected the classicism of the Bengal School and its spiritual preoccupations.

His book Hungry Bengal : a tour through Midnapur District included many sketches of the Bengal Famine drawn from life, as well as documentation of the persons depicted. The book was immediately banned by the British and 5000 copies were seized and destroyed. Only one copy was hidden by Chittaprosad’s family and is now in the possession of the Delhi Art Gallery.

During the opening years of the 20th century, Abanindranath developed links with Japanese cultural figures such as the art historian Okakura Kakuzō and the painter Yokoyama Taikan as part of a globalised Modernist initiative with pan-Asian tendencies.
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Who was the first Indian artist in India?

Raja Ravi Varma is sometimes regarded as the first modern Indian artist due to his ability to reconcile Western aesthetics with Indian iconography.
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Who introduced art history in India?

Colonial Era A defining moment in the History of Indian Art, which came during the western influence on the country’s heritage, was with the arrival of Vasco da Gama at the end of the 15th century, who established a direct link with India for trade.
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Who is the father of Western art?

A Timeless Tribute to “the Father of Western Art” George Catlin (American, 1796-1872) is considered by many to be the father of western art. However, the artist was laid to rest in an unmarked grave for almost a century, until 1961 when a very simple grave marker was added to his burial site.

When award-winning, contemporary western artist John Coleman learned in 2012 of the unremarkable nature of Catlin’s final resting place, he offered his 1999 bronze entitled The Greeter, Black Moccasin Meeting Lewis and Clark as a gift so that it could stand near Catlin’s gravesite in perpetuity. Throughout his life, George Catlin produced hundreds of artworks that documented Native American peoples and cultures.

His artworks were displayed in both American and European galleries. Coleman’s sculpture, The Greeter, is based on an account by Catlin of the time he spent with Black Moccasin, who was the chief of the Hidatsa. Catlin believed the chief to be more than 100 years old at that time.

Black Moccasin shared with Catlin many of his recollections of Lewis and Clark. He was the first of his tribe to meet the explorers some 30 years prior. Coleman’s sculpture is his interpretation of what Black Moccasin may have looked like at that time: a man in his seventies standing on the bank of the Missouri River, holding his ceremonial pipe and making a welcoming gesture with his eagle fan.

The first edition of The Greeter can be seen in the museum’s exhibition Of Spirit and Flame: John Coleman Bronzes from the Collection of Frankie and Howard Alper, The exhibition also features six bronze sculptures of Native American subjects inspired by Catlin’s paintings.
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Who started Western art?

Western arts, the literary, performing, and visual arts of Europe and regions that share a European cultural tradition, including the United States and Canada. Diverse as the European continent is, the artistic traditions of its nations share many common traits.

The antecedents of most European arts lie in the artistic production of ancient Greece and Rome, These bases were developed and spread throughout the continent with the advent of Christianity. In the late 15th century, European artistic styles began to spread to the New World, creating American and Canadian traditions that were intertwined with those of Europe.

(Native American arts retained their own distinctive qualities, however; see arts, Native American,) At the turn of the 21st century, Western artistic production was often marked by its ability to cross national boundaries in style and message, although elements of national traditions were also retained.

  • Western arts are treated in a number of articles; see architecture, Western ; dance, Western ; music, Western ; painting, Western ; sculpture, Western ; theatre, Western ; and Western literature,
  • Specific forms of dance are treated in separate articles, such as ballet and waltz,
  • Literatures of specific nations are covered in separate articles—e.g., English literature, American literature, and French literature,

See also articles on individual countries (e.g., Germany ).
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What is Western Indian school of painting?

Western Indian painting, also called Jaina Painting, a highly conservative style of Indian miniature painting largely devoted to the illustration of Jaina religious texts of the 12th–16th century.
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Why did British establish art schools in India?

The Establishment of Art Schools – While the 18th century saw moderate British manifestations of Indian art, monuments, literature, and culture, the attitude in the mid-19th century shifted to one of disregard for Indian art. To propagate Western values in art education along with the colonial agenda, the British established art schools in Calcutta and Madras in 1854 and in Bombay in 1857.
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What are the three schools of art in India?

The Gandhara, Mathura, and Amaravati schools of art were named for the cities where they flourished. This article will explain to you the concepts related to the Mathura, Gandhara, Amaravati Schools which will be helpful in Indian Art and Culture preparation for the UPSC Civil service exam.
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Which is the first art city in India?

