Prof. Shailendra K. Kushwaha is an art historian who retired in 2014 after over 30 years of teaching experience. He currently serves as an advisor at the Maharaja Ranjitsinh Gaikwad Institute of Design in Baroda, India. His areas of expertise include 17th century Mewar miniature painting and he has published extensively on Indian art history topics. He has also guided over 75 masters and doctoral students during his career.
Explore the various forms of indian art paintingsIndian Art Ideas
Indian Art Ideas presents different types of Indian Paintings Like traditional paintings, cave paintings, Mughal, Rajput, Mysore, Maithili and South Indian Paintings. This presentation helps to know more about various kinds of Indian themes paintings.
KAPS and VOH will be conducting an Arts Appreciation Course on Kangra Art in June. The course aims to introduce the participants to Kangra miniature art and take them through the evolution of this magnificent art form.
Geographical Status / Environment Of Odisha And Maharashtra | Art Integrated ...PritamPriyambadSahoo
Geographical Status / Environment Of Odisha And Maharashtra a English Art Integrated Project of CBSE Class 10.
A PowerPoint presentation Made By Pritam Priyambad Sahoo
For any queries, mail at pritamsahoo.edu@gmail.com
Thank You! :)
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
this ppt has about chapter novel society and history .
it has info from novels in hindi, bengali, assami ,oriya..
this has been made by students of class 10
hope it helps you :)
This notes contains summary of all the important topics for Art and Culture for CSAT and IAS Mains.
It Includes:
- Puppet forms of India
- Painting styles in India
- Classical Dances
- Folk Dances
- Tribal Dance
- Classical Music
- Theater forms of India
- Indian Architecture
Its not in detailed and confusing theory. Its in easy bullet points forms with images for better understanding
For more details on our products and services, please feel free to visit us at Arts for sale, Abstract Art, digital arts, Calligraphy art, Salman Alhajri
Explore the various forms of indian art paintingsIndian Art Ideas
Indian Art Ideas presents different types of Indian Paintings Like traditional paintings, cave paintings, Mughal, Rajput, Mysore, Maithili and South Indian Paintings. This presentation helps to know more about various kinds of Indian themes paintings.
KAPS and VOH will be conducting an Arts Appreciation Course on Kangra Art in June. The course aims to introduce the participants to Kangra miniature art and take them through the evolution of this magnificent art form.
Geographical Status / Environment Of Odisha And Maharashtra | Art Integrated ...PritamPriyambadSahoo
Geographical Status / Environment Of Odisha And Maharashtra a English Art Integrated Project of CBSE Class 10.
A PowerPoint presentation Made By Pritam Priyambad Sahoo
For any queries, mail at pritamsahoo.edu@gmail.com
Thank You! :)
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
this ppt has about chapter novel society and history .
it has info from novels in hindi, bengali, assami ,oriya..
this has been made by students of class 10
hope it helps you :)
This notes contains summary of all the important topics for Art and Culture for CSAT and IAS Mains.
It Includes:
- Puppet forms of India
- Painting styles in India
- Classical Dances
- Folk Dances
- Tribal Dance
- Classical Music
- Theater forms of India
- Indian Architecture
Its not in detailed and confusing theory. Its in easy bullet points forms with images for better understanding
For more details on our products and services, please feel free to visit us at Arts for sale, Abstract Art, digital arts, Calligraphy art, Salman Alhajri
For more details on our products and services, please feel free to visit us at Salman Alhajri, Omani Artist, Arabic Calligraphy, Arts for sale, Abstract Art
For more details on our products and services, please feel free to visit us at digital arts, Calligraphy art, Salman Alhajri, Omani Artist, Arabic Calligraphy
For more details on our products and services, please feel free to visit us at Calligraphy art, Salman Alhajri, Omani Artist, Arabic Calligraphy, Arts for sale
