Painting in Bihar
 | This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these template messages)
|
HistoryEdit
Prehistoric and EarlyEdit
Prehistoric rock paintings have been discovered in the Kaimur hills,[1] Nawada and Jamui. A Neolithic settlement was also discovered in the thick of the alluvium, over the bank of the Ganges at Chirand.[2] The rock paintings depict prehistoric lifestyle and natural environment.[3] The paintings display the sun, moon, stars, animals, plants, trees, rivers and are believed to represent love towards nature.[4] The paintings also highlight daily life of the early humans in Bihar, displaying hunting, running, dancing, and walking.[5][6] The rock paintings in Bihar are not only identical to those in central and southern India, but also are similar to those in Europe and Africa. The rock paintings of Spain's Altamira and France's Lascaux are almost identical to those found in Bihar.[7]
Mauryan EraEdit
While we can be sure of Mauryan proficiency in Painting field based on the descriptions of Megasthenes, unfortunately no proper representative has been found to date. Many centuries later, the paintings of the Ajanta Caves, the oldest significant body of Indian painting, show there was a well-developed tradition, which may well stretch back to Mauryan times.
17th to mid-20thEdit
Those who practiced this art form were descendants of Hindu artisans of Mughal painting. Facing persecution from the Mughal Emperor, Aurangzeb, these artisans found refuge, via Murshidabad, in Patna during the late 18th century. Though Patna Qualam was an offshoot of the well-known Mughal Miniature Painting but Unlike Mughal painting, which focused on the royalty and court scenes, flag bearers of Patna Qualam were deeply influenced by daily life of common man. The Patna Qualam flourished in Bihar during the early 18th to mid-20th centuries. In Patna they came under patronage of local aristocracy and often Indophile scions of the early East India and started a unique form of painting which came to be known as the Company painting, or Patna School of Painting.[8][9] Patna School of Painting shared the characteristics of the Mughal painters, but whereas the Mughal style depicted only royalty and court scenes, the Patna artists also started painting bazaar scenes. They used watercolours on paper and on mica. The style's subject matter evolved to include scenes of Indian daily life, local rulers, festivals, and ceremonies. This school of painting formed the basis for the formation of the College of Arts and Crafts, Patna under the leadership of Shri Radha Mohan.
Post IndependenceEdit
VernacularEdit
Mithila PaintingEdit
One is Mithila painting, a style of Indian painting used in the Mithila region of Bihar.Traditionally, painting was one of the skills that was passed down from generation to generation in the families of the Mithila region, mainly by women. Painting was usually done on walls during festivals, religious events, and other milestones of the life cycle, like birth, Upanayanam (the sacred thread ceremony), and marriage.[10] Mithila painting was traditionally done on huts' freshly plastered mud walls, but today it is also done on cloth, handmade paper, and canvas. Famous Mithila painters have included Smt Bharti Dayal, Mahasundari Devi, the late Ganga Devi, and Sita Devi. Mithila painting is also called Madhubani art. It mostly depicts human beings and their association with nature. Common scenes illustrate deities like Krishna, Ram, Shiva, Durga, Lakshmi, and Saraswati from ancient epics. Natural objects like the sun, moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events like weddings. Generally no space is left empty.[10]
Tikuli PaintingEdit
The making of Tikuli involves melting of glass, blowing into a thin sheet and making and adding traced pattern in natural colors. Afterwards it is embellished with gold foils and jewels. The glass get melted down in the furnace and then blown in the form of a balloon. On cooling, a special tool was used to cut it into a definite shape. Then the golden work was pasted on it. Then after, the images of God and Goddess were engraved with the help of bamboo pencil. The process involved around seven to ten days and several skilled hands to craft a Tikuli Painting. This art form acquired fame and glory during Mughal era and spread overseas too.[11]
Manjusha PaintingEdit
Manjusha painting, a thick line is used and the hair is shown not with lines but with colors. There is a tradition of showing the five sisters of the poisonous together in a snake-form. Where the character has to show domination, the hair is kept open. The pictures depict Bihula with her open hairstyle and a portrait of Manjusha or Nag in front of it, while the drawing of Mansa depicts the nectar Kalash in the right hand of the goddess and the picture of Nag in the left hand. Embellishments are predominant in women's clothes. Pink, yellow and green colors are mainly used in painting. In some cases, the common auxiliary colors associated with these three colors, such as green and orange, are also used. Black color is used in the human shape to bring out the snake-venom. These colors have esoteric and symbolic meanings. The pink and yellow colors signify excitement and exuberance, while green is a symbol of gloom and growth. The traditional artist of Manjushapainting, Chakravarti Devi used natural colors. But now posters, water, oil and ‘acrylic color’ are being used.
