Dasavatharam - Madhubani

DASAVATHARAM

PERUMAL

MATSYA

KOORMA

VARAHA

NARASIMHA

VAMANA

PARASURAMA

RAMA

KRISHNA

BUDDHA

KALKI

Rama Pattabhishegam - Pattachitra

Ramar Pattabhishegam [Crowning ceremony of Lord Rama]
Click on the picture for a more clear and larger view.

R to L: Sugreeva, Jhambhavan, Guha, Rama, Seeta, Bharatha, Lakshmana, Chathrugunah. Below: Hanumaan

Kalighat Painting - Lord Karthikeyan

Kangra Painting - Annapoorani Amman

India's rich painting heritage encapsulates diversified shades in the world of paitings.The Kangra Miniatures of the Pahari School is also an integral part of Traditional Indian Paintings.This art form made a mark in the 18th century. Kangra School of miniature paintings was influenced by the Mughal Miniature style of painting, though it successfully retained its distinctiveness.

These ethnic indian paintings were naturalistic and employed cool, fresh colors. The colors were primarily extracted from minerals, vegetables and possessed enamel-like luster.Ever enticing greenery of the landscape, brooks, springs were the recurrent images on the miniatures.Painters explored endless themes for their paintings from the texts of the Gita Govinda, Bhiari's Satsai, and the Baramasa of Keshavdas. Similarily the eternal love of Krishna and Radha rejoicing the moments of love was also portrayed very frequently.

The paintings based on Ragmalas (musical nates) also found patronage in Kangra school. Some of the famous Kangra Ragmala Paintings include Ragini Gujari, Raga Lalit and Ragini Sorathi.

A distinct aspect of kangra School of painting adopted in later course was that it included the scenes under star-studded skies and also portrayed storms with lightning running across the horizon. This feature was not found in any other style of painting . Kangra miniatures also depicted towns and cluster of houses in the distance iagain in later periods.Although mountains above the height of 13,000 ft were never made a part of the paintings.

Kalamkari [Lord Shiva]

Kalamkari is an exquisite ancient craft of painted and printed fabrics. It derives its name from "Kalam" meaning Pen, and "Kari" meaning work, literally Pen-work. It is hand painting as well as block printing with vegetable dyes.

Very old, this art knew it's apogee in the rich person kingdom of Golconde [ the current city of Hyderabad,Andra Pradesh]. It has evolved through trial and error over the last 3000 years. Techniques of craftsmanship in Kalamkari were handed down within the families from generation to generation.

In Andra Pradesh, both the Masulipatnam and Srikalahasti villages are recognised as major centres for Kalamkari painting. Thus came the two styles of Kalamkari painting - Masulipatnam style ans Srikalahasti style.

Kalighat painting [Saraswathi]

Kalighat painting derives its name from its place of originKalighat, in Kolkata - the erstwhile capital of British India. This painting form has its roots in the cultural upheavals of nineteenth century colonial Bengal. At this time a huge number of village folk had migrated from rural Bengal and settled in and around the famous Kalighat temple. Amongst them, many were potters and scroll painters. These were the people whose painting style and themes later came to be known as Kalighat painting. They used watercolors and painted on inexpensive mill papers.

Brushes were made from squirrel and calf hair. Cheap color pigments were applied in transparent tones, which was totally different from the traditional of Indian tempera. With shaded contours and articulated gesture and movement, the figures attained a plaque-like effect on a neutral unpainted ground. The style is characterized by formal and linear economy, meaningful gestures, and quality brushwork and flawless rhythmic strokes. The drawings are bold and attractive and at the same time their technique is different and simple.

Lakshmi Puja Alpona Pattern

Alpana or Alpono designs are drawn during festivals and Hindu rituals in Bengal, Orissa and other parts of Eastern India. It also drawn during Kojari Lakshmi Puja to welcome Goddess Lakshmi. The designs drawn during Lakshmi Puja display the feet of Goddess Lakshmi.

Dakshinamurthy - Kerala Mural

Dakshinamurthy is one of the well known iconic representaions of Shiva and this form represents Him as the Supreme Teacher. Dakshinamurthy's uniqueness as a teacher lies in the fact that he teaches through silence, through his all-pervasive Consciouness.

Saura Painting [Orissa]

This folk art painting is known as ‘Saura painting’. The ‘Saura’ tribe of Orissa makes these paintings. The theme of this folk painting has been drawn from their everyday life, showing several rows of human forms engaged in daily or ceremonial activities. In alternating set of rows, differing moods of dancing and warring people are portrayed. Seated on horses or elephants, men go on wars to protect the natural rhythm of life back home. At the base of the painting, we see men around a tree, signifying the close connection between man and nature.

Pithora Painting

Pithora Paintings are much more than colorful images on walls for the tribes of Rathwas, Bhilals, and Naykas of Gujarat and Madhya Pradesh . They signify the advent of an auspicious occasion (like weddings, childbirth, festivals) in the family or community. An art form, which essentially conveys the joy and celebration of a community, has to reflect the collective mood of it, and Pithora paintings with their colors and animated figures mirrors the sentiments of their creators.

The essence of a Pithora painting lies in its earthiness; everything from the theme to the execution has the ethnicity of rural India. Even materials used are quite exotic: the colors are prepared by mixing pigments with milk and liquor prepared from the auspicious Mahuda tree. Indeed the joie de vivre of the community couldn't have found a more suitable mean of expression.

The tribes

The tribes of Rathwas , Bhils and Nayaks of central Gujarat and Madhya Pradesh practice this Art form.

The Rathwas have a distinct cultural heritage and an interesting historical background. They mimic the upper caste of Tadagis in their way of life. They depend on the forests around them for a livelihood. The forests therefore are sacred for them. The family is the most important unit of this tribe and they practice arranged marriages, however clan exogamy is also observed. Their intrinsic aesthetics is evident in their quaintly done mud hits, which are adorned with colorful Pithora Paintings.

The ancient tribes of Bhils too practice this art form with meticulous diligence.

The Ritual called Pithora Paintings

Pithora Painting can be called a ritual rather that an art form for it is “performed” to thank God or for a wish or a boon to be granted. A comprehensive understanding of this ritual will call for a narrative- the head priest of the community who is called “Badwa”, is summoned when a problem occurs in a family. The problems are narrated to the Badwa “ who offers solutions, which almost always involves the painting of Pithoras on the walls of the house. The Pithora Baba is considered to be the reigning deity of the community and his presence is considered to be the solution of all problems. The first wall of the house is considered to be the right place for a Pithora. A Pithora is however, considered to be a three-wall affair, so the first wall and the other two walls around it are prepared for the painting. The walls to be painted are first plastered with mud and cow dung by the unmarried girls of the household, and then coated with chalk powder this process is called lipna. And then the painters proceed to do their work.