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Journal articles on the topic 'Folk art, india'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Sharma, Bhanu Dev. "Folk Art: The Modern Form of Prehistoric Indian Art." REVIEW JOURNAL PHILOSOPHY & SOCIAL SCIENCE L, no. 1 (2025): 180–84. https://doi.org/10.31995/rjpss.2025.v50i01.024.

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This research paper explores the evolution of Indian folk art as a modern manifestation of prehistoric Indian art. It examines how early humans used pictorial representations as a means of expression in the absence of a written language, leading to the development of various folk art traditions over time. By analyzing prehistoric cave paintings and their transition into established folk art forms such as Madhubani, Warli, Gond, and Bhil paintings, this study highlights the continuity of artistic expression in India. The research underscores the significance of simple lines, symbolic imagery, a

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Pandey, Anjali. "SOME REPESENTATIVE FOLK ART OF INDIA." International Journal of Research -GRANTHAALAYAH 8, no. 3 (2020): 348–56. http://dx.doi.org/10.29121/granthaalayah.v8.i3.2020.169.

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Indian folk art has its own recognition in universal context. It transmits from generation to generation having their own experience. Religious ceremonies and ritual acts are necessary for achieving psychological refinement. The folk culture moves around the elements of nature. The shapes are often symbolic and come out from their observations in simple pictorial language. The ritual paintings are generally created on wall, paper, cloth, and floor. The figures of human beings, animal, along with the daily life scene, mythological and rituals are created in rhythmic pattern with regional essenc

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Dr, Anjali Pandey. "SOME REPESENTATIVE FOLK ART OF INDIA." International Journal of Research - Granthaalayah 8, no. 3 (2020): 348–56. https://doi.org/10.5281/zenodo.3742954.

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Indian folk art has its own recognition in universal context. It transmits from generation to generation having their own experience. Religious ceremonies and ritual acts are necessary for achieving psychological refinement. The folk culture moves around the elements of nature. The shapes are often symbolic and come out from their observations in simple pictorial language. The ritual paintings are generally created on wall, paper, cloth, and floor. The figures of human beings, animal, along with the daily life scene, mythological and rituals are created in rhythmic pattern with regional essenc

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4

Thakur, Meenakshi. "MITHILA- A GLOBALIZED ART FORM." International Journal of Research -GRANTHAALAYAH 5, no. 2 (2017): 208–12. http://dx.doi.org/10.29121/granthaalayah.v5.i2.2017.1725.

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India has long been a focal point of art. From the traditional to the contemporary, India is fast developing itself as a key destination for those who love art. India is marked by its rich traditional heritage of Tribal/Folk Arts and Culture. Since the days of remote past, the diversified art and cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, c

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Dr., Meenakshi Thakur. "MITHILA- A GLOBALIZED ART FORM." International Journal of Research -GRANTHAALAYAH 5, no. 2 (2017): 208–12. https://doi.org/10.5281/zenodo.345668.

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India has long been a focal point of art. From the traditional to the contemporary, India is fast developing itself as a key destination for those who love art. India is marked by its rich traditional heritage of Tribal/Folk Arts and Culture. Since the days of remote past, the diversified art and cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, c

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Pandey, Shalini. "Synchronization of Folk Art in Modern Indian Dress: A Review." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 1 (2022): 82–85. http://dx.doi.org/10.31305/rrijm.2022.v07.i01.011.

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India is a diverse country with a vast array of art forms and cultures, which serves as a distinctive identity for its region of origin. Together they contribute to the rich heritage of this country. This study is an attempt to bring together the various efforts made by the entrepreneurs, researchers, educational institutions, designers, organizations and craftsmen of this India to preserve, promote and revitalize Indian folk art through their aptitudes. It is expected to be beneficial for Indian folk art costume revivalists, designers, students and all those who are working in this field or w

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BHARATHI, Ramaiah Krishna, and Mysore Nagarajan MAMATHA. "Folk Music: An integral part of everyday life in Southern Karnataka." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (2020): 29–38. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.3.

