NCERT Textbook - The Living Art Traditions of India | Fine Art for Class 12 - Humanities/Arts PDF Download

 Page 1


8
The Living Art Traditions of India
T
here has always been a timeless tradition of art forms, 
which have been practised for different reasons among 
people, living far from urban life in interior terrains of forests, 
deserts, mountains and villages. So far, we have studied art 
of a certain time, a period named after a place or dynasties, 
who ruled different parts of the Indian subcontinent for few 
hundred years or so. But what about common people? Were 
they not creative? Was there no art that existed around them? 
From where did the artists come to the courts or patrons? 
What did they use to make before coming to cities? Or even 
now, who are the unknown artists making handicrafts in 
faraway deserts, mountains, villages and rural areas, who 
have never been to an art school or design institute or even 
attended formal schooling?
Our country has always been a repository of indigenous 
knowledge, which has been transferred from one generation 
to another. Artists in each generation have created the best 
of works out of available material and technology. Many 
scholars named these art forms as minor arts, utility art, 
folk art, tribal art, people’s art, ritual art, crafts, and so 
on. We know that these art forms have existed from time 
immemorial. We have seen the examples in pre-historic 
cave paintings or works of pottery, terracotta, bronze, ivory, 
etc., of the Indus period as well. During the early history 
and its subsequent times, we find references 
of artists’ communities everywhere. They 
made pots and dresses, jewellery and ritual 
or votive sculptures. They decorated their 
walls and floors and did many more artistic 
things to fulfill their daily needs and supply 
their works to local markets at the same time. 
There is an instinctive aesthetic expression in 
their creations. There is symbolism, specific 
use of motifs, materials, colours and methods 
of making. There is a thin line between art of 
1_8.LivingArt Traditions of India.indd   127 01 Sep 2020   03:00:57 PM
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Page 2


8
The Living Art Traditions of India
T
here has always been a timeless tradition of art forms, 
which have been practised for different reasons among 
people, living far from urban life in interior terrains of forests, 
deserts, mountains and villages. So far, we have studied art 
of a certain time, a period named after a place or dynasties, 
who ruled different parts of the Indian subcontinent for few 
hundred years or so. But what about common people? Were 
they not creative? Was there no art that existed around them? 
From where did the artists come to the courts or patrons? 
What did they use to make before coming to cities? Or even 
now, who are the unknown artists making handicrafts in 
faraway deserts, mountains, villages and rural areas, who 
have never been to an art school or design institute or even 
attended formal schooling?
Our country has always been a repository of indigenous 
knowledge, which has been transferred from one generation 
to another. Artists in each generation have created the best 
of works out of available material and technology. Many 
scholars named these art forms as minor arts, utility art, 
folk art, tribal art, people’s art, ritual art, crafts, and so 
on. We know that these art forms have existed from time 
immemorial. We have seen the examples in pre-historic 
cave paintings or works of pottery, terracotta, bronze, ivory, 
etc., of the Indus period as well. During the early history 
and its subsequent times, we find references 
of artists’ communities everywhere. They 
made pots and dresses, jewellery and ritual 
or votive sculptures. They decorated their 
walls and floors and did many more artistic 
things to fulfill their daily needs and supply 
their works to local markets at the same time. 
There is an instinctive aesthetic expression in 
their creations. There is symbolism, specific 
use of motifs, materials, colours and methods 
of making. There is a thin line between art of 
1_8.LivingArt Traditions of India.indd   127 01 Sep 2020   03:00:57 PM
Rationalised 2023-24
128 An IntroductIon to IndIAn Art —PArt II
the people and crafts as both involve creativity, instinct, 
necessities and aesthetics. 
Even now, in many pockets, we find such artifacts. In 
the nineteenth and twentieth centuries, a new perspective 
emerged among modern artists when they looked at 
traditional art forms around them as sources of inspiration 
for their creative pursuits in India, as well as, the West. In 
India, post-Independence a revival of handicraft industry 
took place. The sector became organised for commercial 
production. Apart from continued practice, it gained a 
unique identity. With the forming of States and Union 
Territories, each one of them showcased their unique art 
forms and products in their respective State emporia.  
The art and craft traditions of India showcase the tangible 
heritage of the country with history of more than five 
thousand years. Though we know many of these, let us talk 
about few of them. By and large, there has been a religious 
or ritualistic overtone with richer symbolism, utilitarian and 
decorative aspects, associated with the day-to-day practices 
at home to production on a large scale.
