International Miniature Painters Camp - 2016
2016 April 21, 11 A.M.
Dr. M.C. Dileep Kumar
(Vice Chancellor, Sree Sankaracharya University of Sanskrit, Kalady)
This is for the very first time that Kerala Lalitha Kala Akademi is organising a Miniature painters camp at the national or international level. Miniature painting is an art form which holds a prominent role in the Indian art history. This camp brings almost all kinds of miniature paintings which developed in various regime of india under one roof. At the same time, it is adorable that calligraphy artists and other foreign artists will also be participating in this camp. About 40 artists from India and abroad will be participating in this Miniature painting camp. This camp grants an oppertunity for others to know more about different kinds of paintings like Kangra, Basholi, Pahadi, Garudadri, Pata, Mughal, Jaipur, Thanjavur, Mysore, Pithora etc. It is a great chance for all art students, art researchers and for all those who love and wish to know more about art to see and feel the vast spread branches of art.
In connection with this camp Kerala Lalithakala Akademi is also organising an International Miniature painting Exhibition. Eminent art critics and scholars will be presenting a seminar on Miniature painting tradition, its history, development, aesthetics etc. Kindly make it convinient to be a part of this spectacular event. you are welcome.
There are several referances to miniature portraits in early literature, such as those by Kalidasa in Sakunthalam, and Dandi in Dasakumaracharitham written in the 7th Century AD. The silpasastra deals with miniature painting and in spite of the social significance and value of mural Painting, art galleries or chitrasalas existed for a restricted audience which could appreciate and comprehend paintings on wood and cloth, particularly as these were often accompanied by the written word, which ignited the development of illustrated palm leaf paintings.
The earliest miniature belong to the pala period in north eastern India and were representations of the Buddist Yantra and graphic symbols which were visual aids to the Manthra and the Dharani. The miniature images of Mahayana Buddism were provided with attributes and symbols both to aid the reader as well as to illustrate the mystic formula. Miniatures were painted according to the rules of mural painting, the rule of proportions being regulated by strict codes of measurement. Though related to the larger mural painting, the principal characters and symbols gradually disappeared thus acquiring the independence to follow new path. A sharp contrast is to be seen in the subsequent Jain miniatures as the images became animated and all conventional representations of perspective were no longer in vogue. The human figure was represented in the simplest and most visible manner and they preferred three-quarter profiles, displacing one of the eyes to avoid foreshortening, while frontal images had eyes set near the bridge of the nose. From the jain paintings resulted the school of Gujarath, from where it spread further to Rajasthan and Malwa under the patronage of Chalukya rulers of Gujarath.
The Mughal school of miniature painting set up in Humayun's time reached its zenith during the reign of Akbar and Jahangir. Basically, persion in style, the subjects depicted were scenes of warfare, hunting and trials of strength, sumptuous costumes and ornamentations, and all the regalia to be favoured by a royal patron. Mughal school saw a return to naturalism and nature became a fundamental element Landscape details were inspired by far Eastern art, clouds out of Chinese paintings mountains and water were inspired by central Asian art. The persion tradition of stressing the linearity of lines in contrast to the large leafy trees of Indian tradition resulted in a predilection cypresses, plain trees and shrubs more reminiscent of the persian Flora.
The Rajputh school of miniature painting depicted scenes of every day life, festivals, mythological subjects and most important episodes from the life of Lord Krishna. Derived from the Gujarath school of painting, Rajputh miniatures are based on drawings with bright splashes of colour.
The other schools of miniature painting is divided in to two main branches namely Rajasthani and Pahari. Among the Rajasthani school, Mewar stood out with its portrayal of Krishna legend in a novel form. It is characterised by freshness recalling the rural origins of the artists and are singularly appropriate for the pastoral acenes of the Krishna Leela which they Portray. Another school of this branch is that of Bikaner renowned for its wealth of detail. By Passage of time political and cultural relations with nearby schools suffocated the Bikaner, which gave birth to some of the greatest traits of the school Amber notable for its sense of balance and sensitivity to nature. Other important schools include Bundelkhand, Marwar and Bundi. The last is unique for its patchwork style and brilliant colouring creating almost an impressionist style.
The important centres of the Pahari school are situated at Basholi, Jammu, Gular and Kangra.The Pahari school is lively, romantic and highly evocative, and the drawings are skillful, determined and refined. Technically, they are far superior to other schools of Indian Miniature painting, particularly the school of kangra. Soft tonal shading, exquisitely created backgrounds which merged with the theme, and attitudes and postures highly evocative of the moods are the importance of kangra painting.
2016 April 21, 11 am
Welcome : Vaikom M.K. Shibu (Secretary, Kerala Lalithakala Akademi)
Presides : Prof. Kattur Narayanapillai (Chairman, Kerala Lalithakala Akademi)
Inauguration : Dr. M.C. Dileep Kumar (Vice Chancellor, Sree Sankaracharya University of
Felicitation : Shri. P.V. Krishnan Nair (Secretary, Kerala Sangeetha Nataka Akademi)
Vote of Thanks : Shri. K.U. Krishnakumar (Executive Member, Kerala Lalithakala Akademi)
April 22,23, 11 am to 5pm
Seminar on Miniature Painting
Shri. Vijayakumar Menon : Aesthetics of Miniature Painting
Prof. C.S. Jayaram
Smt. Preethi Joseph
Shri. Madvesh Pandurangi
Prof. K.C. Chitrabhanu
Ajithan Puthumana, C.S. Anupama, Ashokan Cheruvathur, Aswini N.K., Balbinder Kangri, Dharam Paul Varma, Francina, Giridhar Gowd Rayana, Harishankar Balothia, Jagadish Kamble, Jagannath Bellad, R. Krishnan (Kitna), Madhu Merugolu, M. Mahesh, Manimala Chitrakar, Manuela, Meenakshi Madan, Mukesh Kumar Dhiman, Nagaswar Nakash, Dr. Nathu Lal Verma, Padmasri Vijay Sarma, Pawan Kumar Kumavath, Pradosh Misra, Prafful Kumar Maharana, Prahlad Maharana, Revanna, P.K. Sadanandan, Santhosh Kumar Mahapatra, Sayaka Arase, Sreejith P.C., Dr. Suchitra Sarma, Suresh Muthukulam, K. Venkitesh, Dr. Vijay Siddaramappa Hagargundagi, Vijay Verma, Vishnu Narain Agarwal, Zafar Raza Khan, Saju Thuruthil, C.V. Pratheesh, Krishnan Mallisseri
(Executive Member, Kerala Lalithakala Akademi)