This document summarizes several important art movements in India, including medieval sculpture, Mughal painting, and modern movements like the Bengal School. During the medieval period, sculpture flourished and temples were decorated with stone and bronze sculptures. Mughal painting developed under royal patronage between the 16th-19th centuries and was influenced by Persian and Indian styles. In modern times, the Bengal School pioneered a nationalist Indian art style in the early 1900s, while later groups like the Calcutta Group and Progressive Artists Group experimented with new techniques and styles.
PAINTINGS
A MINIATURE PAINTING OF MEDIVAL PERIOD
INTRODUCTION
Indian painting has a very long tradition and history in Indian art.
The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka , some of them from before 5500 BC.
India's Buddhist literature is replete with examples of texts which describe palaces of the army and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals.
Indian paintings provide an aesthetic continuum that extends from the early civilisation to the present day.
From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
Some Genres of Indian painting
Murals
Miniature painting
Eastern Indian painting
Western Indian painting
Mughal painting
Rajput painting
Tanjore painting
Modern Indian painting
PAINTING OF AJANTA CAVES
Paintings of Ajanta caves are mainly based on the episodes drawn from the life of Lord Buddha .
Ajanta caves are the treasure house of delicate paintings. Some of them also portray scenes from Jataka tales.
The temples are excavated out of batholitic cliffs on the inner side of a seventy-foot valley in the Wagurna River vale, at a site where beauty dropped her image.
Bodhisattva Avalokiteshvara, Cave 1
Features of Paintings of Ajanta
The Ajanta paintings stresses on religious romanticism with lyric quality, a reflection of the view that every aspect of life has an equal value in the spiritual sense and as an aspect of the divine.
The paintings are done by covering the rough surface of the wall with a layer of clay or cow dung mixed with chopped straw or animal hair. When this has been smoothed and levelled, it is given a varnish of fine white clay or gypsum and it is on this ground that the painting is done.
Ceiling Paintings of Ajanta
The most famous paintings at Ajanta caves are in `Cave I`. The shape of the cave is a square hall with the roof supported by rows of pillars.
There is a rock cut image of a seated Buddha at the back of the shrine. The most unusual feature of the cave is parts of the complete decoration of the flat ceiling. There are scenes carved from the life of Lord Buddha as well as a number of ornamental motifs.
In the paintings of Ajanta there are beautifully drawn female figures of dusky complexion wearing towering head-dresses that strongly resembles the sophisticated mukuta, crowning the Bodhisattva himself.
. This is a representation of the Shakti or female of the Bodhisattva, one of the many indications of the intrusions of Hindu concepts into Buddhism .
The paintings of the ceiling of Cave I at Ajanta is executed in a more flat, enhancing style and the space is divided into a number of adjacent panels square and rectangular in form, which are filled with subjects and showy
PAINTINGS
A MINIATURE PAINTING OF MEDIVAL PERIOD
INTRODUCTION
Indian painting has a very long tradition and history in Indian art.
The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka , some of them from before 5500 BC.
India's Buddhist literature is replete with examples of texts which describe palaces of the army and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals.
Indian paintings provide an aesthetic continuum that extends from the early civilisation to the present day.
From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
Some Genres of Indian painting
Murals
Miniature painting
Eastern Indian painting
Western Indian painting
Mughal painting
Rajput painting
Tanjore painting
Modern Indian painting
PAINTING OF AJANTA CAVES
Paintings of Ajanta caves are mainly based on the episodes drawn from the life of Lord Buddha .
Ajanta caves are the treasure house of delicate paintings. Some of them also portray scenes from Jataka tales.
The temples are excavated out of batholitic cliffs on the inner side of a seventy-foot valley in the Wagurna River vale, at a site where beauty dropped her image.
Bodhisattva Avalokiteshvara, Cave 1
Features of Paintings of Ajanta
The Ajanta paintings stresses on religious romanticism with lyric quality, a reflection of the view that every aspect of life has an equal value in the spiritual sense and as an aspect of the divine.
The paintings are done by covering the rough surface of the wall with a layer of clay or cow dung mixed with chopped straw or animal hair. When this has been smoothed and levelled, it is given a varnish of fine white clay or gypsum and it is on this ground that the painting is done.
