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• Introduction
• The utilitarian aspect of folk art
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• Collective versus individual art
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• The folk print
• Specific folk categories
• Freedom of media
• Religious art
• Festival art
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folk art , predominantly functional or utilitarian visual art created by hand (or with limited mechanical facilities) for use by the maker or a small circumscribed group and containing an element of retention—the prolonged survival of tradition. Folk art is the creative expression of the human struggle toward civilization within a particular environment through the production of useful but aesthetic buildings and objects.

This article focuses on the usual sense of the term folk art —that is, on the visual arts. For folk art in the broader sense, see also folk dance ; folk music ; folklore ; folk literature .

In the broadest sense, folk art refers to the art of the people, as distinguished from the elite or professional product that constitutes the mainstream of art in highly developed societies. The term in this comprehensive context combines some quite disparate categories of art; therefore, as a workable field of art-historical study, folk art is generally treated separately from certain other kinds of peoples’ arts, notably the “primitive” (defined as the work of prehistoric and preliterate peoples). Historically, the terms folk and popular have been used interchangeably in the art field, the former being specific in English and German ( Volkskunst ), the latter in the Romance languages ( populaire , popolare ); the term folk , however, has increasingly been adopted in the various languages, both Western and Oriental, to designate the category under discussion here. The term popular art is widely used to denote items commercially or mass-produced to meet popular taste, a process distinguished from the manner of the folk artist , as defined above. The distinction between folk and popular art is not absolute, however: some widely collected folk art, such as the chalkwares (painted plaster ornamental figures) common in America and the popular prints turned out for wide distribution, may be seen as the genesis of popular art; and the products and motifs long established in folk art have provided a natural source for the popular field.

Although the definition of folk art is not yet firm, it may be considered as the art created among groups that exist within the framework of a developed society but, for geographic or cultural reasons, are largely separated from the cosmopolitan artistic developments of their time and that produce distinctive styles and objects for local needs and tastes. The output of such art represents a unique complex of primitive impulses and traditional practices subjected both to sophisticated influences and to highly local developments; aside from aesthetic considerations, the study of folk art is particularly revealing in regard to the relationship between art and culture .

As industry, commerce , and transportation begin to offer all people free access to the latest ideas and products, a true folk art tends to disappear; the integrity and tradition that formed its inherent character decline, and the heritage of home-produced products is undervalued for the very qualities that made it distinctive. Subsequent revivals, extensively sponsored by organizations, craft groups, governments, or commercial enterprises, are no longer the same thing.

The recognition of folk art as a special category came about during the late 19th century and was at first limited to the so-called peasant art of Europe, the “art of the land.” The new intellectual climate of the time, with a romantic value attached to the simple life and the “folk soul” and the increasing spread of democratic or nationalistic ideas, brought the art of the common people into focus. It was recognized that their simple tools, utensils, and crafts had aesthetic aspects. Before industrialization, such folk art was widespread throughout Europe, exhibiting almost everywhere local styles created by people who had no access to the products of the wealthy and who were engaged largely in agricultural, pastoral, or maritime pursuits. As sophistication advanced, localism began to break down along major routes, but the folk arts continued on the periphery , particularly in geographically isolated regions, where they had an opportunity not only to survive but also to elaborate.

Having only limited contact with the outside world, the inhabitants preserved their traditions, art forms, and methods of workmanship over a long period and, at the same time, had to rely on their own invention to create new styles and products at need. These outstanding regional arts provide a well-defined core of material in the field of folk art.

As the early colonists immigrated to remote parts of the world, they, too, were isolated from the cultural developments of the homeland and forced to rely on their own skills for most of their products. The arts they took with them were transformed, and new arts emerged under the stimulus of a different environment and through contact with native cultures; the notable folk arts of the Americas were one result.

In time, it was recognized that the great Asian civilizations, like those of Europe, also had two distinct forms of art—the elitist and the folk. As Asian folk art scholarship developed, the subject gained international footing.

While most scholars agree that a folk type of art has occurred at some time in many parts of the world (and may yet appear in newly developing countries), there are various areas in which such art has so far been ignored or has not been studied as a separate category. For instance, with the notable exception of Roman folk art, the folk distinction is not usually applied to the art of ancient civilizations nor to Islamic or Western medieval art. The summary provided here is, therefore, necessarily concentrated on the more studied areas: European folk art of the 17th–19th centuries, colonial and postcolonial folk arts, and the folk art of certain major Eastern countries. In addition to the major folk regions, this article will deal with the categories, styles, content, and motifs of folk art.

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Americana Insights is pleased to announce the publication of its first printed annual volume, which presents groundbreaking research on traditional American folk art and material culture. Essays by leading scholars provide a wealth of new insights on a diverse array of artistic traditions, bringing depth and color to our understanding of the American experience. Read More >

Recent Briefs

Americana Insights highlights the best examples of traditional American folk art from Colonial times to the early 20th century—objects of extraordinary beauty, created with purpose by skilled, artful hands. Thoughtful essays and gorgeous color photographs tell the stories behind the art and its makers and celebrate the richness and diversity of our folk-art traditions, encompassing works by rural and city artisans, Pennsylvania Germans, Shakers, African Americans, schoolgirls and female academies, Native Americans, and many others.

Presentations offer fresh insight on a host of objects—carved and paint-decorated furniture and boxes; paintings and portraits by itinerant artists; trade figures and signs; redware and stoneware pottery; weathervanes and whirligigs; ceramics, glass, silver, pewter, and other decorative arts; quilts, samplers, needlework, and embroidery; family records, calligraphy, valentines, and friendship albums; decoys, scrimshaw, and other carvings; hooked and sewn rugs; Windsor chairs and benches; baskets, woodenware, tools, and more —and put them all into historical, social, and artistic context.

By inviting experts and scholars to share new research, our content remains fresh and current. By sharing our deep appreciation for Americana, we hope to extend and enhance knowledge of traditional American folk art among long time collectors, students and scholars. And, by keeping everything accessible and enjoyable, we hope to inspire and engage newcomers. Read More >

Madhubani Paintings: People’s Living Cultural Heritage

Mithila, a region in the state of Bihar, northern India (and also stretching into Nepal), has an important tradition of knowledge in the form of paintings. Madhubani paintings (also known as Mithila paintings) have been practised by the women of the region through the centuries and today it is considered as a living tradition of Mithila. The art not only depicts the social structure but also the cultural identity of the land with its depictions on themes of religion , love and fertility.

Madhubani paintings are among the most famous paintings in the world. This popular art of the Mithila region expresses the creativity and sensitivity of its people. Like any folk art, it also shows the psychology of the society to which it belongs; it reflects the morals, values ​​and customs of the region in a very interesting way. This age-old art is achieved by the use of fingers, twigs, brushes, nib-pens, and matchsticks, using natural dyes and pigments, and is characterized by eye-catching geometrical patterns. These paintings are predominantly made by the women of the Mithila region and thus it signifies a great deal in a male-dominated society.

Name & Origins

The art of Madhubani paintings is a traditional fashion of paintings developed in the Mithila region, in the villages of Jitwarpur and Ranti, near the city of Madhubani. Literally, the word Madhubani means "honey forest".

