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Folk And Minor Art In India

By Prof. Shatarupa Thakurta Roy   |   IIT Kanpur
Learners enrolled: 670
  • Indian folk artistry is uniquely recognized all over the world not only for richness of aesthetics but also as indicators of age-old habitual belief.
  • They comprise of tacit knowledge that is protected by passing on through generations.
  • Having said that one must also consider the folk artists as creative individuals with adequate freedom of expression to keep the tradition alive and going.
  • In India, the mainstream academic style of art synergized with the principle of vernacular art and culture to boost ‘Nationalistic’ idea as well as ‘Modernism’ since pre-colonial era.
  • The course traces the journey of an array of indigenous art styles from traditional to contemporary and comments on sustainability of culture through preservation, conservation and paradigm shift.

INTENDED AUDIENCE: Students and researchers of Fine Arts, Design, History of Art, Performing Art, Visual Culture, Museology, Archeology, Sociology

PREREQUISITES:          Bachelor Degree in Humanities 

Summary
Course Status : Completed
Course Type : Elective
Language for course content : English
Duration : 8 weeks
Category :
  • Humanities and Social Sciences
Credit Points : 2
Level : Postgraduate
Start Date : 29 Jul 2019
End Date : 20 Sep 2019
Exam Date : 29 Sep 2019 IST

Note: This exam date is subject to change based on seat availability. You can check final exam date on your hall ticket.

Page Visits



Course layout

Week 1: Changing definition of Folk and Minor Art
      Timeline and Regions: General Mapping
      Traditional Roots: Elements and Principles
      Timelessness : Primitive Connection
      Evolution in Purpose: Ritualistic to Propagative
      Contemporary Practice
Week 2: Classification and Connections: Traditional Roots
      Available literary recourses
      Mythical Associations
      Idea of Nationalism in the Context of Folk art
      Idea of Modernism In the context of Folk Art
      Relevance of the Art Practice
Week 3: Contextualization and Decontextualization
      Concept of Communication for Social Purpose
      Aesthetic Perspective
      Secularity and Religious Plurality
      Ethnographic perspective on the study of Folk Art and Culture
      About the Exponents who brought the culture under the limelight
Week 4: Contextualization and Decontextualization
      School of Art in Madhubani Painting
      Art as a Feminine Preserve vs the Male painters of Madhubani
      Yamapata, Pytkar and other art practice of Jharkhand Yamapata by the Jadopatias
      Sohari Painters and their Art
      Patachitra of Bengal and Odisha
Week 5: Continuum of the Practice: Ancient Centres and Contemporary
      Case study 1 Stylistic Variety in Bengal
      Case study 2 Stylistic Variety in Odisha
      Case study 3 Stylistic Variety in Andhra Pradesh
      Exponents and their Contributions
      Hypothesis on Possible Stylistic influences
Week 6: Characteristics of Contemporary Collection
      Thematic Analysis
      Iconic Analysis
      Semiotic Analysis
      Effect of narratives: Qualitative Evaluation
      Individual Expression in Contemporary Art
Week 7: Cultural Condition: Colonial and Post colonial Ideologies
      Social Formation during Preindependence
      New Aesthetics: early Prints and Battala Prints
      Artist Block Makers and Hybrid Aesthetics of Urban Folk Art
      Kalighat Painting to Haripura Posters: A synergy
      Jamini Roy: Accommodating Vernacular Idiom in Academic Practice
Week 8: Coexistence and Collaborations with Mainstream Art
      Strategies for Future and Sustainability: Vision and Revision
      Alternative Context: place of folk art in Contemporary Lifestyle
      Ancient literary sources and canonization: Scholarly Comments
      Need of Paradigm Shift
      Conclusion

