Living Traditions – Artspeaks India

"Living Traditions" celebrates India's rich and diverse indigenous arts, a testament to the enduring cultural heritage nurtured and sustained by the country's tribal and folk communities for centuries. This exhibition offers a unique opportunity to delve into artistic traditions passed down through generations, reflecting the vibrant cultural tapestry of India.

The indigenous arts featured in this show encompass the forms, including painting and sculpture. Each piece is not merely a work of art but a story, a tradition, and a way of life that has survived the test of time. These traditions have been an integral part of India's cultural landscape, offering insights into its people's social, spiritual, and everyday lives.

The artworks on display are created using techniques and materials honed over millennia, showcasing the incredible skill and creativity of India’s tribal and folk artisans. From the intricate patterns of Madhubani paintings to the delicate and devotional Picchwai art form, the mural-style Kaavi art from Udipi, the detail-oriented contemporary miniatures from Rajasthan, and the rustic charm of Gond painting, "Living Traditions" highlights the diversity and richness of India's indigenous art forms. This exhibition also underscores the importance of preserving and promoting these art forms in the modern era. In a rapidly changing world, where globalization and technological advancement often threaten traditional practices, supporting and sustaining these living traditions is crucial. By bringing these works into the public eye, we aim to foster appreciation and understanding of India's indigenous arts, ensuring that these cultural treasures thrive for future generations. "Living Traditions" is not just an exhibition; it is a tribute to the resilience, creativity, and enduring spirit of India's tribal and folk communities. It invites you to explore, appreciate, and connect with the cultural roots that have shaped the nation's identity.

- Ashwini Pai Bahadur

CONTEMPORARY MINIATURE

This painting is a traditional miniature style painting featuring contemporary themes. The main technique used is wet blending and glazing by applying plain wasli solid colours after merging it into the details with help of dry shadow technique. Pigments stone colours and minerals as well as pure silver and gold on wasli paper.

Artist Profile of Chirag Kumawat

CHIRAG KUMAWAT (b. 1994) is a miniature artist who has been working with his father Shankar Kumavat, a master artist based in Udaipur, for the last decade. He concluded an M.A in Fine Arts (specialisation in Drawing, Painting, Printmaking), from MLSU, Udaipur (gold medalist 2019) after having studied commerce in his Bachelor’s degree. He has participated in various Miniature Art Camps in Udaipur, the most recent being ‘Rang Mewar’ artist camp organized by gallery Artoz 2020; and the Pichwai Painting Camp Organized by SMB College Nathdwara, 2018. His prints were part of the exhibition ‘Gauri Dancers’ , Waswo X.Waswo and Rajesh Soni, presented by Latitude 28 at Museo Camera Centre for Photographic Arts, Gurgaon, October 2021.

GOND

Gond Art Painting is a captivating and lively form of tribal artwork that pays homage to the Gond tribe’s cultural legacy while celebrating the wonders of nature. They have passed this traditional Indian art form down from generation to generation within the indigenous Gond community in India for centuries, reflecting their deep-rooted artistic traditions. The Gond tribe is one of the largest and oldest tribes in India

This painting, masterfully executed by Gond artist Venkat Raman Singh Shyam, stands out for its vivid representation and deep cultural significance. It captures the essence of the natural world. Tigers hold a significant place in Gond mythology and folklore, symbolizing power, strength, and the natural harmony of the forests. Here, tigers are depicted with a majestic presence, and intricate patterns weave together to tell a story. Each painting is a visual narrative reflecting the artist's deep connection to nature and cultural roots. Venkat’s use of color in his tiger paintings is particularly striking. He employs a vibrant palette that brings his subjects to life, with hues that reflect the rich biodiversity of the forests. The tigers are often depicted in dynamic poses, their bodies adorned with intricate patterns and motifs that are hallmarks of the Gond style. These patterns are not merely decorative; they convey a sense of movement, rhythm, and the interconnectedness of all living things.

This painting reflects the usual Gond style of using an inherited convention of patterning and bright colours, as well as monochrome drawings that convey energy and movement through the use of a characteristic thin line that surrounds objects and people.

