Writings on Indian Art & Craft- Traditional Indian Paintings

Indian artists have been known throughout the world for the great amount of history, culture and tradition that their art carries. From Indian Traditional Paintings to Art Posters, Indian Painters have never failed to glorify the history of Indian Paintings. Let us discover stories  about some handpicked art forms from the history of Indian Art that are lesser known but will take you on an incredible journey into India’s Past.

Finding Beauty In Fine Arts & Literature

An excerpt from Sixty Years of Writing on Art & Crafts in India by Roopa Lekha (1928-1988)

“In an era of contemporary art, there are only few who create or appreciate the beauty in Fine Arts and Literature. Let us read a story and dig into the history of Indian literature and fine arts while trying to appreciate the real beauty that lies within.

When we say ‘This poem is beautiful’ and when we say ‘this painting or sculpture or musical piece is beautiful’, do we mean the same thing by the word “beautiful”? Or does ‘beautiful’ as predicate differ from subject to subject, or according to the subjective concept of the object?

Once we accept this position that beauty differs with the seer’s eye or the listener’s ear, it is no use attempting to arrive at any general rule or any science of beauty. In the Kavyamimansa of Rajashekhar there is an interesting passage, which can be rather freely translated as:

‘’Palyakriti”, a Jain Acharya says- Whatever may be the nature of the object described, the beauty of a poem depends on the nature (psychological mood) of the poet. If the poet’s nature is full of Rasa, he projects that Rasa on to the nature outside. If the poet is dry and unemotional, even the most pleasant things are turned into sods.’ A man in love may praise a thing, while a man who is not attached may dislike the same, and a third person may be disinterested. For example, a disinterested person says, ‘For some people whose long nights with their beloveds are spent like moments, the moon may be a pleasantly cool thing; while for one who is separated, the same moon is as hot as an ovenful of cinders. But I do not have a beloved, nor am I separated from her, so, being, without both, this moon appears to be like a looking glass, neither cool, nor hot; neither pleasant’ nor unpleasant.’

Everything changes and is changeable. So it is neither full of good nor bad qualities.it is due to clever juxtaposition of words by an expert poet that the thing assumes properties. In the world of poetry there are no determinate values. The poets by their expression qualify the objects. One who wants to praise the moon calls it ‘Amritanshu’ (full of nectar) and the clever poet who wants to give a bad name, calls it ‘Doshakar’ (full of blemishes).

The concept of beauty in Fine Arts and Literature today is almost at crossroads: on one hand there is the atavistic pull of the elemental passions, the eternal child and the aboriginal in the artist is discarding all outer embellishments and is trying to go to the front; on the other hand the sociological and anthropological researches are digging up and raising mounds of disillusionment on both his sides, the taboo is no more a taboo and the romance is no more a romance”.

It is the time for the artists and writers to give the hallowed concept of beauty a new body, revive the soul of the Writings on Indian Art & Craft.

In an era of modern Indian art when so many companies are putting art for sale, Nazariya has taken a pledge to give the Artisans of India a platform where they can display the best of themselves. We have handpicked Indian Miniature Paintings, Ancient Indian Paintings and a collection of Indian Art Forms from the History of Indian Art that are dying. Join hands with Nazariya in bringing out the subtle message behind these artforms; the message of unity, brotherhood and community. This is Nazariya’s way of taking you on an incredible journey into India’s past, helping us create a new future.

 

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