Volume III, Issue IV, June 2015 – ISSN 2321-7065

A New and Rare Interpretation on Indian Painting (A View from the Stand Point of Tamil nadu) Dr. S. A. V. Elanchezian Assistant Professor, Dept of Architecture, Thiagarajar College of Engineering, , Tamil Nadu, India. Email Id: [email protected]

ABSTRACT

Indian art is a reflection of its cultural phylogenies, the pilgrimage of technical skills and a span of genuine execution. However because of its continental nature it has the greatness regional wise. Each of every region set and strengthened its totality. Though, the regional segments yet to be analysed with micro study is the attempt of this article. Thus, the art of Painting of Tamilnadu, which played a vital role to achieve the zenith by genuine practices; as it has done individually on art and architecture. Hence, the Painting how here blossomed earlier to religious phase, which evidenced by Sangam anthologies that viewed, not again as usual merely touching like, but applied with the art of Tamilnadu is the new effort of this paper. Generally saying by writing- practise, through conventional reading of art history here kept aside by the practical field works, and the practical firsthand knowledge of being as an artist – sculptor. This is as not of self – indulgence but the effort by the doyens who they been as painter cum writers their distinctive outputs yet as primary sources to Indian art is to be mentioned. Thus they namely knew as: E.B. Havel, Percy Brown, Edith Tomory and C. Sivaramamurty. Hence, this paper has thrown a fresh torch, by a seeker, on; what had been disappeared from own; and what is left with untouchably due to the ignorance of mostly by the so called themselves as contemporary artists.

Keywords: Realistic, abstraction, Ajanta, Bagh, Pallava, Chola, Pandiya, Nayak

Indian Paintings were not clearly defined by the scholars; else most of them were Europeans. We can sense their lacking, on the understanding of vast phase of art. In fact the Indian Paintings were in two kinds majorly. Thus they have to sort out as: 1. Realistic 2. Abstract. However it is from my point of view but probably would be a right sorting. Now come to the first which mentioned as realistic that means the lifelike. We don‟t go to as the realistic kind

Refereed (Peer Reviewed) Journal www.ijellh.com 526

Volume III, Issue IV, June 2015 – ISSN 2321-7065 of renaissance period works of western artists. They all painted then phase of maturity where the knowledge on imitation has had flourished in very later there. But in India the literatures accounts the early painting skill of accuracy of imitation, for an example which described by the Great Poet Kalidoss when stating on a painting of its chiaroscuro, through the character of the epic of Dushyant. [1] It was composed as the comment of Dushyant who appreciate while seeing a painting, as: he was able to feel the light and shade of the figures of the painting that was stated by him as; my eyes travel over on the depths and ups of the painting. Therefore, it could be indeed an earliest analytical judgement on art appreciation by a Poet. Hence, the practice of painting in those periods can be attained, that much of degree, to imitate as it is in India earlier than western world. Moreover the ability of realistic painting that goes back even from the period of Buddha which a data is provided in this article far below.

Hence this is a kind of one style, second is mentioned as an abstract which is not based on lifelike or resemblance and light and shade even some times perspective etc. but the almost fully absent of perspective is as vogue in later phase of Tamilnadu art by Vijayanagara and Nayak rulers is a different matter. We can find the abstract style specifically in miniature painting tradition. Thus the Rajput, Mogul, Thanjavur School of paintings were majorly Known but we have the other traditions regional wises. Thus the Madhubani, Kalamkari, Warli and Pattachitra etc. are the examples to others. Kalamkari is a style flourished in Andhra when at the rule of sultans, thus Persian based now its subject is on Indian. In addition the Tanjore painting is not originated from Tamilnadu has little strange in style. The stout figures of it show the alienation. Besides, in Tamilnadu might be a style then customised was, certainly could be the same almost what the style found in Pallava paintings. We can say this in confirm the early attempts of them shows keen maturity of the painting not as a style that it was recently practised. The Pallava painting shows a great unparallel greatness, is not said in bias. Really the artist of Tamilnadu entirely differed by their compositional brilliance, anatomical accuracy, sword drawn lines which busy with rhythmic pilgrimage, Splendiferous commanding kind of perspective brilliance and bossily spread motif designs etc. are hierarchal qualifying them to be with paradigmatic status.

Besides, in India, the two major styles could be originated at their own ambience probably initiated even from the Primitive Period. The earliest phase of that is the cave and rock art remained with its originality as mother kind with considerable advancements. The same still

