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Call for Papers

The Chitrolekha Journal on Art and Design is a scholarly platform for discussions on the evolution and intercategorial development of art and design. The journal explores arts both as a mode of signaling as well as being in an ontological sense. The mystery of the first arts of our ancestors intrigues us today, from a scientific as much as an aesthetic perspective. Similarly the future of arts leads us to think of things quite unknown to us. The scope of the journal therefore, will be open-ended so as to be able to incorporate and address emerging areas in human arts and sciences. Research papers on any of the following broad areas can be submitted:

  • History and Prehistory of Art
  • Visual Studies
  • Performance Arts
  • Intersections
  • Art and Religion
  • Art and Technology
  • Design and Culture
  • Art, Ecology, Environment
  • Contemporary Art
  • Commercial design aesthetics
  • Textiles, Fashion, Perishable Arts
  • Handicrafts and Heritage Preservation & Management

Publication Schedule: We follow Continuous Publication model and we start publishing articles once the reviews are complete. In every quarter the articles will be clubbed together as an issue under a year (as Volume).

Submission Deadline: There is no deadline as we follow Continuous Publication model. Once the article is reviewed and passed, we will publish it.

Contact: Send your submission the Section Editors at ttm1974 [AT] gmail.com and/or editor [AT] chitrolekha.com

Submission Guidelines: Please follow the Guidelines here>>

Craft Study and Product Design Interventions: Soapstone Craft Cluster of Dhakotha Area in Kendujhar District of Odisha, India

Santosh Kumar Jha

Senior Faculty, Leather Goods and Accessories Design Department, Footwear Design and Development Institute, Noida, India. Email: handicraftdesigner@gmail.com

 Volume 1, Number 1, 2017 I Full Text PDF

Abstract

This paper covers the dynamics of Soapstone Craft of Dhakotha. Broadly this paper can be divided into two parts, i.e., crafts study part and product design intervention part. The crafts study part includes- research methods, craft introduction, crafts location, craft history, available raw materials, craftsmen and existing skill sets, tools under use, involved craftsmanship processes, existing product ranges etc. On the basis of understandings developed during crafts study, this researcher had explored different market specific and end-user focused product design possibilities. The product design intervention part includes different product design interventions and collections developed by researcher with a holistic approach. There are two different soapstone clusters, with different skill sets, i.e., Soapstone carving cluster and Soapstone ????? ????? or Patthar Kundo cluster; are practicing in same geographical area, so studying and exploring interventions in joint mode was an interesting experience for this researcher. This craft study cum design intervention initiative was conducted during 2010-2011 by this author.

Keywords: Stone Craft of India, Craftsmanship, Crafts & Design, Craft Excellence, Carving Crafts

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A Study on Old Havelis: Lost Heritage of Saharanpur

Aayushi Verma1, Prof. Ila Gupta2

1Department of Humanities and Social Science, Indian Institute of Technology, Roorkee, Uttrakhand, India, 247667. Email: ayushi03verma@gmail.com

2Department of Architecture and Planning, Indian Institute of Technology Roorkee, Uttrakhand, India, 247667

 Volume 1, Number 1, 2017 I Full Text PDF

Abstract

From centuries, our tangible and intangible cultural heritage is considered as an inspiration for life which passes down from one generation to the next. Cultural heritage has its value and place in the heart of society. In cultural heritage, architecture is a showcase of our rich tradition which is our legacy from the past to the present world. Concerning this, Saharanpur is internationally famous for wood carving and closely associated with the socio-economic life of the district. These particular art forms have evolved for centuries as an inseparable and intimate part of its culture. Moreover, the other significant feature of Saharanpur is old havelis (mansions) which were constructed with imperial influence. Old havelis of Saharanpur demonstrate the glimpse of Mughal art and architecture, a characteristic Indo-Islamic-Persian style. Gradually, old havelis of Saharanpur are slowly losing its authenticity due to unawareness of people and their lack of knowledge about the cultural ethos which is attached to it. The art and crafts of these havelis are slowly fading away due to lack of proper infrastructure and initiatives for maintenance. Government has not yet taken enthusiasm for protection against slow demolition of this cultural heritage. Therefore, most of the havelis of this area have torpedoed and rests of the old havelis are on verge of vanishing. Hence, government must take preventive measures and initiatives for restoration and preservation of these havelis. The aim of heritage conservation is to ensure that the cultural significance of heritage places is retained for future generations. This paper makes an effort to create an overview of the architectural heritage buildings (havelis) of Saharanpur and highlights the certain recommendations for safeguarding these old havelis.