For more details on our products and services, please feel free to visit us at Calligraphy art, Salman Alhajri, Omani Artist, Arabic Calligraphy, Arts for sale
For more details on our products and services, please feel free to visit us at digital arts, Calligraphy art, Salman Alhajri, Omani Artist, Arabic Calligraphy
1. Updated 30/07/2015
Prof. (Dr.) Shailendra K. Kushwaha (Retired)
Personal: sksks1@gmail.com, sksks_1@Rediffmail.com,
India:+91-9825706561, Office: 0265-2795520 ,Res: 0265-2793093
PRESENT STATUS
2015 January -December ,Appointed as Advisor , MRID,FFA,MSU, Baroda
PAST STATUS
• Superannuated on 31st
October 2014
• Date of Birth :01-08-1952
• 4-3-2014 , Professor of Art History & Aesthetics
• 2013, Founder Director, Maharaja Ranjitsinh Gaikwad Institute of Design (MRID),Faculty
of Fine Art,M.S.U.Baroda
• 2012,Proctor, M.S.University of Baroda
• 23.9.2011 till 31.7.2014,Dean,Faculty of Fine Arts,M.S.U.Baroda
• 1.8.2009-22.09.2011, Officiating Dean, Faculty of Fine Arts, The M. S. University of Baroda
• 2008- 2014, Head, Department of Art History & Aesthetics
• 2007 -2008, Incharge & Officiating Head,Dept. Of Art History & Aesthetics
• 2012 -2014, Associate Professor in Art History
• 2008 -2012 Reader
• 1994 -2007 Lecturer in Art History
• 1986- 1994 Archivist,Department of Art History &Aesthetics
• 1984-1986 Lecturer in Art History, Kala Kendra (College of Fine Arts),CVM,Vallabh
Vidhya nagar,Anand,Gujarat
TEACHING / ADMINISTRATIVE EXPERIENCE
23 Years - Teaching Experience
07 Years - Head, Department of Art History & Aesthetics
06 Years - Dean Faculty of Fine Arts
12 Years - Guide for Doctoral Research
09 Years – Archivist, Regional Documentation Center, Dept. of Art History & Aesthetics
03 Years – Proctor, M.S.University of Baroda
2. 09 Years – Warden. Ravindranath Tagore Hall, Halls of Residence,MSU
EDUCATIONAL BACKGROUND
• 1999, Ph. D. (Art History) from Faculty of Fine Arts M.S.U. Baroda on "17th Century
Mewar School of Rajasthani Painting: study based on three major artists of this period Namely
Nisardin, Sahibidin and Manohar".
• 1978, M.F.A. (Art History) from Faculty of Fine Arts, M.S.U, Baroda
• 1975, B.F.A. (Painting) from Visva Bharti, Santinikeian
ADVISOR FOR THE Ph.D. STUDENTS
• 2014,Ritesh Panda, “Site-Specific Art in India;Mapping the Emerging Methodollogies
and Viewership”
• 2014,Vrushali Dhage, "Globalization and its Impact on Contemporary Indian Art”
• 2011, Sunanda Sadashivan," Kutch School of Painting"
• 2009, Aparna Roy, "The Women Artist's of Early 20th Century Bengal, their spaces of
visibility contributions and the indigenous modernism"
• 2008, Kartik K. Vora "Design Policies during British India"
• 2008, Rajesh Singh, "The Antiquity of Ajanta" (Submitted) Awarded April 2015
• 2007, Anindya Kanti Biswas (UGC, JRF), "Ramkinker 's Landscape in Watercolour in the
perspective of Indian Landscape painting"
• 2003, Ms. Chithra K.S. (UGC, JRF) "The worship of family deities- A Study of Divinities,
Devotees and Caste Identity in the Contemporary Southern Karnataka". ( Awarded
PH.D.)
• Guided more than 75 M.V.A. Dissertations.
PUBLICATIONS: PAPERS/EXHIBITION CATALOGUES (Selected)
• 2011, Monograph for Kanu Nayak Art Foundation, Mumbai on Vilash Shinde-Recent
Works
• 2010 - 2010, "Voyage in to Ecstasy".
• 2009, "Lyrical Abstraction, A Galaxy pf Painters in Search of Eternal Horizon:
Encountering A Regional Shift in to Mainstream Art Practices", Show curated by Ankan
Art Foundation at AIFACS, New Delhi
• 2009, Catalogue for Avani Shah's show, "The Indivisible Tour"
• 2008, Catalogue for Pratap Mandey's One Man show "Overlapping Desires"
• 2008, Monograph on Kanu Patel, "His quest for a Metamorphosis of Sublime"
3. • 2007, "Feudalism as a Contributory factor- A Case study of Nathdwara Painters pedigree
affiliation, Nirukta, Journal of Art History and aesthetics.
• 2007, Catalogue on "Looking back in to Past; Ankit Patel's Narrative drawings" —
MOTAVARCHHA — A SHORT WALK IN TO A LONG DISTANCE.
• 2007, One man Exhibition Catalogue on Jayant Parikh — "Voyage in to Historic Past"
• 2006-07, Research catalogue on "The Ragamala Painting at Amreli Museum, Gujarat
• 2006, An Autobiographical catalogue on the sculptures by Ankit Patel, A well known
contemporary sculptor form India, "The Force Within", One man show held at town hall,
Sixth District Paris.