Lodhi Art District – Google Arts & Culture Lodhi Art District 2016 by Lodhi Art District St+art India Lodhi Colony was the last housing estate build by the British, which bears a rich history in Delhi’s timeline for its iconic architecture. Since 2015, 50 renowned street artists from across the world have been invited by St+Art India Foundation to create the Lodhi Art District making it India’s first art district now visited by the every day individual to foreign tourists and international dignitaries.

NeSpoon working in Lodhi Art District by NeSpoon St+art India NeSpoon is a Polish artist known to create large scale murals that are inspired by patterns of lace – a material used by women for the longest time. Along with the women at the Aga Khan Foundation, NeSpoon developed patterns that could be adapted onto fabric while also introducing them to stencil making and spray painting techniques.

These designs were later reinterpreted by the surroundings of Lodhi which then became the essence of the mural. NeSpoon in Lodhi Art District 2019 by NeSpoon St+art India Painted in celebration of womanhood and femininity, this mural was inaugurated on Women’s day, 8th March 2019.

  1. The Tourist (2015-12-25/2016-02-28) by Avinash and Kamesh St+art India The Tourist by Avinash and Kamesh The inspiration for this wall comes from the social media and smartphone revolution.
  2. While working in Lodhi Colony, the artists observed how a lot of people came every day to click pictures of the murals and the work of the artists, taking selfies and group shots, or posing for fashion shoots.

As a response, the artists turned the lens towards the viewer, as a comment on the selfie generation and on the nature of street art as well. Yip Yew Chong at Lodhi Art District by Yip Yew Chong St+art India Impressions of Lodhi by Yip Yew Chong Yip Yew Chong is a Singaporean artist known for replicating everyday scenes onto the street, thus relating to wide ranging people and contexts.

Through a soulful representation of the landscape, and people of Lodhi Colony, the artist gives an ode to to the life of the common man and the people who make Lodhi Colony what it is today. Yip Yew Chong at Lodhi Art District by Yip Yew Chong St+art India Creating pieces that invite the viewer to become a part of them, Yip Yew’s work is an interactive use of public space.

Seen here – Mr B K Singh from Khanna Market who took care of the team and artists with tea and snacks everyday. Lavanya (2015-12-25/2016-02-28) by ECB Hendrik St+art India ‘Lavanya’ (grace), is the portrait of Vimla, a lady that works at Old Khanna Market in Lodhi Colony, where she sells paranthas/Indian bread on the streets – something which is rare for a woman of her social class.

  • Inspired by her sense of independence and dedication, Hendrik wanted to pay tribute to women who do so much in their lives balancing multiple things and running families and business, yet are mostly anonymous heroes through their lifetimes.
  • Henrik in Lodhi Art District 2016 by Henrik St+art India The mural stands for all women who endure several struggles in their lives, performing multiple roles, yet maintain the utmost grace in all their endeavours – a reminder to find beauty in the ordinary.

Original Aboriginal (2015-12-25/2016-02-28) by Reko Rennie St+art India Original Aborginal by Reko Rennie Reko Rennie’s practice is based on a representation of his indigenous heritage and the Kamilaroi people. Using traditional geometric patterns that represent his community, Rennie provokes discussions surrounding indigenous culture and identity in contemporary urban environments.

  • DALeast | Delhi 2015 by DALeast St+art India Order in Chaos by DALeast Travelling through India, DALeast experienced the ‘order in chaos’ that is synonymous with the country.
  • Drawing inspiration from that notion, he combined it with the philosophies of Buddhism to create a piece that speaks about the journey towards Nirvana — a flock of birds swarming and clamouring to get to the central arch, some make it, some fall by the wayside.

Dead Dahlias (2015-12-25/2016-02-28) by Amitabh Kumar St+art India Dead Dahlias by Amitabh Kumar This mural links to the historical roots of Delhi, dating back to the Pandava’s, who after losing a game of dice were exiled to Khandavaprastha – The City of Ruins.

  1. Rishna’s magic turned Khandavaprastha into Indraprastha – The City of Gods.
  2. The dead dahlias represent Delhi as a city of magic which is now crumbling apart, going back into a state of ruins.
  3. Don’t Let This Symbolism Kill Your Heart (2015-12-25/2016-02-28) by NAFIR St+art India Don’t Let This Symbolism Kill Your Heart by Nafir The piece is a commentary on women’s rights in the eastern part of the world and depicts the profile of a woman shadowed by traditional thoughts and customs.
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The Persian motifs on the face of the woman are a symbol of this intricate and at times oppressive culture, which on the other hand is extremely rich and actually lead by women. Nafir painted an antenna around the woman’s neck to highlight the hypocrisy of our current social system.