Refereed (Peer Reviewed) Journal www.ijellh.com 527

Volume III, Issue IV, June 2015 – ISSN 2321-7065 exists and continuing as traditional art, known regional wise. In addition, the mode of further thinking of the next level that causes the evolutional rareness, since, the art took path towards accuracy. In fact or in nature, when anything if started or introduced freshly, that could be in crude would be refined by the stretch of time, since its attainment of acme that we pronounce as an evolution. Evolution is nothing that means here exactitude. Thus, seeking accuracy especially in art that cored on lifelike or as it is. Since, the lifelike and as it is - efforts that took more times and gained their ratio in seventeenth century according to western art. This is late actually; they tried even first century BCE this, had perfectness and success. This is obviously late, here, one thing is untold, now the time is to say; is: the western artists belongs different background not as of the Indian tradition those mostly belongs to a particular school or community or in Indian using word as cast. The artists of those days here, probably belongs familiarly known community of Viswabrahmin or Viswakarma. In Tamilnandu they are known as Thachchar or Āchchari etc. To tell this purposively is due to the disciplinal practise by a set of people without aberration that casted the uniformity as school. Further, here the sculptor is eligible to do painting, as the same; the painter is eligible to sculpting, since the painter-sculptor is further eligible to construct temples etc. Therefore the sculpture and painting both in India got uniformity. This is highly evidenced in Pallava art. We can‟t see this in western art because sculpture advanced there than painting. Therefore, what the sculptor depicted the figure of the subject here was paralleled in painting without lacking even in single ratio that evidenced but not viewed so far. For an example if we take the Somaskanda relief sculptural composition of Kailasanatha temple at Kanchipuram, and the remnants of painting of the same composition that found in northern prakara small temple no: 41, among the 58 of inner prakara which shows the amazing dexterity and greatness of master attainment in all aspects than the former. (See the painting fig – 2). If one see before this painting will surely value the sculptures of the same temple in second level. (See the sculpture fig – 3) I am not saying on some other paintings of the same temple too branded under Pallava by some scholars ignorantly. Even sculpture may be practised by anyone but the painting and especially the basic drawing and the line value is the key to all. Why because the so called contemporary sculptors most of them busy in assembling with founded objects through welding. If anyone knows the welding shop address and available of scrap materials are eligible to become a contemporary sculptors also, the Laitkala Academy shall going to be award them. The activities of Lalitkala Academy induced to think as so, because, it

Refereed (Peer Reviewed) Journal www.ijellh.com 528

Volume III, Issue IV, June 2015 – ISSN 2321-7065 encouraging mostly western than Indian art. It forgets even its name coined on aesthetic feature of Indian art since its presence is physical wise...

Besides, why the painter stands first in fine art is on the basis of drawing skill. Also the contemporary scenario of Tamilnadu artists‟ nobodies knew to draw the line drawing perfectly except very few. That is the problem of the contemporary art of great Tamilnadu, losses its distinction, now helplessly imitating, from senior to juniors of western art, mostly. Therefore nothing to say on the contemporary art of Tamilnadu is going towards craft side is cleanly traceable.

Coming to our matter, In India, its climatic condition is in general mostly full of light. Even in rainy day we get enough light than very gloomy. Hence, the sun above India rules powerfully and casts its light in full fledge. Thus the Indian artists and even the people those have the vision on things with plenty of light. The sun demonstrates the anatomy of the all by casting various ratio of sciography from dawn to dusk. On this, well stated by a scholar who when explain at the light play of Ajanta caves and a torana of Sanchi Stubi as: “The Indian sculptors recognised the sun as their Master, and worked in collaboration, not in competition with, him.” [2]

NEW PHASE OF INDIAN REALISM

Therefore, due to the full working and almost of clear sun, the realistic effort have had been interrupted in India from its past style, once. The sun lighted on everything. Anything can be able to see. Since the applying method of light and shade differed to us because of each and every this and that and he and she‟ are visible keenly with their definite outline due to the donation of the sun. This observation chanced to invent the second phase of Indian realistic approach that methodised in different manner as, not with high concentration on shades. Since, the shading system here entirely differed from western mode. We can see the new phase of modelling method is carefully handled in Ajanta is awesome. There they followed the lighting style even if a scene of a painting being with indoor atmosphere, there the even light scheme was followed not as of one sided light, as of western realism. In most, the applied modelling of light and shade is based as of the fronted lightings. Ornaments and floral motifs too applied in the same style. However, a painting depicted in outdoor but the members of the scene are stands below a tree shadow, since they in little darker and their

Refereed (Peer Reviewed) Journal www.ijellh.com 529

Volume III, Issue IV, June 2015 – ISSN 2321-7065 outlines are not in dark colours but in light. [3] Since of the frontal light scheme thus highlights with white colours to enrich and to elevate the roundness of the face, are visible in nose, lips, chin and eye parts.

Besides, however, the scholars of the western world with the heat of Louvre visiting came to see the Indian art, since, their heat-writing on Indian art been with the perspective of loaded western style. Since, they put the Indian art always in secondary place. Even scholar like Vincent A. Smith who daringly stated as he has no doubt that on the Indian artists especially of Ajanta and Bagh cave painters those have inspired probably from western art. On this statement, E.B. Havel the Scholar of Indian art who commented as, this was a confused statement. [4] A BAGH PAINTING SHOWS TAMILNADU HAIRDO STYLE The art of Bagh cave is showing maturity of northern school. They are hygienic in all aspects. The compositional, modelling, resemblance, anatomical, perspective, posture and expression wise an unequalled distinction there created. The Bagh painting has documentation on a typical tradition of Tamilnadu. Thus, a fore standing lady figure of the remnants of familiar painting where she stands in profile posture since; her left hand, shoulder and back, slightly visible left bare breast and her tufted back head with garland encircled around it. The flower garland is certainly from jasmine flowers because it was modelled in white shade. It is the style typically of Tamilnadu which the style known in Tamil as க ொண்டை (koṅḍai) is still in vogue. (See figure – 4) Therefore, the contribution of Ajanta and Bagh or probably of Buddhist caves which are excavated in the region of Deccan shows the artists were in considerably brought to work from Tamilnadu. Ajanta caves were initially excavated by the Sadhavahana rulers who belongs to south is must should be mention here.

