ENDANGERED

ARTFORMS

Sahana M
16GAEA3030
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 UNIVERSITY VISVESVARAYA COLLEGE OF ENGINEERING

CERTIFICATE

This is to certify that the elective titled “endangered artforms”, has been
submitted by SAHANA M (Reg.No: 16GAEA3030, BATCH 2016-2021) at
Department of Architecture towards partial fulfilment of the requirements for the
award of Bachelor’s Degree in Architecture. This is a Bonafede work of the
student.

Chairman Guided by :RASHMI PARMESH

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 DECLARATION

I, SAHANA M, author of the ARCHITECTURAL ELECTIVE titled

‘ENDANGERED ARTFORMS’, hereby declare that this is an
independent work of mine, carried out towards partial fulfilment of the
requirements for the award of Bachelor’s Degree in Architecture at
the Department of Architecture, UVCE, BANGALORE. The work
has not been submitted to any other organization /institution for the
award of any degree / Diploma.

SAHANA M
REG.NO: 16GAEA3030
2016-2021
Bachelors of Architecture
Department of Architecture

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 ABSTRACT
INDIAN ARTS AND CRAFTS HAVE DEVELOPED OVER
MILLENNIA AND TODAY NOT JUST EACH REGION
BUT EVEN MICRO-REGIONS HAVE THEIR OWN
UNIQUE TRADITIONS INVOLVING THE LIFE OF
ARTISIANS AND THEIR COMMUNITY AND THEIR
OWN CULTURAL TRADITIONS. EXPLORING THE
POSSIBILITY OF GETTING GEOGRAPHICAL
INDICATORS AND SPECIAL IDENTIFICATIONS AND
MAINLY THEIR LIVING HABITATS.
HENCE PROVIDING AN OPPORTUNITY TO
STUDY ABOUT THE DIFFERENT ART FORMS AND
THE CULTURE OF RESPECTIVE REGIONS. A STEP TO
LEARN ABOUT THE HERITAGE AND CULTURE OF
INDIA AND IT ALSO INVOLVES THE DIVERSITY OF
RESPECTIVE ARTFORMS.

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 INTRODUCTION
India is a rich country in many ways. It has been retaining
its traditional wisdom in one side and going ahead with
the innovation, discovery, search and research and
scientific testing in other side. It is a country where
airplanes are flying high, astronauts are making their way
into space and at the same time bullock carts and animal
driven carts are also used in their traditional forms.
It is country where around 169,00000 craftsmen in
various forms of utilitarian and creative arts are still
involved and managing to survive on the basis of their
creativity and production. India is a country where an
artist is respected as the most knowledgeable scholars in
the field of literature or Vedas or metaphysics or
philosophy or science. In many parts of Eastern India, for
example, the traditional potters are called Pandit. They
use Pandit as their title and their creativity is recognized
in ritual and other occasions at par with the Brahmans
who perform major role in completion of rituals
concerning marriage, sacred thread ceremony, nuptial
ceremony, first hair cut ceremony, initiation of education
rite, etc. The recognition does not stop here. It goes
ahead. In most of the cultural and geographical pockets
of India the craft community such as Kumbaras, barbers
and other are given almost 40 per cent share in terms of
wage and recognition with the Brahmins. This presents a