It symbolises the contradiction of the lives of women as depicted on the internet versus the lives they actually live. Amma (2015-12-25/2016-02-28) by Blaise Joseph St+art India Indian artist Blaise Joseph chose to make the portrait of a mother figure who has diverse manifestations. As mother nature, she is carrying the memories of lost lands- in an urban context, our cities, which are becoming concrete jungles are inhabited by people who are all, in some way, migrants, and hence the concrete jungle reminds them of their own mothers and mother nature represented in forests and agricultural lands, whom they have been compelled to leave behind.

Padma (2015-12-25/2016-02-28) by Chifumi St+art India One of the first pieces made in the Lodhi Art District, this mural was inspired by Padma Mudra — a symbolic Indian hand gesture to depict a lotus. The piece is a celebration of the Indian national flower as well as the values it symbolizes: enlightenment, purity, wisdom.

  • The mudra is framed by Khmer patterns from Cambodia that is reminiscent of the Mughal patterns characteristic of Delhi’s heritage.
  • David Lietner at Lodhi Art District by David Lietner St+art India Untitled by David Lietner Austrian artist, David Lietner depicts the repercussions of the global plastic consumption through a mural with bold monochrome brush stokes.

The artwork is a combination of his first impressions of the country which left him in awe by its diversity in culture and visual landscape, but at the same time addressing the growing problem of plastic consumption as a global phenomenon. From Your Strength, I Weave Beauty From Your Strength, I Weave Beauty St+art India From Strength, I weave beauty by Shilo Shiv Suleman Shilo worked with the women of Sewing New Futures to create this piece that talks about the hidden lives and sadness of generations of trafficked women.

  • Two women, one old and the other younger, can be seen emerging from the mist of Delhi to reveal their stories, fearlessly demystifying their presence.
  • From Your Strength, I Weave Beauty Shilo Shiv Suleman (2015-12-25/2016-02-28) by Shilo Shiv Suleman St+art India The Sewing New Futures team engaged women subjected to trafficking in the Najafgarh community in a participatory process to help bring this piece to life in one week as a celebration of the female spirit.

Georgia Hill + Hanif Kureshi at Lodhi Art District by Georgia Hill and Hanif Kureshi St+art India This Must Be The Place by Georgia Hill + Hanif Kureshi In a site specific collaboration with artist Hanif Kureshi, Georgia Hill reimagined a phase she is popularly known for using in her murals – “This must be the place”.

After visiting Old Delhi to learn more about Indian sign painting and hand lettering, the artists decided to embed the Hindi word for ‘here’ – ‘Yahan’, with the English word ‘Must’ – layered into one another with Georgia’s signature style. Time Changes Everything (2015-12-25/2016-02-28) by DAKU St+art India Time Changes Everything by DAKU Inspired by Egyptian sundials, DAKU decided to use shadow as a medium to talk about the ephemeral nature of life.

The typographic piece ingeniously visualises the concept of time by playing with letters that cast an evolving shadow through the day, speaking metaphorically of all the things in life that change over time. Every day, throughout the year, this piece comes alive between 9AM to 3PM and disappears with the fading sun.

  • How is Global Warming (2015-12-25/2016-02-28) by Gaia St+art India How is Global Warming by Gaia Gaia explores the impact of green house gasses and gloabal warming on our society.
  • Using the arch of the wall, he made the Shish Gumbad, known as the glass dome in the Lodhi colony area, right in the center of the composition.

Behind it, a Victorian botanical garden plays with the concept of greenhouse gases. This pairing is flanked by two hands emerging from the water signifying hope and despair. On either sides of the wall, the artist has painted one inflated globe and one deflated globe, to show the effects that globalization has on our planet.

We Love Delhi (2015-12-25/2016-02-28) by Fred Visualek and Sowat, Hanif Kureshi St+art India We Love Delhi by LEK + Sowat and Hanif Kureshi French artists LEK & Sowat painted characters resembling sanskrit letters to form a base, which would then be half erased with water to create an effect described as ‘colour rain’, drawing inspiration from the festival of Holi.

Lek & Sowat and Hanif Kureshi in Lodhi Art District 2016 by Lek Sowat and Hanif Kureshi St+art India After speaking with children of the community, Hanif Kureshi decided to write the text ‘We love Delhi’ in Devanagari to create an artwork which everyone in the neighbourhood could relate to and enjoy.