Ceiling Paintings of Ajanta
The most famous paintings at Ajanta caves are in `Cave I`. The shape of the cave is a square hall with the roof supported by rows of pillars.
There is a rock cut image of a seated Buddha at the back of the shrine. The most unusual feature of the cave is parts of the complete decoration of the flat ceiling. There are scenes carved from the life of Lord Buddha as well as a number of ornamental motifs.
In the paintings of Ajanta there are beautifully drawn female figures of dusky complexion wearing towering head-dresses that strongly resembles the sophisticated mukuta, crowning the Bodhisattva himself.
. This is a representation of the Shakti or female of the Bodhisattva, one of the many indications of the intrusions of Hindu concepts into Buddhism .
The paintings of the ceiling of Cave I at Ajanta is executed in a more flat, enhancing style and the space is divided into a number of adjacent panels square and rectangular in form, which are filled with subjects and showy
Periodic Styles in Indian Traditional Art - Mughal, Kangra, MiniaturePrayag Mohanty
Periodic Styles in Indian Traditional Art showcase the rich cultural heritage and artistic excellence that has evolved over centuries. Among these, three prominent styles stand out: Mughal, Kangra, and Miniature. Each style reflects distinct influences, techniques, and thematic representations, contributing to the diverse tapestry of Indian art.
1. **Mughal Art:**
Mughal art flourished during the Mughal Empire (16th to 18th centuries) under the patronage of emperors like Akbar, Jahangir, and Shah Jahan. It is characterized by its intricate detailing, vivid colors, and a fusion of Persian, Islamic, and Indian styles. Mughal paintings often depict historical events, court scenes, flora, fauna, and portraits of rulers and nobility. Artists employed techniques like meticulous brushwork, precise draftsmanship, and the extensive use of gold leaf to create opulent and lifelike compositions.
2. **Kangra Art:**
Kangra painting originated in the Kangra Valley of Himachal Pradesh during the 17th to 19th centuries. It embodies the serene beauty of nature, love, and devotion. Kangra paintings are renowned for their delicate lines, pastel hues, and ethereal imagery, often depicting scenes from Hindu mythology, particularly the love stories of Radha and Krishna. Artists of Kangra school mastered the art of portraying emotions through subtle facial expressions and graceful gestures. The use of natural pigments derived from minerals and plants imparts a soft and luminous quality to these exquisite works of art.
3. **Miniature Art:**
Miniature painting is a meticulous and intricate art form that reached its pinnacle during the Mughal and Rajput periods (16th to 19th centuries). Miniatures are characterized by their diminutive size and elaborate detailing. Artists employed fine brushes, often made from squirrel hair, to create miniature masterpieces on materials such as paper, ivory, or cloth. Themes ranged from courtly scenes, religious narratives, and portraits to landscapes and flora. Miniatures are distinguished by their vibrant colors, intricate patterns, and meticulous attention to detail, showcasing the artist's skill and imagination within a confined space.
These Periodic Styles in Indian Traditional Art not only serve as visual representations of history, culture, and mythology but also as enduring testaments to the artistic genius and creativity of Indian artisans through the ages. Each style encapsulates its own unique blend of techniques, themes, and aesthetics, contributing to the rich tapestry of India's artistic heritage.
by Aayushi Shrimali And Akanksha Manna (University of Delhi) (kalindi college)History Hons /3rd year
origin
background
jahangir
shahjahan
later mughal school ,prominent painters and influences
Periodic Styles in Indian Traditional Art - Mughal, Kangra, MiniaturePrayag Mohanty
Periodic Styles in Indian Traditional Art showcase the rich cultural heritage and artistic excellence that has evolved over centuries. Among these, three prominent styles stand out: Mughal, Kangra, and Miniature. Each style reflects distinct influences, techniques, and thematic representations, contributing to the diverse tapestry of Indian art.
1. **Mughal Art:**
Mughal art flourished during the Mughal Empire (16th to 18th centuries) under the patronage of emperors like Akbar, Jahangir, and Shah Jahan. It is characterized by its intricate detailing, vivid colors, and a fusion of Persian, Islamic, and Indian styles. Mughal paintings often depict historical events, court scenes, flora, fauna, and portraits of rulers and nobility. Artists employed techniques like meticulous brushwork, precise draftsmanship, and the extensive use of gold leaf to create opulent and lifelike compositions.
