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An account of dots and lines- The Gond Tribal Art of Madhya Pradesh, their tradition, relevance and sustainability in contemporary design domain

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Anupam Saxena at National Institute of Fashion Technology
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Abstract

One of the major tribal communities of Central India, the Gond; that inhabits parts of Madhya Pradesh, Chhattisgarh, Andhra Pradesh and parts of Maharashtra. These regions are rich in cultural legacy and have distinctive arts and crafts. Gond people dwell skill and represent the magic of colorful forms with dots and lines. This research paper tries to put forward the ethnographic study of Gond tribal art of Patangarh District of Madhya Pradesh, its tradition, present s rejuvenate the heritage and to create livelihood for these artisans.
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AN ACCOUNT OF DOTS AND LINES
TRADITION, RELEVANCE AND SUSTAINABILITY IN CONTEMPORARY DESIGN DOMAIN
Textile Design Department
, National Institute of Fashion Technology, M.P. Bhoj Open University Campus,
ARTICLE INFO
ABSTRACT
One of the major tribal communities of Central India, the Gond; that inhabits parts of Madhya
Pradesh, Chhattisgarh, Andhra Pradesh and parts of Maharashtra. These regions are rich in cultural
legacy and have distinctive arts and crafts. Gond people dwell
skill and represent the magic of colorful forms with dots and lines. This research paper tries to put
forward the ethnographic study of Gond tribal art of Patangarh District of Madhya Pradesh, its
tradition, present s
rejuvenate the heritage and to create livelihood for these artisans.
Copyright © 2017, Anupam Saxena. This is an open
access
distribution, and reproduction in any medium, provided
INTRODUCTION
Dindori
is a district headquarters of Madhya Pradesh in Central
India and is part of Jabalpur Division. The district (area: 6,128
km2) is located in the eastern part of Madhya Pradesh,
bordering the state of Chhattisgarh. Shahdol, Mandla, Umaria,
and Munger distr
ict of Chhatisgarh surround the Dindori
district in the east, west, north, and south respectively. Dindori
is centrally located from Bandhavgarh National Park. The
Narmada passes through the district. It is situated at a height of
1100m above sea level amo
ngst herbal rich, Maikal mountain
ranges.
Dindori claims to have the best evergreen Sal forest in
Asia. One of the most primitive tribes Baigas residein the
District and they are declared as the "National Human"
Dindori has a moderate climate and evenings
Undulated lands, mountains, valleys, river streams and thick
forest cover gives the entire District a poised look, which
attracts many nature lovers and is becoming a famous eco
tourism destination (
http://www.everyculture.com/wc/
Germany-to-Jamaica/Gonds.html).
It is divided into seven
tehsils, they are-
Dindori, Shahpura, Mehandwani, Amarpur,
Bajag, Karanjiya and Samnapur. The Baiga are a major tribe.
Around 64% of the total population belongs to
the ST groups.
Gond is the second largest trib
population of 4,357,918 constituting 35.6 per cent.
*Corresponding author: Dr. Anupam Saxena
Textile Design, National Institute of Fashion Technology, M.P. Bhoj
Open University Campus, Kolar Road, Bhopal, India.
ISSN: 0975-833X
Vol.
Article History:
Received 03rd August, 2017
Received in revised form
27th September, 2017
Accepted 22nd October, 2017
Published online 30th November, 2017
Citation: Anupam Saxena, 2017.
“
An account of Dots and Lines
contemporary Design domain”,
International Journal of Current Research
Key words:
Gond, Tribal, Bhittichitra,
Digna, ethnography,
Livelihood Projects.
RESEARCH ARTICLE
AN ACCOUNT OF DOTS AND LINES
-
THE GOND TRIBAL ART OF MADHYA PRADESH, THEIR
TRADITION, RELEVANCE AND SUSTAINABILITY IN CONTEMPORARY DESIGN DOMAIN
*Dr. Anupam Saxena
, National Institute of Fashion Technology, M.P. Bhoj Open University Campus,
Kolar Road, Bhopal, India
ABSTRACT
One of the major tribal communities of Central India, the Gond; that inhabits parts of Madhya
Pradesh, Chhattisgarh, Andhra Pradesh and parts of Maharashtra. These regions are rich in cultural
legacy and have distinctive arts and crafts. Gond people dwell in nature with their inherent artistic
skill and represent the magic of colorful forms with dots and lines. This research paper tries to put
forward the ethnographic study of Gond tribal art of Patangarh District of Madhya Pradesh, its
tradition, present scenario, and the efforts made by various institutions/ government agencies to
rejuvenate the heritage and to create livelihood for these artisans.
access
article distributed under the Creative Commons Attribution
the original work is properly cited.
is a district headquarters of Madhya Pradesh in Central
India and is part of Jabalpur Division. The district (area: 6,128
km2) is located in the eastern part of Madhya Pradesh,
bordering the state of Chhattisgarh. Shahdol, Mandla, Umaria,
ict of Chhatisgarh surround the Dindori
district in the east, west, north, and south respectively. Dindori
is centrally located from Bandhavgarh National Park. The
Narmada passes through the district. It is situated at a height of
ngst herbal rich, Maikal mountain
Dindori claims to have the best evergreen Sal forest in
Asia. One of the most primitive tribes Baigas residein the
District and they are declared as the "National Human"
Dindori has a moderate climate and evenings
are pleasant.
Undulated lands, mountains, valleys, river streams and thick
forest cover gives the entire District a poised look, which
attracts many nature lovers and is becoming a famous eco
-
http://www.everyculture.com/wc/
It is divided into seven
Dindori, Shahpura, Mehandwani, Amarpur,
Bajag, Karanjiya and Samnapur. The Baiga are a major tribe.
Around 64% of the total population belongs to
Gond is the second largest trib
e, with a
population of 4,357,918 constituting 35.6 per cent.
Textile Design, National Institute of Fashion Technology, M.P. Bhoj
Open University Campus, Kolar Road, Bhopal, India.
