ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
Study of Present-Day Indian Miniature Tradition: Through the Paintings of Contemporary Artists Virendra Bannu and Waswo X. Waswo Jyoti Jalan 1 1 Research
Scholar, Department of Fine Arts, IIS (deemed to be University), Jaipur, India 2 Associate
Professor & Director, School of Fine Arts, IIS (deemed to be University),
Jaipur, India
1. INTRODUCTION The origin of Indian Miniature painting traces to Buddhist manuscripts of Palas in eastern part of India during 8th -11th century A.D. In process, the western part chiefly Gujarat and Rajasthan in early 11th century practiced Jain manuscript paintings. These manuscripts had the religious theme predominate and were illustrated on dried palm leaves or cloth. In addition to the trend of Indian miniature painting tradition, late 16th and early 17th century Rajasthani painting showed a certain degree of change representing diversified subjects such as episodes from Ramayana and Mahabharata, the life of Lord Krishna, flora and fauna, landscapes, royal portraits, courtly depictions, hunting scenes and many more Cummins (2006). With the advent of Mughals, variation occurred in the characteristic features, subject matter, style and materials. These changes were subjected to the liking of the patron, ruling class, religion followed and economic status. The cultural amalgam of Rajput kingdom and Mughal emperors brought significant evolution and resulted in the creation of some fine manuscript paintings. Some of the examples of development are creation of more intricate ornamented borders called as hashiya, paintings drifting from religious theme predominate to glorifying emperors’ aura, establishment of art workshops as karkhanas where number of painters work under a roof as per their expertise. In addition, inclusions of migrating birds, exquisite animals, processional scenes, symbolic use of colors were featured in miniature painting. The use of Wasali paper instead of palm leaves noticed during the centuries. The move away from tada patra or palm leaf to paper brought more space and flexibility to the artist to paint with ease and utmost details. The use of gold and silver to add brilliance to the portraits of rulers brings out the concept of dominance which was earlier limited to gods and goddesses Sharma (1979). All the manuscripts paintings evolved with time throw light on the culture, tradition and practices of the past. It is visible that the changes occurred time to time keeping its fundamental meaning intact. In present time, artists like Virendra Bannu and Waswo X. Waswo are practicing years old miniature painting tradition. These artists hail from different origin however their approach to miniature practice is alike. Both have been subjected to use traditional method of Indian miniature painting despite the changes that have occurred during the modern era. Their works are analyzed to study the contemporary scenario of long practiced Indian Miniature Tradition. 2. OBJECTIVES OF THE STUDY This study will seek to explain how Miniature art has evolved and played vital role in larger artistic world, as well as how it has developed while still adhering to the essential ideas that define it. 3. THE SIGNIFICANCE OF THE RESEARCH STUDY It is an effort to focus the revival of miniature art in the contemporary creative arena. This research is significant to preserve and to put forward the distinctive form of years old miniature art, to ascertain the importance of that art, and to trace its development up to the future generation. 4. RESEARCH METHODOLOGY The study based upon the primary sources where the researcher has interviewed the artist to know about the miniature paintings and the style of working. The secondary sources used are books and articles. 5. REVIEW OF LITERATURE The book Cummins (2006) has specified details about the old tradition of miniature art. The origin, categories, technique, materials, process, and details of various miniature schools are well described for an extensive understanding about the subject. In the book Sharma (1979) there is chronological description about the Indian miniatures which aided to get in touch with the developments and how the evolution occurred. Further, the study of some paintings in the book also helped to unfold the aesthetics of miniature paintings. In the article Bannu (2015), there is vital information about the miniature practicing artist Virendra Bannu. The entire paintings listed explain the style of the artist and his idea of creation. The article Bhuyan (2022) based on the artist Waswo X. Waswo. The observation of the excursionist as the artist explained well along with the details about the artist’s working style which helped to understand his paintings mentioned in this paper. In Waswo X. Waswo (n.d.), the entire works and the perspective of the artist Waswo X. Waswo are mentioned. The works showcased provided greater vision about the elements, subject matter and motifs used in his miniature paintings. 6. VIRENDRA BANNU PRACTICING MINIATURE ART Artist Virendra Bannu, a seventh-generation
