Abstract
This research aims to study Indian folk paintings in terms of style, icons, and their interrelations. The thesis is an attempt to do the above through presenting a formal theory of paintings, built upon, and developed from pre-existing formal theories in India and the west. We have selected Indian folk paintings as a case to demonstrate our formal theory for the following reasons: first, Indian folk paintings have not been studied in terms of their formal
aspects; second, their unique compositional sense of style stability and iconic similarity have remained under-researched.
The thesis begins by explaining the nature of space of the painting. It gradually develops the following five core chapters: (1) Concept of style (2) Concept of icon (3) Blending of style and icons in paintings (4) Case study of Indian folk paintings and (5) Formal analysis of folk paintings of India. The idea developed in the above core chapters is to study Indian folk paintings in terms of their artistic qualities. The styles and patterns of the Indian folk paintings are as diverse as the nation. However, Indian folk paintings show diversity in style and similarity in iconic representations. For example, one can see similar iconic representations of snake, elephant, tiger and even humans being repeated across various Indian folk painting styles. The purpose of our research is to qualify these differences in style and study the artistically and contextually informed aspects influencing an artist’s craft. We will describe and analyse folk paintings in terms of their formal aspects, which
helps to develop and shape our research process. Finally, to validate our research efforts in qualifying style in Indian folk paintings, with undertake an evaluation employing existing arthistorical theories and modules.From the above study, this thesis will attempt to derive and explain formal features guiding the style of an artist and her art, in this case folk paintings from India. Our thesis leads further to the following inquiry- how can we define the concept of style in painting? What are the definitions of icons? What is the nature of space of a painting which allows blending of the
style and icon? What is the role of memory and imagination in creating icon and understanding a pictorial style? “If the icon is what an artist wants to expose, the style is the medium for this exposure”
(Merleau-Ponty, 1993). Painting reflects the ‘way’ (style/action) and ‘what’ (icon) in a concrete form. In painting, style/action can be understood only through strokes. “These strokes are traces of the artist's moving hand. The hand movements are guided by the icon,
which is etched in the artist's mind. Strokes are nothing but the parts of that icon” (MerleauPonty, 1993). For example, if the intention is to draw a tiger, one starts by drawing its parts
like head, tail, body. Here the strokes are syntactic, which reveal the semantics of the icon to a spectator. Only the strokes and patches are visible in a painting. “The primary sine qua non to create or to understand icons is imagination” (Feldman, 1967).
The artist using her imagination to create artwork is understandable. However, it is indeed
intriguing how the viewer comprehends the artist's mind by using her imaginative prowess. How does the viewer get access to the world of the artist's imagination? The artist makes her art accessible through her artworks. The strokes and colour patches in the painting become paths through which the viewer enters the world of the artist's imagination. This research is about the role of style and icon in creating these paths and the journey that the artist undergoes while creating and, the viewer, while seeing.
Thisstudy involves an analysis of five Indian folk painting styles. They belong to five different Indian states: Telangana, Odisha, West Bengal, Bihar, and Rajasthan. We tried to trace the changes and developments within a particular style and clarify the core elements in each of the region’s (mentioned above) art school style and their compositional principles. For this, we have made an exhaustive and elaborate database of thousands of images of paintings from
each style. The images belong to varying time periods and are created by several artists. We adopted qualitative methodologies to interact and interview artists to know and get a clear perception of their painting styles. We have videotaped the interviews to aid in capturing the process in the making of a painting from the perspective o the artist.