essay on fine arts in india

Indian Art – Discover the History and Influence of Ancient Indian Art

From ancient Indian artworks to thriving modern art from India, the country’s vivid visual tradition is the product of a diverse range of cultural influences. The bright, diverse, and captivating designs that depict many different civilizations demonstrate the range of Indian art styles from this region. Because several of the world’s main religions, including Hinduism, Islam, and Buddhism, originated or blossomed in India, most traditional Indian art is political or religious in nature. Indian artwork covered in this article includes Indian paintings and Indian sculptures.

Table of Contents

• 1.1 Traditional Indian Art History
• 2.1.1 Madhubani Paintings
• 2.1.2 Miniature Paintings
• 2.1.3 Pattachitra Paintings
• 2.1.4 Warli Paintings
• 2.2 Indian Sculpture
• 3.1.1 Shakuntala (1898)
• 3.2.1 Bharat Mata (1905)
• 3.3.1 Self Portrait (1931)
• 4.1 What Are the Various Indian Art Styles?
• 4.2 What Are Madhubani Indian Paintings?

Traditional Indian History

Indian art has a great sense of design that can be seen in both modern and ancient Indian art. These ancient Indian artworks can be traced back to ancient communities around the third millennium BC. Traditional Indian art includes various creative forms such as sculptures, ceramics, textile arts, and paintings by Indian artists.

Traditional Indian Art History

Archaeologists uncovered prehistoric rock artworks which can be traced back at least 290,000 years in this location. The Bhimbetka petroglyphs in central India are the earliest specimens. This was the dominant kind of cave painting from the Paleolithic to Neolithic eras, frequently showing human and animal figures.

The Indus Valley Civilization produced the first known Indian sculptures between 2,500 and 1,800 BC. They made miniature terracotta and bronze figurines of animals and humans such as cattle and primates.

The development of Buddhism in the sixth century BC cleared the door for religious artwork, generally in the shape of bronze and stone statues. During this period, religious painters also experimented with constructing massive stone temples adorned with Greek-style columns. Traditional Indian Sculpture was popular among Hindus and Buddhists. Hinduism remained a major emphasis of Indian art for generations, with statues of deities such as Shiva being popular.

By the 16th century, Islam had grown in prominence under the Mughal Empire, and Indian artwork creation had increased under Islamic monarchs. The arts flourished during this period, and the building of the Taj Mahal began in 1631. British engagement in India started in the 18th century when art schools were founded to promote European forms.

As a result, indigenous art styles mixed with external cultures, and ancient art forms were sometimes glorified or exaggerated in order to attract European customers.

India won sovereignty from the British empire in 1947, prompting indigenous painters to seek a new style. Traditional components and inspirations from the country’s rich past are incorporated into modern Indian artwork.

Traditional Indian Art Styles

Each area of India had its particular art style. Religious motifs are among the most popular, with legendary animal and human figures as well as rich decoration. Sculpture and paintings by Indian artists have been the most prominent art forms throughout India’s history, as well as their magnificent architecture.

Indian Paintings

Each painting style that arose in India symbolized traditions, practices, and ideas that had been passed down from past generations. Though early Indian paintings were created on walls, the art form was later adapted to more contemporary materials such as paper, fabric, canvas, and other materials.

A few of the most prominent Indian folk-art styles are listed here.

Madhubani Paintings

Madhubani paintings are among the most well-known in India. This style started as a kind of wall painting in the Mithila area of Bihar, but it wasn’t generally recognized in the Western world until British government servant and art historian W.G. Archer discovered it in 1934 while surveying damage from an earthquake on the border between Nepal and India.

The Madhubani style is distinguished by a straightforward and vivid depiction of tradition and culture, generally representing mythical subjects.

In this style, artists combine colorful images with simple patterns, which frequently feature flower, animal, or bird designs. The art form is practiced in a variety of genres such as Katchni, Bharni, Tantric, and Godna.

Miniature Paintings

First found on palm leaves, created for merchants who transported them throughout the country in the 10th and 12th centuries, these little works were mainly crafted as images for manuscripts. Throughout the Mughal and Rajput courts, the art form grew in importance.

Miniature paintings were elaborate and detailed, relying on Persian methods. The themes varied from historical and religious situations to ordinary ones.

Pattachitra Paintings

This style, which goes back to the 12th century BC in Orissa, is another early type of painting. This kind of painting is still produced in the area’s tiny settlements today. Pattachitra literally means “cloth picture,” which accurately describes this classic, cloth-based kind of scroll painting.

The paintings, known for their detailed intricacies and legendary themes, use angular, aggressive lines and are heavily influenced by Mughal-era influences.

Warli Paintings

Warli folk paintings, a kind of traditional Indian artwork, have been around for 2,500 years. The style developed in Maharashtra, a state in western-Central India, and is still commonly performed today. Warli paintings, which are often painted on the walls of huts, use linear and monochrome colors and a basic manner of execution that mimics cave painting.

In contrast to other styles of tribal art, which use a plethora of colors, this style uses earth tones and neutral shades to show the everyday routines of indigenous people like hunting, farming, and dancing.

Though Pattachitra, Warli, Madhubani, and miniature paintings are some of the most well-known forms, numerous additional varieties of Indian folk art come from various times and places of the subcontinent, including:

• Thanjavur paintings : Between the 16th and 18th centuries, this South Indian painting style thrived. These paintings are brightly colored panel artworks created on a wooden plank, with a god as the predominant subject matter.
• Kalamkari paintings : These paintings are block-printed cotton cloth made in the Indian regions of Telangana and Andhra Pradesh. It has a strong relationship to Persian themes and was originally employed for crafting narrative scrolls and panels.
• Gond paintings : This style of art glorifies nature, representing anything from lush foliage to animals. The artworks are made up of finely organized dots and dashes.

Indian Sculpture

Indian sculpture is still a popular form of creative expression, particularly as a kind of religious art. Buildings were lavishly decorated, and the subject matter was mostly abstracted human shapes meant to express Buddhist, Hindu, and Jain concepts. In Indian sculpture, female goddesses such as Kali, Shakti, and Brahma were frequently represented.

Indian sculptures date back to the Indus Valley when terracotta figures were among the earliest to be manufactured.

Large stone pillars emerged at crossroads and key places during the Mauryan Dynasty, which lasted from the 4th to the 2nd centuries BC. They frequently had lotus-shaped tops and lion motifs, which were imperial insignia. During this time, several massive stone images of deities were created, followed by smaller copies that were put on Buddhist monuments. Stupas were encircled by ornately carved gates adorned with a variety of religious emblems.

In the second and first centuries BC, more developed Indian figurative sculptures started to appear. Over the decades that followed, a diverse range of styles and customs developed in various places.

The Elephanta Caves, a series of cave temples mostly devoted to the Hindu deity Shiva and built during the mid-5th and 6th century AD, is one of the most notable buildings. By the 9th and 10th centuries, Indian sculpture had evolved into a form that differed little from what it is now and was mostly utilized as building adornment.

In the early years of the 20th century, Indian sculpture followed western academic art practices, and styles were significantly influenced by realism artists working on secular subjects in British art colleges. The old and customary forms displaying tales and deities were significantly altered. Ramkinkar Bai, worked in the 1940s and 1950s to combine Western art with traditional Indian art, exploring unusual materials such as gravel, concrete, and cement.

This innovation continues in modern Indian sculpture, which draws on traditional methods and subject matter while experimenting with new approaches.

Important Indian Artists and Their Famous Works

Now that we have taken a look at the history of art from India, as well as the various Indian art styles, we can move on to look at some of the most well-known sculptures and paintings by Indian artists. We will start with an introduction to each artist and then explore their Indian paintings and other artworks.

Raja Ravi Varma (1848 – 1906)

Ravi Varma, who was born in the Kerala town of Kilimanoor in 1848, was of royal descent. According to legend, his uncle discovered him sketching images on the walls of his residence. The uncle took him to the royal palace in Thiruvananthapuram, where he was taught in painting.

He was exposed to numerous Western and Indian styles of the time at the palace. Oil as a medium was only being introduced, and there were few who were familiar with the technique.

Ravi Varma learned the medium by seeing Theodor Janson, a Dutch artist who was visiting the palace. He rose to fame as Raja Ravi Varma, revered as the founder of contemporary Indian painting for two main reasons. He was the first to combine European academic methodologies with Indian tastes. Ravi Varma emphasized realism in his paintings, focusing on details, the play of light and shadows, and giving depth by employing perspective. The folds of a saree fluttered, the hair curled, and the eyes glowed with need.

The gems that lavishly ornamented his figures glistened in a perceived slant of light with heavier strokes. His paintings are brimming with life, with trees laden with fruits and flowers, waterways glistening with their various colors, and individuals seemingly ready to blink their eyes and resume their activity. This was a significant departure from the sort of artwork that was created at the time.

Ravi Varma’s extensive collection of work reflects his journeys across the country’s ever-changing geography. Few people traveled at that age, but his search was aided by the country’s railways, which were being built at the time.

His brother Raja Raja Varma, a superb artist in his own right, was often by his side, assisting Ravi Varma in his painting and managing his enterprises. Ravi Varma was cognizant of his customers – the princes and dewans he painted – an ambitious blend that made him among the most sought-after painters, according to Rupika Chawla. Raja Ravi Varma, widely regarded as the creator of Indian calendar painting, brilliantly brought Hindu legendary characters to life.

Until then, most of the painted figures were flat, and the gods were only recognizable by their personal accouterments. His painting output was crucial in the formation of national consciousness. It was also during a period in Indian history when national sensitivities were developing. His Veda-reflective work caught on quickly, earning popularity while also nourishing the conscience. This might be one of the reasons why his equally accomplished brother, landscape artist Raja Raja Varma, did not receive the same acclaim as his brother.

For decades following his death, his works adorned the walls of middle-class houses; nevertheless, new schools of painting eventually emerged. The Bengal School of Art responded angrily to Raja Ravi Varma’s European academic artistic approach.

Along the same lines, a few art historians criticized his works for much the same factors that made him famous in the first place – combining Western academic approaches with Indian topics.

