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After achieving independence in 1947, the leaders of the nationalist movement realised the value of culture as a vehicle of interaction and its importance in shaping not only the Indian identity on its own, but also carving out an sphere of interaction where other art forms would further the cause of national unity. It was seen necessary that a cultural reorganisation of the nation should come through the institutional infrastructure of the state. The state patronage was not for the art, but for the artists, who using the physical environment and infrastructural facilities provided to them could carry on with their art. Unlike private institutions which could change their program of support depending on market conditions, the Lalit Kala Akademi sought to support all forms of art — studio, experimental, developmental, ‘folk’, and ‘tribal’. | After achieving independence in 1947, the leaders of the nationalist movement realised the value of culture as a vehicle of interaction and its importance in shaping not only the Indian identity on its own, but also carving out an sphere of interaction where other art forms would further the cause of national unity. It was seen necessary that a cultural reorganisation of the nation should come through the institutional infrastructure of the state. The state patronage was not for the art, but for the artists, who using the physical environment and infrastructural facilities provided to them could carry on with their art. Unlike private institutions which could change their program of support depending on market conditions, the Lalit Kala Akademi sought to support all forms of art — studio, experimental, developmental, ‘folk’, and ‘tribal’. | ||
In constructing a national heritage of India, — ancient, medieval, as well as modern lineages were to be taken into account. In the wake of the [[Indian independence movement|anti-colonial independence movement]], the developments in Modern Art drew from the underlying currents that linked modernity with an inherited, indigenous past. The art-historian Partha Mitter,<ref>{{Cite book|title=Art and nationalism in colonial India 1850-1922 : occidental orientations|last=Mitter, Partha.|date=1994|publisher=Cambridge University Press|isbn=0521443547|oclc=780034304}}</ref> has argued that Modern Art in India developed through a series of interactions and frictions between | In constructing a national heritage of India, — ancient, medieval, as well as modern lineages were to be taken into account. In the wake of the [[Indian independence movement|anti-colonial independence movement]], the developments in Modern Art drew from the underlying currents that linked modernity with an inherited, indigenous past. The art-historian Partha Mitter,<ref>{{Cite book|title=Art and nationalism in colonial India 1850-1922 : occidental orientations|last=Mitter, Partha.|date=1994|publisher=Cambridge University Press|isbn=0521443547|oclc=780034304}}</ref> has argued that Modern Art in India developed through a series of interactions and frictions between "colonial hegemony and national self-image". Emerging out of the colonial encounter with the Western "other", the options available were within the confines of colonial ideologies as well as colonial institutions of art. | ||
Anubha Mehta notes that the Gandhian movement was a political one, and not a social one. There were only a few phases when the artists were directly involved. Most important was the moment of [[Nandalal Bose]]’s involvement. From 1920, some occasional exhibitions of paintings coincided with the sessions of the [[History of the Indian National Congress|Indian National Congress]]. In 1936, [[Nandalal Bose]] responded to [[Mahatma Gandhi|Gandhi]]’s summons to organise an exhibition of Indian art at the Lucknow session of the INC. From hereon, the project of placing exhibitions of a continuous history of Indian art became important.<ref name=":0">Mehta, Anubha. ''State and culture : a case study of Lalit Kala Akademi ; the national academy of visual arts, New Delhi (1954-1999)'' (New Delhi: Jawaharlal Nehru University, 2000. Unpublished.)