All Artist
MALA BARUA
Mala Barua launched Mystic-Asia to dedicate time to the mission of her heart. The aim of the retreats created by Mala, is to bring the ancient wisdom of eastern spiritual knowledge to the people through a simple language and on an easy-to-understand platform.
MALA BARUA
Mala Barua launched Mystic-Asia to dedicate time to the mission of her heart. The aim of the retreats created by Mala, is to bring the ancient wisdom of eastern spiritual knowledge to the people through a simple language and on an easy-to-understand platform.
MALA BARUA
Mala Barua launched Mystic-Asia to dedicate time to the mission of her heart. The aim of the retreats created by Mala, is to bring the ancient wisdom of eastern spiritual knowledge to the people through a simple language and on an easy-to-understand platform.
Archana Shrama
After six years of intensive training in music & painting, with keen interest in art, Archana Sharma, the founder of Kritya, accepted a challenge to devote life in learning, performing and exchanging Indian art & culture across the globe. She has been a successful and highly admired art performer in more than 5 nations. She has organized & hosted number of music shows and painting exhibitions in Germany, Italy, France, India and many more.
Archana Shrama
After six years of intensive training in music & painting, with keen interest in art, Archana Sharma, the founder of Kritya, accepted a challenge to devote life in learning, performing and exchanging Indian art & culture across the globe. She has been a successful and highly admired art performer in more than 5 nations. She has organized & hosted number of music shows and painting exhibitions in Germany, Italy, France, India and many more.
Archana Shrama
After six years of intensive training in music & painting, with keen interest in art, Archana Sharma, the founder of Kritya, accepted a challenge to devote life in learning, performing and exchanging Indian art & culture across the globe. She has been a successful and highly admired art performer in more than 5 nations. She has organized & hosted number of music shows and painting exhibitions in Germany, Italy, France, India and many more.
PRADEEP KUMAR MARAVI
GOND ARTIST- PRADEEP KUMAR MARAVI
PRADEEP KUMAR MARAVI
GOND ARTIST- PRADEEP KUMAR MARAVI
PRADEEP KUMAR MARAVI
GOND ARTIST- PRADEEP KUMAR MARAVI
KISHORE SADASHIV MASHE
Kishore Sadashiv Mashe, grandson of the acclaimed painter Jivya Soma Mashe, was born in Ganjad village, Maharashtra, in 1984. He learnt the technique from his family. Typically, Warlis are simply painted on mud, charcoal and cow dung-treated surfaces with rice paste for the colour white. The figures and traditional motives are repetitive and highly symbolic. Triangular humans and animals with stick-like hands and legs and geometrical designs with rows of dots and dashes are drawn on the surface. Kishore, like other Warli painters, makes time after teaching at a school and other day to day activities to paint in the evenings. His work takes after that of Jivya Soma Mashe in the intricate geometric patterns and compositions. Kishore lives in his village with family and works from home.
KISHORE SADASHIV MASHE
Kishore Sadashiv Mashe, grandson of the acclaimed painter Jivya Soma Mashe, was born in Ganjad village, Maharashtra, in 1984. He learnt the technique from his family. Typically, Warlis are simply painted on mud, charcoal and cow dung-treated surfaces with rice paste for the colour white. The figures and traditional motives are repetitive and highly symbolic. Triangular humans and animals with stick-like hands and legs and geometrical designs with rows of dots and dashes are drawn on the surface. Kishore, like other Warli painters, makes time after teaching at a school and other day to day activities to paint in the evenings. His work takes after that of Jivya Soma Mashe in the intricate geometric patterns and compositions. Kishore lives in his village with family and works from home.
KISHORE SADASHIV MASHE
Kishore Sadashiv Mashe, grandson of the acclaimed painter Jivya Soma Mashe, was born in Ganjad village, Maharashtra, in 1984. He learnt the technique from his family. Typically, Warlis are simply painted on mud, charcoal and cow dung-treated surfaces with rice paste for the colour white. The figures and traditional motives are repetitive and highly symbolic. Triangular humans and animals with stick-like hands and legs and geometrical designs with rows of dots and dashes are drawn on the surface. Kishore, like other Warli painters, makes time after teaching at a school and other day to day activities to paint in the evenings. His work takes after that of Jivya Soma Mashe in the intricate geometric patterns and compositions. Kishore lives in his village with family and works from home.
BHAJJU SHYAM
The Gond Art is counted in the realm of international art lovers because of dedication of many practicing Gond artist. The one name that stands in the forefront of this line of Gond artist is Bhajju Shyam. When Bhajju was in his teens he travelled to the city of Bhopal, capital of Madhya Pradesh in order to find work. As an apprentice to his uncle who is also a famous Gond artist Jangarh Singh Shyam, Bhajju was a sharp mind to learn the intricacies of the indigenous art Gond. The London Jungle Book, published by Tara Books, documents the artist’s travels to the western world. He also received the Bologna Ragazzi award from Italy. He has also been decorated with a Padma Shri in the year 2018 by the government of India.
BHAJJU SHYAM
The Gond Art is counted in the realm of international art lovers because of dedication of many practicing Gond artist. The one name that stands in the forefront of this line of Gond artist is Bhajju Shyam. When Bhajju was in his teens he travelled to the city of Bhopal, capital of Madhya Pradesh in order to find work. As an apprentice to his uncle who is also a famous Gond artist Jangarh Singh Shyam, Bhajju was a sharp mind to learn the intricacies of the indigenous art Gond. The London Jungle Book, published by Tara Books, documents the artist’s travels to the western world. He also received the Bologna Ragazzi award from Italy. He has also been decorated with a Padma Shri in the year 2018 by the government of India.
BHAJJU SHYAM
The Gond Art is counted in the realm of international art lovers because of dedication of many practicing Gond artist. The one name that stands in the forefront of this line of Gond artist is Bhajju Shyam. When Bhajju was in his teens he travelled to the city of Bhopal, capital of Madhya Pradesh in order to find work. As an apprentice to his uncle who is also a famous Gond artist Jangarh Singh Shyam, Bhajju was a sharp mind to learn the intricacies of the indigenous art Gond. The London Jungle Book, published by Tara Books, documents the artist’s travels to the western world. He also received the Bologna Ragazzi award from Italy. He has also been decorated with a Padma Shri in the year 2018 by the government of India.
AMIT KUMAWAT
AMIT KUMAWAT
AMIT KUMAWAT
AMIT KUMAWAT
AMIT KUMAWAT
AMIT KUMAWAT
ANIL CHAITYA VANGAD
Hailing from a village in the state of Maharashtra, the artist Anil Chaitya Vangad has been in the field of painting for the past seventeen years. The popular motifs of Warli paintings like Gods, Goddesses, wedding affairs, tarpa dance, to name a few, come alive in the paintings done by Vangad. The indigenous art is all about oral traditions where folktales and myth gain major attention for the artists. Vangad gaining tradition knowledge about his art practice from his mother deploys tradition mediums of gerue, rice paste, and charcoal and cow dung along with contemporary material like synthetic paints and dyes.
ANIL CHAITYA VANGAD
Hailing from a village in the state of Maharashtra, the artist Anil Chaitya Vangad has been in the field of painting for the past seventeen years. The popular motifs of Warli paintings like Gods, Goddesses, wedding affairs, tarpa dance, to name a few, come alive in the paintings done by Vangad. The indigenous art is all about oral traditions where folktales and myth gain major attention for the artists. Vangad gaining tradition knowledge about his art practice from his mother deploys tradition mediums of gerue, rice paste, and charcoal and cow dung along with contemporary material like synthetic paints and dyes.
ANIL CHAITYA VANGAD
Hailing from a village in the state of Maharashtra, the artist Anil Chaitya Vangad has been in the field of painting for the past seventeen years. The popular motifs of Warli paintings like Gods, Goddesses, wedding affairs, tarpa dance, to name a few, come alive in the paintings done by Vangad. The indigenous art is all about oral traditions where folktales and myth gain major attention for the artists. Vangad gaining tradition knowledge about his art practice from his mother deploys tradition mediums of gerue, rice paste, and charcoal and cow dung along with contemporary material like synthetic paints and dyes.
ANWAR CHITRAKAR
Almost entirely displaced by cheaper printed versions in the 1940s, today, the tradition of Kalighat painting has been renewed by some of the descendents of the original patuas like Anwar Chitrakar. In addition, the tradition has evolved, and contemporary Kalighat paintings reflect a number of new subjects including modern family life, social evils and global events. Anwar Chitrakar lives and works in Naya village, a community of 'patuas' or artists and their families, in Midnapore, West Bengal. Originally working as a tailor, Anwar now strives to revive the lost glory of Kalighat 'patas' through his work, combining traditional techniques with contemporary subjects and sensibilities. Local and global events, including the Naxalite violence in his state and the attacks on the twin towers in New York have featured in his paintings alongside traditional subjects like Kali and the ubiquitous Bengali babu. In 2006, he was honoured with the President's Award, and his paintings several prestigious collections including that of the Victoria & Albert Museum,london
ANWAR CHITRAKAR
Almost entirely displaced by cheaper printed versions in the 1940s, today, the tradition of Kalighat painting has been renewed by some of the descendents of the original patuas like Anwar Chitrakar. In addition, the tradition has evolved, and contemporary Kalighat paintings reflect a number of new subjects including modern family life, social evils and global events. Anwar Chitrakar lives and works in Naya village, a community of 'patuas' or artists and their families, in Midnapore, West Bengal. Originally working as a tailor, Anwar now strives to revive the lost glory of Kalighat 'patas' through his work, combining traditional techniques with contemporary subjects and sensibilities. Local and global events, including the Naxalite violence in his state and the attacks on the twin towers in New York have featured in his paintings alongside traditional subjects like Kali and the ubiquitous Bengali babu. In 2006, he was honoured with the President's Award, and his paintings several prestigious collections including that of the Victoria & Albert Museum,london
ANWAR CHITRAKAR
Almost entirely displaced by cheaper printed versions in the 1940s, today, the tradition of Kalighat painting has been renewed by some of the descendents of the original patuas like Anwar Chitrakar. In addition, the tradition has evolved, and contemporary Kalighat paintings reflect a number of new subjects including modern family life, social evils and global events. Anwar Chitrakar lives and works in Naya village, a community of 'patuas' or artists and their families, in Midnapore, West Bengal. Originally working as a tailor, Anwar now strives to revive the lost glory of Kalighat 'patas' through his work, combining traditional techniques with contemporary subjects and sensibilities. Local and global events, including the Naxalite violence in his state and the attacks on the twin towers in New York have featured in his paintings alongside traditional subjects like Kali and the ubiquitous Bengali babu. In 2006, he was honoured with the President's Award, and his paintings several prestigious collections including that of the Victoria & Albert Museum,london
BALU JIVYA MASHE
Balu Mashe is the son of the renowned Warli artist Jivya Soma Mashe. His pictorial style is rooted in the tradition of Warli, with rhythmic, simplified forms representing the complexities of the world around him. He continues the tradition of Warli painting along with his brother, Sadashiv Mashe.
BALU JIVYA MASHE
Balu Mashe is the son of the renowned Warli artist Jivya Soma Mashe. His pictorial style is rooted in the tradition of Warli, with rhythmic, simplified forms representing the complexities of the world around him. He continues the tradition of Warli painting along with his brother, Sadashiv Mashe.
BALU JIVYA MASHE
Balu Mashe is the son of the renowned Warli artist Jivya Soma Mashe. His pictorial style is rooted in the tradition of Warli, with rhythmic, simplified forms representing the complexities of the world around him. He continues the tradition of Warli painting along with his brother, Sadashiv Mashe.
BAUA DEVI
At 68, age does not allow her to paint on the mud walls of her village home in Jitwarpur, Bihar, any more, but Baua Devi is one of the pioneers of Madhubani painting, an ancient folk art the region is known for. According to folklore, when the district of Madhubani was gearing up for the festivities ahead of the wedding of Ram and Sita, king Janak, the bride’s father, ordered the villagers to dress up their walls with paintings of mythological events and geometric patterns to celebrate the occasion. Since then, every wedding in the region has followed the ritual, decorating the bridal chamber or kohbar ghar with intricate linear paintings in bright colours. The wall art became a local tradition.
BAUA DEVI
At 68, age does not allow her to paint on the mud walls of her village home in Jitwarpur, Bihar, any more, but Baua Devi is one of the pioneers of Madhubani painting, an ancient folk art the region is known for. According to folklore, when the district of Madhubani was gearing up for the festivities ahead of the wedding of Ram and Sita, king Janak, the bride’s father, ordered the villagers to dress up their walls with paintings of mythological events and geometric patterns to celebrate the occasion. Since then, every wedding in the region has followed the ritual, decorating the bridal chamber or kohbar ghar with intricate linear paintings in bright colours. The wall art became a local tradition.
BAUA DEVI
At 68, age does not allow her to paint on the mud walls of her village home in Jitwarpur, Bihar, any more, but Baua Devi is one of the pioneers of Madhubani painting, an ancient folk art the region is known for. According to folklore, when the district of Madhubani was gearing up for the festivities ahead of the wedding of Ram and Sita, king Janak, the bride’s father, ordered the villagers to dress up their walls with paintings of mythological events and geometric patterns to celebrate the occasion. Since then, every wedding in the region has followed the ritual, decorating the bridal chamber or kohbar ghar with intricate linear paintings in bright colours. The wall art became a local tradition.
BHURI BAI
An internationally known practitioner of the Bhil folk art form, Bhuri Bai is a native to the state Madhya Pradesh. During the initial days of her paintings, Bhuri drew motivation from the time spent at the festivities carried out in her village Pitol. It was on the suggestion of Jagdish Swaminathan that Bhuri started to paint on the paper and canvas instead of mud walls, which marked a significant shift in her life. Her career is a fine balance between traditional art of Bhil and contemporary elements of surreal shapes and forms. Currently, Bhuri works as an artist in the Adivasi Lok Kala Academy in Bhopal, Madhya Pradesh.
BHURI BAI
An internationally known practitioner of the Bhil folk art form, Bhuri Bai is a native to the state Madhya Pradesh. During the initial days of her paintings, Bhuri drew motivation from the time spent at the festivities carried out in her village Pitol. It was on the suggestion of Jagdish Swaminathan that Bhuri started to paint on the paper and canvas instead of mud walls, which marked a significant shift in her life. Her career is a fine balance between traditional art of Bhil and contemporary elements of surreal shapes and forms. Currently, Bhuri works as an artist in the Adivasi Lok Kala Academy in Bhopal, Madhya Pradesh.
BHURI BAI
An internationally known practitioner of the Bhil folk art form, Bhuri Bai is a native to the state Madhya Pradesh. During the initial days of her paintings, Bhuri drew motivation from the time spent at the festivities carried out in her village Pitol. It was on the suggestion of Jagdish Swaminathan that Bhuri started to paint on the paper and canvas instead of mud walls, which marked a significant shift in her life. Her career is a fine balance between traditional art of Bhil and contemporary elements of surreal shapes and forms. Currently, Bhuri works as an artist in the Adivasi Lok Kala Academy in Bhopal, Madhya Pradesh.
CHAKSUDAN PAT
CHAKSUDAN PAT
CHAKSUDAN PAT
CHAKSUDAN PAT
CHAKSUDAN PAT
CHAKSUDAN PAT
CHANDRAKALA DEVI
CHANDRAKALA DEVI
CHANDRAKALA DEVI
CHANDRAKALA DEVI
CHANDRAKALA DEVI
CHANDRAKALA DEVI
CHHOTI TEKAM
Chhoti Tekam has been painting for only two years, but with her vivid imagination and sheer determination she has already carved out a place for herself among the well known artists in the contemporary Gond genre. When she came to Bhopal after her marriage to Santosh Tekam, she was amazed to find so many artists in the city. She saw their paintings and felt that she could do it too. When Ram Singh Urveti gave her paper and colours, she didn’t hesitate for a moment, and covered the sheet with forms of deer, her favourite animal. Deer, with their dark eyes and majestic walk had always caught her imagination. Choti was thrilled with the acrylic paints which at last gave her the freedom to use the whole spectrum of colours. Her favourite colour of all was blue – “the blue that a peacock carries on its body.” She recalls with nostalgia how in her childhood, she would try to reproduce the colours she wanted for flowers and leaves which she painted on the walls of her house with a homemade brush. When her mother asked her to drawdigna on the wall, she would draw flowers of different kinds, not the customary dignawhich bored her with its endless repetition. The artist in Choti Tekam is now fully awake, as she paints on canvas and paper. At work in the Museum of Mankind the gallery all day, she dreams of the images she will paint on her canvas at night, after she puts year old son to bed.
CHHOTI TEKAM
Chhoti Tekam has been painting for only two years, but with her vivid imagination and sheer determination she has already carved out a place for herself among the well known artists in the contemporary Gond genre. When she came to Bhopal after her marriage to Santosh Tekam, she was amazed to find so many artists in the city. She saw their paintings and felt that she could do it too. When Ram Singh Urveti gave her paper and colours, she didn’t hesitate for a moment, and covered the sheet with forms of deer, her favourite animal. Deer, with their dark eyes and majestic walk had always caught her imagination. Choti was thrilled with the acrylic paints which at last gave her the freedom to use the whole spectrum of colours. Her favourite colour of all was blue – “the blue that a peacock carries on its body.” She recalls with nostalgia how in her childhood, she would try to reproduce the colours she wanted for flowers and leaves which she painted on the walls of her house with a homemade brush. When her mother asked her to drawdigna on the wall, she would draw flowers of different kinds, not the customary dignawhich bored her with its endless repetition. The artist in Choti Tekam is now fully awake, as she paints on canvas and paper. At work in the Museum of Mankind the gallery all day, she dreams of the images she will paint on her canvas at night, after she puts year old son to bed.
CHHOTI TEKAM
Chhoti Tekam has been painting for only two years, but with her vivid imagination and sheer determination she has already carved out a place for herself among the well known artists in the contemporary Gond genre. When she came to Bhopal after her marriage to Santosh Tekam, she was amazed to find so many artists in the city. She saw their paintings and felt that she could do it too. When Ram Singh Urveti gave her paper and colours, she didn’t hesitate for a moment, and covered the sheet with forms of deer, her favourite animal. Deer, with their dark eyes and majestic walk had always caught her imagination. Choti was thrilled with the acrylic paints which at last gave her the freedom to use the whole spectrum of colours. Her favourite colour of all was blue – “the blue that a peacock carries on its body.” She recalls with nostalgia how in her childhood, she would try to reproduce the colours she wanted for flowers and leaves which she painted on the walls of her house with a homemade brush. When her mother asked her to drawdigna on the wall, she would draw flowers of different kinds, not the customary dignawhich bored her with its endless repetition. The artist in Choti Tekam is now fully awake, as she paints on canvas and paper. At work in the Museum of Mankind the gallery all day, she dreams of the images she will paint on her canvas at night, after she puts year old son to bed.
COMPANY SCHOOL
company school Also known as he kampani kalam, this school of painting came about as a result of the British Raj establishing itself in India. Indian artists in the subcontinent conceived a style that was a marriage of Indian and European aesthetics, named the ëCompanyí style, as these artists were often employed by European companies such as the East India Company. The local flavour crept into the work such as elements from the Rajput and Mughal miniature as well as the Bengal school, seamlessly coupled with more Occidental perspectives and palettes. The works were usually not very large, retaining some of the feel of the Indian miniatures. However, the paintings of flora and fauna and those with avian themes were often larger.
COMPANY SCHOOL
company school Also known as he kampani kalam, this school of painting came about as a result of the British Raj establishing itself in India. Indian artists in the subcontinent conceived a style that was a marriage of Indian and European aesthetics, named the ëCompanyí style, as these artists were often employed by European companies such as the East India Company. The local flavour crept into the work such as elements from the Rajput and Mughal miniature as well as the Bengal school, seamlessly coupled with more Occidental perspectives and palettes. The works were usually not very large, retaining some of the feel of the Indian miniatures. However, the paintings of flora and fauna and those with avian themes were often larger.
