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In 2012, on the occasion of the 150th birthday of Josef Strzygowski (1862-1921), the controversial personality of this long-standing Viennese professor was subjected to a renewed evaluation in conferences. It seems undisputed that Strzygowski not only opened the Eurocentric view of traditional art history far to Asia, but also became influential in the United States of America. His obvious charisma and his openness to new areas and modern media have also stimulated many students to look for their field of work outside of Europe – in many cases long before political circumstances forced them to do so because of their Jewish origins.
An example of this is above all Stella Kramrisch(1898-1993), who received her doctorate from Strzygowski in 1919 with her “Investigation into the essence of early Buddhist sculpture in India” and was invited to Oxford in the same year through the agency of her teacher. In London she not only organized photos about Indian art for the Vienna Institute, but also came into contact with colonial artists such as the first Asian Nobel Prize winner for literature, Rabindranath Tagore, and English theorists such as William Rothenstein. Invited by Tagore to his college in West Bengal in 1920, the young Viennese art historian moved to India, so to speak on behalf of her teacher, who had promised his Indian colleague to help set up an art history institute. Due to the contacts of her Viennese professor with the Bauhaus, Kramrisch was able to organize an exhibition of contemporary art at the Weimar Art School in Calcutta in 1922. On the occasion of the centenary, this intercontinental cultural transfer was honored in 2013 at the Bauhaus Dessau with an exhibition and an accompanying publication, using materials from our institute’s archive.
Kramrisch wrote the English text for the exhibition catalog in 1922 and became the first female professor of Indian art at the University of Calcutta in 1923. The pupil continued to send her publications, now in English, to her professor in Vienna, and in 1932 she contributed the essay “Landscape, Animals and Geometric Patterns in Indian Art” for his commemorative publication. Stella lived in India until 1950 and later in the USA Kramrisch became one of the most important explorers of the arts in India, her estate is now kept in Philadelphia.
But the “Viennese School of Art History” had not only indirect, but also direct influence: as early as 1926, the Islamic-Indian architect Ing. Khwaja Ali Akhtar Ansari was working on the Taj Mahal with Prof. Strzygowski. The part of the illustrations originally attached to the text with original photos and drawings of this dissertation is partially preserved in the photo collection of our institute. The historian Kris K. Manjapra from Tufts University in Boston, who looked in our institute archive for corresponding sources in the Strzygowski estate in 2013 , is also tracing these interesting relationships between Central European and Indian science in the interwar period .
There were also contacts between Austrian and Indian art scholars at the second Vienna Art History Institute and after Strygowski’s retirement. Thus, even after 1934, the Indian publications continued to go to what was now the only Viennese institute. The related letter in the institute’s archives was signed by Rai Bahadur Daya Sahni (1879-1939). Its more famous namesake, the archaeologist and later President of the Indian Academy of Sciences Dr. Birbal Sahni (1891-1949), on the other hand, was with the numismatist of the Kunsthistorisches Museum DDr. Karl Pink (1884-1965) in lively scientific exchange.
Professor Karl Maria Swoboda, who has been teaching at our institute since 1945also dealt with Asian art and tried to bring together the traditions of the two divided pre-war institutes. In 1955 they even asked Prof. Kramrisch in Calcutta for help with the procurement of relevant books. Just recently, Ernst Gombrich’s Indian student Partha Mitter addressed his teacher’s relationship to Indian art in a lecture at our institute (‘ Ernst Gombrich and Western representations of the sacred art of India ‘).
In the last few decades and in the present, there have been and still are lively contacts between our institute and the subcontinent. In 1996, a separate professorship for “non-European art” was set up.Deborah Klimburg-Salter was occupied. Her focus is on Afghanistan, Northern India and Tibet. She has initiated several large research networks and in this context also invited Afghan colleagues to train at our institute. In 2007, Prof. Klimburg was voted Austrian of the Year by the readers of the daily newspaper “Die Presse”.
At the same time, our lecturer Ebba Koch, who is one of the globally recognized specialists for the Taj Mahal, taught . In the monsoon semester (late August to early December) 2013, our former colleague Verena Widorn finally joined the School of Arts and Aesthetics as a Visual Studies Faculty GuestJawaharlal Nehru University in Delhi held a lecture “Material, Methods and Meaning” for master’s students. During an excursion, the Indian students and their Austrian teacher visited the well-known local sculptor Ram V Sutar, and as part of a lecture, Ms. Widorn also talked about Stella Kramrisch and her Viennese roots.
The former chair of Prof. Klimburg was converted into a professorship with the title “Art History of Asia” or specified in 2013.…
From early rock carvings to a thriving contemporary art scene, India’s vibrant artistic heritage is the result of a wide variety of cultural influences. The diversity of art from the region – which includes everything created in the historical regions of today’s India, Bangladesh, Pakistan and Afghanistan – is reflected in vibrant, distinct and fascinating styles that reflect many different civilizations.
Since some of the world’s major religions such as Buddhism, Hinduism and Islam originated or developed in India, much of Indian art is based on religious or political content. Here we discover the history of Indian folk art, architecture, and sculpture and explain how they evolved from sociopolitical influences. From early rock carvings to a thriving contemporary art scene, India’s vibrant artistic heritage is the result of a variety of cultural influences. The diversity of art from the region – which includes everything that was created in the historical regions of today’s India, Bangladesh, Pakistan and Afghanistan – is reflected in lively, independent and fascinating styles,
Since some of the world’s major religions such as Buddhism, Hinduism and Islam originated or developed in India, much of Indian art is based on religious or political content. Here we discover the history of Indian folk art, architecture and sculpture and explain how they developed from socio-political influences.