Havel very clearly analyzed on Ajanta painting that entirely it was a creative execution of Indian distinction. According to me, the concept is absolutely of India, the location and the people, besides the star of the painting was Buddha those all belongs India. So, no need of reference according to paint that never rose as a thought to them. Concept is the ideal here played a vital role and brought the outstanding uniqueness to a New Indian Painting. Since the idealism determined the work‟s style. Besides, some scholars compared with the paintings of Pompei of Italy. The Pompei fresco paintings though consisting general paintings but

Refereed (Peer Reviewed) Journal www.ijellh.com 530

Volume III, Issue IV, June 2015 – ISSN 2321-7065 many of them are brothel based concepts. However all they not slightly modelled as of Ajanta but heavily applied with light and shade since no outlines were followed. In fact, they clearly show their proto status to the upcoming realism of renaissance period. Never at any aspect had they related with Ajanta methodology.

CINEMA BILLBOARD AND CUT-OUT PAINTING As I stated earlier the applied style of Indian artist of chiaroscuro was the real experience on surrounding lights which stimulated to restrict the sciography-discipline thus to confirm the figures by keen outlines. There is even no great accuracy or fine attempt there followed in some paintings that the artist who simply minded on the onlookers distance and their sight, to that he decided his attempt as strokes roughly, but they all looked with high finish from the viewers‟ stand point. Evidentially this was eyed by scholars in situ. [5] This is highly true, and I know this in firsthand knowledge because, before to my fine art degrees and further PhD, I was been a giant billboard artist as M.F. Hussein, in . I was very talented among those days‟ artists. Great artist late R.Madhavan and B.Selvam both tuned my calibre. The billboards and cut-outs were in abnormal in sizes. Fully based on calculative strokes and with fore seen perspective knowledge to have mind on the distance of onlookers‟ standpoint as the technical followed in Op art. Thus the fully applied bold strokes that form the modelling of the figure in constructive manner since their pixels or matrix are in square foot level. Amazing brilliance was then explored as of Ajanta school.

ABSTRACT ORIGIN

The Primitive period of art transmitted as tribal art, regional wises. In next, this was then used officially, when the Puranas manually scripted on palm leaves while they beautified them with sufficient paintings. The legend were mythical kind since their scenes, locations and characters etc. all were dealt in imagination, since, those were in lesser quality and stood for just to explain further. No models were followed to retain the realistic approach. They fully have drawn with imagination as the art of cave men. But the long practise of this style casted a grammatical disciplinary. Not with natural direct beauty but with the indirect aesthetic beauty. That was why; the scenes in the background to the main figures were dealt as orally explained style. Thus no perspective is followed not unknowingly but skilfully avoided. Concept is as said before,

Refereed (Peer Reviewed) Journal www.ijellh.com 531

Volume III, Issue IV, June 2015 – ISSN 2321-7065 a core of Indian art since, the idealism blossomed. The idealism designed the composition of the scene and the sequences in narrative mode since no anatomical accuracy as well as the relation among one to one that not followed in perspective manner. These all the early phase‟s qualities, but in later the immaturity too added since heavy collapse occurred which evidenced in later phase of Tamilnadu. Loose attempts, loss of dedication that was the distinction found. For an example the paintings found at Prakara wall in the big temple of Thanjavur and Malaiyadippatti cave-temple are lesser in all aspects. (See figure – 5)

REALISTIC ORIGIN The idea of realistic painting probably might be blossomed in royal palaces. [6] Because, beside the manuscripts painting, the other practises were gone as with the skill of Portrait Painting. As discussed earlier there or some examples regards of realistic paintings, that made illusions, everybody believed as the painted figure was real. For an example the King Dushyant once happened to miss his Sakuntala awhile, thus the separation highly affected him due to the true love on her. Hence, he consoled himself by watching the portrait of Sakuntala. While explaining the realistic quality of the portrait that interestingly stated as, in the painting she is covering her lips by one of her hand to avoid the disturbance of bee which often falsely thought to collect the honey as her lips are rosebuds. [7] Like of this there are considerable examples evidenced in literatures. This was not an exaggerative word of the poet to enrich his poems. Further, no need to document a false data in his work, since what the skill then really existed is, was used as examples.

ABANDON OF REALISM

As mentioned earlier I am much eligible in portrait Paintings (See painting of my self portrait Fig- 1) though my creativity executed in Indian abstract manner. In fact in certain stage the realistic painting may be disappeared due to the idealism and created a kind of psychology to avoid self praising. The egoistic I-ness indeed could be dropped by the rulers. We can trace such a mindset in medieval period of movements. Therefore, the Indian realism was diverted towards the simplicity instead of the previous replication manner.