Shakuntala (1898)

Ravi Varma portrays Shakuntala, a prominent figure in the Mahabharata, claiming to pick a thorn from her heel while actually searching for her lover, Dushyantha, as her companions mock her. This mere motion – the bend and turn of the head and torso – invites the viewer into the story, encouraging them to place this moment inside an imagined series of pictures and occurrences.

The picture stands alone as a frozen scene (like a frame from a film), taken from an ongoing series of incidents.

These works also highlight the importance of the “male gaze” in establishing the feminine image. Despite being missing from the frame, the male lover serves as a vital reference point; his glance transfixes Shakuntala, as well as Damayanti, into “desired” pictures, presenting them as poetic and sensuous ideals.

Abanindranath Tagore (1871 – 1951)

Abanindranath Tagore was born in the Bengal town of Jorasanko and was exposed to art from a young age. He was one of the most important artists, our nation was blessed with, as the Tagore family has a history of culture and literature. As a proponent of Swadeshi principles, he founded the Bengal School of Art. His history is sufficient to inform you about his extraordinary work, which paved the way for the creation of contemporary Indian art.

This concept, however, did not emerge overnight. He grew conscious of the English domination over the art scene in India when he enrolled in the Calcutta School of Art in 1890. He was profoundly disturbed by it since he was a big believer in ancient Indian ways. As a real artist, he founded the ‘Indian Society of Oriental Art’ with his brother Gaganendranath Tagore. He combined Indian style into his paintings, resulting in a fundamental transformation in the teachings. He didn’t even hesitate to condemn Western “materialistic” art.

Truly a versatile individual, several of his works reflected India and earned widespread acclaim. When his work was finally acknowledged and marketed as a national Indian style inside British art organizations under the moniker Indian Society of Oriental Art, he made history.

Nevertheless, one of his most notable works was the Arabian Nights series, which he completed in 1930. He employed the Arabian Nights tales as a metaphor in these works to depict colonial Calcutta’s emerging cosmopolitanism.

Bharat Mata (1905)

The painting was created during the Swadeshi movement. The movement emerged as a reaction to Lord Curzon’s Partition of Bengal (1905), which divided Bengal’s mostly Muslim eastern portions from its largely Hindu western areas. Indian nationalists involved in the Swadeshi movement responded by rejecting British products and organizations, organizing rallies and parades, creating committees, and exerting political pressure.

The center person in the artwork carries a book, sheaves of rice, a strip of white fabric, and a wreath, all of which are connected with Indian tradition and the economics of India in the early 20th century.

Furthermore, the primary figure in the artwork has four hands, evoking Hindu iconography that associates many hands with enormous strength. The picture is historically significant since it is one of the first depictions of Mother India. Many variations of the Bharat Mata have been created in paintings and other kinds of art since 1905.

The value of Tagore’s original artwork, nevertheless, is still acknowledged. From start to finish, the image is a plea to the Indian heart in the Indian language. It is the first outstanding work in a new style.

If it were possible, it would be mass-produced in the thousands and spread across the region until there wasn’t a farmer’s hut or a craftsman’s cottage between Cape Comorin and Kedar Nath that didn’t have this Bharat-Mata exposition on one of its walls. As one examines its attributes, one is struck time and again by the clarity and subtlety of the represented personality.

Amrita Sher-Gil (1913 – 1941)

Amrita Sher-Gil, a contemporary Indian art trailblazer, utilized her paintbrush to reflect the daily life of Indian women in the 1930s, frequently expressing a sense of loneliness and desolation. She painted individuals while traveling to the marketplace, at home, and a wedding. She occasionally portrayed women connecting with other women.

The pieces appeared to convey a feeling of calm resolution at moments. It was a unique representation of women from India in an era when images tended to portray them as cheerful and docile.

For example, the melancholy picture Three Girls depicts ladies with passive looks, their gloomy brown features contrasting with the brilliant reds, greens, and amber of their clothes. The tone is dismal as if they are waiting on someone or something they suspect will never arrive. Sher-Gil became recognized as the “Indian Frida Kahlo ” because of her style and attention to women. Her subjects’ loneliness was easily understood because their feelings mirrored her own. She lived between worlds as a result of her upbringing, frequently yearning for a feeling of belonging.

Sher-Gil was similarly torn about her sexuality. “Partly as a result of her greater perspective of a woman as a powerful individual, emancipated from the artifice of tradition,” Dalmia said, she was captivated by the concept of a lesbian affair. She had a close relationship with the painter Marie Louise Chassany, and several art experts, including her nephew, thought her painting Two Women portrayed their desire for one another.

Sher-Gil traveled extensively during her life, visiting Turkey, France, and India, drawing substantially from pre-colonial Indian art forms and modern Indian culture. She is considered a notable 20th-century Indian artist, with a legacy comparable to the Bengal Renaissance innovators.

She was also a talented musician and an avid reader. Despite the fact that she was poorly recognized when she was living, her works are among the most expensive among Indian women artists currently.

Self Portrait (1931)

This is the creator’s first artwork to be placed at auction in London, and one of just eight paintings by Sher-Gil to be auctioned internationally. The artist’s paintings are designated as ‘National Art Gems’ by the Indian government, and are regarded as of such national value to Indian heritage that they are not sellable if sourced in India, and must stay in the country if purchased in India. As a result, major Sher-Gil artworks are rarely offered for sale outside of India.

This 1931 artwork is one of her unseen and unexhibited works.

It has stayed in France since its creation and will make its first transatlantic travel this summer, first shown in New York, where it is set to be displayed at Christie’s, and then to London for its sale previewing and bidding. Sher-Gil was temporarily engaged to Yusuf Ali Khan in 1931, and rumors circulated that she was also committing adultery with her cousin Victor Egan. In 1931, Sher-Gil painted pictures of these two men, each staring inwards into the distance, maybe pondering their own life in the hands of this seductress.

Sher-Gil’s picture was also completed the same year. These paintings construct a triangle between three people, placing them in dialogue — each averting the viewer’s gaze, keeping a secret that only the three appear to be aware of. Among her 19 previously reported self-portraits, this is the only one known in profile. The artist is in full profile here, avoiding direct engagement with the observer. The composition, on the other hand, cuts diagonally across the canvas, with the body practically springing out of the canvas onto the observer.

The empty golden bowl between her and the spectator depicts the emotional vacuum she may have experienced as an 18-year-old divided between her different loves.

Amrita is reported to have had a life as intriguing and unconventional as her work. Her narrative is intriguing — her father, a photographer, documented her early years for posterity — and provided insights into both Amrita and Indian and European high society in the 1920s.

That wraps up our look at artists and art from India. The vestiges of Indian art that can be traced back to the third millennium BC have been found. Every age has its own character, customs, history, and revolutions that define it. India’s art forms, too, have developed over the centuries. Paintings, architecture, and sculpture first appeared in ancient India.

Frequently Asked Questions

What are the various indian art styles.

Every region of India had its own distinct art style. Religious themes, with mythical animal and human characters and ornate embellishment, are among the most popular. Sculpture and paintings by Indian painters, as well as their exquisite architecture, have been the most renowned art forms throughout India’s history.

What Are Madhubani Indian Paintings?

Madhubani paintings are some of India’s most well-known. This style began as a type of wall painting in the Mithila region of Bihar, but it wasn’t widely recognized until W.G. Archer found it in 1934 while evaluating the damage caused by an earthquake on the Nepal-India border. The Madhubani style is characterized by a direct and vivid portrayal of tradition and culture, which typically depicts legendary topics.

Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.

Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Learn more about Isabella Meyer and the Art in Context Team .

Cite this Article

Isabella, Meyer, “Indian Art – Discover the History and Influence of Ancient Indian Art.” Art in Context. June 19, 2022. URL: https://artincontext.org/indian-art/

Meyer, I. (2022, 19 June). Indian Art – Discover the History and Influence of Ancient Indian Art. Art in Context. https://artincontext.org/indian-art/

Meyer, Isabella. “Indian Art – Discover the History and Influence of Ancient Indian Art.” Art in Context , June 19, 2022. https://artincontext.org/indian-art/ .

Similar Posts

Naturalistic Art – Capturing the World’s Imperfections Through Art

Negritude Movement – The History of the Negritude Movement

Renaissance Art – Europe’s Cultural Rebirth

Vintage Erotic Art – Tracing Cultural Attitudes Towards Sexuality

Formalism Art – Understanding Formalistic Theory in Art

Elements of Art – An Analysis of the Seven Art Elements

Leave a reply cancel reply.

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

The Most Famous Artists and Artworks

Discover the most famous artists, paintings, sculptors…in all of history! 

MOST FAMOUS ARTISTS AND ARTWORKS

Discover the most famous artists, paintings, sculptors!

• About India Foundation
• Board of Trustees
• Governing Council
• Distinguished Fellows
• Deputy Directors
• Senior Research Fellows
• Research Fellows
• Research Associate
• Visiting Fellows
• Publications
• India Foundation Journal
• Issue Briefs
• Upcoming Event
• Event Reports

[email protected]

Looking for collaboration for your next project? Do not hesitate to contact us to say hello.

• apple podcasts

Reviving the Influence of Indian Arts, Crafts and Design

Introduction

The history of India is marked by many centuries where Indian arts crafts and design were highly sought after globally. With over 3,000 unique arts and crafts, the importance of the arts in Indian society as well as its popularity in the ancient world is a testament to the fine workmanship and aesthetics of the Indian craftsman. India has an ancient and unique art history, with every region excelling in an art form. Usually the expertise is passed down from family members creating communities of artisans, these crafts are all of local provenance and are still found in their original forms.

Indian craftsmanship is also a prime example of the syncretic culture in India, with aesthetic influences from various religions like Hinduism, Jain, Buddhist, Sikh, Islamic as well as unique tribal aesthetics. The world has influenced Indian crafts and India has in return influenced world aesthetics. This ancient bond has not sustained itself for thousands of years merely by chance but simply by the commitment of the Indian craftsmen to their expertise. For the Indian craftsman his work has always been more than just a form of employment, there has always been a deep sacredness and spirituality accorded by the craftsman towards his products.