COMPANY SCHOOL
company school Also known as he kampani kalam, this school of painting came about as a result of the British Raj establishing itself in India. Indian artists in the subcontinent conceived a style that was a marriage of Indian and European aesthetics, named the ëCompanyí style, as these artists were often employed by European companies such as the East India Company. The local flavour crept into the work such as elements from the Rajput and Mughal miniature as well as the Bengal school, seamlessly coupled with more Occidental perspectives and palettes. The works were usually not very large, retaining some of the feel of the Indian miniatures. However, the paintings of flora and fauna and those with avian themes were often larger.
DHAVAT SINGH UIKEY
Dhavat Singh Uikey likes to call himself a contemporary artist who deploy traditional skills in his style of paintings. An engineer by education and a Gond artist by profession, Uikey major influence has been folk tales that are narrated by Baiga tribe of Madhya Pradesh. Taking Gond Art to a higher level, the artist puts fauna life on his canvas with a life-like quality. The animated canvas seems to be a visual translation of a folktale. An experimenter, Uikey likes to play around the scale of his imagination and colour palette, which add an element of novelty in his paintings. Jayram Bhakta-Terracotta Art in India traces its history to very early periods. Various forms of terracotta are found in the excavations of Indus Valley Civilisation and India has been the cradle of terracotta art. In Orissa Jayram Bhakta was inclined to do this art on paper hence making it unique and wonderful to the eyes of the onlooker.
DHAVAT SINGH UIKEY
Dhavat Singh Uikey likes to call himself a contemporary artist who deploy traditional skills in his style of paintings. An engineer by education and a Gond artist by profession, Uikey major influence has been folk tales that are narrated by Baiga tribe of Madhya Pradesh. Taking Gond Art to a higher level, the artist puts fauna life on his canvas with a life-like quality. The animated canvas seems to be a visual translation of a folktale. An experimenter, Uikey likes to play around the scale of his imagination and colour palette, which add an element of novelty in his paintings. Jayram Bhakta-Terracotta Art in India traces its history to very early periods. Various forms of terracotta are found in the excavations of Indus Valley Civilisation and India has been the cradle of terracotta art. In Orissa Jayram Bhakta was inclined to do this art on paper hence making it unique and wonderful to the eyes of the onlooker.
DHAVAT SINGH UIKEY
Dhavat Singh Uikey likes to call himself a contemporary artist who deploy traditional skills in his style of paintings. An engineer by education and a Gond artist by profession, Uikey major influence has been folk tales that are narrated by Baiga tribe of Madhya Pradesh. Taking Gond Art to a higher level, the artist puts fauna life on his canvas with a life-like quality. The animated canvas seems to be a visual translation of a folktale. An experimenter, Uikey likes to play around the scale of his imagination and colour palette, which add an element of novelty in his paintings. Jayram Bhakta-Terracotta Art in India traces its history to very early periods. Various forms of terracotta are found in the excavations of Indus Valley Civilisation and India has been the cradle of terracotta art. In Orissa Jayram Bhakta was inclined to do this art on paper hence making it unique and wonderful to the eyes of the onlooker.
DILIP SHYAM
Dilip Shyam cherishes the memory of Jangarh Singh, who had commented on seeing his paintings, “You also have the artist in you. Don’t let that die.” Dilip Shyam was honoured with the Jangarh Singh Shyam Award in 2008 with no proffesional training his work speaks for him.
DILIP SHYAM
Dilip Shyam cherishes the memory of Jangarh Singh, who had commented on seeing his paintings, “You also have the artist in you. Don’t let that die.” Dilip Shyam was honoured with the Jangarh Singh Shyam Award in 2008 with no proffesional training his work speaks for him.
DILIP SHYAM
Dilip Shyam cherishes the memory of Jangarh Singh, who had commented on seeing his paintings, “You also have the artist in you. Don’t let that die.” Dilip Shyam was honoured with the Jangarh Singh Shyam Award in 2008 with no proffesional training his work speaks for him.
DURGA BAI
The paintings by Durga Bai are popular for their unique storytelling quality. Her works talk about her birthplace, Burbaspur, a small village in the Mandla district of Madhya Pradesh. She has painted several goddesses: Ratmaimurkhuri, Maharalin Mata, Khero Mata, Budi Mai, and Kulsahinmata. Durga, and also painted the males gods like Bada Dev and Chula Dev. Durga was honoured by the Handicraft Development Council (2004). Durga with two other Gond artists, Ram Singh Urveti and Bhajju Shyam, were presented the Bologna Ragazzi Award for their illustrated book, The Night Life of Trees (2008). She also received an award from the IGNCA (Indira Gandhi National Centre for the Arts, 2007).
DURGA BAI
The paintings by Durga Bai are popular for their unique storytelling quality. Her works talk about her birthplace, Burbaspur, a small village in the Mandla district of Madhya Pradesh. She has painted several goddesses: Ratmaimurkhuri, Maharalin Mata, Khero Mata, Budi Mai, and Kulsahinmata. Durga, and also painted the males gods like Bada Dev and Chula Dev. Durga was honoured by the Handicraft Development Council (2004). Durga with two other Gond artists, Ram Singh Urveti and Bhajju Shyam, were presented the Bologna Ragazzi Award for their illustrated book, The Night Life of Trees (2008). She also received an award from the IGNCA (Indira Gandhi National Centre for the Arts, 2007).
DURGA BAI
The paintings by Durga Bai are popular for their unique storytelling quality. Her works talk about her birthplace, Burbaspur, a small village in the Mandla district of Madhya Pradesh. She has painted several goddesses: Ratmaimurkhuri, Maharalin Mata, Khero Mata, Budi Mai, and Kulsahinmata. Durga, and also painted the males gods like Bada Dev and Chula Dev. Durga was honoured by the Handicraft Development Council (2004). Durga with two other Gond artists, Ram Singh Urveti and Bhajju Shyam, were presented the Bologna Ragazzi Award for their illustrated book, The Night Life of Trees (2008). She also received an award from the IGNCA (Indira Gandhi National Centre for the Arts, 2007).
GAREEBA SINGH TEKAM
Gareeba Singh Tekam, the youngest brother of Narmada Singh Tekam and Kala Bai, was inspired by Jangarh Singh Shyam to take up painting as a profession. Jangarh encouraged him to continue painting, marvelling at his forms and colours. This was only silver lining in the hardship of Gareeba's life during those early days. Gareeba and his wife Prem Bai work at IGRMS, in the Museum of Mankind. They look after the gallery where Gareeba's painting of the seven Gond brothers, the youngest of whom became a Pardhan, is displayed. Since Gareeba himself is from the Pardhan community, the Gond priests, he has always been fascinated by the story.
GAREEBA SINGH TEKAM
Gareeba Singh Tekam, the youngest brother of Narmada Singh Tekam and Kala Bai, was inspired by Jangarh Singh Shyam to take up painting as a profession. Jangarh encouraged him to continue painting, marvelling at his forms and colours. This was only silver lining in the hardship of Gareeba's life during those early days. Gareeba and his wife Prem Bai work at IGRMS, in the Museum of Mankind. They look after the gallery where Gareeba's painting of the seven Gond brothers, the youngest of whom became a Pardhan, is displayed. Since Gareeba himself is from the Pardhan community, the Gond priests, he has always been fascinated by the story.
GAREEBA SINGH TEKAM
Gareeba Singh Tekam, the youngest brother of Narmada Singh Tekam and Kala Bai, was inspired by Jangarh Singh Shyam to take up painting as a profession. Jangarh encouraged him to continue painting, marvelling at his forms and colours. This was only silver lining in the hardship of Gareeba's life during those early days. Gareeba and his wife Prem Bai work at IGRMS, in the Museum of Mankind. They look after the gallery where Gareeba's painting of the seven Gond brothers, the youngest of whom became a Pardhan, is displayed. Since Gareeba himself is from the Pardhan community, the Gond priests, he has always been fascinated by the story.
GEETA BARIYA
I am not from the Bhil community. I married into it when I fell in love with a man from this tribal community from Madhya Pradesh. The Bhils use their colourful paintings as part of their marriage ceremonies. They are traditionally done by male elders from the community. I was encouraged to learn the art form by my husbands' uncle. None of us could have predicted that what began as charcoal drawings on my kitchen walls would one day get me commissions, exhibitions and residencies. I have travelled to many parts of India with my work and met all kinds of people. My husband encourages and supports me. The community sometimes criticise us as I have to come out of purdah for my work. But I have meetings with government officials, clients and customers. I cannot meet them from behind a cloth so when I am working I don't keep purdah. But when I go home I have to cover my face. I am proud of my work. it has brought me financial independence, fame and new experiences. I am now encouraging other women in our family to learn the art of Bhil Painting.
GEETA BARIYA
I am not from the Bhil community. I married into it when I fell in love with a man from this tribal community from Madhya Pradesh. The Bhils use their colourful paintings as part of their marriage ceremonies. They are traditionally done by male elders from the community. I was encouraged to learn the art form by my husbands' uncle. None of us could have predicted that what began as charcoal drawings on my kitchen walls would one day get me commissions, exhibitions and residencies. I have travelled to many parts of India with my work and met all kinds of people. My husband encourages and supports me. The community sometimes criticise us as I have to come out of purdah for my work. But I have meetings with government officials, clients and customers. I cannot meet them from behind a cloth so when I am working I don't keep purdah. But when I go home I have to cover my face. I am proud of my work. it has brought me financial independence, fame and new experiences. I am now encouraging other women in our family to learn the art of Bhil Painting.
GEETA BARIYA
I am not from the Bhil community. I married into it when I fell in love with a man from this tribal community from Madhya Pradesh. The Bhils use their colourful paintings as part of their marriage ceremonies. They are traditionally done by male elders from the community. I was encouraged to learn the art form by my husbands' uncle. None of us could have predicted that what began as charcoal drawings on my kitchen walls would one day get me commissions, exhibitions and residencies. I have travelled to many parts of India with my work and met all kinds of people. My husband encourages and supports me. The community sometimes criticise us as I have to come out of purdah for my work. But I have meetings with government officials, clients and customers. I cannot meet them from behind a cloth so when I am working I don't keep purdah. But when I go home I have to cover my face. I am proud of my work. it has brought me financial independence, fame and new experiences. I am now encouraging other women in our family to learn the art of Bhil Painting.
GOVIND JOGI
Govind Jogi is a self-taught artist who alongwith his parents Ganesh and Teju Jogi created their own unique art style known as “Jogi Art”. Govind Jogi’s works are part of the permanent collection at the National Museums, Liverpool, UK.
GOVIND JOGI
Govind Jogi is a self-taught artist who alongwith his parents Ganesh and Teju Jogi created their own unique art style known as “Jogi Art”. Govind Jogi’s works are part of the permanent collection at the National Museums, Liverpool, UK.
GOVIND JOGI
Govind Jogi is a self-taught artist who alongwith his parents Ganesh and Teju Jogi created their own unique art style known as “Jogi Art”. Govind Jogi’s works are part of the permanent collection at the National Museums, Liverpool, UK.
JAYRAM BHAKTA
Terracotta Art in India traces its history to very early periods. Various forms of terracotta are found in the excavations of Indus Valley Civilisation and India has been the cradle of terracotta art. In Orissa Jayram Bhakta was inclined to do this art on paper hence making it unique and wonderful to the eyes of the onlooker.
JAYRAM BHAKTA
Terracotta Art in India traces its history to very early periods. Various forms of terracotta are found in the excavations of Indus Valley Civilisation and India has been the cradle of terracotta art. In Orissa Jayram Bhakta was inclined to do this art on paper hence making it unique and wonderful to the eyes of the onlooker.
JAYRAM BHAKTA
Terracotta Art in India traces its history to very early periods. Various forms of terracotta are found in the excavations of Indus Valley Civilisation and India has been the cradle of terracotta art. In Orissa Jayram Bhakta was inclined to do this art on paper hence making it unique and wonderful to the eyes of the onlooker.
KALAMPATUA
The 19th century art of Kalighat paintings might have been languishing if not for the commitment and dedication of fifty year old Kalam Patua. Descended from scroll painters, the artistic passion flared up in his blood and he can be said to have given the style a new lease of life. Though a postmaster by profession, he is an artist by passion. He breathed new life into the style that was once well loved as a bazaar art, grounding it in the now, offering the audience a fresh perspective on this three century practice.
KALAMPATUA
The 19th century art of Kalighat paintings might have been languishing if not for the commitment and dedication of fifty year old Kalam Patua. Descended from scroll painters, the artistic passion flared up in his blood and he can be said to have given the style a new lease of life. Though a postmaster by profession, he is an artist by passion. He breathed new life into the style that was once well loved as a bazaar art, grounding it in the now, offering the audience a fresh perspective on this three century practice.
KALAMPATUA
The 19th century art of Kalighat paintings might have been languishing if not for the commitment and dedication of fifty year old Kalam Patua. Descended from scroll painters, the artistic passion flared up in his blood and he can be said to have given the style a new lease of life. Though a postmaster by profession, he is an artist by passion. He breathed new life into the style that was once well loved as a bazaar art, grounding it in the now, offering the audience a fresh perspective on this three century practice.
Kalighat
Kalighat Pat or Kalighat paintings are originally from the Kalighat Kali Temple of Kolkata. Starting in the late nineteenth century, these pat or long scrolls were dedicated to figures of Gods and Goddesses. A performs cum artist would carry these scrolls and travel far off places to narrate the divine stories with help of visuals sketched on these scrolls. In the later years, the divinely figures gave way to social themes and ordinary figures. The secular objects depicted in these scrolls were carrying meaning of daily life and conduct. As these scrolls started carrying out secular meaning they gained popularity among the common people, who could find themselves in these figures.
Kalighat
Kalighat Pat or Kalighat paintings are originally from the Kalighat Kali Temple of Kolkata. Starting in the late nineteenth century, these pat or long scrolls were dedicated to figures of Gods and Goddesses. A performs cum artist would carry these scrolls and travel far off places to narrate the divine stories with help of visuals sketched on these scrolls. In the later years, the divinely figures gave way to social themes and ordinary figures. The secular objects depicted in these scrolls were carrying meaning of daily life and conduct. As these scrolls started carrying out secular meaning they gained popularity among the common people, who could find themselves in these figures.
Kalighat
Kalighat Pat or Kalighat paintings are originally from the Kalighat Kali Temple of Kolkata. Starting in the late nineteenth century, these pat or long scrolls were dedicated to figures of Gods and Goddesses. A performs cum artist would carry these scrolls and travel far off places to narrate the divine stories with help of visuals sketched on these scrolls. In the later years, the divinely figures gave way to social themes and ordinary figures. The secular objects depicted in these scrolls were carrying meaning of daily life and conduct. As these scrolls started carrying out secular meaning they gained popularity among the common people, who could find themselves in these figures.
KALYAN JOSHI
Birth : 5th Oct., 1969 Education : B.Com. Art Work Experience,Started work with father and Guru Shree Shrilal Joshi from childhood at the age of eight years. He experimented Phad Painting with new stories and Contemporary style (Collage) and line drawing . He created picture montages with expert of narrative poetry and he has done experiments with character animation. He is founder of "ANKAN" Kala Sansthan, which served thousands of childrens with phad paintings. During 15 years of span of ANKAN, he even organized 30 exhibitions in Bhilwara.
KALYAN JOSHI
Birth : 5th Oct., 1969 Education : B.Com. Art Work Experience,Started work with father and Guru Shree Shrilal Joshi from childhood at the age of eight years. He experimented Phad Painting with new stories and Contemporary style (Collage) and line drawing . He created picture montages with expert of narrative poetry and he has done experiments with character animation. He is founder of "ANKAN" Kala Sansthan, which served thousands of childrens with phad paintings. During 15 years of span of ANKAN, he even organized 30 exhibitions in Bhilwara.
KALYAN JOSHI
Birth : 5th Oct., 1969 Education : B.Com. Art Work Experience,Started work with father and Guru Shree Shrilal Joshi from childhood at the age of eight years. He experimented Phad Painting with new stories and Contemporary style (Collage) and line drawing . He created picture montages with expert of narrative poetry and he has done experiments with character animation. He is founder of "ANKAN" Kala Sansthan, which served thousands of childrens with phad paintings. During 15 years of span of ANKAN, he even organized 30 exhibitions in Bhilwara.
KAMLI KUSHRAM
BORN IN 1988, IN 2012. exhibited at several exhibition in Bhopal in 2013. Workshops are also being held in koti and new Delhi in 2014. composing a combination of tree and paired animals, patterned patterns imitating meshes and leaves.
KAMLI KUSHRAM
BORN IN 1988, IN 2012. exhibited at several exhibition in Bhopal in 2013. Workshops are also being held in koti and new Delhi in 2014. composing a combination of tree and paired animals, patterned patterns imitating meshes and leaves.
KAMLI KUSHRAM
BORN IN 1988, IN 2012. exhibited at several exhibition in Bhopal in 2013. Workshops are also being held in koti and new Delhi in 2014. composing a combination of tree and paired animals, patterned patterns imitating meshes and leaves.
KAUSHAL PRASAD TEKAM
Kaushal Prasad Tekam is an upcoming tribal artist of Gond Paintings. He comes from Dindor, Madhya Pradesh.
KAUSHAL PRASAD TEKAM
Kaushal Prasad Tekam is an upcoming tribal artist of Gond Paintings. He comes from Dindor, Madhya Pradesh.
KAUSHAL PRASAD TEKAM
Kaushal Prasad Tekam is an upcoming tribal artist of Gond Paintings. He comes from Dindor, Madhya Pradesh.
LADOO BAI
She is one of rare artists who carries bodily embellishment not as a fashion icon, but reinforces the traditional art that has remained in the indigenous art making process since time immemorial. Like her fondness for bodily art, this Bhil artist makes frescos that are deeply embedded in natural beauties: flora, fauna, Bhil gods and goddesses. Her inspiration to draw such motifs comes from her belief in undying relationship shared between human beings and animism and spirituality. Her deep seated beliefs in traditional art do not make her shy away from the contemporary trends that make her an artist who knows to sketch balance between these two.
LADOO BAI
She is one of rare artists who carries bodily embellishment not as a fashion icon, but reinforces the traditional art that has remained in the indigenous art making process since time immemorial. Like her fondness for bodily art, this Bhil artist makes frescos that are deeply embedded in natural beauties: flora, fauna, Bhil gods and goddesses. Her inspiration to draw such motifs comes from her belief in undying relationship shared between human beings and animism and spirituality. Her deep seated beliefs in traditional art do not make her shy away from the contemporary trends that make her an artist who knows to sketch balance between these two.
LADOO BAI
She is one of rare artists who carries bodily embellishment not as a fashion icon, but reinforces the traditional art that has remained in the indigenous art making process since time immemorial. Like her fondness for bodily art, this Bhil artist makes frescos that are deeply embedded in natural beauties: flora, fauna, Bhil gods and goddesses. Her inspiration to draw such motifs comes from her belief in undying relationship shared between human beings and animism and spirituality. Her deep seated beliefs in traditional art do not make her shy away from the contemporary trends that make her an artist who knows to sketch balance between these two.