Painting Tradition
Among the many popular traditions of painting, Mithila or 
Madhubani painting of Bihar, Warli painting of Maharshtra, 
Pithoro Painting of North Gujarat and western Madhya 
Pradesh, Pabuji ki Phad from Rajasthan, Pichhwai of 
Nathdwara in Rajasthan, Gond and Sawara Paintings of 
Madhya Pradesh, Pata Chitra of Odisha and Bengal, etc., are 
few examples. Here, a few of them have been discussed.
Mithila painting
Among the most known contemporary painterly art forms is 
Mithila art that derives its name from Mithila, the ancient 
Videha and birthplace of Sita. Also called Madhubani painting 
after the nearest district capital, it is a widely recognised folk 
art tradition. It is presumed that for centuries, women living 
in this region have painted figures and designs on the walls 
of their mud houses for ceremonial occasions, particularly, 
weddings. People of this area see the origin of this art form at 
the time of Princess Sita getting married to Lord Rama. 
These paintings, characterised by bright colours, are 
largely painted in three areas of the house — central or outer 
1_8.LivingArt Traditions of India.indd   128 01 Sep 2020   03:00:57 PM
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Page 3


8
The Living Art Traditions of India
T
here has always been a timeless tradition of art forms, 
which have been practised for different reasons among 
people, living far from urban life in interior terrains of forests, 
deserts, mountains and villages. So far, we have studied art 
of a certain time, a period named after a place or dynasties, 
who ruled different parts of the Indian subcontinent for few 
hundred years or so. But what about common people? Were 
they not creative? Was there no art that existed around them? 
From where did the artists come to the courts or patrons? 
What did they use to make before coming to cities? Or even 
now, who are the unknown artists making handicrafts in 
faraway deserts, mountains, villages and rural areas, who 
have never been to an art school or design institute or even 
attended formal schooling?
Our country has always been a repository of indigenous 
knowledge, which has been transferred from one generation 
to another. Artists in each generation have created the best 
of works out of available material and technology. Many 
scholars named these art forms as minor arts, utility art, 
folk art, tribal art, people’s art, ritual art, crafts, and so 
on. We know that these art forms have existed from time 
immemorial. We have seen the examples in pre-historic 
cave paintings or works of pottery, terracotta, bronze, ivory, 
etc., of the Indus period as well. During the early history 
and its subsequent times, we find references 
of artists’ communities everywhere. They 
made pots and dresses, jewellery and ritual 
or votive sculptures. They decorated their 
walls and floors and did many more artistic 
things to fulfill their daily needs and supply 
their works to local markets at the same time. 
There is an instinctive aesthetic expression in 
their creations. There is symbolism, specific 
use of motifs, materials, colours and methods 
of making. There is a thin line between art of 
1_8.LivingArt Traditions of India.indd   127 01 Sep 2020   03:00:57 PM
Rationalised 2023-24
128 An IntroductIon to IndIAn Art —PArt II
the people and crafts as both involve creativity, instinct, 
necessities and aesthetics. 
Even now, in many pockets, we find such artifacts. In 
the nineteenth and twentieth centuries, a new perspective 
emerged among modern artists when they looked at 
traditional art forms around them as sources of inspiration 
for their creative pursuits in India, as well as, the West. In 
India, post-Independence a revival of handicraft industry 
took place. The sector became organised for commercial 
production. Apart from continued practice, it gained a 
unique identity. With the forming of States and Union 
Territories, each one of them showcased their unique art 
forms and products in their respective State emporia.  
The art and craft traditions of India showcase the tangible 
heritage of the country with history of more than five 
thousand years. Though we know many of these, let us talk 
about few of them. By and large, there has been a religious 
or ritualistic overtone with richer symbolism, utilitarian and 
decorative aspects, associated with the day-to-day practices 
at home to production on a large scale.
Painting Tradition
Among the many popular traditions of painting, Mithila or 
Madhubani painting of Bihar, Warli painting of Maharshtra, 
Pithoro Painting of North Gujarat and western Madhya 
Pradesh, Pabuji ki Phad from Rajasthan, Pichhwai of 
Nathdwara in Rajasthan, Gond and Sawara Paintings of 
Madhya Pradesh, Pata Chitra of Odisha and Bengal, etc., are 
few examples. Here, a few of them have been discussed.