Unfortunately, with the advent of industrialization from the mid 18th to early 19th century, cheaper forms of crafts based on industrial labour replaced the craftsmanship of the karigar. This shift was a substantial setback to the Indian craftsmen and these special stories were forgotten. Today, many artisans struggle for survival and their unique crafts remain endangered. With the lack of product design, modern marketing techniques and political will various forms of Indian arts and crafts are becoming redundant, but the resilient Indian karigar continues to be the crucible of India’s culture.

In the international markets, there remains a strong appreciation for Indian artisanal goods. Earth friendly in nature, Indian crafts are the need of the hour and Indian karigars are infusing these crafts with modern design influences to suit new markets and sensibilities. Each of these crafts are unique to the cultures that have influenced them as well as the region, just as are the individual producers or the communities they represent. However, the karigarswill to adapt to modern markets, his resilience as well as the uniqueness of his craft has still not been enough to elevate the arts, crafts and design industry to its former glory. Therefore, it is important to comprehend the limitations faced by karigars trading internationally as well as in the local market. India from once being an influencer of arts and design on a global scale and having dominated the world market for centuries, today has to find solutions to optimise trade and influence of these crafts.

History of international trade and the subsequent decline

A global international trade outlook for India is not a new perspective. The complex but well organised system of international trade between ancient India and the rest of the world is fairly well documented. There were structures for trade and linkages to institutions, artists and patrons. These interactions and linkages all played a role in the Indianization of world culture and positioning India as an influential Soft Power globally.

The Indus valley civilization (3000 BCE -1700 BCE) had a rich craft tradition as well as a high degree of technical excellence in the art of pottery making, metal and terracotta, jewellery weaving etc. The craftsmen not only created all the local needed items but surplus items also.1 Indus Valley sites like Lothal were busy ports and these products were highly coveted in countries like Egypt and Mesopotamia.

During the Vedic age too (1500 BCE) the rise of religious literature also created a market for the use of religious objects like pots made of wood, clay and metal. The Vedas themselves spoke of artists, craftsman and products that had gained popularity.

The Mauryan Empire (322 BCE- 185 BCE) also has some surviving remnants of its Buddhist influence in the form of stupas that were patronized by Ashoka. These were prime example of the mature design sensibilities of the ancient age. In the far north-west of India (modern Afghanistan and Pakistan) Greco-Buddhist fusion art developed (1 CE – 500 CE) and by the Gupta period (320 CE – 550 CE) Indian art represented by all major religions of the time reached its peak. In the south of India as well the Chola, Chera, Pandya Tamil dynasties all patronized regional arts, crafts and design and were known for their sculptures and fresco paintings.

Trade of elegant and highly refined Indian textiles not just in India but internationally too can be gauged by the antiquity of Indian textile exports. The first century Greek source Periplus, mentions the Gujarati port of Barygaza, (Broach) as exporting a variety of textiles, dyes and ivory. Roman writer Pliny (CE 23-79) complained of the cost of luxury commodities imported to Europe from India. India known for its fine muslin and cotton (called “woven air” in roman literature) ivory, aromatics were in high demand world over amongst many other artisanal products”.2 Pliny stated “Not a year passed in which India did not take fifty million sesterces away from Rome”.3 “One of the Roman Senators, while decrying the import of fine cotton muslin of India to satisfy the variety of Roman women, said that in doing so the Empire’s coffers had been emptied”.4

Textiles from India were also in demand in Egypt, East Africa, and the Mediterranean between the 1st and 2nd centuries CE, and these regions became overseas markets for Indian exports.5 “There was export of printed fabric to China by the 4th century, 13th Century Chinese traveller Chau Ju- Kua commented on the variety of Indian textiles in Gujarat and their export to the Arab Countries, Marco Polo also mentioned the export of Indian textiles to South East Asia, Chou Ta-kuan, the Chinese observer of life at the Khmer capital of Angkor at the end of the thirteenth century, wrote that preference was given to the Indian weaving for its skill and delicacy. Prestige textiles like the Patola also had a great impact in some south Asian countries like Malaysia and Philippines where they were aspirational fashion limited only to the royal family members”.6

Goods exported from India was not only at the fore front of fashion but were prized for their unparalleled craftsmanship. These goods connected the world to Indian culture and influenced not just its aesthetics but also played a major role in the “indianization” of some civilizations. India had always been global soft power until the 18th Century.

The Colonial period in India also brought in its own western influence as well as European patrons. Indian calicoes and muslin became vital to the Portuguese, Dutch, British and Danish East India Companies. The Chintz became the axis of all textile trade. Later, even artists were influenced by the western style of painting like Raja Ravi Varma. Fusion of the European romanticized style with Indian influences evident in many art works of the era displaying The Tree of Life or Indian hunting scenes with elephants and tigers.

Unfortunately, this time of aesthetic collaboration and trade came to an abrupt halt. The Industrial Revolution in Europe made a significant difference to the development of India’s Arts and Crafts.  With new industries in England that produced textiles and goods faster and cheaper, the Indian cottage industry was left severely impacted. The British levied heavy taxes and duties on Indian imports making them far more expensive than the European counterparts. In 1721 the East India company was banned from importing Indian goods. In addition to this setback the disappearance of India’s royal houses that were some of the primary patrons of regional arts, crafts and design, left Indian karigars without patrons. This not only effected their creative focus but also left them without resources to experiment with new designs and techniques.

The artisanal value of these Indian goods also became less important to the buyer in contrast to industry manufactured goods. On the contrary the Indian markets were flooded with British made goods for the first time further damaging the Indian market.

The continued fall of sales of Indian goods as well as the lack of patrons, karigars that had historically passed their art down to the next generation started encouraging their families to take up alternate more profitable trades. Not only did the influence of India globally decline but also production of Indian arts and crafts in India slowed down.

Increasing relevance and the way forward

The story of Indian arts, crafts and design is as old as the land itself. The confluence of religion and culture in India’s sculptures, paintings, earthenware and textiles remain unparalleled. It is this very synchronicity that makes Indian crafts unique and invaluable. While India has at times shared its aesthetics with other parts of the world, she has at the same time incorporated foreign design and aesthetics from other countries into its crafts. For instance, Batik and Ikat textiles were created for Africa and South Asian countries. This was possible due to maritime trade of the time, the route that the Indian Ocean provided for traders, the amicable relationship shared with other cultures, and the deep understanding of the craftsman towards the ever changing demands of the market.

Today, once again global leaders are largely moving towards greater cooperation and collaboration. The days of colonial domination is a thing of the past even while leaving some scars that still need healing. However, the resilience of the Indian craftsman and his commitment and sacredness towards his craft has carried Indian arts, crafts and design into the 21st century. It is this essential nature of the proud Indian craftsman and his sacred processes of creating India’s arts crafts and design that touches the human heart and mind, and this is the essence of what should to be translated into the soft power of a nation.

The crafts sector is the only industry that keeps the importance of human interaction alive in an increasingly machine oriented world. It relies on human contact at every step and that is what has maintained its relevance and uniqueness in the modern world.

Cottage Industry in India had grown organi-cally since the birth of the Indian civilisation. The power it has yielded has impacted entire communi-ties. It not only has absorbed workers from both genders, women and men both have equal standing within this industry but it also has also provided a skill that can generate income.

With the importance of climate change and the need of the hour being Earth friendly products, the time for Indian arts, crafts and design to take centre stage has arrived. Most products in the markets today are not earth friendly. Indian artisanal products are completely biodegradable, recyclable and renewable. These products are also economically cost effective in the long run. The ethical approach to fulfilling consumer demands requires us to switch to artisanal products.

With the entry of global online stores there is immense possibility to aid the revival of Indian arts, crafts and design. It will not only encourage karigars to become more technologically savvy but also allow the very last karigar to access a global market. It will enable him to cater directly to the online customer eliminating the need of a middleman. However, there is also a necessity for the government to dispense information and not only online marketplace training directly to the karigar but also to ensure awareness to individual craftsman of standards, rules and regulations for export. Considering that employment generation by the handicrafts sector has been growing at about 6-7 per cent each year and has increased from less than 60 lakh in 2008-09 to over 70 lakh in 2011-12, it calls for developing a mechanism to enable rural and semi-urban entrepreneurs to take advantage of emerging market opportunities.7

It is equally important alongside the promo-tion of online trade to keep alive the ‘bazaar’. The Indian bazaar has always been the social, economic and cultural heart of India. This is where human interaction, ideas and cultural religious exchanges take place. Most importantly the touch and feel quality of Indian crafts come to life. The bazaar is an integral part of the Indian culture and its preservation a necessity in a technology driven world. The impact of arts, crafts and design in India does not just limit itself to preserving the trade but it also mobilizes culture.

Access to urban and commercial spaces, exhibitions and fairs curated to global standards, generating interest worldwide through associations and fostering community enterprises will all aid the global positioning of Indian arts, crafts and design.

Few heritage villages are already successful models representing the community spirit of the craftsman, and more are being created to draw in visitors to witness not just the creation of products but also the cultural milieu. For instance, the heritage village of Raghurajpur in Odisha attracts tourism where people come to stay with the karigars , some to learn their crafts and some to imbibe the culture. The village fosters the spirit of the karigar and tradition of Indian arts, crafts and design. The promotion of heritage villages like Raghurajpur also creates access for patrons and consumers both nationally and internationally to recognise the value of the Indian karigar .

In a study titled “Infusing vibrancy into Indian handicraft sector” conducted by The Associated Chambers of Commerce and Industry in India (ASSOCHAM), it is stated that the share of handicraft exports in India’s total exports has significantly declined over the years. From about four percent in 2001- 02 it has fallen to just under one percent in 2011-12.8 The possibility of decline in handicraft exports may also be due to the fact that over 60% of the exports are to the West whereas other potential buyer regions like South East Asia and Africa have been overlooked. Therefore, unfortunately India’s share in the international handicraft market is not nearly as formidable as it should be.