2. **Kangra Art:**
Kangra painting originated in the Kangra Valley of Himachal Pradesh during the 17th to 19th centuries. It embodies the serene beauty of nature, love, and devotion. Kangra paintings are renowned for their delicate lines, pastel hues, and ethereal imagery, often depicting scenes from Hindu mythology, particularly the love stories of Radha and Krishna. Artists of Kangra school mastered the art of portraying emotions through subtle facial expressions and graceful gestures. The use of natural pigments derived from minerals and plants imparts a soft and luminous quality to these exquisite works of art.
3. **Miniature Art:**
Miniature painting is a meticulous and intricate art form that reached its pinnacle during the Mughal and Rajput periods (16th to 19th centuries). Miniatures are characterized by their diminutive size and elaborate detailing. Artists employed fine brushes, often made from squirrel hair, to create miniature masterpieces on materials such as paper, ivory, or cloth. Themes ranged from courtly scenes, religious narratives, and portraits to landscapes and flora. Miniatures are distinguished by their vibrant colors, intricate patterns, and meticulous attention to detail, showcasing the artist's skill and imagination within a confined space.
These Periodic Styles in Indian Traditional Art not only serve as visual representations of history, culture, and mythology but also as enduring testaments to the artistic genius and creativity of Indian artisans through the ages. Each style encapsulates its own unique blend of techniques, themes, and aesthetics, contributing to the rich tapestry of India's artistic heritage.
by Aayushi Shrimali And Akanksha Manna (University of Delhi) (kalindi college)History Hons /3rd year
origin
background
jahangir
shahjahan
later mughal school ,prominent painters and influences
I have made the PPT on comparative study of Frankenstein novel and movie..In which I have discussed minor and major differences in both novel and movie.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
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thGAP - BAbyss in Moderno!! Transgenic Human Germline Alternatives ProjectMarc Dusseiller Dusjagr
thGAP - Transgenic Human Germline Alternatives Project, presents an evening of input lectures, discussions and a performative workshop on artistic interventions for future scenarios of human genetic and inheritable modifications.
To begin our lecturers, Marc Dusseiller aka "dusjagr" and Rodrigo Martin Iglesias, will give an overview of their transdisciplinary practices, including the history of hackteria, a global network for sharing knowledge to involve artists in hands-on and Do-It-With-Others (DIWO) working with the lifesciences, and reflections on future scenarios from the 8-bit computer games of the 80ies to current real-world endeavous of genetically modifiying the human species.
We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
The Legacy of Breton In A New Age by Master Terrance LindallBBaez1
Brave Destiny 2003 for the Future for Technocratic Surrealmageddon Destiny for Andre Breton Legacy in Agenda 21 Technocratic Great Reset for Prison Planet Earth Galactica! The Prophecy of the Surreal Blasphemous Desires from the Paradise Lost Governments!
2. • Name: Rajyaguru Dhvani Dipakbhai
• Paper Name: History of English Literature: From 1900 to
2000
• Code: 110 (A)
• Subject: Medieval, Mughal and Modern art movements of
India
• Roll no: 04
• Email Id: dhvanirajayguru22@gmail.com
• Department: Maharaja Krishnakumarsinhji University,
Bhavnagar.
3. ART OF MEDIEVAL INDIA- SCULPTURE
• According to Ananda K. Coomaraswamy (Jstor):
• The medieval period in India is mainly one of the crystallization of existing type. Styles
become more local. The principal styles are those of Pala(Bengal and Orissa, 8th to
12th Cen) and Cola(Southern India) schools.
• Medieval Art was commissioned and patronized as paintings – either on a grand scale
on walls and as murals, or as miniature and detailed paintings styles. Metal sculptures
using bronze or copper were also common and widely made during this period. One
of the main contributions was the grand temples built, which were an amalgamation
of all art forms practiced during this time.
• During the medieval period the Indian culture gave great importance to sculpture. All
the temples both in the North and South were decorated externally and internally with
sculptures. The sanctuaries and chapels contained statues (either in stone or bronze)
dedicated entirely to the religious cult and in the courtyards several pavilions housed
monumental effigies of divine animals such as the bull Nandi of Shiva, the Garuda bird
of Vishnu, or the Varaha boar an avatar* of Vishnu.