Mithila painting
Among the most known contemporary painterly art forms is 
Mithila art that derives its name from Mithila, the ancient 
Videha and birthplace of Sita. Also called Madhubani painting 
after the nearest district capital, it is a widely recognised folk 
art tradition. It is presumed that for centuries, women living 
in this region have painted figures and designs on the walls 
of their mud houses for ceremonial occasions, particularly, 
weddings. People of this area see the origin of this art form at 
the time of Princess Sita getting married to Lord Rama. 
These paintings, characterised by bright colours, are 
largely painted in three areas of the house — central or outer 
1_8.LivingArt Traditions of India.indd   128 01 Sep 2020   03:00:57 PM
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t he LIvIng Art t rAdItIons of IndIA 129
1_8.LivingArt Traditions of India.indd   129 01 Sep 2020   03:00:59 PM
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Page 4


8
The Living Art Traditions of India
T
here has always been a timeless tradition of art forms, 
which have been practised for different reasons among 
people, living far from urban life in interior terrains of forests, 
deserts, mountains and villages. So far, we have studied art 
of a certain time, a period named after a place or dynasties, 
who ruled different parts of the Indian subcontinent for few 
hundred years or so. But what about common people? Were 
they not creative? Was there no art that existed around them? 
From where did the artists come to the courts or patrons? 
What did they use to make before coming to cities? Or even 
now, who are the unknown artists making handicrafts in 
faraway deserts, mountains, villages and rural areas, who 
have never been to an art school or design institute or even 
attended formal schooling?
Our country has always been a repository of indigenous 
knowledge, which has been transferred from one generation 
to another. Artists in each generation have created the best 
of works out of available material and technology. Many 
scholars named these art forms as minor arts, utility art, 
folk art, tribal art, people’s art, ritual art, crafts, and so 
on. We know that these art forms have existed from time 
immemorial. We have seen the examples in pre-historic 
cave paintings or works of pottery, terracotta, bronze, ivory, 
etc., of the Indus period as well. During the early history 
and its subsequent times, we find references 
of artists’ communities everywhere. They 
made pots and dresses, jewellery and ritual 
or votive sculptures. They decorated their 
walls and floors and did many more artistic 
things to fulfill their daily needs and supply 
their works to local markets at the same time. 
There is an instinctive aesthetic expression in 
their creations. There is symbolism, specific 
use of motifs, materials, colours and methods 
of making. There is a thin line between art of 
1_8.LivingArt Traditions of India.indd   127 01 Sep 2020   03:00:57 PM
Rationalised 2023-24
128 An IntroductIon to IndIAn Art —PArt II
the people and crafts as both involve creativity, instinct, 
necessities and aesthetics. 
Even now, in many pockets, we find such artifacts. In 
the nineteenth and twentieth centuries, a new perspective 
emerged among modern artists when they looked at 
traditional art forms around them as sources of inspiration 
for their creative pursuits in India, as well as, the West. In 
India, post-Independence a revival of handicraft industry 
took place. The sector became organised for commercial 
production. Apart from continued practice, it gained a 
unique identity. With the forming of States and Union 
Territories, each one of them showcased their unique art 
forms and products in their respective State emporia.  
The art and craft traditions of India showcase the tangible 
heritage of the country with history of more than five 
thousand years. Though we know many of these, let us talk 
about few of them. By and large, there has been a religious 
or ritualistic overtone with richer symbolism, utilitarian and 
decorative aspects, associated with the day-to-day practices 
at home to production on a large scale.
Painting Tradition
Among the many popular traditions of painting, Mithila or 
Madhubani painting of Bihar, Warli painting of Maharshtra, 
Pithoro Painting of North Gujarat and western Madhya 
Pradesh, Pabuji ki Phad from Rajasthan, Pichhwai of 
Nathdwara in Rajasthan, Gond and Sawara Paintings of 
Madhya Pradesh, Pata Chitra of Odisha and Bengal, etc., are 
few examples. Here, a few of them have been discussed.
Mithila painting
Among the most known contemporary painterly art forms is 
Mithila art that derives its name from Mithila, the ancient 
Videha and birthplace of Sita. Also called Madhubani painting 
after the nearest district capital, it is a widely recognised folk 
art tradition. It is presumed that for centuries, women living 
in this region have painted figures and designs on the walls 
of their mud houses for ceremonial occasions, particularly, 
weddings. People of this area see the origin of this art form at 
the time of Princess Sita getting married to Lord Rama. 