</ref> In 1937, the entire Congress township at Faizpur in Maharashtra was designed as an ideological statement by prominent Modern artists. By 1938, the INC pavilions at [[Haripura]] were decorated by artists from [[Santiniketan Art Movement|Shantiniketan]] led by [[Nandalal Bose]]. Drawing stylistic inspiration from ‘folk’ art, the subject matter was rural life, and ordinary people. This was an important moment in India's history of Modern Art as it revelled in the affinity with folk, which seemed to underline an imaginative and technical range that had a richer visual vocabulary that of [[Academic art|Western Academism]]. This art made to appeal both to the connoisseur and the common man. This came to be the nationalist alternative that was firmly in opposition to the colonial art establishment. The multiplicity of responses of the Indian artists to western modes of art served as a catalytic force and created a foundation for exploring what could be the specific Indian character of modern Indian art. This very cause, of the Indian character, was taken up by the Lalit Kala Akademi when it was established in 1954.<ref name=":0" /> | Anubha Mehta notes that the Gandhian movement was a political one, and not a social one. There were only a few phases when the artists were directly involved. Most important was the moment of [[Nandalal Bose]]’s involvement. From 1920, some occasional exhibitions of paintings coincided with the sessions of the [[History of the Indian National Congress|Indian National Congress]]. In 1936, [[Nandalal Bose]] responded to [[Mahatma Gandhi|Gandhi]]’s summons to organise an exhibition of Indian art at the Lucknow session of the INC. From hereon, the project of placing exhibitions of a continuous history of Indian art became important.<ref name=":0">Mehta, Anubha. ''State and culture : a case study of Lalit Kala Akademi ; the national academy of visual arts, New Delhi (1954-1999)'' (New Delhi: Jawaharlal Nehru University, 2000. Unpublished.)</ref> In 1937, the entire Congress township at Faizpur in Maharashtra was designed as an ideological statement by prominent Modern artists. By 1938, the INC pavilions at [[Haripura]] were decorated by artists from [[Santiniketan Art Movement|Shantiniketan]] led by [[Nandalal Bose]]. Drawing stylistic inspiration from ‘folk’ art, the subject matter was rural life, and ordinary people. This was an important moment in India's history of Modern Art as it revelled in the affinity with folk, which seemed to underline an imaginative and technical range that had a richer visual vocabulary that of [[Academic art|Western Academism]]. This art made to appeal both to the connoisseur and the common man. This came to be the nationalist alternative that was firmly in opposition to the colonial art establishment. The multiplicity of responses of the Indian artists to western modes of art served as a catalytic force and created a foundation for exploring what could be the specific Indian character of modern Indian art. This very cause, of the Indian character, was taken up by the Lalit Kala Akademi when it was established in 1954.<ref name=":0" /> | ||
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== Formation == | == Formation == | ||
As the national academy of fine arts, the Lalit Kala Akademi was envisioned with a clear perspective regarding its purpose as a National institutions. It was established on August 5, 1954. [[Jawaharlal Nehru|Nehru]] envisioned the LKA as being democratic in its reach, membership and functioning, whereas [[Abul Kalam Azad|Azad]]’s idea of it was based on the line of the [[French academies|French Academy]] which had a rather exclusivist criteria. Contradictions like these abound. While one of the constitutional objects of the LKA in 1954 was to preserve and project art forms of surviving indigenous craftsmen, painters, and sculptors, the | As the national academy of fine arts, the Lalit Kala Akademi was envisioned with a clear perspective regarding its purpose as a National institutions. It was established on August 5, 1954. [[Jawaharlal Nehru|Nehru]] envisioned the LKA as being democratic in its reach, membership and functioning, whereas [[Abul Kalam Azad|Azad]]’s idea of it was based on the line of the [[French academies|French Academy]] which had a rather exclusivist criteria. Contradictions like these abound. While one of the constitutional objects of the LKA in 1954 was to preserve and project art forms of surviving indigenous craftsmen, painters, and sculptors, the "Creative Arts" as defined in the 1954 constitution are only paintings, sculpture, and graphics. In 1978, the rules of participation of the Triennial stated that the art forms constantly referred to as ‘folk’, ‘tribal’, and ‘tradition’ would not be allowed as they are not in the ambit of the "contemporary". Even as the organisation wanted to organise itself at an All India level, there is not a single official document professing linkages between the State Lalit Kala Akademis, Regional Centres, and the Zonal Cultural Centres.