The origins of Madhubani paintings are quite unknown. However, it is believed that King Janak, ruler of Mithila Kingdom in the 8th or 7th century BCE, had asked to develop these paintings in order to capture the moments of his daughter Sita's wedding to Prince Rama (of the Hindu epic – Ramayana ).

The paintings are the exclusive monopoly of artists and their knowledge has been passed from generation to generation, from mothers to daughters. Girls learn to play with a brush and with colours from childhood. The culminating moment is the decoration of the kohbar - the room of the house where the new couple lives after their wedding. Although the paintings are traditionally made by women, men are becoming more and more involved in order to meet market demand. Also, the traditional process of making this art has been modified. The painting is traditionally done by hand, on a plastered wall or on a mud wall, but now the commercial demand is bringing the paintings to paper and clothes.

Themes & Colours

Essentially, the paintings are of religious motives. The central theme of all paintings is love and fertility. They are made in special rooms in the house, as in the room for prayer, the ritual area, the bridal room, or the main walls of the village to welcome visitors, etc. The drawings of nature and mythology are adapted and versioned according to the style of each region, as well as the individual artist. The most-painted themes and designs are the worshipping of Hindu deities and episodes of their sacred writings, such as the episode of Radha and Krishna , Rama, Shiva , Ganesha , Laxmi, Saraswati , the monkey, the sun, the moon, the plant of Tulasi, the Deep (it is a traditional lamp – made of soil, a symbol of a happy life), wedding scenes and other social events.

Before starting the painting, women usually do a prayer to the deities so that their favour accompanies them in their objectives or rituals. For its elaboration, the cotton wrapped on a bamboo stick is used as a brush. The colours that are applied are prepared manually by the artists. The black colour is prepared by mixing blight with cow dung; yellow is prepared based on turmeric and Banyan leaf milk; blue is extracted from indigo; the red of the Kusum flower; the green leaf of the applewood tree; the white of rice powder; and orange of the Palash flower.

The main exponents of Madhubani paintings are the Maithil Brahmin style and the Kayasthas style, characteristics of the villages of Jitwarpur and Ranti, very close to the city of Madhubani. There, Madhubani paintings have become a centre of commercial activity. Every day, you can see young people busy in arranging and making the papers by hand and looking for the colours.

The uniqueness of this art form is selectiveness in its artistic expression. In antiquity, this art was made on mud-walls or soil-ground on certain auspicious occasions and was erased the very next day. And this is why there has been no preservation of these works. In a sense, the artworks were natural and momentary. Nevertheless, this popular art used to pass easily from one generation to another without the help of any technical tools. The very nature of such transformation of knowledge from one generation to another led to its expansion based on experiment and creativity.

The artworks on mud-walls were not a symbolic depiction of the stories of the epics; rather they were directly related to, and a true representation of, Hindu mythology. The incessancy of this art was due to the natural and live depiction of social life in which there was a strong interconnectedness among the people. The use of colours also had strong connections with the religious beliefs and hope of their well-being. Some art scholars also suggest that Madhubani Paintings were associated with the tantric culture of ancient India, though this notion is still debated among art historians. The Mithila region has been a centre of tantric practices for both the Saiva and Sakti communities. Historical references to the tantric connection of Madhubani Painting are found in the literary work of the poet Vidyapati who belonged to the 12th century CE.

Though the origin of this art form dates back to Ramayana period (ancient India) as the popular oral tradition suggests, it went through various phases of history during the medieval period and very little history is known of this period. Nevertheless, it was W.G. Archer, a British collector of this region (during the British colonial period of India) who was greatly attracted to this art and he named it Mithila Art in the 1940s CE.

Modern Madhubani Paintings

The commercialization of Madhubani paintings began in 1962 CE, when a foreign artist travelling through this town was attracted by the murals. He persuaded women to paint those same drawings on paper, so that he could take them and show them in his country. The idea was a great success and thus began the commercialization of Madhubani paintings. Since then, the way of painting has diversified in different ways.

Mithila paintings or Madhubani paintings will endure as an internationally acclaimed form of painting. Madhubani paintings continue to primarily depict the nature and the Hindu mythological figures and the themes are generally associated with Hindu deities, fish, birds, animals, natural objects like the sun, moon and religious plants like Tulsi (a sacred plant in Hindu mythology) or Banyan tree. Besides these central objects of the artwork, scenes from the royal court and social events like weddings are also widely painted. Madhubani Paintings have traditionally two forms: Bhittichitra (paintings made on a mud-wall) and Aripana (on the ground-soil). Bhittichitra is made on the mud-walls of the houses specifically at three places: the room of the family God /Goddess, the room of the newly wedded couple and the drawing-room. Paintings are also drawn on the walls of these rooms on some auspicious occasions like marriage, Upnayana and festivities like Dussehra and Diwali.

The women of the Mithila region, who are extraordinarily talented in this art form, have made their art a subject of artistic attraction across geographical boundaries. Finding out the artistic excellence of these paintings in the 1960s CE, some government officials took the initiative to popularise the art in order to uplift their financial earnings. They did this by persuading women artists to draw similar paintings on paper, which eventually led to the concept of commercialisation of their work for a worldwide market.

The recent initiatives taken by the local government, NGOs and cultural organisations, have brought the Madhubani art to an even greater level of popularity and recognition. In the field of fashion, many designers have launched Madhubani designs collection such as traditional outfits (Stoles, Sarees, Salwar kameez, long skirts, etc.) which are beautifully designed in Madhubani art. Many other day-to-day useable products like pen-cases, bags, diaries, etc. are painted in Mithila art and are very popular.

In recent times, digital technology has changed not only how we know, but also what we deem worth knowing. Special-interest tourism is a fast-growing and highly lucrative alternative to traditional mass-market travel. As motives for travel diversify, so do the number of subsectors. Moreover, tourism today is one of the most dynamic and diversified socio-economic activities globally, capable of turning an unnoticed region into a prosperous one by generating employment opportunities for the local people as well giving due importance the local cultural heritage. Madhubani paintings of the Mithila region have great potential along with the other cultural resources of the region to attract foreign tourists.

Art-loving tourists from across the world have taken a keen interest in the rural tourism and heritage of India and Madhubani paintings have scaled new heights beyond the boundaries of Mithila. Madhubani painting enjoys an international popularity, especially in countries like Japan , Germany, France and the USA. The Mithila Museum in Tokamachi, Japan, founded by a famous Madhubani art lover, Hashegawa exhibits around 1000 Madhubani paintings of various themes and styles. Several books and research papers have been written on various aspects of Madhubani painting by Indian and foreign writers alike. The Master Craftsmen Association of Mithila, founded by an American in 1977 CE, helps the artists of Madhubani with the sale of their works through exhibitions. Very recently, all the governemnt buildings of the Madhubani city, including the railway station, town hall, administrative office buildings, and government bungalows, etc. have been thoroughly covered by Madhubani paintings. A number of long-distance trains (coaches) of India have been completely turned into artistic works showing Madhubani paintings. With such efforts on the part of government and local artists, Madhubani paintings are once again emerging as a major art form on the artistic canvass of the modern world.