There is an immediate need to upgrade the handicraft industry knowledge base. Most small craftsmen are not aware of standards, rules and regulations for export.

There is also a huge gap in understanding product design and modern needs. Age old techniques can be applied to creating modern products as per market requirement. There is also a necessity for the government to dispense information and online marketplace training directly to the artisan.

With the entry of global online stores there is immense possibility to revive dying arts and to encourage artisans to become more technologically savvy, enabling artisans to cater directly to the online customer. Besides, considering that employment generation by handicrafts sector has been growing at about 6-7 per cent each year, it calls for developing a mechanism to enable rural and semi-urban entrepreneurs to take advantage of emerging market opportunities.9

The economic focus of the artisan has to change from just subsistence to growth and success. The impact of art in India is not just limited to preserving the trade but also mobilizing culture. Through access to urban and commercial spaces, promotion of exhibitions and fairs curated to global standards, generating interest worldwide through associations and fostering community enterprises we may be able to promote and preserve the richness of Indian arts, crafts and design.

In the international market, there remains a deep appreciation for Indian artisanal goods and India has begun to realise the immense Soft Power potential of bringing back to the world its philosophical, spiritual, artistic, and aesthetic capabilities and is ready to share it with the world. The success of Indian arts, crafts and design is not the sole responsibility of the karigar or of the government. This is a collective responsibility and with the Indian artisan already reinventing himself his success does not seem distant.

References:

Bibliography

• http://blog.bhavishyanet.org/2018/06/07/69/
• http://jigyasa0.tripod.com/trade.html
• http://shodhganga.inflibnet.ac.in/bitstream/10603/187505/7/07_chapter%201.pdf
• Shaffer, Lynda N. (2001), “Southernization”, Agricultural and Pastoral Societies in Ancient and Classical History edited by Michael Adas, Temple University Press, ISBN 1-56639-832-0.)
• http://jameelcentre.ashmolean.org/collection/7/10236/10333
• https://www.businessstandard.com/search?type=news&q=exports
• http://assocham.org/newsdetail.php?id=5051
• Kanika,B http://www.historydiscussion.net/history-of-india/vedic- period/trade-and-commerce-during-the-vedic-period-india-history/7060)
• Dhamija, 1992; p.5Dhamija, J (1992), ‘Indian Folk Arts and Crafts’, National Book Trust, India, New Delhi.
• Gadgil, DJR (1985), J’The Industrial Evolution of India in Recent Times’, 1860-1939 (Fifth Edition, Seventh Impression), Oxford University Press, New Delhi. )
• Donkin, Robin A. (2003), Between East and West: The Moluccas and the Traffic in Spices Up to the Arrival of Europeans, Diane Publishing Company, ISBN 0-87169-248-1.

(Ms. Rami Desai is the Director of iSTRAT CA, a company that deals in research, communication and data management and skill development. Views expressed are personal.)

(This article is carried in the print edition of March-April 2019 issue of India Foundation Journal.)

Latest News

International Conference on ‘Integral Humanism: Perspectives of Deendayal Upadhyay and Jacques Maritain’

Interview with H.E. Mr. Ranil Wickremesinghe, President of Sri Lanka, on Indian Ocean

The Notion of Welfare by State in Early India

Leave a comment, cancel reply.

Your email address will not be published. Required fields are marked *

Please enter an answer in digits: 4 × three =

Adding {{itemName}} to cart

Added {{itemName}} to cart

Heilbrunn Timeline of Art History Essays

Hinduism and hindu art.

Krishna Killing the Horse Demon Keshi

Standing Four-Armed Vishnu

Linga with Face of Shiva (Ekamukhalinga)

Standing Parvati

Shiva as Lord of Dance (Nataraja)

Standing Ganesha

Standing Female Deity, probably Durga

Ardhanarishvara (Composite of Shiva and Parvati)

Vaikuntha Vishnu

Krishna on Garuda

Durga as Slayer of the Buffalo Demon Mahishasura

Seated Ganesha

Hanuman Conversing

The Goddess Durga Slaying the Demon Buffalo Mahisha

Loving Couple (Mithuna)

Karaikkal Ammaiyar, Shaiva Saint

Vidya Dehejia Department of Art History and Archaeology, Columbia University

February 2007

According to the Hindu view, there are four goals of life on earth, and each human being should aspire to all four. Everyone should aim for dharma , or righteous living; artha , or wealth acquired through the pursuit of a profession; kama , or human and sexual love; and, finally, moksha , or spiritual salvation.

This holistic view is reflected as well as in the artistic production of India. Although a Hindu temple is dedicated to the glory of a deity and is aimed at helping the devotee toward moksha , its walls might justifiably contain sculptures that reflect the other three goals of life. It is in such a context that we may best understand the many sensuous and apparently secular themes that decorate the walls of Indian temples.

Hinduism is a religion that had no single founder, no single spokesman, no single prophet. Its origins are mixed and complex. One strand can be traced back to the sacred Sanskrit literature of the Aryans, the Vedas, which consist of hymns in praise of deities who were often personifications of the natural elements. Another strand drew on the beliefs prevalent among groups of indigenous peoples, especially the faith in the power of the mother goddess and in the efficacy of fertility symbols. Hinduism, in the form comparable to its present-day expression, emerged at about the start of the Christian era, with an emphasis on the supremacy of the god Vishnu, the god Shiva, and the goddess Shakti (literally, “Power”).

The pluralism evident in Hinduism, as well as its acceptance of the existence of several deities, is often puzzling to non-Hindus. Hindus suggest that one may view the Infinite as a diamond of innumerable facets. One or another facet—be it Rama, Krishna, or Ganesha—may beckon an individual believer with irresistible magnetism. By acknowledging the power of an individual facet and worshipping it, the believer does not thereby deny the existence of many aspects of the Infinite and of varied paths toward the ultimate goal.

Deities are frequently portrayed with multiple arms, especially when they are engaged in combative acts of cosmic consequence that involve destroying powerful forces of evil. The multiplicity of arms emphasizes the immense power of the deity and his or her ability to perform several feats at the same time. The Indian artist found this a simple and an effective means of expressing the omnipresence and omnipotence of a deity. Demons are frequently portrayed with multiple heads to indicate their superhuman power. The occasional depiction of a deity with more than one head is generally motivated by the desire to portray varying aspects of the character of that deity. Thus, when the god Shiva is portrayed with a triple head, the central face indicates his essential character and the flanking faces depict his fierce and blissful aspects.

The Hindu Temple Architecture and sculpture are inextricably linked in India . Thus, if one speaks of Indian architecture without taking note of the lavish sculptured decoration with which monuments are covered, a partial and distorted picture is presented. In the Hindu temple , large niches in the three exterior walls of the sanctum house sculpted images that portray various aspects of the deity enshrined within. The sanctum image expresses the essence of the deity. For instance, the niches of a temple dedicated to a Vishnu may portray his incarnations; those of a temple to Shiva , his various combative feats; and those of a temple to the Great Goddess, her battles with various demons. Regional variations exist, too; in the eastern state of Odisha, for example, the niches of a temple to Shiva customarily contain images of his family—his consort, Parvati, and their sons, Ganesha, the god of overcoming obstacles, and warlike Skanda.

The exterior of the halls and porch are also covered with figural sculpture. A series of niches highlight events from the mythology of the enshrined deity, and frequently a place is set aside for a variety of other gods. In addition, temple walls feature repeated banks of scroll-like foliage, images of women, and loving couples known as mithunas . Signifying growth, abundance, and prosperity, they were considered auspicious motifs.

Dehejia, Vidya. “Hinduism and Hindu Art.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/hind/hd_hind.htm (February 2007)

Further Reading

Dehejia, Vidya. Indian Art . London: Phaidon, 1997.

Eck, Diana L. Darsan: Seeing the Divine Image in India. 2d ed . Chamberburg, Pa.: Anima Books, 1985.

Michell, George. The Hindu Temple: An Introduction to Its Meaning and Forms. Reprint . Chicago: University of Chicago Press, 1988.

Mitter, Partha. Indian Art . Oxford: Oxford University Press, 2001.

Additional Essays by Vidya Dehejia

• Dehejia, Vidya. “ Buddhism and Buddhist Art .” (February 2007)
• Dehejia, Vidya. “ Recognizing the Gods .” (February 2007)
• Dehejia, Vidya. “ South Asian Art and Culture .” (February 2007)

Related Essays

• Nepalese Painting
• Nepalese Sculpture
• Recognizing the Gods
• South Asian Art and Culture
• The Art of the Mughals before 1600
• Buddhism and Buddhist Art
• Early Modernists and Indian Traditions
• Europe and the Age of Exploration
• Jain Sculpture
• Kings of Brightness in Japanese Esoteric Buddhist Art
• Life of Jesus of Nazareth
• Modern Art in India
• The Mon-Dvaravati Tradition of Early North-Central Thailand
• Musical Instruments of the Indian Subcontinent
• Poetic Allusions in the Rajput and Pahari Painting of India
• Postmodernism: Recent Developments in Art in India
• Pre-Angkor Traditions: The Mekong Delta and Peninsular Thailand
• The Rise of Modernity in South Asia
• The Year One

List of Rulers

• List of Rulers of South Asia
• Central and North Asia, 500–1000 A.D.
• Himalayan Region, 1400–1600 A.D.
• South Asia, 1400–1600 A.D.
• South Asia, 1–500 A.D.
• South Asia: North, 1000–1400 A.D.
• South Asia: North, 500–1000 A.D.
• South Asia: South, 1000–1400 A.D.
• South Asia: South, 500–1000 A.D.
• Southeast Asia, 1000–1400 A.D.
• Southeast Asia, 1400–1600 A.D.
• Southeast Asia, 500–1000 A.D.
• 10th Century A.D.
• 11th Century A.D.
• 12th Century A.D.
• 13th Century A.D.
• 14th Century A.D.
• 15th Century A.D.
• 16th Century A.D.
• 17th Century A.D.
• 18th Century A.D.
• 19th Century A.D.
• 1st Century A.D.
• 20th Century A.D.
• 21st Century A.D.
• 2nd Century A.D.
• 3rd Century A.D.
• 4th Century A.D.
• 5th Century A.D.
• 6th Century A.D.
• 7th Century A.D.
• 8th Century A.D.
• 9th Century A.D.
• Architecture
• Central and North Asia
• Christianity
• Deity / Religious Figure
• Floral Motif
• Gilt Copper
• Literature / Poetry
• Plant Motif
• Relief Sculpture
• Religious Art
• Sculpture in the Round
• Southeast Asia
• Uttar Pradesh

Online Features

• The Artist Project: “Izhar Patkin on Shiva as Lord of Dance “
• The Artist Project: “Nalini Malani on Hanuman Bearing the Mountaintop with Medicinal Herbs “
• Connections: “Hands” by Alice Schwarz
• Connections: “Relics” by John Guy
• Connections: “The Embrace” by Jennifer Meagher

Skip to main content

• Select your language English हिंदी

Social Share

A history of fine arts in india and the west.