It is much bigger question that when and where the miniature tradition styled, but not answered else in right level. So I tried to answer and believe may be the answer going to be

Refereed (Peer Reviewed) Journal www.ijellh.com 532

Volume III, Issue IV, June 2015 – ISSN 2321-7065 suitable and acceptable too. In general there were two kind of art majorly divisional as mural painting on walls and miniature paintings of manuscripts. Besides, the canvas painting was too a tradition which on discussed earlier. Mural paintings were certainly based on realistic, by and large, the miniature paintings belongs palm leafed manuscripts so tiny in sizes. There was need to explain the content with figural assistants according to the Manu-scriptures, since those were illustrated purposively. Due to the size of palm leaf particularly short of height the figures drawn in much minimised details. Thus, a new style emerged according to the dimensions of the Palm leaves. Probably this style has to be adapted to work faster even in walls.

In addition, due to the existence of enormous temples particularly in Vijayanagara period almost of South India since the renovation and restoration was held in full swing due to the interrupted Muslim rules. Therefore, renewal of paintings of the olds and newly painted fresh paintings in additionally built structures that urged to finish in speed. Why because as said before there is need to reopen the shut temples closed at Muslim period, since the task was then huge. In this particular situation the artists perhaps might be used to finish the task allowed with the easy technique of minimal art which majorly based on contours. Therefore, the miniature style magnified with little changes on walls. Hence this could be the reason to differing tradition of them not coincided with Pallava, Chola and Pandiya art.

From this study I am establishing a fresh hypothesis on the paintings of Vijayanagara and Nayak Periods. Because, slightly I am in doubt that perhaps there is no chance to them to use the fresco technique for all, since could be tackled easily by tempera indeed. Probably for a prime works they may have used fresco technique. However, the realistic style of fresco is not followed is the matter here. Why because the system of the temple preservation later cleanly defined by sastras as Kumbabishekam and Jirnodhara. Since every twelve year or some considerable years should be a temple cleaned and painted freshly since the frescos not possible of this kind. Jirnodhara is the works of renovation of a ruined or broken down temple thus the careful attempt should be executed by following the temples originality. [8] Therefore tempera style could be the most suitable to that task of particular period.

THE ABSTRACT PAINTING OF LATER PHASE

Refereed (Peer Reviewed) Journal www.ijellh.com 533

Volume III, Issue IV, June 2015 – ISSN 2321-7065

In later period the painting by Vijayanagara and Nayak rulers seems to be fused with immature techniques. Whereas, the profile poses were dominated instead of the straights. However, we can assume as the tradition can be an influence of neighboured sultans and far Rajput. Though, if found one or two figures among straights there we can find the problem of foreshortening lacking at their foot which were painted in profiles means in side appearance. It is the strange particular attempt almost not found at any art on which given details below.

In fact Vijayanagara paintings for an example seem in two kinds. Thus fine one, the rest in tribal format. For a fine painting the example is Siva blessing Manunidhi Chola in Lepakshi Temple. [9] However, somewhat an unwanted curve in gesture at standing figures by slanting opposite to the gravity as falling figures is shows the tribally craftsmanship since no genuine creativity felt. Painstakingly they prepared the surface for fresco technique but the paintings not so in quality as found in Pallava, Chola and Pandiyan fresco art. Whereas, the decline of Tamilnadu art of Painting traced from sixteenth century onward is sourced by available paintings. Very few of them show some fineness, for this we may take for example from Nayak painting at Minakshi Amman temple of Madurai. This is found on the ceiling of a small Mandapa of the tank near southern tower. Hence, the painting composition visualised on Minakshi wedding with Lord Siva. We can compare the portrait features of this period particularly of profiles that shows the inspiration of Rajput styles. Thus the round faces with typical diagonal line of forehead continuing downward with a gentle distinctive dent to separate the nose starts. Addition to this very adjacent mouth to nose tip with round small chin that shows the Rajput and Mogul inspiration.

FOOT PROBLEM However, as mentioned earlier the perspective handling on foot even in profile or in frontal appearance shows very strange style that how to take such a treatment as an immaturity attempts or itself a tradition accepted. Especially the proportioning of profile foot that modelled as; the back kept feet is kept little down while the front kept feet placed on the below kept one. (See Figure: 9 by zooming in) As the kind, the figures in straight poses which having major problem in foot depiction instead of front ward due to the lacking knowledge of perspective and fore shortenings since depicted in profile unusually reverse. As of this style not found even in Rajput paintings then, how it took custom is unknown. The

Refereed (Peer Reviewed) Journal www.ijellh.com 534

Volume III, Issue IV, June 2015 – ISSN 2321-7065 figure of Lord Siva in the painting exactly depicted in straight pose but the foot set in above said manner. Furthermore, the Thirumal (Vishnu) depicted in profile towards Siva but facing onlookers though somewhat unwontedly his foot depicted in profile spread reversely. (See Figure: 9 by zooming in)

MOGUL PAINTINGS Mogul art chiefly found in Manu script books than walls. Hence, their art known as Mogul miniatures. Mogul art brought from their origin place of Iran then from Persia. Though, it again took self birth in India with Indian likeness and had friendship with Rajput schools. There in the paintings we can trace the perspective attempts due to the influence of Ajanta and Bagh than as said of by foreign influences. Again the portrait practise reintroduced. However it never paralleled to the Bagh realistic brilliance. Even, the king portraits too were in profile gesture. Why there is a thought no raised on, to paint in front posture or at least in one third appearance in the atelier of Mogul school. However, the portrait of king Shahjehan is a masterpiece of mogul school tried the best on resemblance with expression.