Kolar Road, Bhopal, India
Data
highlights: the scheduled tribes
Census of India 2011
Sex Ratio-
984 for all age groups
Literacy rate in Gond Tribe-
36.4
In 2006 the
Ministry of Panchayati Raj
the country's 250
most backward districts
of 640) (
http://dindori.nic.in/DindoriTourism.html
is the village of legendary Gond painter Jangan Singh Shyam
where every family has at least one painter and each and every
one’s life revolves around Gond art.Jagdish SwamiNath
leading artistand poet, who established Bharat Bhawan, met
Jangan Shyam in the 1980s and invited him to Bhopal to work
on a series on paper and canvas
occupies a pride of place at Bharat Bhawan.
exploits set of
f a revolution of sorts in this once hard explore
village. Motivated by this early successes, about 2000 people
in the village Patangarh, have engaged themselves in this
home-
grown painting. Most of the painters use acrylic and
water colors now in place of
old organic colors.
MATERIALS AND METHODS
This is an Analytical research which includes information from
a range of sources but focuses on analyzing the different
viewpoints
represented from a factual rather than opinionated
standpoint.
International Journal of Current Research
Vol.
9, Issue, 11, pp.61128-61135, November, 2017
An account of Dots and Lines
- the Gond
Tribal Art of Madhya Pradesh, their tradition, relevance and sustainability in
International Journal of Current Research
, 9, (11), 61128-61135.
Available online at http://www.journalcra.com
z
License, which permits unrestricted use,
All persons- 50.3 and Female-
named Dindori one of
(out of a total
). Patangarh
an, a
– a unique creation that
Jangan Shyam’s
INTERNATIONAL JOURNAL
OF CURRENT RESEARCH
Tribal Art of Madhya Pradesh, their tradition, relevance and sustainability in
The paper will be with a summation of the findings and a
suggested framework for further study on the issue. In order to
support the research, some of the images are some self- clicked
photographs and some are retrieved from various sources to
justify the facts. Gond Artisans were interviewed during their
15 days training conducted at NIFT Bhopal centre in June
2017 as well as a one day demonstration workshop conducted
by senior artist Mr Dileep Shyam at NIFT Bhopal under the
craft cluster activity in Nov. 2016. Based on the discussion and
the observation of the work of artisans produced during the
training, the study has been framed; with literature review
based on MP State Government reports, TRIFED reports,
demographic studies, cultural studies and various journals,
reviews, books and articles to substantiate the authenticity of
the research.
Figure 1. Tribal women with their traditional paintings
Background
Thus imitation of earlier traditional chitras is the fundamental
Gond painting. The Pardhan Gonds are a clan of the large
Gond tribe of Dravidian origin inhabiting Central India. The
word Gond originates from Kond, means Green mountains in
Dravidian folk lore. Gond, thus called themselves Koi or
Koiture, but others call them Gond for they are living in green
mountains. The land surrounded by an untouched absolute
natural beauty which might had been the source of livelihood
as well as inspiration for all living beings. Gondi people
ancestrally followed the non-canonical art forms handed over
to the generations through ritual, oral (stories/ kathas) being
discoursed occasionally. They traditionally served the larger
tribal community as musicians, bardic priests and keepers of
genealogies and sacred myths. With declining support for their
traditional role Pardhan Gonds have adapted their oral
traditions for the visual medium has already been adapted from
auspicious designs on the walls and floors of mud huts for
acrylic paintings on canvas, pen and ink drawings, illustration,
and large scale murals. The Gond people believe that
perceiving a good image precipitates good luck. This belief led
the Gond people to decorate the walls as well as the floor of
their houses with traditional motifs.
The Pardhans
The Pardhan Gonds were the illustrious story tellers of the
Gond Tribal community. To them was entrusted the vital task
of passing down folk-lore and tribal stories, in the form of song
and to the accompaniment of the stringed ‘Bana’.
Gond art, in an almost literal sense then, is the translation of
these songs into images of good fortune. The Pardhan Gonds
are musicians, genealogists and story tellers. They plead and
invoke the God Bada Dev under the Saja tree by playing the
musical instrument - the Bana and record the Gond patrons’
lineage in songs. They are invited on all important occasions to
sing and perform during marriage ceremonies, births, deaths,
and so on. According to Ain-e Akbari, there were four separate
Gond Kingdoms situated in the northern, central and southern
parts of India. With the advent of Mughal and company power
in India, they were gradually deprived of their kingdoms and
their land and their existence was truly vulnerable. The
Pardhans’ practice of music and song was lost during Mughal
rule and continued to sink during the British rule when
members of the Gond tribe clashed with British colonialists.
There was also an attempt to strip the tribal’s of their wealth
with stringent revenue taxes and land laws. In The Folk Songs
of Chhattisgarh, (1946), translated by Verrier Elwin and
Shamrao Hivale, one song goes:
“In this kingdom of the English
How hard it is to live
To pay the cattle tax
We have sell a cow
To pay the forest tax
We have to sell a bullock
How are we to get our food?”
(Ministry of Panchayati Raj, 2008).
Gonds voiced their agony through their songs. Through their
festivals and rituals, songs and dances, they remained
ingrained in their culture. But their young men started moving
out towards cities in search of livelihood. When the social
standing of the Gonds dwindled, the provisions they formerly
made for the Pardhans as the chroniclers of family histories
Levels of Education
Literate without
educational level
Below
primary Primary Middle Matric/Secondary
Higher Secondary/ Intermediate
Technical &Nontechnical
diploma
Graduate
and above
8.4 45 27.4 10.9 7.0 0.1 1.2
Levels %
Literate without educational level 8.4
Below primary 45
Primary 27.4
Middle 10.9
Matric/Secondary Higher Secondary/ Intermediate 7.0
Technical & Nontechnical diploma 0.1
Graduate and above 1.2
61129 Dr. Anupam Saxena, An account of dots and lines- the gond tribal art of madhya pradesh, their tradition, relevance and
sustainability in contemporary design domain
and mythologists died out. The Pardhan community gave up
past bard traditions and had to unfortunately resort to manual
and menial labor in order to survive.
Folk Lore- Source of inspiration
With the inherent belief "viewing a good image begets good
luck” the Gonds are decorating their houses and the floors with
traditional motifs. Digna and Bhittichitra are painted on
grounds and earthworks of their houses. These are not just
adornments, but also the instantaneous expressions of their
preconceived religious gushes and devotions. The grounds and
walls become their canvas and a unique biosphere originates
taking form of countless decorative paintings.
Figure 2. Acrylic on canvas, Rajendra Shyam
Figure 3. The Peacock and its Ugly Feet Rajendra Shyam
Themes of Gond paintings are based on the local festivals like
Karwa Chauth, Deepawali, Ahoi Ashtami, Nag Panchmi,
Sanjhi etc.Goddess such as Marahi Devi and Phulvari Devi
(Goddess Kali). Horses, elephants, tigers, birds, Gods, men and
objects of daily life are painted in bright and hues full of life.