Artist Profile of Rajendra Kumar Shyam

RAJENDRA KUMAR SHYAM is a renowned Gond artist. Born on 20th July 1982, in Patangarh, he took to the traditional painting at an early age. He has participated in various workshops and exhibitions organized by Nandini Singh Jhabua , who is the patron the arts form generations to come. He has also participated in “Gond painters camp”organized by lalit Kala Academy, Kerela.

Artist Profile of Venkat Raman Shyam

VENKAT RAMAN SINGH SHYAM (b.1970) is a contemporary artist who works with murals, etchings, mixed media and animation. He belongs to the tradition of Pardhan Gond art initiated by the legendary Jangarh Singh Shyam, his uncle. After apprenticing with Jangarh in the 1990s, Venkat worked a range of jobs—including as house painter, screen printer and signboard artist. He also was fortunate to be guided by the pioneering Jagdish Swaminathan. Since 2002, Venkat has pursued a full-time career in art. Having travelled and exhibited widely in India, the US, Canada, Australia and Europe, Venkat has been exposed to a wide range of arts practices which have influenced his sensibility. Venkat was awarded the Rajya Hasta Shilpa Puraskar by the Government of Madhya Pradesh in 2002. He is the coordinator for an animated film on a Gond folktale made by Tara Douglas, which won the Tallest Story Competition Trophy at the Inverness Festival in Scotland, 2007. In 2013, Venkat’s works were exhibited at Sakahàn: International Indigenous Art at the National Gallery of Canada, in Ottawa. In 2015, Venkat was one of the artists who participated in the Kalpa Vriksha: Contemporary Indigenous and Vernacular Art of India project at the Asia Pacific Triennial of Contemporary Art (ATP8) at the Queensland Art Gallery. His prestigious participation with Bindu modern Gallery a tour exhibition of Indian indigenous art and artists continued till 2020 in nine venues. Venkat’s graphic autobiography, Finding My Way,
coauthored with S. Anand, was published in 2016 to critical acclaim.

KALIGHAT

Kalighat Pat or Kalighat Paintings originated in the 19th century near the Kalighat Kali Temple in Calcutta, West Bengal, India. Initially, these paintings served as souvenirs for visitors to the Kali temple. Over time, they evolved into a distinct school of Indian painting. While early works depicted Hindu gods and mythological characters, Kalighat paintings began to reflect a broader range of subjects, including everyday family life.

Kalighat painting emerged from the changing urban society of 19th-century Calcutta. As the Kalighat temple became a popular pilgrimage center in British-ruled India, artists from traditional patua and artisan communities developed a quick painting method using mill-made paper. They used brush and ink made from lampblack to create vigorous, flowing lines that defined figures of deities, gentry, and ordinary people. The paintings also featured romantic depictions of women, their changing roles with the advent of education, and satirical takes on the hypocrisies of the newly rich and the evolving roles of men and women.

Traditionally, before factory-made watercolor became prevalent, patua paints were handmade from natural sources like indigo, turmeric, and other plants. These dyes were mixed with binding agents such as the natural gum of bel (wood apple) and crushed tamarind seeds. Colloidal tin was used to embellish the paintings, mimicking the appearance of jewels and pearls.

Kalighat painting, originating near the Kalighat Temple in Calcutta, began as a form of souvenir art primarily depicting devotional scenes of gods and goddesses. Over time, artists expanded their themes to include everyday life, social issues, and folklore. Kalam Patua, a contemporary practitioner of this art form, is known for his unique style that imbues traditional themes with a romantic charm. His use of soft pastel palettes, clean black lines, and a focus on favorite deities such as goddess Durga, Parvati, and Lord Ganesha, sets his work apart in the modern evolution of Kalighat painting.