These paintings, characterised by bright colours, are 
largely painted in three areas of the house — central or outer 
1_8.LivingArt Traditions of India.indd   128 01 Sep 2020   03:00:57 PM
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1_8.LivingArt Traditions of India.indd   129 01 Sep 2020   03:00:59 PM
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130 An IntroductIon to IndIAn Art —PArt II
courtyards, eastern part of the house, which is the dwelling 
place of Kuladevi, usually, Kali, and a room in the southern 
part of the house, which houses the most significant images. 
Various armed gods and animals or images of women at 
work like carrying waterpots or winnowing grain, etc., are 
vividly portrayed in the outer central courtyard. The inner 
verandah, where the family shrine — devasthana or gosain 
ghar is located, griha devatas and kula devatas are painted. 
In the recent past, many paintings are done on fabric, paper, 
pots, etc., for commercial purposes.
The most extraordinary and colourful painting, however, 
is done in the part of the house known as the kohbar ghar 
or inner room, where magnificent representations of kohbar, 
a lotus with a stalk in full bloom having metaphoric and 
tantric connotation along with images of gods and goddesses 
are painted on freshly plastered walls of the room. 
Among other themes that are painted are episodes from 
the Bhagvata Purana, Ramayana, stories of Shiva-Parvati, 
Durga, Kali and Rasa-Lila of Radha and Krishna. Mithila 
artists do not like empty spaces. They fill in the entire space 
decoratively with elements from nature like birds, flowers, 
animals, fish, snakes, the Sun and the moon, which often  
have symbolic intent, signifying love, passion, fertility, 
eternity, well-being and prosperity. Women paint with 
bamboo twigs to which some cotton swab, rice straw or fibre 
is attached. In earlier days, they made colour from mineral 
stones and organic things, such as phalsa and kusum 
flowers, bilwa leaves, kajal, turmeric, etc.  
Warli painting
The Warli community inhabit the west coast of Northern 
Maharashtra around the north Sahyadri range with a large 
concentration in the district of Thane. Married women play a 
central role in creating their most important painting called 
Chowk to mark special occasions. Closely associated with 
the rituals of marriage, fertility, harvest and new season of 
sowing, Chowk is dominated by the figure of mother goddess, 
Palaghat, who is chiefly worshipped as the goddess of fertility 
and represents the corn goddess, Kansari.
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Page 5


8
The Living Art Traditions of India
T
here has always been a timeless tradition of art forms, 
which have been practised for different reasons among 
people, living far from urban life in interior terrains of forests, 
deserts, mountains and villages. So far, we have studied art 
of a certain time, a period named after a place or dynasties, 
who ruled different parts of the Indian subcontinent for few 
hundred years or so. But what about common people? Were 
they not creative? Was there no art that existed around them? 
From where did the artists come to the courts or patrons? 
What did they use to make before coming to cities? Or even 
now, who are the unknown artists making handicrafts in 
faraway deserts, mountains, villages and rural areas, who 
have never been to an art school or design institute or even 
attended formal schooling?
Our country has always been a repository of indigenous 
knowledge, which has been transferred from one generation 
to another. Artists in each generation have created the best 
of works out of available material and technology. Many 
scholars named these art forms as minor arts, utility art, 
folk art, tribal art, people’s art, ritual art, crafts, and so 
on. We know that these art forms have existed from time 
immemorial. We have seen the examples in pre-historic 
cave paintings or works of pottery, terracotta, bronze, ivory, 
etc., of the Indus period as well. During the early history 
and its subsequent times, we find references 
of artists’ communities everywhere. They 
made pots and dresses, jewellery and ritual 
or votive sculptures. They decorated their 
walls and floors and did many more artistic 
things to fulfill their daily needs and supply 
their works to local markets at the same time. 
There is an instinctive aesthetic expression in 
their creations. There is symbolism, specific 
use of motifs, materials, colours and methods 
of making. There is a thin line between art of 
1_8.LivingArt Traditions of India.indd   127 01 Sep 2020   03:00:57 PM
Rationalised 2023-24
128 An IntroductIon to IndIAn Art —PArt II
the people and crafts as both involve creativity, instinct, 
necessities and aesthetics. 