For every occasion a new painting or Digna or Bhittichitra
(frescos) is created.
Figure 4. Kaushalprasadtekam
Figure 5. Acrylic on canvas by Durga Bai
Figure 6. Jangarh Singh Shyam
However, in the last three decades, the voiced traditions of
Gond iconography took visual forms in vibrant hues and the
legendsdigna or bhittichitra has been embodied in modern
context. Gond art is alive and echoes with stories from Gondi
traditions and mythology. One of their most endearing stories
is that of Lord Shiva and his encounter with the Mahua tree.
Rupendra Shyam in his peerless style paints a beautiful Mahua
tree laden with fruit, crowned by a parrot and flanked by a
fabulously dynamic boar and tiger. As stated in Gond
Chitrakala - tribal painting, Handmade in India, Editors- Aditi
61130 International Journal of Current Research, Vol. 9, Issue, 11, pp.61128-61135, November, 2017
Ranjan, M.P.Ranjan, Publisher- handicrafts development
corporations(COHANDS) New Delhi, DCH, Ministry of
Textiles.
“Village deities such as Marahi Devi, Phulvari Devi, (Goddess
Kali), Sanphadki snake, Phulchukki chiriya (bird), Sarpoti tree
are the subjects of the paintings. The paintings are votive in
nature and celebrate the birth of Krishna, venerate trees, birds
and beasts, seek protection for the wellbeing of the family and
ward off evil. The predominant theme is veneration of nature
and the symbiotic relationship between birds and snakes,
peacocks, beasts and trees, …”
Numerous Gods and Goddesses, strange and exotic birds,
flying snakes, tigers, dogs and cattle, breathtakingly beautiful
trees and several other entities who inhabited the age old songs
of the Pardhans are few of the wonderful themes of Gond art.
The story telling tradition with musical notes and lyrics is
therefore, what is amazing is that all of these originally existed
as notes and lyrics revealed in the form of wonderful lines and
dots patterns on surfaces.
Style
Gond art is basically linear art with a wide variety of lines and
small dots. Gond artists draw the outline with utmost care.
Similarly the filling is also done with thin and tiny strokes and
dots. After the flat color application is completed then the lines
with other colors are added which totally transform the
imagery with utmost perfection. Eyes of the spectator
harmoniously slip from one point to another with the flowy
movement of lines. Dots and dashes add minute details to art
work. Bright and vivid color scheme increase the beauty of
folk lore. Earlier the colors were extracted from natural
objects, such as charcoal, colored soil, plant sap, leaves and
cow dung; especially yellow from chhui mitti and red from
hibiscus flower. Gond paintings preserve a remarkable
resemblance withAboriginal art from Australia as both styles
use dots and tiny linesto embellish the art work.
Figure 7. Gond artist at work
Now, the surfaces have changed from walls and floors to paper
and canvas; so the medium has also changed from natural
pigments to acrylic colors. Painters have become the story
teller’s and the medium of expression is simply paintings
which arenow widely celebrated. Selection of theme from
folklore to the depiction of legend in colors with line, dashes
and dots to create a rich visual narrative is actually a treat to
eyes.
DISCUSSION
Current status- Trying to mark the position in global
market
Speaking about the Gond art, the well-known traditional Gond
artist Venkat shares, “This mystical art form is known for its
style, which is created by putting together dots and lines. These
imaginative uses of the lines impart a sense of movement to
the still images. In the eyes of a Gond artist, everything is
sacred and intimately connected to nature - flora and fauna,
humans and Gods.” “Originally these paintings were done on
the walls, but we are rekindling the art forms with their
contemporary understanding. We are experimenting with the
new mediums with new thoughts while keeping the style
intact,” the artist adds (Ranjan, Aditi). The legendary Jangarh
Singh Shyam experimented for the first time and started
drawing potters, weavers and basket sellers. He intermingled
them in his own unique way with nature and wild life, with
snakes, peacocks, monkeys, lion, boar and a stag whose antlers
matched the spreading foliage of the trees, with his
distinctivestyle of tonal and divergent colour blocks created
with dotted sections. Modern Gond paintings are not painted
on walls and floors and are instead painted on canvas. Due to
thescarcity of natural colors in the current age, Gond artists
have started to use poster colors. This combined with the use
of canvas has made modern Gond paintings much more vivid
than its traditional counterparts; but at the same time, the art is
declining because the artisans are not able make their work
commercial and functional. In last few years, even after
Government’s huge efforts, the artists are not able to sale their
product (paintings) as they are loose canvases or sheets which
are intricately prepared and thus not affordable by customer or
a matter of one time purchase.Furthermore, still lacking is
proper training and grooming and, most importantly, a steady
market, the lack of which threatens to kill off a once-
flourishing art.Most of the villagers said they are not exposed
to the market in comparison to some painters who went to
bigger cities.
"The government should provide us market. Our paintings are
not selling. Earlier, Tribal Co-operative Marketing
Development Federation of India (TRIFED) used to purchase
our painting but for last nine months they have not purchased
from us," said Ummed Singh Patta, 33, a laborer and a painter
(Jaffer, 2016). Although, their paintings have received
worldwide exposure and acclaim and adorn the walls and
ceiling of prominent institutions in Madhya Pradesh and all
over India and abroad, Each region of Madhya Pradesh has a
distinctive form of painting. But then one must accept that at
the end of the day it is a question of survival. As It was
realized that, what is much needed at this juncture is sufficient
government and institutional support to ensure that our folk
and tribal art and other cultural practices/traditions can be
sustained and conserved.
