Indian Art

Indian art and handicrafts crafts are truly fascinating; it is incredible how ancient practices and traditions have continued since time immemorial. The history of India is a story of unbroken traditions that have continued for over 5000 years. For centuries, Indian handicrafts have been distinguished for their aesthetic and functional value.Indian art has been influenced by many factors, mainly religious, political and social. India is a land of immense diversity. Various traditions, rituals, geographic and climatic conditions, lifestyles and cultures have given birth to numerous styles and designs.

The arts of India expressed in architecture, sculpture, painting, jewelry, metalwork, and textiles. Fantastic pictorial conceptions, idiosyncratic conventions, extra-ordinary system of line formations and vibrant colors and ancient tradition makes splendid pieces of art.

Pattachitra

Patta chitras are miniature paintings, used as wall hangings with religious themes as their subject matter. Legends from the lives of Lord Krishna are mainly depicted on this specially treated cloth known as Patta. Developed over the years, this art form has helped a distinct school of painting to evolve. Having its origin in Sanskrit language, the word Patta Chitra literally means a painted piece of cloth. This ritualistic art observes a fine blend of sophisticated art and folk element in the form of rich colors. The skilled hands of the talented artisans present blood red, red ochre, lamp black, yellow, white and indigo in a unique way as they pretend to be offsetting each other. These pattas are carried back home by pilgrims to Puri as precious mementos. Practiced widely in Raghurajpur and Dandshahi villages at the outskirts of Puri, these pattas have become synonymous to the place.The preparation of Patachitra involves a double coarse white cloth pasted together with an adhesive made in tamarind seeds. The tamarind seed powder is soaked in water overnight and then boiled to provide it a gummy consistency. Sometimes, artist adds rice powder to the mixture to give a stiffer feel to the canvas. It is followed by a coat of tamarind paste, which is applied, on both the sides of the cloth and the cloth is left to dry. On the front face of the dried cloth, a coat of soap stone powder mixed with tamarind paste is applied. Finally, the canvas is burnished by rubbing coarse grain and polished stones. When the canvas is ready, the artist marks the border area and outlines the central composition. It is followed, by painting the background in red, also known as pahili ranga bhara or first coloring. In the subsequent stage, the artist colors the figures, applies the red ornaments and black details and completes the border decoration. The central colors used in Patachitra are red, brick red, yellow, white and lamp black. The painter employs the various kinds of brushes.

Terracotta
The word Terracotta is etymologically Italian, and means ‘baked earth’ or ‘fired earth’. Terracotta is an antique practice and bears testimony of man’s civilization through various ages. In fact, these ceramic art forms were the first steps that were taken by man towards creativity and expression. Generally, the practice of terracotta art involves baking molded clay at high temperature and preparing various structures out of it. Sculptured items may range from household utensils, potteries and curios to ornamental statues and designs on temples. The items that are prepared through terracotta are brownish orange in color and are also referred to as ‘Terracotta’.Terracotta crafts have long been admired due to their unique qualities. Terracotta paintings are a distinct art medium with their own set of advantages. Terracotta painting is considered as an integral part of many civilizations. Due to the immense popularity associated with these, the terracotta paintings are widely referred as internationally acclaimed possessions today. Impressing people all around the world, the terracotta paintings have acquired a very special place in todays highly competitive market.

Glass Paintings

Glass paintings or glass engravings as they are sometimes known, typically comprise of an engraving laid down on the back of the glass, and painted from the reverse. The effect is one of stunning clarity and rich color ideally serving as a connoisseur's delight. Glass as a medium of art allows tremendous freedom to express oneself.Glass painting is a form of art, which has evolved and gained prominence in the recent past. Glass painting basically involves painting on tinted glass that miraculously transforms a plain piece of lifeless glass, into a wonderful piece of art. It's effects can be amplified if placed under proper lighting. The images, diverse in subject matter, all unique and individual in character are outlined. They are then painted using special paints. Embedding with semi-precious stones, beaten gold leaf or glitters can enhance the look. Glass painting is similar to drawing than painting. The colors tend to be water or gum based and can be applied in a method similar to the way watercolors are applied. The paints are mostly fired onto the glass using a kiln. The heat of the kiln causes them to bond permanently with the glass. These attractive paintings can be done to enhance the look of showpieces, coasters, napkin holders, cutlery, wall hangings, etc. Decorated with a blend of sparkling light, the beauty of glass paintings is par excellence.