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"India inherits a rich culture and heritage with vivid art forms such as music, dance, architecture, sculpture and painting. It is found from the history in India more than sixty-four forms of art have been identified and nurtured till date. Indian music has greater precedence in the world. Music in primitive days marked their beginning with natural language and sound. Music was considered a means for communicating the feelings and emotions. Thus, the natural way of expressing the music gave rise to folklore which imitated the daily activities through songs sung naturally in native language wi

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Jhuma, Bandyopadhyay. "Non-Traditional Security & Rural Cultural Development by Tribes." postScriptum: An Interdisciplinary Journal of Literary Studies 3, no. 1 (2018): 102–8. https://doi.org/10.5281/zenodo.1318898.

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The Paper is on the study of cultural history of India specially contributed by the tribal people. The present scenario is little different as the tribal have been facing a security threat. The cultural history of India is marked by its rich traditional heritage of tribal, folk arts and culture. Since the days of remote ancient period, the diversified art & cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal, folk art and culture forms ha

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9

Lee nomi. "Iconic Representation and Characteristic of India Folk Art ‘Rangoli'." Journal of Korea Design Forum ll, no. 41 (2013): 89–98. http://dx.doi.org/10.21326/ksdt.2013..41.008.

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10

Ritesh Ranjan, Ritesh Ranjan. "Folk Art and Nationalism in the 20th Century India." International Journal of Mechanical and Production Engineering Research and Development 10, no. 3 (2020): 2743–48. http://dx.doi.org/10.24247/ijmperdjun2020258.

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Agrawal, Ruchi. "EXISTENCE OF PRIMITIVE ART AND CULTURE IN SOCIETY." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 127–30. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3720.

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This paper aims to present folk art as one of the genuine art forms and also to give depth to the beliefs of the primitive traditions. The native Indian art has maintained its continuity till the present day. Folk art plays an important role in the society. The domestic art works like Rangoli, Mandana, the pictorial scroll paintings, the paintings of Hindu deities at Puri, the Pattchitra etc. are the traditional arts of India. These are quiet ancient arts which are done on festivals and celebrations especially marriages. The art produced by the folk artist or tribal people have been very large

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Ruchi, Agrawal. "EXISTENCE OF PRIMITIVE ART AND CULTURE IN SOCIETY." International Journal of Research - Granthaalayah 7, no. 11(SE) (2019): 127–30. https://doi.org/10.5281/zenodo.3585098.

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This paper aims to present folk art as one of the genuine art forms and also to give depth to the beliefs of the primitive traditions. The native Indian art has maintained its continuity till the present day. Folk art plays an important role in the society. The domestic art works like Rangoli, Mandana, the pictorial scroll paintings, the paintings of Hindu deities at Puri, the Pattchitra etc. are the traditional arts of India. These are quiet ancient arts which are done on festivals and celebrations especially marriages. The art produced by the folk artist or tribal people have been very large

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Mitra, Sumana, and Dr Abhishek Das. "From Folk Art to Social Media: The Evolution of Visual Communication in Development Discourse in India." Praxis International Journal of Social Science and Literature 8, no. 3 (2024): 78–87. https://doi.org/10.51879/pijssl/080310.

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Visual communication has played a crucial role in shaping development discourse across different historical periods in India. From traditional folk-art forms such as Madhubani, Warli, and Patta Chitra to contemporary digital platforms like social media, visuals have been used as powerful tools to disseminate messages, mobilize communities, and influence policy. This study explores the evolution of visual communication in Indian development discourse, tracing its transition from indigenous art forms to modern-day digital communication strategies. Using a qualitative research approach and discou

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ARCHNA GARG. "An introduction to the folk art of Uttar Pradesh, "Chowk Purna", made on auspicious occasions." Knowledgeable Research: A Multidisciplinary Journal 2, no. 08 (2022): 11–15. http://dx.doi.org/10.57067/kr.2024.2.8.3.

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Strengthening the cultural heritage of India, the center of many religions and cultures, the birthplace of Ram and Krishna, Uttar Pradesh is still keeping its ancient culture alive. In the development of Indian culture and art, various folk arts flourished in this region of Ganga-Yamuna. In Uttar Pradesh, folk art (Chaukpurna) is specially created on auspicious occasions. The purpose of making it is to invite Gods and Goddesses and provide them a seat. In the altar built at the place of worship, geometric shapes are made on the ground using dry flour, this is called Chowk, it is also called du

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Kumari, Kanchan. "ADDITION OF COLORS IN MADHUBANI PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3614.