Sustainingthe tradition- efforts made by Government and
other agencies
TRIFED (Tribal Cooperative Marketing Development
Federation of India Ltd.) under the Ministry of Tribal Affairs,
Government of India has collaborated with the Government
61131 Dr. Anupam Saxena, An account of dots and lines- the gond tribal art of madhya pradesh, their tradition, relevance and
sustainability in contemporary design domain
Museum & Art Gallery, Chandigarh Administration to present
Aadichitra - A Tribal Paintings & Arts of India Exhibition a
unique collection of Tribal Paintings and other tribal arts at
Government museum & art gallery, Chandigarh in 2015. The
Tribal artists revealed their skill and techniques. The aim was
not only to bring tribal paintings from the swoon to the
mainstream of art and help tribal artists in earning their
livelihoods, but also to restore, preserve and reinforce the tribal
art in its forte so that the traditional form, and its essencemay
suffer least attenuation. “This exhibition presents creative
expressions of tribal artists belonging to Gond,….” (http://
www.hindustantimes.com/indore/in-mp-s-patangarh-vill age-
life-revolves-around-gond-art/story-C8LKEffVE9BGCem PI2r
8qM.html). In 2001, Bhajju Shyam, a talented Pardhan Gond
tribal artist was invited to London to paint a mural in an
upmarket London restaurant. He also beautifully illustrated the
Jungle Book that was inaugurated in the London Museum. He
has also made it to a radio program on the BBC.
Figure 8. The Night Life of Trees, Painting by Bhajju shyam,
The London jungle Book
Indian National Trust for Art and Cultural Heritage has been
working with designers and tribal artists in order to bring them
together and to create awareness towards the languishing crafts
through contemporary designs (Virasat, 2017). In New Delhi
“Deep Dharohar” organized by the Ministry of Culture.A book
was released entitled ‘Living Traditions, Tribal and Folk
Paintings of India’ published under the matrix of Ek Bharat
Shreshtha Bharat’ by the Cultural Mapping team of M/o
Culture and Centre for Cultural Resources and Training
(CCRT). This book rejoicly speaks the living traditions of
tribal and folk art of India and the lives of tribal and rural
people.Ministry of Culture organized the festival at the Indira
Gandhi National Centre for the Arts, New Delhi from October
13 to17 October 2017. The festival was drawing upon the rich
fount of red, grey and black ware potters artisans, rural
sculptors, weavers, and Gondi people and their art (http//youn
gintach.org/heritage-alerts-september16.asp).
Individual efforts
Roshni Vyam, one of the finest contemporary Gond artists of
her generation, joined NIFT Bengaluru to broaden her
capabilities. NIFT contributed a lot by opening new prospects
for her as she studied ethnography and textiles of the world to
explore the possibilities of contemporizing the primitive art
form with new form of designs and textiles (http://orissadiary.
com/dr-mahesh-sharma-inaugurates-deep-dharohar). There are
Designer who are working with Gond artists and bringing their
art form to the main stream art world notably, such as - Padmja
shrivastav, Interior designer and AkamshaMurty, the renowned
fashion designer is working with Gond Art.
A lodge preserves local art
Tulika Kedia, owner of Singiniawa jungle lodge; due to her
love and passion towards sustainable tourism and promotion of
indigenous art restored the lodge painstakingly. This way she
restored the local art form- the Gond art. Several works from
her personal collection adorn the walls of the lodge created by
local artists. She says- “They are beautiful representations of
the oral traditions that have been passed down from generation
to generation. These tangible versions of an intangible heritage
have led to the propagation and conservation of the ethnic
culture of these indigenous communities” (Shailja, Tripathi).
Figure 9. Nature’s changing colours, Acrylic on canvas,
Ladoo Bai
Figure 10. Nature’s Stream, Acrylic on Canvas, Venkat Shyam
61132 International Journal of Current Research, Vol. 9, Issue, 11, pp.61128-61135, November, 2017
Figure 11. Nature can’t be better, Figure 12. Figure 13.
Acrylic on Canvas, Durga Bai
Figure 14.
Figure 15. Figure 16.
Figure 12-16. Product development during the training programme
61133 Dr. Anupam Saxena, An account of dots and lines- the gond tribal art of madhya pradesh, their tradition, relevance and
sustainability in contemporary design domain
In 2006 Gond art and storytelling entered the medium of
animation in The Tallest Story Competition, a collection of
animated tribal folktales from Central India produced by a
Scottish based Animation Company. The Gond film Best of the
Best was the most popular film in the series and the following
year Pardhan Gond artist Venkat Raman Singh Shyam was
invited to visit Scotland to receive a Trophy at the Inverness
Film Festival for the film. Since then, several Gond artists have
travelled abroad for exhibitions and Pardhan Gond painting has
gained popularity in the mainstream art market. Along with all
these efforts, there are number of blogs, such as Ethnoflorance
Indian and Himalayan Folk and Tribal Art, tribal Cultural
Heritage in India Foundation, Tribal art and Govt. agencies
such as IGNCA, Culture of Madhya Pradesh and Rajasthan
and fewdesigners also, who are working for the restoration of
Gond art. Bharat Bhavan was decorated by Jangan Singh
Shyam himself and The Indira Gandhi Rashtriya Manav
Sangrahalaya (Human Museum) in Bhopal is completely
dedicated to Folk and Tribal Art. Now, Tribal Museum in
Bhopal also serves the purpose to resonance the indigenous art
of Central India. Online Art GallerySaffron Art made
substantial efforts to get folk art its due in art markets. The
Ministry of Tribal Affairs, state museums, and private
collections are playing their part in reviving the tribal Arts.
Training of women Gond artisan of Dindori District by
National Institute of Fashion Technology Bhopal
A training workshop which was initiated and funded by
Madhya Pradesh Mahila Vitta Evam Vikas Nigam under
Tejaswini Rural women empowerment Programme and
Technically organised by NIFT Bhopal who formulated the
research, analyzed the requirement, designed syllabus for the
15 day training programme and conducted the same at Centre.
This training was aimed to develop the range of products,
especially women apparels decorated with motifs of
Traditional Gond kalam, so that this languishing art can be
preserved and the hard working artisans can get livelihood in
turn to their enormous efforts of creating a saga of colorful and
rhythmic song on surfaces. The idea behind this was to purely
provide benefit to artisans and to make them self-dependent in
terms of livelihood. While painted canvases are one time
purchases, the range of apparels can easily secure their place in
todays’ aesthetically educated customer. Keeping in mind, the
15 days workshop was planned and organized by NIFT,
Bhopal at centre. These training modules familiarized the
participants with common and essential Fabric painting tools,
techniques, extracting motifs, preparing repeats, placing of
motifs on fabric etc. It has educate them to use pattern marking
on unstitched fabric for apparels (Kurti, Scarf, Stole, Crop
Top, Skirt, Dupatta etc.) which will ultimately enhance their
designing skills and will help them making their product
financially viable. Since this was the first ever attempts by
Gond artisans to prepare prototypes for commercial use, few
damages and wastages were also recorded. These can be
accepted as experimentation and trial of material, style and
techniques. However, this was a great achievement to shift the
traditional artists from their inherent style and method to a
totally new arena.