miniature artist resides in Jaipur city, Rajasthan. As per the earlier
tradition of learning kala through guru shishya parampara, he underwent
training under his father Bannu Ji who was a trained well known miniature
artist from India. Born in the year 1965, Virendra Bannu received BFA and MFA
degrees in painting to get hands on experience of the contemporary art forms Bannu (2015). His paintings are
reflection of traditional skills and present-day knowledge which favored a significant contribution to the development of
Indian miniature painting. 7. CRITICAL ANALYSIS OF SOME PAINTINGS OF THE
ARTIST Figure
1
Virendra’s painting (Figure 1) ‘My Car’ has been portrayed in miniature style and in context to Rajasthani style painting. The nayika dressed in traditional transparent odhani clad with kundan jewelry shown driving the car whereas Nayak in pagadi seated at the back shown calm and relaxed. The potli, sanduk at the carrier, poster, flag, and ok tag on new car all symbolize Indian wedding custom of giving gifts to the couple. Looking at the painting, it is observed that the detailing of each element in the composition, sharp features and side profile of the human figures, female having long hair with a hair curl near ear, elaborate and delicate brushwork, use of gold, natural colors, and bright colors like red and yellow with flat background, addition of shading with an emphasis on naturalism are entirely made resembling an ancient Indian miniature style. Also, floral motifs especially lotuses painted on the car symbolize success and prosperity in life. This way artist Virendra remain intact with the core fundamental principle of miniatures of presenting ideas through symbols. As per the interview, it is stated by the artist that the surface on which the painting executed is wasli paper which is typically processed and used during the miniature era was passed on to the artist by his ancestors (Bannu, Introduction of the artist and his paintings). Even the knowledge of processing colors made from natural sources passed on to him from his father and forefather. Further, borders remained an identity of miniature paintings but breaking it to extend the car is the artist’s own style of creativity. The main concept of the painting is to portray the status of women in 21st century and how they are the leaders of their life and also been able to support others. This very feature of illustrating elements in old Indian miniature traditional style and reflecting modern thought remained an identity of the artist Virendra Bannu. Figure 2
In the Virendra’s painting (Figure 2) ‘हमारा भारतवर्ष, the pattern of sky, rendering of banana and mango trees, creating scooter in the foreground, wall and trees in the middle and sky having clouds in the background gives an outlook of Indian miniature style of painting. Furthermore, the idea of border but extending the composition beyond the border is artist’s style which can be seen often in his works. Observing closely, it is seen that the signatures with the title and year written on the top is also one of the features associated to old miniatures of India. On the other hand, the idea is not to represent any mythological or religious theme as seen in earlier miniatures but to highlight the dirtiness of Indian’s public spaces. It is specified by the artist in an interview that while doing BFA and MFA courses, he learnt the way how art serves didactic purpose during medieval era in Byzantine and Gothic art periods. This way Virendra Bannu used the very concept of educating people through his painting. Further, the torn poster, no parking sign, tag lines and paan stains on wall all to give message to the society to keep their surroundings clean and not to park in no parking zone. 8. MINIATURE ART THROUGH THE VISION OF
WASWO X. WASWO Waswo X. Waswo, an artist and photographer who was born in
the year 9. EVALUATING THE PERCEPTION BEHIND THE PAINTINGS Figure 3
Waswo’s painting (Figure 3) has been represented in Bundi style of Rajasthani miniature painting. Depiction of varied vegetation like banana tree, fan shaped tree, mango tree having dense branches and trees having long twirling lines accentuates the ornamentation as seen in the Bundi school of miniature painting. Further, dramatic sky, water with lotuses, mountains and cranes are the elements which characterize Bundi style of painting. The pink mountain ranges in the background and in the foreground along with the addition of different patterned trees are representation of Waswo’s creativity added to revive old style of Indian miniature painting tradition. Like Lord Krishna often depicted playing flute surrounded with cows near Yamuna River in miniature paintings, here Waswo trying to create similar representation by depicting himself smoking hookah near water body having birds and flowers rejoicing nature. Here, artist Waswo is the centre of attraction in the painting alike to Krishna in Indian miniature paintings. Figure 4