We Love Colour – A Rangoli for Holi (2017-03-04) by Hanif Kureshi St+art India For the festival of colors: Holi, Hanif Kureshi revisited this mural to create a special project with the neighbourhood children. Aaron Li Hill in Lodhi Art District 2018 by Aaron Li Hill St+art India Nature’s Arch and Visions of Altered Landscapes by Aaron Li Hill In this mural, Li-Hill uses local narratives from India and Canada to depict the challenges of climate change by incorporating the architecture of the building to create a wonderful symmetry in his artwork.

While on the left side of the mural there is an Indian boy and a tiger representing the eastern part of the world, on the right there is a polar bear and a woman representing the west. Aaron Li Hill in Lodhi Art District 2018 by Aaron Li Hill St+art India The artist uses movement, speed and powerful poses of his subjects to indicate optimism and the power we all have to bring about a change.

  • Saner in Lodhi Art District 2018 by Saner St+art India Balance in Mind and Spirit by Saner Saner uses elements he observed Old Delhi to create a balanced canvas that puts together a crossover between Indian and Mexican imageries.
  • On the each sides, a man and a woman represent the order and balance in the universe, their clothes and adornments identify Mexican and Hindu traditions that create a bridge between the two cultures.

Saner in Lodhi Art District 2018 by Saner St+art India The rich diversity of the two countries are also represented by nature. This is an important motif for Saner since he wants people to remember that we are one within the planet and its natural beauty has to be protected.

Vishwaroopa (2015-12-25/2016-02-28) by Inkbrushnme St+art India Vishwaroopa by Inkbrushnme This mural depicts a scene from Indian mythology, a recurring theme in Inkbrushnme’s work. This particular tale happens at the beginning of the 18 day battle of Mahabharata when Krishna manifests his Seamless Omini form called Vishvaroopa.

Inkbrushnme in Lodhi Art District 2016 by Inkbrushnme St+art India Presented on the wall are the many forms of Vishnu, the supreme God. Matter to antimatter, everything exists in this elaborate painting. Katha-Crazy Twins: Chiller Champa & Boom Bhaijaan (2015-12-25/2016-02-28) by Harsh Raman St+art India Crazy Katha Twins by Harsh Raman Through this piece, Harsh Raman attempts to merge Kathakali, a storytelling dance form from the south of India that uses gestures and no words, with today’s medium of no words — street art.

  • Using blackboard paint in the lower part of the composition, the piece creates an open canvas for the neighbourhood children to draw and explore their creativity.
  • Pink (2015-12-25/2016-02-28) by Dwa Zeta St+art India DWA ZETA chose abstract forms that reflect the flow and infrastructure of Delhi’s streets — the flyovers and roundabouts — that reflect their impressions of the hectic, crowded, yet potent and colourful nature of the capital.

They felt that the city is lacking in equality for women, therefore, they chose bright pink as the background colour for their wall to figuratively mark the female element in a public space, paying tribute to women who are afraid of being visible, to empower them, reclaim their space and establish the city as their own.

Shekhawati Painting (2015-12-25/2016-02-28) by Mahendra Pawar St+art India Miniature Painting by Mahendra Pawar With the advent of technology and digital printing, a lot of old Indian hand traditions are being forgotten, Shekhawati painting being one of them. Mahendra Pawar from the region of Samode is an exponent of this vanishing tradition, a style of painting which is a folk tradition native to the state of Rajasthan.Plant-like arabesques, architectural features and geometric patterns are common subjects for the panels that divide the walls in spandrels of arches in Shekhawati paintings (miniature art).

Bicicleta Sem Ferio in Lodhi Art District 2016 by Bicicleta sem freio St+art India Facing Walls by Bicicleta Sem Freio A collective of two, Bicicleta Sem Freio painted two murals in Lodhi Colony. Both artists used nature as a gateway to express their love for colors.

Douglas explored the city’s parks and gardens, portrayed various forms of leaves and flowers that he had observed. He was fascinated by the element of the hands which he saw painted in several shapes and contexts all around Delhi. Bicicleta Sem Ferio in Lodhi Art District 2016 by Bicicleta sem freio St+art India The vibrant walls organically blend with the local landscape and the people, while the elements also pop with their psychedelic colours and flowing forms within itself.

Bicicleta Sem Ferio in Lodhi Art District 2016 by Bicicleta sem freio St+art India On the other hand, Renato’s work is centred around the Oriental Pied Hornbill. A dense flow of various shapes seems to emerge from the ground, embracing the bird and creating an engaging scenario for the viewer.

Fusion Art (2015-12-25/2016-02-28) by Rakesh Kumar St+art India Created in the Gond style of painting, the mural emphasises the importance of maintaining a balance within the ecosystem. It sheds light on the issue of the receding natural habitat that causes an adverse impact on the animals that occupy this space.