Marble Painting
Imparting a natural and rugged look to the artifacts, marbles are considered as natural stone with immense beauty. They are available in variety of colors. Marble painting reveals immense perfection and beauty encompassing traditional as well as contemporary styles. Made on exquisite variety of marble, marble paintings are considered as miniature paintings. These decorative paintings provide the enhancing appeal to interior as well as exterior. Highly ornate marble painting could be easily searchable in detailed carvings with natural and smooth marble finish. The beautiful marble paintings with inlay work are also done on table tops, wall hangings, furniture etc. The marble paintings are made on marble of different sizes and thickness. With different themes like Indian Musical instruments, pots and vases, statues, floral designs, royal palaces and lifestyles, the marble paintings are occupying very special place in the market today.Rajasthani marble paintings are commonly famous for their art which generally has to be done on the marble tile. These marble paintings, which are done with immense perfection and beauty, encompass both traditional and contemporary styles. Rajasthan where the Marble as a stone is immensely beautiful in itself, the decorative paintings make for perfect showpieces for an enhance appeal of the interiors as well as the exteriors. Marble paintings are exquisite works of Rajasthani/Mughal painting done on marble.

Oil Painting

The magic of Oil Paintings is remarkable.Oil paintings are an integral part of Indian art history. Famous artists have immortalized a number of topics into oil paintings that are now scattered the world over in museums, churches, and as part of private collections. The history of oil painting is rich and diverse. Through time, each artist has added a particular style to an earlier accomplishment that influenced later oil painters for better oil paintings. Oil has also evolved through time. Originally done on surfaces using pigments that are mixed with different oils for varying drying times and intensities, oil used in paintings have now been developed to remain liquid until heated. This minimizes clean-ups that makes oil paintings easier to clean, maintain and manage, which accounts for their increased popularity.

Sand Art
Another famous handicraft of India is based at Puri,Orissa. This implies carving a sand sculpture with just clean and fine-grained sand mixed with water. Attractive sculptures are carved out of this sand by the Oriya artists.Dating back to fourteenth century A.D. the origin of this art is associated to Poet Balaram Das, the author of Dandi Ramayan.Very eye catching and splendidly beautiful, this art form has gained immense popularity with the development of tourism.

Silver Craft
Silver filigree is locally called ‘tarakasi’. It is a silver craft, which has captured the imagination of the people world over. It is one of the exquisite traditions of silver craft. Cuttack is famous for the unique style of art and it has made a mark for itself in the arena of art and craftsmanship. The silver filigree work of Cuttack is very widely known and acclaimed for its superb finish, fine foils and snow glazed texture. It is a must for every visitor of Cuttack to feast his eyes with the sight of these works of art. The art of filigree has attained unconquerable heights of charm and beauty, demonstrating its capacity to remain unspoiled with the passage of time. For its intricate and magnificent style of art, Cuttack has brought this unique Orissan style of handicraft great fame and familiarity world over.

Stone/Cave Craft
Stone craft in India has been in existence for a very long time. From the time of the polished sandstone lion edict of Sarnath to the present time, this craft of stone has traveled a long distance. In its course it flowered, transformed and gave expression to many styles known today as the Maurya, the Gandhara, the Gupta, the Chalukya, the Chola, the Vijayanagar, the Orissa, the Hoysala, the Mogul, the Indo-Muslim art of the Deccan and the like. The rock-cut caves of Ajanta and Ellora and of Udayagiri; the Chalukyan temple of Virupaksha, of Pattadakal, the great Chola temple of the Nayakas at Madurai, the Indo-Aryan temples at Bhuvaneshwar, Puri and Konark, the Sun temple of Modhera, Gujarat and the Chandela temples of Khajuraho: these ageless edifices present an endless variety of exquisite stone carvings. Today, the stone artisans draw much of their inspiration from these monuments and statues. The glamorous delight of the Taj Mahal in Agra has captured the marble craft of India. Most of the statues in the state of Orissa show similarity in form and details to the sculptures of the Jagannath temple at Puri. Traditional motifs such as standing Deepalakshmis, courting apsaras (temptresses,) lotus blossoms are all adopted as decorative stands for table lamps, ash-trays, or stone flower vases. Ancient cave paintings of India serve as a window to our ancestors, who used to inhabit these caves.

