Traditional Mural Painting of Kerala
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Ambili Vijayan
Jhapasya, Keezhal, PO. Vadakara, Calicut, Kerala -673104
This is a Mural style of Kerala folk painting, it is a piece of artwork painted or applied directly on a wall, ceiling or other permanent surfaces. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the painting. On few occassions, mural paintings are painted on large canvases, which are later attached to a wall (e.g., with marouflage), but the technique has been commonly used since late 19th century. In this painting, the painter uses acrylic colors on canvas. The theme is "Theyyam Chanetor", Lord Vishnu Idol.
Exhibitions
Group Exhibition in Lalit Kala Academy, Kozhikode
Exhibition in Sargala International Exhibition
National Camp in Vishakhapatnam
Kalamkari
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P. Vijaya Lakshmi
V.P Agraharam, Chitoor, Andhra Pradesh
In this Sri Kalahasti style of Kalamkari painting, the painter shows the Rajabhisheka of Lord Rama and Sita. Where Lord Rama, Sira, Lakshmana, Bharat, Shatrughan, Hanuman, Jamwant and Sugriva are present in Lord Rama's court.
Exhibitions
Suraj Kund Mela Delhi (2015-2017)
Lepakshi Handicrafts Exhibition (2015) Hyderabad
Dakshinchitra Chennai (1999)
Stroud Dist. London (U.K) (2010) Demo & Exhibition
Chitoor DRDA (1998)
I.G.R.M.S Mysore (2003)
Kalamkari
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M. Munirathnamma
BP Agraharam, Chittoor, Andhra Pradesh
Kalamkari is a type of hand-painted or block-printed cotton textile, produced in the states of Andhra Pradesh and Telangana. Only natural dyes are used in Kalamkari, which involves twenty-three steps. There are two distinctive styles of kalamkari art in India - Srikalahasti style and the Machilipatnam style. In Srikalalahasti style of Kalamkari, the "kalam" or pen is used for freehand drawing of the subject and the color filling, is entirely done by hand. This style flowered around temples and their patronage and that is the reason it had religious identity-scrolls, temple hangings, chariot banners and the depicted deites and scenes taken from Indian epics - Ramayana, Mahabharta, Purana and the mythological classics. It contains, The Sri Kalahasti style of Kalamkari painting, Kalia Nag Mardan by Lord Krishna is depicated, and Kalia Nag's wife is also shown chanting prayers.
Exhibitions
Suraj Kund Mela Haryana
Lepakshi Handicrafts Exhibition Hyderabad
Oxfam Bangalore
Dakshinachitra South zone, Anna University, Chennai
Valluvaru Kotam Chennai
C.C.T.C Coimbatore
I.G.R.M.C Mysore and Bhopal
Stroud Dist London (U.K)
Cheriyal Scroll Painting
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Madhu Merugoju
Lalapet, Secunderabad, Telangana
Cheriyal Scroll Painting is a stylized version of Nakashi art, rich in local motifs peculiar to Telangana. They are at present made only in Hyderabad, Telangana, India. The scrolls are painted in a narrative format, much like a film roll or a comic strip, depicting stories from Indian mythology and intimately tied to the shorter stories from the Puranas and Epics. It interestingly describes the Cheriyal Sidipith district of Telangana which is the village of painters. In this canvas Cheriyal scroll painter shows the Leela of Krishna-Radha.
Exhibitions
Participated in Exhibition held at state Art and Gallery, Hyderabad
Surajkund craft melal Haryana (2011)
Folklore Academy in Shilparamam 2000 till date
Participated e/o Department Commissioner Handicraft
Participated Lepakshi Craft Bazaars
Craft Museum, Delhi (1998)
Indira Gandhi, Manav Sangrahalaya, Bhopal (2006)
Cheriyal Scroll Painting
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Dhanalakota Sai Kiran
Cheriyal Village, Telangana
In this Cheriyal Scroll painting, the painter depicts an indian classic Naika (Padmin) wearing solah (16) sringar and adores herself in mirror.
Exhibitions
Piramal Art Museum (2017) Mumbai
Dhakshin Chitra Craft Museum Chennai (2018)
State Art Gallery Hyderabad (2017,2018)
Icon Art Gallery Hyderabad (2014)
Shilparamam Hyderabad (2017,2018)
Indira Gandhi National Centre for Art (2014)
Pragathi Maidan, New Delhi
Chowmalla Palace Hyderabad
Cheriyal Scroll Painting
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Dhanalakota Sai Kiran
Cheriyal Village, Telangana
In this painting, the painter shows the marriage ceremony which is called 'Svyamver' of mother Sita. In that Svyamwer Lord Rama broke Lord Shiva Dhanush for winning her hand for marriage.
Exhibitions
Dhakshin Chitra Craft Museum Chennai (2018)
Shilparamam Hyderabad (2018)
I.G.N.C.A New Delhi (2016)
Golkonda Handicrafts Exhibition B.H.E.L (2016)
Nakhashi Art Exhibition Ravindra Bharathi (2018)
Chittara Painting
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Dhanalakota Sai Kiran
Cheriyal Village, Telangana
This is Chittara Folk painting of Karnataka which is engraved in natural colors,. Jute fibers, 'Pundi' is used as a brush that takes a long time but the ethics of painting attracts everyone. The styled figures of Chittara painting are generally symbols of brides and grooms, fertility, the sowing of the auspicious paddy, birds, trees, animals, etc. Musicians plays auspicious music, brides and grooms stands in conjugal harmony. The delicacy in its delineation and its repetitiveness are somewhat a reminiscent of Warli art. Drawing with freehand and is done with the strictest adherence in the tribal format. Lilting music fills the air with Deewarusd drawing and painting. Every situation and chore depicted on the walls has a relevant song. In this painting, we see the symbol of the Bride and Bridegroom and the Musicians.