Rakesh ingeniously optimises the wideness of the wall by centring the composition around an elephant whose tusks grow into branches that scale the length of the wall while playing with the shadows of the real trees in a complete integration between the mural and the surrounding (2015-12-25/2016-02-28) by Niels Shoe Meulman St+art India Sans Serifs, No Letters by Shoe For this mural, Shoe did something he has never done before — he painted a poem that he wrote himself.

  • Being a writer for over 35 years, Shoe combined several influences, his love for lettering mixed with calligraffiti, along with his love for plants, to create this piece.
  • He used traditional Indian brooms made of dry grass available at every corner shop to show how nature is the original creator and the artist is a catalyser of its messages.

This piece also relies on the integration of traditional elements- such as natural brooms and calligraphy – and the urban reality of graffiti. See through/ See beyond by Nevercrew St+art India See Through / See Beyond by Nevercrew Nevercrew painted the astronaut, a recurring character in their paintings symbolising the greatness of mankind’s achievements, at the top of the wall as a metaphor for someone who can see things from a different perspective, a silent viewer of a larger picture.

In this case, he is a witness to the daily activities of Lodhi Colony. A white light can be seen entering the meteor, and after passing through it gets refracted, a commentary about how everyday occurrences when viewed with artistic or creative vision become something more. The Origin of the World (2015-12-25/2016-02-28) by Borondo St+art India The Origin of The World by Borondo Responding to the maternity hospital across the road, this piece is Borondo’s take on the famous painting of the same title by Gustave Courbet.

He uses the open arch in the middle of the wall and the tree which inhabits it as a metaphor for origin — a river, the source of life, flows through the arches into infinity and a boat that reflects the journey of life. Borondo regards this entire scene as synonymous with the birth of a child, who has to pass through a mother’s womb to begin its journey.

This painted perspective seems abstract when viewed up close but it reveals itself when observed from a distance, exactly like life. Lava Tree (2015-12-25/2016-02-28) by Anpu Varkey St+art India Anpu continues to push her boundaries as an artist by exploring newer forms in her work, like this mural in Lodhi Colony.

From the deep recesses of a dreamscape, perpetuating the flow of lava, the tree poses to consume the entire building, shadowing the menace of our minds. Swachh Bharat (2015-12-25/2016-02-28) by Kafeel St+art India Swaach Bharat by Painter Kafeel Painter Kafeel and his team painted Swachh Bharat in his signature style using bold typefaces.

  1. By involving these local street painters, who have been rapidly going out of business with the advent of local DTP (Desktop Publishers), St+art India Foundation aims to support this art form and restore its presence in the contemporary practice while spreading positive messages.
  2. Colours of the Soul (2015-12-25/2016-02-28) by Senkoe St+art India Across several cultures, birds are a symbol of diversity, identity and freedom.

Often migratory travellers, they are also creatures that see and experience many different places/things and hence have a lot of stories to tell. Inspired by the beauty of nature, Senkoe painted these birds in Lodhi colony to represent the colourful diversity of the people who live there and also to encourage them to communicate with each other and share stories, just like the birds would.

The Lotus (2015-12-25/2016-02-28) by Suiko St+art India Suiko takes the national flower of India and re-imagines it with his signature curved lines and Japanese characters to create this mural for the Lodhi Art District. Being a pioneer of the graffiti art movement in Japan, Suiko explores newer ways of writing his name, a constant element in all his figurative compositions.

By incorporating the tones and colours of the neighbourhood along with a red sun that denotes Japan — the land of the rising sun — Suiko has left behind a unique gift for the people of Lodhi. These Rock Pigeons Chose the Trees by Adele Renault Through her work in Lodhi Colony, Adele celebrated one of the most common sight in cities which are often considered ordinary, for her are magnificent creatures full of beauty and grace.

The pigeons by Adele are already something notable at a distance, but the real impact of her work comes through the artist’s sheer talent in detailing the hues of the birds; once seen up close. Social Media Friendly Plants by Sameer Kulavoor Through this mural, Sameer Kulavoor depicted a new way of understanding algorithms in this new millennium.

He created a composition consisting of elements that multiply into an algorithm pattern, wherein individuals are seen photographing Instagram friendly plants, while some photograph themselves. According to the artist, these low maintenance ‘pretty-pinterest-plants’ are also like fast fashion, extremely social media friendly and can help you ‘garner a few hundred likes’ easily.

