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the ART of INDIA

the ART of INDIA

Aug 22, 2024 | cgk.ink writes:, historical, indigenous cultures, the ART of INDIA

the ART of INDIA

The diversity of the world’s largest national population is astounding.

122 languages, including the planet’s oldest language: Hindi. 12 religions. 1.408 billion people (est. 2021). 29 states.

This pluralism nurtures an insane wealth of art and cultural expression. Arguably, this is the creative soul of Earth.

cgk.ink is exploring this rich history. And we’re here to share our very fundamental, simple understanding of its expressions, its forms and what it says to us now in the 21st century.

Below are some of the genres of Indian art that we gleaned from ArtZolo.com:

Madhubani

Madhubani paintings are the most celebrated style of folk painting from India; it is a form of wall art that arises in the Mithila region of Bihar. This eye-catching art style never fails to amaze one by its beautiful illustrations on the exposed interior walls of the houses in Bihar. Madhubani paintings are a perfect example of artistic expression and evocative portrayal of culture and traditions. The designs make perfectly distinctive geometrical patterns, scenes from mythology, and symbolic images. The perfect blend of bright vibrant colours and unique patterns make Madhubani stand out from other painting styles. Katchni, Tantrik, Bharni, Khobar, and Godna are five different styles of Madhubani paintings.

Warli

Warli is a 2,500-year-old traditional painting style from Maharashtra majorly practiced in Thane and Nashik region. Warli paintings illustrate the nature and social rituals of the tribe. Warli paintings also showcase day-to-day life scenarios of the local people of that particular community just like dancing, farming, hunting, praying, etc. The local women used twigs to draw such beautiful lively designs with rice paste on mud walls to convey the celebration vibes of harvests or weddings.

Kalighat

The Kalighat painting was discovered around the mid-19th century at Kali Temple in Calcutta. These paintings and drawings were done on paper by a community known as “patuas”. A Kalighat painting depicts scenes of everyday life and mythological deities in a captivating manner. Kalighat artists use subtle earthy Indian colours like indigo, ochre, Indian red, grey, blue and white.

Phad

Phad is a traditional Rajasthani scroll painting from India, depicting the stories of local deities, heroic figures from battlefields, adventure stories, and legendary romantic stories on horizontal cloth scrolls with the hues of red, yellow, and bright orange. Phad Painting marvellously portrays multiple stories in a single composition and beautifully maintains the aesthetics of artistic expression.

Miniature/Mughal

Miniature painting is Mughal influenced art form; this style was introduced in India during the 16th century and transformed its identity in the history of Indian art. Miniature paintings are a blend of Islamic, Persian, and Indian elements. These paintings are created using all-natural mineral colours, precious stones, conch shells, gold, and silver. Across India, the miniature style painting has developed its own identity into distinct schools of miniature paintings like Kangra, Rajasthan, Malwa, Pahadi, Mughal, Deccan, etc.

Gond

Gond paintings are a series of arranged dots and dashes developed by the Gondi tribe of central India. The tribes used to recreate some famous epic mythological tales of histories to traditional songs and rituals with rich detailing and bright colours. Traditionally, the colours used for gond paintings were derived from natural resources like cow dung, plant sap, charcoal, coloured soil, mud, flowers, leaves, etc. With growing times, the Gond art has moved beyond being a tribal art style.

Gond Painting is a tribal art form practiced by Gond Tribes of Central India. Gond are Dravidian and the largest Adivasi Community in India. They are predominantly found in Madhya Pradesh but can also be traced in Andhra Pradesh, Maharashtra, Chattisgarh and Odisha. Gond believes that everything is inhabited by a spirit and therefore sacred. Their paintings reflect the close connection between man and the nature. Paintings are created out of carefully drawn lines in such a way that they convey a feeling of movement to the still images. Dots and Dashes are added to make the details and create the feeling of movement. Gond Paintings use vivid and bright colours like White, Yellow, Blue and Red which are derived from natural objects.

Coloured soil, charcoal, plant sap, mud, flowers, leaves, cow dung etc. are used in making the required colours. Recently the Gond Paintings can be seen using poster colours and canvas.

Kerala Murals

Kerala mural paintings are the most unique art form and have deep spiritual roots depicting themes of Hindu mythologies, epics of the bye-gone era, classic tales of Krishna, and mystic forms of Shiva and Shakti. These traditional art styles are made up of bold strokes, and vivid colours. White, ochre-red, bluish-green, yellow-ochre, and pure colours are predominantly used in Kerala mural painting.

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Picchwai

Picchwai artwork was made as wall hangings behind the main deity in Krishna temples in Nathdwara which narrates the stories related to Lord Krishna. Picchwais are the most colorful and intricate work concealed with symbolism in the artistic motifs. This classified devotional art practice has passed from one generation to another and a fine example of spirituality in art.