This article was submitted as part of Ancient History Encyclopedia's UNESCO Summer School scholarship programme.

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Bibliography

• Jha, Prof. Kamal Kant. Mithila Gauravshalini (The Glorious Mithila). Amrit Book Publications, 2018
• Jha, Narendra. Mithila Rising. Sasta Sahitya Mandal Publications, 2014
• Mishra, Sunil Kumar. Mithila ke Mandir, Garh evam Puratatv (The Temples, Forts and Archeology of Mithila). Damodar Publications, Satlakha, 2010
• Nepal Tourism Board. Janakpurdham: The Land Steeped in Mythology (A report). 2009
• Thakur, Prof. Vijay Kumar. Mithila – Maithili : A Historical Analysis. Maithili Academy, Patna, 2016

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Singh, C. S. B. (2020, March 23). Madhubani Paintings: People’s Living Cultural Heritage . World History Encyclopedia . Retrieved from https://www.worldhistory.org/article/1527/madhubani-paintings-peoples-living-cultural-herita/

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Singh, Chandra Shamsher Bahadur. " Madhubani Paintings: People’s Living Cultural Heritage ." World History Encyclopedia . Last modified March 23, 2020. https://www.worldhistory.org/article/1527/madhubani-paintings-peoples-living-cultural-herita/.

Singh, Chandra Shamsher Bahadur. " Madhubani Paintings: People’s Living Cultural Heritage ." World History Encyclopedia . World History Encyclopedia, 23 Mar 2020. Web. 20 Sep 2024.

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Heilbrunn Timeline of Art History Essays

Post-revolutionary america: 1800–1840.

Mrs. Manigault Heyward (Susan Hayne Simmons)

Robert Fulton

Charles-Honoré Lannuier

Presentation Vase

Thomas Fletcher

De Witt Clinton

Samuel F. B. Morse

Cameo by George W. Jamison

Andrew Jackson

William H. Rumney

David Jaffee Department of History, City College and Graduate Center, CUNY

The United States became a continental nation with the purchase of Louisiana from France in 1803 and the settlement of the lands beyond the Appalachian Mountains. Westward expansion fueled conflict with Native populations and led to their forced removal. By 1820, 2 million Americans lived west of the Appalachians, out of a total national population of 10 million. The regional cultures that had developed along the Atlantic Coast—New England, Middle Atlantic, Chesapeake, and Carolinas—were transplanted into the Old Northwest (Ohio, Indiana, Illinois, Michigan, and Wisconsin) and the Old Southwest (Arkansas, Kentucky, Louisiana, Missouri, Tennessee, and Texas). But although Americans had begun to identify themselves as a nation, they were divided by sectional interests that deepened with rapid industrialization and the question of slavery .

Americans steadily achieved economic independence from Europe. Rural Americans, once exclusively farmers, began manufacturing, merchants constructed regional market economies, and state governments promoted economic development. Industrialists remade rural villages into burgeoning factory towns such as Lowell, Massachusetts, the center of cotton textile manufacture. However, many textiles continued to be made in individual households and small weaving workshops. Mill owners called upon machines and factory operatives to boost production. Government leaders and entrepreneurs campaigned for the construction of canals and railroads that helped create a vast national market. Robert Fulton’s (1765–1815; 14.135 ) steamboat, the Clermont , made its first trip up the Hudson River in 1807. The old Atlantic port cities—Boston, New York, Philadelphia, and Baltimore—continued to grow with the opening of trade to China in 1785. But New York’s rise was phenomenal, with its great harbor, its growing financial infrastructure, and the opening of the Erie Canal in 1825 ( 1982.4a, b )—promoted by New York Governor DeWitt Clinton (1769–1828; 09.18 )—connecting the metropolis with the interior of the country.

Generally factories rose in the countryside next to the banks of rapidly moving streams and rivers that provided water power to turn large wheels for machinery. Remarkable changes occurred within urban workshops. Some artisans exchanged the workbench for the role of manufacturer or businessman, producing more goods by dividing up the tasks by which objects such as chairs and silver are created; as workers specialized in particular aspects of production, the operation became more efficient. Many traditionally trained mechanics and other craftsmen who had expected to rise up the ladder from apprentice to journeyman, and then master, found their social position threatened by these developments. Furniture makers began to maintain well-stocked warehouses of Federal or Neoclassical furniture ( 1995.377.1 ). Wealth no longer derived exclusively from landownership. Urban families with great fortunes from new sources—merchants, factory owners, financiers—patronized the workshops of urban cabinetmakers, silversmiths, and other skilled craftsmen.

The political calm that had characterized the first term of President George Washington (1732–1799) was soon disrupted by the rise of party conflict between the Federalists and the Republicans. The presidency of Thomas Jefferson (1743–1826) launched a quarter century of Republican rule, interrupted by another war with Great Britain, the War of 1812. The geographic confrontation over slavery would not be resolved by the Missouri Compromise in 1820, which maintained a sectional balance between southern and northern states in the U.S. Senate and set boundaries for slavery in the lands of the Louisiana Purchase. Change also fueled a process of political democratization—an expansion of the white male population able to vote and hold office—leading to the rise of Andrew Jackson (1767–1845; 1978.57 ; 2000.562 ) and the new Democratic Party. Foreign observers such as the French aristocrat Alexis de Tocqueville (1805–1859) remarked on the democratic character of American society, where families moved frequently and individuals were liberated from the restraints of tradition and hierarchy.

Cultural independence proved harder to achieve. Despite the great focus on nature in American society, tastemakers continued to look abroad for classical and then revival styles . While folk painters roamed rural areas to provide portraits for middling Americans, the European tour and grand historical themes remained critical to the work of academic painters and sculptors . At the same time, new cultural institutions on home soil provided opportunities for artists to study and exhibit. The artistic career of Samuel F. B. Morse (1791–1872) is exemplary. He began as a rural portraitist, took the Grand Tour of European capitals and art collections, and, upon returning to New York, sought commissions for high-style portraits and historical studies. In 1825, he co-founded the National Academy of Design and served as its first president.

Jaffee, David. “Post-Revolutionary America: 1800–1840.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/pram/hd_pram.htm (April 2007)

Further Reading

Bushman, Richard L. The Refinement of America: Persons, Houses, Cities . New York: Knopf, 1992.

Staiti, Paul J. Samuel F. B. Morse . New York: Cambridge University Press, 1989.

Tocqueville, Alexis de. Democracy in America (1835–40) . New York: Library of America, 2004.