Even now, in many pockets, we find such artifacts. In 
the nineteenth and twentieth centuries, a new perspective 
emerged among modern artists when they looked at 
traditional art forms around them as sources of inspiration 
for their creative pursuits in India, as well as, the West. In 
India, post-Independence a revival of handicraft industry 
took place. The sector became organised for commercial 
production. Apart from continued practice, it gained a 
unique identity. With the forming of States and Union 
Territories, each one of them showcased their unique art 
forms and products in their respective State emporia.  
The art and craft traditions of India showcase the tangible 
heritage of the country with history of more than five 
thousand years. Though we know many of these, let us talk 
about few of them. By and large, there has been a religious 
or ritualistic overtone with richer symbolism, utilitarian and 
decorative aspects, associated with the day-to-day practices 
at home to production on a large scale.
Painting Tradition
Among the many popular traditions of painting, Mithila or 
Madhubani painting of Bihar, Warli painting of Maharshtra, 
Pithoro Painting of North Gujarat and western Madhya 
Pradesh, Pabuji ki Phad from Rajasthan, Pichhwai of 
Nathdwara in Rajasthan, Gond and Sawara Paintings of 
Madhya Pradesh, Pata Chitra of Odisha and Bengal, etc., are 
few examples. Here, a few of them have been discussed.
Mithila painting
Among the most known contemporary painterly art forms is 
Mithila art that derives its name from Mithila, the ancient 
Videha and birthplace of Sita. Also called Madhubani painting 
after the nearest district capital, it is a widely recognised folk 
art tradition. It is presumed that for centuries, women living 
in this region have painted figures and designs on the walls 
of their mud houses for ceremonial occasions, particularly, 
weddings. People of this area see the origin of this art form at 
the time of Princess Sita getting married to Lord Rama. 
These paintings, characterised by bright colours, are 
largely painted in three areas of the house — central or outer 
1_8.LivingArt Traditions of India.indd   128 01 Sep 2020   03:00:57 PM
Rationalised 2023-24
t he LIvIng Art t rAdItIons of IndIA 129
1_8.LivingArt Traditions of India.indd   129 01 Sep 2020   03:00:59 PM
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130 An IntroductIon to IndIAn Art —PArt II
courtyards, eastern part of the house, which is the dwelling 
place of Kuladevi, usually, Kali, and a room in the southern 
part of the house, which houses the most significant images. 
Various armed gods and animals or images of women at 
work like carrying waterpots or winnowing grain, etc., are 
vividly portrayed in the outer central courtyard. The inner 
verandah, where the family shrine — devasthana or gosain 
ghar is located, griha devatas and kula devatas are painted. 
In the recent past, many paintings are done on fabric, paper, 
pots, etc., for commercial purposes.
The most extraordinary and colourful painting, however, 
is done in the part of the house known as the kohbar ghar 
or inner room, where magnificent representations of kohbar, 
a lotus with a stalk in full bloom having metaphoric and 
tantric connotation along with images of gods and goddesses 
are painted on freshly plastered walls of the room. 
Among other themes that are painted are episodes from 
the Bhagvata Purana, Ramayana, stories of Shiva-Parvati, 
Durga, Kali and Rasa-Lila of Radha and Krishna. Mithila 
artists do not like empty spaces. They fill in the entire space 
decoratively with elements from nature like birds, flowers, 
animals, fish, snakes, the Sun and the moon, which often  
have symbolic intent, signifying love, passion, fertility, 
eternity, well-being and prosperity. Women paint with 
bamboo twigs to which some cotton swab, rice straw or fibre 
is attached. In earlier days, they made colour from mineral 
stones and organic things, such as phalsa and kusum 
flowers, bilwa leaves, kajal, turmeric, etc.  
Warli painting
The Warli community inhabit the west coast of Northern 
Maharashtra around the north Sahyadri range with a large 
concentration in the district of Thane. Married women play a 
central role in creating their most important painting called 
Chowk to mark special occasions. Closely associated with 
the rituals of marriage, fertility, harvest and new season of 
sowing, Chowk is dominated by the figure of mother goddess, 
Palaghat, who is chiefly worshipped as the goddess of fertility 
and represents the corn goddess, Kansari.
1_8.LivingArt Traditions of India.indd   130 01 Sep 2020   03:00:59 PM
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