Sameer Kulavoor in Lodhi Art District 2019 by Sameer Kulavoor St+art India Dhuv Vishwanath performing at Lodhi Art District by Dhuv Vishwanath St+art India Lodhi Art District continues to be cultural hub, inviting people of all creative practices to engage with their city, and bringing together people from all walks of life to have shared collective experiences within the geography of India’s first public art district.

Credits: All media The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content. Explore more

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: Lodhi Art District – Google Arts & Culture
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Who was the first great Indian painter to bring Indian and Western art together?

Ravi Varma, in full Raja Ravi Varma, (born April 29, 1848, Kilimanoor Palace, near Trivandrum, Travancore princely state, British India [now Thiruvananthapuram, Kerala, India—died October 2, 1906, Kilimanoor Palace), Indian painter best known for uniting Hindu mythological subject matter with European realist historicist painting style.

  • He was one of the first Indian artists to use oil paints and to master the art of lithographic reproduction of his work.
  • In addition to incidents in Hindu mythology, Varma painted many portraits of both Indians and British in India.
  • Varma was born into an aristocratic family in Travancore state.
  • He showed an interest in drawing from an early age, and his uncle Raja Raja Varma, noticing his passion for drawing on the palace walls, gave him his first rudimentary lessons in painting.

When Varma was 14, Maharaja Ayilyam Thirunal, ruler of Travancore at the time, became a patron of his artistic career. Soon the royal painter Rama Swamy Naidu started teaching him to paint with watercolours. Three years later Varma began to study oil painting with Theodore Jensen, a Danish-born British artist. Who Founded The First Western Art School In India Britannica Quiz Name that Painter! Varma was the first Indian to use Western techniques of perspective and composition and to adapt them to Indian subjects, styles, and themes. He won the Governor’s Gold Medal in 1873 for the painting Nair Lady Adorning Her Hair,

He became a much-sought-after artist among both the Indian nobility and the Europeans in India, who commissioned him to paint their portraits. Though his portraits brought him fame, Varma increasingly painted subjects in Indian mythology. His representations of Hindu gods and goddesses and characters in the epics and the Puranas reflected his absorption in Indian culture,

His paintings, including Harischandra in Distress, Jatayu Vadha, and Shri Rama Vanquishing the Sea, captured dramatic moments from Indian mythology. His depictions of Indian women drew such appreciation that a beautiful woman would often be described as looking “as if she had stepped out of a Varma canvas.” Varma adapted Western realism to pioneer a new movement in Indian art,

In 1894 he set up a lithographic press in order to mass-produce copies of his paintings as oleographs, enabling ordinary people to afford them. That innovation resulted in the tremendous popularity of his images, which became an integral part of popular Indian culture thereafter. Varma was criticized severely by later artists who saw the content of his work as only superficially Indian because, despite depicting mythological Indian themes, it imitated Western styles of painting.

That view was instrumental in the formation of the Bengal School of Art (or Bengal school), whose members explored ancient Indian artistic traditions with a modernist sensibility. Get a Britannica Premium subscription and gain access to exclusive content.
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Who introduced European style of painting in India?

Thomas Daniell and his nephew William Daniell were the most famous of the artists who painted within this tradition. They came to India in 1785 and stayed for seven years, journeying from Calcutta to northern and southern India.
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Which Western artists are popular in India?

Most streamed male singers – Who Founded The First Western Art School In India Several shocking results in this list. The most amazing number is no doubt Justin Bieber ‘s plays which climb as high as 609 million. He is at the top international act among the most streamed artists in India. He also has 227,000 followers, almost twice as much as the runner up, Enrique Iglesias,

  • Latin superstar is 9th in terms of streams at 141 million, a tremendous number for an artist whose discography is mostly made of deep catalog hits.
  • It comes as no surprise.
  • The singer was claimed by Universal as the greatest selling foreign artist of all-time in the country more than 15 years ago.
  • Several more Latin artists make this list.

Daddy Yankee and Luis Fonsi fully enjoy the insane success of Despacito while Sean Paul, Pitbull and J Balvin are red hot in India. The ground breaking success of Ed Sheeran also made it past Indian boundaries as the British singer records 407 million streams.
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Who is India’s No 1 art artist?

Raja Ravi Varma is considered one of the greatest painters in the history of Indian art; and he is the most famous Indian artist.
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What is the oldest known art in India?

Prehistoric rock art – The pre-historic paintings were generally executed on rocks and these rock engravings were called petroglyphs, These paintings generally depict animals like bison, bear, tigers etc. The oldest Indian paintings are rock art in caves which are around 30,000 years old, such as the Bhimbetka cave paintings,
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Which is the first art school in India in 1919?