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wonderful example of harmony between the people and
their creativity.
The women of Mithila (Bihar) who are now famous in the
world for their extraordinary Maithila or Madhubani
painting consider their art of painting or making designs
from the brush as art of writing. Whenever, a Mithila
painter is asked to talk about the folk painting she says
that she is writing the Khobar ghar (bridal chamber).
Metaphorically in classical Sanskrit tradition a craftsman
or an artist is always compared with Gods. In Hinduism,
Vishnu has a thousand names, many of which refer to
works of art. In Islam, one of the hundred names of Allah
is Musawwer, the artist. The Sanskrit word kala (art)
means the divine attributes, which from everyday life, it
reflects a worldview. No distinction is made between fine
and decorative, free or servile arts. The eighteen or more
professional arts (silpa) and sixty-four vocational arts
(kala) embrace all kinds of skilled activity. There is no
difference between a painter and a sculptor. Both are
known as shilpi or karigar. The term shilpa designates
ceremonial act in the Asvalayana Srauta Sutra, and in this
sense, it is close to karu, which in the Vedic context
stands for a Vishvakarma, a god of creation, is mentioned
as dhatukarmara, while karmara alone refers to artisans
and artificers (Rig-Veda X.72.2; Atharva-Veda III 5-6;
Manu IV 215). Vishvakarma is supposed to create things
out of dhatu, “raw material”, an act known as sangha
mana (Rig-Veda X 72.2).

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 Amir Khusrow – a 13th century Sufi philosopher and
poet from India once visited Iran. In Iran he was asked to
introduce himself. And his response was marvellous:
“Why are you asking me to introduce myself! I am a parrot
of India? He replied. Once recognizing the ultimate
craftsmanship of Indians, Mohammad Ghori said: I have
heard that there is a country of people where the
mountains are made of gold, the cultivable lands are
made makhmal(velvet) and the children of this land play
the toy balls made of diamond.”

Similarly, the weaving of Kashi was well recorded in the

old and sacred texts of India. In Vedas there is a mention
of Kashi cloth. It is said that after the mahaparinirvana of
Gautama the Buddha, his dead body was wrapped with
the Kashi vastra (or clothes).
One question is still unsolved and unanswered. What is
the state of craftsmen or artist in India? This question
carries a huge and thick question mark at its end. India,
no doubt is a very big country. It is big also because of its
diversity and racial character. More than 3000 castes 432
tribal communities, believers of Hinduism, Islam,
Christianity, Sikh, Jain, Buddhism and Zorastrian have
been living together since centuries. Over 1650 dialects
are spoken by the people of India. The harmony among
the people of India is worth mentioning.
The planners and policy makers of India have been
addressing many problems and concerns of this country.
They are also addressing the need of the craftsmen and

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their craftsmanship but probably the issue is so vast and
complicated that the issue has not been touched in
complete form. The Indian government, both post and pre
independence, has been arguably the chief benefactor or
patron of these traditional arts. But as the challenges
before the nation, especially after 1947, have had more
pressing issues to be addressed, the last five-odd
decades have seen gharanas end, kothas wound up,
machines replace human skill and artistry, and the artists
themselves become construction labourers.
In most of the sates of India there are Craft Boards
looking after the problems of the craftsmen and their
crafts. These Boards are also involved in promoting the
dying crafts by way of initiating market links,
entrepreneurship skills, organizing crafts melas and
bazaars, helping the craftsmen to export their products,
honouring the craftsmen with best craftsman of the state,
providing scholarship, etc. But we must not forget one
thing that covering the need of all 169,00000 craftsmen
and their crafts is not a simple task. It needs involvement
of people from all walks of life: planners, policy makers,
administrators, technicians, politicians, technical experts,
lovers of arts, craftsmen themselves and last but not the
least the younger generations.

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 INDIAN ART FORMS
AND TRADITIONS
The art treasures of India are among the greatest in the
world. They include 4,000-year old statuettes of lifelike
vitality, fine paintings, and many types of images of
Buddha. They also include temples carved into solid rock,
huge temples with elaborately sculptured towers, and
graceful mosques, palaces and tombs, all ornamented
with delicate decorative work. Archaeologists have
unearthed ruined cities from a period around 2000 B.C.
known as the Harappan civilization. Objects found there
and at other sites served, both, religious and practical
purposes. After, this time, there is a break in the record of
artistic objects. Very few objects from the period 1600-
500B.C. have been found. But, from about 200 B.C., an
unbroken sequence of art objects survives to give art,
historians, some idea of the long rich tradition of Indian
art.

