This document discusses the book "RUPADARSINI" by M.R. Acharekar, which aimed to reconcile Indian classical art with modern Western techniques. It presents Acharekar's drawings analyzing human form and proportions from both Eastern and Western viewpoints. The introduction praises Acharekar for providing a practical answer to questions about what defines Indian art and how it differs from the West. Later pages showcase other artists influenced by Acharekar and Ajanta cave paintings, applying traditional Indian motifs and techniques in modern mediums like textiles. The document examines Acharekar's pioneering effort to bring ancient Indian art into a structured format for modern students.

1. BRINGING
TOGETHER
A Visual Treatise on EAST, WEST &
MODERN visual communication thinking.
Is it …Revelation, Reconciliation, Renaissances, Research…all this in one…?
This is an attempt to learn and understand
though the revolutionary method
conceived by the master Indian painter
Late M. R. Acharekar in 1949.
By Ranjan R.I. Joshi
Kindly note: All the copy rights are with the respective
artist and institutions. This is an academic exercise
PLEASE SEE PART TWO AFTER THIS PART ONE…

2. “RUPADARSINI” The Indian approach to Human Form
a book written in 1949 by the famous Indian master painter Mr. M. R. ACHAREKAR
• FORWARD – By M. R. Acharekar
• Assumed… Traditional Indian Art does not
inspire the modern art students, and it is often
unnatural, crude and lifeless.
• Classical figures and actual human form and its
analysis…
• Creative expression is different than ‘anatomy’ given
herewith is just for understanding the movements of
the human form.

3. INTRODUCTION by G. VENKATACHALM
2nd April 1949.
Is Art universal and does it transcend natural frontiers ?
Art – Matter of ‘Latitude’ and ‘ Longitude ?’
Elemental impulses are universal and art is as old as mankind and varied – ‘ Nationalistic’ in the world. All great works of art a
heritage. They have a past, tradition and character. Only the so‐called Modern Art seems to be without a background or parentage
and certainty no FUTURE. What is Indian Art ? In what way does it differ from the art of the West ? What are its aesthetical ideals and
artistic merits ? Is there not an undue emphasis on the so‐called natural aspect of it ? M. R. ACHAREKAR who has delightfully
conceived and produced book of drawings under the fascinating title “RUPADARSINI”. This illustrated monograph is a simple
straightforward albeit a practical, answer to the questions raised at the beginning of this text. Comparative study and the underlying
structural strength of human form as conceived and created by the ancient artist of India. Endless Expression of beauty… Plastic quality
and linear grace but feeling for abstraction… Indian Art is A Mental Summery of Visual perception rather than a faithful reproduction of
an object or a person from a certain point of in space. The perceptive is psychological and freer and unfettered in INDIAN ART. The tree is
never mistaken for forest. Artistic Anatomy, Rhythmic Form, and Symmetry is the ideal in INDIAN ART. Breakaway from the shackles of
the ACADEMY ART AND REDISCOVER THE HIDDEN BEAUTY in the traditional art. M. R. ACHAREKAR who has delightfully conceived and
produced book of drawings under the fascinating title “RUPADARSINI”. This illustrated monograph is a simple straightforward albeit a
practical, answer to the questions raised at the beginning of this text.

4. tumblr_lu1owzhm1u1qj06a9o2_1280.jpgatelier7culori.tumblr.com800 × 618Search by image
Atelier DESEN – corpul uman. Anatomie artistica – incepator
This drawing is one of
the classic example
according to my
friend realistic style
painter
Mr. D. T. Padekar from
India.
Yes I too agree with
him but the
revelation
Mr. M.R. Acharekar
did in understanding
Indian Classical Art
changed my visual
thinking. I appeal all
realistic style art
followers to
investigate such visual
treasure for students
like me.

5. These two example illustrates the idea of human body’s anatomical proportions from
the WESTERN viewpoint presented by M.R. Acharekar.

6. These two example
illustrates the idea of
human body proportions
from the WEST AND EAST.

7. Simplifying
forms to
understand
the rhythmic
visual force.
This drawing is one of the classic example
M.R. ACHAREKAR created to investigate Indian classical
figure through the lens of western ideas of human
proportions. This according to my study one of the few
steps ever taken by any Indian artist to rationalized the
same in today‘s age of sciencetific thinking.

8. Attendants serving king at Royal toilet, Mahajanaka jataka,
Mahayana phase
Artist Shantaram Pawar who is adorer of M.R. ACHAREKAR
and AJANTA ART has created modern visual form which is
Indian derived from art of Ajanta.