Patna QualamEdit
Patna Kalam is regarded as an off-shoot of Mughal painting, with influences from Persian and Company (British) styles.[12] The portraits can be clearly seen having colours and linings from Mughal style, and the shading can be seen to be adopted from the British style.[13] Diverging from the Mughal and Persian style of wide and exquisitely decorated borders, Patna Kalam primarily focused on the subject of the painting. Their main subjects were common man, local festivals, ceremonies, bazaar scenes, local rulers, and domestic activities. The paintings were done on diverse surfaces such as paper, mica, and even ivory diskettes, that were used as brooches.[8]
A distinguishing characteristic of Patna Kalam is lack of any landscape, foreground or background. Another characteristic was the development in the shading of solid forms. Patna Kalam paintings are painted straightway with the brush without marking with pencil to delineate the contours of the picture and the procedure of painting is popularly known as 'Kajli Seahi.'[9]
ArtistEdit
![[icon]](/wiki/File:Wiki_letter_w_cropped.svg){kind=small} | This section is empty. You can help by adding to it. (May 2021) |
SchoolsEdit
College of Arts and Crafts, Patna - The School is an important center of fine arts (especially Patna Qualam) in Bihar.
NotesEdit
- ↑ https://thevisitbihar.com/rock-cut-cave-tour/.
{{cite web}}: Missing or empty|title=(help)CS1 maint: url-status (link) - ↑ http://yac.bih.nic.in/Da-01.htm Prehistoric era in Bihar
- ↑ "heritage university" (PDF).
{{cite web}}: CS1 maint: url-status (link) - ↑ "https://www.ancient-origins.net/ancient-places-asia/newly-discovered-rock-art-heritage-kaimur-range-bihar-india-00996".
{{cite web}}: External link in|title=|url=(help)CS1 maint: url-status (link) - ↑ http://discoverbihar.bih.nic.in/pages/art_craft.htm#Rock%20Paintings Archived 2009-02-05 at the Wayback Machine Rock painting at Kaimur
- ↑ "Ancient Asia journal". doi:10.5334/aa.12308.
{{cite journal}}: Cite journal requires|journal=(help)CS1 maint: url-status (link) - ↑ "Archived copy". Archived from the original on 2009-02-02. Retrieved 2008-12-01.
{{cite web}}: CS1 maint: archived copy as title (link) discovery of rock paintings - ↑ 8.0 8.1 "Return of the 'Patna Kalam'". Archived from the original on 15 May 2019.
- ↑ 9.0 9.1 "Patna Kalam Painting- Origin and Characteristics". Archived from the original on 25 April 2019.
- ↑ 10.0 10.1 Carolyn Brown Heinz, 2006, "Documenting the Image in Mithila Art", Visual Anthropology Review, Vol. 22, Issue 2, pp. 5-33
- ↑ "Tikuli Painting – UMSAS". Retrieved 2021-05-07.
- ↑ "Patna Kalam - Patna School of Painting Bihar India". www.bharatonline.com. Archived from the original on 25 December 2018. Retrieved 2018-12-25.
- ↑ Rajya Sabha TV, RSTV Documentary - Patna Kalam, retrieved 2018-12-25
ReferencesEdit
- Blurton, T. Richard, Hindu Art, 1994, British Museum Press, ISBN 0 7141 1442 1
- Chakraverty, Anjan, Indian Miniature Painting, 2005, Lustre Press, ISBN 8174363343, 9788174363343
- Craven, Roy C., Indian Art: A Concise History, 1987, Thames & Hudson (Praeger in USA), ISBN 0500201463
- Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican History of Art, ISBN 0300062176
- Sardar, Marika. "Islamic Art of the Deccan". Metropolitan Museum of Art. Retrieved 2019-02-03.
- "Miniature painting", Centre for Cultural Resources and Training, Indian Government
- "Modern Indian painting", Centre for Cultural Resources and Training, Indian Government
- "Wall paintings", Centre for Cultural Resources and Training, Indian Government
Further readingEdit
- Havell, E. B. (1908). Indian sculpture and painting. John Murray, London.
- Coomaraswamy, Ananda K. (1914). Viśvakarmā; examples of Indian architecture, sculpture, painting, handicraft. London.
- Havell, E. B. (1920). A Handbook of Indian Art. John Murray, London.
- Indian Painting, by Percy Brown. Published by Y. M. C. A. publishing house, 1960.
- Indian Painting, by Philip S. Rawson. Published by P.Tisné, 1961.
- Indian Painting: The Scene, Themes, and Legends, by Mohindar Singh Randhawa, John Kenneth Galbraith. Published by Houghton Mifflin, 1968.
- Indian Painting, by Douglas E. Barrett, Basil Gray. Published by Skira, 1978. ISBN 0-8478-0160-8.
- Kossak, Steven. (1997). Indian court painting, 16th–19th century. Metropolitan Museum of Art. ISBN 0-87099-783-1
- Lerner, Martin (1984). The flame and the lotus: Indian and Southeast Asian art from the Kronos collections. New York: The Metropolitan Museum of Art. ISBN 0-87099-374-7.
- A History of Indian Painting: The Modern Period by Krishna Chaitanya. Published by Abhinav Publications, 1994. ISBN 81-7017-310-8.
- Ramayana by Valmiki illustrated with Indian miniatures from the 16th to the 19th century, Diane de Selliers Publisher, 2011, ISBN 978-2-903656-76-8
- Welch, Stuart Cary (1985). India: art and culture, 1300-1900. New York: The Metropolitan Museum of Art. ISBN 978-0-944142-13-4.
External linksEdit
- Online exhibits