Additional Essays by David Jaffee

• Jaffee, David. “ America Comes of Age: 1876–1900 .” (April 2007)
• Jaffee, David. “ Industrialization and Conflict in America: 1840–1875 .” (April 2007)
• Jaffee, David. “ Art and Identity in the British North American Colonies, 1700–1776 .” (October 2004)
• Jaffee, David. “ Art and Society of the New Republic, 1776–1800 .” (October 2004)
• Jaffee, David. “ Religion and Culture in North America, 1600–1700 .” (October 2004)

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What is Folk Art

This essay about the rich tapestry of folk art, emphasizing its significance as a reflection of cultural diversity and heritage. It explores how folk art serves as a repository of stories and traditions, passed down through generations and preserved in various mediums such as paintings, sculptures, textiles, and ceramics. Through apprenticeship and communal learning, artisans keep ancient techniques alive, fostering continuity and connection within communities. Additionally, the essay discusses how folk art acts as a form of resistance and empowerment, particularly in marginalized communities, reclaiming narratives and asserting cultural pride. Ultimately, it highlights folk art’s role in celebrating the human spirit and fostering unity amidst diverse expressions of creativity.

How it works

Diving into the world of folk art feels like embarking on a mesmerizing expedition through the essence of human expression. It’s a realm where tradition, community, and creativity intersect, painting a vivid picture of cultural heritage across continents and centuries. Folk art, with its kaleidoscope of mediums including paintings, sculptures, textiles, and ceramics, serves as a living testament to the myriad ways in which people around the world celebrate their unique identities.

At its core, folk art is a repository of stories and traditions, woven into the fabric of communities through generations of oral history.

Each piece carries with it the whispers of ancestors, preserving rituals, beliefs, and shared experiences. Whether it’s the intricate tapestries of Indigenous tribes or the vibrant ceramics of Mediterranean villages, folk art reflects the collective soul of a people, echoing through time.

The genesis of folk art often springs from the nurturing environment of apprenticeship and communal learning, where aspiring artisans absorb age-old techniques from master craftsmen. In these intimate settings, creativity flourishes, and traditions are passed down with reverence and respect. It’s a process that fosters a sense of continuity and connection, ensuring that the flames of cultural expression continue to burn brightly.

Moreover, folk art serves as a powerful tool for resistance and resilience, particularly in marginalized communities. Through bold strokes and subtle details, artists reclaim their narratives, asserting their presence and asserting their right to be seen and heard. From the intricate beadwork of Indigenous cultures to the vibrant murals adorning urban streets, folk art becomes a rallying cry for empowerment and solidarity, transcending barriers and forging new paths forward.

In essence, folk art is a celebration of the human spirit, a testament to our capacity for creativity, resilience, and connection. It invites us to explore the rich tapestry of cultural diversity that defines our world, to embrace the beauty of difference and find common ground in our shared humanity. As we journey through the vibrant landscapes of folk art, we are reminded of the infinite ways in which we express ourselves, and the power of art to unite, inspire, and transform.

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AESTHETICS AND VISUAL CONNOTATIONS OF RAJASTHANI FOLK ARTS: A CRITICAL STUDY

2023, Granthaalayah Publications and Printers

Warli Painting and many more are passed down from one generation to another without changing its cultural and traditional vibrancy, that is why Indian folk arts are still alive and these are successfully taught informally. Indian folk arts are not just expressions of artists, but a way to portray their stories, memories, values, and beliefs. The folk arts are ethnic, simple, vibrant, and colourful in nature. Folk art plays an important role for the richness of Indian art and culture. The folk arts show the history and the heritage of India. In Indian art, culture and tradition, Rajasthan stands as the most colourful and breathtaking state with its various art forms and unique culture. Reflection of uniqueness can be seen in Mandana, Pichwai and Kavad. These traditional art forms depicting various gods, goddess, and folk tales. These folk arts are affected by many critical situations in time to time, but these folk arts are continuously maintaining their tradition vibrancy.

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Shatarupa Roy

Dr. Pritish Chaudhuri

Painting is an exquisite expression of human thoughts and culture. Indian art and painting is believed to be emerged from the prehistoric and proto-historic rock paintings. The genesis of tribal painting showed a direct correlation with the pre and proto-historic rock art. They are lively and vibrant tradition and unveil the hidden meaning of tribal symbol and are a manifestation of cultural expression. In Rajasthan, tribal population since time immemorial offered a rich variety of art and painting which would provide a deep insight into their traditional culture. It reflects the reality of living, pattern of culture, philosophy of life besides extensive reflection of memory and geographic mosaic. In the present paper an attempt has been made to discuss the painting tradition of the four major tribal communities of Rajasthan viz., Bhil, Garasia, Mina and Saharia in the context of continuity and change. The paper also unveils commonness and distinctiveness of painting tradition among the four tribal groups of Rajasthan.

isara solutions

International Res Jour Managt Socio Human

India had consistently been known as the land that depicted cultural and traditional dynamic quality through its customary arts and crafts. The 35 states and association regions spread the nation over have their very own unmistakable cultural and traditional personalities, and are shown through different types of workmanship predominant there. Each locale in India has its very own style and example of workmanship, which is known as folk craftsmanship. Other than folk craftsmanship, there is one more type of traditional workmanship rehearsed by a few clans or country populace, which is named tribal craftsmanship. The folk and tribal arts of India are extremely ethnic and basic, but then vivid and dynamic enough to say a lot about the nation's rich legacy.

Granthaalayah Publications and Printers

This article delineates Warli paintings and its characteristics. Warli art was first discovered in early seventies. No record found about the exact origins of this tribe and its roots. It may belong to 10th century AD., when man learn to build the walls of the house. Warli art is a vivid expression of daily and social life of the tribe named as Warli of Maharashtra. Their art is entwined with their life and rustic magic, rituals, God and goddesses, harvest seasons, marriage scenes painted on the prepared walls of their homes, later they shifted to canvas, paper, cloth etc. as per the demand. Primarily this art form is painted by women only later men also joined. It's a pure and unadulterated art form. Warli painting is simple and comprised of geometric forms and relegated the academic rules like proportions, perspective. Tarpa dance and Caukat are the most striking features of Warli art. In the early 70's Artist Bhaskar Kulakarni came to Warli tribe and taught them, how to make their paintings more substantial and influenced many contemporary artists and achieved international fame.

Ms. Shanta Samanta

upendra K R

ABSTRACT In any traditional art form we see the trio 1. Performing artist 2. Performance Space 3. Audience work together in evolving an aesthetic sense to the regional culture. We shall see this in the art form “Koodiyattam,” which is an amalgamation of Aryan and Dravidian concept of performance. We see the link missing in the contemporary modern performances. Re- invention of design and aesthetics always happens in the field of performance arts, it shall looked by juxtaposing the classical theatre (koodiyattam ) and folk theatre ( Ottan Thullal) In this paper I will discuss koodiyattam and ottan thullal in the context of re-invention of genre, performance, audience, time and space. Through this exploration, I shall try to arrive what re-invention means in the performing arts.as both are regional forms of performance in the same area. It is possible for us to examine the aesthetics of space and performance through these tradition.The role of performance space and audience plays a significant role in the existence of an art form. To analyse a performance we need to look into performance space and the audience connected to it. Keywords: performance, space, classical art form, folk art form, Re-invention .

Native Art of India Ed. by Sathyapal published by Lalit Kala Akademi

Kalyan Kumar Chakravarty

The essay explains the urgency of the need to reconsider cognitive categories in the definition, classification and hierarchisation of arts; to rebuild the crumbling bridges between life and arts, culture and development; and, to read the beginnings of human response to nature forwards into a sustainable relationship between culture and nature.