The history of Indian art
Archaeologists discovered evidence of prehistoric rock art carvings or drawings on cave rocks – in this area, which dates back at least 290,000 years. The oldest examples are the rock paintings of Bhimbetka found in central India. Cup-shaped depressions that were knocked out of the rock surface were combined with the painting. This type of rock art was the most important form of cave painting in the Paleolithic, Mesolithic, and Neolithic, often depicting animal and human forms.
The earliest known sculptures in Indian art were made between 2,500 BC. BC and 1,800 BC Created. They created small terracotta and bronze figures that also depicted people and animals such as cows and monkeys. In the 6th century BC The rise of Buddhism paved the way for religious art, often in the form of stone and bronze sculptures. During this period, religious artists also experimented with creating huge temples carved in stone and decorated with Greek columns.
Sculpture was a widespread practice among Indian Buddhists and Hindus. Hinduism remained a focus of Indian art for centuries, as sculptures of deities like Shiva were made many times. In the 16th century, Islam gained importance under the Mughal Empire and art production grew under the Islamic rulers. During this time the art flourished and construction of the Taj Mahal began in 1631.
British activities in India began in the 18th century when they established art schools to promote European styles. As a result, local art styles merged with foreign influences, and traditional art forms were often romanticized or exaggerated to attract European buyers.
In 1947 India gained independence from the British Empire, which led local artists to look for a new style. Contemporary Indian art combines traditional elements and influences from the country’s eventful history.
Types of Indian Art
Each region of India had its own style of art. Religious motifs are among the most common themes, often with mythological human and animal shapes and elaborate decorations.
The three most common art forms that comprise the history of India are painting, architecture and sculpture.
Indian art: paintings and painting
Every style of painting that originated in India embodied traditions, customs and ideologies passed down from previous generations. Although there were early paintings as murals, the art form was ultimately carried over to more modern materials such as paper, canvas, cloth, and other media.
Below are some of the most popular styles in Indian art.
Some of the most popular paintings from India are Madhubani paintings. This style originated in the Mithila region of Bihar as a form of wall art, but was not too well known to the western world until 1934, when British art historian WG Archer stumbled upon its ingenuity while investigating damage from an earthquake near the border between India and Nepal .
The Madhubani style is represented by a simple and vivid display of culture and tradition, typically depicting mythological scenes. Artists juxtapose vivid pictures with reduced patterns, which often have floral, animal or bird motifs. The art form is practiced in many different styles including Bharni, Katchni, Geru, Godna, and Tantric.
These little works, created primarily as illustrations for manuscripts, were first found on palm leaves painted for traders who carried them on their travels in the 10th and 12th centuries. The art form became increasingly important in the Mughal and Rajput courts.
The miniature painting was very detailed and elaborate and was characterized by Persian techniques. The subjects ranged from religious and historical scenes to depictions of everyday life.
Another early form of painting dates back to the 12th century BC. Near Orissa, an East Indian state on the Bay of Bengal. The small villages in the area still produce this type of painting today. Pattachitra literally means “fabric picture” and aptly describes this traditional, fabric-based type of scroll painting.
Known for their intricate details and mythological narratives, the paintings use angular lines and draw on influences from the Mughal period.
The Warli folk paintings, a form of indigenous art, go back 2,500 years. The style has its origins in Maharashtra, a state that encompasses the western part of central India. Warli paintings, typically made on the walls of huts, use linear and monochromatic tones and a basic style of execution reminiscent of cave painting.
Unlike other types of tribal art that have an abundance of colors, this style uses earth tones and neutral hues to represent the people’s daily activities such as farming, dancing, and hunting.
Indian paintings and their regional differences
Although Madhubani, Pattachitra, Warli, and miniature painting are some of the most popular styles, there are several types of Indian folk painting that date from different periods and regions within the subcontinent, including:
- Thanjavur painting: This South Indian painting style developed between the 16th and 18th centuries. Thanjavur paintings are brightly colored panel paintings painted on a wooden board, usually depicting a deity as the primary subject of the composition.
- Kalamkari: This type of hand-painted or block-printed cotton fabric is made in the Indian states of Andhra Pradesh and Telangana. Traditionally it was used to make narrative writings and panels and has a strong connection to Persian motifs.
- Gond pictures: Indian art, which was developed by the central Indian tribe of the Gond, celebrates the natural world and depicts impressive scenes from lush green to animals. The pictures are created from a series of intricately arranged dots and lines.
- Phad Paintings: Phad paintings date back thousands of years as a religious form of scroll painting depicting battlefields, adventure stories, and folk deities. Although Madhubani, Pattachitra, Warli, and miniature painting are some of the most famous styles, there are several types of Indian folk painting dating from different periods and regions within the subcontinent.
Notable Indian paintings
Raja Ravi Varma, “Shakuntala”, 1870
This painting shows Shakuntala, an important figure from the Mahabharata, one of the two great Sanskrit epics of ancient India.
Abindranath Tagore, “Bharat Mata”, 1905
Tagore’s painting is of great historical value as it depicts a woman dressed like a sadhvi (virtuous woman) in a sacred sari, holding white cloth and a garland in her four hands.
Amrita Sher-Gil, “Self-Portrait”, 1931
Amrita Sher-Gil was one of the most important modern artists in India. This was the artist’s first painting to be offered by Christie’s and one of only eight by the artist that has ever been auctioned.
Indian art and its architecture
Much like painting, Indian architecture took on various styles and forms over the years. Many of these structures have become known worldwide, such as the Taj Mahal and the temples of South India. Architectural styles have changed over time, and modern structures reflect influences from different countries as a result of global change in India.
Cave architecture was one of the earliest forms of architecture. They made entire temples out of stone. One of the most famous rock temples is the Kailasa Temple, which is located in the Ellora Caves in Maharashtra, India and is known for its size and sculptural design. From the 5th century BC Large, free-standing temples were built. Indian …