Kala Bhavana (Institute of Fine Arts) is the fine arts faculty of Visva-Bharati University, in Shantiniketan, India. It is an institution of education and research in visual arts, founded in 1919, it was established by Nobel laureate Rabindranath Tagore.
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Where did art originate in India?

Indian art consists of a variety of art forms, including painting, sculpture, pottery, and textile arts such as woven silk, Geographically, it spans the entire Indian subcontinent, including what is now India, Pakistan, Bangladesh, Sri Lanka, Nepal, and at times eastern Afghanistan,

  1. A strong sense of design is characteristic of Indian art and can be observed in its modern and traditional forms.
  2. The origin of Indian art can be traced to prehistoric settlements in the 3rd millennium BCE.
  3. On its way to modern times, Indian art has had cultural influences, as well as religious influences such as Hinduism, Buddhism, Jainism, Sikhism and Islam,

In spite of this complex mixture of religious traditions, generally, the prevailing artistic style at any time and place has been shared by the major religious groups. In historic art, sculpture in stone and metal, mainly religious, has survived the Indian climate better than other media and provides most of the best remains.

  • Many of the most important ancient finds that are not in carved stone come from the surrounding, drier regions rather than India itself.
  • Indian funeral and philosophic traditions exclude grave goods, which is the main source of ancient art in other cultures.
  • Indian artist styles historically followed Indian religions out of the subcontinent, having an especially large influence in Tibet, South East Asia and China,

Indian art has itself received influences at times, especially from Central Asia and Iran, and Europe.
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Who discovered painting in India?

Prehistoric Rock Paintings Ancient History NCERT Notes For UPSC Exam NCERT notes on important topics for the preparation. These notes will also be useful for other competitive exams like bank PO, SSC, state civil services exams and so on, Prehistoric Rock Paintings (UPSC Notes):- Prehistoric Art

  • Prehistory: The time period in the past when there was no paper or the written word and hence no books or written accounts of events. Information about such an age is obtained from excavations which reveal paintings, pottery, habitat, etc.
  • Drawings and paintings were the oldest form of artistic expression practised by humans. Reasons for such drawings: Either to decorate their homes or/and to keep a journal of events in their lives.
  • Lower and Middle Palaeolithic Periods have not shown any evidence of artworks so far. The Upper Palaeolithic Age shows a lot of artistic activities.
  • Earliest paintings in India are from the Upper Palaeolithic Age.
  • The first discovery of rock paintings in the world was made in India by archaeologist Archibald Carlleyle in 1867 – 68 (in Sohagighat, Mirzapur District, Uttar Pradesh).
  • Rock paintings have been found in the walls of caves at Madhya Pradesh, Andhra Pradesh, Uttar Pradesh, Bihar and Karnataka, some in the Kumaon Hills of Uttarakhand.
  • Paintings at the rock shelters at Lakhudiyar on the banks of the Suyal River (Uttarakhand) –
  1. 3 categories of paintings: man, animal and geometric patterns in black, white and red ochre.
  2. Humans in stick-like forms, a long-snouted animal, a fox, a multiple-legged lizard, wavy lines, groups of dots and rectangle-filled geometric designs, hand-linked dancing humans.

Paintings in Kupgallu (Telangana), Piklihal and Tekkalkota (both in Karnataka)

  1. Mostly in white and red ochre.
  2. Subjects are bulls, sambhars, elephants, sheep, gazelles, goats, horses, stylised humans and tridents.

Paintings in the Vindhya ranges at Madhya Pradesh extending into Uttar Pradesh –

  1. About 500 rock shelters at Bhimbetka in the Vindhya Hills at Madhya Pradesh.
  2. Images of hunting, dancing, music, elephant and horse riders, honey collection, animal fighting, decoration of bodies, household scenes, etc.
  3. Bhimbetka drawings can be categorised into 7 Periods.
    1. Period I: Upper Palaeolithic
    2. Period II: Mesolithic
    3. Period III: Chalcolithic

Two major sites of prehistoric rock/cave paintings in India: Bhimbetka Caves and Jogimara Caves (Amarnath, Madhya Pradesh).

Bhimbetka Paintings

  • Continuous occupation of these caves from 100000 BC to 1000 AD.
  • Discovered by archaeologist V S Wakankar in 1957 – 58.
  • One of the oldest paintings in India and the world.
  • Period I (Upper Palaeolithic)
  1. Linear representations of animals like bison, tigers, elephants, rhinos and boars; stick-like human figures.
  2. Paintings in green and dark red. Green paintings are of dancers and red ones are of hunters.
  1. The largest number of paintings in this period.
  2. More themes but paintings reduce in size.
  3. Mostly hunting scenes – people hunting in groups with barbed spears, arrows and bows, and pointed sticks. Also, show traps and snares to catch animals.
  4. Hunters wear simple clothes; some men are shown with headdresses and masks. Women have been shown both clothed and in the nude.
  5. Animals seen – elephants, bisons, bears, tigers, deer, antelopes, leopards, panthers, rhinos, frogs, lizards, fish, squirrels and birds.
  6. Children are seen playing and jumping. Some scenes depict family life.