Keywords: Haveli, Saharanpur, Cultural Heritage, Conservation

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Inspiration and Evaluation of Paintings of Cezanne

Mani Nandini Sharma & Ila Gupta

Department of Humanities and Social Sciences, Indian Institute of Technology, Roorkee, Uttarakhand. India. Email: manisharma2075@gmail.com.

  Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.10

Received December 02, 2016; Accepted December 25, 2016; Published January 26, 2017

 Abstract

Cezanne is a painter who existed in the era of discoveries, there was law of relativity as well as discontinuous travel of light. Despite all the scientificised discoveries and inventions, Cezanne was seeking inspiration from nature. Nature was the sole inspirer of him. Nature, he wanted to tap, the structure of, underneath in his paintings. During the times earlier to mid nineteenth century, symmetry was essential aspect of art as understructure, as in Piero della Francesca’s artworks. During mid nineteenth century art was paving way to new paradigms. Painters display emotion, sentiment, capturing of form, structure, composition with line, color or form to fathom their artistic instincts.  Here in this paper I display the luminous use of color by Cezanne and use of hidden geometry in the painting of Mont Sainte Victoire to elucidate his traits to capture nature to its truest form, asymmetry. In understructure also, this asymmetry is vocal in the pentagon formed at the focal point of painting. Our earth is the worthy example of asymmetry. As nature (earth) is asymmetrical so we find traits of asymmetry in Cezanne’s understructure of painting. The inspiration of the artist lay in nature, so was his treatment of painting.

Keywords: Font Geometry, Symmetry, Asymmetry, Pentagon, Nature

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Aesthetic Criticism of “Longing for Love” by Syed Thajudeen

Maryam Khanahmadi& Sabzali Musa Kahn2

1 Cultural Centre, University of Malaya (Malaysia). Email: safa.khan.ahmadi@gmail.com

2Academy of Malay Studies, Director’s Office, University of Malaya (Malaysia). Email:  sabzali@um.edu.my

  Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.09

Received November 11, 2016; Accepted December 20, 2016; Published January 26, 2017

Abstract

With more than thirty years of creative output and a significant body of works to consolidate his reputation, Syed Thajudeen Shaikh Abu Talib, ranks as one of Malaysian’s eminent figurative and lyrical painters. Thajudeen fuses indigenous motifs and symbols with universal ideas and concepts, filtered through his Indian background and circumstance. Syed Thajudeen is one of visual artists, who has been successful in achieving universal appeal in his works by bringing together symbols and motifs in Malaysian with aesthetic and metaphysical elements of Indian’s arts. The theory has been used in this study is Art Appreciation by Harry Samuel Broudy. According to Broudy, Art Appreciation theory has been divided to two parts: 1) Aesthetic perception which is divided in four steps: sensory properties, formal properties, technical properties and expressive properties. 2) Aesthetic criticism which is divided in three steps: historical, re-creative and judicial. In this paper, the focus is on second part of art appreciation theory and in this aim, one master piece of artist’s artworks “Longing for Love” has been selected from five main collections of “Paintings of Love”. This research investigates the visual image in the painting of Syed Thajudeen Shaik Abu Talib; how it has been stirred inside the imagination? How it got stimulated by the figures and forms that are familiar to the transformations inside the artist’s mind? And how it was born again on the canvas?

Keywords: Art appreciation, Aesthetic criticism, Aesthetic perception, Aesthetic judgement

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Influence of Sikh lifestyle on Guler miniature paintings

Gurdeep Kaur & Rohita Sharma

Department of Business and fine arts, Lovely Professional University, Phagwara, Punjab, India.  Email. gurdeepkaur121@yahoo.in.

  Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.08

Received December 06, 2016; Accepted December 19, 2016; Published January 26, 2017

 Abstract

The scholars of Indian miniature painting observe the Sikh influences on Pahari miniature painting during Sikh dominancy but in actual, Sikhism and its associations with Hill aristocracy were very deep and prior then Maharaja Ranjit Singh and it should not be disremember that Lahore was one of the glorious art capital of Mughals in Punjab from the days of Emperor Akbar. So Sikhs were also not unaware of artistry and painting. Sikh paintings of 19th century reflect splendid lifestyle and fashion adopted by the Sikhs of Lahore during Sikh dominancy in Punjab Plains which reflected in the court paintings of Guler. But the study also focuses to grasp the Sikh lifestyle before, during and after Maharaja Ranjit Singh and its impact on the Rajput rulers of Guler as the results of Sikh-Rajput associations, which buried in Rajput culture of Guler; and later reflected precisely in paintings of Guler during 18th-19th century. The two different lifestyles under different cultures and ethos merged and influenced each other which reflected in surviving paintings. The study is based on data analysis and explorative method. The study concludes that Sikh lifestyle influenced imprecisely Rajput lifestyle in the beginning but with the expansion of Sikh power, it continuously increased till the last of nineteenth century A.D and emerged and reflected in later court paintings of Guler specifically.

 Key words: Rajput, Guler, Lahore, dress, Sikh influence, lifestyle.

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Viewpoints: ShopArt ArtShop (SA AS) Art Project

Modern Art meets Traditional Village

By Frank Schlichtmann
Gunehar, Himachal Pradesh
Email: fschlichtmann@gmail.com

 Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.07

The founder of the project Frank Schlichtmann was invited by the editor of the magazine to share his vision of the project in relation to the contemporary world of art. ShopArt ArtShop (SA AS) was started in 2013 with the aim of giving Indian artists the opportunity to relate to and work on arts in a wholesome manner outside the confines of usual, urban-centric art spaces. It is an inclusive, process-oriented conceptual arts event which takes place every 3 years in a small village, Gunehar, in the Indian Himalaya. The objective is to demonstrate openly the whole process of creating art from the inception of a concept to the creating of the actual art work.

About Frank Schlichtmann

Frank was born near Hamburg, Germany, and came to India for the first time when he was barely 4 years old and has been coming back to India on a regular basis. Before a set of coincidences would have him settle down permanently in Gunehar with his little son, Frank has worked and lived in 3 continents: Europe, Asia and America. He has been part of numerous projects related to the Arts, Culture and Hospitality but it was through his settling down in Gunehar and the founding of the 4tables project that he could start putting his vast experience into cohesive practice. Frank chose the village because of its relative ‘unspoiltness’ and also because he believes that in a truly globalized and interconnected world, a small village can be as valuable as any other place. To know more, read interview with Frank.

—Editor

The recently concluded second edition of the conceptual arts event, ShopArt ArtShop 2, held outside the confines of usual city-centric art spaces in a small Himachal village, caught the imagination of a broad public and the national media. It is a welcome indication that India’s artists as well as art enthusiasts are hungry for innovative and holistic, process-oriented and open art concepts emanating from a parallel arts scene. At the same time, the empirical SA AS Method exposes some of the fault-lines of the art system. Here, Frank Schlichtmann, the founder and curator of the event, writes about the motivation for creating an event such as this as well as some of the outcome…FULL TEXT PDF>>

Future Visions of the Asian City: Scenario Art and the Utopian-Dystopian Spectrum

Nanthawan Kaenkaew1, Wiporn Kanjanakaroon2, Kanang Kantamaturapoj2, Wannipol Mahaarcha2, *Alan Marshall2, Thamakorn Siritorn2, Patranit Srijuntrapun2, and Yanna Somnas2

1Computer Science Program, Faculty of Science and Technology,  Suan Sunandha Rajabhat University, Bangkok, 10300, Thailand.
2 Environmental Social Sciences Program , Faculty of Social Sciences & Humanities,
Mahidol University , Salaya, Nakhon Pathom, 73170, Thailand.
*Corresponding Author: alan.mar@mahidol.ac.th

Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.06

Received September 01, 2016;
Accepted October 19, 2016;
Published October 22, 2016.