MANISHA JHA
"Born in a small town Raghopur, of Saharsa district of North, Bihar.Manisha is a self-taught artist who picked up this art from her mother and grandmother very naturally during different festivals. Unlike her mother and grandmother who practiced this art only on floor and wall, Manisha started drawing Madhubani paintings on her textbooks and any paper, which was available to her. She was best athlete of her school and was very active in music and dance. After her schooling in Delhi, Manisha completed three years Diploma in interior designing and display from New Delhi Polytechnic For Women. Apart from her school and college work her passion for madhubani paintings kept on increasing. Along with her professional degrees she continued her self-learning process in madhubani painting. Her educational career gave new dimension and outlook towards her paintings. This can be observed in her works till now. By the time she finished her Masters in urban and regional planning Manisha had more than 200 madhubani paintings to her credit. It was at this point of time that she thought of exhibiting her works in galleries. In 1998, first exhibition of Manisha was sponsored by India International Center, New Delhi; in the same year she exhibited her works in Goa and Gujarat. She got lots of appreciation from various art critics, artists and people from all fields. Since then Manisha has never looked back in her life. She has dedicated her whole life to madhubani paintings. Manisha along with her sisters has been taking free workshops through out the country, to introduce people from all sections of life on different aspects of Madhubani paintings. Presently Manisha is writing two books on different aspects of Madhubani paintings. Manisha is working as a freelance architect in Vadodara and New Delhi. She has been a visiting faculty in different architecture schools of Vadodara "
MANISHA JHA
"Born in a small town Raghopur, of Saharsa district of North, Bihar.Manisha is a self-taught artist who picked up this art from her mother and grandmother very naturally during different festivals. Unlike her mother and grandmother who practiced this art only on floor and wall, Manisha started drawing Madhubani paintings on her textbooks and any paper, which was available to her. She was best athlete of her school and was very active in music and dance. After her schooling in Delhi, Manisha completed three years Diploma in interior designing and display from New Delhi Polytechnic For Women. Apart from her school and college work her passion for madhubani paintings kept on increasing. Along with her professional degrees she continued her self-learning process in madhubani painting. Her educational career gave new dimension and outlook towards her paintings. This can be observed in her works till now. By the time she finished her Masters in urban and regional planning Manisha had more than 200 madhubani paintings to her credit. It was at this point of time that she thought of exhibiting her works in galleries. In 1998, first exhibition of Manisha was sponsored by India International Center, New Delhi; in the same year she exhibited her works in Goa and Gujarat. She got lots of appreciation from various art critics, artists and people from all fields. Since then Manisha has never looked back in her life. She has dedicated her whole life to madhubani paintings. Manisha along with her sisters has been taking free workshops through out the country, to introduce people from all sections of life on different aspects of Madhubani paintings. Presently Manisha is writing two books on different aspects of Madhubani paintings. Manisha is working as a freelance architect in Vadodara and New Delhi. She has been a visiting faculty in different architecture schools of Vadodara "
MANISHA JHA
"Born in a small town Raghopur, of Saharsa district of North, Bihar.Manisha is a self-taught artist who picked up this art from her mother and grandmother very naturally during different festivals. Unlike her mother and grandmother who practiced this art only on floor and wall, Manisha started drawing Madhubani paintings on her textbooks and any paper, which was available to her. She was best athlete of her school and was very active in music and dance. After her schooling in Delhi, Manisha completed three years Diploma in interior designing and display from New Delhi Polytechnic For Women. Apart from her school and college work her passion for madhubani paintings kept on increasing. Along with her professional degrees she continued her self-learning process in madhubani painting. Her educational career gave new dimension and outlook towards her paintings. This can be observed in her works till now. By the time she finished her Masters in urban and regional planning Manisha had more than 200 madhubani paintings to her credit. It was at this point of time that she thought of exhibiting her works in galleries. In 1998, first exhibition of Manisha was sponsored by India International Center, New Delhi; in the same year she exhibited her works in Goa and Gujarat. She got lots of appreciation from various art critics, artists and people from all fields. Since then Manisha has never looked back in her life. She has dedicated her whole life to madhubani paintings. Manisha along with her sisters has been taking free workshops through out the country, to introduce people from all sections of life on different aspects of Madhubani paintings. Presently Manisha is writing two books on different aspects of Madhubani paintings. Manisha is working as a freelance architect in Vadodara and New Delhi. She has been a visiting faculty in different architecture schools of Vadodara "
MANOJ DWIVEDI
Manoj Dwivedi is a contemporary sculptor from the heart of Kanha, Madhya Pradesh. While he is essentially a folk artist, his sculptural works speak of a strikingly modern aesthetic. He is innovative and experimental in his approach to his sculptural language, employing teak as his medium. Though he comes from a humble background, his talent and understanding of form and expression are formidable, as demonstrated by his exceedingly exploratory and conceptual sculptures.
MANOJ DWIVEDI
Manoj Dwivedi is a contemporary sculptor from the heart of Kanha, Madhya Pradesh. While he is essentially a folk artist, his sculptural works speak of a strikingly modern aesthetic. He is innovative and experimental in his approach to his sculptural language, employing teak as his medium. Though he comes from a humble background, his talent and understanding of form and expression are formidable, as demonstrated by his exceedingly exploratory and conceptual sculptures.
MANOJ DWIVEDI
Manoj Dwivedi is a contemporary sculptor from the heart of Kanha, Madhya Pradesh. While he is essentially a folk artist, his sculptural works speak of a strikingly modern aesthetic. He is innovative and experimental in his approach to his sculptural language, employing teak as his medium. Though he comes from a humble background, his talent and understanding of form and expression are formidable, as demonstrated by his exceedingly exploratory and conceptual sculptures.
MANOJ GADPAL
Manoj Gadpal belongs to the Mahar community of Madhya Pradesh and is a practicing Buddhist. Completely self-taught, Manoj is an artist who creates magic with relief work.
MANOJ GADPAL
Manoj Gadpal belongs to the Mahar community of Madhya Pradesh and is a practicing Buddhist. Completely self-taught, Manoj is an artist who creates magic with relief work.
MANOJ GADPAL
Manoj Gadpal belongs to the Mahar community of Madhya Pradesh and is a practicing Buddhist. Completely self-taught, Manoj is an artist who creates magic with relief work.
MINIATURE
The art of Miniature painting was introduced to the land of India by the Mughals, who brought the much-revealed art form from Persia. In the sixteenth century, the Mughal ruler Humayun brought artists from Persia, who specialized in miniature painting. The succeeding Mughal Emperor, Akbar built an atelier for them to promote the rich art form. These artists, on their part, trained Indian artists who produced paintings in a new distinctive style, inspired by the royal and romantic lives of the Mughals. The particular miniature produced by Indian artists in their own style is known as Rajasthani miniature. During this time, several schools of painting evolved, such as Mewar (Udaipur), Bundi, Kotah, Marwar (Jodhpur), Bikaner, Jaipur, and Kishangarh. These paintings are done with utmost care and in minute details, with strong lines and bold colours set in harmonious patterns. The miniature artists use paper, ivory panels, wooden tablets, leather, marble, cloth and walls for their paintings. Indian artists employed multiple perspectives unlike their European counterparts in their paintings. The colours are made from minerals and vegetables, precious stones, as well as pure silver and gold. The preparing and mixing of colour is an elaborate process. It takes weeks, sometimes months, to get the desired results. The brushes are required to be very fine, and to get high-quality results, brushes even to this very day are made from hair of squirrels. Traditionally, the paintings are aristocratic, individualistic and strong in portraiture, where the plush court scenes and hunting expedition of royalty are depicted. Flowers and animals are also the recurrent images in the paintings. Today, many artists continue to make miniature paintings on silk, ivory, cotton, and paper. However, with the passage of time, the natural colours have been replaced by poster colours. The schools of miniature have also been commercialized, and the artists mostly replicate the work produced by the old painters."
MINIATURE
The art of Miniature painting was introduced to the land of India by the Mughals, who brought the much-revealed art form from Persia. In the sixteenth century, the Mughal ruler Humayun brought artists from Persia, who specialized in miniature painting. The succeeding Mughal Emperor, Akbar built an atelier for them to promote the rich art form. These artists, on their part, trained Indian artists who produced paintings in a new distinctive style, inspired by the royal and romantic lives of the Mughals. The particular miniature produced by Indian artists in their own style is known as Rajasthani miniature. During this time, several schools of painting evolved, such as Mewar (Udaipur), Bundi, Kotah, Marwar (Jodhpur), Bikaner, Jaipur, and Kishangarh. These paintings are done with utmost care and in minute details, with strong lines and bold colours set in harmonious patterns. The miniature artists use paper, ivory panels, wooden tablets, leather, marble, cloth and walls for their paintings. Indian artists employed multiple perspectives unlike their European counterparts in their paintings. The colours are made from minerals and vegetables, precious stones, as well as pure silver and gold. The preparing and mixing of colour is an elaborate process. It takes weeks, sometimes months, to get the desired results. The brushes are required to be very fine, and to get high-quality results, brushes even to this very day are made from hair of squirrels. Traditionally, the paintings are aristocratic, individualistic and strong in portraiture, where the plush court scenes and hunting expedition of royalty are depicted. Flowers and animals are also the recurrent images in the paintings. Today, many artists continue to make miniature paintings on silk, ivory, cotton, and paper. However, with the passage of time, the natural colours have been replaced by poster colours. The schools of miniature have also been commercialized, and the artists mostly replicate the work produced by the old painters."
MINIATURE
The art of Miniature painting was introduced to the land of India by the Mughals, who brought the much-revealed art form from Persia. In the sixteenth century, the Mughal ruler Humayun brought artists from Persia, who specialized in miniature painting. The succeeding Mughal Emperor, Akbar built an atelier for them to promote the rich art form. These artists, on their part, trained Indian artists who produced paintings in a new distinctive style, inspired by the royal and romantic lives of the Mughals. The particular miniature produced by Indian artists in their own style is known as Rajasthani miniature. During this time, several schools of painting evolved, such as Mewar (Udaipur), Bundi, Kotah, Marwar (Jodhpur), Bikaner, Jaipur, and Kishangarh. These paintings are done with utmost care and in minute details, with strong lines and bold colours set in harmonious patterns. The miniature artists use paper, ivory panels, wooden tablets, leather, marble, cloth and walls for their paintings. Indian artists employed multiple perspectives unlike their European counterparts in their paintings. The colours are made from minerals and vegetables, precious stones, as well as pure silver and gold. The preparing and mixing of colour is an elaborate process. It takes weeks, sometimes months, to get the desired results. The brushes are required to be very fine, and to get high-quality results, brushes even to this very day are made from hair of squirrels. Traditionally, the paintings are aristocratic, individualistic and strong in portraiture, where the plush court scenes and hunting expedition of royalty are depicted. Flowers and animals are also the recurrent images in the paintings. Today, many artists continue to make miniature paintings on silk, ivory, cotton, and paper. However, with the passage of time, the natural colours have been replaced by poster colours. The schools of miniature have also been commercialized, and the artists mostly replicate the work produced by the old painters."
MONIMALA CHITRAKAR
Monimala started painting Patachitra under the guidance of her grandfather Dukhushyam Chitrakar who is her guru. She is the first woman from Naya who ventured out of her home to showcase her talent. After her marriage in Chandipur she began to organized artists there and taught Patachitra painting and songs to them. She returned to Naya, Pingla and involved herself in the art form. She has acted in a Jatra in her village. She has travelled to Kolkata, Santiniketan, Delhi, Mumbai, Bangalore and Bhopal. Her works are on display in the gallery of Indira Gandhi Rashtriya Manav Sanghralay in Bhopal.She has travelled abroad in Boston (2005) participated in an exhibition and conducted a workshop, Bangkok (2006), London and Liverpool (2010). She was awarded by Rabindra Bharati University in 2001.
MONIMALA CHITRAKAR
Monimala started painting Patachitra under the guidance of her grandfather Dukhushyam Chitrakar who is her guru. She is the first woman from Naya who ventured out of her home to showcase her talent. After her marriage in Chandipur she began to organized artists there and taught Patachitra painting and songs to them. She returned to Naya, Pingla and involved herself in the art form. She has acted in a Jatra in her village. She has travelled to Kolkata, Santiniketan, Delhi, Mumbai, Bangalore and Bhopal. Her works are on display in the gallery of Indira Gandhi Rashtriya Manav Sanghralay in Bhopal.She has travelled abroad in Boston (2005) participated in an exhibition and conducted a workshop, Bangkok (2006), London and Liverpool (2010). She was awarded by Rabindra Bharati University in 2001.
MONIMALA CHITRAKAR
Monimala started painting Patachitra under the guidance of her grandfather Dukhushyam Chitrakar who is her guru. She is the first woman from Naya who ventured out of her home to showcase her talent. After her marriage in Chandipur she began to organized artists there and taught Patachitra painting and songs to them. She returned to Naya, Pingla and involved herself in the art form. She has acted in a Jatra in her village. She has travelled to Kolkata, Santiniketan, Delhi, Mumbai, Bangalore and Bhopal. Her works are on display in the gallery of Indira Gandhi Rashtriya Manav Sanghralay in Bhopal.She has travelled abroad in Boston (2005) participated in an exhibition and conducted a workshop, Bangkok (2006), London and Liverpool (2010). She was awarded by Rabindra Bharati University in 2001.
NARESH SHYAM
One of youngest artist of 22 years his father Rajkumar Shyam initiated him to paint and he does it out of passion and love for the Gond Art. He is perusing his schooling along with the artistic work which keeps him thoroughly busy.
NARESH SHYAM
One of youngest artist of 22 years his father Rajkumar Shyam initiated him to paint and he does it out of passion and love for the Gond Art. He is perusing his schooling along with the artistic work which keeps him thoroughly busy.
NARESH SHYAM
One of youngest artist of 22 years his father Rajkumar Shyam initiated him to paint and he does it out of passion and love for the Gond Art. He is perusing his schooling along with the artistic work which keeps him thoroughly busy.
PARVATI DEVI
She 50-year-old woman from the nondescript Bhelare village of Bishunpur block in Hazaribagh, whose paintings have been appreciated by art connoisseurs in India and abroad, had the company of 14 other artists from Jharkhand, Indore, Delhi and Patna at the camp. It is a platform propped by the
state art and culture department for folk and contemporary visual artists.
PARVATI DEVI
She 50-year-old woman from the nondescript Bhelare village of Bishunpur block in Hazaribagh, whose paintings have been appreciated by art connoisseurs in India and abroad, had the company of 14 other artists from Jharkhand, Indore, Delhi and Patna at the camp. It is a platform propped by the
state art and culture department for folk and contemporary visual artists.
PARVATI DEVI
She 50-year-old woman from the nondescript Bhelare village of Bishunpur block in Hazaribagh, whose paintings have been appreciated by art connoisseurs in India and abroad, had the company of 14 other artists from Jharkhand, Indore, Delhi and Patna at the camp. It is a platform propped by the
state art and culture department for folk and contemporary visual artists.
PATACHITRA
Dating back a millennium, Pattachitra is a traditional style of painting native to the state of Odisha. The word ‘pattachitra’ derives from the Sanskrit roots patta or canvas and chitra or picture. The artists are known as chitrakars and they take inspiration from the vast Hindu pantheon. Given that pattachitra is native to Odisha, it is no small wonder that Shri Jagannath (famously worshipped in the Odisha temple town of Puri) is a constant in these works. The paintings are vibrant, alive with colour and design. A ritual the chitrakars follow means that they begin working with white and end with it, as well.
PATACHITRA
Dating back a millennium, Pattachitra is a traditional style of painting native to the state of Odisha. The word ‘pattachitra’ derives from the Sanskrit roots patta or canvas and chitra or picture. The artists are known as chitrakars and they take inspiration from the vast Hindu pantheon. Given that pattachitra is native to Odisha, it is no small wonder that Shri Jagannath (famously worshipped in the Odisha temple town of Puri) is a constant in these works. The paintings are vibrant, alive with colour and design. A ritual the chitrakars follow means that they begin working with white and end with it, as well.
PATACHITRA
Dating back a millennium, Pattachitra is a traditional style of painting native to the state of Odisha. The word ‘pattachitra’ derives from the Sanskrit roots patta or canvas and chitra or picture. The artists are known as chitrakars and they take inspiration from the vast Hindu pantheon. Given that pattachitra is native to Odisha, it is no small wonder that Shri Jagannath (famously worshipped in the Odisha temple town of Puri) is a constant in these works. The paintings are vibrant, alive with colour and design. A ritual the chitrakars follow means that they begin working with white and end with it, as well.
PICHWAI
The Pichhwai tradition of paintings evoked on cloth from the Western Indian state of Rajasthan immortalizes episodes from Lord Krishna’s life. It portrays the many hues of the blue skinned god’s moods and postures. This is a sub-style of Nathdwara painting, which is named for a Rajasthani town. The pichhwai artists form a community, living and working together, sometimes under the watchful eye of a great master. These miniatures offer glimpses into the life and exploits of Lord
PICHWAI
The Pichhwai tradition of paintings evoked on cloth from the Western Indian state of Rajasthan immortalizes episodes from Lord Krishna’s life. It portrays the many hues of the blue skinned god’s moods and postures. This is a sub-style of Nathdwara painting, which is named for a Rajasthani town. The pichhwai artists form a community, living and working together, sometimes under the watchful eye of a great master. These miniatures offer glimpses into the life and exploits of Lord
PICHWAI
The Pichhwai tradition of paintings evoked on cloth from the Western Indian state of Rajasthan immortalizes episodes from Lord Krishna’s life. It portrays the many hues of the blue skinned god’s moods and postures. This is a sub-style of Nathdwara painting, which is named for a Rajasthani town. The pichhwai artists form a community, living and working together, sometimes under the watchful eye of a great master. These miniatures offer glimpses into the life and exploits of Lord
PRAKASH JOGI
The eldest son of Ganesh and Teju Jogi, Prakash, in his early 30s, is the master of energetic lines. His work is full of a raw vitality.
PRAKASH JOGI
The eldest son of Ganesh and Teju Jogi, Prakash, in his early 30s, is the master of energetic lines. His work is full of a raw vitality.
PRAKASH JOGI
The eldest son of Ganesh and Teju Jogi, Prakash, in his early 30s, is the master of energetic lines. His work is full of a raw vitality.
Pranab Narayan Das
Pranab Narayan Das lives in Dandasahi, near Puri in Orissa, and is a pattachitra artist whose expertise lies in painting on tussar silk and the wooden containers used as 'dowry boxes' during weddings in his community. Pattachitra painting developed around religious centres in Orissa like Konark and Puri, and recalls the ancient murals of the region. These finely detailed works are created on layers of primed cloth or 'patta', and usually feature religious subjects, particularly Lord Jagannath, Vishnu and Krishna as they were originally used to worship on days when the temples were inaccessible because the idols were being bathed. Pattachitra paintings are created using extremely fine brushes and colours derived from natural sources like the conch shell and lamp soot. After the paintings are completed they are coated with a mixture of lac and resin to preserve them
Pranab Narayan Das
Pranab Narayan Das lives in Dandasahi, near Puri in Orissa, and is a pattachitra artist whose expertise lies in painting on tussar silk and the wooden containers used as 'dowry boxes' during weddings in his community. Pattachitra painting developed around religious centres in Orissa like Konark and Puri, and recalls the ancient murals of the region. These finely detailed works are created on layers of primed cloth or 'patta', and usually feature religious subjects, particularly Lord Jagannath, Vishnu and Krishna as they were originally used to worship on days when the temples were inaccessible because the idols were being bathed. Pattachitra paintings are created using extremely fine brushes and colours derived from natural sources like the conch shell and lamp soot. After the paintings are completed they are coated with a mixture of lac and resin to preserve them
Pranab Narayan Das
Pranab Narayan Das lives in Dandasahi, near Puri in Orissa, and is a pattachitra artist whose expertise lies in painting on tussar silk and the wooden containers used as 'dowry boxes' during weddings in his community. Pattachitra painting developed around religious centres in Orissa like Konark and Puri, and recalls the ancient murals of the region. These finely detailed works are created on layers of primed cloth or 'patta', and usually feature religious subjects, particularly Lord Jagannath, Vishnu and Krishna as they were originally used to worship on days when the temples were inaccessible because the idols were being bathed. Pattachitra paintings are created using extremely fine brushes and colours derived from natural sources like the conch shell and lamp soot. After the paintings are completed they are coated with a mixture of lac and resin to preserve them
PUSHPA KUMARI
Pushpa Kumari is one of the finest Madhubani artists in India today. The grand-daughter of Maha Sundari Devi, one of the pioneers in transferring an ancient wall art onto paper and textiles, it was but natural for Pushpa to continue the tradition. What makes Pushpa special is that though she is rooted in her centuries old tradition, she has incorporated not only contemporary ideas and treatment, but also, an artistic intensity, an aesthetic ideal that is truly her own, difficult to find in the mass of generic Madhubani paintings being churned out today. Her works are part of the collections at prestigious museums such as the National Museums, Liverpool, UK, the Mingei International Folk Art Museum, San Diego, USA and the QAGOMA, Brisbane Australia as well as with several private collectors.
