Indian Folk Art - Canvas Art Driven By a Passion for Embellishment
Identifying folk art within any culture, not just India, is generally the easy part. Defining it? Far more difficult! India is a vast continent, with many ethnic groups, with each baring their own aspirations and artistic preferences, as well as twelve thousand years of creative history. Even so, each Indian culture investigated and discovered their creative side, through imagery. Indian folk art is instinctive and expressive. Free of the western worlds ecclesiasticism, or pricey ostentation. The only influence driving folk art among these cultures is the natural forms around them, as well as belief, along with a great passion for embellishment. In a western world, art is subject to ever changing priorities. Indian folk art has resisted such fickle change with its primary artistic tradition, being simply to stay true to itself.
We only have to see the rough lines and raw color of Indian folk art, to know. There is no 'training', nor 'education' as such, involved. Instead, this art reveals an inborn ability and imagination, which has been free to seek its own harmony. As well as its own respect and concern for the world in dwells in. With regards to folk Art, we are not viewing the ideas of an individual artist, or, the latest 'movement'. Instead, we are viewing the heart and soul of entire communities - which, in itself, holds a certain kind of stoicism.
Defining Indian folk art is somewhat of a misdemeanor. For, its definition will change from culture to culture; region to region. For example, Chhattisgarh (a province of central India) has a place on the world map of folk art. Chhattisgarh incorporates many different regions, each with their own artistic distinctions. Raigarh, being famous for metal-casts; Kanker, for wood carving; Kondagaon, for ceramics, and Sarguja for its special painterly style. Even so, despite being difficult to define, one of India’s most respected authors, on the subject of folk art, Gurushaday Datta, seems to have managed admirably. Datta wrote many books on the subject of Indian folk arts. In those books, he investigates its “power to communicate”, describing it as “Race Language”. Without doubt, this does seem a clear and unabated statement of the facts. Gutta’s views are highly respected. Especially within India, but also around the world; the folk art museum of Calcutta, being dedicated to his name.
Apart from a period of around twenty years, from 1920 to 1940, the influences of the West have always been minor within India. Of course, in the twenty first century, the West has become a much greater influence. The 'Race Language' of Datta is no longer possessed by the majority, but by the minorities. To which, Indian folk art has become something of a commodity. Datta defines folk art, as being the 'art of the common masses.' As opposed to belonging to the ecclesiastic and imperial hierarchy. And in India, the 'Rock Art' of the Nomads preceded any such priestly and princely fine canvas art, by thousands of years.
Jain Painting, produced around the eleventh and twelfth centuries was highly illustrative. It, representing somewhat of a revival, within Indian folk art. Striking, bold lines, with angular and irrational human forms. Folk art always takes its themes from the immediate environment. Therefore, each ethnic group has different stimuli. Even so, one thing will often hold true. Folk art is invariably produced in celebration, and intentionally avoids all forms of voluptuous enticement. Concerns of the body, particularly nudity, are shunned. Instead, the concerns of daily living, legends and ritual are embraced. Even today, within India’s contemporary arts, Datta’s 'art of the common masses' remains influential.
Indian folk art substitutes science and reason, with spontaneity and creativity. Something described by the English, eighteenth century poet, Colleridge, as the 'esem-plastic imagination'. That is, the creative and artistic power of the mind. It is an ability innate to man, and it is this which empowers Indian folk art It is this spontaneity, which never fails to capture the eye of art lovers around the world. Appreciative of the distinctive and natural beauty of an art, driven by a mind for 'esem-plastic imagination'. As well as for embellishment!
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