<ref name=":0" /> The orientations of the officials at the helm of the organisation and their professional credentials have constantly affected the nature of design, legislation, and implementation of LKA's programmes. The initial thrust of LKA's responsibilities emerged from conceptual framework of the founding father. [[Abul Kalam Azad|Azad]] defined the role of LKA as "providing facilities for training the sensibilities by the practise of one of the fine arts". The purpose was to develop finer aspects of the citizen's personality. | ||
The conflict in the constitutional objectives led to much confusion about its policy perspective especially in determining its nature as either an exclusive, elite organisation or as a one that was democratic in approach and functioning. In an absence of a clearly stated programme, LKA ended up being both.<ref name=":0" /> Both Nehru and Azad agreed in granting the members of the LKA total autonomy regarding internal functioning and programme legislation. Majority of the programmer were designed and carried forwards within the elite circuits of art forms and artists. This elite orientation also affected the forms of visual arts incorporated. For instance, in the 1940s and 50s, the contemporary art scene saw a predominance of painters. Consequently, the artists accommodated in the official rolls of the newly founded LKA ended up being mostly painters. Therefore, LKA was established largely as an Akademi of painters. | The conflict in the constitutional objectives led to much confusion about its policy perspective especially in determining its nature as either an exclusive, elite organisation or as a one that was democratic in approach and functioning. In an absence of a clearly stated programme, LKA ended up being both.<ref name=":0" /> Both Nehru and Azad agreed in granting the members of the LKA total autonomy regarding internal functioning and programme legislation. Majority of the programmer were designed and carried forwards within the elite circuits of art forms and artists. This elite orientation also affected the forms of visual arts incorporated. For instance, in the 1940s and 50s, the contemporary art scene saw a predominance of painters. Consequently, the artists accommodated in the official rolls of the newly founded LKA ended up being mostly painters. Therefore, LKA was established largely as an Akademi of painters. | ||
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[[File:Garhi Art studios.jpg|thumb|Garhi Art studios]] | [[File:Garhi Art studios.jpg|thumb|Garhi Art studios]] | ||
=== Garhi Studios === | === Garhi Studios === | ||
The LKA provided for the Garhi Studios as an institutional facility for the organisation of seminars, artist workshops, lecture demonstrations, and exhibitions. Beginning with the establishment of eight studios at Bistidari Malcha Mahal in New Delhi, it was expanded to thirty six studios — including thirty two individual studios and four community studios. It has become a center for arranging exhibitions, ceremonial events, artists’ camps, seminars etc. The functions it performs are much beyond the scope of a studio. For instance, in the 1978 Triennale, the Garhi center was a major activity hub. Souvenirs were made by these studios for foreign dignitaries and its grounds were used to host meetings, camps, on-the-spot workshops, and displays. | The LKA provided for the Garhi Studios as an institutional facility for the organisation of seminars, artist workshops, lecture demonstrations, and exhibitions. Beginning with the establishment of eight studios at Bistidari Malcha Mahal in New Delhi, it was expanded to thirty six studios — including thirty two individual studios and four community studios. It has become a center for arranging exhibitions, ceremonial events, artists’ camps, seminars etc. The functions it performs are much beyond the scope of a studio. For instance, in the 1978 Triennale, the Garhi center was a major activity hub. Souvenirs were made by these studios for foreign dignitaries and its grounds were used to host meetings, camps, on-the-spot workshops, and displays. | ||