Period III (Chalcolithic)

  1. Paintings indicate an association of these cave-dwellers with the agricultural communities settled at Malwa.
  2. Cross-hatched squares, lattices, pottery and metal tools are depicted.
  3. Colours used in Bhimbetka paintings – white, yellow, orange, red ochre, purple, brown, green and black. Most common colours – white and red.
  4. Red obtained from haematite (geru); green from chalcedony; white probably from limestone.
  5. Brushes were made from plant fibre.
  6. In some places, there are many layers of paintings, sometimes 20.
  7. Paintings can be seen in caves that were used as dwelling places and also in caves that had some other purpose, perhaps religious.
  8. The colours of the paintings have remained intact thousands of years perhaps due to the chemical reaction of the oxide present on the rock surface.
  • Prehistoric Rock Paintings (UPSC Notes):-
  • Also, See |

: Prehistoric Rock Paintings Ancient History NCERT Notes For UPSC Exam
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Who is the genius of art in India?

Manideep Kumar is awarded ‘Genius Artist of India Award’ ‘Genius Artist of India Award – 2023’ is presented to Manideep Kumar from Sitamarhi, Bihar state for his excellence works and remarkable roles on Art. He is an outstanding Art Achiever. It has been recorded in the Magic Book of Record.
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Who founded the Calcutta art school?

From Wikipedia, the free encyclopedia

Government College of Art & Craft, Calcutta

Seal of the Government College of Art & Craft
Other name GCAC
Type Public, Calcutta Art College
Established 1854: School of Industrial Art 1864: Government School of Art 1951: Government College of Art & Craft
Founder Abanindranath Tagore
Principal Chatrapati Dutta
Address 28 Jawaharlal Nehru Road, Kolkata, West Bengal, India 22°33′26″N 88°21′00″E  /  22.5571913°N 88.3500542°E Coordinates : 22°33′26″N 88°21′00″E  /  22.5571913°N 88.3500542°E
Affiliations University of Calcutta
Website www,gcac,edu,in
Location in Kolkata Show map of Kolkata Show map of India Show all

Entrance of Government College of Art & Craft, Chowringhee Road, Kolkata The Government College of Art & Craft ( GCAC ) in Kolkata is one of the oldest Art colleges in India, It was founded on August 16, 1854 at Garanhata, Chitpur, “with the purpose of establishing an institution for teaching the youth of all classes, industrial art based on scientific methods,” as the School of Industrial Art,
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Why did British establish art schools in India?

The Establishment of Art Schools – While the 18th century saw moderate British manifestations of Indian art, monuments, literature, and culture, the attitude in the mid-19th century shifted to one of disregard for Indian art. To propagate Western values in art education along with the colonial agenda, the British established art schools in Calcutta and Madras in 1854 and in Bombay in 1857.
View complete answer

When did art start in India?

Indian art consists of a variety of art forms, including painting, sculpture, pottery, and textile arts such as woven silk, Geographically, it spans the entire Indian subcontinent, including what is now India, Pakistan, Bangladesh, Sri Lanka, Nepal, and at times eastern Afghanistan,

  • A strong sense of design is characteristic of Indian art and can be observed in its modern and traditional forms.
  • The origin of Indian art can be traced to prehistoric settlements in the 3rd millennium BCE.
  • On its way to modern times, Indian art has had cultural influences, as well as religious influences such as Hinduism, Buddhism, Jainism, Sikhism and Islam,

In spite of this complex mixture of religious traditions, generally, the prevailing artistic style at any time and place has been shared by the major religious groups. In historic art, sculpture in stone and metal, mainly religious, has survived the Indian climate better than other media and provides most of the best remains.

  1. Many of the most important ancient finds that are not in carved stone come from the surrounding, drier regions rather than India itself.
  2. Indian funeral and philosophic traditions exclude grave goods, which is the main source of ancient art in other cultures.
  3. Indian artist styles historically followed Indian religions out of the subcontinent, having an especially large influence in Tibet, South East Asia and China,

Indian art has itself received influences at times, especially from Central Asia and Iran, and Europe.
View complete answer