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India is an ancient cultural country. The unique fusion of folk art is seen in the art and culture here. Many scholars have periodically stated the importance of folk art. Folk art is a mirror of folk tradition culture in our country. Which can be seen in various customs celebrations. Folk art can be seen in various forms in different provinces like India. Which is known by various names. Madhubani's folk painting is one of them which is famous all over the world. Madhuvani's name is probably because the name has its own significance. Which is a honey-like sweetness in folk paintings here. The

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Kumari, Kanchan. "Fine arts and folk culture included in Indian painting." International Journal of Research -GRANTHAALAYAH 5, no. 12 (2020): 141–46. http://dx.doi.org/10.29121/granthaalayah.v5.i12.2017.483.

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India is an ancient cultural country. Art is a product of human culture. Its rise is reflective of the beauty of man. The unique fusion of folk art is seen in the art and culture here. Many scholars have periodically stated the importance of folk art. Folk art is a mirror of folk tradition culture in our country. Which can be seen in various rituals. Folk art can be seen in various forms in different provinces like India. Which is known by various names.Although these useful items of daily life were not made with the goal of fine arts, yet the end of the art of collective life is visible to us

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Manju, Bala. "Folk Theatre: An Effective Tool of Expression and Communication Going Back Centuries." Criterion: An International Journal in English 16, no. 2 (2025): 1280–88. https://doi.org/10.5281/zenodo.15321444.

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In this age of technology, we all have come far away from rustic life and in modern times, urbanization is increasing day by day. People have changed their ways of communication by social media platforms. Even then if there is some hope left to go back in centuries, that is alive just because of folk theatres. People in villages, still entertain by these folk dramatic presentations and think it a very valuable source of knowledge and social awareness. India is not only a name, but it is the delve of many cultures. With this identity of unity in diversity, India becomes its leader in the whole

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Godavarthi, Dr. Govindaiah. "Indian Knowledge System in Indian English and Literature: A Critical Analysis of National Education Policy 2020." International Journal of Research 8, no. 4 (2023): 192–97. https://doi.org/10.5281/zenodo.7823715.

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<em>This paper explores the knowledge systems of India which were once beacon to the world. For scholars and knowledge seekers of the world like Fahien and Huen Tsang, who came to India to acquire knowledge, these Indian systems served as the reservoir and generously shared its knowledge in various fields. It saddens us to note that the youth of India flock to the West in pursuit of gaining and creating knowledge.</em> <em>With regards to the role of English in enhancing the Indian knowledge system, one may point out that English being the lingua franca serves as a platform to project the vast

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Pandey, Anjali. "WOMEN AS GODDESS IN INDIAN ART." International Journal of Research -GRANTHAALAYAH 4, no. 3 (2016): 205–8. http://dx.doi.org/10.29121/granthaalayah.v4.i3.2016.2804.

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In India, we find the worship of great mother in varying forms. The Female figures from Indus civilization indicate the fertility cult. , the early records of terracotta sculpture are the evidences. Since IInd century A.D. Devi Durga, Lakshmi and Matraka are remain popular and worshipped. The goddess on a lion depicted first time in Kushan Period. Some of the goddess is the anthromorphic personification of nature. The Yakshis are the nature goddess. In Folk societies, socialization, education, recreation and communication of new ideas moral values and knowledge are inculcated by the women. The

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Dr., Anjali Pandey. "WOMEN AS GODDESS IN INDIAN ART." International Journal of Research – Granthaalayah 4, no. 3 (2017): 205–8. https://doi.org/10.5281/zenodo.847044.

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In India, we find the worship of great mother in varying forms. The Female figures from Indus civilization indicate the fertility cult. , the early records of terracotta sculpture are the evidences. Since IInd century A.D. Devi Durga, Lakshmi and Matraka are remain popular and worshipped. The goddess on a lion depicted first time in Kushan Period. Some of the goddess is the anthromorphic personification of nature. The Yakshis are the nature goddess. In Folk societies, socialization, education, recreation and communication of new ideas moral values and knowledge are inculcated by the women. The

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HORBACHOVA, Valeriia. "CHOLAMANDAL ARTISTS’ VILLAGE: AN INTERACTION BETWEEN THE TRADITION AND MODERNITY (INDIA, THE MADRAS SCHOOL)." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (2023): 32–43. http://dx.doi.org/10.33625/hudprom2023.02.032.