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In 1968, the LKA started its ambitious programme aiming to enter the international art circuit with the Triennale-India exhibitions. In these exhibitions, a host of countries were invited to participate in New Delhi at regular intervals of 3–4 years. It began at a point in time when the purposed of such international exhibitions in the west was already being questioned.<ref name=":0" /> There were however many who believed in the potential of the Triennale as a pre-requisite for an internationalism of the arts. With the end of colonialism, new dimensions, context and idioms were developing - and the Triennale aimed not only at creating a meeting ground for artists from the global south but also for those of the industrially developed countries. | In 1968, the LKA started its ambitious programme aiming to enter the international art circuit with the Triennale-India exhibitions. In these exhibitions, a host of countries were invited to participate in New Delhi at regular intervals of 3–4 years. It began at a point in time when the purposed of such international exhibitions in the west was already being questioned.<ref name=":0" /> There were however many who believed in the potential of the Triennale as a pre-requisite for an internationalism of the arts. With the end of colonialism, new dimensions, context and idioms were developing - and the Triennale aimed not only at creating a meeting ground for artists from the global south but also for those of the industrially developed countries. | ||
[[Nancy Adajania]] writes how the Triennale echos the rhetoric surrounding internationalism as not necessarily a monopoly of the industrially advanced societies of West Europe and North America.<ref name=":1">Nancy Adajania, ‘Globalism Before Globalisation: The Ambivalent Fate of Triennale India’ in Shanay Jhaveri ed.,Western Artists and India: Creative Inspirations in Art and Design (Bombay: The Shoestring Publisher, 2013).</ref> It was an assertion that the societies of the [[global South]] could stake an equal claim in articulating a vision of the world. The Triennale had its roots in the [[Non-Aligned Movement|Non-Alignment Movement]]’s notion of the third-way or third position in global politics. [[Mulk Raj Anand]], who proposed and founded the Triennale saw treated non-alignment as a | [[Nancy Adajania]] writes how the Triennale echos the rhetoric surrounding internationalism as not necessarily a monopoly of the industrially advanced societies of West Europe and North America.<ref name=":1">Nancy Adajania, ‘Globalism Before Globalisation: The Ambivalent Fate of Triennale India’ in Shanay Jhaveri ed.,Western Artists and India: Creative Inspirations in Art and Design (Bombay: The Shoestring Publisher, 2013).</ref> It was an assertion that the societies of the [[global South]] could stake an equal claim in articulating a vision of the world. The Triennale had its roots in the [[Non-Aligned Movement|Non-Alignment Movement]]’s notion of the third-way or third position in global politics. [[Mulk Raj Anand]], who proposed and founded the Triennale saw treated non-alignment as a "genealogical matrix".<ref name=":1" /> Centered around Anand's creative humanist approach, the first edition of Triennale India brought together 609 works from 31 countries. | ||
In the 1970s, [[Vivan Sundaram]]’s protest against the Triennale was emanating from the emphasis on the international that overlooked and marginalised Indian's own complex history. Among the many reasons behind the protest was also to call for a democratisation of the working of the LKA. The acclaimed art-crtitc [[Geeta Kapur]] emerged as one of the most vehement critics of the Triennale as she recognised their narrow economism as an extension of the international art exhibitions with vested commercial interests of commercial art dealers operating at the behest of both public and private, individual and national agents. | In the 1970s, [[Vivan Sundaram]]’s protest against the Triennale was emanating from the emphasis on the international that overlooked and marginalised Indian's own complex history. Among the many reasons behind the protest was also to call for a democratisation of the working of the LKA. The acclaimed art-crtitc [[Geeta Kapur]] emerged as one of the most vehement critics of the Triennale as she recognised their narrow economism as an extension of the international art exhibitions with vested commercial interests of commercial art dealers operating at the behest of both public and private, individual and national agents. | ||