PAINTING
The roots of the Indian Painting can be traced back to the
days of the Indus Valley civilization. Paintings on pottery
reflect a keen sense of painting among the Indus valley
people. The paintings of the Ajanta and Ellora caves
exhibit the creative genius of the artists of that period.
Enduring tough weather conditions, these paintings have,

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surprisingly, survived for such a long period of time. A
better perspective to study the painting forms of the whole
of the nation is to divide it into various heads such as the
Paintings of North India, South India, East India, West
India, Central and Deccan India and under some special
captions such as the Rajasthani Paintings, Mughal
Paintings and the Colonial and Modern Paintings. To
name few school of painting styles there are:
1. Madhubani Painting. Started in the northern part of
India (present jharkhand, Bihar and some parts of UP
and Bengal). Stylised with long eyes like that of
Kalighat Paintings native to Bengal which can be
seen on some traditional Maa Durga sculptures.
Made famous by the British, it is the most recognised
style of art in India and the easiest one.

2. Kalamkari. Meaning Art with Pen, it is of two types

in India: Machilipatnam, which originates from
Machilipatnam in Andhra Pradesh and Srikalahasti,
which originates from Chittoor in the same state.
While the former refers to block-printed form of art,
the latter is a free-flowing art with a pen on fabric.
Today, Kalamkari art is used on sarees and ethnic
clothing, and depicts anything from flora and fauna
to epics such as Mahabharata or Ramayana.

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3. Tanjore. From down South, Tanjore or Thanjavur
paintings originated in 1600 AD, encouraged by the
Nayakas of Thanjavur. You can recognise a
Thanjavur painting by its use of gold foil, which
glitters and lends the painting a surreal look. These
panel paintings on wooden planks depict devotion
to gods, goddesses and saints. It borrows its styles
from Maratha and Deccani art, as well as European
styles.

4. Kalighat Paintings. It originated in the 19th century

Bengal, from Kalighat. It was the time when
upheaval against the British was a possible,
exciting idea. These paintings, on cloth and pattas,
at first depicted Gods and Goddesses, but then

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 took a turn towards social reform. With cheap paper
and paint colours, squirrel hair brushes and colour
pigments, the art was characterised by flawless
strokes, brushwork, and simple but bold drawings.
It sought to raise awareness about social
conditions in its viewers – rich zamindars were
depicted drinking wine with women, while priests
were shown with ‘unchaste’ women and
police babus being sloppy.

5. Patachitra. “Pata” meaning cloth and “Chitra”

meaning painting. A cloth-based scroll painting
native to Odisha and West Bengal, these paintings
with sharp, angular bold lines depict epics, Gods
and Goddesses. Originating from the fifth century
in religious hubs like Puri and Konark, around the
same time that sculpturing began, considering
there was no known distinction between an artist
and sculptor back then. What’s unique about this
art form is that the dress style depicted in the
paintings has heavy influence of the Mughal era.

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SCULPTURE

There is almost no individuality in Indian sculpture,

because figures are conceived of as shapes that are
more perfect than any to be found in human models.
Sculpting in India dates from the Indus Valley
civilization of 2500-1800 BCE, when small items
of bronze sculpture and terracotta sculpture were
produced. An early masterpiece is The Dancing Girl of
Mohenjo-Daro (c.2500-2000 BCE, National Museum,
New Delhi), arguably the finest surviving statuette of the
Indus Valley culture. This was followed by the great
circular stone pillars and carved lions of the Maurya
period (c. 250 BCE), and the mature Indian gigurative
sculpture of the second and first centuries BCE, in which
Hindu and Buddhist themes were already well
established. (For 2nd millennium arts in China,
see Shang Dynasty art c.1600-1000 BCE.) A wide range
of sculptural styles subsequently emerged in different
parts of India over succeeding centuries, but by 900 CE
Indian plastic art had reached a form that has lasted with
little change up to modern times. This sculpture is
distinguished not by a sense of plastic fullness but rather
by its linear character: the figure is conceived from the
standpoint of its outline, and typically is graceful and
slender with supple limbs. From 900 CE onwards, this
sculpture was used mainly as architectural decoration
with huge numbers of relatively small figures of mediocre
quality being produced for this purpose.