Appliqué Craft

Among the traditional textiles of India, the art of appliqué work occupies a distinguished place. According to the Webster’s dictionary, appliqué is a ‘decoration or trimming made of one material attached by sewing, gluing, etc. to another.’ In India, appliqué art is widely prevalent in the western states, especially in Gujarat and Rajasthan, and in the eastern coast of Orissa. It is a decorative work in which a piece of cloth is decorated with glass pieces, metals, wood or metal wires. The craft is practiced in the region of Orissa and Rajasthan. Pipli, a place in Orissa is a main center of Appliqué work. The red, purple, black, yellow, green and white fabrics are mostly used in this craft. First, a base material in the shape of square, rectangle, circle or oval is prepared and then it is stitched onto the base cloth in aesthetic arrangements. After attaching the appliqué patches to the base cloth it is stitched. It is believed that appliqué work made its way into western India either from Europe or Arabia in the Middle East through trade contacts.

Indian Dance

The Odissi dance of Orissa is one of the six acknowledged classical dance forms of India. Like all other Indian Classical dances, it also has its initiation in religion and philosophy with an origin in the temples of Orissa. The rhythm, Bhangis and Mudras used in Odissi dance have a distinct style of its own. The dance is performed mainly with the theme of Infinite love of Lord Krishna and Radha. The allied art of this dance and music is more popularly known as the Panchama Veda that was cultivated with success from a very ancient period in Orissa. It was King Mahameghavahan Kharvela, a proficient master in the art of dance and music himself who provided a strong footing for further development of this art through his royal patronage. The Hathi Gumpha inscription states that in his third regal year King Kharvela entertained the people of capital city by organizing dance and musical performances. This noble tradition created by Kharvela came to be followed by the later rulers of Orissa and this art made further strides of progress under the patronage of the Bhaumakara and Somavansi monarchs. However the community which played the greatest role in popularizing this art, by giving it a news sprit, a new hope and horizon, was the community of the temple maidens or Devadasis. Devadasis or Maharis used to practice this dance form and used to perform it before the lord as a form of prayer or ritual. At first only some Mantras accompanied their Nrutya. But after Jayadev composed the Geeta Govindam thus incorporating abhinaya in dance form, the grace of this dance form got revived.Odissi dance would have got diminished inside the temples but for Ray Ramananda, a dramtist and musician, who introduced it in another form. He taught Odissi to some boys and presented the dance form as Gotipua Nacha. He convinced Chaityna Dev that singing and dancing were also forms of prayer. Thus Odissi dance form was enriched by the encouragement of various kings and a sweeping Vaishnava cult. Subsequently Odissi was further refined and became a higher form of dance than Gotipua Nacha.Odissi includes both Tandava and Lasya elements. It has Navatala system. But the element that distinguishes Odissi form other dance forms is the grace. In Odissi the torso movement is considered very important which is soft, lyrical and graceful. The basic body position is chowka that is supposed to be a replica of Lord Jagnnath's body position. The dance has a mention in Bharat Natya Shastra as 'Odramagadhi' one of the ancient names of Orissa other than Kalinga and Utkal. The five departments of Odissi are Mangalacharan, Sthai or Batu, Pallavi, Abhinaya and Moksha. Odissi has its own style and music.Similar to other classical dance forms, in Odissi too the Guru Shisya tradition is prevalent. It takes around five to seven years to get trained in this style but as Guru says a whole life dedication also seems to be less to master the form completely.