Observations and suggestions
1. The biggest strength of artisans is their original and
authentic art. The way their stroke flows from flat
coloring on canvas to detailing of any motif. Canvases
from small to big all are equal when their imagination
takes off. Being surrounded with all kind of plants and
trees as well as animals, these people manage to draw
every bird in a different style, and that differs from
individual to individual.
2. As the world has gone more advanced and upgraded
most of the artisans in their rural surroundings,(except
from those who came out into metro cities) are still into
the old flavor – painting canvases and sheets. They have
to move forward with new creativity, which is
spreading down their art into textiles and other
materials.
3. Secondly. Lack of education- which is making them
narrow minded and stops them from sharing and
adopting newness for their own products and thus
taking the indigenous art style towards extinction.
4. Expanding the real art to the world in different kind of
products with modification in design is feasible enough
to come to the customer. In this situation, it is fairly
reasonable to bring this aboriginal art to be represented
to an aesthetically sensitive costumer of not only Indian
but International market. The Gond Painting is popular
enough in its original Canvas style but not in apparel,
Accessories and Home furnishing. Thus the world is
full of opportunities.
5. Lack of Exposure – what exactly the customer
demands, what is the existing market etc. are the major
sections which has turned things for these people a little
difficult to survive and expand their art. As we have
seen other arts like Madhubani and warli art has made
their own space in the existing market by
commercializing their art form into textiles and other
products in a real expanded way. Competing from these
arts and continuing working with authentic style of
hand paint will take little time but they are capable of
competing and make their stand in the current trends.
Conclusion
The Gond society is agricultural, so the cycle of sowing and
harvesting has remain the backbone of legendry narratives,
which express each and every emotion of a farming
community. Oral narratives, like the Gondwani and Ramayani
hold the community together. The Gond beliefs tellsabout the
greatest of Gods, Badadev, who created the earth and every
being on it. There are myths about the Gond kings, trees, the
flowers and fruits which are an integral part of their life, each
and every Chitra originates from the celebrated trees and wild
animals with innocent faces and thus creates the Gond imagery
itself. Art in India does not depend upon the availability of
canvas or paint. Rocks and caves, village walls, the floor, a
threshold, palm leaf, wooden plank, or even the human body is
space enough to decorate. For colors, the infinite use provided
by nature from flowers, leaves or stones toprecise their known
cultural understanding. Similarly the astonishingly beautiful
Gond Paintings; They are so colorful, complex detailed
ornamentations which are intricately carved and entwined with
nature- as the life of the creators of these paintings are
entwined together with nature. Surprisingly, this is the unique
aspect of these tribal artisans which they themselves do not
realize, but, for that; the whole world of art lovers is fascinated
towards!The rich narrative imagery of Gond is now trying to
beget its splendor in today’s fashion arcade with the range of
textiles, home furnishing and accessories. The discussion
61134 International Journal of Current Research, Vol. 9, Issue, 11, pp.61128-61135, November, 2017
proves that with the implementation of suggestions given, their
efforts; with the support of government agencies and other
organizations may get success in creating livelihood for them
and provide them a reasonable place in society.
Acknowledgement
The author is grateful to all the artisans of village Patangarh,
District Dindori for sharing the traditional knowledge. I am
especially thankful to Ms Chameli shyam, Smt Hero Bai, Smt
Anusuya Uike, Shri Dileep Shyam. I am also gratified to
Madhya Pradesh Mahila Vitta Evam Vikas Nigam, Directorate
of Woman Empowerment, Woman and Child Development
Department, M.P., with the financial assistance of the
International Fund for Agricultural Development (IFAD) for
their extended help and providing an opportunity to coordinate
the livelihood creation training programme for such an
astonishingly beautiful but languishing craft of indigenous
tribes of India.
REFERENCES
http://www.everyculture.com/wc/Germany-to-Jamaica/Gonds.
html
http://dindori.nic.in/DindoriTourism.html
Ministry of Panchayati Raj, 2009. "A Note on the Backward
Regions Grant Fund Programme" (PDF). Retrieved from
https://en.wikipedia.org/wiki/Dindori_ district
Tribal Art & Culture of Madhya Pradesh & Rajasthan
(Bhil & Gond Paintings) http://ignca.nic.in/tribal_art_intro
_gonds_mp.htm
Ranjan, Aditi, “Hand made in India”, Editors- M.P.
Ranjan, Publisher- handicrafts development corporations
(COHANDS) New Delhi, DCH, Ministry of Textiles.4
Jaffer, Askari“Gond art finding its way, the hansindia” oct
02,2016 , 12:07 am isthttp://www.thehansindia.com/posts/
index/Hans/2016-10-02/Gond-art-finding-its-way/256726
http://www.hindustantimes.com/indore/in-mp-s-patangarh-
village-life-revolves-around-gond-art/story-C8LKEffVE9B
GCemPI2r8qM.html
Ppublic relations department, chandigarh administration press
note http://admser.chd.nic.in/uploadfiles/press/pressnote/pr
8140.pdf
Virasat, Vasant Ritu January-March 2017 A Newsletter of the
Indian NATIONAL Trust for Art and Cultural Heritage
http://www.intach.org/pdf/virasat-jan-mar.pdf
http;//youngintach.org/heritage-alerts-september16.asp
http://orissadiary.com/dr-mahesh-sharma-inaugurates-deep-
dharohar/
Shailja, Tripathi “Gond of all things”, article Bengaluru, The
Hindu, http;//www.thehindu.com/features/metroplus/roshni
-vyam-on-gond-art/article8590227.ece
“Sanctuary of recurring motifs”: how a lodge preserves local
art Http://creativeindiamag.com/topic/travel/sanctuary-of-
recurring-motifs-how-a-kanha-lodge-conserves-local-art
http://www.southasianist.ed.ac.uk/article/view/162
Plates
Mishra, Ritesh, Updated: Apr 22, 2015 17:57 IST, “In MP's
Patangarh village, life revolves around Gond art,”
Hindustan Times
Courtesy http://indiantribalzone.blogspot.in/p/gond-art.html
Courtesy http://indiantribalzone.blogspot.in/p/gond-art.html
https://www.storyltd.com/auction/item.aspx?eid=3741&lotno7
https://www.pinterest.co.uk/pin/526076800198678148/
http://www.promostyl.com/blog/en/jangarh-singh-shyam-at-
the-root-of-the-ritual-art/
Gond artist at work. http://engrave.in/blog/gond-art/
Shyam Bhajju, “The Night Life of Trees”, Painting, The
London jungle Book Sanctuary of recurring motifs: how a
lodge preserves local art, retrieved from Http://creativeindi
amag.com/topic/travel/sanctuary-of-recurring-motifs-how-
a-kanha-lodge-conserves-local-art/
“Project Report forTraining of Women Gond Artisans” of
Tejaswini Programme From Dindori District, 2017
conducted by Dr Anupam Saxena, Textile Design
Department, National Institute of Fashion Technology,
Bhopal, Plate no. 12 to 16.