• 2006, Monograph on a well known painter Nandubhai Rathwa, "Echo of Silence"
• 2004-2005, " Fake and Forgery of Art in India", Studies in Museology, Vol. XXXVII and
XXXVIII, Department of Museology, Faculty of Fine Arts, The Maharaja Sayajirao
University of Baroda.
• 2004, "Concept of Narratology and Alamkara in Indain Context: A Case Study of 17 th
Century Mewar School", in Nirukta: Journal of Art History & Aesthetics.
• 2003, "Methodological Crisis in the Studies of Indian Painting: The case of the Mewar
School" in - Towards a New Art History: Studies in Indian Art (essays printed in the
Honor of Prof. Ratan Parimoo) ISBN 81-246-02301.
• 2001, "Depiction of Rishyashringa Story from Ramayana by Manohar" in Journal of
Oriental Institute, Vol. No. 48, No.1-4.
• 1999, "Art and environment in classical Indian context" in Proceedings of Nat
Con.Dim.En.St.in India.
• 1992-93, "Sarangadhara Paddhati Text and its Visual Depiction" in Journal of the
MSU,Baroda, Vol. 41-42.
• 1990, "Color, emotion and music" in Kalavrit.
• 1989, "Musical and poetical forms and their inter-relationships" in Kalavrit.
BOOKS
• 2014, (tentative) "17 th Century Mewar School of Miniature Painting: Nisardin, Sahibidin
and Manohar" Manuscript is under editing process for the publication, accepted by
publisher.
• Nirukta ,Journal of Art History & Aesthetics
PARTICIPATION (Selected)
• 2007, Paper titled as "Feudalism as a contributory factor - A case study of Nathdwara
Painters Pedigree affiliation" at national seminar on "The Art and Minor Practices"
• 2002, Paper titled "Methodological Crisis in the Studies of Indian Painting: The case of
the Mewar School" presented at the Seminar on The New Art history and Indian Art.
• 2000, Paper titled "Feudalism and its impact on Patronisation: A case study of Sahibidin"
presented at UGC/DSA Seminar on Medieval: Concept and Aspects.
4. • 1997, Paper titled "Art and Environment in Classical Indian Context" presented at the
National conference on dimension of environmental stress in India.
• 1994, Paper titled "Depiction of Rsyasranga story from Ramayana by Manohar — A painter
from the 17th century Mewar School of Minature Painting" presented at the International
Seminar on Valmiki Ramayana, Higher Criticism.
• 1992, Paper titled "Origin and development of Mewar School of miniature painting
presented at the Departmental Seminar on Western Indian Art.
• 1992, Paper titled "Social relevance of Contemporary Indian Art" presented at the
national Seminar of Lalita Kala Academy of Rajasthan.
• 1988 , Paper titled "Sarangadhara Paddhati text and its visual depiction” presented at the
Departmental seminar on, ‘Text and Painting in Indian art’.
PARTICIPATION IN WORKSHOPS/ SEMINARS (Selected)
2014, NationalSeminar organized by Rajasthan School of Art,Jaipur
• 2010, Organized national seminar on "Mapping of East and West Encounter" as a
Coordinator under UGC/ASHISS Programme.
• 2008, Workshop on Critical Writing Methodology at Rajasthan School of Arts, Jaipur.
• 2007, Workshop on Digital Documentation at Banasthali Vidyapith,Rajasthan.
• 2005, Delivered a series of lectures on Indian, Far Eastern Art and Western Art at
Banasthali Vidyapith, Rajasthan.
• 2004, Organized and participated in the workshop on "Digital Art and its relevance in
the present scenario of contemporary art" in Rajasthan School of Arts, Jaipur.
• 2003, Documented and Participated in the Lok Rang Festival (Folk and Tribal Performing
Art) organized by Jawahar Kala Kendra, Jaipur.
• 1999, Workshop on Pichhwais: Temple Hangings of the Vallabha Sampradaya organized by
Sarabhai foundation, Ahmedabad.
• 1997, Workshop on Indian miniature paintings organized by B.N. Goswami, Sarabhai
Foundation, Ahmedabad.
PARTICIPATION AS A VISITING FELLOW (Selected)
• 2011, Invited to visit DMU, Leicester UK for delivering a series of interactive talk to
visual art students and to explore the possibilities for student exchange program.
• 2010 , Nominated as a Visiting Scholar for Mauritius under TEC/UGC Consortium 2010
• 2009, Nominated as a Chair for long term/short term in Cultural Studies by ICCR
• 2004-2008, As a paper setter for University Grant Commission NET
• 2003 (October), Delivered Expert Lectures as a Resource Person in the UGC Refresher
Course, Department of Drawing and Painting, Mohan Lal Sukhadia University,
Udaipur.