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Based on the analysis of scientific literature, a successful example of an independent and self-organized community of Cholamandal artists was studied as a continuation of the artistic searches and experiments of the Madras school during the second half of the 20th – early 21st centuries. The prerequisites for the emergence and development of the Cholamandal commune headed by K. Paniker are analyzed. The activities of individual artists of the art association – painters (K. Paniker, R. Pooviah, T. Tarani), graphic artists (K. Haridasan, K. Ramanujam), sculptors (C. Patnaik, S. Nandagopal) and

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Jaimini, Ms Rajni, and Dr Priya Raghav. "Folk Literature and Social Space: Interdependences and Correlations." International Journal of English Literature and Social Sciences 7, no. 2 (2022): 187–92. http://dx.doi.org/10.22161/ijels.72.24.

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Art is not a mirror held up to reality, but a hammer with which to shape it.” this dictum attributed to famous playwright Bertolt Brecht as quoted by Bleeker et al., (2019) sums up the interdependence and correlation between art and literature and society. The world has never been a singular entity. There have always been groups that lived a powerful, privileged existence and it is their experience that has passed down the generations as literature, as the core narrative of human existence at a given time. For long ‘Literature’ did not include ‘Folk’ or their culture as was relegated to the pe

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Kesaboina, Venkata Murali, Peeyush Kumar Gupta, and Srutinwita Roy. "INDIAN CRAFTS AND SUSTAINABLE NATURAL DYES." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2CDSDAD (2024): 151–61. http://dx.doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.596.

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Indian crafts reflect the most commonly from different parts of the country practice several art forms and crafts, and their identities are associated with where they carry a significant part of their culture and tradition. Most of these art forms are practised for ages and passed from generation to generation. Most of these are folk and traditional, and regional art forms have local religious themes, community values, cultural practices, and various traditional beliefs. Our country has several distinct folk and traditional arts in different regions of India. Among these most popular are Madhu

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Gajjar, Dharti. "REVIEW ON - FOLK LITERATURE TO REDEVELOP VOCATIONAL EDUCATION THROUGH SKILL DEVELOPMENT IN INDIA." VIDYA - A JOURNAL OF GUJARAT UNIVERSITY 2, no. 2 (2023): 47–54. http://dx.doi.org/10.47413/vidya.v2i2.189.

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The word, ‘folk’ has wide range of understanding and connotations-ranging from ‘natural’ to traditional’ to ‘rural’ and in some cases ‘from the heart’ in India. Very ancients of this land, India, were past masters of all art forms that are folk. Folk literature also called folklore or oral tradition is that the lore (traditional knowledge and beliefs) of cultures having no written communication. In the new National Education Policy-2020 several important guidelines to preserve the tradition of multilingualism and folk wisdom have been given. Its background is based on folk Literature. In the c

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Bhatt, Pooja, Anita Rani, and Manisha Gahlot. "FEMALE JEWELLERY OF THARU AND BUXA TRIBE OF UTTARAKHAND." International Journal of Research -GRANTHAALAYAH 6, no. 1 (2018): 319–28. http://dx.doi.org/10.29121/granthaalayah.v6.i1.2018.1623.

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India is marked by its rich traditional heritage of tribal/folk arts and culture. Since the days of remote past, the diversified art & cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, crystallizing social solidarity, fortifying communal harmony, intensifying value-system and promoting the elements of humanism among the people of the country.

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Pooja, Bhatt, Rani Anita, and Gahlot Manisha. "FEMALE JEWELLERY OF THARU AND BUXA TRIBE OF UTTARAKHAND." International Journal of Research - Granthaalayah 6, no. 1 (2018): 319–28. https://doi.org/10.5281/zenodo.1165291.

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India is marked by its rich traditional heritage of tribal/folk arts and culture. Since the days of remote past, the diversified art & cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, crystallizing social solidarity, fortifying communal harmony, intensifying value-system and promoting the elements of humanism among the people of the country.

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Yusupova, Dinora Akmal qizi. "MUSHTARAK ADABIY ALOQALARI (ERON VA HINDISTON ADABIYOTI MISOLIDA)." Oriental Renaissance: Innovative, educational, natural and social sciences 2, no. 25 (2022): 273–77. https://doi.org/10.5281/zenodo.7394034.