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* On 17 May 2018 President [[Ram Nath Kovind]] appointed [[Uttam Pacharne]], an artist and sculptor as chairman of the Lalit Kala Akademi. He is a member of the advisory committee, Kala Academy, Goa and member of advisory committee, P L Deshpande State Lalit Kala Academy and director, Janseva Sahakari Bank, Borivali, [[Mumbai]].<ref>{{Cite web|title=Artist Uttam Pacharne appointed Lalit Kala Akademi chairman|url=https://www.newindianexpress.com/nation/2018/may/17/artist-uttam-pacharne-appointed-lalit-kala-akademi-chairman-1815980.html|access-date=2021-01-15|website=The New Indian Express}}</ref> He would hold office for a term of three years from the date on which he assumes charge. He is the recipient of National Lalit Kala Award 1985, Maharashtra Gaurav Puraskar 1985 from Government of Maharashtra, Junior National Award 1986 and Jeevan Gaurav Puraskar 2017 from Prafulla Dahanukar Foundation.<ref>{{cite web|title=Chairman |url=http://www.newindianexpress.com/nation/2018/may/17/artist-uttam-pacharne-appointed-lalit-kala-akademi-chairman-1815980.html |publisher=[[The New Indian Express]] |date=17 May 2018 }}</ref> | * On 17 May 2018 President [[Ram Nath Kovind]] appointed [[Uttam Pacharne]], an artist and sculptor as chairman of the Lalit Kala Akademi. He is a member of the advisory committee, Kala Academy, Goa and member of advisory committee, P L Deshpande State Lalit Kala Academy and director, Janseva Sahakari Bank, Borivali, [[Mumbai]].<ref>{{Cite web|title=Artist Uttam Pacharne appointed Lalit Kala Akademi chairman|url=https://www.newindianexpress.com/nation/2018/may/17/artist-uttam-pacharne-appointed-lalit-kala-akademi-chairman-1815980.html|access-date=2021-01-15|website=The New Indian Express}}</ref> He would hold office for a term of three years from the date on which he assumes charge. He is the recipient of National Lalit Kala Award 1985, Maharashtra Gaurav Puraskar 1985 from Government of Maharashtra, Junior National Award 1986 and Jeevan Gaurav Puraskar 2017 from Prafulla Dahanukar Foundation.<ref>{{cite web|title=Chairman |url=http://www.newindianexpress.com/nation/2018/may/17/artist-uttam-pacharne-appointed-lalit-kala-akademi-chairman-1815980.html |publisher=[[The New Indian Express]] |date=17 May 2018 }}</ref> | ||
* In March, President Ram Nath Kovind appointed M.L. Srivastava, joint secretary (Academies) at the Ministry of Culture, as the pro-tem chairman of the Lalit Kala Akademi.<ref>{{Cite web|date=2018-04-01|title=Joint Secretary ML Srivastava appointed as Lalit Kala Akademi protem chairman|url=https://indianexpress.com/article/india/joint-secy-appointed-as-lalit-kala-akademi-protem-chairman-5118917/|access-date=2021-01-15|website=The Indian Express|language=en}}</ref> | * In March, President Ram Nath Kovind appointed M.L. Srivastava, joint secretary (Academies) at the Ministry of Culture, as the pro-tem chairman of the Lalit Kala Akademi.<ref>{{Cite web|date=2018-04-01|title=Joint Secretary ML Srivastava appointed as Lalit Kala Akademi protem chairman|url=https://indianexpress.com/article/india/joint-secy-appointed-as-lalit-kala-akademi-protem-chairman-5118917/|access-date=2021-01-15|website=The Indian Express|language=en}}</ref> | ||
* Since the Government took over, former Chairman of Karnataka Lalit Kala Academy CS Krishna Setty, a well-known artist and art critic headed LKA as Administrator. After being charged with misappropriation of funds in mid-2017, the ministry instituted a three-member inquiry committee to probe the allegations. This order was withdrawn on 16 August 2017. The Delhi high court, which heard the PIL alleging misappropriation of funds at the national arts body, had sought an explanation from the ministry on 24 August 2017, however, the ministry did not reply. As the next date of hearing of the case was 8 May, the ministry decided to let Setty go in the first week of April 2018, after the Prime Minister's Office (PMO), in 2017, took note of repeated complaints, including missing artworks of the celebrated painter M.F. Husain from the Akademi. In reply to a newspaper, he stated, "M.F. Husain’s work disappeared (from the Lalit Kala Akademi) long ago. It didn’t happen in my tenure and so I am not connected to it".