4. In the North, the most
beautiful sculptural styles
are those of Bhubaneswar
(state of Odisha),
Khajuraho (state of
Madhya Pradesh), and
Konark (state of Odisha)
from the XIIIth century.
(Carolinarh-ArS Artistic Adventure of
Mankind)
Konark Sun Temple (State of Odisha, India)
Mukteshvara temple (Bhubaneswar, Odisha
state, India)
5. • During the same period in the southern regions the artistic trends
were very different but the excellence of the sculptures was equal.
The most beautiful works of this time are seen on the exterior walls of
the temples of Thanjavur and Gangaikonda Cholapuram (first quarter
of the XIth century). They are great effigies in high and sharp relief, so
much that they seem exempt sculptures placed inside niches in the
two levels of the main body of the vimana: their slender and refined
forms, the soft modeling, and the pure contour of their arms and legs
make them works of completely classical perfection.(Carolinarh-ArS
Artistic Adventure of Mankind)
Brihadisvara Temple in Thanjavur (State of Tamil Nadu,
India)
Brihadisvara temple in Gangaikonda Cholapuram (State of Tamil Nadu, India)
6. • Lastly, it is necessary to mention the sculpture of the Hoysala style. It was endowed
with a remarkable unity of style, which was characterized by certain heaviness,
decorative overload, and iconographic rigor, but was also distinguished by some
attitudes showing certain kind of majesty and dignity which give the divine
characters a calm and serene look. (Carolinarh-ArS Artistic Adventure of
Mankind)
7. MUGHAL ERA ART
• Mughal painting is a style of South Asian miniature painting that developed
in the courts of the Mughal Emperors between the 16th and 19th centuries.
It emerged from the Persian miniature painting tradition with additional
Hindu, Buddhist, and Jain influences. Mughal painting usually took the form
of book illustrations or single sheets preserved in albums. There are five
periods commonly associate with Mughal art, each named for the emperor
under whom the art form developed: the Humayu period,Akbar Period, the
Jahangir Period, the Shah Jahan Period, and the Aurangzeb Period.
• Mughal painting’s style of painting, confined mainly to book illustration and
the production of individual miniatures, that evolved in India during the
reigns of the Mughal emperors (16th–18th century). Probably the earliest
example of Mughal painting is the illustrated folktale Tuti-nameh (“Tales of
a Parrot”).
• Mughal painting was essentially a court art; it developed under the
patronage of the ruling Mughal emperors and began to decline when the
rulers lost interest. (Britannica)
Tuti-nameh Painting
8. PAINTINGS OF HUMAYU AND AKBAR PERIOD
• The school had its beginnings during the reign of the
emperor Humāyūn (1530–40 and 1555–56), who
invited two Persian artists, Mīr Sayyid ʿAlī and
Khwāja ʿAbd al-Ṣamad, to join him in India.
(Britannica)
• Under the reign of Akbar the Great (1556–1605) that
Mughal painting came into its own. Trained in
painting in his youth by the Persian master ‘Abd al-
Samad, Akbar was responsible for setting up the first
atelier of court painters, which he staffed with artists
from all parts of India whose work he took a keen
interest in. This atelier was chiefly responsible for
illustrating books on a variety of subjects: histories,
romances, poetry, legends, and fables of both Persian
and Indian origin.The famous painter of this era was
Basavan also.
• The colors used were mostly mineral and sometimes
vegetable dyes, and the fine brushes were made from
squirrel’s tail or camel hair.
“Mejnūn Being Brought by a Beggar
Woman to Leylā's Tent,” miniature by Mīr
Sayyid ʿAlī
A Jain ascetic walking along a riverbank, c .1600
painting by Basawan.
9. PAINTINGS OF JAHANGIR AND END OF ERA
• Like his father Akbar, the emperor Jahangir showed a keen interest
in painting and maintained his own atelier. The tradition of
illustrating books assumed secondary importance to portraiture
during Jahangir’s reign because of the emperor’s own preference
for portraits. Among the finest works of his reign are elaborate
court scenes depicting him surrounded by his courtiers. These are
large scale exercises in portraiture, and the likeness of each figure
is produced faithfully.