61135 Dr. Anupam Saxena, An account of dots and lines- the gond tribal art of madhya pradesh, their tradition, relevance and
sustainability in contemporary design domain
*******
... Due to the limited exposure of this art form on a global scale, this paper provides an introductory overview of the artists and the art form, with the intention of inspiring further research in the field. Saxena (2017) reveals in the study that the Gonds' agrarian way of life has preserved the foundation of mythical tales that depict all the emotions experienced by a farming community. The planting and harvesting cycle serves as the basis for these stories. ...
INDIGENOUS COMMUNICATION OF EVERYDAY LIFE AND PHILOSOPHY: AN ANALYSIS OF GOND PAINTINGS IN MADHYA PRADESH
Article
Full-text available
  • Nov 2023
Folk arts in India possess a distinct identity, setting them apart from other art forms, and they serve a crucial social mission in creating and preserving cultural identities. The Gond tribe, one of India's largest tribal communities, resides predominantly in central India, particularly in the regions of Madhya Pradesh and Chhattisgarh. Over the past few decades, Gond paintings have gained global recognition and acclaim, primarily thanks to the work of artist Jangarh Singh Shyam. For many years, members of the Gond tribe have continued to practice and pass down this traditional art form through generations. The data for this study was collected using visual analysis and in-depth interviews. The study aims to analyze the representation of everyday life in Gond paintings and examine viewers' perceptions of these artworks. The study's results demonstrate that Gond art vividly expresses the essence of the culture in all its vibrant hues. Gond paintings are a form of storytelling folk art, providing a captivating gateway to a world of imagination and astonishment. These artworks utilize a distinctive style characterized by multi-hued and dot-bright techniques to portray various aspects of Gond culture and everyday activities through indigenous communication.
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... Tribal has expertise in animal husbandry, different types of agriculture, ethno-botany, ethno-zoology, ethno-science, dancing and singing, various types of crafts and portraits, sericulture, disaster management, and indigenous knowledge of sea-gipsies, collection of MFPs etc. When Santhals (The Indigenous Colour of India-The Indian Tribes, 2020) get acknowledgement for their singing and dancing, Jarawa has the proficiency to gather honey from very tall trees (The Jarawa, 2019) there the fame of Basta and Jarawa tribes develops from their terracotta work (Saxena, 2018). We never forget the grandeur of the Madhubani Art of Bihar (Halder et al., 2018). ...
Need for Incorporation of Indigenous Values in Modern Education System
Article
Full-text available
  • Sep 2023
The vision of education is to inculcate life skills and employability skills among students. In the holistic approach to education, the emphasis is given to making future cosmopolitan citizens. Global citizenship is nothing but a collective approach to addressing all the problems that our Earth is now facing. Preserving natural heritage is now a prime concern to make human civilization sustainable in this world. Indigenous knowledge system flourishes based on a particular territory comprising all elements of that particular place through age-old practices, whereas the Western Education system establishes ignoring the local fragrance, Worldview of original habitats. Indigenous value system gives emphasis on the mutual-co existence of every species. The present education system based on Western culture and values fails to provide sustainable consistency to civilization. Greediness, the self-centred approach, materialistic behaviour, material culture, and ego-centric approach is the gift of Euro-centric pedagogy. Reckless and break-less development using natural resources indiscriminately is nothing but a mere projection of colonial industrial philosophy. Where the ideology of Education talks about turning humans into resources, their Euro-centric pedagogy makes them mere copy-paste of Frankenstein who destroys the very genre of life within the blink of an eye. Sustainable Development Goals ask for Quality Education, with which other goals of sustainable development are interlinked. Either alone the employability skills nor life skills cannot serve the purpose of the enrichment of humanity. The intermingling of both is a basic requirement of the Modern Education system. In this very context where the Euro-centric pedagogy fails to address the values of humanity in the Education system, the indigenous values of tribes are the preserver, protector, and builder of humanity. Indigenous values give due emphasis to communitarian resource management, the wise use of resources and their conservation. Where in our civilized society, we fight with our counterparts to snatch their rights, those indigenous counterparts fight unitedly with each other for their survival. In an advanced society, where we rush behind self-identity, there tribes settle with belongingness with every stakeholder of nature, be it living or non-living, be it with animals or plants. The goal of present education lies in achieving the aims of Sustainable Development Goals where indigenous value systems are necessary to incorporate to achieve desired success. Employability skills also should not be confined to those skills about how to use them, rather, it is now necessary to incorporate indigenous values in the mere concept of using by extending them to use and sustain them for the future. When employability skills of progressed World induce the concept of Superiority among us, the indigenous value system respects the omnipotence of Nature for our survival. The present paper will analyse the importance of indigenous values and how they should be incorporated into the modern education system to make it a holistic one in a real sense and to inculcate a sense of cosmopolitanism.
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... The price of a good Pichwai can range from 10,000 to 1,000,000. Pichhwai drawings are a traditional form of Indian art that came from the town of Nathdwara in the Indian state of Rajasthan [4][5][6]. It has been around for more than 400 years. ...