• 2003 (September), Delivered Expert Lecture on Manuscripts and its relevance in Indian
Painting at the opening of a course in Manuscriptology at the Sanskrit Mahavidhyalaya
M.S.U., Baroda.
• 2003 (June), An Interactive presentation on "Indian Modern Art” at the College of Fine
Arts, MGI, Moka, Mauritius.
• 2000, Series of lectures on Jain Painting of Western India — Religion, Text and Image at
K.S.Doshi Jain Academy under the auspices of M.S.0 Baroda, Faculty of Arts.
5. • 1999, Talk on Mewar School of Miniature Painting at Jnana-Pravaha, Centre for Cultural
Studies, Varanasi.
• 1998, Series of Talk on History of Indian Painting, delivered at Sanskar Bharti, Baroda.
AWARDS AND HONORS
• 1994, Small Research Grant from Nehru Trust for the Indian Collection at the V&A
Museum.
• 1978-1982, UGC Research Fellowship under the guidance of Prof. Ratan Parimoo.
PARTICIPATION IN GROUP SHOWS
• 1975, Group show titled "Group 75" exhibition held at Birla Academy of Fine Arts and
Culture, Kolkata.
• 1974, 39th Annual Exhibition held at Academy of Fine Arts, Kolkata.
ASSOCIATION AS A MEMBERSHIP
• Coordinator, UGC ASHISS Program ,Department of Art History, Faculty of fine
Arts,MSU Baroda
• Member,P.G.Council,M.S.University of Baroda
• Senate Member,M.S.University of Baroda
• Board of Studies, Faculty of Fine Arts, M.S. University of Baroda since 1994
• Faculty Aptitude Test Committee since 1994
• Art Historians Associations of India
• Member of Purchase Committee, Baroda Museum and Picture Gallery, Vadodara
• Member, Board of Studies,University of Rajasthan, Jaipur
• Panel Member, Mohanlal Sukhadia University,Udaipur
• Proctor,M.S.University of Baroda
Present Address: Office: Prof (Dr.) Shailendra Kumarsingh Kushwaha
Advisor,Maharaja Ranjitsinh Gaikwad Institute of Design (MRID)
Faculty of Fine Arts, M.S.University of Baroda,
Vadodara -390002, Gujarat,India
Mob: +91 9825706561
Residence: Reader's Quarter, II floor, Jivraj Mehta Hall,MSU Boys Hostel Campus
Pratapgunj,Vadodara-390002,Gujarat,India
6. • 1999, Talk on Mewar School of Miniature Painting at Jnana-Pravaha, Centre for Cultural
Studies, Varanasi.
• 1998, Series of Talk on History of Indian Painting, delivered at Sanskar Bharti, Baroda.
AWARDS AND HONORS
• 1994, Small Research Grant from Nehru Trust for the Indian Collection at the V&A
Museum.
• 1978-1982, UGC Research Fellowship under the guidance of Prof. Ratan Parimoo.
PARTICIPATION IN GROUP SHOWS
• 1975, Group show titled "Group 75" exhibition held at Birla Academy of Fine Arts and
Culture, Kolkata.
• 1974, 39th Annual Exhibition held at Academy of Fine Arts, Kolkata.
ASSOCIATION AS A MEMBERSHIP
• Coordinator, UGC ASHISS Program ,Department of Art History, Faculty of fine
Arts,MSU Baroda
• Member,P.G.Council,M.S.University of Baroda
• Senate Member,M.S.University of Baroda
• Board of Studies, Faculty of Fine Arts, M.S. University of Baroda since 1994
• Faculty Aptitude Test Committee since 1994
• Art Historians Associations of India
• Member of Purchase Committee, Baroda Museum and Picture Gallery, Vadodara
• Member, Board of Studies,University of Rajasthan, Jaipur
• Panel Member, Mohanlal Sukhadia University,Udaipur
• Proctor,M.S.University of Baroda
Present Address: Office: Prof (Dr.) Shailendra Kumarsingh Kushwaha
Advisor,Maharaja Ranjitsinh Gaikwad Institute of Design (MRID)
Faculty of Fine Arts, M.S.University of Baroda,
Vadodara -390002, Gujarat,India
Mob: +91 9825706561
Residence: Reader's Quarter, II floor, Jivraj Mehta Hall,MSU Boys Hostel Campus
Pratapgunj,Vadodara-390002,Gujarat,India