Rupkatha Journal on Interdisciplinary Humanities

TAPASWI H M

In India the concept of "folk culture", "folk literature", "folk art form" and other forms of many indigenous folk cultures seem to be considered not aesthetic but quaint, due to the dominance of "classical" art forms which are valued more. One can witness the dearth of qualitative understanding of the experience of beauty in these actions and objects which are not considered as art objects or artistic performances in Indian context. A theoretical perspective which tries to understand these genres and even ritual forms is also rare. In the contemporary academics, many scholars both from the Indian tradition and non-Indian traditions are attempting to understand a different kind of aesthetics that the art forms of these people express. Thus, in this paper, I claim that understanding indigenous art is possible using theories of everyday aesthetics rather than through other special theories of aesthetics. While not arguing for a relative view of aesthetics, this paper uses the ideas of everyday aesthetics and beauty to understand art in folk and cultural contexts in India.

Dr.M.Pavan K Kumar

Living in India means living simultaneously in several cultures and times. The past exists as a living entity alongside the present, each illuminating and sustaining the others. As times and cultures converges, the citadels of purism explode. Traditional and modem, private and public, the inside and outside continually telescope and reunite. Where popular culture in homes and streets extends in to the pre-industrial habits, we call religious and folk, far beyond the consumption of merely industrial products. The distinction between ‘Pop Art Popular Cultures in India’ is important to understand. ‘Kitsch’ art mass produced art& artifacts unsuccessfully aping the aesthetics standards of elite culture. The boundary of the culture associates with the word kitsch is Aesthetic. The needs, attitudes, etc., which results in the commodities of today, we are surrounded by which we see & live with. “Substitution” this differs from each class of society. If a middle class person goes for deckle a sheets for the look of classical with a lower economy which substitutes teak wood (with its effects) it is termed kitsch. similarly a man of better class compared to the above mentioned, goes for a furniture that tries very consciously to imitate the cupids of the great masters along with the decorative motifs, However the material here not being substituted, but the images which are imitated, at times like this, strongly manipulates as kitsch but slightly of a higher class.

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Exploring the Rich Tapestry of Indian Folk Art and Crafts: History, Significance, and Evolution | Sociology UPSC | Triumph IAS

Table of Contents

Folk Art and Crafts

(relevant for historical section of general   studies paper prelims/mains).

India is renowned for its manifold and dynamic culture, a reflection evident in its artistic and handicraft traditions. The country’s folk art and crafts boast a culturally affluent legacy that vividly illustrates the breadth of Indian heritage. These artistic expressions have been transmitted across successive generations, maintaining a crucial function in upholding India’s distinct cultural essence.

History and Significance of Indian Folk Art and Crafts

Indian folk art and crafts boast an extensive history that dates back to ancient times. Crafted by local artisans and craftsmen, these art forms utilize natural materials and age-old techniques to give rise to distinctive and intricate designs.

Folk art and crafts held a frequent purpose in adorning homes, temples, and public spaces, contributing significantly to religious and cultural ceremonies. Distinct regions of India each possess their own exclusive variations of folk art and crafts, mirroring the vastness of Indian culture. Some of the most prominent Indian folk art and crafts encompass:

• Madhubani Painting: Originating from Bihar’s Mithila region, Madhubani painting is a traditional Indian art form employing natural dyes and pigments to produce intricate patterns. These paintings often narrate mythological tales and scenes from daily life, characterized by bold outlines and vibrant colours.
• Warli Painting : Indigenous to the Maharashtra-Gujarat border region , Warli painting is tribal art marked by its utilization of geometric shapes and simple lines to depict everyday occurrences like hunting, farming, and fishing.
• Pattachitra Painting : Hailing from Odisha, Pattachitra paintings employ natural pigments, renowned for their detailed precision and vibrant hues. Typically illustrating stories from Hindu mythology, these artworks are an integral part of religious rituals.
• Block Printing : This popular technique, employed extensively in India for textiles and clothing, involves intricately carving designs onto wooden blocks. These blocks are then used to imprint fabrics with natural dyes.
• Gond Paintings : Originating in Madhya Pradesh, Gond paintings feature vibrant colours, dots, lines, and folk narratives. They depict flora, fauna, gods, myths, and legends.
• Kalamezhuthu : Hailing from Kerala, Kalamezhuthu paintings present ritualistic themes with symmetrical patterns, created using organic powders. They often depict Hindu deities, especially goddesses.
• Phad: A product of Rajasthan, Phad paintings uses horizontal scrolls, vivid colours, and narrative themes to showcase folk heroes, epics, and legends.

These examples barely scratch the surface of the multitude of Indian folk art and crafts. Each variety exhibits its distinct style, historical context, and significance, all of which have been pivotal in safeguarding India’s cultural legacy.

Evolution and Influence of Indian Folk Art and Crafts

• Indian folk art and crafts have undergone transformation over time, mirroring shifts in Indian society and culture.
• For instance, the shift from natural pigments and dyes to synthetic colors, and the adaptation of age-old techniques to contemporary materials and technologies signifies notable changes.
• Nonetheless, despite these adaptations, folk art and crafts retain their significance within Indian culture.
• Moreover, these traditional art forms have cast an impact on modern art and design.
• Numerous contemporary artists and designers draw inspiration from classic Indian art forms, skill fully infusing their work with the designs and motifs inherent in these traditions.
• Take, for example, Indian textiles and garments, which have garnered global popularity. Many designers have embraced traditional block printing methods to fashion innovative clothing designs.

Indian folk art and crafts have a rich cultural heritage that showcases the diversity of Indian culture. These art forms have been passed down through generations, and they continue to play a vital role in preserving India’s cultural identity. Each of these art forms has its own unique style, history, and significance, and they have influenced modern art and design. Indian folk art and crafts are an essential part of Indian culture, and they will continue to play an important role in preserving India’s cultural heritage for generations to come.

Sample Question for UPSC Sociology Optional Paper:

Question 1 : What role do Indian folk art and crafts play in cultural and religious ceremonies? Answer : I ndian folk art and crafts contribute significantly to religious and cultural ceremonies by adorning homes, temples, and public spaces, and serving as expressions of regional and religious identity.

Question 2 : How have Indian folk art and crafts evolved over time? Answer : Indian folk art and crafts have adapted to shifts in society and technology, such as the transition from natural to synthetic pigments, while retaining their cultural significance.

Question 3 : Discuss the influence of Indian folk art on modern art and design. Answer : Indian folk art has significantly influenced modern art and design, inspiring contemporary artists and designers to incorporate traditional motifs and techniques into their work.

Question 4 : What is the significance of regional variation in Indian folk art and crafts? Answer : The regional variation in Indian folk art and crafts showcases the diversity and richness of Indian culture, as each region has its own unique style, history, and significance.

Question 5 : How do natural materials feature in traditional Indian folk art and crafts? Answer : Natural materials like organic pigments and dyes, wooden blocks, and natural fibers are commonly used in traditional Indian folk art and crafts , emphasizing their connection to the environment and local resources.