Author: Tomory,Edith

Publisher: Orient Longman,Bombay

Source: Archaeological Survey of India, New Delhi

Type: E-Book

Received From: Archaeological Survey of India

• Dublin Core View
• Parts of PDF & Flipbook

Indian Institute of Technology Bombay

• Phone . [email protected]
• Email . +54 356 945234

Indian Culture App

The Indian Culture Portal is a part of the National Virtual Library of India project, funded by the Ministry of Culture, Government of India. The portal has been created and developed by the Indian Institute of Technology, Bombay. Data has been provided by organisations of the Ministry of Culture.

Email Id : [email protected]

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

A study of influence of traditions on Indian Modern Art

2018, isara solutions

The research paper critically evaluates and brings out the impact of traditions on India's contemporary visual art. Indian art has come through a long passage from being traditionally oriented to imbibe several aspects of modern and western art yet to maintain its roots in the cultural heritage of India. The paper covers the impact of India's traditional artwork and its culture on Mughal art and subsequently the impact of British rule and western education system on Indian culture and its art. Today's contemporary art of India is indeed an amazing amalgamation of traditional Indian art and western art techniques and Indian artists actively exploring international avenues not only to contribute but make a mark across borders.

Related Papers

Indian Art History: Changing Perspectives, ed. Parul Pandya Dhar. New Delhi: D.K. Printworld.

Parul Pandya Dhar

The Chitrolekha Journal on Art and Design

Sanjay Sen Gupta

Contemporary, as a terminology, means anything and everything that live-in or belong-to or occur-in the same epoch, especially the one that is prevailing. Being used in the realm of human art-practices, it refers to a specific time-frame rather than a special type of art. It was framed as a coin at the beginning of Modernism in western-world, while its definition – being anchored in the present – always had a start-date that kept on moving with time. Thus works bought by the Contemporary Art Society of London, for instance, way back in 1910 could no longer be described as so, while museums with a permanent collection such works inevitably find them aging. In addition to this, the contextual functionality of the term was also taken over time and again by various ‘–isms’ through the last six-seven decades. Multiple definitions came into the fore, since 1960s, of what constitutes Contemporary Art and today they vary widely from each other. The term however is now used specifically to limit the art of the present, produced in the latetwentieth century or the early twenty-first. To be more substantial, ‘contemporary’ now refers to art made and produced by artists living today, though commercial-galleries, art-dealers and artmagazines often restrict the coin to the works done after AD 2000 only. Thus it poses further issues with the mid or late twentieth century artists who are still productive after a long career, along with ongoing art-movements that have lasted for long – leaving us imprecise about the divide between contemporary and non-contemporary.

Tiziana Lorenzetti

Valedictory Address at Asiatic society, Kolkata, at Seminar on Understanding Modern Art in Global Perspective

Kalyan Kumar Chakravarty

Modernity in art, specially, in painting, has been perceived as a fundamental break with earlier aesthetic conceptions in the Western formulation in the 20 th century. Its expressions have been diverse, initially European, later American, with further ramifications in the world. Indian modernity in painting has also been guided by the Western art market. The market has been driven by urban, industrial, commercial patronage, cemented by an alliance of auction houses, galleries, museums, curators, Biennales and Triennales. The alliance has been strengthened by prestige mongering festivals of arts, sponsored by the nation state as a cosmetic aid to diplomacy in the West. The Indian expression of modernity in art, specially, in non objective, abstract painting, has to untie itself from Western apron strings, and find its feet in an endogenous fusion of Indian and global horizons, in shape and meaning, material and techniques.

Tarun Mukherjee

The softness of river line soil has softened our minds, which gave the opportunity for the ancient artists of this most fertile delta of the world, comprised of approximately 700 rivers, to draw coarse lines over muddy surface and to mold any shape by fingers, a hypothetical beginning of art in this land. After Pala consequence, synthesis of Islam and Hinduism in rural culture gave birth of Bengal’s own artistic language during medieval period, where art was something inherent, instinct and intuitive. Folk art was not; even still not iconoclastic but the study of nature is prior to there. Bengal art had been possible only for the thirst to acquire precise negotiation with the surrounding nature. This observation resulted in a metaphysical fancy and was relevant in all forms of art. It represents the emotion of our community, not of the individuals. Thus the artists are lost, in the womb of past but not their arts. Prominence of folk literature had shaped the art of Bengal. From Beng...

Urmi Chanda

The study of Indian art should begin with some question. But how was this art made? What were its guidelines? What was its purpose? These answers emerge from the study of Indian philosophy at large and Indian aesthetics in particular. This paper aims to present an overview of aesthetics in the tradition of Indian art, as it has been understood right from the Vedic to this day. With a basis of art theories from ancient treatises this paper hopes to present a brief view of what is considered the best and beautiful in art.

Rajendran Chettiarthodi

Transcending psychological inhibitions caused by colonial encounter in the comprehension of the past is a daunting task in aesthetic discourses, given the fact that colonial paradigms are difficult to erase and contemporary public spaces of art like Museums, as argued by Edward Said are colonial projects. India's perceptions related to the creation, nature, and evaluation of arts has gone a sea change in the colonial period which created a sort of alienation towards the manifestation of indigenous culture among the colonial subjects. Apart from this, the nature of performance, display, patronage venue, audience and space all underwent far reaching transformations in the process. Leela Gandhi demonstrates that in its reflexive modality, post colonialism holds out the possibility of thinking our way through and out of the historical imbalances and cultural imbalances produced by the colonial encounter.1However, in the retrieval of traditional discourses, distortions are bound to happen when using modern terminology , especially as Aesthetics itself happens to be a non indigenous discipline. Despite these severe methodological constraints, the present paper proposes to explore the relationship between the aesthetic theory formulated by thinkers like Abhinavagupta and praxis related to the creation, experience and evaluation of art forms like the performance arts , painting and sculpture in Precolonial India. The paper will focus on the extant and limitations of the inter relatedness with a view to bring to the fore the tensions involved and the insights they could yield in contemporary attempt to make sense of theory and praxis.Apart from the theoretical works, the sources which are being consulted would comprise self reflexive statements of multi faceted artists like Kalidasa who have occasion to deal with art in its various manifestation in the representation of life. It is hoped that such an exercise will be of some use in the comprehension of tradition and for some sort of self reflexivity in contemporary times especially in addressing issues of identity of Indian art. Needless to say, the paper distances itself from any type of exhortations to 'return to the past' as the present writer feels that tradition in its most creative phase is always dynamic and experimental. Tradition is only one of the resources for the creative spirit.. It is indeed a daunting task to locate the conventional precolonial discourse which could be the exact counterpart of modern aesthetics which would discuss problems related to theory and praxis. Natyasastra , the seminal and iconic text of performing arts of India is virtually an encyclopedia of Indian arts in which the center piece is dramatic performance, but which incidentally discusses allied arts like music and dance. In one way, it is the edifice on which the entire aesthetic thought of India is built. Texts like 1 1 Leela Gandhi, Post Colonial Theory, p.176.

Menaka Magazine ,Marathi Journal

Dr.Keshav Sathaye

Drawing and picture painting are two of the oldest arts, but it is rather a peculiar experience that those who visit a drawing and painting exhibition, rarely show any will to understand the exhibits. We are normally unaware that it gives us a special joy, increases our maturity of thinking. The ability to understand the shot began to acquire importance while we see a film or a serial one the screen. But we are still indifferent to drawing and painting literacy. This article is an attempt to make readers a part of this tour de force of the process of the cameraman Nemai Ghosh, who has to his credit the photography of fifty two artists.

Shaymaa Esmail

RELATED PAPERS

Dario Monjane

Microbiology Resource Announcements

Margarita Shternshis

Infection and immunity

Martin McGavin

Revista Iberoamericana de …

Alfredo Bello

Journal of Medical and Biological Engineering

Ioannis D . Apostolopoulos

Frank Haubrich

Eduard Babulak

Carrie Braden

The Lancet. Global health

Talal Bakfalouni

Melissa Oconnor

Ainun Septiana

Anuário do Instituto de Geociências - UFRJ

Alex Feitosa

Global Journal of Sociology: Current Issues

Lenora Helm Hammonds

Nature communications

Food Research International

MUSTAFA VATANDAŞ

Clean Technologies

Oluwole Olusegun Akiyode

JATISI (Jurnal Teknik Informatika dan Sistem Informasi)

Devina Aulia

Logic Journal of IGPL

Doron Peled

Phytotherapy Research

Sakina Zerizer

Julio LAGUN

arXiv (Cornell University)

Ronald Alberto Zúñiga Rojas

International Journal of Social Science and Economic Research

ARIF HOSSAIN

Veterinaria México OA

Jesus Andres Coneo Paredes

2017 Third International Conference on Research in Computational Intelligence and Communication Networks (ICRCICN)

Dr. Mahamuda Sultana

See More Documents Like This

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Essay On Indian Art

Top Indian art forms at the verge of extinction Indian is often considered as the epitome of rich culture and art. India has been the focal point of many famous art forms whose popularity extended beyond the country. Almost every religion has its traditional art which spans from drawing, embroideries, paintings, sculpting, saris, dances and many more. Because of technological advancement India is now on the verge of becoming one of the world’s superpowers. As a result of this India is failing to take care of and restore our old art forms and the artists are choosing other professions to earn their livelihood So I will be talking about various art forms on the verge of extinction to grow awareness to you people. Art of puppetry (Puppet Dance) This art of puppetry is a very old art said to have existed in India for over 2000 years. This is a string puppet theatre where every puppet is controlled by a single string that passes from the top of the puppet to the hands of the puppeteers. Originated in Rajasthan, this art of puppetry used to be one of the most popular performing arts of Rajasthan …show more content…

Having its base from Ramayana and Mahabharata and accepting different tales from these epics, the artist generally wear Mask of the heroes and perform the play. Chauu dance is also the traditional dance belonging to Raj Family of Chilkigarh. It has gained international recognition. In later periods this dance spread in various places of Jhargram without the use of Masks. This dance form was also popular in Jharkhand and Odisha, where this dance form spans round martial art to religious structured dance based on Shaivism and Vaishnavism.. This dance form is very difficult to perform as a result it lost its popularity. In order to restore the lost glory this dance form was inscribed in the UNESCO 's Representative List of the Intangible Cultural Heritage of Humanity in

How Does The Ghost Dance Affect The Life Of Native Americans?