<ref>{{cite web|title=Lalit Kala Akademi |url=https://thewire.in/the-arts/culture-ministry-raised-former-lalit-kala-akademi-heads-salary-days-before-sacking.html |publisher=[[The Wire]] |date=8 May 2018 }}</ref> | * Since the Government took over, former Chairman of Karnataka Lalit Kala Academy CS Krishna Setty, a well-known artist and art critic headed LKA as Administrator. After being charged with misappropriation of funds in mid-2017, the ministry instituted a three-member inquiry committee to probe the allegations. This order was withdrawn on 16 August 2017. The Delhi high court, which heard the PIL alleging misappropriation of funds at the national arts body, had sought an explanation from the ministry on 24 August 2017, however, the ministry did not reply. As the next date of hearing of the case was 8 May, the ministry decided to let Setty go in the first week of April 2018, after the Prime Minister's Office (PMO), in 2017, took note of repeated complaints, including missing artworks of the celebrated painter M.F. Husain from the Akademi. In reply to a newspaper, he stated, "M.F. Husain’s work disappeared (from the Lalit Kala Akademi) long ago. It didn’t happen in my tenure and so I am not connected to it".<ref>{{cite web|title=Lalit Kala Akademi |url=https://thewire.in/the-arts/culture-ministry-raised-former-lalit-kala-akademi-heads-salary-days-before-sacking.html |publisher=[[The Wire (India)|The Wire]] |date=8 May 2018 }}</ref> | ||
* The former pro tem chairman of LKA was artist [[Balan Nambiar]].<ref>{{cite web|title=General Council Members |url=http://www.lalitkala.gov.in/history/up-coming-events/gc-members.html |publisher=Official website |url-status=dead |archive-url=https://web.archive.org/web/20140715182953/http://lalitkala.gov.in/history/up-coming-events/gc-members.html |archive-date=2014-07-15 }}</ref> | * The former pro tem chairman of LKA was artist [[Balan Nambiar]].<ref>{{cite web|title=General Council Members |url=http://www.lalitkala.gov.in/history/up-coming-events/gc-members.html |publisher=Official website |url-status=dead |archive-url=https://web.archive.org/web/20140715182953/http://lalitkala.gov.in/history/up-coming-events/gc-members.html |archive-date=2014-07-15 }}</ref> | ||
* [[Ashok Vajpeyi]] (April 2008-December 2011)<ref>{{cite news |title=Arty soul: Lalit Kala Akademi Chairman Ashok Vajpeyi..|url=http://www.hindu.com/mp/2010/12/24/stories/2010122450810500.htm |archive-url=https://archive.today/20130125121959/http://www.hindu.com/mp/2010/12/24/stories/2010122450810500.htm |url-status=dead |archive-date=25 January 2013 |work=[[The Hindu]] |date=24 December 2010 }}</ref> | * [[Ashok Vajpeyi]] (April 2008-December 2011)<ref>{{cite news |title=Arty soul: Lalit Kala Akademi Chairman Ashok Vajpeyi..|url=http://www.hindu.com/mp/2010/12/24/stories/2010122450810500.htm |archive-url=https://archive.today/20130125121959/http://www.hindu.com/mp/2010/12/24/stories/2010122450810500.htm |url-status=dead |archive-date=25 January 2013 |work=[[The Hindu]] |date=24 December 2010 }}</ref> | ||
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==National Art Award== | ==National Art Award== | ||
The National Art Award is one of the awards and honours in India and Asia awarded by Lalit Kala Akademi. In these Awards, A plaque, a shawl and 1 lakh rupees are given to the awardee.<ref>{{cite web |title=Daily Current Affairs 4 March 2020 |date=4 March 2020 |url=https://pendulumedu.com/current-affairs/daily-current-affairs-04-mar-2020 |access-date=4 March 2020}}</ref> | The National Art Award is one of the awards and honours in India and Asia awarded by Lalit Kala Akademi. In these Awards, A plaque, a shawl and 1 lakh rupees are given to the awardee.<ref>{{cite web |title=Daily Current Affairs 4 March 2020 |date=4 March 2020 |url=https://pendulumedu.com/current-affairs/daily-current-affairs-04-mar-2020 |access-date=4 March 2020}}</ref> [[Karan Gera]] is one of the youngest ever to win the Lalit Kala Akademi award.<ref>The Hindu, one of India's leading English Daily newspaper http://www.hindu.com</ref> | ||
==See also== | ==See also== | ||