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<em>Шарқ халқларининг муштарик адабий алоқалари ёритилган мазкур мақолада Эрон ва Ҳиндистон адабий жараёнлар ёритиб берилган. Хусусан, мумтоз давр адабиёти намояндаларининг Ҳиндистон билан алоқалари, мазкур даврда яратилган асарлар, ҳинд услубида яратилган асарлар, шунингдек, Ҳиндистонда яратилган форсий асарлар ҳақида сўз кетади. Бундан ташқари, Эрон халқ оғзаки ижодининг ҳиндистон билан боғлиқлик жиҳатлари кўриб чиқилган.</em> <em>This article examines the common literary ties of the peoples of the East, highlights the literary processes of Iran and India. In particular, it is worth mentioni

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Margarita, Smirnova, and Vasilenko Elena. "Features of transformation and synthesis of national art of India in contemporary design." SHS Web of Conferences 69 (2019): 00111. http://dx.doi.org/10.1051/shsconf/20196900111.

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The article examines the influence of the national culture of India on modern design. The reflection of ethnic features in different types of art is considered. At the present stage of design development it is important to preserve the age-old traditions of art and culture, synthesis with modern life, materials and technologies. In this regard, of particular interest is the national culture, formed under the influence of economic and geographical (crossing the most important migration and trade routes of Eurasia), climatic conditions, artistic traditions and ancient religious beliefs. Empirica

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Singh, Ravi Nandan. "Roma Chatterji, Speaking with Pictures: Folk Art and the Narrative Traditions in India." Society and Culture in South Asia 1, no. 2 (2015): 208–10. http://dx.doi.org/10.1177/2393861714556428.

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Kapoor, Kajal. "Nautanki as a Performative Art Form of North India." International Journal of Linguistics, Literature and Culture 3, no. 1 (2017): 6. http://dx.doi.org/10.21744/ijllc.v3i1.341.

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In entire north India, Nautanki was the most popular entertainment art before arrival of Cinema. The most popular centres of this traditional theatre form are Kanpur, Lucknow and Haathras. Nautanki dramas were fine-tuned; its protagonists were highly skilled. Few props were used, yet actors created forests, rivers, battles and royal courts by the sorcery of their art. In contemporary times, the street plays resemble to Nautanki. Nautanki stories range from mythological and folk tales to stories of contemporary heroes. This popular art from has now dwindled and its existence is in threat, It wa

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ATTRI, SHALINI. "Folk Theater and History: Constructing Indian Identity through The Khyal of Amar Singh Rathore." Journal of Indian and Asian Studies 01, no. 01 (2020): 2050004. http://dx.doi.org/10.1142/s2717541320500047.

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Folklores can epitomize the nation as a unifying principle crossing the horizons of regional divisions and subcultures. The connecting factors of folklores among regional and local levels give an understanding of manifold and contextual-based identities. The collective/coalesce of social memory is understood through the folk narratives. There is a cognitive and affective deliberation that structures the manner in which memory is interpreted. These narratives shape and reconstruct “identity” as they consist of a trans-subjective truth value providing ever new understanding of reality. The prese

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Singh, Amarjeet. "The Symphony of Red Colour in Indian Art and Advertising: An Aesthetical Approach." Think India 22, no. 3 (2019): 1030–35. http://dx.doi.org/10.26643/think-india.v22i3.8441.

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Red is not only a colour but is a language of art and creativity from the dawn of civilization. The aroma of the red colour has the extravaganza of life with its fullest energy. In India art and architecture, variety of application of colour red can be seen as having multiple associations. Consequently, the approach can be seen in the art and architecture, the folk and tribal art practices too. This very genesis of red colour has been adopted in Indian art and advertising too. The symbolic association of red and its religious values which are usually associated with deities and ritualistic per

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Singleton, Brian. "K. N. Panikkar's Teyyateyyam: Resisting Interculturalism Through Ritual Practice." Theatre Research International 22, no. 2 (1997): 162–69. http://dx.doi.org/10.1017/s0307883300020563.