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TRIBAL AND FOLK ART

India had always been known as the land that portrayed

cultural and traditional vibrancy through its conventional
arts and crafts. The 35 states and union territories
sprawled across the country have their own distinct
cultural and traditional identities, and are displayed
through various forms of art prevalent there. Every region
in India has its own style and pattern of art, which is
known as folk art. Other than folk art, there is yet another
form of traditional art practiced by several tribes or rural
population, which is classified as tribal art. The folk and
tribal arts of India are very ethnic and simple, and yet
colorful and vibrant enough to speak volumes about the
country's rich heritage.
Folk art in India apparently has a great potential in the
international market because of its traditional aesthetic
sensibility and authenticity. The rural folk paintings of
India bear distinctive colorful designs, which are treated
with religious and mystical motifs. Some of the most
famous folk paintings of India are the Madhubani
paintings of Bihar, Patachitra paintings from the state of
Odisha, the Nirmal paintings of Andhra Pradesh, and
other such folk-art forms. Folk art is however not
restricted only to paintings, but also stretches to other art
forms such as pottery, home decorations, ornaments,
cloths-making, and so on. In fact, the potteries of some of
the regions of India are quite popular among foreign
tourists because of their ethnic and traditional beauty.
Moreover, the regional dances of India, such as the
Bhangra dance of Punjab, the Dandiya of Gujarat, the

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Bihu dance of Assam, etc, which project the cultural
heritage of those regions, are prominent contenders in
the field of Indian folk art. These folk dances are
performed by people to express their exhilaration on
every possible event or occasion, such as the arrival of
seasons, the birth of a child, weddings, festivals, etc. The
government of India, as well as other societies and
associations, have therefore made all efforts to promote
such art forms, which have become an intrinsic part of
India's cultural identity.
Tribal art, like folk art, has also progressed considerably
due to the constant developmental efforts of the Indian
government and other organizations. Tribal art generally
reflects the creative energy found in rural areas that acts
as an undercurrent to the craftsmanship of the tribal
people. Tribal art ranges through a wide range of art
forms, such as wall paintings, tribal dances, tribal music.

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 CLASSIFICATION BASED ON
REGION AND LIFE STYLE
The art of India begins way back in the Palaeolithic
culture of the Stone Age, with the famous Bhimbetka
petroglyphs at the Auditorium Cave, Bhimbetka, Madhya
Pradesh, as well as other petroglyphs at Daraki-Chattan,
a narrow, deep rock shelter in the Indragarh Hill, near
Tehsil Bhanpura, Madhya Pradesh. These
primitive cupules and instances of rock art have been
dated to as far back as 290,000-700,000 BCE. (For
other prehistoric artworks in the Far East, see
also: Chinese Neolithic art.) Later, Buddhists were
associated with many instances of cave art, which was
imitated in the seventh century by Hindus at Badami,
Aihole, Ellora, Salsette, Elephanta, Aurangabad and
Mamallapuram. In addition, Buddhist literature is full of
descriptions about late Iron Age royal palaces in India
being decorated with a variety of religious art including
frescoes and panel paintings but no such works have
survived. The best early frescoes to have emerged are
those from the Brihadisvara Temple at Chola, and the
murals on temple walls in Pundarikapuram, Ettumanoor,
Aymanam and Trivandrum.