Books and references

Archer William G. and Dr. Mildred Archer, 1934 Collection of India Records Office in London, 1946
Archer William G, The hill of flutes: Life, love, and poetry in tribal India: a portrait of the Santals, S. Chand Publications, New Delhi, 1974.
Archer, Mildered, Domestic Arts of Mithila: Painting, Mulk Raj Anand (Editor), Marg: A Magazine of the Arts: Volume XX, No. 1, 1966.
Bagchi, J., The history and culture of the Palas of Bengal and Bihar c. 750 A.D. - c. 1200 A.D, Abhinav Publications, New Delhi, 1993.
Bose Nandalal, Vision and Creation, Visva Bharati, 1999.
Chakraverty Anjan, Indian Miniature Painting, Indian Crest, Lustre Press, Roli Books, 2005.
Das, Nirmalendu. ‘The early Indian Printmakers: An approach to Social Science, Ethnical and Technical Study’. Lalit Kala Contemporary Issue No. 39, Asstt. Editor (c): Mukhopadhyay, Amit, Lalit Kala Academy, Rabindra Bhavan, New Delhi, March’94.
 Doshi Saryu, Masterpieces of Jain Painting, Marg Smithsonian Inst Pr, 1985
Dutt Gurusaday, The Importance of Folk Art, Folk Art and Its Relation to National Culture, Source: Gurusaday Dutta Museum, Kolkata
Garimella  Annapurna,  Vernacular, in the contemporary, Catalogue 1 & 2 Part one, Curated by Jackfruit Research and Design, Devi Art Foundation, New Delhi, 2010.
Havell, E. B.,  Indian sculpture and painting. John Murray, London, 1908.
Havell, E. B. A Handbook of Indian Art. John Murray, London, 1920.
Jain  Jyotindram, Other Masters: Five Contemporary Folk and Tribal Artists of India, Crafts Museum and The Handicrafts and Handlooms Exports Corporation of India Ltd. (New Delhi - India), 1998.
Jain Jyotindra, Kalighat Painting: Images from a Changing World, Mapin Publishing Pvt. Ltd., Ahmedabad, 1999.
Joshi, T.: Timeless Traditions Contemporary Forms Art and Crafts of Madhya Pradesh, Wisdom Tree, New Delhi, 2007.
Kramrisch, Stella, The Vishnudharmottara Part III: A Treatise On Indian Painting and Image-Making. Second Revised and Engarged Edition, Calcutta University Press, Calcutta, 1928.
Lazaro Desmond Peter, Pichhvai Painting Tradition of Rajasthan: Materials, Methods and Symbolism, Mapin Publishing Gp Pty Ltd, 2006.
Mitter Partha, The Triumph of Modernism, India’s Artists and Avant-grade 1922-1947, Oxford University Press, 2007
Ramani Shakuntala, Kalamkari and Traditional Design Heritage of India, Wisdom Tree, 2007.
Sarkar Nikhil, Calcutta Woodcuts: Aspects of a Popular Art. Page 47, Woodcut Prints of Nineteenth Century Calcutta, Edited by Ashit Paul, Seagull Books, Calcutta, 1983
Singh Chandramani, Centres of Pahari Painting,  Abhinav Publications, 1981.
Som Sovon, Shilpa Shiksha O Aupaniveshik Bharat (Art Education in Colonial India-Bengali), Publications Division, Ministry of Information and Broadcasting, Government of India, 1998
Sobhan Som Openti Biscope,  camp, 15,dihi entail road, Calcutta-14, January 1993
Subramanyan K. G., Living Tradition, Perspectives on Modern Indian Art, Seagull Books Pvt. Limited, Kolkata, 1987.
Subramanyan K. G., Magic of Making, Essays on Art and Culture, Seagull Books, 2007
Subhramanyan K. G., Moving Focus: Essays on Indian Art, Lalit Kala Akademi, New Delhi, 1978, Reissued by Seagull Books, Calcutta in 2006
Subhramanyan K. G., ‘The Nandalal Gandhi Rabindranath Connection’, Rhythm of India, The Art of Nandalal Bose, San Diego Museum of Art, California, 2008.
Szanton David L and Malini Bakshi, Mithila Painting: The evolution of an Art Form, Pinkmango, San Francisco, USA, 2007
Vatsayan Kapila, The Square and the Circle of the Indian Arts, Abhinav Publications, 1997

Instructor bio



Dr. Shatarupa Thakurta Roy is presently an Assistant Professor jointly with the Department of Humanities and Social Sciences and Design Programme, Indian Institute of Technology Kanpur, India. She has developed and taught several courses in Art and Design. Current areas of research and teaching are History of Art, Art Appreciation and Criticism and Design Theory. She is also a practicing artist with several national and international exhibitions to my credit.

Course certificate

  • The course is free to enroll and learn from. But if you want a certificate, you have to register and write the proctored exam conducted by us in person at any of the designated exam centres.
  • The exam is optional for a fee of Rs 1000/- (Rupees one thousand only).
  • Date and Time of Exams: 29 September 2019, Morning session 9am to 12 noon; Afternoon Session 2pm to 5pm.
  • Registration url: Announcements will be made when the registration form is open for registrations.
  • The online registration form has to be filled and the certification exam fee needs to be paid. More details will be made available when the exam registration form is published. If there are any changes, it will be mentioned then.
  • Please check the form for more details on the cities where the exams will be held, the conditions you agree to when you fill the form etc.

CRITERIA TO GET A CERTIFICATE
  • Average assignment score = 25% of average of best 6 assignments out of the total 8 assignments given in the course. 
  • Exam score = 75% of the proctored certification exam score out of 100
  • Final score = Average assignment score + Exam score

YOU WILL BE ELIGIBLE FOR A CERTIFICATE ONLY IF AVERAGE ASSIGNMENT SCORE >=10/25 AND EXAM SCORE >= 30/75. 
  • If one of the 2 criteria is not met, you will not get the certificate even if the Final score >= 40/100.
  • Certificate will have your name, photograph and the score in the final exam with the breakup.It will have the logos of NPTEL and IIT Kanpur. It will be e-verifiable at nptel.ac.in/noc.
  • Only the e-certificate will be made available. Hard copies are being discontinued from July 2019 semester and will not be dispatched


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