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Indian theatre practice under British colonial rule was marked by differing strategies of resistance: agit-prop drama to promote social and political reform; the preservation of classical dance as cultural heritage; and the continuing practice of folk rituals in rural areas outwith the immediate control of the colonial authorities. Postindependence India, however, has witnessed those ‘deviant’ practices of resistance become the dominant ideological performance practices of modern India. Much actor training continued to be modelled on British drama schools such as RADA (Royal Academy of Dramati

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Kumar, Lal Bahadur. "MADHUBANI FOLK PAINTINGS AND AMAZING COMBINATION OF COLORS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3573.

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Through the Madhubani Lak Chitrakala of Mithilanchal, the tradition of Lakkitra is still being maintained. The art of the art is dynamic even today, based on the Sh वंशi dynasty tradition. Madhubani paintings are in great demand abroad but they are neglected in their own country. It is unfortunate that those who have skills in their hands are poor on the rural artist. The country's art world did not get noticed, while "Hasebhawa of Japan has established the Mithila Museum on a hill in Niigata, northwest of the capital Takia." "Hasegawa", a Japanese art admirer and art connoisseur, has visited

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Thakur, Meenakshi. "A CREATIVE EXPRESSION OF CELEBRATIONS: RANGOLI." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3523.

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Indian art has combined local tradition with outside influences, and has evolved along with a civilization, which has been remarkably innovative in all areas. The art has developed in the courts by the professional artists but folk art has developed in houses, worship places, courtyards, villages, among illiterate race. It is in fact an essential aspect of the celebrations in the family. India is a sub-continent and is composed of people with different cultures, different social customs and traditions and speaking different languages. Yet a stream of unity seems to run through the length and b

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Dr., Meenakshi Thakur. "A Creative Expression of Celebrations: Rangoli." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–3. https://doi.org/10.5281/zenodo.887527.

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Indian art has combined local tradition with outside influences, and has evolved along with a civilization, which has been remarkably innovative in all areas. The art has developed in the courts by the professional artists but folk art has developed in houses, worship places, courtyards, villages, among illiterate race. It is in fact an essential aspect of the celebrations in the family. India is a sub-continent and is composed of people with different cultures, different social customs and traditions and speaking different languages. Yet a stream of unity seems to run through the length and b

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Researcher. "GOND PAINTINGS: REFLECTION OF CULTURE OF GOND TRIBE OF MADHYA PRADESH." International Journal of Fine Arts Research and Development (IJFARD) 2, no. 1 (2024): 1–6. https://doi.org/10.5281/zenodo.13847940.

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Gond paintings reflect the rich cultural heritage of the Gond tribe from Madhya Pradesh, India. Rooted in the tribe's Dravidian origins, this vibrant folk art has been passed down for over 1400 years, capturing the Gonds' connection to nature, mythology, and social beliefs. Traditionally painted on the walls and floors of homes during festivals, Gond art is now also created on paper and canvas, thanks to pioneering artists like Jangarh Singh Shyam. With its intricate designs and vivid colors, Gond painting celebrates the tribe's deep cultural traditions and positive worldview.

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Chanana, Sakshi. "PHULKARI131, SAMMI AND SAADA PIND – UNDERSTANDING PUNJABIYAT." ARTS ACADEMY 2, no. 2 (2022): 75–88. http://dx.doi.org/10.56032/2523-4684.2022.2.2.75.

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Punjab, one of the diverse states of India, is known for its composite culture, impeccable hospitality, delish food and incredible history; having been the site of great partition, it is also replete with the stories of loss, suffering and resilience. While Punjab can be seen and comprehended through various vantage points, the current paper proposes and focuses on the proposition that ‘Punjabiyat’- the essence and way of being a Punjabi, is reflected specifically through its attire-folk embroidery (Fulkaari and Baag), Folk-Dance and Music Art forms (Sammi and Jaago) and the focal point of hos

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Aligina, Anvitha Sudheshna, and Babel Rupal. "DIGITALIZATION AND FUSION OF INDIAN FOLK ARTS KALAMKARI AND BIDRIWARE AND THEIR ADAPTATION ON HOME TEXTILES." International Journal of Multidisciplinary Research and Modern Education 5, no. 1 (2019): 145–48. https://doi.org/10.5281/zenodo.3229232.