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Madhubani
Practiced in the Mithila region of Bihar state, India, the
origins of Madhubani painting traditionally derive from the
time of the Ramayana, when King Janak commissioned
artists to portray the marriage of his daughter, Sita, with
Sri Rama who was regarded as the incarnation of the
Hindu god Vishnu.
Mughal
Mughal painting is a miniaturist style of Indian painting,
typically executed to illustrate texts and manuscripts. It
emerged and flourished during the Mughal Empire in the
sixteenth-nineteenth centuries, coinciding with the
upsurge in the art of illumination in Persia, which reached
its heyday during the Safavid Dynasty (1501-1722). In
fact, Mughal pictures were a blend of Indian and Islamic
art. One of the key patrons of Mughal painting was Akbar
(1556-1605). At Fatehpur Sikri, he employed the two
Persian master painters Abdus Samad and Mir Sayyid
Ali, and attracted artists from throughout India and Persia.
They painted on cloth using vivid reds, blues and greens,
as well more muted Persian colours of pink and peach.

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Rajput
Another type of miniature court-style art, Rajput
painting flourished in particular during the eighteenth
century, in the royal courts of Rajputana. Typically it
depicts a variety of themes, including Krishna’s life, epics
like the Ramayana and the Mahabharata, as well as
landscapes, and people. Colours used were usually
extracted from minerals, plants, even conch shells.
Brushes used by Rajput artists were typically very fine
and tapered.

Mysore

Noted for their elegance, subtle colours, and intricate

detail, Mysore painting is an important form of classical
art from Southern India. Mysore paintings portray Hindu
Gods and Goddesses and scenes from Hindu mythology.
The process of making a Mysore painting involves a
preliminary sketch of the image which is then covered by
a gesso paste made of Zinc oxide and Arabic gum to give
a slightly raised effect. Afterwards a thin gold foil is
pasted. The rest of the drawing is then pasted
using watercolour.

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Bengal

An Avant Garde, nationalist movement which reacted

against the dominant academic style of art in India as
promoted by both Indian and British art schools, the
Bengal School of Art was an influential style of painting
that developed in India during the British Raj in the early
twentieth century. Its influence waned with the spread of
modernist ideas in the 1920s.

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 MATERIALS AND
AVAILABILITY

Indian handicrafts and traditional crafts showcase the

rich heritage and true culture of our nation. With
beautiful designs, the artisans carry a legacy of their
land, myth, culture and carve their art into forms that
can be forwarded to generations. Indian artisans were
highly regarded and rewarded until the outbreak of
19th century industrialization. However, the Indian
Government, since independence has implemented
various plans to secure this sector, the
industrialization has been continued to affect artisans.
Technological advancement is also a major reason
behind the reduction of handcrafted products into
machine made products that cost a little less as
compared, this as a result taking Indian handicrafts
industry is on the verge of extinction.
On the other hand, the contribution of Indian
handicrafts cannot be neglected. The industry has
offered employment to a large number of artisans from
generation to generation. The condition of the industry
in India has been changed now. Instead of higher

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potentialities, the sector is suffering from the acute
decline in export business.

Earlier, raw materials used by artisans were largely

accessible due to the close links between the evolution
of crafts and locally available materials. Further, the
Jajmani system, which mainly comprises artisanal
caste and the village community to supply goods and
services; offered artisans with access to community
resources. Over the time, this traditional structure has
been broken down along with competition from
organized industry; artisans find it difficult to buy
quality raw materials at a price they can afford to pay.
In the absence of raw material banks, these local
artisans are forced to rely on local traders who provide
them raw materials against orders, at high prices, or
switch to non-traditional raw materials.

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With the beginning of globalization and the availability
of more affordable and varied products, the market is
facing severe competition in the global market. These
products are typically perceived as traditional, old-
fashioned and antithetical to modern tastes. There
have been lesser efforts made in order to reposition
the image of handicrafts in India and build customer
appreciation of the history and cultural identity
associated with these products. Apart from that, there
have been a few instances of traditional crafts being
contemporized to fit with changing market patterns.

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