The popularity of this ritual became known by many as the Ghost Dance movement.

Informative Speech Haitian Culture

The Art is what significantly differentiate us from the other

Ghost Dance History

As a result, many traditional practices went underground. People could not afford to show how the blending of different religious and cultural ideals laid the foundation for a fierce form of Indian resistance. Perhaps the best-known rituals of Native peoples to Euro-Americans are the Ghost Dance. Many societies of the plains also adopted an outgrowth of the 1869 Ghost Dance as part of their religious rituals.

Informative Speech On Mexican Culture

The jarabe is considered M?xicos national dance and is the best known outside the country,often called the Mexican hot dance in English. Like all folk dancing, Traditional mexican dances provide a glimpse into the culture of the region. Not only do these dances from M?xico express the rhythms of the musical, But also the vital color wovent into mexican clothing and decoration,as well as themes important to the region such as catholicism and communion with nature. Mexican culture shines through the Traditional dances of the country. Many mexican familias are planted firmly in religious faith and Rich intricacies of generacional Traditions and celebrations observed year after year.

Summary Of Jane Desmond's Article 'Embodying Difference'

In her article, Embodying Difference, Jane Desmond argues that dance offers important insights into the ways moving bodies articulate cultural meanings and social identities. In other words, she explains the importance of studying the body’s movement as a way of understanding culture and society. She has two main arguments. First, she argues for the importance of the continually changing relational constitutions of cultural forms. Desmond further explains that the key to shedding light on the unequal distribution of power and goods that shape social relations are the concepts of cultural resistance, appropriation, and cultural imperialism (49).

Member Of The Coast Salish Nation By Britany Quinn

A local Northwest Coast dance company, Dancers of Damelahamid, will facilitate day three (Dancers of Damelahamid, 2012). It will take place inside the school’s gym, where they will demonstrate the one of their dances and song for the students. After the performance, the members of Dancers of Damelahamid will educate the students on what the importance of dance is for them, the history of specific dances, as well as the symbolism behind the specific moves they had performed. Indigenous cultures use their varieties of dance to convey different emotions and stories, they use them to connect themselves to their community, nature and spirituality. These dances are more than just movements, they are an expression of their culture, a projection of their hardships and what they have been through in their

Somalian Culture Vs American Culture

To dance is to be knowledgeable about the stories of the ancestral heroes. Dancing, unlike painting and singing, is learnt at an early age. This allows large groups of people to demonstrate their clan rights in front of an audience. Dance is also seen as an occasion to entertain and to be entertained and through the work of dance to show their love for families and kin. It is for this reason that dance may be performed at the end of every day in some communities.

What Is Peruvian Huayno Dance

Peruvian Huayno Peru is located in the west of South America. A country with a variety of dance movement that express culture and history of the Peruvian people. The Huayno, is one of the most commonly practiced folkdances throughout the Andes. It is also performed in Chile, Bolivia, Argentina, and Ecuador but it originated and remains the most popular in Peru. Even though there are no historical records.

Is Art A Waste Of Time? By Ryhs Southan

Art is like a language, ideas and thoughts that may not be able to be articulated any other way. The big debate is whether artist artwork is a waste of resources and time, or if it is good for the world with all the creativity and the beauty it has. Art is more than justifiable to enjoy it. The enjoyment of art gives modern

Art Integration Essay

Introduction Visual and performing arts tend to act as separate entities within the field of education; considerably isolated from the majority of academia, these sectors are often considered to be secondary or elective options after completing primary education. The arts are an essential part of a well-rounded education, however, when an institute begins a budgeting process, the arts are rarely considered a top priority. For example, during periods of recession many public schools within the United Stated were forced to cut visual, performing and musical arts programs, despite studies that proved the exposure to the arts to be beneficial for students both academically and in extracurricular activities. Learning in an art-infused environment

Impact Of Art On Culture

How Art Positively Impacts Contemporary Culture Art is one of the biggest influencers in today’s world. It has the ability to make positive changes in a number of ways. It is a powerful form of expression used all around the world.

Why I Want To Study Art Essay

First, the access to art is becoming increasingly open and available with a range of opportunities in the field. There is a

Importance Of Art Essay

This research was carried out not to only show awareness toward the society but also why people should take art seriously. Often times, we can see lots of people debating whether art is important or not. This happened because the lack of exposure and knowledge that has been taught to them. Art can help to shape the society and affect the society to broaden their view of perspective in life by referring on the artworks because each work of art can give different meanings to life.

Essay On The Importance Of Arts In Education

“Arts education is critical for helping students develop creativity, critical thinking, and problem solving abilities” (Chernin). The arts can help people succeed. Art is a way that people can express themselves and share their beliefs. Arts in education can help people focus and attend. Fine arts are important because they make a huge impact on kids education, they make an impact on how people pursue their life careers, and it also helps with stress and anxiety.

Factors And Impact Of Westernization In India

IMPACT OF BRITISH WESTERNISATION ON INDIA Srikanth P Y(13BBT0058) Manideep Reddy(13BCE0 ABSTRACT: According to M.N.SRINIVAS westernisation in Indian terms refers to the effect of British culture in the Indian society.

More about Essay On Indian Art

Related topics.

• Ancient Rome
• Roman Empire

We will keep fighting for all libraries - stand with us!

Internet Archive Audio

• This Just In
• Grateful Dead
• Old Time Radio
• 78 RPMs and Cylinder Recordings
• Audio Books & Poetry
• Computers, Technology and Science
• Music, Arts & Culture
• News & Public Affairs
• Spirituality & Religion
• Radio News Archive

• Flickr Commons
• Occupy Wall Street Flickr
• NASA Images
• Solar System Collection
• Ames Research Center

• All Software
• Old School Emulation
• MS-DOS Games
• Historical Software
• Classic PC Games
• Software Library
• Kodi Archive and Support File
• Vintage Software
• CD-ROM Software
• CD-ROM Software Library
• Software Sites
• Tucows Software Library
• Shareware CD-ROMs
• Software Capsules Compilation
• CD-ROM Images
• ZX Spectrum
• DOOM Level CD

• Smithsonian Libraries
• FEDLINK (US)
• Lincoln Collection
• American Libraries
• Canadian Libraries
• Universal Library
• Project Gutenberg
• Children's Library
• Biodiversity Heritage Library
• Books by Language
• Additional Collections

• Prelinger Archives
• Democracy Now!
• Occupy Wall Street
• TV NSA Clip Library
• Animation & Cartoons
• Arts & Music
• Computers & Technology
• Cultural & Academic Films
• Ephemeral Films
• Sports Videos
• Videogame Videos
• Youth Media

Search the history of over 866 billion web pages on the Internet.

Mobile Apps

• Wayback Machine (iOS)
• Wayback Machine (Android)

Browser Extensions

Archive-it subscription.

• Explore the Collections
• Build Collections

Save Page Now

Capture a web page as it appears now for use as a trusted citation in the future.

Please enter a valid web address

• Donate Donate icon An illustration of a heart shape

Full text of " History Of Fine Arts In India And The West "

See other formats.

Introduction

Art is the expression of one’s views and feelings, which may take many forms like dance, music, painting , literature or theatre. By seeing the art of a particular country, we can easily understand its inherent culture. Thus, it is right to say that art and culture play a great role in the growth of a country. When people share common beliefs, attitudes and values, it becomes the culture of that nation, which artists try to capture and manifest through their art.

India is a country that is rich in diverse culture and art. With many communities coexisting with each other, one can witness the diversity in languages and beliefs of the country. The essay on Indian art and culture will be useful for students to familiarise themselves with the distinct features of India’s unique culture and art.

India’s Art and Culture

Just like there are many beautiful flowers in different shapes and colours in a garden , India also has such variety in art and culture. Although people in India follow different cultures, all of them live together in harmony, and this is what sets India apart from other countries. Each state in the country has a distinct culture or tradition, which is passed down to them by their ancestors. We will go through the diversity of India in this art and culture essay.

Interestingly, the language also varies from state to state. Despite these differences, the people of India live in unity and peace as they respect and love each other.

Indian clothing is another important factor that defines the country’s culture. The style of clothing differs according to the geographical place they live in, and yet, they contribute to the culture of the country.

Art is closely related to the culture of a country as they speak about the rich heritage of the nation. Indian art has many forms to which many notable personalities have contributed. If we are familiar with the works of Raja Ravi Varma or Rabindranath Tagore, it reveals that they have been successful in portraying Indian culture through their art. Being one of the oldest cultures, India’s culture reminds us of the virtues of unity and integrity in this essay on Indian art and culture. Let us also teach our children more about our nation through these interesting sets of GK questions .