PUSHPA KUMARI
Pushpa Kumari is one of the finest Madhubani artists in India today. The grand-daughter of Maha Sundari Devi, one of the pioneers in transferring an ancient wall art onto paper and textiles, it was but natural for Pushpa to continue the tradition. What makes Pushpa special is that though she is rooted in her centuries old tradition, she has incorporated not only contemporary ideas and treatment, but also, an artistic intensity, an aesthetic ideal that is truly her own, difficult to find in the mass of generic Madhubani paintings being churned out today. Her works are part of the collections at prestigious museums such as the National Museums, Liverpool, UK, the Mingei International Folk Art Museum, San Diego, USA and the QAGOMA, Brisbane Australia as well as with several private collectors.
PUSHPA KUMARI
Pushpa Kumari is one of the finest Madhubani artists in India today. The grand-daughter of Maha Sundari Devi, one of the pioneers in transferring an ancient wall art onto paper and textiles, it was but natural for Pushpa to continue the tradition. What makes Pushpa special is that though she is rooted in her centuries old tradition, she has incorporated not only contemporary ideas and treatment, but also, an artistic intensity, an aesthetic ideal that is truly her own, difficult to find in the mass of generic Madhubani paintings being churned out today. Her works are part of the collections at prestigious museums such as the National Museums, Liverpool, UK, the Mingei International Folk Art Museum, San Diego, USA and the QAGOMA, Brisbane Australia as well as with several private collectors.
RAJENDRA KUMAR SHYAM
Rajendra Kumar Shyam- Born in Patangarh on July 20, 1982, Rajendra Kumar Shyam is an established Gond artist. The Gonds are a folk indigenous to the Gondwana region. They express themselves through song, dance, and festivals. Their art form draws from the wildlife and forests surrounding them, and replicates the vibrant hues and rich textures seen in their community. Shyam took to the Gondi style at an early age. He has participated in “Gond Painters Camp” organized by Lalit Academy Kerala.
RAJENDRA KUMAR SHYAM
Rajendra Kumar Shyam- Born in Patangarh on July 20, 1982, Rajendra Kumar Shyam is an established Gond artist. The Gonds are a folk indigenous to the Gondwana region. They express themselves through song, dance, and festivals. Their art form draws from the wildlife and forests surrounding them, and replicates the vibrant hues and rich textures seen in their community. Shyam took to the Gondi style at an early age. He has participated in “Gond Painters Camp” organized by Lalit Academy Kerala.
RAJENDRA KUMAR SHYAM
Rajendra Kumar Shyam- Born in Patangarh on July 20, 1982, Rajendra Kumar Shyam is an established Gond artist. The Gonds are a folk indigenous to the Gondwana region. They express themselves through song, dance, and festivals. Their art form draws from the wildlife and forests surrounding them, and replicates the vibrant hues and rich textures seen in their community. Shyam took to the Gondi style at an early age. He has participated in “Gond Painters Camp” organized by Lalit Academy Kerala.
Raju Jogi
Raju Jogi along with His sister Soni Jogi started painting this artform and has become a renowed artist.
Raju Jogi
Raju Jogi along with His sister Soni Jogi started painting this artform and has become a renowed artist.
Raju Jogi
Raju Jogi along with His sister Soni Jogi started painting this artform and has become a renowed artist.
SADA SHIV MASHE
Sadashiv Mashe is the son of one of the most renowned Indian Tribal Artist, Jivya Soma Mashe. Sadashiv has also had his work shown in many countries and has stayed In Japan for several occasions. In addition to passing on knowledge of the legends and stories of the Warli, Jivya also passed on his skills to Sadashiv.Currently he is in Paris along with his son - Kishore on an invitation to paint walls of some prominent buildings. ""This is a bhon. It is an ant-dwelling. When pralay (catastrophe) arrives, everything will be submerged and all the plants will be washed away. Then we will have to go to the ants as they have stored the seeds of all the plants in their bhon. The ants will help us farm and resume our lives. Our lives cannot be painted without the lives of animals, trees and insects,"" says Sadashiv Mashe."
SADA SHIV MASHE
Sadashiv Mashe is the son of one of the most renowned Indian Tribal Artist, Jivya Soma Mashe. Sadashiv has also had his work shown in many countries and has stayed In Japan for several occasions. In addition to passing on knowledge of the legends and stories of the Warli, Jivya also passed on his skills to Sadashiv.Currently he is in Paris along with his son - Kishore on an invitation to paint walls of some prominent buildings. ""This is a bhon. It is an ant-dwelling. When pralay (catastrophe) arrives, everything will be submerged and all the plants will be washed away. Then we will have to go to the ants as they have stored the seeds of all the plants in their bhon. The ants will help us farm and resume our lives. Our lives cannot be painted without the lives of animals, trees and insects,"" says Sadashiv Mashe."
SADA SHIV MASHE
Sadashiv Mashe is the son of one of the most renowned Indian Tribal Artist, Jivya Soma Mashe. Sadashiv has also had his work shown in many countries and has stayed In Japan for several occasions. In addition to passing on knowledge of the legends and stories of the Warli, Jivya also passed on his skills to Sadashiv.Currently he is in Paris along with his son - Kishore on an invitation to paint walls of some prominent buildings. ""This is a bhon. It is an ant-dwelling. When pralay (catastrophe) arrives, everything will be submerged and all the plants will be washed away. Then we will have to go to the ants as they have stored the seeds of all the plants in their bhon. The ants will help us farm and resume our lives. Our lives cannot be painted without the lives of animals, trees and insects,"" says Sadashiv Mashe."
SANJAY MANNU BHAI CHITARA
Ahmedabad-based Sanjay Manubhai Chitara and his family have been upholding the tradition of painting the Mata ni Pachedi (Cloth of Mother Goddess) for more than 10 decades. Derived from the Kalamkari style of paintings, the method involves drawing on a cotton cloth with a stick made from a date plant using natural dyes. The motif of an austere goddess is usually at the centre, with details of mountains, animals, trees, rivers and natural flora and fauna immersed in it. Originally, the cloth composed of only two colours – red and black, and was hung behind the holy idol of the goddess. Today, a Mata ni Pachedi painting has become a collector’s delight for display, and fashioned in many-hued variants. Chitara and his kin are among the five families in the Vaghiri, or Devi Pujak, clan to practice this art form, which has been passed down the generations for 300 years. The colour mediums in painting this work of art are all natural and made from natural products. Yellow is derived from mango or turmeric, orange from the henna plant, blue from indigo, black from iron water and so on, through a carefully designed, meticulous process. Black and brown are prominent colours. All colours have a symbolic religious significance. The process involves treatment of the cloth and application of different colours in different stages and is a long and detailed one. Chitara was awarded the National Award in 2000, while his brother Vasant received it in 2001 and their parents Manubhai Chunilal and Manjuben Manubhai jointly in 2004. Chitara and his family have also been the recipients of several state awards."
SANJAY MANNU BHAI CHITARA
Ahmedabad-based Sanjay Manubhai Chitara and his family have been upholding the tradition of painting the Mata ni Pachedi (Cloth of Mother Goddess) for more than 10 decades. Derived from the Kalamkari style of paintings, the method involves drawing on a cotton cloth with a stick made from a date plant using natural dyes. The motif of an austere goddess is usually at the centre, with details of mountains, animals, trees, rivers and natural flora and fauna immersed in it. Originally, the cloth composed of only two colours – red and black, and was hung behind the holy idol of the goddess. Today, a Mata ni Pachedi painting has become a collector’s delight for display, and fashioned in many-hued variants. Chitara and his kin are among the five families in the Vaghiri, or Devi Pujak, clan to practice this art form, which has been passed down the generations for 300 years. The colour mediums in painting this work of art are all natural and made from natural products. Yellow is derived from mango or turmeric, orange from the henna plant, blue from indigo, black from iron water and so on, through a carefully designed, meticulous process. Black and brown are prominent colours. All colours have a symbolic religious significance. The process involves treatment of the cloth and application of different colours in different stages and is a long and detailed one. Chitara was awarded the National Award in 2000, while his brother Vasant received it in 2001 and their parents Manubhai Chunilal and Manjuben Manubhai jointly in 2004. Chitara and his family have also been the recipients of several state awards."
SANJAY MANNU BHAI CHITARA
Ahmedabad-based Sanjay Manubhai Chitara and his family have been upholding the tradition of painting the Mata ni Pachedi (Cloth of Mother Goddess) for more than 10 decades. Derived from the Kalamkari style of paintings, the method involves drawing on a cotton cloth with a stick made from a date plant using natural dyes. The motif of an austere goddess is usually at the centre, with details of mountains, animals, trees, rivers and natural flora and fauna immersed in it. Originally, the cloth composed of only two colours – red and black, and was hung behind the holy idol of the goddess. Today, a Mata ni Pachedi painting has become a collector’s delight for display, and fashioned in many-hued variants. Chitara and his kin are among the five families in the Vaghiri, or Devi Pujak, clan to practice this art form, which has been passed down the generations for 300 years. The colour mediums in painting this work of art are all natural and made from natural products. Yellow is derived from mango or turmeric, orange from the henna plant, blue from indigo, black from iron water and so on, through a carefully designed, meticulous process. Black and brown are prominent colours. All colours have a symbolic religious significance. The process involves treatment of the cloth and application of different colours in different stages and is a long and detailed one. Chitara was awarded the National Award in 2000, while his brother Vasant received it in 2001 and their parents Manubhai Chunilal and Manjuben Manubhai jointly in 2004. Chitara and his family have also been the recipients of several state awards."
JAPANI SHYAM
The tradition to pass on family knowledge from one generation to next generation can also be seen in this relationship of father Jangarh Singh Shyam and his daughter Japani Shyam. Like her famous father who has always been engrossed in Gond art, Japani has been very much familiar with the style and trends of Gond art. Nonetheless, she treads a different path from her patriarch to draw animated flora and fauna in thick forest. Even before she could reach in her teens, Japani’s talent was made known to the world when she awarded the Kamala Devi Award (1999) at a tender age of eleven.
JAPANI SHYAM
The tradition to pass on family knowledge from one generation to next generation can also be seen in this relationship of father Jangarh Singh Shyam and his daughter Japani Shyam. Like her famous father who has always been engrossed in Gond art, Japani has been very much familiar with the style and trends of Gond art. Nonetheless, she treads a different path from her patriarch to draw animated flora and fauna in thick forest. Even before she could reach in her teens, Japani’s talent was made known to the world when she awarded the Kamala Devi Award (1999) at a tender age of eleven.
JAPANI SHYAM
The tradition to pass on family knowledge from one generation to next generation can also be seen in this relationship of father Jangarh Singh Shyam and his daughter Japani Shyam. Like her famous father who has always been engrossed in Gond art, Japani has been very much familiar with the style and trends of Gond art. Nonetheless, she treads a different path from her patriarch to draw animated flora and fauna in thick forest. Even before she could reach in her teens, Japani’s talent was made known to the world when she awarded the Kamala Devi Award (1999) at a tender age of eleven.
SHANTARAM CHINTYA TUMBADA
Shantaram Chintya Tumbada hails from the district of Warli in Maharashtra. As part of internationally known Tony Garnier Urban Museum, the artist Shantaram painted five walls painting which represented five continents of the world. His rawness and rootedness of the Warli artist attracted the organizers. Difficult to ignore the simplicity and graphical animation of his paintings, organizers selected Shantaram for their museum. The art of Warli paintings is all about indigenous stories depicted with finesse of fine lines and rhyme. The stories representing everyday life in a village come alive with the paintings by Shantaram.
SHANTARAM CHINTYA TUMBADA
Shantaram Chintya Tumbada hails from the district of Warli in Maharashtra. As part of internationally known Tony Garnier Urban Museum, the artist Shantaram painted five walls painting which represented five continents of the world. His rawness and rootedness of the Warli artist attracted the organizers. Difficult to ignore the simplicity and graphical animation of his paintings, organizers selected Shantaram for their museum. The art of Warli paintings is all about indigenous stories depicted with finesse of fine lines and rhyme. The stories representing everyday life in a village come alive with the paintings by Shantaram.
SHANTARAM CHINTYA TUMBADA
Shantaram Chintya Tumbada hails from the district of Warli in Maharashtra. As part of internationally known Tony Garnier Urban Museum, the artist Shantaram painted five walls painting which represented five continents of the world. His rawness and rootedness of the Warli artist attracted the organizers. Difficult to ignore the simplicity and graphical animation of his paintings, organizers selected Shantaram for their museum. The art of Warli paintings is all about indigenous stories depicted with finesse of fine lines and rhyme. The stories representing everyday life in a village come alive with the paintings by Shantaram.
SONI JOGI
New members who enter the family through marriage also take up the genre, and together they propagate this unique school of art. Soni Jogi, who married into the family, has met success by creating artworks inspired by village life, birds and animals in a contemporary style. Plus, she experiments with mediums, even using a single grass reed with the tip wrapped in cotton.
SONI JOGI
New members who enter the family through marriage also take up the genre, and together they propagate this unique school of art. Soni Jogi, who married into the family, has met success by creating artworks inspired by village life, birds and animals in a contemporary style. Plus, she experiments with mediums, even using a single grass reed with the tip wrapped in cotton.
SONI JOGI
New members who enter the family through marriage also take up the genre, and together they propagate this unique school of art. Soni Jogi, who married into the family, has met success by creating artworks inspired by village life, birds and animals in a contemporary style. Plus, she experiments with mediums, even using a single grass reed with the tip wrapped in cotton.
SUBHASH BHIL
"Subhas Bhil, Gangu Bai’s son, has been painting for the past 4 years. He was inspired to paint by his mother. He works in Bhopal on daily wages. When Subhash became a father, he painted birds with their chicks and animals with their young. When he goes to Jhabua, he paints gatlas, gad bapsi and gal bapsi. He sometimes depicts only the wooden frames of the gad bapsi, or gal bapsi, as they are before the people arrive. Subhas Bhil’s brothers, Dinesh and Rakesh have also taken up painting and their favourite motifs are animal and birds. "
SUBHASH BHIL
"Subhas Bhil, Gangu Bai’s son, has been painting for the past 4 years. He was inspired to paint by his mother. He works in Bhopal on daily wages. When Subhash became a father, he painted birds with their chicks and animals with their young. When he goes to Jhabua, he paints gatlas, gad bapsi and gal bapsi. He sometimes depicts only the wooden frames of the gad bapsi, or gal bapsi, as they are before the people arrive. Subhas Bhil’s brothers, Dinesh and Rakesh have also taken up painting and their favourite motifs are animal and birds. "
SUBHASH BHIL
"Subhas Bhil, Gangu Bai’s son, has been painting for the past 4 years. He was inspired to paint by his mother. He works in Bhopal on daily wages. When Subhash became a father, he painted birds with their chicks and animals with their young. When he goes to Jhabua, he paints gatlas, gad bapsi and gal bapsi. He sometimes depicts only the wooden frames of the gad bapsi, or gal bapsi, as they are before the people arrive. Subhas Bhil’s brothers, Dinesh and Rakesh have also taken up painting and their favourite motifs are animal and birds. "
SUBHASH VYAM
"Subhash Vyam started working before he was ten years old. Since his older brother had settled down elsewhere, he had to work in a shop selling betel leaves to support himself and his parents. Still, he somehow found the time to make figures out of clay. When his sister, Nankusia’s husband, Jangarh Singh, saw the figures, he was impressed by the boy’s artistry and encouraged him to continue. Subhash was thrilled when his first clay figures sold for Rs 200/-. After graduating from school, Suhash went to Bhopal in Madhyam. He continued making clay and wooden figures in his spare time. He likes using black and often uses ink on paper as his medium, as he believes that black is good for him. His belief got a further boost when one of his ink drawings was awarded the Rajya Hastha Shilpa Puraskar by the Government of Madhya Pradesh in 2002. His favourite themes are of aquatic life, which he saw while growing up in the village of Sonpuri, near Patangarh. Inspired by his wife Durga Bai, who has a vast reservoir of folk tales, Subhash has also started painting characters and scenes from these stories. When Subhash Vyam holds his painting workshops, he has the additional advantage of being able to teach participants how to make clay and wooden figures as well. "
SUBHASH VYAM
"Subhash Vyam started working before he was ten years old. Since his older brother had settled down elsewhere, he had to work in a shop selling betel leaves to support himself and his parents. Still, he somehow found the time to make figures out of clay. When his sister, Nankusia’s husband, Jangarh Singh, saw the figures, he was impressed by the boy’s artistry and encouraged him to continue. Subhash was thrilled when his first clay figures sold for Rs 200/-. After graduating from school, Suhash went to Bhopal in Madhyam. He continued making clay and wooden figures in his spare time. He likes using black and often uses ink on paper as his medium, as he believes that black is good for him. His belief got a further boost when one of his ink drawings was awarded the Rajya Hastha Shilpa Puraskar by the Government of Madhya Pradesh in 2002. His favourite themes are of aquatic life, which he saw while growing up in the village of Sonpuri, near Patangarh. Inspired by his wife Durga Bai, who has a vast reservoir of folk tales, Subhash has also started painting characters and scenes from these stories. When Subhash Vyam holds his painting workshops, he has the additional advantage of being able to teach participants how to make clay and wooden figures as well. "
SUBHASH VYAM
"Subhash Vyam started working before he was ten years old. Since his older brother had settled down elsewhere, he had to work in a shop selling betel leaves to support himself and his parents. Still, he somehow found the time to make figures out of clay. When his sister, Nankusia’s husband, Jangarh Singh, saw the figures, he was impressed by the boy’s artistry and encouraged him to continue. Subhash was thrilled when his first clay figures sold for Rs 200/-. After graduating from school, Suhash went to Bhopal in Madhyam. He continued making clay and wooden figures in his spare time. He likes using black and often uses ink on paper as his medium, as he believes that black is good for him. His belief got a further boost when one of his ink drawings was awarded the Rajya Hastha Shilpa Puraskar by the Government of Madhya Pradesh in 2002. His favourite themes are of aquatic life, which he saw while growing up in the village of Sonpuri, near Patangarh. Inspired by his wife Durga Bai, who has a vast reservoir of folk tales, Subhash has also started painting characters and scenes from these stories. When Subhash Vyam holds his painting workshops, he has the additional advantage of being able to teach participants how to make clay and wooden figures as well. "
SUGIYA DEVI
Sugiya Devi of Kharati village in Barkagaon block of Hazaribag district would have hardly imagined that their art, which is nothing but a tribal tradition of painting mud houses, would one day decorate the interiors of Spa in USA or hotel in London. Laura Aviva, self-made entrepreneur from USA, was attracted by the black and white wall paintings of tribal village in Hazaribag when it got published in a magazine -The World of Interiors in its December 2014 issue. Noted German architecture photographer Deidi Von Schaewen had captured the mud houses of tribal villagers which went into publication with an article titled "monsoon murals'. Aviva contacted the women artists of Tribal Women Artists Cooperative (TWAC), Hazaribag and decided to enter into a copyright contract for purchasing the art.
SUGIYA DEVI
Sugiya Devi of Kharati village in Barkagaon block of Hazaribag district would have hardly imagined that their art, which is nothing but a tribal tradition of painting mud houses, would one day decorate the interiors of Spa in USA or hotel in London. Laura Aviva, self-made entrepreneur from USA, was attracted by the black and white wall paintings of tribal village in Hazaribag when it got published in a magazine -The World of Interiors in its December 2014 issue. Noted German architecture photographer Deidi Von Schaewen had captured the mud houses of tribal villagers which went into publication with an article titled "monsoon murals'. Aviva contacted the women artists of Tribal Women Artists Cooperative (TWAC), Hazaribag and decided to enter into a copyright contract for purchasing the art.
SUGIYA DEVI
Sugiya Devi of Kharati village in Barkagaon block of Hazaribag district would have hardly imagined that their art, which is nothing but a tribal tradition of painting mud houses, would one day decorate the interiors of Spa in USA or hotel in London. Laura Aviva, self-made entrepreneur from USA, was attracted by the black and white wall paintings of tribal village in Hazaribag when it got published in a magazine -The World of Interiors in its December 2014 issue. Noted German architecture photographer Deidi Von Schaewen had captured the mud houses of tribal villagers which went into publication with an article titled "monsoon murals'. Aviva contacted the women artists of Tribal Women Artists Cooperative (TWAC), Hazaribag and decided to enter into a copyright contract for purchasing the art.