The tradition of realistic painting was here been as the national style which traced back from Pallava Period. In fact indeed the painting style of Pallava, Pandiya and the Chola art are not the same of the Vijayanagara and Nayak style as mentioned above. Both the styles were differed totally. We can segregate them as the advancement of royal art and the advancement of tribal art. Royal art which has said before was the realistic painting to make portrait purpose and subjects related to it. The realistic painting which was applied due to the fusion of the past and contemporary scenes of India in the Jataka stories of Buddha which blossomed a new art of realistic painting that is, the Ajanta painting shows. Thus we can see there the advancement of art of Ajanta on its own path that the cave 10 is the earliest among that probably assigned to 2nd century BCE which its painting shows its treatment though the paintings low modelled by simplest light and shade not as so realistic but the likeness which terribly followed is striking nuances. [10] The king and his queen and the other ladies shown are beautifully painted with individual likenesses. Since, though the realistic style was followed but has minimised with details. Probably the identity of likeness is enough to them since avoided high modelling painstakingly. Even the line drawing is enough and can be obtain the likeness of ones. Line drawing is a method which took a tradition in those days

Refereed (Peer Reviewed) Journal www.ijellh.com 535

Volume III, Issue IV, June 2015 – ISSN 2321-7065 known as “ꯁடையொ ஓவியம்” [11] (Punaiyā ōviyam) means not modelled with colours plainly left as line drawing. Even if the earliest cave to the later caves the paintings of them were definitely shows the likeness of individuals but however the idealism aesthetically intertwined is noteworthy. Any how the Indian painting was travelled in two tracks one in realistic and the other in abstract. Gradually the realistic painting loss their importance in medieval period due to the royal patron not interested on portrait making as said earlier. The Pallava, Chola and Pandiya all were known by their pure devotion. They avoided self identity. Even the inscription of the great Rajaraja I that accounts his plurality when mention himself as „we‟, than „I‟. Hence, the portrait Painting of Rajaraja and the idol of Rajaraja and even queens were not based on resemblance but they stood as idealistic idols. It is a matter that the art of painting that highly distinctive not statuses with polluted influences. Further it born exactly here and grown by their parent pronounced its mother tongue and attained as paragon.

MENTIONING OF FRESCO IN SANGAM LITERATURES In India the grammar book or the manuals were written on art and architecture is seems as in medieval periods. Before that there perhaps may be earlier manuscripts been as in custom indeed. Why I am telling here, is the very difficult medium and style was fresco, but, casually that was in vogue traceably 2nd century BCE. Thus, the technique might be traditionally followed very long before. They who failed the longevity of their painting at their walls have chanced and invented roughly at initial phase to keep the life of the painting as long as possible, perhaps. Since the fresco painting method could be very earlier than Ajanta tradition. May be this was followed from South India because there are huge possibilities to conclude as so. The personification of the plaster of fresco that paralleled to shining Silver Star is to be discussed from Neḍunalvāḍai an anthology of . As given below:

கவள்ளி யன்ை விளங்埁ஞ் 毁டை뿁ொீஇ [12] Veḷḷi yanna viḷanguñ chuthaiyurīi

The technique particularly of preparation of the stucco or plaster that brilliantly commenced by the poet is a rare data that speaks on then technique of plaster preparation. Here we have to deeply observe the great sung by the poet who even directly says the genuine quality of the

Refereed (Peer Reviewed) Journal www.ijellh.com 536

Volume III, Issue IV, June 2015 – ISSN 2321-7065 plaster but indirectly accounts aesthetically more. The pure white gleaming quality of the plaster that possible only, by its keen preparation in long process. Thus the wall evened hygienically soft with longevity which on, what kind of quality was painted as art is the question dominates; since, the quality of surface was custom due to the outstanding painting eligibility was been in vogue. This again ensured by another verse line of Sangam literature which namely known as Maduraikāñchi was written by Mānguḍi Marudanār on the familiar king of Thalaiyalangānathu Cheṛuvenṛa Pandian Neduñcheḻian as given below:

஋ퟍவட ச் கெய்ைி뿁ம் உவமம் ொட்羿 [13] Evvagaich seythiyum vuvamam kāṭṭi

The line denotes on the high calibre of the artists who they very eligible to personify on any concept. Since we may understand in Tamilnadu there was both two kind of eligibility practised as realistic and abstractive style. Therefore we can assume the painters of Ajanta could be brought from Tamilnadu obviously this too accepted by scholars early to me. [14]