Importance of Art and Culture

Art and culture are the identity of a nation, which helps us to understand the world around us better. As it brings people together, it offers us the opportunity to learn from each other and understand how there is unity even in diversity. Moreover, art and culture help in building the country as they preserve our heritage and creativity. Indian art and culture are what keep us binding together, and we are proud of it.

You can find more essays similar to the art essay on BYJU’S website. Also, you can explore a range of kid-friendly learning resources, such as short stories, poems, worksheets, etc., for little learners on the website.

Frequently Asked Questions

How is india rich in art and culture.

India is a multicultural country that practises different art forms like dance, music, theatre, sculpting, painting, etc. Many notable names are associated with Indian art as they have contributed immensely to their fields. In addition, India’s culture is ingrained in its different religious practices and festivals celebrated by all.

What are the different languages spoken in India?

Since India is a diverse country, many languages are spoken in the country. Some languages spoken in India include Bengali, Hindi, Assamese, Gujarati, Marathi, Telugu, Urdu and Konkani, among many others.

Leave a Comment Cancel reply

Your Mobile number and Email id will not be published. Required fields are marked *

Request OTP on Voice Call

Post My Comment

• Share Share

Register with BYJU'S & Download Free PDFs

Register with byju's & watch live videos.

• Undergraduate
• High School
• Architecture
• American History
• Asian History
• Antique Literature
• American Literature
• Asian Literature
• Classic English Literature
• World Literature
• Creative Writing
• Linguistics
• Criminal Justice
• Legal Issues
• Anthropology
• Archaeology
• Political Science
• World Affairs
• African-American Studies
• East European Studies
• Latin-American Studies
• Native-American Studies
• West European Studies
• Family and Consumer Science
• Social Issues
• Women and Gender Studies
• Social Work
• Natural Sciences
• Pharmacology
• Earth science
• Agriculture
• Agricultural Studies
• Computer Science
• IT Management
• Mathematics
• Investments
• Engineering and Technology
• Engineering
• Aeronautics
• Medicine and Health
• Alternative Medicine
• Communications and Media
• Advertising
• Communication Strategies
• Public Relations
• Educational Theories
• Teacher's Career
• Chicago/Turabian
• Company Analysis
• Education Theories
• Shakespeare
• Canadian Studies
• Food Safety
• Relation of Global Warming and Extreme Weather Condition
• Movie Review
• Admission Essay
• Annotated Bibliography
• Application Essay
• Article Critique
• Article Review
• Article Writing
• Book Review
• Business Plan
• Business Proposal
• Capstone Project
• Cover Letter
• Creative Essay
• Dissertation
• Dissertation - Abstract
• Dissertation - Conclusion
• Dissertation - Discussion
• Dissertation - Hypothesis
• Dissertation - Introduction
• Dissertation - Literature
• Dissertation - Methodology
• Dissertation - Results
• GCSE Coursework
• Grant Proposal
• Marketing Plan
• Multiple Choice Quiz
• Personal Statement
• Power Point Presentation
• Power Point Presentation With Speaker Notes
• Questionnaire
• Reaction Paper
• Research Paper
• Research Proposal
• SWOT analysis
• Thesis Paper
• Online Quiz
• Literature Review
• Movie Analysis
• Statistics problem
• Math Problem
• All papers examples
• How It Works
• Money Back Policy
• Terms of Use
• Privacy Policy
• We Are Hiring

Indian Art, Essay Example

Pages: 2

Words: 591

Hire a Writer for Custom Essay

Use 10% Off Discount: "custom10" in 1 Click 👇

You are free to use it as an inspiration or a source for your own work.

Introduction

This article mainly discusses ancient Indian temples design, art and architecture. The paper tries to explain the art designs in Harrapan period and historical art witting in India. The main emphasis is connecting the art designs of the post Harrapan period and pre-Budhist period. There is much emphasis of the structures of North West Indian which proves the existence of the Harrapan and Vedic era.

Vedic thoughts of sanctified geometry and their alteration into the traditional Hindu temple shape are illustrated. It is revealed that the study of the Vedic home by Coomaraswamy and Renou that has directed age groups of Indologists and art historians, is wrong. Th7814is construction that was adapted by them as the distinctive Vedic house, which is involved with the impermanent hut that is well-known in the square of the home in association with householder’s ceremony. The temple structure and its iconography are revealed as normal development of Vedic principles linked to recursion, modification and correspondence. The central point of recursion in Indian art is analyzed.

Sacred Geometry in the Harrapan Period

There are two fundamental issues that tried to influence the scholarly existence of Indian architectural designs. These are represented by Ananda writings that were written in the year 1930 and the year 1931. The other scholarly articles are represented by Louis Renou’s article that was written in the year 1931. Coomaraswamy writings try to show a connection of the structure designs of iconography beginning with Mauryas, together with Renou’s tried to show how the earlier Indian forms came to existence.

Coomaraswamy, and Renou begin with the theory of the early stages of Indian structural design are to be searched from the ancient S?tra. Writings that talk of ancient constructions of Coomaraswamy, the J?takas, as well as the classics, give written proof of the strategies of towns and city-gates, palaces, and places of worship. Except surface shines over the inconsistency in his initial point while he admits that although the Vedas come up with infrequent orientations to the towns of the Dasyus. It is to be noted that according to the Brahmanical commandment manuscripts that are almost the same, if not rather modern with the structural designs era to be analyzed, towns are reviled, and there are no rituals for town life.

The supposition is that the S?tra writings fit in the era of the Dasyu tows; however, these towns are not included in the Vedic traditions. As long as the Dasyus are by themselves an Indo-Iranian community that demonstrate together as dahyu in the Iranian writings, the disagreement between the Vedic community and the Dasyus is a fight involving communities with kinship relation. Consequently, the initial millennium, before Buddhist era of the ancient Mah?bh?rata with its explanation of towns does not bear any descriptions of unfavorable Dasyu leaders. The simple strategy to settle this opposing circumstance is to assume that the Vedic ceremony writings, explain situations from the viewpoint of the pastors families dedicated to a philosophy of ease and rejection that is a thought that persisted in successive times. The Vedic era was like the period that came after that involved difficulty exposed in writings that do not involve itself with customs.

Renou was very acutely of the restrictions of his learning. He completed his thesis by mentioning, if they are so involved in Vedic writings, they are in the attendance of a home that is tremendously elementary, containing a framework of posts, linked at the top by slanting beams by which a person puts on a grass covering. The ramparts are woven carpets. Nor stone or blocks are utilized.

Stuck with your Essay?

Get in touch with one of our experts for instant help!

Interview of an Older Adult, Essay Example

Ad Analysis, Essay Example

Time is precious

don’t waste it!

Plagiarism-free guarantee

Privacy guarantee

Secure checkout

Money back guarantee

Related Essay Samples & Examples

Voting as a civic responsibility, essay example.

Pages: 1

Words: 287

Utilitarianism and Its Applications, Essay Example

Words: 356

The Age-Related Changes of the Older Person, Essay Example

Words: 448

The Problems ESOL Teachers Face, Essay Example

Pages: 8

Words: 2293

Should English Be the Primary Language? Essay Example

Pages: 4

Words: 999

The Term “Social Construction of Reality”, Essay Example

Words: 371

Essay on Fine Arts

Students are often asked to write an essay on Fine Arts in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Fine Arts

What are fine arts.

Fine arts are creative art forms that people enjoy for their beauty and emotional power. These include painting, sculpture, music, dance, and theater. Artists use their imagination to make works that can make us feel happy, sad, or excited.

Painting and Sculpture

Painting involves using brushes to put colors on a surface like canvas. Sculpture is about shaping materials like clay or metal to form figures or objects. Both can tell stories or show nature and people.

Music and Dance

Music is the art of making sounds that are pleasing to hear. Dance is moving your body to music. Both can express feelings without words.

Theater is when actors perform a story on stage. It combines speech, acting, and sometimes music. Theater can make us think and feel different emotions.

Importance of Fine Arts

Fine arts are important because they help us express ourselves. They also teach us about different cultures and history. Enjoying and creating art can make life richer and more enjoyable.

250 Words Essay on Fine Arts

What are fine arts.

Fine arts are forms of art that people create mainly for their beauty or emotional power. They include activities like painting, sculpture, music, dance, and theater. When you think of fine arts, imagine a beautiful painting hanging in a museum or a graceful ballet performance on stage.

Types of Fine Arts

There are many kinds of fine arts. Painters use brushes and colors to put their ideas on canvas. Sculptors mold materials like clay or carve stone to make shapes and figures. Musicians play instruments or sing to make melodies. Dancers move their bodies in special ways to tell stories without words. Actors perform in plays and movies, bringing characters to life.

Why Fine Arts Matter

Fine arts are important because they help us express our feelings and thoughts. They can make us feel happy, sad, excited, or calm. When artists create, they share a part of themselves with the world. People can look at a piece of art and see something new each time. Fine arts also teach us about different cultures and histories.

Learning Fine Arts

Many schools teach fine arts. Students can learn to draw, play an instrument, or act in a play. Learning about fine arts helps students to think creatively and solve problems. It also helps them to work well with others and feel confident.

Fine arts are a special way to share beauty and emotions. They are a way for people to connect with each other and understand the world better.

500 Words Essay on Fine Arts

Fine arts are a form of art created mainly for beauty and meaning. Unlike practical arts, which are about making things like cars and clothes, fine arts are about making things that are pleasing to our eyes and hearts. This includes paintings, sculptures, music, dance, and theater. People who make fine arts are often called artists.

There are many kinds of fine arts. Paintings are artworks made with colors on surfaces like paper or canvas. Sculptures are three-dimensional pieces made from materials like stone, metal, or wood. Music is the art of making sounds that are nice to listen to. Dance is when people move their bodies in a way that is both beautiful and tells a story. Theater is when actors play out stories on stage for an audience.

The Importance of Fine Arts

Fine arts are important for many reasons. They help us express our feelings and ideas. When we look at a painting or listen to music, it can make us feel happy, sad, excited, or calm. Fine arts also teach us about different cultures and histories. For example, by looking at old paintings, we can learn about how people lived a long time ago.