Pichwai: The Tapestry art of Nathdwara
Article
Full-text available
  • May 2023
Traditional art is part of a certain group of people; with skills and knowledge passed down through generations from masters to apprentices today's Digital art has become a part of daily life. When we talk about the subjects of traditional art there is always a main subject ''Devi Devtaon ke Chitra'' in every art forms like warli, madhubani, we can see the example of ram and Krishna Illustrations. in hindu art ram Krishna is always a main subject. Lord Krishna Paintings have been famous since centuries, and he is popular subject in both traditional and modern India Art .in traditional indian paintings, Lord Krishna is often depicted in a formal and stylized manner. Pichwai is a traditional art that was developed in the small town nathdwara near udaipur Rajasthan India 400 years ago this art illustrates the cheery and gratifying stories of krishna life. Pichwai is often created by a group of artists who belong to pushtimarg sec, which was founded by shri vallabhacharya back in the 16th century. Pichwai painting were traditionally used to hang behind Shrinathjis, belonging to the Mewar School. Pichwai painting depict the traditional celebrations of ras lila, Goverdhan Pooja, Sharad purnima, Annakoot, Diwali, janmashtami, holi ,etc often ,the painting would portray one incident of festival from Krishna's life surrounded by numerous other smaller images. Illustrating various other stories from Krishna's life. The artist use natural colours and hand made brushes from the hairs of goat, horses and squirrel the use of gold in the painting adds their value and charm. For one painting it may take 3-4 days to us to prepare color from pure gold. We sould save the techniques of traditional pichwai art these days very few artists in Nathdwara are doing Pichwai as the tourists here like decorative artwork more and there is less demand for this art. Through their is scope, if the artists explore new subjects in the traditional Pichwai art. as, people always like new subjects and can get bored seeing the same old subjects. Lord Krishna paintings have been famous since centuries, and he is a popular subject in both traditional and modern Indian art. The art of Pichwai paintings remain in tremendous among both devotees and art enthusiasts Worldwide.
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... If their cultural instincts have collaborated with the skill of stage presentation, this can be popularised throughout the country as well as Worldwide and can be a cause of resource generation(The Indigenous Colour of India -The Indian Tribes, 2020). The Basta and Jhabua tribal community of Madhya Pradesh are famous for making terracotta pottery and jewellery (Saxena, 2018). The great Madhubani art, jewellery from tribes residing in Bihar can be incorporated into the syllabus for greater outputs and generate huge employments (Halder & Pandey, 2018). ...
Liberal education implication as per NPE 2020 and its implication to solve tribal educational issues in India
Article
Full-text available
  • Mar 2022
Liberal education allows its practitioners that much space and liberty to get enlightened/on her life on their terms. It allows students to choose subjects from different disciplines according to their aspirations and choices. More options for professional, as well as vocational fields, are opened for the students. In India, there is the second-highest concentration of the tribal population. There is more ratio of retention, dropouts and illiterate persons viewed among them than others. The main reason lies in the compartmentalisation of subject groups. Liberal education provides them with enough space to opt for subjects and languages as per their world views. Again, vocational education that is offered by liberal education allows them to enhance their existing skills and efficiency that extend the scope for them to access higher mobility and broaden the scope to generate revenues for the country. In a developing country where a lot of anomalies are prevailed in the path of equity and development, by implementing liberal education those barriers can be overcome and it allows the tribe to excel as per their aspirations and motivations. The present paper tries to evaluate how much extent to liberal education helps tribal students to encourage them to take entry into the threshold of education and to carry on their studies. Again, it also tries to bring out the probability of how it helps tribe students to get them excelled in the job field and enhance their socio-economic conditions by creating more taxpayers in the society from the tribal community. Key Words: Liberal Art education, Tribes, Tribal Education, National Education Policy 2020.
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... The Pradhan Gonds are musicians, genealogists, and storytellers. (Saxena, 2017) The painters of the Gond painting, who have developed their personal motifs and registered them to avoid duplication, portray stories on a variety of themes on different occasions of Gond life and rituals. ...
Dots and Lines: Semiotics of the Motifs in Gond Painting
Article
Full-text available
  • Jun 2020
The Gond painting, one of the most-significant cultural identities of the Gond tribe of central India, has emerged worldwide as a highly recognised and appreciated tribal art form in recent times. From Dighna to canvas painting, the traditional images and religious beliefs of Gond people have travelled from their tribal settlements to exhibitions of modern art galleries across the world. Pradhan Gond, a sub-caste of the Gond, is known for making traditional paintings on a variety of themes. In general, the Gond paintings are known as the expression of love for nature and quest for life. The central idea behind decorating the mud walls of the Gond people is to highlight their firm belief in the saying that 'viewing a good image begets good luck'. The Gond painters are traditionally known for filling the surface of the subjects of their paintings with some unique motifs. The forms, shapes, and sizes of the motifs of their paintings are highly influenced by nature, beliefs, folklore, culture and traditions of the community. However, several Gond painters have been using motifs of hybrid nature or inspired by motifs of other tribal or modern paintings in recent times. The commercialisation, competitions and intellectual property rights (IPR) norms have made almost every recognised Gond painter to follow individual and legally registered motif (s) as his/her distinct identity(ies). The Motif, any recurring element with symbolic significance in a narrative, can be understood and interpreted with the theory of semiotics. The semiotic theory as suggested by Professor Gillian Rose, in research work on 'Visual Methodologies' and the Innovative methodology proposed by Professor Mieke Bal, a Dutch cultural theorist and Professor Norman Bryson, an art historian, will be applied to study, understand and interpret the significance of different motifs of Gond artists.
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(Hi)stories in Pictures: Use of Folk and Tribal Art Forms in Two Pictorial Biographies From India
Article
Full-text available
  • Aug 2024
Pictures have always been one of the fundamental tools for storytelling that serve as a spigot for folk narratives and performances. Although in India, folk art styles feature stories from the traditional repertoire, increasing focus on use of folk and tribal art in graphic novels and innovation in esthetic strategies problematize the perceived fixity and primitivity associated with “folk.” To accommodate different stories and audiences, Patachitra (folk) and Pardhan‐Gond (tribal) art forms undergo stylistic changes in storytelling. The paper explores the organic and reflexive nature of these two narrative art forms, focusing particularly on two contemporary manifestations: I See the Promised Land (2013) and Bhimayana (2011).
