In the last few issues, especially through the work of Dr. Jyotindra Jain and Dr. Annapurna Garimella, we realized how folk and traditional art practices are configured as crafts. While an artist maybe using newer mediums and themes in his work, just because of his association with that particular traditional form it is bracketed as folk or craft. We have to seriously engage with this issue and understand why are certain artists called folk artists and others as fine artists. If you have seen Gond paintings, you must be knowing about the Gond Ramayani paintings. The narrative is very different from the classical Ramayana. It actually begins when the conventional Ramayana ends. The story starts after Sita is rescued from the captivity of Ravan. The central protagonist in this story is Lakshman, not Ram and the narrative is about finding a bride for him. Unlike the classical story here you will also see characters from Mahabharata such as Bhim making their entry. They are part of this story. This story was part of an oral tradition and it is very humorous. There are many artists who have painted this. Each of their style is different. They also use different versions of this narrative and sometimes also depart from the Gond paintings. They use newer synthetic materials to make these works. So, there is an artistic autonomy in terms of the execution of the narrative, they also use modern materials to create this work. Then why do we not see them as contemporary artists. Again, I am opening up this question to you all for discussion. There are many interesting curators who have showcased works which depict these newer developments in what we understand as the domain of “folk”, “traditional”, or “crafts”.
In today’s “The Curator” series we will discuss the exhibition “Pichvai Tradition & Beyond” curated by Pramod Kumar KG. As many of you know Pichvais were historically detailed hand painted textile, which were hung behind the idol of Shrinathji, an incarnation of Lord Krishna. Pichvai paintings, has originated in Rajasthan’s Nathdwara region, have traditionally been magnificent and detailed hand-painted textile works of art that narrate tales from the life of Krishna where he is portrayed in different moods, body postures and attires. In recent times, it has become something more than a religious object. It has been used as wall art and many collectors and interior designers are using it to decorate homes. In this journey of transition from religious to secular, Pichvai also has undergone many changes. The size, the iconography, colours, etc. have changed a lot in time to suit the new demands of the clientele.
The Curator #20
Curator: Pramod Kumar KG
Exhibition: Pichvai Tradition & Beyond
Venue: Kochi-Muziris Biennale 2016 (Collateral)
Pramod Kumar KG is the Managing Director of Eka was the founder director of the Anokhi Museum of Hand Printing at Amber, Jaipur, directed the Jaipur Virasat Foundation and instituted the Jaipur Literature Festival. He is currently co-director of Mountain Echoes, the Bhutan Literature Festival. He has lectured extensively across the world and is a published author with contributions in several books, journals and magazines. Until recently he was the editor from India of the Textiles Asia journal.
According to the organisers “Over the last century, intricately painted Pichvai paintings that left the shrine have taken on a new role as wall art and are much sought after by the cognoscenti for their effervescent aesthetics, inciting a fresh demand among collectors. Recognising the need to create a platform to support and sustain the few remaining supremely skilled painters who learnt the rapidly declining tradition from a long line of past masters.”
Pichvai art is undergoing a drastic change and the curator’s attempt was to highlight these changes in this show. To also showcase to the public that Pichvai doesn’t remain as the same traditional form. According to Pramod Kumar G, “For traditional arts to have a resonance and relevance to contemporary audiences, they constantly need to be re-interpreted and contextualised for the here and now. Pooja Singhal’s ‘Pichvai Tradition & Beyond’ has for the first time brought to the public eye, artworks that have been reworked with layered historical inferences in newer scales, formats and themes. These artworks thus have moved away from their purely religious connotations to representations of aesthetic modes, seasons, forms, colours and secular iconographies that every layperson can see and appreciate. While these artworks have found newer patrons, the true success of the project has been the inculcation of a fresh group of artists in this time-honored genre who have given new life into an old art form by merging older traditional techniques with contemporary application and ingenuity.”
The works displayed in this show were created at Pooja Singhal’s Pichvai Tradition & Beyond atelier.
Do you see any changes in the traditional art forms in your region? What are the new technologies and materials which artists are using now? What are the themes which they are dealing with? Discuss and share your views in the comment section.
- Premjish, Director-Outreach, Art1st.