Th e art of vernacular painting in India is not only varied and rich but also intriguing for several reasons. With such observations the book addresses certain issues, like the validity of the historical information on Indian Art that excludes vernacular trends. The information on vernacular art in India has either been ignored such as in ancient literary discourses or inadvertently misconstrued within the theoretical purviews of modern days. If the hierarchy of the Hindu caste system has marginalised the culture of the lower rung groups, the lexicon of twentieth century anthropological studies has seen this art as material evidence of undeveloped societies; both creating the same value: to be patronised but not ‘art’. Can art be weighed on a scale of development? Arguments have been developed within the specifi c focus on scroll paintings by the itinerant painter bards in Bengal. Th e bardic tradition has been known to exist in India since a pre-Christian era and still continues within two vibrant trends of vernacular art forms – Bangla and Santhal pat. Th e book redefi nes and repositions the notion of art with contemporary folk art. As the picture Plates are self-evident, the book draws attention on a world of art that has not been present in Indian Art History.

Highlights the state's rich cultural and natural landscapes and attractions with fifty-seven photographs in a week-at-a-glance format.

The images presented in this book take us into the heart of the rich folk tradition of India. Of that heritage, the display of paintings accompanied by comments recited or sung has been a part of since very early times, as attested by references and legends in Sanskrit sources, including the Harsacarita, a 7th century work by Banabhatta. Known as patacitras or patas in short, these illustrated narratives on rectangular fabric or paper as well as on scrolls are a type of performed art that reaches out to audiences, mostly rural, conveying the artists' responses to legends and social themes of common knowledge across a wide range of audiences from varied social and cultural bases. A particularly powerful class of such paintings that come from the Bengali-speaking region of eastern India comprise the depiction of events from the Ramayana in the form of scrolls that are unrolled as the painter displays and explicates them. The vividly colourful images presented in this book occupy a special niche in the history of Indian art, remarkable because they are not only visual objects but narrative expositions of a text that has been part of vast numbers of the Indian people and often their source of moral guidance. Especially remarkable is that these patas by Bengali folk painters diverge so often from the magisterial Ramayanas of adikavi "First Poet" Valmiki, leave out important parts of it and import into the Rama saga episodes from local narrative caches.

Dr. Jain`S Analysis Is A Creative One: It An Art-Historical Grid On The Works But Allows The Theoretical Framework To Emerge From The Very Materiality, The Contradictions Inherent In The Evolution Of All Works Of Art.

For over 2000 years artists travelled throughout India, using painted picture scrolls to spread stories from the great Indian epics, as well as a wealth of stories about regional Gods and heroes and moral tales, amongst the most illiterate rural populati

This volume provides a revisionary critique of the art of Abanindranath Tagore, the founder of the national school of Indian painting, popularly known as the Bengal School of Art. The book categorically argues that the art of Abanindranath, which developed during the Bengal Renaissance in the 19th–20th centuries, was not merely a normalization of national or oriental principle, but was a hermeneutic negotiation between modernity and community. It establishes that his form of art—embedded in communitarian practices like kirtan, alpona, pet-naming, syncretism, and storytelling through oral allegories—sought a social identity within the inter-subjective context of locality, regionality, nationality, and trans-nationality. The author presents Abanindranath as a creative agent who, through his art, conducted a critical engagement with post-Enlightenment modernity and regional subalternity.

Retells the biblical tale of Noah's ark through an Indian adaptation that features scroll-painting-style illustrations.