Learning about fine arts can be fun and exciting. Many schools have classes where students can learn to draw, paint, play an instrument, or act. There are also special schools called art schools where people go to become better artists. The more you practice, the better you get at creating art.

Artists and Their Work

Artists spend a lot of time making their art. Some famous artists are Leonardo da Vinci, who painted the Mona Lisa, and Beethoven, who composed beautiful music. Artists can become famous because their work is very good or very different from what other people are making.

Fine Arts in Our Lives

Fine arts are all around us. We see them in museums, in books, and on TV. Sometimes we see sculptures in parks or hear music at a concert. Fine arts make our world a more beautiful place to live in.

In conclusion, fine arts are a special part of our world. They help us share and understand emotions and ideas. Whether it’s through painting, music, dance, or theater, fine arts add color and joy to our lives. By learning about and appreciating fine arts, we can enjoy the beauty they bring to our everyday lives.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on Modes Of Communication
• Essay on Modern Technology Boon Or Bane
• Essay on Modern Slavery

Apart from these, you can look at all the essays by clicking here .

Happy studying!

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Embarking on a transformative journey through six chapters, we traverse India's landscape, exploring pioneering startups and their revolutionary...

• Sustainability
• Agriculture
• Brand Campaigns
• Watch inspiring videos
• Advertise With Us
• Press Coverage

Follow Us On

Download App

Read stories related to - Fine Arts

Doctor Turns Entrepreneur With Handcrafted Fabric Toys, Earns Rs 15 Lakhs & Celeb Fans

This 99-YO Padma Shri Has Collected 2000 of India’s Finest Artifacts

How a Tribal Woman’s ‘Bamboo Kandils’ Captured the World Stage

Painting on Mud Walls to Winning Padma Shri: How Durgabai Took Gond Iconography To The World

‘These Dolls Look Like Us’: Designer Makes Heritage Dolls to Represent Assam’s Culture & Tribes

Why I Run a Free Dance Therapy Studio For Thousands With Parkinson’s Disease

How a British Officer Spotted Mithila Art During an Earthquake & Took It to the World

‘Future is Femme’: Art Collective’s Stunning Murals Break Stigma Around Trans People

Rode Rickshaw, Painted Film Posters: ‘How I Reached Los Angeles to Display My Gond Art’

Watch: Born Without Hands, Artist Takes Her Work To Global Stages, Wins Accolades

Artist Uses Lime, Mud & Recycled Items to Create Art Village With Its Own Mini Forest

Meet the Man Reviving Two Dying Styles of Embroidery With Over 1200 Women

Watch: Self-Taught Artist Makes Amazing ‘Art in Air’ Out of Stones, Goes Viral

85-YO Grandpa Is Keeping a Rare Folk Dance Alive With His Award-Winning Efforts

‘I Was Called ‘Trash’ All My Life, Now I Use It To Make Artwork’: NRI Sculptor

A Candy Seller at 15, Inspiring Artist Rose to Acclaim from MF Hussain & APJ Kalam

Empowerment

Mask-up in Sustainable Style, While Supporting Amazing Artisans from Across India

Born Without Hands, Hearing-Impaired Man Makes Stunning Paintings With His Feet

20-YO With Asperger’s Syndrome Creates Stunning Paintings You Have to See!

Andhra Pradesh

This 25-YO’s Innovative Paintings Are Educating 50 Andhra Villages About COVID-19

India’s Bronze Woman, Jasuben Shilpi Had a Spine of Steel & a Heart of Gold

Artist Creates Masterpieces on Dried Banana Leaves That Can Last Upto a Century!

Grocer’s Son Beats All Odds, Dances His Way to Become ‘Ballet Boy of Bengal’

This 4-Year-Old Pune Art Wizard’s Work Sells For Thousands of Dollars!

To Appa With Love: A Son Speaks About the Legacy Called Lalgudi Jayaraman

Indie, Quirky, Breathtaking: Unfactory Is the Place to Find Art Infused Goodness

In Pics: This Award-Winning Vizag Artist’s Paintings Will Show You Nature like Never Before

Chandrakant Bhide: Here is Why RK Laxman Was a Fan of this Diligent Typist

Art on 100 Walls: A Look at the Artist’s Work That Is Adding Colour to Your Cities

1 Story in 7 Ways by 7 Artists and YOU: Join the Magic of Collaborative Story-Telling!

Love Handwritten Letters? You Can Write One to This Woman & Receive an Original Artwork in Return!

TBI Blogs: These Organisations Are Working to Revive Indian Folk Art Traditions. Here’s How You Can Help

Video stories.

The Lost Knowledge of Nalanda, the World’s Oldest University

This Holi, Play with 100% Edible & Organic Colours Handcrafted by Bhil Tribals

Watch this video to know everything about “Pakhala”, the most famous delicacy of Odisha. 😍

The Sangit Rai Story | Leading Sikkim's EV Revolution | #innovation

Visual stories.

How to Grow Tuberose or 'Rajnigandha' Flowers At Home? Urban Gardener Shares 7 Easy Tips

History of rasmalai: how a famous father-son duo’s experiment created the sweet 90 years ago, is your canned drinking water safe to use startup's qr code helps track the quality, how to harvest rainwater meet 8 experts teaching india, 6 vegetables to sow in your garden before summer months, guardians of our forests: fascinating history of tree conservation movements in india, 9 water warriors who taught their neighbours & india to harvest rain, upsc cse: after failing in 1st attempt, these tips helped ias officer ace her 2nd attempt, upsc cse prelims 2024 postponed: ias officers share best way to use the extra time.

• Get positive stories daily on email
• Join our community of positive ambassadors
• Become a part of the positive movement

Advertisement

Supported by

India’s 2024 General Election: What to Know

• Share full article

By Mujib Mashal

Reporting from New Delhi

Why does this election matter?

How does india vote.

Who is running and who is likely to win?

When will we find out the results?

Where can I find out more information?

What other elections are happening?

India is holding its multiphase general elections from April 19 to June 1, in a vote that will determine the political direction of the world’s most populous nation for the next five years.

The usually high-turnout affair, which was formally set on Saturday, is a mammoth undertaking described as the biggest peacetime logistical exercise anywhere.

Prime Minister Narendra Modi, whose power is well entrenched, is seeking a third term. In his decade at the helm, he has projected himself as a champion of India’s development, trying to address some of the basic failures — like antiquated infrastructure and a lack of clean water and toilets — holding the country back from reaching its potential as a major power. But his push to reshape India’s secular democracy as a Hindu-first nation has aggravated the religious and ethnic fault lines in the hugely diverse country.

In a region of frequent political turmoil, India is deeply proud of its nearly undisrupted electoral democracy since its founding as a republic more than 75 years ago. Although independent institutions have come under assault from Mr. Modi’s efforts to centralize power and the ruling party is seen as having an unfair advantage over political fund-raising , voting in India is still seen as free and fair, and results are accepted by candidates.

India has a parliamentary system of governance. The party leading the majority of the 543 seats in the lower house of the Parliament gets to form the government and appoint as prime minister one of its winning candidates.

The country has over 960 million eligible voters, with about 470 million of them women. Turnout in Indian elections is usually high, with the parliamentary elections in 2019 drawing a 67 percent turnout.

The votes are cast electronically across more than a million polling stations that require about 15 million employees during balloting. To reach every possible voter in Himalayan hamlets and isolated islands, election officials will travel by any means possible, in railroads and helicopters, on horseback and boats.

India’s elections are the most expensive in the world, with political parties spending more than $7 billion in the 2019 parliamentary elections, according to studies . That spending is expected to double in the current elections. In a sign of how much of a factor money is, Indian authorities seized the equivalent of hundreds of millions of dollars before the last parliamentary election — in cash, gold, liquor and drugs — that they said was meant for bribing voters.

Who is running, and who is likely to win?

Prime Minister Modi’s Bharatiya Janata Party holds a strong majority in the 543-seat Parliament. The B.J.P. won 303 seats in 2019, and along with its coalition partners enjoyed a majority of 352 seats.

Although Indian elections are known to throw surprises, Mr. Modi’s B.J.P. is well placed to return to power. His party, relentless in trying to expand its base, is rich in cash and has a strong election machinery. Mr. Modi has built on it a multipronged approach that offers everyone something: There is the wider emotional appeal of his Hindu majoritarian ideology for his main base, coupled with a broad range of welfare and infrastructure programs that tries to win new constituencies to the B.J.P.

The opposition has struggled to match Mr. Modi’s appeal.

The Indian National Congress, the main opposition party, ruled India for decades, but it has been reduced to shadow of its former glory in two consecutive national elections. In 2019, it won only 52 seats.

In the lead-up to this parliamentary election, the opposition has tried to unite as one bloc. They are brought together by fears that a third term for Mr. Modi, who has jailed many opposition party leaders and bogged down others in investigations, would further marginalize them.

But the opposition has struggled to pitch a cohesive ideological alternative beyond a criticism of Mr. Modi’s divisive politics, and its bickering over seat-sharing in constituencies often spills out in messy public fights.

Because of India’s vast geography, the voting for the parliamentary election happens over seven phases, and it takes nearly six weeks to complete, from the first region casting its vote to the last. Scheduling is a tricky task, entailing trying to find a sweet spot that factors in climate extremes and is considerate of the frequent cultural and religious festivals across India.

The last stage of voting will be completed on June 1. All results are tallied and announced by end of day on June 4.

Where can I find more information?

Modi Opens a Giant Temple in a Triumph for India’s Hindu Nationalists

India Is Passing China in Population. Can Its Economy Ever Do the Same?

India’s Quiet Push to Steal More of China’s iPhone Business

Why Is Narendra Modi So Popular? Tune In to Find Out.

An earlier version of this article incorrectly identified the Indian Parliament chamber that has 543 seats. It is the lower house, not the upper house.

How we handle corrections

Mujib Mashal is the South Asia bureau chief for The Times, helping to lead coverage of India and the diverse region around it, including Bangladesh, Sri Lanka, Nepal and Bhutan. More about Mujib Mashal