Pattachitra

Patachitra or Pattachitra is a general term for traditional, cloth-based scroll painting, based in the eastern Indian states of Odisha, West Bengal and parts of Bangladesh. Patachitra artform is known for its intricate details as well as mythological narratives and folktales inscribed in it. 

MOLAS: textile design & political identity

MOLAS: textile design & political identity

Jan 14, 2024 | cgk.ink writes:, color, historical, indigenous cultures, politics, textiles

“Clothes aren’t going to change the world. The women who wear them are.”

– Anne Klein

Clothing is often used to define the wearer’s social class, their politics and indeed, their very view of the world. Traditional dress helps form a nation’s identity as well as furthers its heritage.

In this instance, we explore how two indigenous cultures adapted (or didn’t) to Western influences, political change and the environment.

The Mola or Molas is a hand-made textile that forms part of the traditional women’s clothing of the indigenous Guna people from Panamá. Their clothing includes a patterned wrapped skirt (saburet), a red and yellow headscarf (musue), arm and leg beads (wini), a gold nose ring (olasu) and earrings in addition to the mola blouse (dulemor).[1] Two groups, Choco and Cuna lived side by side without intermarriage and without adopting a similar culture.[2] In Dulegaya, the Guna’s native language, “mola” means “shirt” or “clothing”. The mola originated with the tradition of Guna women painting their bodies with geometric designs, using available natural colors; at a certain point, after the arrival of the Spanish, these same designs were woven in cotton, and later still, sewn using cloth “acquired by trade from the ships that came to barter for coconuts during the 19th century”.[3][4]

history

A Guna woman displays a selection of molas for sale at her home in the San Blas Islands.

Molas may have their origin in body painting. In 1514, Pasqual de Andagoya, arrived in Darian and wrote.. the women are very well dressed, in embroidered cotton mantles which extend down so as to cover their feet, but the arms and bosom are uncovered.”[5] They did not wear blouses even in 1688 until they had been introduced by the missionaries.

Only after colonization by the Spanish and contact with missionaries did the Guna start to transfer their traditional geometric designs on fabric, first by painting directly on the fabric and later by using the technique of reverse appliqué. It is not agreed when this technique was first used. It seems to have been popular in the second half of the nineteenth century.[6] In 1924, Lady Brown refers to the dress of the medicine man/ Kantules as “dressed up the knees in long covered with cabalistic characters…all worked into, or let into, the cloth in a form of patchwork.”[7]

As an inspiration for their designs, the Guna first used the geometrical patterns which have been used for body painting before. In the past, they have also depicted realistic and abstract designs of flowers, sea animals and birds, and popular culture.

Depending on the tradition of each island, Guna women or men who identify as women begin the crafting of molas either after they reach puberty, or at a much younger age. Women who prefer to dress in western style are in the minority as well as in the communities in Panama City.

technique

Molas are hand-made using a reverse appliqué technique. Several layers (usually two to seven) of different-colored cloth (usually cotton) are sewn together; the design is then formed by cutting away parts of each layer. The edges of the layers are then turned under and sewn down. Often, the stitches are nearly invisible. This is achieved by using a thread the same color as the layer being sewn, sewing blind stitches, and sewing tiny stitches. The finest molas have extremely fine stitching, made using tiny needles.

This closeup of a mola by Venancio Restrepo shows the layering of the different colors of cloth, and the fine stitching involved.

The largest pattern is typically cut from the top layer, and progressively smaller patterns from each subsequent layer, thus revealing the colors beneath in successive layers. This basic scheme can be varied by cutting through multiple layers at once, hence varying the sequence of colours; some molas also incorporate patches of contrasting colours, included in the design at certain points to introduce additional variations of color.[8]

Molas vary greatly in quality, and the pricing to buyers varies accordingly. A greater number of layers is generally a sign of higher quality; two-layer molas are common, but examples with four or more layers will demand a better price. The quality of stitching is also a factor, with the stitching on the best molas being close to invisible. Although some molas rely on embroidery to enhance the design, a good looking mola is always constructed using the reverse-appliqué method as the leading technique.[1] A mola can take from two weeks to six months to make, depending on the complexity

cultural, social and political influences

In 1919, the panamanian government began a policy of forced assimilation banning mola’s dress and nose piercing in women. The government introduced these laws to Westernize Guna society and assert control.[13]

There was a strong link between traditional dress and Guna culture and identity. Molas have such an importance for the Guna people and their traditional identity that they can be considered responsible for the independent status of the Comarca Kuna Yala.[14]

After the attempt of the Panamanian government to “westernize” the Guna, the Guna greatly objected to the control on their cultural dress, and ethnic identity, and showed great strength in their reaction to the bans implemented by the government, leading to the Guna Revolution.[13]

In 1925 for three years following the revolution, women were required to once again adopt traditional dress as a form of rebellion against the government. Women on Nargana and other more progressive islands were forced to wear mola, even if they had never worn this traditional dress, and their noses had to be pierced by force.[13]