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A New and Rare Interpretation on Indian Painting (A View from the Stand Point of Tamil Nadu) Dr

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A New and Rare Interpretation on Indian Painting (A View from the Stand Point of Tamil Nadu) Dr 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, Madurai, 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.
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