SUNITA MASHE
She is the niece of Jivya Soma Mashe. as she has art in her blood and soul so, she comes up with art is amazingly traditional and the same time has modern element in the paintings.
SUNITA MASHE
She is the niece of Jivya Soma Mashe. as she has art in her blood and soul so, she comes up with art is amazingly traditional and the same time has modern element in the paintings.
SUNITA MASHE
She is the niece of Jivya Soma Mashe. as she has art in her blood and soul so, she comes up with art is amazingly traditional and the same time has modern element in the paintings.
SURESH KUMAR DHURVE
Suresh Kumar Dhurve is a celebrated Gond painter, even exhibiting as a solo artist in Bharat Bhawan in 2007, following in the footsteps of Jangarh Singh Shyam. It is an achievement Suresh Dhurve takes plenty of pride in. Having been encouraged to follow through on his talent by Jangarh Singh Shyam, he has a special affinity for identifying birds, which perhaps is what leads to him often painting them, as well. This has becomes something of a trademark of his, another favoured motif being fish. His works used to be vibrant and alive with colour, having progressed to becoming mostly monochrome.
SURESH KUMAR DHURVE
Suresh Kumar Dhurve is a celebrated Gond painter, even exhibiting as a solo artist in Bharat Bhawan in 2007, following in the footsteps of Jangarh Singh Shyam. It is an achievement Suresh Dhurve takes plenty of pride in. Having been encouraged to follow through on his talent by Jangarh Singh Shyam, he has a special affinity for identifying birds, which perhaps is what leads to him often painting them, as well. This has becomes something of a trademark of his, another favoured motif being fish. His works used to be vibrant and alive with colour, having progressed to becoming mostly monochrome.
SURESH KUMAR DHURVE
Suresh Kumar Dhurve is a celebrated Gond painter, even exhibiting as a solo artist in Bharat Bhawan in 2007, following in the footsteps of Jangarh Singh Shyam. It is an achievement Suresh Dhurve takes plenty of pride in. Having been encouraged to follow through on his talent by Jangarh Singh Shyam, he has a special affinity for identifying birds, which perhaps is what leads to him often painting them, as well. This has becomes something of a trademark of his, another favoured motif being fish. His works used to be vibrant and alive with colour, having progressed to becoming mostly monochrome.
TEJU JOGI
Ganesh Jogi's wife Teju Jogi were nomadic bards who made a living by moving from neighbourhood to neighbourhood, singing traditional, devotional folk songs in the morning. In return they got grain, clothes and money. In the 1970s, Indian artist and cultural anthropologist Haku Shah came across the natives of Chittorgarh, Rajasthan, and insisted that they draw their songs to give the stories a visual vocabulary.
TEJU JOGI
Ganesh Jogi's wife Teju Jogi were nomadic bards who made a living by moving from neighbourhood to neighbourhood, singing traditional, devotional folk songs in the morning. In return they got grain, clothes and money. In the 1970s, Indian artist and cultural anthropologist Haku Shah came across the natives of Chittorgarh, Rajasthan, and insisted that they draw their songs to give the stories a visual vocabulary.
TEJU JOGI
Ganesh Jogi's wife Teju Jogi were nomadic bards who made a living by moving from neighbourhood to neighbourhood, singing traditional, devotional folk songs in the morning. In return they got grain, clothes and money. In the 1970s, Indian artist and cultural anthropologist Haku Shah came across the natives of Chittorgarh, Rajasthan, and insisted that they draw their songs to give the stories a visual vocabulary.
VENKAT RAMAN SINGH SHYAM
Venkat Raman Singh Shyam is a versatile contemporary Gond artist. After spending three years as an ardent apprentice to his uncle, another famous Gond artist Jangarh Singh Shyam, Venkat gained experience to excel as an independent and successful Gond artist in his later years. As a first-hand witness to Taj Mahal terrorist attack Venkat painted sixteen canvases highlighting the event. He was awarded the Rajya Hasta Shilpa Puraskar by the Government of Madhya Pradesh (2002). He has also served as a coordinator for an animated film representing Gond folklore produced by Tara Douglas. The film later went on to win the Tallest Story Competition Trophy at the Inverness Film Festival (2007).
VENKAT RAMAN SINGH SHYAM
Venkat Raman Singh Shyam is a versatile contemporary Gond artist. After spending three years as an ardent apprentice to his uncle, another famous Gond artist Jangarh Singh Shyam, Venkat gained experience to excel as an independent and successful Gond artist in his later years. As a first-hand witness to Taj Mahal terrorist attack Venkat painted sixteen canvases highlighting the event. He was awarded the Rajya Hasta Shilpa Puraskar by the Government of Madhya Pradesh (2002). He has also served as a coordinator for an animated film representing Gond folklore produced by Tara Douglas. The film later went on to win the Tallest Story Competition Trophy at the Inverness Film Festival (2007).
VENKAT RAMAN SINGH SHYAM
Venkat Raman Singh Shyam is a versatile contemporary Gond artist. After spending three years as an ardent apprentice to his uncle, another famous Gond artist Jangarh Singh Shyam, Venkat gained experience to excel as an independent and successful Gond artist in his later years. As a first-hand witness to Taj Mahal terrorist attack Venkat painted sixteen canvases highlighting the event. He was awarded the Rajya Hasta Shilpa Puraskar by the Government of Madhya Pradesh (2002). He has also served as a coordinator for an animated film representing Gond folklore produced by Tara Douglas. The film later went on to win the Tallest Story Competition Trophy at the Inverness Film Festival (2007).
VIDUSHNI PRASAD
Vidushini Prasad’s journey saw her go from studying Chemistry, then teaching maths and science to finally turning to what inspired her: art. Specifically she was moved by the art of Madhubani painting. Having been born in Bihar, this might be a reason for why she feels drawn to Madhubani painting, which has its roots in that state. Beginning her painting as a means to please herself and her friends, through her work she seems to have become a torchbearer for keeping this art alive, the pull towards which she feels in her blood.
VIDUSHNI PRASAD
Vidushini Prasad’s journey saw her go from studying Chemistry, then teaching maths and science to finally turning to what inspired her: art. Specifically she was moved by the art of Madhubani painting. Having been born in Bihar, this might be a reason for why she feels drawn to Madhubani painting, which has its roots in that state. Beginning her painting as a means to please herself and her friends, through her work she seems to have become a torchbearer for keeping this art alive, the pull towards which she feels in her blood.
VIDUSHNI PRASAD
Vidushini Prasad’s journey saw her go from studying Chemistry, then teaching maths and science to finally turning to what inspired her: art. Specifically she was moved by the art of Madhubani painting. Having been born in Bihar, this might be a reason for why she feels drawn to Madhubani painting, which has its roots in that state. Beginning her painting as a means to please herself and her friends, through her work she seems to have become a torchbearer for keeping this art alive, the pull towards which she feels in her blood.
VIJAY KUMAR SHYAM
I'm a relatively junior Gond tribal artist from central India Bhopal and doing painting since 15 years. I love my work & my teacher was late jangarh singh shyam.
VIJAY KUMAR SHYAM
I'm a relatively junior Gond tribal artist from central India Bhopal and doing painting since 15 years. I love my work & my teacher was late jangarh singh shyam.
VIJAY KUMAR SHYAM
I'm a relatively junior Gond tribal artist from central India Bhopal and doing painting since 15 years. I love my work & my teacher was late jangarh singh shyam.
RAJENDRA SHYAM (RAJU)
Like a number of young Gond artists, Rajendra Shyam worked under the legendary artist Jangarh Singh Shyam, who also happened to be his uncle. Rajendra dips into the Gond stories when he works, having had a profound love for painting from a very young age (when he assisted his mother and sisters in decorating the walls of houses with floral motifs and digna patterns). After having veered from his artistic path in search of other work, he is now back to being a practicing artist full time, taking up the torch from his famous uncle.
RAJENDRA SHYAM (RAJU)
Like a number of young Gond artists, Rajendra Shyam worked under the legendary artist Jangarh Singh Shyam, who also happened to be his uncle. Rajendra dips into the Gond stories when he works, having had a profound love for painting from a very young age (when he assisted his mother and sisters in decorating the walls of houses with floral motifs and digna patterns). After having veered from his artistic path in search of other work, he is now back to being a practicing artist full time, taking up the torch from his famous uncle.
RAJENDRA SHYAM (RAJU)
Like a number of young Gond artists, Rajendra Shyam worked under the legendary artist Jangarh Singh Shyam, who also happened to be his uncle. Rajendra dips into the Gond stories when he works, having had a profound love for painting from a very young age (when he assisted his mother and sisters in decorating the walls of houses with floral motifs and digna patterns). After having veered from his artistic path in search of other work, he is now back to being a practicing artist full time, taking up the torch from his famous uncle.
AKSHAYA KUMAR BARIKI
AKSHAYA KUMAR BARIKI
AKSHAYA KUMAR BARIKI
AKSHAYA KUMAR BARIKI
AKSHAYA KUMAR BARIKI
AKSHAYA KUMAR BARIKI
ANITA BALU MASHE
Warli artist Anita Balu mashe
ANITA BALU MASHE
Warli artist Anita Balu mashe
ANITA BALU MASHE
Warli artist Anita Balu mashe
ANKUSH KARMODA
Ankush Kaluram Karmoda learnt the art from from his mother at the age of 18. He is able to beautifully contemporise the geometric language of Warli to include modern themes and elements such as city life, life under water, etc.
ANKUSH KARMODA
Ankush Kaluram Karmoda learnt the art from from his mother at the age of 18. He is able to beautifully contemporise the geometric language of Warli to include modern themes and elements such as city life, life under water, etc.
ANKUSH KARMODA
Ankush Kaluram Karmoda learnt the art from from his mother at the age of 18. He is able to beautifully contemporise the geometric language of Warli to include modern themes and elements such as city life, life under water, etc.
ARUN KUMAR SHARMA
ARUN KUMAR SHARMA
ARUN KUMAR SHARMA
ARUN KUMAR SHARMA
ARUN KUMAR SHARMA
ARUN KUMAR SHARMA
BALENDRA KUNAL UDDE
Balendra Kumar Udde’s only verified exhibition was Art of the Tribal & Folk at Ganges Art Gallery in Calcutta in 2014. Balendra Kumar Udde is exclusively exhibited in India. Udde has at least no solo shows but one group show. Balendra Kumar Udde has been exhibited with Manisha Jha and Narmada Prasad Tekam. Udde’s best rank was in 2014, with the most dramatic change in 2019. For a complete illustration of the artist’s career since 2014, please see the career chart on the analytics page.
BALENDRA KUNAL UDDE
Balendra Kumar Udde’s only verified exhibition was Art of the Tribal & Folk at Ganges Art Gallery in Calcutta in 2014. Balendra Kumar Udde is exclusively exhibited in India. Udde has at least no solo shows but one group show. Balendra Kumar Udde has been exhibited with Manisha Jha and Narmada Prasad Tekam. Udde’s best rank was in 2014, with the most dramatic change in 2019. For a complete illustration of the artist’s career since 2014, please see the career chart on the analytics page.
BALENDRA KUNAL UDDE
Balendra Kumar Udde’s only verified exhibition was Art of the Tribal & Folk at Ganges Art Gallery in Calcutta in 2014. Balendra Kumar Udde is exclusively exhibited in India. Udde has at least no solo shows but one group show. Balendra Kumar Udde has been exhibited with Manisha Jha and Narmada Prasad Tekam. Udde’s best rank was in 2014, with the most dramatic change in 2019. For a complete illustration of the artist’s career since 2014, please see the career chart on the analytics page.
CHANDRA BHUSAN KUMAR
He is a well renowned name in the field of Madhubani Paintings. A national award winner Chandraís paintings talk about undying relationship between trees and human beings. The huge tree of life, a common theme, among the Mithila (region of Madhubani artists) paintings depicts the nature as a immortal sources of enriching energy and life. Chandra also believes how the rural freshness embodied in these trees is a fine balance of tradition and contemporary times. Making the Madhubani paintings on fabric and paper, Chandra has exhibited his works at multiple exhibitions both nationally and internationally.
CHANDRA BHUSAN KUMAR
He is a well renowned name in the field of Madhubani Paintings. A national award winner Chandraís paintings talk about undying relationship between trees and human beings. The huge tree of life, a common theme, among the Mithila (region of Madhubani artists) paintings depicts the nature as a immortal sources of enriching energy and life. Chandra also believes how the rural freshness embodied in these trees is a fine balance of tradition and contemporary times. Making the Madhubani paintings on fabric and paper, Chandra has exhibited his works at multiple exhibitions both nationally and internationally.
CHANDRA BHUSAN KUMAR
He is a well renowned name in the field of Madhubani Paintings. A national award winner Chandraís paintings talk about undying relationship between trees and human beings. The huge tree of life, a common theme, among the Mithila (region of Madhubani artists) paintings depicts the nature as a immortal sources of enriching energy and life. Chandra also believes how the rural freshness embodied in these trees is a fine balance of tradition and contemporary times. Making the Madhubani paintings on fabric and paper, Chandra has exhibited his works at multiple exhibitions both nationally and internationally.
CHITRAKANT SHYAM
CHITRAKANT SHYAM
CHITRAKANT SHYAM
CHITRAKANT SHYAM
CHITRAKANT SHYAM
CHITRAKANT SHYAM
DAWARIKA PARASTE
Dwarka Paraste was born in Garkamatta village in 1985. He started painting when he was 16 years old under Rajendra Shyam and other artists. His works have been exhibited in India and abroad.
DAWARIKA PARASTE
Dwarka Paraste was born in Garkamatta village in 1985. He started painting when he was 16 years old under Rajendra Shyam and other artists. His works have been exhibited in India and abroad.
DAWARIKA PARASTE
Dwarka Paraste was born in Garkamatta village in 1985. He started painting when he was 16 years old under Rajendra Shyam and other artists. His works have been exhibited in India and abroad.
DEVLAL TEKAM
DEVLAL TEKAM
DEVLAL TEKAM
DEVLAL TEKAM
DEVLAL TEKAM
DEVLAL TEKAM
DHANIYA SHYAM
DHANIYA SHYAM
DHANIYA SHYAM
DHANIYA SHYAM
DHANIYA SHYAM
DHANIYA SHYAM
DURGESH MARAVI
DURGESH MARAVI
DURGESH MARAVI
DURGESH MARAVI
DURGESH MARAVI
DURGESH MARAVI
GAFOOR KHATRI
GAFOOR KHATRI
GAFOOR KHATRI
GAFOOR KHATRI
GAFOOR KHATRI
GAFOOR KHATRI
GAMBHIRA DEVI
GAMBHIRA DEVI
GAMBHIRA DEVI
GAMBHIRA DEVI
GAMBHIRA DEVI
GAMBHIRA DEVI
HEERAMAN URVETI
The 31-year-old artist Hiraman Urveti uses the Trishul as his signature motif. Originally from Sonpuri, Patangarh, now based in Bhopal.He has participated in various workshops and exhibitions organized by Trifed .He also participated in an exhibition organized by Paramparik Karigar Mumbai at Jehangir art gallery in Mumbai in 2011.
HEERAMAN URVETI
The 31-year-old artist Hiraman Urveti uses the Trishul as his signature motif. Originally from Sonpuri, Patangarh, now based in Bhopal.He has participated in various workshops and exhibitions organized by Trifed .He also participated in an exhibition organized by Paramparik Karigar Mumbai at Jehangir art gallery in Mumbai in 2011.
HEERAMAN URVETI
The 31-year-old artist Hiraman Urveti uses the Trishul as his signature motif. Originally from Sonpuri, Patangarh, now based in Bhopal.He has participated in various workshops and exhibitions organized by Trifed .He also participated in an exhibition organized by Paramparik Karigar Mumbai at Jehangir art gallery in Mumbai in 2011.
HEMLATA UIKEY
HEMLATA UIKEY
HEMLATA UIKEY
HEMLATA UIKEY
HEMLATA UIKEY
HEMLATA UIKEY
JAGRUT JOGI
JAGRUT JOGI
JAGRUT JOGI
JAGRUT JOGI
JAGRUT JOGI
JAGRUT JOGI
JAI SRI SADASHIV MASHE
JAI SRI SADASHIV MASHE
JAI SRI SADASHIV MASHE
JAI SRI SADASHIV MASHE
JAI SRI SADASHIV MASHE
JAI SRI SADASHIV MASHE
JONNALAGADDA NIRANJAN
JONNALAGADDA NIRANJAN
JONNALAGADDA NIRANJAN
JONNALAGADDA NIRANJAN
JONNALAGADDA NIRANJAN
JONNALAGADDA NIRANJAN
KALA BAI SHYAM
KALA BAI SHYAM
KALA BAI SHYAM
KALA BAI SHYAM
KALA BAI SHYAM
KALA BAI SHYAM
KALAM PATUA
KALAM PATUA
KALAM PATUA
KALAM PATUA
KALAM PATUA
KALAM PATUA
KALIGHAT PAINTING
KALIGHAT PAINTING
KALIGHAT PAINTING
KALIGHAT PAINTING
KALIGHAT PAINTING
KALIGHAT PAINTING
KANTA JOGI
KANTA JOGI
KANTA JOGI
KANTA JOGI
KANTA JOGI
KANTA JOGI
MAN SINGH VYAM
MAN SINGH VYAM
MAN SINGH VYAM
MAN SINGH VYAM
MAN SINGH VYAM
MAN SINGH VYAM
LATE MANAS KUMAR DAS
LATE MANAS KUMAR DAS
LATE MANAS KUMAR DAS
LATE MANAS KUMAR DAS
LATE MANAS KUMAR DAS
LATE MANAS KUMAR DAS
MANGRU UIKEY
MANGRU UIKEY
MANGRU UIKEY
MANGRU UIKEY
MANGRU UIKEY
MANGRU UIKEY
MANOJ KUMAR TEKAM
Manoj Kumar Tekam trained under famed Gond artist Bhajju Shyam who himself apprenticed under his own uncle the illustrious Jangarh Singh Shyam. Bhajju Shyam passed on to Manoj a wealth of knowledge about the intricacies of Gond art. Rife with environmental themes as it draws on nature and its surroundings, Manoj’s art is textured with the life, experiences and minutiae of community life, which is characteristic of Gond art. For this reason Manoj chooses to stay and work in his village in the Gondwana region. This informs his work, infusing it with rustic authenticity.
MANOJ KUMAR TEKAM
Manoj Kumar Tekam trained under famed Gond artist Bhajju Shyam who himself apprenticed under his own uncle the illustrious Jangarh Singh Shyam. Bhajju Shyam passed on to Manoj a wealth of knowledge about the intricacies of Gond art. Rife with environmental themes as it draws on nature and its surroundings, Manoj’s art is textured with the life, experiences and minutiae of community life, which is characteristic of Gond art. For this reason Manoj chooses to stay and work in his village in the Gondwana region. This informs his work, infusing it with rustic authenticity.
MANOJ KUMAR TEKAM
Manoj Kumar Tekam trained under famed Gond artist Bhajju Shyam who himself apprenticed under his own uncle the illustrious Jangarh Singh Shyam. Bhajju Shyam passed on to Manoj a wealth of knowledge about the intricacies of Gond art. Rife with environmental themes as it draws on nature and its surroundings, Manoj’s art is textured with the life, experiences and minutiae of community life, which is characteristic of Gond art. For this reason Manoj chooses to stay and work in his village in the Gondwana region. This informs his work, infusing it with rustic authenticity.