Artist Profile of Kalam Patua

KALAM PATUA (b. 1962) hails from a community of scroll painters and storytellers from Bhirbhum, West Bengal. He is a self-taught contemporary exponent of Kalighat painting, which draws on conventions from West Bengal scrolls and Indian miniature painting. Kalighat painting developed in the mid-19th century in Kolkata (formerly Calcutta) to illustrate the Hindu gods and goddesses and respond to topical social and political events affecting the local people. Kalam Patua is an has worked towards reinventing Kalighat painting in India today. A postmaster during the day in a rural post office in West Bengal, he is one of the few artists painting in this style today. Patua’s unique watercolours contain elements of autobiography and myth, and reflect on social issues and current events. Kalam’s work has been exhibited extensively in India and abroad in various exhibitions and compilations and he continues to participate in camps, residencies and fairs. His work has been invited to be part of shows at the National Museum at Liverpool, the Museum of Civilization in Canada, Chicago Children’s Museum and the Victoria and Albert Museum in London. It is part of the permanent collections at Crafts Museum and National Gallery of Modern Art in Delhi, at Victoria and Albert Museum in London as well as private collections in India and around the world. Kalam lives in Rampurhat in West Bengal and works from his studio at home.

MADHUBANI

This painting depicts the entire rituals of Chhath Puja, including the preparations, rural economy, and interconnectedness of rural-urban dwellers. People from urban areas bring cultural influences to the village, rejuvenating their rural roots before returning, enriching their connection with tradition. The local market (hatt) illustrates how festivals are crucial for the rural economy; cleaning the ghat revives ponds and refreshes water bodies. Meeting old friends strengthens the socio-cultural fabric, even in the virtual world. The overall message of this painting is to highlight the cultural and social importance of the Chhath Festival.

Depicted here is one of the most popular and iconic of these ritual paintings called the ‘kohbar’. These were originally painted in the ‘kohbar ghar’ or the nuptial chamber where the bride and groom consummate their marriage. This room in which the married couple spends their first four nights is the most vibrantly painted section of the house. Shalini Karn's painting, inspired significantly by the Covid lockdown, offers a fresh interpretation of the traditional Kohbar. The artwork features a grand Kohbar dominating the landscape, its top extending into a dark blue sky with faint, distant mountains. The Kohbar is intricately decorated, with six symmetrical medallions—three on each side—surrounding the center. In the four interstices, naina jogin figures, dressed in red or yellow saris with one eye uncovered, protect the wedding from evil misfortune. The light blue water in the painting is vibrant with auspicious life, including turtles, small fish, crabs, snakes, and lotus flowers.

Artist Profile of Shalini Karn

SHALINI KARN Born into a traditional artists’ family, Shalini has been immersed in the world of art since a young age, painting folklores, scenes from epics, and depictions of Gods and Goddesses. Her recent works beautifully blend modern visualization with traditional techniques. Delving into the style of Madhubani art, Shalini,being a woman, infuses her art with personal experiences, addressing gender-based issues and sensitivities. Shalini actively participates in workshops and exhibitions, both in India and abroad. In 2016, she was invited to Kathmandu for the Ramayan Circuit, an International workshop an Exhibition of Art organized in collaboration with the Embassy of India and BP Koirala India- Nepal Foundation. Shalini actively participates in workshops and exhibitions, both in India and abroad. In 2016, she was invited to Kathmandu for the Ramayan Circuit, an International workshop and Exhibition of Art organized in collaboration with the Embassy of India and BP Koirala India-Nepal Foundation. In 2020 and 2022, Shalini received invitations to the USA to participate in the International Folk Art Market (IFAM). Currently, she works as a freelance artist and resides in Ranchi, Jharkhand.

PICHHWAI

Pichwai painting is a form of traditional Indian art that originates from the state of Rajasthan. These paintings, which portray the life and tales of Lord Krishna, are renowned for their minute details and vivid colours. Accordingly, these paintings were initially made to serve as the background for Lord Shirnathji

This painting depicts Annakut (meaning a “mountain of food”), is a Hindu festival in which devotees worship Govardhan Hill and prepare and offer a large variety of vegetarian food to Krishna as a mark of gratitude. The Shrinathji Annakut Pichwai Painting depicts devotees offering food to Lord Krishna.

TERRACOTA SCULPTURE

These terracotta sculptures by Sasvata are the result of skilled artisan craftsmanship. Each piece undergoes a meticulous process: they are modeled, dried, fired, painted, and finally decorated. The figures are made using river clay mixed with husk, ashes, and sand in minor proportions, which are then baked in a brick kiln. Each sculpture is crafted in phases and assembled to create the final artwork.