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DESIGN FOR SUSTAINABILITY USING A CRAFT-BASED HUMAN-CENTRIC APPROACH AND CONSUMER PARTICIPATION
Article
Full-text available
  • Mar 2024
It is often perceived that craft means no technology, primitive methods, and materials that have zero or significantly less impact on the actual needs of people. However, this research is trying to trace the craft's nature, importance, and potential in creating human-centric designs with sustainable methods. This research discusses the role of craft and design for a sustainable future. The intent is to build a bridge between design, craft, and sustainability. This paper hopes to bring together all three and benefit the participating stakeholders, researchers, designers, and artisans, allowing them to exchange and coordinate their points of view and expertise to find new solutions to associate craft with sustainable design, which are the crucial design challenges of today.This research contributes to (1) exploring practices and connotations of traditional craft about human-centric design thinking and sustainability; (2) validating the hypothetical framing of the coordination amid craft and sustainability through actual case studies, (3) stakeholder engagement can be enhanced through a craft-based approach towards sustainable development. This paper discusses Indian consumers' feedback towards craft-based products, accepts their suggestions, authenticates, and draws conclusions. Hypothetically we can say that A craft-based strategy might have a good impact on sustainable design.The research paper's outcome is a suggestive plan to incorporate craft as the basic structure and vital resource of human-centric design and contribute to sustainability. We claim that craft has critical potential to contribute towards evolution for sustainable design transformation for people and society, which may lead to significant changes in worldview, economic activities, and environmental concerns.
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Imag(in)ing Decolonial Ecology: Exploring Tropical Eco-Graphic Narratives
Article
Full-text available
  • Jul 2023
Decoloniality is a critical approach that seeks to dismantle the hegemonic and oppressive structures of Eurocentric epistemologies. It promotes reflection on how texts and knowledge production perpetuate othering and oppression. Imag(in)ing decoloniality along with ecocritical thinking, this paper envisions tropical ecology as transcending the constraints of dominant discourses and explores how graphic narrative aids in reconfiguring the boundaries between human subjectivity and decolonial-ecocritical aesthetics. The article emphasises the potential of multimodality to proffer novel approaches for considering the connections between human/non-human, nature/culture and the tropical/temperate, and advocates a decanonisation of literary genres to decentralise the power of logocentric discourse. More specifically, the paper examines three eco-graphic narratives—Martina and the Bridge of Time (2020), Dengue (2015), and Bhimayana (2011)—to demonstrate their capacity in articulating coloniality in the tropical environment to highlight the importance of addressing historical and cultural wounds. This intersection of decoloniality, ecocriticism, and graphic narrative, along with the notion of tropicality, allows us to witness the evolution of the fields in an exciting and complex way. In sum, we examine how graphic narrative can act as a decolonial option for the tropics.
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Saura Art, Odisha, India
Chapter
Full-text available
  • Mar 2021
The beautiful State of Odisha nestled in the eastern coast of India has a culturally rich repository of indigenous art forms and houses a plethora of aboriginal tribal communities that fundamentally sustain on hunting and gathering. The ‘Sauras’ are a significant and colourful tribe, widely known for their art which is deeply entrenched in their cultural traditions, lifestyle, sacred beliefs, folklore, and their appearance. The strikingly detailed paintings and incredible wall murals are a reflection of their divinities and are perceived from the socio-sacred perspective of their primitive community, wherein art holds an imperative connotation to their way of life. This chapter, through means of a semiotic research process, divulges in the philosophies, mythologies and sacraments linked with the creation of Saura paintings. It investigates the significance of Saura Art and its identity that may not be in the material it is drawn upon, but in fact, in the motifs and symbols, their names and their historic significance and appearance on other items in the culture. This study also aims at shedding light on the plight of Saura artisans in the most hand-skilled country in the world and tries to mirror the relationship between handcraftsmanship, luxury and sustainability. It also lends a bird’s eye point of view on the need to break barriers between the modern and the traditional, between the urban and the rural and looks at the several avatars of Saura Paintings and techniques being repurposed for modern applications such as fashion, interior design and jewellery. It also investigates the influence of globalization which has both positively and adversely had an impact on tribal identities within the Indian sub-continent. On account of the Industrial Revolution and modernization tribal art now hangs on a weak thread and practiced only in remote areas where dwellers have a honoured custom of art and crafts.
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Gond art finding its way, the hansindia
  • Oct 2016
  • Askari Jaffer
Jaffer, Askari"Gond art finding its way, the hansindia" oct 02,2016, 12:07 am isthttp://www.thehansindia.com/posts/ index/Hans/2016-10-02/Gond-art-finding-its-way/256726
Sanctuary of recurring motifs
  • Tripathi Shailja
Shailja, Tripathi "Gond of all things", article Bengaluru, The Hindu, http;//www.thehindu.com/features/metroplus/roshni -vyam-on-gond-art/article8590227.ece "Sanctuary of recurring motifs": how a lodge preserves local art Http://creativeindiamag.com/topic/travel/sanctuary-ofrecurring-motifs-how-a-kanha-lodge-conserves-local-art http://www.southasianist.ed.ac.uk/article/view/162
A Note on the Backward Regions Grant Fund Programme
  • Jan 2009
http://www.everyculture.com/wc/Germany-to-Jamaica/Gonds. html http://dindori.nic.in/DindoriTourism.html Ministry of Panchayati Raj, 2009. "A Note on the Backward Regions Grant Fund Programme" (PDF). Retrieved from https://en.wikipedia.org/wiki/Dindori_ district Tribal Art & Culture of Madhya Pradesh & Rajasthan (Bhil & Gond Paintings) http://ignca.nic.in/tribal_art_intro _gonds_mp.htm
The London jungle Book Sanctuary of recurring motifs: how a lodge preserves local art
  • Apr 2015
  • Plates Mishra
  • Updated Ritesh
Plates Mishra, Ritesh, Updated: Apr 22, 2015 17:57 IST, "In MP's Patangarh village, life revolves around Gond art," Hindustan Times Courtesy http://indiantribalzone.blogspot.in/p/gond-art.html Courtesy http://indiantribalzone.blogspot.in/p/gond-art.html https://www.storyltd.com/auction/item.aspx?eid=3741&lotno7 https://www.pinterest.co.uk/pin/526076800198678148/ http://www.promostyl.com/blog/en/jangarh-singh-shyam-atthe-root-of-the-ritual-art/ Gond artist at work. http://engrave.in/blog/gond-art/ Shyam Bhajju, "The Night Life of Trees", Painting, The London jungle Book Sanctuary of recurring motifs: how a lodge preserves local art, retrieved from Http://creativeindi amag.com/topic/travel/sanctuary-of-recurring-motifs-howa-kanha-lodge-conserves-local-art/ "Project Report forTraining of Women Gond Artisans" of Tejaswini Programme From Dindori District, 2017 conducted by Dr Anupam Saxena, Textile Design Department, National Institute of Fashion Technology, Bhopal, Plate no. 12 to 16.