Another miniature painting of Waswo X. Waswo is from the series ‘A Dream in Bundi’ (Figure 4). Depiction of architectural elements like forts, royal palaces, court scenes and many more seen in Mughal, Rajasthani Waswo X. Waswo (n.d.) and Pahari miniature paintings. In lieu of previous tradition, artist Waswo has depicted a contemporary concrete house in the midst of lush green vegetation. Artist Waswo as dressed in his identical attire having coat pants, red tie, glasses, and hat shown relaxing and enjoying feast with his friends and fellow mates on roof which gives an idea of earlier miniatures where royals shown enjoying performing activities like hunting, a forest trail, outdoor feasts in palaces, processional scenes and so on. It can be seen here too that the compositional format and intricate detailing to each component including the red bold border are typical of earlier miniature tradition. In addition, cheetah strolling on the hills, distinctive forms of the trees, diversified color palette like tint of pink for mountains, purple for trees displays artist’s style of adding aesthetics to the painting.
10. CONCLUSION The paintings of the artists Virendra Bannu and Waswo X. Waswo are true glimpse of Indian miniature art. Both the artists have their own distinctive style of representation. Virendra Bannu preferred subjects from the present-day scenario with a purpose of giving message to the spectators. His style of illustrating elements, compositional format, and handling of materials remain intact of years old miniature tradition with an array of newer possibilities. The paintings of Waswo made to apprehend natural beauty with an addition of portraying himself as the centre of attraction. The use of wasli paper, intricate details, fine brushwork, compositional frame, treatment of colors, and illustration of borders justifies the concept of ancient miniature style of painting. His paintings give an idea of globalization of miniature art practices in India and abroad. Further, the paintings of both the artist act as a link to understand art traditions of the past, also throw light on the new ways of doing it.
J.J- When did you start doing miniature painting? V.B- I was interested in painting as a child when I use to see my father and forefathers were doing paintings for the royal family of Jaipur. I am the seventh generation miniature artist living in the ‘Mussavviron Ki Gali’ carrying forward the legacy of miniature paintings. Earlier it this form of art transferred through guru shishya parampara but I did my BFA and MFA degrees in Painting both to revive this old tradition which is inherited in me. With the knowledge of contemporary techniques and materials I could evolve my artistic miniature journey and put forward for future generation. J.J- How did the idea of creating miniature painting with different perspective come about? V.B- When I was doing my degree course in fine arts, I studied didactic purpose of the artworks. This inflicted my mind to give message to the society through my miniature works. Though the style is all same but the subject I portrayed is all cotemporary related to the recent time. This can be seen in my painting titled ‘हमारा भारतवर्ष’ where I am trying to take viewers’ attention towards the cleanliness and not to litter things around. J.J- What is your say on the evolution of miniature art tradition? V.B- The miniatures have evolved over time. It changed slowly and methodically. I am doing is a little effort to it. Like my borders are going inside the painted area and also my painting subjects have changed from earlier portrayal of Hindu deities to more present-day themes like women empowerment and hygiene. My miniature paintings are my vision to what’s going in the society and what I see around. Miniature is never a dying art but evolving with time.
CONFLICT OF INTERESTS None. ACKNOWLEDGMENTS None. REFERENCES Bannu, V. (2015, November 10). Forms of Devotion. Bhuyan, A. (2022, March 29). Waswo X Waswo and His Merry Band of Artists. Mintlounge. Cummins, J. (2006). Indian Painting : From Cave Temples to the Colonial Period. Boston : MFA Publications ; New York : Distributed by D.A.P./Distributed Art Publishers. Sharma, L. C. (1979). A Brief History of Indian Painting. Goel Publishing House. Waswo X. Waswo (n.d.). Galerie ISA.
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