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India is a country which is rich is traditions, culture and conventional arts and crafts. Every region in India has its own style of art and craft pattern which is generally known as folk art. The folk art is very ethnic and simple yet vibrant and colourful which speaks volumes about its richness. Witnessing the temple paintings of Srikalahasti which is popularly known as Kalamkari and a creative metal inlay from Nampallyknown as Bidriware.Traditional designs needs to be contemporized to encourage the traditional crafts and modernizing them will help the artisans to encourage their craft and l

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Parajuli, Bishwo Raj. "Ritualization of Space and Body in Mithila Folk Arts." SIRJANĀ – A Journal on Arts and Art Education 8, no. 1 (2022): 34–44. http://dx.doi.org/10.3126/sirjana.v8i1.46655.

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This paper revisits the process of formation and ritualistic differentiation of the space of Kohbar and Aripana patterns traditionally painted on the mud walls of honeymoon chamber and the yards for pujas respectively. Kohbar and Aripana are the most celebrated folk art performances in the Mithila region of Nepal (and also in the Madhuvani District of Northern India). Kohbars are the ritualistic invocation through painted diagrams of kamala daha (seven-lotus pond motif) and several symbols of fertility and auspiciousness that are supposed to invite conjugal happiness and fertility power especi

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Vandana, Gupta. "FOLK MEDIA IN DEVELOPMENT COMMUNICATION." International Journal of Research – Granthaalayah, Innovation in Music & Dance :January,2015 (September 5, 2017): 1–4. https://doi.org/10.5281/zenodo.884576.

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Ninety percent of the world's population lives in developing countries and 70% of them live in rural areas. Mass media such as newspapers, television, and the internet still do not effectively reach these people. Moreover, many research studies show that these media do not have the required impact in terms of motivating change and development. In addition, high rate of illiteracy impedes the development of almost 80% of India's population who reside in the rural areas. However, folk arts and traditional media have proved their excellence in bonding and creating affinity in the community as dem

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Kaur, Jasminder. "CHAMBA RUMAL: THE PAINTING BY NEEDLE." International Journal of Research -GRANTHAALAYAH 5, no. 6 (2017): 18–32. http://dx.doi.org/10.29121/granthaalayah.v5.i6.2017.1988.

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India is a nursery of art and numerous mesmerizing arts and crafts forms have taken shape in this land. Its hill state of Himanchal Pradesh has a legacy of many art techniques and the townships of Guler, Basohli, Kangra, Chamba, and Mandi are the main art schools here. Other than rich pictorial art of murals and miniatures, it has many other art forms to its credit, but the picturesque Chamba Rumal stands unparalleled. The vivacity, vividness and precision of this needle art make it so close to the Pahadi miniatures and murals that it appears to be their transcript on the fabric. Because of th

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Jasminder, Kaur. "CHAMBA RUMAL: THE PAINTING BY NEEDLE." International Journal of Research - Granthaalayah 5, no. 6 (2017): 18–32. https://doi.org/10.5281/zenodo.805871.

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India is a nursery of art and numerous mesmerizing arts and crafts forms have taken shape in this land. Its hill state of Himanchal Pradesh has a legacy of many art techniques and the townships of Guler, Basohli, Kangra, Chamba, and Mandi are the main art schools here. Other than rich pictorial art of murals and miniatures, it has many other art forms to its credit, but the picturesque Chamba Rumal stands unparalleled. The vivacity, vividness and precision of this needle art make it so close to the Pahadi miniatures and murals that it appears to be their transcript on the fabric. Because of th

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Mahawar, Krishna. "A LIVING TEMPLE - (PHAD PAINTING IN RAJASTHAN)." International Journal of Research -GRANTHAALAYAH 6, no. 3 (2018): 252–55. http://dx.doi.org/10.29121/granthaalayah.v6.i3.2018.1521.

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I consider Phad Painting as a valuable pilgrimage of Rajasthan. Phad painting (Mewar Style of painting) or Phad is a stye religious scroll painting and folk painting, practiced in Rajasthan state of India. This is a unique scroll making folk art; this style of painting is traditionally done on a long piece of cloth or canvas, known as phad. It is synonymous with the Bhopa community of the state. These are beautiful specimen of the Rajasthani cloth paintings. The narratives of the folk deities of Rajasthan, mostly of Pabuji and Devnarayan- who are worshipped as the incarnation of lord Vis

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Dr., Krishna Mahawar. "A LIVING TEMPLE - (PHAD PAINTING IN RAJASTHAN)." International Journal of Research - Granthaalayah 6, no. 3 (2018): 252–55. https://doi.org/10.5281/zenodo.1216777.

