Tikendra Kumar Sahu
Assistant Professor, Department of Fine Arts, Amity University, Noida. Email: firstname.lastname@example.org
Volume 2, Number 3, 2018 I Full Text PDF
Embossing is the art term of any process – e.g. casting, chasing, stamping, carving or molding- designed to make a pattern or figurative composition stand out in relief. The present paper discusses the contemporary practices of embossing by different Indian artists under three broad categories: Pressing, Carving and Punching. This will discuss the artworks of the artists for exploring the motivational aspects and for examining the development of visual language. All the primary case studies of were evidently researched by having a direct observation of their practices through interviews and by examining primary and secondary textual sources moderated by their artistic process as the contemporary modernist approaches.
Keywords: Contemporary art, Embossment, Embossing art practices, Contemporary embossment, Indian Art
Research Scholar, Jadavpur University. Email: email@example.com
Volume 1, Number 2, 2017 I Full Text PDF
The paper tries to analyze the silk paintings of Maniklal Banerjee (1917-2002) who was greatly influenced by the artists of the so-called Bengal school of art. The school started by Abanindranath Tagore did not remain confined to its own time and space, but grew into dynamic new modernisms over a span of nearly a century. Art historian Sivakumar invoked a number of artists of Santiniketan and called it a “contextual modernism”. The paper tries to re-read the spirit of Santiniketan artists on the more recent and un-researched art of Maniklal Banerjee- who contextualized in his own way the Bengal ‘school’ that had by now turned into a ‘movement’. The spirit of freedom runs at the core of this movement and finds a new language in the late twentieth century artist’s renderings of daily life and Puranic narrations.
Keywords: Bengal School, Maniklal Banerjee, Abanindranath Tagore, Nandalal Bose, Indian art, Puranic art, aesthetics
Jyoti Saini & Ila Gupta
Department of Humanities and Social Science, Department of Architecture and Planning
Indian Institute of Technology Roorkee. Uttarakhand, India. Email ids: firstname.lastname@example.org, email@example.com
Volume 1, Number 1, 2017 I Full Text PDF
India is symbolized by the diversity of its art and culture from epochs. From a global perspective, acculturation could be a topic of present day study for visual artists and other cultural practitioners. Cultural assimilation has been a much debated issue in respect of Indian paintings. Nowadays or even in the past, artists have been coming to India to be enamored by its natural beauty, culture, religious beliefs and philosophy, ceremonies and many more practices. Among these artists, one key figure from the last centenary was the Russian maverick- Nicholas Roerich, who was very much influenced by Indian cultural ethos. Roerich has done exercise with Indian theme in western techniques and depicted the several sights of beauty of nature and the figures in Indian style. Roerich has contributed significantly to Indian modern paintings during art- revivalism. The significance of portrayal of Indian style has been defined on theoretical perception of renowned art critics. Further, Indian miniature stylistic forms have been pointed out through handmade drawings with the help of Photoshop software as a tool. Thus, this paper is an attempt to critically evaluate the influence of Indian culture especially Hindu culture on the works of Nicholas Roerich.
Keywords: Nicholas Roerich, cultural assimilation, Indian art, Hindu religion
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Mandakini Sharma, Dept. of Humanities and Social Sciences, IIT, Roorkee
Ila Gupta, Dept. of Architecture and Planning & . HSS, IIT, Roorkee
P. N. Jha, Dept. of Humanities and Social Sciences, IIT, Roorkee
Volume 6, Number 1, 2016 I Full Text PDF
The portrayal of woman in art is a much debated issue and revisited again and again, after the advancement of feministic ideology. In early Indian paintings, woman is often equipped to evoke sensual pleasure for the onlookers. This phenomenon of female objectification has been particularly observed as a socio-cultural issue from 19th century onwards. The depiction of woman in contemporary scenario has been entirely changed compared to the ancient times because female artists are subverting those objectified narratives into significant forms. The bias of representation has been connected from the very dawn of the civilization and reached on its zenith in 17th century. In this way, the historical representations could be a better medium to evaluate the role of women in Indian paintings. The paper aims to discuss the portrayal of woman from ancient to pre-colonial times, in which the non-significant roles of womanhood have been critically analyzed.
Keywords: Women, paintings, feminist, representation.
Srikanta Roy Chowdhury, Southfield College, Darjeeling, India
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The enigmatic sculpture of Eastern India has attracted the attention of the historians in general and the historians of art in particular right from the beginning of the process of the reconstruction of the history of Bengal in a systematic manner. Rakhaldas Bandopadhyay’s comprehensive study of the distinctive characteristic of the art and sculpture of the eastern part of the country may be considered as a great contribution to the history of the region, if not pioneering. The present paper attempts to locate the position of Rakhaldas’s Eastern Indian School of Medieval Sculpture along with some of his articles published in different journals in the historiography of Bengal art. It also attempts to understand the methodological and ideological difference of the scholars who worked on the same topic.