Bharatanatyam is a classical dance form originating from Tamil Nadu, a state in Southern India. This popular South Indian dance form is a 20th century reconstruction of Cathir, the art of temple dancers. Cathir in turn, is derived from ancient dance forms. The word Bharata, some believe, signifies the author of the famous Sanskrit treatise on stagecraft, called NatyaShastra, and the word Bharatanatyam is sometimes given a folk etymology as follows:Bha for Bhava or abhinaya and expression, Ra for raga or melody, and Ta for tala or rhythm.Bharata refers to the author of the Natya Shastra, and natya is Sanskrit for the art of sacred dance-drama brought to the stage at the beginning of the 20th century.
Bharatanatyam traces its origins to the Natya Shastra written by Bharata Muni, a Hindu sage. In ancient times it was performed as dasiattam by temple Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered a standard set of religious services called Sodasa Upacharas ("sixteen hospitalities") among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharatanatyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. It is one of the five major styles (one for each element) that include Odissi (element of water), and Mohiniattam (element of air). The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame. Contemporary Bharatanatyam is rarely practiced as Natya Yoga, a sacred meditational tradition, except by a few orthodox schools (see Yoga and Dance).
The technique includes
Abhinaya or Natya - dramatic art of story-telling in Bharatanatyam
Nritta - pure dance movements, as a medium of visual depiction of rhythms
Nritya combination of abhinaya and nritta
Typically a contemporary performance includes:
Ganapati Vandana - A traditional opening prayer to the Hindu god Ganesh, who removes obstacles.
Alarippu - A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance.
Jatiswaram - An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body.
Shabdam - The dancing is accompanied by a poem or song with a devotional or amorous theme.
Varnam - The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover.
Padam - Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited.
Thillana - The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.
Apart from these relatively modern items, there are more ancient items such as Kautuvam, Koothu, Shlokam, Swarajathi, Krithi etc. The performance concludes with the chanting of a few religious verses as a form of benediction. Certain styles include more advanced items, such as Tharanga Nritham and Suddha Nritham. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram (debut).
Angikam - This is a devotional song on Lord Shiva and an item dance in bharatnatyam. It can also be performed in byapti slow motion.
Makeup and Costume:From the ancient texts and sculptures, one can see that the original costume did not cover most of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasis to wear a special, heavy saree that severely restricted the dance movements. There are several varieties of Bharatanatyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's sukshma sharira (cf.aura), in the material world.

Kathakali is the classical dance-drama of Kerala, South India, It originated in the Southern Indian state of Kerala during the late 16th century, approximately between 1555 to 1605 AD.Kathakali has a unique combination of literature, music, painting, acting and dance. Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. Kathakali is a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, especially the two epics, the Ramayana and the Mahabharata.Kathakali is considered to be a combination of five elements of fine art: Expressions (Natyam, the component with emphasis on facial expressions)
Dance (Nritham, the component of dance with emphasis on rhythm and movement of hands, legs and body)
Enactment (Nrithyam, the element of drama with emphasis on "mudras", which are hand gestures)
Song/vocal accompaniment (Geetha)
Instrument accompaniment (Vadyam)
Even though the lyrics/literature would qualify as another independent element called "Sahithyam", it is considered as a component of Geetha, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.The most popular stories enacted are Nala Charitam (a story from the Mahabharata), Duryodhana Vadham (a story from the Mahabharata), Kalyanasowgandhikam (the story of Bhima going to get flowers for Panchali, from the Mahabharata), Keechaka Vadham (another story of Bhima and Panchali, from the Mahabharata), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karna Shapadham (another story from Mahabharata).The language of the songs used for Kathakali is Manipravalam. Even though the songs are set for “ragas” based on Carnatic music, there is a distinct style of rendition, which is known as the “sopanam” style. The Sopanam style incorporates the moods of temple songs which used to be sung (continues even now at some temples) at the time when Kathakali was born.

Makeup and costume:One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pacha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets are the predominant colors that are applied on the face. Pacha (Pacha=green)has green as the dominant color and is used to portray noble male characters who is said to have a mixture of "Satvik" (pious)and "Rajasic" (kingly)nature. Rajasic characters having an evil streak ("tamasic"= evil), such as the demon king Ravana, are portrayed with red as the predominant color in a green background. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Chuvanna Thaadi(Red Beard). Tamasic characters such as uncivilized hunters are represented with a predominantly black make-up base and a black beard and are called Kari/ Karutha Thaadi (meaning black beard). Women and ascetics have lustrous, yellowish faces and form the fifth class. In addition there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the monkey god) and Pazhuppe, which is used for the Lord Siva.
The make up is made from various mineral ores and pigments. They are ground on a stone and mixed with coconut oil before being applied on the face. Some characters also have their features enhanced, such as an enlarged nose or an elaborate mustache. There are made using elaborately cut paper which is stuck to the face with a mixture of rice paste and calcium carbonate. Dancers also often place a "chundanga seed" (variety of eggplant which bears small fruits) under their lower eyelid before the performance to turn the white of their eyes red. In fact the "chundanga" is not really a seed and is prepared by removing the ovaries at the base of the flowers of this plant. The procedure used for preparing these seeds involves the rubbing of a bunch of these in your palm until they become black (starting from a white color) and nearly dehydrated. They often last long enough for a season (of around four months) in this condition.