9. Look at this metamorphic visualization in the work of famous applied artist
Shantaram Pawar who is adorer of M.R. ACHAREKAR and AJANTA ART. One can see the
modern interpretive influence of both that aptly demonstrates as the Traditional
"Indian Art does inspire the modern art students.
Elemental impulses are universal and art is as old as mankind and varied –
‘ Nationalistic’ in the world. INTRODUCTION by G. VENKATACHALM
This is the work of famous applied artist Shantaram Pawar who is adorer of M.R. ACHAREKAR and
AJANTA ART. One can see the modern interpretive strong INDIAN art form
derived from AJANTA ART.

10. “Classical
figures and
actual
human
form and
its
analysis…
Creative
expression
is different
than
‘anatomy’
given
herewith is
just for
understand
ing the
movement
s of the
human
form.”
Observe the grace
and rhythm aptly
illustrated by
M.R. ACHAREKAR
in the three
figures in context
to the classical
one…

11. Observe the negative space being left out between hands
and legs thereby creating grace and rhythm in the figures
in context to the classical one… that proves the point
expressed in the book … This book in my humble opinion
ought to replace ALL GRECO‐ROMAN statuaries that now
adorn the class of the art schools. INTRODUCTION by G. VENKATACHALM

12. Nandalal Bose’s ‘RUPAVALI’ and R. M. RAVAL’s book of Indian
Designs were more in the nature of drawings which young students
might copy before they take up painting in Indian Style.
R. M. RAVAL
RUPADARSINI is the pioneering effort in the direction of bringing
ancient art to Modern structure in practical way.
Nandalal Bose’s ‘RUPAVALI’ and R. M. RAVAL’s book of Indian Designs
were more in the nature of drawings which young students might
copy before they take up painting in Indian Style.
This book, however is for advanced students and the practicing artist
both as guide and instructor and to that extent a very valuable
contribution to Indian Art.
This book in my humble opinion ought to replace ALL
GRECO‐ROMAN statuaries that now adorn the
class of the art schools. INTRODUCTION by G. VENKATACHALM
ENJOY THE DYNAMIC DRAWING EXPERIMENT IN NEXT PAGES AND my
essay on which you can react introspect for further study…
ranjan r . I . joshi
Nandalal Bose

13. This book in my
humble opinion
ought to replace
ALL GRECO‐ROMAN
statuaries that now
adorn the class of
the art schools.
INTRODUCTION by
G. VENKATACHALM

14. JAGANNATH AHIVASI
Parsee girl painted by PESTANJI BOMANJI
in 1857 A.D. Ref: Chhatrapati Shivaji Maharaj Vastu
Sangrahalaya and Shilpakar Charitrakosh‐Drushyakala
Khand.
These are the two major schools in Sir J. J. School of Art followed by art
students. EAST & WEST. The interesting visual detail for me is in the
painting of the PARSEE GIRL. The doodle made by the child on the wall
mural shows the artist imagination to connect works of master painter
and child art nearly 160 years ago. For me this is also REVELATION. Both
the said schools were almost parallel and child art education were yet to
be recognized then…

15. “RUPADARSINI is the
pioneering effort in the
direction of bringing
ancient art to Modern
structure in practical
way. “
This book is the eye
opener for students,
scholars and practioners
of Indian visual art who
are following realistic
approach.
Perspective blended
science and art.
This experiment by
M.R. ACHAREKAR
blended
EAST with WEST
culturally through this
scientific modern
method.

16. Courtesy: PHADNIS GALLERY journey of his cartoons : JYOTSNA PRAKASHAN‐ Pune, first edition 2014. Page 11.
This is PARADOXICAL where the
artist creates realistic painting
from the abstract model.
My most favorite cartoonist
Mr. S. D. PHADNIS captures the
essence of this contrasting human
perception. I have never seen
such visual parodist. This essay is
trying to understand such
nuancenses of visual art. See the
next page abstract painting
appears different to me.

17. Courtesy: Painting by PRABHAKAR KOLTE
“From Simple to Complex”
This is M. R. Acharekar creating
composition from abstract to realistic.

18. Motifs from the Ajanta‐Ellora‐Cave‐paintings

19. These two
examples in
jacquard weaving
process are
created under the
guidance of my
late artist father
Prof. R.P.Joshi in
VJTI‐Mumbai.
They illustrate my
present topic i.e.
revelation of
Indian motifs and
the image
(Drawing) of
Mahatma Gandhi
could be
translated
through modern
textile design
manufacturing
process.
AJANTA Painting
This is the
documentations
done by the
Britisher Oven
Jones in
A . D 1857
which is known
record of INDIAN
GRAPHIC
PATTERNS
collected from
Indian Textiles,
Ajanta Caves
Paintings, Folk
Art, Mythology
etc.
This could be
insightful in
terms of Indian
Visual Language
that M .R.
Acharekar is
trying to
rationalized in
his
RUPADARSINI
BOOK.
PLEASE SEE PART TWO AFTER THIS PART ONE…