INTELLECTUAL CALIBRE OF THE TAMIL ARTISTS As of the same an account on fresco painting that evidenced from one of an epic of twin, since the other is Silapathikaram by a great Poet Ilango adigal, Hence, the verse that denotes the same data in the same tone of Maduraikanchi which is given below:

கவண்毁டை விளக் த்鏁 வித்ை ர் இயற்றிய ண் வர் ஓவியம் ண்翁 நிற் 埁ந쏁ம் [15] Veṇsuthai viḷakkaththu viththagar iyaṛṛiya Kankavar ōviyam kaṇdu niṛ kunarum

In this line the three quality of purity that put forth in a sequential manner is to be considered. Merely the poets who they penned the poems to rhyming for pleasing are not at all. The concept or matter is not stood in second by clinging behind to set with rhyming which are not evidenced mostly in Sangam literatures is true. Both the mater and metre are the attainments of ontological eligibility even we can found the disciplinal execution in Tholkappiam that is define grammar but with the rhyming play, the matter were not lessened according to beautify with rhyming is a view from my point. Because many of the writers always traditionally having to say as the poets are not saying as it was but added with imagination or exaggeration highly. I am not accepting with them. If we do again with micro study can find more reliable and evidential sources cored at their writings. For an example Silappathikaram

Refereed (Peer Reviewed) Journal www.ijellh.com 537

Volume III, Issue IV, June 2015 – ISSN 2321-7065 that accounts much higher degree on all aspects of those days, day to day life sequences. Why I am detailing is, the words penned in above given verse line of Manimekalai are disciplined in rhyming but it says the clean message of what it created to say since no lacking found. Hence, the line accounts on three qualities of art. Thus the first on: White lime plasters; mentioned as கவண்毁டை which the word describe the quality of stuccos or plaster‟s whiteness. The whiteness merely not come itself, thus fully on processing basis. The second on: an artist – skill; that mentioned as „வித்ை ர்‟. The word is describing the maestro kind of the artists, if say simply, the „highly skilled‟. The third on painting quality or the aesthetic of paintings; is mentioned as ண் வர் ஓவியம். The painting pleasing to eye, then to... That is the aesthetic play by the poet who subtly kept the philosophical beauties. The 103rd line denoting further the onlookers who stand there to watch the paintings is an observation of the poet in situ then. In those days the poets were the candid cameras observed the whole as much as possible. Therefore, the methodology of the fresco painting which grandly a great traditional even prior to Ajanta in Tamilnadu was accounted by the great poets is should be cared.

CANVAS PAINTING An additional to the canvas painting tradition in Tamilnadu that frequently available here and there in Sangam literatures for an example the Neḍunalvāḍai which evidencing on it as:

ஊட்翁쟁 பன்மயிர் விடரஇ வயமொன் வவட்ைம் கபொறித்鏁 வியன் ண் ொைத்鏁 ꯃல்டலப் பல்வபொ鏁 உறழப் ꯂநிடரத்鏁 [16]

Vūṭṭuṛu panmayir virai e vayamān Vēṭṭam poṛithu viyankaṇ kānathu Mullaip palpōthu vuṛaḻap pūniraithu These above given lines saying on the genre painting that painted on a spread cloth which being painted with the scene of lion hunt with floral motifs. As of these kinds of examples we have more in Tamil literatures. Therefore, before to the acceleration of religious art and architecture in Tamilnadu the art of painting has been excelled in general concept at all nook and corners of the socio.

Refereed (Peer Reviewed) Journal www.ijellh.com 538

Volume III, Issue IV, June 2015 – ISSN 2321-7065

CLASSIFICATION OF EARLY NORTHERN ART According to North India the Buddhist Painting tradition from historic period has been classified in three categories by a scholar. Since, they are: 1. Deva style, 2. Yaksha style, 3. Naga style. Deva style was practised from sixth century BCE to third Century BCE. after the advent of the Buddha. In addition style of this art was really fine and the artist of those days had miraculous power to create such a wonderful realistic paintings. Yaksha style was flourished next to the former phase since its period associated with King Ashoka. In fact the Yakshas were said as the people of demi-gods and a community of supernatural beings and whose work of art was in a miraculous manner. The Naga style was practised under the Nagas, an early race found from Kashmir to Kanyakumari probably the style flourished from third century onward. The three phases of art were based on realistic style. Somewhat reason the style declined. Again this style was started in three regions as Middle, Western and Eastern according to the view of Taranath. [17] However he didn‟t mention on the school of Tamilnadu but put it under the eastern style. The eastern style is defined under the rulers of Pala and Sena of Ninth Century CE. On this data the scholar Percy Brown criticized as: the useful although confusing light thrown on Painting of India. It is should be considered that the art of India should be detailed from Tamilnadu. The Indian art and architecture was strengthened by aesthetic art and architecture of Tamilnadu. The art of painting which here flourished in virgin could be spread towards then existed northern art. Should be again rethink here on the data given by Taranath, accounts the skill of realistic painting. Since the abstract painting was not then in practise mostly which evidenced by his statement according to north. Opposite to this, the art of Tamilnadu, which highly competitive with literary movement of the Tamil Sangam did major contribution on high thinking realistically and aesthetically. As of the same the artist had done the marvellous jobs on the both two styles as imitatively and imaginatively.