Kuchipudi, one of the art forms of the South had its origin in Andhra Pradesh. It presents scenes from Hindu Epics and mythological tales through dance-dramas combining music, dance and acting. The Kuchipudi is a dance-drama of Nritta, Nritya and Natya. The Nritta consists of teermanams and jatis, the Nritya of Sabdams, and the Natya of acting with mudras for the songs. Nritta encompasses steps and movements in the form of patterns of dance which, though ornate in themselves, have no meaning to convey.The movements in Kuchipudi are quicksilver and scintillating, rounded and fleet-footed. Performed to classical Carnatic music, it shares many common elements with Bharatanatyam. In its solo exposition Kuchipudi numbers include 'jatiswaram' and 'tillana' whereas in nritya it has several lyrical compositions reflecting the desire of a devotee to merge with God - symbolically the union of the soul with the super soul.
Beyond the stylistic differences of Kuchipudi and Bharatanatyam steps, there are certain types of dances that are unique to Kuchipudi. Specifically there is the Tarangam of Kuchipudi which is unique in that the dancer must dance upon a brass plate, placing the feet upon the raised edges. The dancer moves the plate with much balance as the indiviudal is traditionally dancing on the plate with two diyas (small oil-burning candles) in his or her hands while balncing a "kundi" (small vessel) containing water on their head. At the end of the dance, typically, the dancer extinguishes the candles and washes his or her hands with the water from the vessel. There are also subtle differences in the costumes of both types of dances. Generally, Bharatanatyam dresses have three fans of differing heights that form the illusion of the spreading pleats of a sari. However, in Kuchipudi there is typically only one fan which tends to be longer than the longest of the three fans present on Bharatanatyam dresses. The technique of Kuchipudi makes use of fast rhythmic footwork and sculpturesque body movements. Stylized mime, using hand gestures and subtle facial expression, is combined with more realistic acting, occasionally including dialogues spoken by the dancers. In this blend of performance techniques, Kuchipudi is unique among the Indian classical dance styles. Kuchipudi today is performed either as a solo or a group presentation, but historically it was performed as a dance drama, with several dancers taking different roles. The themes are mostly derived form the scriptures and mythology, and the portrayal of certain characters is a central motif of this dance form. One example is Satyabhama, the colourful second consort of Lord Krishna. Another unique feature of Kuchipudi is the Tarangam, in which the performer dances on the edges of a brass plate, executing complicated rhythmic patterns with dexterity, while sometimes also balancing a pot of water on the head. Kuchipudi is accompanied by Carnatic music. A typical orchestra for a Kuchipudi recital includes the mridangam, flute and violin. A vocalist sings the lyrics, and the nattuvanar conducts the orchestra and recites the rhythmic patterns.

Manipuri Dance is one of the major Indian classical dance forms. It originates from Manipur, a state in north-eastern India on the border with Myanmar (also known as Burma). Manipuri is one of the six classical dance styles of India, the others being Bharata-natyam, Kathak, Kathakali, Kuchipudi, and Orissi. It is indigenous to Manipur, the north-eastern state of India and the indigenous people of this valley were said to be the dance-expert Gandharva's, mentioned in the epic Ramayana, Mahabharata and other religious scriptures.It was originally only performed in temples and continues to form an integral part of the religious and social fabric of Manipur. Manipuri dance, whether folk, classical or modern, is devotional in nature. The people of Manipur are very religious and are exclusively attached to the Hindu deities Radha and Krishna, who are often the main characters depicted in Manipuri dances.It is only since the early 20th century that Manipuri dance has been presented on stage. It became better known outside the region through the efforts of Rabindranath Tagore, the Bengali poet.

Kathak is a classical dance form from South Asia (originally from North India) and is the national dance of Pakistan. It is a partially narrative dance form characterized by fast footwork (tatkar), spins (chakkar) and innovative use of bhav in abhinaya. It has today a form that has been influenced at various times in the past by mythological narratives by kathakas or ancient bards, temple dances, the bhakti movement (both Vaishnavism and Shaivite), and Persian influence of the Mughal courts in the 16th century onwards; and these elements are readily discernible. Performers today generally draw their lineage from three major schools of Kathak: the Jaipur gharana, the Lucknow gharana and the Banaras gharana (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later) Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.
The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means s/he who tells a story, or to do with stories. The name of the form is properly katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, 's/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is Kathak'.
The story of Kathak begins in ancient times with the performances of professional story-tellers called kathakas who recited or sang stories from epics and mythology with some elements of dance. The traditions of the kathakas were hereditary, and dances passed from generation to generation. There are literary references from the third and fourth centuries BC which refer to these kathakas. The two texts are in the archives of Kameshwar Library at Mithila.