Abstract

 The futures of four different cities, from around Asia, are outlined via visual means using scenario art and interpretive written support. These four cities are: Dhaka (Bangladesh), Altay (Mongolia), Chongqing (China), and Bangalore (India). Their futures are presented in utopian terms, whereby each city aims to be something of an example of an ‘ideal city’ exhibiting widely-shared, socially-benevolent characteristics along with a marked degree of environmental welfare plus an abundant array of city-transforming mega-technology. In the vein of many previous utopian expressions, we offer some explanation about the way each of these four city arrive at a utopian status (by the start of the 22nd Century) along with a description about the social, technological and economic background that may be present then and there. What emerges from this study are four versions of future Green cities that span the spectrum from ‘ecotopia’ to ‘technotopia’ and from ‘utopia’ to ‘dystopia’. This process ends up outlining, via art and design, some of the choices that many future Asian cities may have to involve themselves with as they work to survive the global environmental crisis and become more livable and more sustainable.

 Keywords: Eco-City, Smart-City, Future, Asia, Utopia, Sustainability

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Craft Documentation of Flexible Brass Craft of Bellaguntha, Ganjam, Odisha, India

Santosh Kumar Jha
School of Leather Goods & Accessories Design, Footwear Design & Development Institute, Noida.
Email: handicraftdesigner@gmail.com

 Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.05

Received September 15, 2016;
Revised October 15, 2016;
Accepted October 20, 2016;
Published October 22, 2016.

Abstract

Documentation of a traditional craft is important for preserving its identity and to communicate its details to the audience. So, this was important to document different aspects of the flexible brass craft of Bellaguntha. This paper is based over a set of field visits to these craft clusters, located in and around Bellaguntha block area in Ganjam district of Odisha state in India, by this researcher. The purpose of this paper is to prepare a literature database about the flexible brass craft of Bellaguntha, which may help for further research activities by encouraging researchers, who are willing to contribute in the areas of craft studies, traditional knowledge, conservation and preservation of indigenous technologies, design research etc. not only in India, but also in other developing and underdeveloped nations of our beautiful world; where a number of countless traditional crafts and indigenous knowledges are still under waiting and attracting researchers to explore further studies, documentation and publication, so that their glorified existence can be recognized by the world community.

Keywords: Craft and Design Studies, Languishing Traditional Metal Craft, Handicraft Artisan, Craft Studies, Conservation of Indigenous Technical Knowledge, Craft Documentation

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Interface between Dance and Design: Concepts, Dimensions and Illustrations

Ojasi Sukhatankar
Independent Researcher
Email: ojasidances@googlemail.com

 Volume 6, Number 3, 2016 I Full Text PDF

Article DOI:  10.21659/chitro.v6n3.04

Received October 06, 2016;
Revised October 16, 2016;
Accepted October 19, 2016;
Published October 22, 2016

Abstract

The discipline of dance is not as narrow as one usually tends to suppose. Its interdisciplinary study with other non-dance disciplines such as design can open new insights of creativity for dancers as well as designers. This article explains how both dance and design make use of four core concepts, namely body, space, time, and aesthetics. It also explains how aesthetic experience, its creation, expression and communication made via a dance-item, is analogous with that of a designed artifact. Taking one illustration from each discipline, the article further reveals how both dance and design are a mode of non-verbal communication to viewers. Lastly the article shows that a conscious embedding of design in every dance-pose and dance-movement brings in it one of its most important factors, the aesthetics, without which dance cannot be complete. The author believes that the interdisciplinary research undertaken in this article will enhance theoretical and practical understanding of aesthetics to benefit students, teachers and researchers of both disciplines while they work creatively in their individual fields of work.

Keywords: Aesthetics, Body, Communication, Dance, Design, Expression, Space, Time

FULL TEXT PDF>>

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