Refereed (Peer Reviewed) Journal www.ijellh.com 539

Volume III, Issue IV, June 2015 – ISSN 2321-7065

What Taranath scheduled the north Indian art as in three categories as the same we can schedule the Art of Tamilnadu, according to evidential sources, as follows: 1. 2. Pallava period 3. Post Pallava period The Sangam period of work of art as discussed earlier is in two styles as realistic and abstract. Of them we gave some examples earlier. 1. Pallava period The painting of Pallava period we discussed earlier which is an epitome to Indian art that attained the exact culmination in all aspects. For an example the artists of Pallavas were the men in great knowledge on perspective which evidences both in painting and sculptures. Each and every attempts of their brushes itself a note. The line drawn by them is mind-blowing they were as the lion of the lines nothing shivered since no faltering found at anywhere. As said earlier the impossibility of handling when the legs in straight pose particularly proportioning the foot which found evidentially in Nayak Paintings which amazingly tackled even very earlier by the Pallavan artists. (See the dwarf figure set below to Parvathi in fig: 2) 2. Post Pallava period Next to Pallava were the Great Cholas under them the painting of Tamilnadu attained much better superiority that already written by many scholars. The Magnificent Indian frescos were created by Cholas. The same brilliance of Pallava artists on intricacies of techniques and especially of ornamentation that highly tripled by the Chola artists greats. The mural of Tripurantaka, itself, a document in painting on the zenith of Indian painting and is enough to prove the skill of this subcontinent to the whole world. Already we discussed on Vijayanagara and Nayak art enough level since no further on.

Refereed (Peer Reviewed) Journal www.ijellh.com 540

Volume III, Issue IV, June 2015 – ISSN 2321-7065

CONCLUSION So far we have discussed more on Indian art in a fresh view from the new stand point of Tamilnadu which always somewhat sidelined. If continuous again as so of pre attempts the great exploration of brilliance which kept aside will be once an agenda to the whole writers of art. We can feel the difference among the yester writings of Europeans with contemporary scholars. For an Example Scholar like Adam Hardy who is a professor of Asian Architecture at welsh School of Architecture whose writings on Indian art is highly advanced than the yester mindset. Not merely we are under valuing the efforts of the doyens, just mentioning the little ratios of early lacking and some time with egoistic statements. Even this found among local writers repeating conventionally of the existing data that should be changed.

The history if only based on by available sources might be going to tell the temporal facts. This is ongoing matter now, but the true of past is based on existing living culture that to be sensed aesthetically. Regard this here I want to use a proverb in Tamil that says on a methodology on research or investigation as:

“ ண்ணொல் ொண்பகைல்லொம் கபொய், ொைொல் வ ட்பகைல்லொம் கபொய், ைீரவிெொொிப்பவை கமய்.”

Kaṇṇāl kāṇbathellām poi, kāthāl kēṭpathellām poi, thīravisāripathē mei.

Which means all the seeing things are not true and all the hearing things are not true since the possible of the truth of those by further study or enquiry or analysing or by observation.

Therefore, we have to trace them in micro observing. If the mind set will be as to believe the physical appearance of body is never going to believe on chromosomes. Here I am suggesting as merely believing on outer is waste as, if sectioned a sculpture that nothing going to be assign thus nothing. Wherefore the art should be analysed in both of on visual appearance and its aesthetic kept. For an example, to this kind of study, kindly refer my previous papers

Refereed (Peer Reviewed) Journal www.ijellh.com 541

Volume III, Issue IV, June 2015 – ISSN 2321-7065 available in online. Indian Painting was not merely loose attempts of strangers. It has long tradition from the cave and rock painting phase it developed towards its evolution but not with scheduled manner. It is a monotonous of kind since its evolution was realistic. Though the basic art that traversed as with its basic nature of primitiveness but little with regional changes. However the realistic art that treated as of commercial purpose to enrich the Buddhist caves and royal needs and deeds. By contrast, the tribal original art that stood firmly of creativity thus the Rajasthani paintings qualified as behalf of Indian Creativity. Therefore it concentrated on content and concept and the theme thus the anatomy and perspective stood second or even few grade back. The idealism decided the composition. Idealism is as a composed tune via instruments than orally worded. The essence is therefore a matter in abstraction, which itself directing its figuration in what degree is the meter.

We can see the examples from Tamilnadu to the both styles probably of realistic found and bound in religious side as to these we already provided examples. For typical socio creativity the ceiling painting of Sithannavasal by Pandian artists depicting the ambience of lotus pond are beyond to compare.