Exhibitions
Surajkund Mela – 2005
Siddapur (T), Uttar Kannada (D) v Hongkong – 2009
Karnataka v Melbourne – November 2010
Chittara Painting
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Saraswati Ishwar Naik
Hasuvanthe, Uttara Kannada (D) Karnataka
The Chittara folk painting also shows the image of Bride and Bridegroom along with the auspicious symbols.
Exhibitions
Sarasha Mala at Delhi
Chitra Kala Parishad Bangalore
I.G.N.C.A Delhi
Mysore Miniature Painting
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Saraswati Ishwar Naik
Hasuvanthe, Uttara Kannada (D) Karnataka
Mysore Painting is a form of classical South Indian painting, which evolved in the Mysore city of Karnataka. At that time, Mysore was under reign of Wodeyars and it was under their patronage that this school of painting reached its zenith. Quite similar to the Tanjore Paintings make use of thinner gold leaves and require much more hard work. The most popular themes of these paintings include Gods and Goddesses and scenes from Indian mythology. The grace, beauty, and intricacy of Mysore Paintings leaves the onlookers mesmerized. Here, the painter used traditional colors, Gold Foils and created the beautiful image of Lord Shiva and Parvati.
Exhibitions
Group Show 2015-16-17-2019 Mysore
Mata Ni Pachedi
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Mata-ni-Pachedi is a traditional way of painting of Gujarat in which image of Goddesses depicted on piece of cloth. The multicolored animated images of God-Goddesses, devotees, flora-fauna to be narrated with a story. The term Mata-ni Pachedi originates from Gujrati language, where 'Mata' means 'Goddess', 'ni' means 'belongs to' and 'Pachedi' means 'behind'. When people of the nomadic Vaghari community of Gujarat were barred from entering temples, they made their shrines with depictions of the Mother Goddess of different forms on the cloth. The unique feature of this temple-hanging is the product layout of four to five pieces of Mata-ni-Pachedi erected to form a shrine for the Mother Goddess. Traditional Mata ni Pachedi is a rectangular piece of fabric usesd as a canopy in the place of the ceiling in a nomadic shrine which contains the main mother Goddess image at its center.
Exhibitions
All over India
International Textile Factory (Netherlands)
Mata Ni Pachedi
*Click to enlarge the picture.
Mata-ni-Pachedi is a traditional way of painting of Gujarat in which image of Goddesses depicted on piece of cloth. The multicolored animated images of God-Goddesses, devotees, flora-fauna to be narrated with a story. The term Mata-ni Pachedi originates from Gujrati language, where 'Mata' means 'Goddess', 'ni' means 'belongs to' and 'Pachedi' means 'behind'. When people of the nomadic Vaghari community of Gujarat were barred from entering temples, they made their shrines with depictions of the Mother Goddess of different forms on the cloth. The unique feature of this temple-hanging is the product layout of four to five pieces of Mata-ni-Pachedi erected to form a shrine for the Mother Goddess. Traditional Mata ni Pachedi is a rectangular piece of fabric usesd as a canopy in the place of the ceiling in a nomadic shrine which contains the main mother Goddess image at its center.
Exhibitions
State
National
International
Pithora Painting
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Rathwa Hari Bhai Mansingh Bhai
Malaja, Chhota Udaipur, Gujarat
Pithora is a highly ritualistic painting on the walls by the Rathwa and Bhilala scheduled tribe communties who live in Central Gujarat. Pithora paintings are executed on three inner walls of their houses. These paintings have significance in their lives and executing the Pithora paintings in their homes brings peace, prosperity, and happiness. There is never an attempt to imitate nature: a horse or a bull, which might be a vision of a God, impresses him with only one central quality. This central quality is worked upon and given a form. It might be raw but this rawness adds beauty to this painting. There are 148 symbols of this painting that describes religious, social and historical descriptions of Rathawa and Bhilala communties.
Exhibitions
Craft Museum Delhi
Mumbai, Hyderabad, Lucknow, Pune, Madras, Bangalore, Chandigarh
Jaipur, Udaipur Shilp Gram
Pithora Painting
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Rathwa Hari Bhai Mansingh Bhai
Malaja, Chhota Udaipur, Gujarat
This is also Pithora, a higly ritualistic painting which shows the specific symbols of Rathawa and Bhilala Scheduled Tribes communities. There are 148 symbols of this painting that describes the religious, social and historical description of Rathawa and Bhilala communities.
Exhibitions
Delhi
Mumbai
Lucknow
Pune
Madras
Bangalore
Chandigarh
Jaipur
Udaypur
Shilp Gram
Rogan Art
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Khatri Mahmad Jabbar Arab
Niromamakatrana, Gujarat
Rogan painting is an art of cloth painting in the Kutch District of Gujarat. In this craft, paint made from boiled oil and vegetable dyes is laid down on fabric using either a metal block (printing) or a stylus (painting). The craft nearly died out in the late 20th century, with Rogan painting being practiced by only two families in the same village. Rogan painting was initially practiced in several locations in the Kutch region. The painted fabric was mostly purchased by women of the downtrodden community who wanted to decorate clothing and bed coverings for their weddings. Therefore, it was a seasonal art where most of the work took place only during the months of weddings. The rest of the year, the artisans would switch to other forms of work, such as agriculture.
Exhibitions
India Craft Week Delhi
Dastkar, Delhi
Paramparik Karigar, Mumbai
Piramal Art Residency Workshop, Mumbai
Hundred Hands Exhibition, Bangalore
10 th class pass
Studio Amoli Maker Fair, Hyderabad
Garvi Gurjari Ahmedabad, Baroda, Rajkot
Master Creation Delhi – Hatt
Lucknow-Sanatkada - Festival