MAYANK SHYAM
The son of Jangarh Singh Shyam has already created a space for himself in the world of art. Twenty one year old Mayank was featured in the book ‘Freedom’ sixty years after Indian Independence (published by Art and Heritage Foundation. 2007), along with Rabindranath Tagore, Paramjit and Arpita Singh, Jamini Roy and other contemporary artists. He had got the state award (2005-2006) for master crafts, persons and weavers. One of Mayank’s motifs is the modern city which he portrays in his own distinctive style infusing it with a Gondi ethos. He has developed a distinct way of making birds which can be called “Mayank’s birds”. He has been using black most often, because he feels it is easy to draw the viewer’s attention with a lot of colours but more challenging to do it with black alone. Another motif of Mayank Shyam is the BAIGA Community, which draws him like a magnet with their knowledge about the World of nature, their sense of detachment about the material world, their songs and dances. Mayank is making a series of paintings on the BAIGAS, one of the branches of Gond Community.
MAYANK SHYAM
The son of Jangarh Singh Shyam has already created a space for himself in the world of art. Twenty one year old Mayank was featured in the book ‘Freedom’ sixty years after Indian Independence (published by Art and Heritage Foundation. 2007), along with Rabindranath Tagore, Paramjit and Arpita Singh, Jamini Roy and other contemporary artists. He had got the state award (2005-2006) for master crafts, persons and weavers. One of Mayank’s motifs is the modern city which he portrays in his own distinctive style infusing it with a Gondi ethos. He has developed a distinct way of making birds which can be called “Mayank’s birds”. He has been using black most often, because he feels it is easy to draw the viewer’s attention with a lot of colours but more challenging to do it with black alone. Another motif of Mayank Shyam is the BAIGA Community, which draws him like a magnet with their knowledge about the World of nature, their sense of detachment about the material world, their songs and dances. Mayank is making a series of paintings on the BAIGAS, one of the branches of Gond Community.
MAYANK SHYAM
The son of Jangarh Singh Shyam has already created a space for himself in the world of art. Twenty one year old Mayank was featured in the book ‘Freedom’ sixty years after Indian Independence (published by Art and Heritage Foundation. 2007), along with Rabindranath Tagore, Paramjit and Arpita Singh, Jamini Roy and other contemporary artists. He had got the state award (2005-2006) for master crafts, persons and weavers. One of Mayank’s motifs is the modern city which he portrays in his own distinctive style infusing it with a Gondi ethos. He has developed a distinct way of making birds which can be called “Mayank’s birds”. He has been using black most often, because he feels it is easy to draw the viewer’s attention with a lot of colours but more challenging to do it with black alone. Another motif of Mayank Shyam is the BAIGA Community, which draws him like a magnet with their knowledge about the World of nature, their sense of detachment about the material world, their songs and dances. Mayank is making a series of paintings on the BAIGAS, one of the branches of Gond Community.
MITHLESH SHYAM
MITHLESH SHYAM
MITHLESH SHYAM
MITHLESH SHYAM
MITHLESH SHYAM
MITHLESH SHYAM
NANKUSIA SHYAM
NANKUSIA SHYAM
NANKUSIA SHYAM
NANKUSIA SHYAM
NANKUSIA SHYAM
NANKUSIA SHYAM
NARMADA PRASAD TEKAM
Narmada Prasad Tekam - Came to Bhopal in 1983, a few months after Jangarh Singh Shyam. His talent was discovered by a student of the contemporary artist, J Swaminathan in Patangarh. As a child, when Narmada took the cattle out to graze by the banks of the River Singni, he taught himself to draw by making an imprint of himself in the sand and then tracing the outline with a stick. Later, he started painting on the walls of his house with black and yellow clay. His themes were varied – from figures of humans, animals and birds to gods, like Hanuman. For colour, he used pigments extracted from leaves and flowers. His motifs have changed over the years, and now he draws mainly tigers, deer, birds and porcupine. Narmada Prasad contributed his illustrations of goddesses to the bilingual book, Gond Devlok by Dr Dharmendra Pare, published by the Adivasi Lok Kala and Tulsi Sahitya Academy – goddesses like Bahri Batorandevi, who sweeps away poverty and sorrow; Chausat Joghan, who controls the sixty four directions; Bangari Devi the ghost catcher; Galharin Devi, guardian of the streets; Tiptahin Devi, who shields us from witchcraft; Badavan Devi, goddess of abundance. Narmada Prasad has travelled extensively showcasing his paintings and currently works as an artist in the Adivasi Lok Kala Parishad. In 2006, Narmada Prasad Tekam, was awarded the Shikhar Sanman by the Government of Madhya Pradesh.
NARMADA PRASAD TEKAM
Narmada Prasad Tekam - Came to Bhopal in 1983, a few months after Jangarh Singh Shyam. His talent was discovered by a student of the contemporary artist, J Swaminathan in Patangarh. As a child, when Narmada took the cattle out to graze by the banks of the River Singni, he taught himself to draw by making an imprint of himself in the sand and then tracing the outline with a stick. Later, he started painting on the walls of his house with black and yellow clay. His themes were varied – from figures of humans, animals and birds to gods, like Hanuman. For colour, he used pigments extracted from leaves and flowers. His motifs have changed over the years, and now he draws mainly tigers, deer, birds and porcupine. Narmada Prasad contributed his illustrations of goddesses to the bilingual book, Gond Devlok by Dr Dharmendra Pare, published by the Adivasi Lok Kala and Tulsi Sahitya Academy – goddesses like Bahri Batorandevi, who sweeps away poverty and sorrow; Chausat Joghan, who controls the sixty four directions; Bangari Devi the ghost catcher; Galharin Devi, guardian of the streets; Tiptahin Devi, who shields us from witchcraft; Badavan Devi, goddess of abundance. Narmada Prasad has travelled extensively showcasing his paintings and currently works as an artist in the Adivasi Lok Kala Parishad. In 2006, Narmada Prasad Tekam, was awarded the Shikhar Sanman by the Government of Madhya Pradesh.
NARMADA PRASAD TEKAM
Narmada Prasad Tekam - Came to Bhopal in 1983, a few months after Jangarh Singh Shyam. His talent was discovered by a student of the contemporary artist, J Swaminathan in Patangarh. As a child, when Narmada took the cattle out to graze by the banks of the River Singni, he taught himself to draw by making an imprint of himself in the sand and then tracing the outline with a stick. Later, he started painting on the walls of his house with black and yellow clay. His themes were varied – from figures of humans, animals and birds to gods, like Hanuman. For colour, he used pigments extracted from leaves and flowers. His motifs have changed over the years, and now he draws mainly tigers, deer, birds and porcupine. Narmada Prasad contributed his illustrations of goddesses to the bilingual book, Gond Devlok by Dr Dharmendra Pare, published by the Adivasi Lok Kala and Tulsi Sahitya Academy – goddesses like Bahri Batorandevi, who sweeps away poverty and sorrow; Chausat Joghan, who controls the sixty four directions; Bangari Devi the ghost catcher; Galharin Devi, guardian of the streets; Tiptahin Devi, who shields us from witchcraft; Badavan Devi, goddess of abundance. Narmada Prasad has travelled extensively showcasing his paintings and currently works as an artist in the Adivasi Lok Kala Parishad. In 2006, Narmada Prasad Tekam, was awarded the Shikhar Sanman by the Government of Madhya Pradesh.
NIKKI SINGH URVETI
NIKKI SINGH URVETI
NIKKI SINGH URVETI
NIKKI SINGH URVETI
NIKKI SINGH URVETI
NIKKI SINGH URVETI
PRASAD SINGH KUSHRAM
GOND ARTIST- PRASAD SINGH KUSHRAM
PRASAD SINGH KUSHRAM
GOND ARTIST- PRASAD SINGH KUSHRAM
PRASAD SINGH KUSHRAM
GOND ARTIST- PRASAD SINGH KUSHRAM
PRAVEEN BALU MASHE
Pravin Balu Mashe is the grandson of the renowned Warli artist Jivya Soma Mashe. His pictorial style is rooted in the tradition of Warli, with rhythmic, simplified forms representing the complexities of the world around him. Like his father, Balu Mashe he has travelled a lot to showcase his art.
PRAVEEN BALU MASHE
Pravin Balu Mashe is the grandson of the renowned Warli artist Jivya Soma Mashe. His pictorial style is rooted in the tradition of Warli, with rhythmic, simplified forms representing the complexities of the world around him. Like his father, Balu Mashe he has travelled a lot to showcase his art.
PRAVEEN BALU MASHE
Pravin Balu Mashe is the grandson of the renowned Warli artist Jivya Soma Mashe. His pictorial style is rooted in the tradition of Warli, with rhythmic, simplified forms representing the complexities of the world around him. Like his father, Balu Mashe he has travelled a lot to showcase his art.
PRUSHOTAM KUSRAM
PRUSHOTAM KUSRAM
PRUSHOTAM KUSRAM
PRUSHOTAM KUSRAM
PRUSHOTAM KUSRAM
PRUSHOTAM KUSRAM
RAJENDRA KUSHRAM
RAJENDRA KUSHRAM
RAJENDRA KUSHRAM
RAJENDRA KUSHRAM
RAJENDRA KUSHRAM
RAJENDRA KUSHRAM
RAM BAI TEKAM
RAM BAI TEKAM
RAM BAI TEKAM
RAM BAI TEKAM
RAM BAI TEKAM
RAM BAI TEKAM
RAM SINGH URVETI
RAM SINGH URVETI
RAM SINGH URVETI
RAM SINGH URVETI
RAM SINGH URVETI
RAM SINGH URVETI
RAMESH BARIYA
RAMESH BARIYA
RAMESH BARIYA
RAMESH BARIYA
RAMESH BARIYA
RAMESH BARIYA
RAMESH TEKAM
RAMESH TEKAM
RAMESH TEKAM
RAMESH TEKAM
RAMESH TEKAM
RAMESH TEKAM
RAVINDRA BEHERA
RAVINDRA BEHERA
RAVINDRA BEHERA
RAVINDRA BEHERA
RAVINDRA BEHERA
RAVINDRA BEHERA
RAVI KUMAR TEKAM
RAVI KUMAR TEKAM
RAVI KUMAR TEKAM
RAVI KUMAR TEKAM
RAVI KUMAR TEKAM
RAVI KUMAR TEKAM
SADASHIV MASHE
SADASHIV MASHE
SADASHIV MASHE
SADASHIV MASHE
SADASHIV MASHE
SADASHIV MASHE
SANGITA JOGI
SANGITA JOGI
SANGITA JOGI
SANGITA JOGI
SANGITA JOGI
SANGITA JOGI
SANTOSH MARAVI
SANTOSH MARAVI
SANTOSH MARAVI
SANTOSH MARAVI
SANTOSH MARAVI
SANTOSH MARAVI
SANTI LATA BARIKI
SANTI LATA BARIKI
SANTI LATA BARIKI
SANTI LATA BARIKI
SANTI LATA BARIKI
SANTI LATA BARIKI
SARITA SURESH BANJARA
She has been painting for the last seven years under the mentorship Anil Vangad and has participated in many exhibitions and seminars along with her mentor.
SARITA SURESH BANJARA
She has been painting for the last seven years under the mentorship Anil Vangad and has participated in many exhibitions and seminars along with her mentor.
SARITA SURESH BANJARA
She has been painting for the last seven years under the mentorship Anil Vangad and has participated in many exhibitions and seminars along with her mentor.
SHAKUNTLA KUSHRAM
SHAKUNTLA KUSHRAM
SHAKUNTLA KUSHRAM
SHAKUNTLA KUSHRAM
SHAKUNTLA KUSHRAM
SHAKUNTLA KUSHRAM
SHAMBHU DAYAL SHYAM
Gond artist Sambhu Dayal Shyam was paintings his classroom walls even as his classmates were grappling with alphabets. Encouraged by his teacher, he went on to decorate floors and wedding arenas for Rs. 15/ a day. Thirty years later, some of his paintings can still be seen on the doors and walls of his village! Sambhu Dayal Shyam moved to make his base in Bhopal. With the demand for his paintings growing all the times he now even paints on T-shirts and saris. While his location may have changed, he still uses natural colors. He goes back to his village regularly for supplies. He feels he works best with the black, red, yellow and orange colored mud from his district. Shyam has mastered the line and dot form to imaginatively interpret the legion of myths as per Gond beliefs.
SHAMBHU DAYAL SHYAM
Gond artist Sambhu Dayal Shyam was paintings his classroom walls even as his classmates were grappling with alphabets. Encouraged by his teacher, he went on to decorate floors and wedding arenas for Rs. 15/ a day. Thirty years later, some of his paintings can still be seen on the doors and walls of his village! Sambhu Dayal Shyam moved to make his base in Bhopal. With the demand for his paintings growing all the times he now even paints on T-shirts and saris. While his location may have changed, he still uses natural colors. He goes back to his village regularly for supplies. He feels he works best with the black, red, yellow and orange colored mud from his district. Shyam has mastered the line and dot form to imaginatively interpret the legion of myths as per Gond beliefs.
SHAMBHU DAYAL SHYAM
Gond artist Sambhu Dayal Shyam was paintings his classroom walls even as his classmates were grappling with alphabets. Encouraged by his teacher, he went on to decorate floors and wedding arenas for Rs. 15/ a day. Thirty years later, some of his paintings can still be seen on the doors and walls of his village! Sambhu Dayal Shyam moved to make his base in Bhopal. With the demand for his paintings growing all the times he now even paints on T-shirts and saris. While his location may have changed, he still uses natural colors. He goes back to his village regularly for supplies. He feels he works best with the black, red, yellow and orange colored mud from his district. Shyam has mastered the line and dot form to imaginatively interpret the legion of myths as per Gond beliefs.
SHANTARAM CHINTYA TUMBADA
SHANTARAM CHINTYA TUMBADA
SHANTARAM CHINTYA TUMBADA
SHANTARAM CHINTYA TUMBADA
SHANTARAM CHINTYA TUMBADA
SHANTARAM CHINTYA TUMBADA
SHANTARAM RAJA GORKHANA
SHANTARAM RAJA GORKHANA
SHANTARAM RAJA GORKHANA
SHANTARAM RAJA GORKHANA
SHANTARAM RAJA GORKHANA
SHANTARAM RAJA GORKHANA
SHANTU TEKAM
SHANTU TEKAM
SHANTU TEKAM
SHANTU TEKAM
SHANTU TEKAM
SHANTU TEKAM
SUNITA SADASHIV MASHE
She is the niece of Jivya Soma Mashe. As she has art in her blood and soul so, she comes up with art is amazingly traditional and the same time has modern element in the paintings.
SUNITA SADASHIV MASHE
She is the niece of Jivya Soma Mashe. As she has art in her blood and soul so, she comes up with art is amazingly traditional and the same time has modern element in the paintings.
SUNITA SADASHIV MASHE
She is the niece of Jivya Soma Mashe. As she has art in her blood and soul so, she comes up with art is amazingly traditional and the same time has modern element in the paintings.
SUSHIL SONI
SUSHIL SONI
SUSHIL SONI
SUSHIL SONI
SUSHIL SONI
SUSHIL SONI
TANJORE
TANJORE
TANJORE
TANJORE
TANJORE
TANJORE
USMAN TIRANDAZ
USMAN TIRANDAZ
USMAN TIRANDAZ
USMAN TIRANDAZ
USMAN TIRANDAZ
USMAN TIRANDAZ
VIDHUSHNI PRASAD
VIDHUSHNI PRASAD
VIDHUSHNI PRASAD
VIDHUSHNI PRASAD
VIDHUSHNI PRASAD
VIDHUSHNI PRASAD
VIJAY KUMAR VERMA
VIJAY KUMAR VERMA
VIJAY KUMAR VERMA
VIJAY KUMAR VERMA
VIJAY KUMAR VERMA
VIJAY KUMAR VERMA
VIJAY SADASHIV MASHE
VIJAY SADASHIV MASHE
VIJAY SADASHIV MASHE
VIJAY SADASHIV MASHE
VIJAY SADASHIV MASHE
VIJAY SADASHIV MASHE
SUYASH KESHARI
SUYASH KESHARI
SUYASH KESHARI
SUYASH KESHARI
SUYASH KESHARI
SUYASH KESHARI
ALEC CUMMING
ALEC CUMMING
ALEC CUMMING
ALEC CUMMING
ALEC CUMMING
ALEC CUMMING
ANAND PANCHAL
ANAND PANCHAL
ANAND PANCHAL
ANAND PANCHAL
ANAND PANCHAL
ANAND PANCHAL
ANIKET KHUPSE
ANIKET KHUPSE
ANIKET KHUPSE
ANIKET KHUPSE
ANIKET KHUPSE
ANIKET KHUPSE
ANWAR KHAN
ANWAR KHAN
ANWAR KHAN
ANWAR KHAN
ANWAR KHAN
ANWAR KHAN
BADRI NARAYAN
BADRI NARAYAN
BADRI NARAYAN
BADRI NARAYAN
BADRI NARAYAN
BADRI NARAYAN
BRATIN KHAN
BRATIN KHAN
BRATIN KHAN
BRATIN KHAN
BRATIN KHAN
BRATIN KHAN
F.N. SOUZA
F.N. SOUZA
F.N. SOUZA
F.N. SOUZA
F.N. SOUZA
F.N. SOUZA
SHIV PRASAD MALVIYA
Like many other artists, he attempted to adhere to a more traditional profession before giving in to his passion for painting and making it his means of livelihood. He practices the Gond style of art, a traditional tribal art, rife with environmental motifs, which employs natural colours, in keeping with the sustainable mindset of the Gond community.
SHIV PRASAD MALVIYA
Like many other artists, he attempted to adhere to a more traditional profession before giving in to his passion for painting and making it his means of livelihood. He practices the Gond style of art, a traditional tribal art, rife with environmental motifs, which employs natural colours, in keeping with the sustainable mindset of the Gond community.
SHIV PRASAD MALVIYA
Like many other artists, he attempted to adhere to a more traditional profession before giving in to his passion for painting and making it his means of livelihood. He practices the Gond style of art, a traditional tribal art, rife with environmental motifs, which employs natural colours, in keeping with the sustainable mindset of the Gond community.
SHIV KUMAR VERMA
SCULPTURE ARTIST- SHIV KUMAR VERMA
SHIV KUMAR VERMA
SCULPTURE ARTIST- SHIV KUMAR VERMA
SHIV KUMAR VERMA
SCULPTURE ARTIST- SHIV KUMAR VERMA
AMIT MAHADEV DOMBHARE
WARLI ARTIST IS AMIT MAHADEV DOMBHARE.
AMIT MAHADEV DOMBHARE
WARLI ARTIST IS AMIT MAHADEV DOMBHARE.
AMIT MAHADEV DOMBHARE
WARLI ARTIST IS AMIT MAHADEV DOMBHARE.
BHANU PRAKASH
Qualification: BFA in 2005 & MFA in Painting in 2007 from Indira Kala Sangeet University, Khairagarh, Chhattisgarh.
Exhibition:
• One Man show in 2002, Saptgiri Park, Rajhara (C.G.)
• Group exhibition in 2003, Nehru art gallery, Bhilai, (C.G.)
• In 2004, Mahakoushal Kala Vithika, Raipur (C.G.)
• In 2006, Venktappa art gallery Bangalore, Karnataka
• In 2008, Bharat Bhavan Bhopal (MP)
• In 2008, Art society Haidrabad
• In 2008, Mahakoushal Kala Vithika, Raipur (C.G.)
• In 2009, Lokayata art gallery Hauz Khas New Delhi
• In 2009, Marwah studio Film city Noida (U.P.)
• In 2009, Krishna collection art gallery New Delhi
• In 2009, Akedamy of Fine Art Kolkata(WB)
International Artists Network:
• Indonesia And Jakarta, 2010.
• India Habitat Center New Delhi, 2010.
• INFAC Orgnized show at Lalit Kala Academy, New Delhi.
• In 2011, ENSIGN art gallery, Malviya Nagar, New Delhi
• In 2012, ENSIGN art gallery,Vasant Kunj, New Delhi
• In 2013, National Award Exhibition Lalit Kala Academy
• In 2013, National Award Exhibition Lalit Kala Academy
• In 2014, National Award Exhibition Lalit Kala Academy
• In 2015, BHARAT BHAWAN BHOPAL
Camps:
• 2002, Eklakhi Malda, West Bengal
• 2003, DAV collage Muzaffar Nagar, Uttar Pradesh
• 2004, The Jain International School, Bilaspur (C.G.)