As mentioned earlier of the understanding of Indian art which lead us gradually if aware towards the fine place and phase of new modernity of own to that we have to let it should be happened. Hence the processing will cast the reality than forcing or simply copying unknowingly by the name trend or contemporary shall prove our lacking and dependence. Of this the effort that attempted by me took shape as a new art those tried to show the filial genuineness of ours. (See figures – 6 & 7)

In addition, as discussed earlier and to be discussed on and on further on the idealism of Indian execution which cored to reflect the nature of being or existence. Since the faculty of aesthetic that intertwined of each and every pixel of a work of art of India since the design, pattern and the motifs dominate and dominate. An example from one of my painting that how deal the iconography of Buddha which defined earlier by then great masters, that gradually stimulates to do further as with said elements. Thus, the icon of Buddha is to me as a motif to my motive. Therefore the way of my dealing of the icon as a motif in abstractive play is the thing should be added in the page of history of modern Indian art. The eyes, nose, lips, ears and the curly hairdo all are to me, are motifs than nothing. However, when at paints of the figure the thought processing of me as a sequential wave is

Refereed (Peer Reviewed) Journal www.ijellh.com 542

Volume III, Issue IV, June 2015 – ISSN 2321-7065 the aesthetic plus that layered in that work. Simply if to say on the painting is: as I designed than paints means the painting is a play of excogitation of my mind. (See figure: 8)

The art of Tamilnadu doesn‟t exist in isolation as mentioned earlier is patched among the total of Indian art. In certain this could be dissect further from its milieu of all perspective which can brighten a unique school of processing of creativity that based to the whole in considerable degree. The data of Tamil art still being as literary sources of Sangam literatures those not practically applied to the art of Tamils. Of that kind this article probably initiates such a perspective to further extent to throw light on the truths are still in darker strata. View of such a kind have to be blossomed further shall deal the details regional wise, of that, my other some papers are mentioned to refer such a way.

Refereed (Peer Reviewed) Journal www.ijellh.com 543

Volume III, Issue IV, June 2015 – ISSN 2321-7065

REFERENCES [1] Dr. S.A.V. Elanchezian, The Art and History of Pallava period in Kanchipuram Taluck – A Study (Tamil), PhD Dissertation, Tamil University, Thanjavur, 2014. p 220.

[2] W.E. Gladstone Solomon, The Charm of Indian Art, Asian Educational services, New Delhi, (1978), First reprint, p 88.

[3] The referred painting is from cave 17. A. Ghosh, (ed), Ajanta Murals, ASI, New Delhi, 1996, PL – LXXXI.

[4] E.B. Havel, Indian Sculpture and Painting, (Forgotten Books) 2013, p 166.

[5] E.B. Havel. p171.

[6] [5] Percy Brown, Indian Painting, The Association Press Calcutta, (Nd), p 19.

[7] [55] E.B. Havel, p 161-163.

[8] Bruno Dagens, (ed), Mayamatam, Indra Gandhi National Centre for The Arts, New Delhi, 1997, p 803.

[9] C. Sivaramamurty, Vijayanagara Paintings, Publication Division, Govt of India, New Delhi, 1985, p 76.

[10] A. Ghosh, Ajanta Murals, ASI, New Delhi, 1996, Plate I.

[11] 147 line of Nedunalvadai mentions – ꯁடையொ ஓவியம் (Punaiya Oviyam.)

[12] 110th verse line of Neḍunalvāḍai sung by Sangam Poet Nakkīrar.

[13] 516th verse line of Maduraikanchi sung by Sangam Poet Mangudi Marudanar.

[14] V.D. Mahajan, Ancient India, S.Chand & Company Ltd, New Delhi, 1994, p 824.

[15] 129 &130 lines of the verse in third kandam of Manimekalai the epic written [16] 128-130 lines of Nedunalvadai by Sithalai Sathanar.

Refereed (Peer Reviewed) Journal www.ijellh.com 544

Volume III, Issue IV, June 2015 – ISSN 2321-7065

[17] Percy Brown pp 35, 36.

Close Up view of fig no: 2 (Left- seated lord Siva / Centre- lord Murugan or Kandhan / Right -Parvathi

Fig no: 1 - Title: I with me, (Self Portraits), Medium: Acrylic on Canvas, Size: 45” X 33”, Year: 2009.

Fig :3- Somaskandha Relief Sculpture – Kailasanatha Temple, Kanchipuram.

Fig: 2 - Somasknadha Painting – Kailasanatha Temple – Kanchipuram (head portions are disapperaed)

Refereed (Peer Reviewed) Journal www.ijellh.com 545

Volume III, Issue IV, June 2015 – ISSN 2321-7065

Fig : 5 - Painting found in the ceiling of Malaiyadipatti Cave-Temple .

Fig: 6 – Title: Ardhanareeswar Composition – Analytical view, Medium: Acrylic on Canvas, Size: 72”X48”, Year: 2006.

Fig: 4- Cave Painting - Bagh

Refereed (Peer Reviewed) Journal www.ijellh.com 546

Volume III, Issue IV, June 2015 – ISSN 2321-7065

Fig: 7- Close up view of Fig - 6

Fig: 8. Title: Buddha the real Portrait for Human being, Medium: Acrylic on Canvas, Size: 30” X 24”, Year: 2008.

Fig: 9. Nayak period painting at Madurai

Minakshi Amman Temple.

Refereed (Peer Reviewed) Journal www.ijellh.com 547