To master these intricacies and fare well in the Sociology Optional Syllabus , aspiring sociologists might benefit from guidance by the Best Sociology Optional Teacher and participation in the Best Sociology Optional Coaching . These avenues provide comprehensive assistance, ensuring a solid understanding of sociology’s diverse methodologies and techniques.

Indian Folk Art, Indian Crafts, Madhubani Painting, Warli Painting, Pattachitra, Block Printing, Gond Paintings, Kalamezhuthu, Phad, Cultural Heritage, Indian Culture, Traditional Art Forms, Folk Art, Indian Crafts, Crafts, Indian Folk Art, Indian Crafts, Madhubani Painting, Warli Painting, Pattachitra, Block Printing, Gond Paintings, Kalamezhuthu, Phad, Cultural Heritage, Indian Culture, Traditional Art Forms, Folk Art, Indian Crafts, Crafts, 

Choose T he Best Sociology Optional Teacher for IAS Preparation?

At the beginning of the journey for Civil Services Examination preparation, many students face a pivotal decision – selecting their optional subject. Questions such as “ which optional subject is the best? ” and “ which optional subject is the most scoring? ” frequently come to mind. Choosing the right optional subject, like choosing the best sociology optional teacher , is a subjective yet vital step that requires a thoughtful decision based on facts. A misstep in this crucial decision can indeed prove disastrous.

Ever since the exam pattern was revamped in 2013, the UPSC has eliminated the need for a second optional subject. Now, candidates have to choose only one optional subject for the UPSC Mains , which has two papers of 250 marks each. One of the compelling choices for many has been the sociology optional. However, it’s strongly advised to decide on your optional subject for mains well ahead of time to get sufficient time to complete the syllabus. After all, most students score similarly in General Studies Papers; it’s the score in the optional subject & essay that contributes significantly to the final selection.

“ A sound strategy does not rely solely on the popular Opinion of toppers or famous YouTubers cum teachers. ”

It requires understanding one’s ability, interest, and the relevance of the subject, not just for the exam but also for life in general. Hence, when selecting the best sociology teacher, one must consider the usefulness of sociology optional coaching in General Studies, Essay, and Personality Test.

The choice of the optional subject should be based on objective criteria, such as the nature, scope, and size of the syllabus, uniformity and stability in the question pattern, relevance of the syllabic content in daily life in society, and the availability of study material and guidance. For example, choosing the best sociology optional coaching can ensure access to top-quality study materials and experienced teachers. Always remember, the approach of the UPSC optional subject differs from your academic studies of subjects. Therefore, before settling for sociology optional , you need to analyze the syllabus, previous years’ pattern, subject requirements (be it ideal, visionary, numerical, conceptual theoretical), and your comfort level with the subject.

This decision marks a critical point in your UPSC – CSE journey , potentially determining your success in a career in IAS/Civil Services. Therefore, it’s crucial to choose wisely, whether it’s the optional subject or the best sociology optional teacher . Always base your decision on accurate facts, and never let your emotional biases guide your choices. After all, the search for the best sociology optional coaching is about finding the perfect fit for your unique academic needs and aspirations.

To master these intricacies and fare well in the Sociology Optional Syllabus , aspiring sociologists might benefit from guidance by the Best Sociology Optional Teacher and participation in the Best Sociology Optional Coaching . These avenues provide comprehensive assistance, ensuring a solid understanding of sociology’s diverse methodologies and techniques. Sociology, Social theory, Best Sociology Optional Teacher, Best Sociology Optional Coaching, Sociology Optional Syllabus. Best Sociology Optional Teacher, Sociology Syllabus, Sociology Optional, Sociology Optional Coaching, Best Sociology Optional Coaching, Best Sociology Teacher, Sociology Course, Sociology Teacher, Sociology Foundation, Sociology Foundation Course, Sociology Optional UPSC, Sociology for IAS,

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Indian Folk-art: An Expression of Cultural Diversity

India is a religious and ethnically diverse country. Indian culture is characterized by distinct languages, and rich traditions among various ethnic and religious groups. Despite hosting a Hindu-majority it is difficult to attach a singular and unifying notion of identity to Indian culture. This is in part due to the flexible nature of the Hindu religion which allows for the aggregation of numerous regional cultures, and ethnic practices to grow and flourish. The folk and tribal arts of India express the cultural diversity of the nation and provide a window through which one can explore the rich heritage of Indian culture. 1

What is Folk-art?

Folk-art as a visual medium does not have a unique definition but generally consists of all forms of visual art delivered in the context of an existent society within a particular geographical and cultural niche. In this manner, folk-art caters to local tastes and needs, is reflective of the way of life and culture in a community, and provides tangible and intangible forms of art with distinctive styles and objects that stand removed from other cultural developments of their time. 2 3

Intangible folk-art forms include music, dance, and narrative structures, while tangible folk-art forms refer to objects that are crafted by hand or other means within the traditional practices of a community. The purpose of folk-art is to serve as a medium through which a community’s traditions, beliefs, and attitudes can be transmitted and passed from one generation to another. This is often achieved within families and community via practical demonstrations, conversation, and daily practice. 4

Folk-art was developed to address the very real needs, and desires of a community. Once that need is removed, the relevant folk-art may gradually vanish within the annals of history thanks to decreased transmission and communication of its existence within the community. 5

Indian Folk-Art

Folk-art in India manifests in various forms including pottery, painting, paper-art, weaving, sculpting, metallurgy, and object design involving jewelry and toys. Relevant objects can include masks that are used in religious rituals and ceremonies, paintings, textiles, baskets, kitchen utensils, arms and weapons, religious sculptures (idols) etc. It is also common to have the human body serve as a platform for folk-art via the practices of piercings and tattoos during festivals and religious celebrations.

Folk-art products each have a symbolic meaning that is attached to them as well as the materials and techniques used to fabricate them. Easily recognizable forms of Indian folk-art include the dazzling sculptures and paintings of puranic gods and mythological figures of Hinduism often sold and displayed in temples, fairs, festivals, and city districts as well as in local households.

The Indian folk-arts have also served as a medium of expression for the cultures of nomadic tribes and ethnic groups within the country. The relevant art forms express the transient and dynamic patterns of lifestyles said communities have experienced while traveling across India. 6

Over the course of Indian history, the various folk-art forms of the nation have been protected and survived under the umbrella of religious and ethnic traditions revolving around familial beliefs, and daily practices. Unfortunately, globalization has resulted in the development of a synthetic macro-culture that has led to the gradual attrition of Indian folk-art. Thus, tremendous efforts have been undertaken by the government of India alongside various NGOs to preserve and protect these arts and to promote them. 7 8

In this article, we will consider five of the most popular and widely recognizable folk-art forms of India that have survived the passage of time.