• 2005–06 Kala Utsav, Ghaziabad, (U.P)
• 2006, Sanskar Bharti Art camp, Jabalpur (M.P.)
• 2007, MulkRaj Anand Centre, Lokayata Art Gallery, Delhi
• 2009, Lalit Kala Academy art camp in Raipur (C.G.)
• 2010, Lalit Kala Academy art camp in MANDU(M.P.)
• 2010, Lalit Kala Academy art camp in Bhuvaneshwar, Odissa
• 2017, Lalit Kala Academy art camp in Raghurajpur Bhuvaneshwar (odissa)
BHANU PRAKASH
Qualification: BFA in 2005 & MFA in Painting in 2007 from Indira Kala Sangeet University, Khairagarh, Chhattisgarh.
Exhibition:
• One Man show in 2002, Saptgiri Park, Rajhara (C.G.)
• Group exhibition in 2003, Nehru art gallery, Bhilai, (C.G.)
• In 2004, Mahakoushal Kala Vithika, Raipur (C.G.)
• In 2006, Venktappa art gallery Bangalore, Karnataka
• In 2008, Bharat Bhavan Bhopal (MP)
• In 2008, Art society Haidrabad
• In 2008, Mahakoushal Kala Vithika, Raipur (C.G.)
• In 2009, Lokayata art gallery Hauz Khas New Delhi
• In 2009, Marwah studio Film city Noida (U.P.)
• In 2009, Krishna collection art gallery New Delhi
• In 2009, Akedamy of Fine Art Kolkata(WB)
International Artists Network:
• Indonesia And Jakarta, 2010.
• India Habitat Center New Delhi, 2010.
• INFAC Orgnized show at Lalit Kala Academy, New Delhi.
• In 2011, ENSIGN art gallery, Malviya Nagar, New Delhi
• In 2012, ENSIGN art gallery,Vasant Kunj, New Delhi
• In 2013, National Award Exhibition Lalit Kala Academy
• In 2013, National Award Exhibition Lalit Kala Academy
• In 2014, National Award Exhibition Lalit Kala Academy
• In 2015, BHARAT BHAWAN BHOPAL
Camps:
• 2002, Eklakhi Malda, West Bengal
• 2003, DAV collage Muzaffar Nagar, Uttar Pradesh
• 2004, The Jain International School, Bilaspur (C.G.)
• 2005–06 Kala Utsav, Ghaziabad, (U.P)
• 2006, Sanskar Bharti Art camp, Jabalpur (M.P.)
• 2007, MulkRaj Anand Centre, Lokayata Art Gallery, Delhi
• 2009, Lalit Kala Academy art camp in Raipur (C.G.)
• 2010, Lalit Kala Academy art camp in MANDU(M.P.)
• 2010, Lalit Kala Academy art camp in Bhuvaneshwar, Odissa
• 2017, Lalit Kala Academy art camp in Raghurajpur Bhuvaneshwar (odissa)
BHANU PRAKASH
Qualification: BFA in 2005 & MFA in Painting in 2007 from Indira Kala Sangeet University, Khairagarh, Chhattisgarh.
Exhibition:
• One Man show in 2002, Saptgiri Park, Rajhara (C.G.)
• Group exhibition in 2003, Nehru art gallery, Bhilai, (C.G.)
• In 2004, Mahakoushal Kala Vithika, Raipur (C.G.)
• In 2006, Venktappa art gallery Bangalore, Karnataka
• In 2008, Bharat Bhavan Bhopal (MP)
• In 2008, Art society Haidrabad
• In 2008, Mahakoushal Kala Vithika, Raipur (C.G.)
• In 2009, Lokayata art gallery Hauz Khas New Delhi
• In 2009, Marwah studio Film city Noida (U.P.)
• In 2009, Krishna collection art gallery New Delhi
• In 2009, Akedamy of Fine Art Kolkata(WB)
International Artists Network:
• Indonesia And Jakarta, 2010.
• India Habitat Center New Delhi, 2010.
• INFAC Orgnized show at Lalit Kala Academy, New Delhi.
• In 2011, ENSIGN art gallery, Malviya Nagar, New Delhi
• In 2012, ENSIGN art gallery,Vasant Kunj, New Delhi
• In 2013, National Award Exhibition Lalit Kala Academy
• In 2013, National Award Exhibition Lalit Kala Academy
• In 2014, National Award Exhibition Lalit Kala Academy
• In 2015, BHARAT BHAWAN BHOPAL
Camps:
• 2002, Eklakhi Malda, West Bengal
• 2003, DAV collage Muzaffar Nagar, Uttar Pradesh
• 2004, The Jain International School, Bilaspur (C.G.)
• 2005–06 Kala Utsav, Ghaziabad, (U.P)
• 2006, Sanskar Bharti Art camp, Jabalpur (M.P.)
• 2007, MulkRaj Anand Centre, Lokayata Art Gallery, Delhi
• 2009, Lalit Kala Academy art camp in Raipur (C.G.)
• 2010, Lalit Kala Academy art camp in MANDU(M.P.)
• 2010, Lalit Kala Academy art camp in Bhuvaneshwar, Odissa
• 2017, Lalit Kala Academy art camp in Raghurajpur Bhuvaneshwar (odissa)
BHAWNA CHOUDHARY
Paintings by Bhawana Choudhary use abstract and semi abstract art forms which are inspired by nature and environment.
Born: 1972
Education: Post Graduate in Drawing & Painting - Govt. Girls College (Nutan College), Bhopal.
Awards:
2010: SPAN Cover Art Contest, India - US Relations
2002: Honourable mention Annual Exhibition Bharat Bhawan, Bhopal
2001: State award M. P. Kala Parishad Sponsored by AIFACS, New Delhi
2001: Honourable mention M. P. State Art Exhibition, Indore
1996: Academy of Administration, Bhopal
1996: Disaster Management Institute
1992 & 1991: Literary and Scientific Society Gandhi Medical College, Bhopal
BHAWNA CHOUDHARY
Paintings by Bhawana Choudhary use abstract and semi abstract art forms which are inspired by nature and environment.
Born: 1972
Education: Post Graduate in Drawing & Painting - Govt. Girls College (Nutan College), Bhopal.
Awards:
2010: SPAN Cover Art Contest, India - US Relations
2002: Honourable mention Annual Exhibition Bharat Bhawan, Bhopal
2001: State award M. P. Kala Parishad Sponsored by AIFACS, New Delhi
2001: Honourable mention M. P. State Art Exhibition, Indore
1996: Academy of Administration, Bhopal
1996: Disaster Management Institute
1992 & 1991: Literary and Scientific Society Gandhi Medical College, Bhopal
BHAWNA CHOUDHARY
Paintings by Bhawana Choudhary use abstract and semi abstract art forms which are inspired by nature and environment.
Born: 1972
Education: Post Graduate in Drawing & Painting - Govt. Girls College (Nutan College), Bhopal.
Awards:
2010: SPAN Cover Art Contest, India - US Relations
2002: Honourable mention Annual Exhibition Bharat Bhawan, Bhopal
2001: State award M. P. Kala Parishad Sponsored by AIFACS, New Delhi
2001: Honourable mention M. P. State Art Exhibition, Indore
1996: Academy of Administration, Bhopal
1996: Disaster Management Institute
1992 & 1991: Literary and Scientific Society Gandhi Medical College, Bhopal
GANESH PYNE
Born: 11 June 1937
Died: 12 March 2013
Arguably one of the more enigmatic figures in the Indian art scene, Ganesh Pyne has created his own universe. He was born on June 11, 1937 in Kolkata, West Bengal. One gets the distinct feeling that he is not interested in the immediate moment or the everyday reality that surrounds him. He has often said that he sees a parallel world unfolding itself, “In my mind’s eye, I see things in my own way. I carry my own world within me. And often this world runs parallel to the world of reality in which I live. He carried on with this conquest and established himself as one of the most notable contemporary artists of Bengal School of Art whose dark imageries got him an international fame until he passed away from a heart attack on March 2013.
GANESH PYNE
Born: 11 June 1937
Died: 12 March 2013
Arguably one of the more enigmatic figures in the Indian art scene, Ganesh Pyne has created his own universe. He was born on June 11, 1937 in Kolkata, West Bengal. One gets the distinct feeling that he is not interested in the immediate moment or the everyday reality that surrounds him. He has often said that he sees a parallel world unfolding itself, “In my mind’s eye, I see things in my own way. I carry my own world within me. And often this world runs parallel to the world of reality in which I live. He carried on with this conquest and established himself as one of the most notable contemporary artists of Bengal School of Art whose dark imageries got him an international fame until he passed away from a heart attack on March 2013.
GANESH PYNE
Born: 11 June 1937
Died: 12 March 2013
Arguably one of the more enigmatic figures in the Indian art scene, Ganesh Pyne has created his own universe. He was born on June 11, 1937 in Kolkata, West Bengal. One gets the distinct feeling that he is not interested in the immediate moment or the everyday reality that surrounds him. He has often said that he sees a parallel world unfolding itself, “In my mind’s eye, I see things in my own way. I carry my own world within me. And often this world runs parallel to the world of reality in which I live. He carried on with this conquest and established himself as one of the most notable contemporary artists of Bengal School of Art whose dark imageries got him an international fame until he passed away from a heart attack on March 2013.
GAUTAM SHARMA
GAUTAM SHARMA
GAUTAM SHARMA
GAUTAM SHARMA
GAUTAM SHARMA
GAUTAM SHARMA
ISABEL ROCK
Isabel Rock is a creator of contemporary fairy tales. Her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. Her first solo show at Bearspace Gallery in Deptford, London in April 2009 sold out and was the beginning of a career that continues to rise. Rock participated in the first ever India Art Summit, now the India Art Fair, where her detailed and intricate work was met with great appreciation from collectors and public. In 2009 Rock bought a port-a-cabin as a studio and parked it in a field in Berkshire with some rabbits for company. She has participated in international residencies in India, Iceland, Germany and West Africa as well as building up her portfolio and exhibiting at various galleries internationally. 2013 saw Rock winning the Arts Foundation Printmaking Fellowship, a £10,000 award given to emerging artists in certain practices, only six are awarded each year. This funded a move to Berlin where she lived and worked for four years, inspired by the vibrant life that the city has to offer. Moving back to the UK and the port-a-cabin in 2017, Rock continues to work on her large-scale collages, restricted only by the height of the ceiling.
ISABEL ROCK
Isabel Rock is a creator of contemporary fairy tales. Her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. Her first solo show at Bearspace Gallery in Deptford, London in April 2009 sold out and was the beginning of a career that continues to rise. Rock participated in the first ever India Art Summit, now the India Art Fair, where her detailed and intricate work was met with great appreciation from collectors and public. In 2009 Rock bought a port-a-cabin as a studio and parked it in a field in Berkshire with some rabbits for company. She has participated in international residencies in India, Iceland, Germany and West Africa as well as building up her portfolio and exhibiting at various galleries internationally. 2013 saw Rock winning the Arts Foundation Printmaking Fellowship, a £10,000 award given to emerging artists in certain practices, only six are awarded each year. This funded a move to Berlin where she lived and worked for four years, inspired by the vibrant life that the city has to offer. Moving back to the UK and the port-a-cabin in 2017, Rock continues to work on her large-scale collages, restricted only by the height of the ceiling.
ISABEL ROCK
Isabel Rock is a creator of contemporary fairy tales. Her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. Her first solo show at Bearspace Gallery in Deptford, London in April 2009 sold out and was the beginning of a career that continues to rise. Rock participated in the first ever India Art Summit, now the India Art Fair, where her detailed and intricate work was met with great appreciation from collectors and public. In 2009 Rock bought a port-a-cabin as a studio and parked it in a field in Berkshire with some rabbits for company. She has participated in international residencies in India, Iceland, Germany and West Africa as well as building up her portfolio and exhibiting at various galleries internationally. 2013 saw Rock winning the Arts Foundation Printmaking Fellowship, a £10,000 award given to emerging artists in certain practices, only six are awarded each year. This funded a move to Berlin where she lived and worked for four years, inspired by the vibrant life that the city has to offer. Moving back to the UK and the port-a-cabin in 2017, Rock continues to work on her large-scale collages, restricted only by the height of the ceiling.
JAGANNATH PAUL
Jagannath Paul, hailing from West Bengal and a graduate of the Government College of Art and Crafts, Kolkata, is a contemporary Indian artist known for his exploration of human expressions and relationships. Influenced by Cubism, he uses vibrant solid colors to create captivating figurative abstractions. His distinctive charcoal works on paper and canvas feature meticulously outlined figures with added depth and shadows. Paul's subjects often display closed eyes, inviting diverse interpretations—deep thought, dreams, or introspection. His backgrounds, intricate geometric patterns, contrast with the figures, yet subtly merge through charcoal shadows, blurring the lines between subject and setting. His art resonates with prestigious awards, including those from the Bombay Art Society and the Indian Society of Oriental Arts. Jagannath Paul's work invites collectors to delve into the intricate tapestry of human emotions and relationships, where faces become canvases of profound complexities, revealing the myriad facets we present to ourselves and to the world.
JAGANNATH PAUL
Jagannath Paul, hailing from West Bengal and a graduate of the Government College of Art and Crafts, Kolkata, is a contemporary Indian artist known for his exploration of human expressions and relationships. Influenced by Cubism, he uses vibrant solid colors to create captivating figurative abstractions. His distinctive charcoal works on paper and canvas feature meticulously outlined figures with added depth and shadows. Paul's subjects often display closed eyes, inviting diverse interpretations—deep thought, dreams, or introspection. His backgrounds, intricate geometric patterns, contrast with the figures, yet subtly merge through charcoal shadows, blurring the lines between subject and setting. His art resonates with prestigious awards, including those from the Bombay Art Society and the Indian Society of Oriental Arts. Jagannath Paul's work invites collectors to delve into the intricate tapestry of human emotions and relationships, where faces become canvases of profound complexities, revealing the myriad facets we present to ourselves and to the world.
JAGANNATH PAUL
Jagannath Paul, hailing from West Bengal and a graduate of the Government College of Art and Crafts, Kolkata, is a contemporary Indian artist known for his exploration of human expressions and relationships. Influenced by Cubism, he uses vibrant solid colors to create captivating figurative abstractions. His distinctive charcoal works on paper and canvas feature meticulously outlined figures with added depth and shadows. Paul's subjects often display closed eyes, inviting diverse interpretations—deep thought, dreams, or introspection. His backgrounds, intricate geometric patterns, contrast with the figures, yet subtly merge through charcoal shadows, blurring the lines between subject and setting. His art resonates with prestigious awards, including those from the Bombay Art Society and the Indian Society of Oriental Arts. Jagannath Paul's work invites collectors to delve into the intricate tapestry of human emotions and relationships, where faces become canvases of profound complexities, revealing the myriad facets we present to ourselves and to the world.
JAI ZHAROTIA
Known for exploring the mysteries of life beyond the realm of logic through his art, Jai Zharotia was born in Delhi in 1945. Zharotia studied fine arts at the Delhi College of Art from 1967-71 and went on to teach at his alma mater for over three decades. Accessible and non-dogmatic as a teacher, he was popular among students. Zharotia read poetry with interest and wrote in Hindi as well. Throughout his life, he remained associated with children’s projects at Bal Bhawan, an institute where he had taught briefly early on in his career. What remained constant was his lifelong quest to go beyond what could be explained and understood, and he gave expression to this pursuit of the mysterious through his vivid imagination. His works—paintings, prints and sculptures—are known for presenting a sense of duality, the visible and the invisible, the apparent and the elusive, the conscious and the subconscious. Zharotia won several awards, including the Priyadarshini Award in 2004, senior fellow in the field of visual arts by the Government of India, 1998, Lalit Kala Akademi’s national award in 1992, Sahitya Kala Parishad’s award for silkscreen printing in 1979, among others. His works have been collected by the National Gallery of Modern Art as well as the Kiran Nadar Museum of Art, New Delhi. He passed away on 27 March 2021.
JAI ZHAROTIA
Known for exploring the mysteries of life beyond the realm of logic through his art, Jai Zharotia was born in Delhi in 1945. Zharotia studied fine arts at the Delhi College of Art from 1967-71 and went on to teach at his alma mater for over three decades. Accessible and non-dogmatic as a teacher, he was popular among students. Zharotia read poetry with interest and wrote in Hindi as well. Throughout his life, he remained associated with children’s projects at Bal Bhawan, an institute where he had taught briefly early on in his career. What remained constant was his lifelong quest to go beyond what could be explained and understood, and he gave expression to this pursuit of the mysterious through his vivid imagination. His works—paintings, prints and sculptures—are known for presenting a sense of duality, the visible and the invisible, the apparent and the elusive, the conscious and the subconscious. Zharotia won several awards, including the Priyadarshini Award in 2004, senior fellow in the field of visual arts by the Government of India, 1998, Lalit Kala Akademi’s national award in 1992, Sahitya Kala Parishad’s award for silkscreen printing in 1979, among others. His works have been collected by the National Gallery of Modern Art as well as the Kiran Nadar Museum of Art, New Delhi. He passed away on 27 March 2021.
JAI ZHAROTIA
Known for exploring the mysteries of life beyond the realm of logic through his art, Jai Zharotia was born in Delhi in 1945. Zharotia studied fine arts at the Delhi College of Art from 1967-71 and went on to teach at his alma mater for over three decades. Accessible and non-dogmatic as a teacher, he was popular among students. Zharotia read poetry with interest and wrote in Hindi as well. Throughout his life, he remained associated with children’s projects at Bal Bhawan, an institute where he had taught briefly early on in his career. What remained constant was his lifelong quest to go beyond what could be explained and understood, and he gave expression to this pursuit of the mysterious through his vivid imagination. His works—paintings, prints and sculptures—are known for presenting a sense of duality, the visible and the invisible, the apparent and the elusive, the conscious and the subconscious. Zharotia won several awards, including the Priyadarshini Award in 2004, senior fellow in the field of visual arts by the Government of India, 1998, Lalit Kala Akademi’s national award in 1992, Sahitya Kala Parishad’s award for silkscreen printing in 1979, among others. His works have been collected by the National Gallery of Modern Art as well as the Kiran Nadar Museum of Art, New Delhi. He passed away on 27 March 2021.
JOGEN CHOUDHARY
Jogen Chowdhury is known for his ability to successfully marry traditional imagery with the zeitgeist of contemporary painting, in a skillful blend of an urbane self-awareness and a highly localized Bengali influence. His early works show an attention to figuration that carries through in his current pieces. In an interview, Chowdhury commented that, in his early works, "the space projected a simple iconic presence. A spatial sequence was worked out but the space was not complex. The background seemed to vanish." Anshuman Dasgupta describes these works as more iconic and more dramatized; per contra, Chowdhury describes his later works as "now more personalized and subtle". Born in 1939 in Faridpur, Bengal, Chowdhury studied at the Government College of Art and Crafts, Kolkata, from 1955-60, followed by a stint at L'Ecole Nationale Superior des Beax-Arts, Paris, in 1965-57 on a French Government Scholarship. His recent solo exhibitions include 'A Calligraphy of Touch and Gaze', presented by Kalakriti Art Gallery at ICIA, Mumbai, in 2008; and ‘Abahoman: Flowing Life’ at Vadehra Art Gallery, New Delhi, in 2007. Chowdhury has also had solo exhibitions at Gajah Gallery, Singapore; Gallerie Foundation for Indian Artists, Amsterdam; and the Fine Art Resource, Berlin. In 1966, Chowdhury was awarded the Prix le France de la Jeune Peinture in Paris, and, in 1986, received an award at the Second Biennale of Havana, Cuba. He was presented the Kalidas Sanman by the Government of Madhya Pradesh in 2001. The artist lives and works in Santiniketan.
