INDIGENOUS ARTISTS
The word "Warli" comes from warla, a piece of land. The indigenous roots of the Warlis belong to the land of their ancestors.
Warli painting was limited to worshiping the mother goddess on occasions such as weddings or births.
Until the end of the 1960s , the pictorial art of this tribe was the exclusive preserve of women. This ancestral ritual art underwent a radical change during the 1970s: A man, Jivya Soma Mashé , began to paint, not just during the rituals, but on a daily basis. His talent was quickly noticed at the national level. He received directly from the hands of the highest political leaders of India, including Madame Indira Gandhi , the most important Indian artistic awards. He has participated in exhibitions at the international level.
Anil Vangad est l’un des artistes Warli les plus prometteurs de l’art tribal contemporain indien. Nous sommes fières de le compter parmi nos artistes.
The works of art produced by inhabitants of the tribal communities of Pardhan Gond in India are deeply linked to their daily lives. Colors and textures show an innate ideal of beauty of Pardhans, complemented by traditional shapes and symbols. As with other Gonds, the traditional visual arts of the Pardhans serve as decoration in their homes.
Venkat Raman Singh Shyam est un artiste contemporain, reconnu à l'international. Il perpétue la tradition de la peinture Gond avec des sujets contemporains. Nous sommes heureux de vous présenter quelqu'unes de ses oeuvres.
With a rich anchoring in Hindu tradition, the Mithila region of Bihar is renowned for cultural continuity between generations. The decoration of the house is transmitted between mother and daughter. While the women of the family painted the Gosainghar (the colorful sanctuaries of the house) or Kohbharghar (the bridal chambers), the men painted the exterior parts of the house.
For fifty years the painting styles of Madhubani or Mithila merged from different schools. Men began to paint, learning from older women master artists. While the themes remain the same, steeped in centuries of Hinduism, the styles intersect and have now created a new symbolic language. Today these paintings are created on classic supports unlike the murals of yesteryear.
Since 1960 artists like Sita Devi, Ganga Devi and others have become famous in the Mithila countryside.
They practice in three painting schools:
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Bharni: originally the canvases of earth colors were painted by Brahmins. They use the ash from the lamps to get the color black. The red and ocher colors come from the flowers. Today they use watercolor and black ink.
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The linear katchni style with washed out colors was made by the Kayastha community. Originally scribes and accountants, used their work tools, ink and pen with faded turmeric yellow and vermilion red.
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A third style, godhna, is inspired by the tattoo traditions of the lower castes. Painters work on mud washed paper to create repeating patterns of simple figures in black ink.
Dhokra is an ancient art of bronze casting. This lost wax technique dates back more than 4000 years and we find a contemporary creativity. It usually has its origins in tribal life, scenes from life, the fantasy world of forests, religious motifs and contemporary representations of the life of the Kondh peoples.
Bhupendar Bhagel is the latest in a long line of artists to have created sculptures for the rituals of indigenous peoples for several generations. His father Jaidev Bhagel gained international fame and made his work accessible to the contemporary art market. He was the first sculptor of this kind to be represented in museums around the world. Today it is his son who continues the tradition with an old technique and contemporary representations.
Le mot Pichwai a ses racines dans le sanskrit pich (derrière) et wai (suspendu). Une forme d'art traditionnelle qui a émergé au 17ème siècle au temple Nathdwara au Rajasthan. Les Pichwais sont des peintures riches en imagerie dédiées à Shrinathji et sont généralement accrochées derrière l'idole de la divinité dans les temples. Ces œuvres d'art minutieusement peintes à la main célèbrent les différentes humeurs et expressions de Krishna, et représentent principalement les rituels de la parure de Shrinathji selon les saisons ou les festivals.
Au fil du temps, la peinture Pichwai a été pratiquée dans des divers styles locaux. Le plus reconnaissable d'entre eux est le style Nathdwara, connu pour ses portraits expressifs. Les vaches, synonymes de Dieu, sont montrées en abondance, tout comme le lotus et de nombreux autres symboles particuliers au culte de Krishna. Le thème de l'amour est prédominant, celui de Krishna et Radha, ou les gopis et encore spirituellement les âmes humaines dans une danse divine avec le Dieu créateur.
Découvrez les œuvres qui se cachent derrières les artistes en cliquant sur leurs portraits