Thanjavur Art

Tanjore or Thanjavur paintings originate from the South Indian state of Tamil Nadu, in the city of Thanjavur, about 300 km from the state’s capital city of Chennai. These paintings are essentially “religious paintings with a royal heritage” and are among the greatest traditional art forms noted worldwide. 9

The subject matter of these paintings largely revolve around mythological themes from Hinduism and demonstrate spirituality within the essence of creative art. Once adorning the royal dwelling of the Hindu rulers of Vijayanagar Rayas and Thanjavur Nayaks in the 16 th century, these paintings can now be commonly found in every household with figures of Lord Krishna in various poses and depictions of his life being the most popular.

Thanjavur paintings are characterized by remarkable gold leaf work, brilliant color schemes, decorative jewelry with stones and cut glass. The paintings used to be adorned with rubies, diamonds and other precious gemstones, but nowadays, semi-precious stones are used in their place while the practice of using gold foil hasn’t been altered. The paintings are made such that the shine and glean of the gold leaves used last forever. 10

Madhubani Painting

Also referred to as the art of Mithila, Madhubani paintings are said to originate from the kingdom of Janaka, who was the father of Sita in the much beloved Hindu epic Ramayana , in Nepal and in present-day Bihar. 11

The paintings are produced using mineral pigments prepared by the artists and were traditionally drawn on freshly plastered mud walls. For commercial purposes, the same has now been achieved on paper, cloth, canvas, and other media.

The method involves using cotton wrapped around a bamboo stick as the brush. Black color is obtained by mixing soot with cow dung, yellow from turmeric or pollen or lime and the milk of banyan leaves, blue from indigo, red from the kusum flower juice (from the Ceylon Oak tree) or red sandalwood, green from the leaves of apple trees, white from rice powder, and orange from palasha flowers.

The art form is characterized by geometric patterns and mostly depict scenes gods, weddings, flora, and fauna. Madhubani paintings are widely practiced by women as a means to cultivate their spirituality and yearning to be one with God. In fact, the All India Handicrafts Board and the Government of India have encouraged female artists to produce said paintings on handmade paper for commercial sale. In this manner, the Madhubani paintings have become a primary source of income for many families. The paintings now serve as a tribute to the original women of Mithila who first developed the techniques of said wall paintings. 12

Warli Painting

Warli is one of the oldest art forms of India and originates from the Warli tribe found on the northern outskirts of Mumbai in Western India. Despite their close proximity to one of the largest metropolitan cities in India, Warli culture is distinct in shunning all influences of modern urbanization. 13

Warli tribal art is representative of this attitude and mainly uses geometric structures such as circles, triangles, and squares to depict daily and social events of the Warli tribe. Compared to the Madhubani paintings, Warli art is quite simple. The paintings are often done on a red ochre or dark background, while the shapes are white in color. This color is obtained from the grounding of rice into white powder. 14

Humans are represented by a circle and two triangles, and through the paintings the Warli believe they can invoke the powers of their gods of worship. Altogether, the paintings are reminiscent of prehistoric cave paintings in execution and depict human figures engaged in hunting, dancing, sowing, and harvesting. The paintings are traditionally done in the homes of the Warlis and have served as a means of transmitting stories and traditions to a populace not acquainted with the written word. Warli paintings on paper have now become very popular and are sold all over India. 15

Pattachitra Painting

An east-Indian counterpart to the Warli as one of the oldest and most popular art forms of India, we find Pattachitra paintings from Odisha. The word Pattachitra is a combination of the Sanskrit words patta (canvas), and chitra (picture), and is basically a canvas painting.

The preparation of the canvas is among the most important aspects of a pattachitra painting. The painters, also called chitrakars, achieve this by preparing tamarind paste (by soaking tamarind seeds in water for three days). The seeds are crushed, and heated in an earthen pot to turn into a paste or niryas kalpa. The paste is used to hold two pieces of cloth together with it, and coated with a soft clay stone powder to keep it firm.

Once the cloth has become dry, it is polished with a rough stone and the surface is made smooth to become a canvas upon which the painting is made. The paints for the pattachitra originate from the gum of the kaitha tree which serves as the primary base for the various pigments to be generated. Powdered conch shells are used to make white pigments while lamp soot is used for black pigments. The root of the keya plant serves as a course brush, while mouse hair attached to wooden handles serve as finer brushes.

Pattachitra paintings are popular sources of representation of the ten avatars of Lord Vishnu, the Krishna Lila – where Vishnu’s avatar Krishna displayed his powers, and the depiction of Lord Ganesh as a five-headed deity. Nowadays, pattachitra paintings have also been made on other media including tussar silk and palm leaves, and are frequently used as wall hangings and showpieces. 16

Kalamezhuthu

Last, but not least, the Kalamezhuthu comprises a form of folk-art that is among the most recognizable of Indian folk art. Popular variants or counterparts to the Kalamezhuthu include the Rangoli and Kolam or mandalas observed in the domestic routines of Hindu and Indian households in general to draw patterns at the doorstep and courtyard to welcome a deity into the house. 17

Kalamezhuthu specifically comprise of the tradition of drawings found at the entrances of homes and temples. This folk-art form is unique to the south Indian state of Kerala and is practiced in temples and sacred groves where the representations of Hindu deities are made on the floor. The drawings are made using natural pigments and powders of five colors (white, black, yellow, red, and green) and are done with bare hands without the use of tools.

The beautiful patterns are drawn from the center and grow outwards. Lighted oil lamps are often utilized at strategic positions of the patterns to brighten the colors. The patterns themselves are decided in observance with strict religious rules and unlike in rangoli and kolam are rarely made by the choice of artist.

The completion of the Kalam is accompanied by the singing of ritual songs in worship of the deity that is being celebrated. The songs themselves are part of an oral tradition with the rituals being performed by the artists themselves in a folk-art form that combines tangible and intangible media. Upon completion of the rituals, the “kalam” is immediately erased. 18

Indian folk-art abounds in expression of the country’s rich heritage. Indian art forms are diverse and exquisite in nature but also explicit in their use as a media of communicating ancient oral traditions. With 29 states and 7 union territories, each with their own distinct cultural and traditional identities, India boasts a collage of folk art forms that speak volumes about the country’s diverse cultural identity that is rooted in the daily lives of its people.

