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There has also been a push by other artists and designers to preserve and showcase this art form to a wider, international audience. Designers have utilised the traditional colours, printing techniques and pattern styles associated pichhwai, in clothing attires and showcase them on international platforms such as Lakmé Fashion Week. [9]
Each pichwai painting is considered a seva or an offering to the deity and hence personifies Shrinathji as a prince with jewels and luxuries, surrounded by the milkmaids, gopis. These seva themes are based on different seasons and paintings are made to depict different moods of the season. [ 3 ]
After spending 13 years learning with Tulsidasji, Sharma had made a name for himself. In 1989, B. G. Sharma, an eminent Pichhwai artist, took Rajaram under his wings to teach him the nuances of Pichhwai and miniature painting. The artist worked under him for ten years and became adept in both Pichwai and miniature paintings. [2]
Warli painting is tribal art mostly created by the tribal people from the North Sahyadri Range in Maharashtra, India. Warli paintings exist in cities such as Dahanu , Talasari , Jawhar , Palghar , Mokhada , and Vikramgad of Palghar district, and originated in Maharashtra, where it is still practiced today.
Tribal art is the visual arts and material culture of indigenous peoples.Also known as non-Western art or ethnographic art, or, controversially, primitive art, [1] tribal arts have historically been collected by Western anthropologists, private collectors, and museums, particularly ethnographic and natural history museums.
The Banjaras of Madhya Pradesh who are found in the districts of Malwa and Nimar have their own style of embroidery where designs are created according to the weave of the cloth, and the textured effect is achieved by varying colours and stitches of the geometric patterns and designs. Motifs are generally highlighted by cross-stitch.
The blanks of the Kandyan Frescoes have been filled with traditional flower patterns. Not only for filling blanks, these patterns have been used to decorate the Udu Viyan (Ceilings). As flowers, mainly lotus flowers are used. Instead of them, Pandanus flowers, Binara flowers, Beraliya flowers, Jasmine flowers have been used.
The wall painting were often captioned in Pali, Old Mon or Old Burmese and typically depicted the Jataka Tales. Many temples also featured ceiling paintings, which were usually patterns. The lotus was a common motif in ceiling art for its symbolic connection with purity in Buddhist art. [11] Sculpture was also very prominent in the period.