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I consider Phad Painting as a valuable pilgrimage of Rajasthan. Phad painting (Mewar Style of painting) or Phad is a stye religious scroll painting and folk painting, practiced in Rajasthan state of India. This is a unique scroll making folk art; this style of painting is traditionally done on a long piece of cloth or canvas, known as phad. It is synonymous with the Bhopa community of the state. These are beautiful specimen of the Rajasthani cloth paintings. The narratives of the folk deities of Rajasthan, mostly of Pabuji and Devnarayan- who are worshipped as the incarnation of lord Vishnu &a

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Dr.S.Muniyasamy. "Mu.Ramasuwamiyin ThoRpaavai NizhaRkuuththu: Parvaium Pazhagalum." PULAM : INTERNATIONAL JOURNAL OF TAMILOLOGY STUDIES 4, no. 3 (2024): 11–17. https://doi.org/10.5281/zenodo.12788891.

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AbstractIn the emerging world of science, one of the endangered folk arts is dholakutu. Theaters with modern facilities with technological development, producers who spend crores of rupees, safe facilities while acting, photography equipment with sophisticated equipment, musical instruments that emit music delicately, devices that bring light and sound precisely to the audience, dupe many times and choose one in a hundred and finally choose the favorite. Cinema is currently flying the flag in the world and in India with its various genres. Even if there is no talent or acting, if there is mone

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Laxman, Majhi. "The Popular Folk Dances of Odisha." Partners Universal International Innovation Journal (PUIIJ) 02, no. 01 (2024): 89–95. https://doi.org/10.5281/zenodo.10647777.

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The majority of Odisha's communities have a folk culture that include folk dance, theater, art & crafts, music, rituals, stories, and ballades, among other things. Our rural lifestyle and agricultural community still retain the Odishan traditional culture. Folk dances preserve tradition and continuity while incorporating fresh inspirations. Folk dances continue to be popular throughout Odisha's many groups. Our rural lifestyle and agricultural community still retain the Odishan traditional culture. Folk dances preserve tradition and continuity while incorporating fresh inspirations. Folk d

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Pinney, Christopher. "Book Review: Roma Chatterji. 2012. Speaking with Pictures: Folk Art and the Narrative Tradition in India." Contributions to Indian Sociology 48, no. 2 (2014): 279–81. http://dx.doi.org/10.1177/0069966714525305.

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Nandkumar, Shrikant. "Impact of Nature and Natural Behavior Patterns on the Aangikaabhinaya/Movement Vocabulary of Chau Dance." Theatre Academy 3, no. 1 (2025): 26–44. https://doi.org/10.62425/theatreacademy.1548617.

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It is believed that from the earliest periods, the human species began to dramatically imitate the actions of animals. This natural behaviour pattern can be traced to tribal and folk art, such as painting, music, dance, and dance theatre. ‘Chau’, often spelt as ‘Chhau’ by some Indian authors, is a dance and dance-theatre form from the eastern region of India; it is one of the significant examples of how animal movements and subsequent nature patterns primarily impact dance patterns and their presentation. Chau is one of the famous traditional theatres of India, often categorized as semi-classi

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Panwar, Apeksha, and Archana Rani. "CONTEMPORARY LANDSCAPE IN TRADITIONAL GOND ART." International Journal of Research -GRANTHAALAYAH 9, no. 1 (2021): 169–75. http://dx.doi.org/10.29121/granthaalayah.v9.i1.2021.3047.

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English: Indian Folk art mainly depicts social and cultural aspects of trible society. Gond Painting is developed by Gond Community which is a large trible community in India and hence named after the same. “This art is quite famous in central India. Traditionally Gond Art were painted on walls and floors during weddings and on auspicious occasions. With time the art witnessed developments and now it is seen on textile, canvas, clothes, articles and valuable artifacts. Last decade witnessed a boom in the popularity of Gond Art. Jangan Singh Shyam who is called the father of Gond Art is o

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