Works Cited

• “Folk and Tribal Art” . Know India. Culture and Heritage. Visual Arts and Literature. National Informatics Centre, Government of India. 2005 . ↩
• https://www.ukessays.com/essays/cultural-studies/introduction-to-indian-folk-arts-cultural-studies-essay.php ↩
• Wertkin, Gerard C. (2004). “Introduction”. In Wertkin, Gerald C. (ed.). Encyclopedia of American Folk Art . New York, London: Routledge. pp. xxvii–xxxiii. ↩
• https://en.wikipedia.org/wiki/Folk_art ↩
• GVSS, Gramin Vikas Seva Sanshtha (12 June 2011). “Evaluation Study of Tribal/Folk Arts and Culture in West Bengal, Orissa, Jharkhand, Chhatisgarh and Bihar” (PDF). Planning Commission. Socio-Economic Research (SER) Division, Planning Commission, Govt. of India New Delhi. p. 53. Retrieved 2 March 2015. … globalization has triggered the emergence of a synthetic macro-culture…is gaining popularity day by day and silently engineering the gradual attrition of tribal/folk art and culture. ↩
• “Decline of tribal and folk arts lamented” . Deccan Herald. Gudibanda, Karnataka, India. 3 July 2008. Archived from the original on 2 March 2015. Retrieved 2 March 2015. In the wave of electronic media, our … ancient culture and tribal art have been declining, …, said folklore researcher J Srinivasaiah. ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/tanjore-art.php ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/madhubani-painting.php ↩
• https://www.thebetterindia.com/53993/10-indian-folk-art-forms-survived-paintings/ ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/warli-folk-painting.php ↩
• https://theculturetrip.com/asia/india/articles/indian-folk-arts-evolution-and-diversity/ ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/pattachitra-painting.php ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/kalamezhuthu.php ↩
• https://www.thehindu.com/society/history-and-culture/kalamezhuthu-when-art-is-integral-to-ritual/article25622568.ece ↩

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47 Comments

The Moghuls were steeped in Persian Architecture and Art. Persian esthetic became the cannon for both the Moghuls and their Indian feudatories, especially in Architecture and miniatures. It would be most interesting not only to discover the biographies of individual painters but also how the techniques of miniatures became “incultured” to Hindu and Shia Muslim Artists.

Reading about the history of the Moghuls you can easily see how steeped the Persian culture was infused with Indian culture and vice versa. As an Indian citizen, who was lucky enough to visit the Middle East as well as other African nations, it was an enlightening experience to see how the various cultures had intersecting facets of daily life and practices from something as simple as the cuisines to religious practices and art.

Thank you very much for writing this article. I love everything about India and also to see how fabric, pots and many more diffrent products made traditionally by hand – they are awesome.

Thank you for reading the article!

That was truly a great insight on the difference Indian Folk Arts. Now i can easily identify these paintings.

Glad to know it helped!

For me, being a student, its a revision of social studies I learnt from class 6th & 7th in a good way. 14 years later you guys are reminding me values and morals of my culture. On such a platform, nobody doing this better than The Artifice.

Beautiful pictures and eloquent analysis. It was a pleasure to read. I look forward to any future articles you write.

A fascinating insight into Indian folk art. I confess I was quite ignorant of the breadth and scope of Indian folk art before helping in the editorial stage for your article, so your writing has been an education for me. Thank you for all the time and effort you put into this work. I was particularly intrigued by the idea of the Kalam being erased immediately after the completion of the rituals. I suppose that act of erasing could be interpreted as an expression of the only permanence in life being change. All things must pass – even beautiful art.

I absolutely love your perspective on the kalam, and in fact, that is part of what I was taught growing up as a kid in India. The notion of change as the eternal constant is fundamental to Indian philosophy but also many others in the Asian subcontinent. It is that unifying feature that also serves to make the Indian culture more diverse in its ability to connect with several different cultures.

These intricate, beautiful art have such a rich and evocative feeling to them. Thanks for the introduction!

Thank you for reading!

Stunning art. Thank you for sharing the history. India is a beautiful country. I have many friends from Gunter, Mumbai, Calcutta, and Bangalore who I know personally. India has a special place in my heart.

With all its beauty, so much sadness and poverty exist; I work with several orphanages in those cities.

Beautiful! Thank you for sharing about this culture so I can learn more about it.

There is an interesting tradition the women in the Northern Bihar have of decorating their walls by painting intricate patterns on them during religious ceremonies or weddings.

Mithila is the home of Sita, a prominent figure in the Hindu religion and wife of Rama. Mithila is indeed considered to be the modern day Bihar. What you are referring to is in fact the Mithila paintings or the Madhubhani paintings I have described in the article.

India has rich heritage of traditional art!

There are different types of tribal & folk paintings all over India and each of the styles are different from the others. My favorites are cave paintings.

My favorite is Batik Art.

From what I can see of the paintings here, they are extraordinary in their vibrancy. I think artists are drawn towards subjects which fascinate them.

Absolutely, I think the vibrancy and the diversity of Indian folk art is a beautiful reflection of the diversity of thoughts, ideas, and facets of the Indian culture.

Wonderful Paintings!

While admitting that I have no knowledge of the technicalities about paintings, when my neighbour’s five year daughter showed me a similar work I said “wonderful painting”.

I wish I wish I could go and learn In India. What amazing art they have there.

Great post. Indian folk art is still alive in many parts of the country. They’re all unique, admirable and beautiful in their own ways.

Madhubani is an amazing part of our rich art and culture. I’d visited the National Crafts Museum last year and was amazed to see the various styles of paintings. Thanks for this amazing post.

I’m a huge fan of madhubani paintings. The motifs, the color and the link to ancient tales. Fantastic!

Living so close to madhubani, I never got a chance to see the paintings. These are really beautiful and vibrant.

So inspiring and motivating… shows Indian culture in the truest sense.

When I see people like you who really values our culture and our beliefs then it makes me happy and by the way I am from Mithila region.

I love how Madhubani literally translates into honey forests.

I love them. The paintings are known for their simplicity, line work and vibrant colors.

Wonderful, educative and enlightening.

Lovely, I always adore indian folk art.

I had an indian art session with my students. The children were delighted with their finished pieces!

They look so beautiful. Absolutely arts！

Lovely article. Enjoyed seeing the bright pictures and different forms of Indian arts

Lovely folk art!! To deliver something like this quality require a lot of hard work. Salute to these people to keep this ancient art live today.

Wonderful insight into these highly intricate creative processes. I enjoyed your infusion of history with the process as an explanation of the symbolism and diversity of Indian folk art.

Absolutely enchanting article! I love the description of all the natural elements used to create the Madhubani paintings.

This article was really insightful for me! As a creative myself, I never thought of how other places of the world engage with art and how it often is an expression of religious values and family traditions. Their art consists of so much time and effort to prepare the materials. This article I think helped me appreciate art even more from other places because of the intentionality put into them. That’s awesome.

So cool. I’ve always been fascinated by Indian art because of the eclectic color palette and intricacies of the work. You’ve selected beautiful pieces to accompany a very informative article.

This was such a great introduction to Indian Folk-art! I found it interesting to learn about the preparation of the canvases in Pattachitra Paintings.

As a proud compatriot, it really pleased me to see this topic on the Artifice and how well you handled it. Given the current grim scenes I encounter on a regular basis due to COVID, this article pleasantly reminded me of my childhood days where I spent more than a year exploring temples across South India, particularly Kerala. The richness of folk art is something that never fails to astound me on a daily basis and the more Income to know about India’s rich cultural legacy, the more spellbound I am.

Great article, India is host to over 50 folk art forms. Tanjore, Madhubani, Pattachitra, Warli are some of the folk arts that managed to survive.

Pattachitra from Odisha Patachitra from Bengal Durgamata Patachitra comes under Bengali Patachitra, artist community known as Chitrakar or Patua. I worked with Patuas Community, because the scroll narrative art of Bengal is my PhD topic which enabled me a doctorate degree. I am fully grateful to the Artifice for depicting this worthy article on Indian Folk-art: An Expression of Cultural Diversity.

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