• Shahjahan and Aurangzeb were not much enthusiastic
Mughals..still many paintings were done in their time also. Mughal
painting essentially came to an end during the reign of Shah Alam
II (1759–1806), and the artists of his disintegrated court contented
themselves with copying masterpieces of the past.
10. THE PAHARI STYLE OF MUGHAL ERA
• The Pahari style of miniature painting and book illustration
developed in the independent states of the Himalayan foothills
between the 17th and 18th centuries and began to decline
after 1800. This style consists of two schools: the Basohli school
and the Kangra school.
• The Basohli school flourished toward the end of the 17th
century; it is best known for its bold use of color, intense
emotionality, stylized facial types shown in profile with
prominent eyes, and distinctive depictions of jewelry.
• The Kangra school emerged in the mid-18th century as the
Basohli style began to fade and is characterized by curving
lines , calmer colors, and delicate lyricism .
11. MODERN ART: BENGAL SCHOOL ART MOVEMENT
After the Colonial rule ended in the
subcontinent, there was a huge
overhaul in art styles around the
country. Even at the start of the 20th
century due to the Independence
movement, the first notable art
movement to create an entirely
different style was the ‘Bengal School’
art movement. It was initiated and
triggered by a nationalistic fervor in
search of an Indian identity.(Artisera
Editorial) Abanindranath Tagore, harbinger of
Bengal's renaissance is the founder of
the Indian Society of Oriental Art,
Abanindranath brought nationalism to
Indian art in 20th century. Bengal
Artists such as Nandalal Bose,
Gaganendranath Tagore, and Mukul
Dey exerted a huge influence over the
artistic scene with the movement’s
centers at Kolkata and ShantiNiketan.
(Artisera Editorial)
12. CALCUTTA GROUP OF ART &PROGRESSIVE ARTIST GROUP
Though the most radical change came through
the creation of a radical group called the
‘Calcutta group’ against a background of
political, social, and economic upheaval with
war, famines, and violence.This was established
in 1943. The founder members were sculptors
Pradosh Dasgupta, his wife Kamala, painters
Gopal Ghosh, Nirode Majumdar, Paritosh Sen
and Subho Tagore,who attempted to launch an
art of change – anti-nostalgic, anti-sentimental
and subverting hierarchies.
Another movement called the ‘Progressive
Artists Group’ with artists such as M.F
Hussain and S.H. Raza were among its
founders. Though not unified by a single
style or aesthetic, these groups of artists
wished to transcend the academic style and
the nationalist style of art – and looked at
contemporary international art for exposure.
14. REFERENCES
• Britannica, The Editors of Encyclopaedia. "Basavan". Encyclopedia Britannica, 3 Oct. 2011,
https://www.britannica.com/biography/Basavan. Accessed 15 April 2022.
• Britannica, The Editors of Encyclopaedia. "Mughal architecture". Encyclopedia Britannica, 19 Sep. 2019,
https://www.britannica.com/art/Mughal-architecture. Accessed 15 April 2022.
• Carolinarh. “Art of Medieval India – Sculpture.” Arsartisticadventure, 24 Feb. 2019,
https://arsartisticadventureofmankind.wordpress.com/2019/02/24/art-of-medieval-india-sculpture/.
• Coomaraswamy, Ananda K. “An Approach to Indian Art.” Parnassus, vol. 7, no. 7, 1935, pp. 17–20,
https://doi.org/10.2307/771364. Accessed 15 Apr. 2022.
• “How the Bengal School of Art Changed Colonial India's Art Landscape.” Artisera.com , Artisera
Editorial, 27 Feb. 2017, https://www.artisera.com/blogs/expressions/how-the-bengal-school-of-art-
changed-colonial-indias-art-landscape.
• Kramrisch, Stella. “Medieval Indian Sculpture” Journal of the Royal Society of Arts, vol. 87, no. 4535,
1939, pp. 1180–94, http://www.jstor.org/stable/41359445. Accessed 15 Apr. 2022.
• Ujjvala, Krishna. “4 Art Movements in The History of India.” Rethinking.com, https://www.re-
thinkingthefuture.com/rtf-fresh-perspectives/a1542-4-art-movements-in-the-history-of-india/.