JOGEN CHOUDHARY
Jogen Chowdhury is known for his ability to successfully marry traditional imagery with the zeitgeist of contemporary painting, in a skillful blend of an urbane self-awareness and a highly localized Bengali influence. His early works show an attention to figuration that carries through in his current pieces. In an interview, Chowdhury commented that, in his early works, "the space projected a simple iconic presence. A spatial sequence was worked out but the space was not complex. The background seemed to vanish." Anshuman Dasgupta describes these works as more iconic and more dramatized; per contra, Chowdhury describes his later works as "now more personalized and subtle". Born in 1939 in Faridpur, Bengal, Chowdhury studied at the Government College of Art and Crafts, Kolkata, from 1955-60, followed by a stint at L'Ecole Nationale Superior des Beax-Arts, Paris, in 1965-57 on a French Government Scholarship. His recent solo exhibitions include 'A Calligraphy of Touch and Gaze', presented by Kalakriti Art Gallery at ICIA, Mumbai, in 2008; and ‘Abahoman: Flowing Life’ at Vadehra Art Gallery, New Delhi, in 2007. Chowdhury has also had solo exhibitions at Gajah Gallery, Singapore; Gallerie Foundation for Indian Artists, Amsterdam; and the Fine Art Resource, Berlin. In 1966, Chowdhury was awarded the Prix le France de la Jeune Peinture in Paris, and, in 1986, received an award at the Second Biennale of Havana, Cuba. He was presented the Kalidas Sanman by the Government of Madhya Pradesh in 2001. The artist lives and works in Santiniketan.
JOGEN CHOUDHARY
Jogen Chowdhury is known for his ability to successfully marry traditional imagery with the zeitgeist of contemporary painting, in a skillful blend of an urbane self-awareness and a highly localized Bengali influence. His early works show an attention to figuration that carries through in his current pieces. In an interview, Chowdhury commented that, in his early works, "the space projected a simple iconic presence. A spatial sequence was worked out but the space was not complex. The background seemed to vanish." Anshuman Dasgupta describes these works as more iconic and more dramatized; per contra, Chowdhury describes his later works as "now more personalized and subtle". Born in 1939 in Faridpur, Bengal, Chowdhury studied at the Government College of Art and Crafts, Kolkata, from 1955-60, followed by a stint at L'Ecole Nationale Superior des Beax-Arts, Paris, in 1965-57 on a French Government Scholarship. His recent solo exhibitions include 'A Calligraphy of Touch and Gaze', presented by Kalakriti Art Gallery at ICIA, Mumbai, in 2008; and ‘Abahoman: Flowing Life’ at Vadehra Art Gallery, New Delhi, in 2007. Chowdhury has also had solo exhibitions at Gajah Gallery, Singapore; Gallerie Foundation for Indian Artists, Amsterdam; and the Fine Art Resource, Berlin. In 1966, Chowdhury was awarded the Prix le France de la Jeune Peinture in Paris, and, in 1986, received an award at the Second Biennale of Havana, Cuba. He was presented the Kalidas Sanman by the Government of Madhya Pradesh in 2001. The artist lives and works in Santiniketan.
khajrau art
khajrau art
khajrau art
khajrau art
khajrau art
khajrau art
K. LAXMA GOUD
Kalal Laxma Goud, is an Indian painter, printmaker, and draughtsman who works in a variety of mediums including etching, gouache, pastel, sculpture and glass painting. Goud was born in Nizampur, Medak district in Telangana on August 21, 1940 to a family of toddy-brewers, K. Venka Goud and Anthamma Laxma Goud. Throughout his career, Goud has exhibited widely, both within and outside India. He had solo shows in New Delhi, Mumbai, London, Kolkata, Jaipur, Hyderabad. His works have been part of group exhibitions held in Mumbai in 2012; New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong kong 2001, Saffronart and Pundole Art Gallery, New York, 2001 and 2002; Centre of International Modern Art (CIMA), Kolkata, and the National Gallery of Modern Art (NGMA), New Delhi, 1993; ‘Festival of India’, Geneva, 1987; and Worcester Art Museum, 1986. Goud received the Andhra Pradesh State Lalit Kala Academy awards in 1962, 1966 and 1971. The artist lives and works in Hyderabad.
K. LAXMA GOUD
Kalal Laxma Goud, is an Indian painter, printmaker, and draughtsman who works in a variety of mediums including etching, gouache, pastel, sculpture and glass painting. Goud was born in Nizampur, Medak district in Telangana on August 21, 1940 to a family of toddy-brewers, K. Venka Goud and Anthamma Laxma Goud. Throughout his career, Goud has exhibited widely, both within and outside India. He had solo shows in New Delhi, Mumbai, London, Kolkata, Jaipur, Hyderabad. His works have been part of group exhibitions held in Mumbai in 2012; New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong kong 2001, Saffronart and Pundole Art Gallery, New York, 2001 and 2002; Centre of International Modern Art (CIMA), Kolkata, and the National Gallery of Modern Art (NGMA), New Delhi, 1993; ‘Festival of India’, Geneva, 1987; and Worcester Art Museum, 1986. Goud received the Andhra Pradesh State Lalit Kala Academy awards in 1962, 1966 and 1971. The artist lives and works in Hyderabad.
K. LAXMA GOUD
Kalal Laxma Goud, is an Indian painter, printmaker, and draughtsman who works in a variety of mediums including etching, gouache, pastel, sculpture and glass painting. Goud was born in Nizampur, Medak district in Telangana on August 21, 1940 to a family of toddy-brewers, K. Venka Goud and Anthamma Laxma Goud. Throughout his career, Goud has exhibited widely, both within and outside India. He had solo shows in New Delhi, Mumbai, London, Kolkata, Jaipur, Hyderabad. His works have been part of group exhibitions held in Mumbai in 2012; New York in 2011-12; Art Musings at Jehangir Art Gallery, Mumbai, in 2008; Galerie 88 Kolkata, in 2007; Priyasri Art Gallery, Mumbai, in 2006; by Saffronart and Apparao Galleries, Los Angeles, 2001; Saffronart Hong kong 2001, Saffronart and Pundole Art Gallery, New York, 2001 and 2002; Centre of International Modern Art (CIMA), Kolkata, and the National Gallery of Modern Art (NGMA), New Delhi, 1993; ‘Festival of India’, Geneva, 1987; and Worcester Art Museum, 1986. Goud received the Andhra Pradesh State Lalit Kala Academy awards in 1962, 1966 and 1971. The artist lives and works in Hyderabad.
K. S. RADHAKRISHNAN
K.S. Radhakrishnan is one of the most notable among the new generation of sculptors who has successfully brought about a definitive resurgence in Indian sculpture. Like many of his contemporaries he is a figurative sculptor, but his preference for modeling and bronze casting over new materials sets him apart from the rest of them. Recharging age-old sculptural process with a new sensibility, thus is the singular challenge he brings to modern Indian sculpture. And this makes him a modernist – who approaches his work with discernable ambition and considerable aplomb while steering clear of brinkmanship. With celebration of sensuality as one of its running themes, his works is at once both intimate and universal in its appeal. A personal commemorative sculpture, with a scale and presence that holds well in natural settings, his work has found permanent home in a number of public collections all over the world. (Prof. R. Siva Kumar, Santiniketan) Radhakrishnan was born (1956) in Kerala. He took to painting inspired of uncle P.N. Narayanan Kutty and worked till 1973. Later he completed his Bachelor of Fine Arts and Master of Fine Arts in sculpture from Visva Bharti University at Santiniketan. He was exhibited all across the country and international. His sculptures are in reputed collections across the globe. He is the recipient of several prestigious awards. He lives and works in Delhi / Santiniketan.
K. S. RADHAKRISHNAN
K.S. Radhakrishnan is one of the most notable among the new generation of sculptors who has successfully brought about a definitive resurgence in Indian sculpture. Like many of his contemporaries he is a figurative sculptor, but his preference for modeling and bronze casting over new materials sets him apart from the rest of them. Recharging age-old sculptural process with a new sensibility, thus is the singular challenge he brings to modern Indian sculpture. And this makes him a modernist – who approaches his work with discernable ambition and considerable aplomb while steering clear of brinkmanship. With celebration of sensuality as one of its running themes, his works is at once both intimate and universal in its appeal. A personal commemorative sculpture, with a scale and presence that holds well in natural settings, his work has found permanent home in a number of public collections all over the world. (Prof. R. Siva Kumar, Santiniketan) Radhakrishnan was born (1956) in Kerala. He took to painting inspired of uncle P.N. Narayanan Kutty and worked till 1973. Later he completed his Bachelor of Fine Arts and Master of Fine Arts in sculpture from Visva Bharti University at Santiniketan. He was exhibited all across the country and international. His sculptures are in reputed collections across the globe. He is the recipient of several prestigious awards. He lives and works in Delhi / Santiniketan.
K. S. RADHAKRISHNAN
K.S. Radhakrishnan is one of the most notable among the new generation of sculptors who has successfully brought about a definitive resurgence in Indian sculpture. Like many of his contemporaries he is a figurative sculptor, but his preference for modeling and bronze casting over new materials sets him apart from the rest of them. Recharging age-old sculptural process with a new sensibility, thus is the singular challenge he brings to modern Indian sculpture. And this makes him a modernist – who approaches his work with discernable ambition and considerable aplomb while steering clear of brinkmanship. With celebration of sensuality as one of its running themes, his works is at once both intimate and universal in its appeal. A personal commemorative sculpture, with a scale and presence that holds well in natural settings, his work has found permanent home in a number of public collections all over the world. (Prof. R. Siva Kumar, Santiniketan) Radhakrishnan was born (1956) in Kerala. He took to painting inspired of uncle P.N. Narayanan Kutty and worked till 1973. Later he completed his Bachelor of Fine Arts and Master of Fine Arts in sculpture from Visva Bharti University at Santiniketan. He was exhibited all across the country and international. His sculptures are in reputed collections across the globe. He is the recipient of several prestigious awards. He lives and works in Delhi / Santiniketan.
KG SUBRAMANIAN
Born: 15 February 1924
Died: 29 June 2016
Eminent artist, art teacher, designer, writer and philosopher of art, Kalpathi Ganpathi “KG” Subramanyan, also called Manida, is a major presence on the Indian art scene. Born in 1924 into a Tamil Brahmin family at Kuthuparambu in north Kerala. In 1966 Subramanyan was awarded the John D. Rockfeller III Fund Fellowship. In recognition of his varied contributions to the development of Indian art he was awarded the Shiromani Kala Puraskar by the Government of India in 1994. A retrospective exhibition of his work was held in 2003 at the National Gallery of Modern Art, New Delhi and Mumbai. Subramanyan was awarded the Padma Bhushan and the Padma Vibhushan by the Government of India in 2006 and 2012 respectively. At the age of 92, he passed away in Vadodara in June 2016.
KG SUBRAMANIAN
Born: 15 February 1924
Died: 29 June 2016
Eminent artist, art teacher, designer, writer and philosopher of art, Kalpathi Ganpathi “KG” Subramanyan, also called Manida, is a major presence on the Indian art scene. Born in 1924 into a Tamil Brahmin family at Kuthuparambu in north Kerala. In 1966 Subramanyan was awarded the John D. Rockfeller III Fund Fellowship. In recognition of his varied contributions to the development of Indian art he was awarded the Shiromani Kala Puraskar by the Government of India in 1994. A retrospective exhibition of his work was held in 2003 at the National Gallery of Modern Art, New Delhi and Mumbai. Subramanyan was awarded the Padma Bhushan and the Padma Vibhushan by the Government of India in 2006 and 2012 respectively. At the age of 92, he passed away in Vadodara in June 2016.
KG SUBRAMANIAN
Born: 15 February 1924
Died: 29 June 2016
Eminent artist, art teacher, designer, writer and philosopher of art, Kalpathi Ganpathi “KG” Subramanyan, also called Manida, is a major presence on the Indian art scene. Born in 1924 into a Tamil Brahmin family at Kuthuparambu in north Kerala. In 1966 Subramanyan was awarded the John D. Rockfeller III Fund Fellowship. In recognition of his varied contributions to the development of Indian art he was awarded the Shiromani Kala Puraskar by the Government of India in 1994. A retrospective exhibition of his work was held in 2003 at the National Gallery of Modern Art, New Delhi and Mumbai. Subramanyan was awarded the Padma Bhushan and the Padma Vibhushan by the Government of India in 2006 and 2012 respectively. At the age of 92, he passed away in Vadodara in June 2016.
M.SIVANESAN
Born in Madras (now Chennai) in 1940, M Sivanesan is one of India’s most profound artists, he has exhibited widely in India and abroad. His artworks are a reflection of his personal moods, he believes that portraying his emotions through canvas has a louder voice and impact than some profound statement. Sivanesan's works are figurative in style and subtle in color. Humans are an important aspect of his artworks as he shows the beauty he sees within them through his paintings. M. Sivanesan does not use his painting to make statements.
M.SIVANESAN
Born in Madras (now Chennai) in 1940, M Sivanesan is one of India’s most profound artists, he has exhibited widely in India and abroad. His artworks are a reflection of his personal moods, he believes that portraying his emotions through canvas has a louder voice and impact than some profound statement. Sivanesan's works are figurative in style and subtle in color. Humans are an important aspect of his artworks as he shows the beauty he sees within them through his paintings. M. Sivanesan does not use his painting to make statements.
M.SIVANESAN
Born in Madras (now Chennai) in 1940, M Sivanesan is one of India’s most profound artists, he has exhibited widely in India and abroad. His artworks are a reflection of his personal moods, he believes that portraying his emotions through canvas has a louder voice and impact than some profound statement. Sivanesan's works are figurative in style and subtle in color. Humans are an important aspect of his artworks as he shows the beauty he sees within them through his paintings. M. Sivanesan does not use his painting to make statements.
KRISHEN KHANNA
Krishen Khanna, a genre painter and a narrater who weaves and spins images out of the fragments of time was born on the year 1925 at Lyallpur, now Faislabad in Pakistan. His art practice is embedded in the unfoldment of his own life experiences. With his colleagues, he belongs to the generation that experienced painting and independence, painting for independence and painting from a position of independence. In a paradox, his art springs from the observation of life lived around himself but it is not an intimate act of confession or self-examination. In 2011, the Government of India awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All-India Fine Arts and Crafts Society, New Delhi. Khanna lives and works in New Delhi.
KRISHEN KHANNA
Krishen Khanna, a genre painter and a narrater who weaves and spins images out of the fragments of time was born on the year 1925 at Lyallpur, now Faislabad in Pakistan. His art practice is embedded in the unfoldment of his own life experiences. With his colleagues, he belongs to the generation that experienced painting and independence, painting for independence and painting from a position of independence. In a paradox, his art springs from the observation of life lived around himself but it is not an intimate act of confession or self-examination. In 2011, the Government of India awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All-India Fine Arts and Crafts Society, New Delhi. Khanna lives and works in New Delhi.
KRISHEN KHANNA
Krishen Khanna, a genre painter and a narrater who weaves and spins images out of the fragments of time was born on the year 1925 at Lyallpur, now Faislabad in Pakistan. His art practice is embedded in the unfoldment of his own life experiences. With his colleagues, he belongs to the generation that experienced painting and independence, painting for independence and painting from a position of independence. In a paradox, his art springs from the observation of life lived around himself but it is not an intimate act of confession or self-examination. In 2011, the Government of India awarded him with the Padma Bhushan; in 2004 he received the Lalit Kala Ratna from the President of India; and in 1997 he received the Kala Ratna from the All-India Fine Arts and Crafts Society, New Delhi. Khanna lives and works in New Delhi.
MANDAKINI DEVI
Mandakini was born in 1984, in Jalandhar, Punjab. She completed her Bachelor's degree in Fine arts from the Delhi College of Art in 2007. Following this, Mandakini pursued her further studies in the United Kingdom - a diploma in Photography from the London College of Communication in 2009, and a Master's degree in Fine Art from Nottingham Trent University in 2010.
MANDAKINI DEVI
Mandakini was born in 1984, in Jalandhar, Punjab. She completed her Bachelor's degree in Fine arts from the Delhi College of Art in 2007. Following this, Mandakini pursued her further studies in the United Kingdom - a diploma in Photography from the London College of Communication in 2009, and a Master's degree in Fine Art from Nottingham Trent University in 2010.
MANDAKINI DEVI
Mandakini was born in 1984, in Jalandhar, Punjab. She completed her Bachelor's degree in Fine arts from the Delhi College of Art in 2007. Following this, Mandakini pursued her further studies in the United Kingdom - a diploma in Photography from the London College of Communication in 2009, and a Master's degree in Fine Art from Nottingham Trent University in 2010.
MARIO DE MIRANDA
MARIO DE MIRANDA
MARIO DE MIRANDA
MARIO DE MIRANDA
MARIO DE MIRANDA
MARIO DE MIRANDA
MADHUBANTI BANERJEE
Madhubanti Banerjee has a degree in Visual Arts from Kolkata, India. She has exhibited her art internationally, since 1990. She is known for her beautiful portrayal of women. Late Mario de Miranda- Mario de Miranda has not formally studied Art and began his career as a Cartoonist for the Times of India Group in 1953. He later moved into illustration and fine art. He has illustrated numerous books including Inside Goa by Manohar Malgonkar, A family in Goa and The Open Eyes by Dom Moraes. Amount his own books are Goa with Love, A little World of Humor, Sketch book, Germany in Wintertime, Impression of Paris and Mario de Miranda He has been invited to sketch and exhibit in many Countries including U.S.A., Japan, Germany, Spain and France. He is also the recipient of many National and International honours. Indain artist Mario de Miranda died in his sleep on 11th December, 2011 in his ancestral house in Loutolim – Goa. He is survived by his wife Habiba and two sons Rishaad and Raul. He was ailing for the last 2 years but was active till his last days and was at a musical evening at a nearby restaurant 2 nights before
MADHUBANTI BANERJEE
Madhubanti Banerjee has a degree in Visual Arts from Kolkata, India. She has exhibited her art internationally, since 1990. She is known for her beautiful portrayal of women. Late Mario de Miranda- Mario de Miranda has not formally studied Art and began his career as a Cartoonist for the Times of India Group in 1953. He later moved into illustration and fine art. He has illustrated numerous books including Inside Goa by Manohar Malgonkar, A family in Goa and The Open Eyes by Dom Moraes. Amount his own books are Goa with Love, A little World of Humor, Sketch book, Germany in Wintertime, Impression of Paris and Mario de Miranda He has been invited to sketch and exhibit in many Countries including U.S.A., Japan, Germany, Spain and France. He is also the recipient of many National and International honours. Indain artist Mario de Miranda died in his sleep on 11th December, 2011 in his ancestral house in Loutolim – Goa. He is survived by his wife Habiba and two sons Rishaad and Raul. He was ailing for the last 2 years but was active till his last days and was at a musical evening at a nearby restaurant 2 nights before
MADHUBANTI BANERJEE
Madhubanti Banerjee has a degree in Visual Arts from Kolkata, India. She has exhibited her art internationally, since 1990. She is known for her beautiful portrayal of women. Late Mario de Miranda- Mario de Miranda has not formally studied Art and began his career as a Cartoonist for the Times of India Group in 1953. He later moved into illustration and fine art. He has illustrated numerous books including Inside Goa by Manohar Malgonkar, A family in Goa and The Open Eyes by Dom Moraes. Amount his own books are Goa with Love, A little World of Humor, Sketch book, Germany in Wintertime, Impression of Paris and Mario de Miranda He has been invited to sketch and exhibit in many Countries including U.S.A., Japan, Germany, Spain and France. He is also the recipient of many National and International honours. Indain artist Mario de Miranda died in his sleep on 11th December, 2011 in his ancestral house in Loutolim – Goa. He is survived by his wife Habiba and two sons Rishaad and Raul. He was ailing for the last 2 years but was active till his last days and was at a musical evening at a nearby restaurant 2 nights before
ASHISH KUMAR KACHHWAHA
WILDLIFE ARTIST - ASHISH KUMAR KACHHWAHA
ASHISH KUMAR KACHHWAHA
WILDLIFE ARTIST - ASHISH KUMAR KACHHWAHA
ASHISH KUMAR KACHHWAHA
WILDLIFE ARTIST - ASHISH KUMAR KACHHWAHA
MANGLA BAI
GODNA ARTIST MANGLA BAI
MANGLA BAI
GODNA ARTIST MANGLA BAI
MANGLA BAI
GODNA ARTIST MANGLA BAI