It would not be entirely correct to state that Modern & Contemporary artists from Indian were not untouched or unaffected by forms of 'tradition'. For instance, The Bengal Revivalists Movement that tool roots during the period from 1907 till 1947 witnessed the Tagore brothers making an organized effort in terms of reviving and revisiting the miniatures.
Another noteworthy name was that of artist Jamini Roy who left his imprint by trying to reinvent, on his part, the captivating Kalighat Pats. The Tamil Nadu based Cholamandal artist village, founded by KCS Paniker in the mid sixties, was considered the cornerstone of the Modern Madras art Movement, evolved an international dialogue initiated around community-based art that was astutely placed within the local idiom of stone, bronze batik and terracotta.
And then in the 1970s, KG Subramanyan worked with tireless zeal to break down the perceived barriers between high art and craft. The renowned artist tried his hand at weaving and toy making.
We also though know how the Progressive Artist Group (PAG) was very much strident about making a move 'forward'. This prominent group of artists formed in Mumbai in 1947 was very vocal about embracing Modernism. This meant there was no chance to look at the past through a nostalgic viewfinder. They refused the idea of harking back to tradition.
Ironically enough, MF Husain himself was a billboard artist and a furniture designer prior to donning the mantle of high art. He still draw on folk elements trying to reinvent them into his work. Many 'Modern' painters of his era or those of the subsequent generations like Ganesh Pyne or Amirta Sher - Gil have sought inspiration in the glorious traditions of India.
In essence, many renowned Indian Modern & Contemporary artists are not isolated or cut off from their roots or traditions even as while traditional artists are showing keenness to imbibe newer formats and media like video in order to express traditional themes like the miniatures.
Saturday, June 4, 2011
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