Highlighting lesser-known traditions of Indian painting

India as a rich, vast land is known to harbor a very fine visual history, including its enchanting painting traditions. Of course, not many people have the scope or opportunity to know in greater depth about the captivating courtly paintings of those of the Rajastani, Pahari and Decconi schools. The general public is treated to an occasional show here and an event there, once in a while. The Indian painting traditions have remained more in the academic realms, but for a few museum showcases – in India and abroad.

Of course, scholars from across the world have dedicated for several decades their precious time and energies for studying them. In one such endeavor, ‘Indian Painting: The lesser-known traditions’, a comprehensive collection of research papers from a conference held in Houston a few years ago, focuses on vibrant and vivacious local vernacular idioms that still survive and continue to evolve, adjusting to political and social changes.

Collectively, the essays bring to the fore the artistic richness of the time-span, starting from the late 17th century to the present day. They give a thorough insight in the traditional forms of fascinating folk art painting. Five of them are dedicated to the different aspects of south Indian painting on a wide variety of media like paper, fabric and temple walls.

More contemporary in nature, in a way, is the essay on current events like the assassination death of former Indira Gandhi or the 9/11 terrorist attacks are some of the themes seen in modern-day pata paintings. Finally the careers of a number of tribal and folk artists are examined. Although compiled by experts, the book should not wean away laypersons and non-scholars.

Despite’ the provenances of the illustrious authors or contributors, the documentation does manage to present a reader-friendly collection of insightful essays that will most defiantly appeal to both to professional art historical academics and the novice art aficionado with an apparent interest in Indian folk art. The copy is readable and the pages are richly illustrated. In essence, it’s a fine example of art historical literature, which gives the lesser-known folk art traditions of the country the kind of attention they deserve.