FOLK ART

U N I T- 1
FOLK INDIA | EMBROIDERY | CATEGORISATION | FLOOR COVERINGS | FOLK DECORATION | PAINTINGS ROCK
PAINTINGS | WALL PAINTINGS | RURAL FURNITURE'S
 FOLK ART
 Encompasses art produced by peasants or other labouring trades people or culture.
 In contrast to fine art, folk art is primarily utilitarian & decorative than purely aesthetic.
 Every region in India has its own style & pattern of art.
 Folk art is not restricted only to paintings, but also to other art forms suchas pottery, home decorations,
ornaments, cloth-making, wood, metal, paper, etc.
 Folk art reflects traditional art forms of diverse communications.
FOLK INDIA
 Comprises of rural people living in country side.
 Farmers
 Shepherds
 Artisans
 Small traders
 Priests
 Rural teachers
 Earliest patterns, modes, culture, etc.- TRIBAL WORKS
 Distinctive character
 Visual forms
 Expressions of indigenous function, ritual, custom.
 Needs of simple life.
 Nature – source and inspiration.
 FOLK INDIA
Style and decorative motifs-has similarities and links with art forms and believes of ancient past.

 Specific function and materials.

In each region nature’s inspiration was common but, posses ability to express themselves-differently according to
special ingredients it provides them wherever they live.
 Intrinsic character of nature have inspired GEOMETRIC PATTERNS

- UNITY
- ORDER LINES
- HARMONY OF LINE AND CURVE
- COMBINATIONS
- SYMMETRY OF FORM AND SHAPE
- BALANCED PROPORTION
Geometric forms - very old origin.
Nature - provides practical example of most geometric shapes.
i. Rotundity of moon
ii. Ovals and triangles of leaves
iii. Curves of branches and petals
iv. Vertical and horizontal flight of bird
v. Swimming of fish
vi. Stars composed of 5 triangles meeting at an inner central point
Environmental objects which are represented by geometric forms are
i. Water pots
ii. Dancers
iii. Plants
iv. Bullock carts
v. Flower pots
vi. Lamps
vii. Temple
viii. Chariots
 Designs –combined with living nature and geometric patterns.
 Motifs - appears in all types of decoration
i. Wall
ii. Floor painting
iii. Embroidery
iv. Wood carving
v. Stone carving
Ex - PIPALTREE
i. An object of universal worship
ii. Very ancient
iii. Appears in Indus valley seals
iv. Equally sacred to all
v. Used as pre-decorative motifs
RELIGION and MYTHOLOGY

i. Sources of theme for folk art

Inspirations from Ramayana, Mahabharata - form a basic part of HINDU
PHILOSOPHIC IDEOLOGY
i. evident in the themes of different forms of folk art.
FOLK ART OF INDIA WITH REFERENCE TO Interior Design
 Folk art enriched interior in many ways
i. Walls, floors, roofs, cubic space decoration.
ii. i.e.. Decorative design in a volume of space achieved by
iii. Furniture
iv. Floor coverings
v. Functional & decorative articles.
 CATEGORISATION
 Depending on the particular nature of the region Folk Art is done differing
materials and techniques.

 Categorization based on materials would be easiest.

i. Decorating using fabric / cloth treated in varying manner.

ii. Wool or cloth-Floor coverings

iii. Cane, bamboo, grass-floor covering, furniture etc

iv. Wood work- structural, decorative, furniture etc.

v. Painting - on wall, floor, ceiling.

DECORATIONS USING CLOTH
 PAINTING ON CLOTH- Temple Cloths
 KALAMKARI - KALAM(Pen) and KARI(Work) – Persian in origin
 Kalahasti , A.P- Tapestries and Hangings

i. Using bamboo sticks, with Vegetable dyes of rich shades, brown, black, red, blue,
green and yellow depicting epics, verses written.
 VASAMALAI- Kumbakonam, Hung on walls
 PICHWAI- Handspun or Woven Cloth. Western India
 PATACHITRAS- Orissa.

i. Cloth made thick by gum and powdered tamarind seeds. Used Earth and sienna
colour.
 CHANDAOS- Ahmedabad, similar to kalamkari.
EMBROIDERY ON CLOTH
 Home decoration in the shape of wall piece, hangings, bed
covers, quilts, pillowslips, entrance door decoration, carpentry.

 Outstanding character – Colour composition, Design patterns, etc.

GUJARAT:
 TORAN- Appliqué of mirrors set into embroidery.

 PACHITATTIS- Long embroidered pieces with small flaps hanging.

 CHAKLAS- Square embroidered pieces to cover furniture.

 CHANDRAWAS- Square embroidered pieces on walls.

 BHITIYA- Combination of 3 or 5 diamond.

 AHRI- Kutch, Hook Embroidery.

SHAPED PIECES ON WALLS
SAURASHTRA and KUTCH:
 Beadwork on cloth, mirror work incorporated with threadwork.

APPLIQUE WORK:

 Decoration in which a pattern is made by applying fabric to fabric with

edges sewn down by stitching.
 Pieces of coloured and patterned fabric is cut in different shapes, sizes,
colors and sewn together on a plain background to form a composite
piece.
 Carried out on canopies, hangings, bedspreads, umbrellas, cushion
covers , bags, temple doors, etc.
TAMIL NADU,TANJORE
i. Tubular form and hung from side of chariots like colourful pillars.
 ORISSA, PURI:

i. Highly decorated umbrellas,Tents, Pavilions, Lampshades,

etc.

 GUJARAT - Household purposes.

 BIHAR - KHATWAS:

i. Background- Red/Orange, Applique white.

 PICHWAIS – Outlines : Black or golden threads

FLOOR COVERINGS - WOOL,
FABRIC
 Carpet- Wool, Cotton
 Inevitable that in countries where people sit on the floor –such floor coverings
were devised with imagination and aesthetics. In course of time grew into work
of arts Persian origin.
i. KALIN - Kashmir ones
- most famed and highest quality.
 Area of carpet weaving; Uttar Pradesh, NE Indian region (distinctive style of
carpet weaving)
PURPOSE:
i. Stimulate ornamentation
ii. Relax-Physical and psychological tensions, when one sits and relaxes on it
FLOOR COVERINGS – FABRIC BASE
 DHURRIES (or) SATRANGIS

 Cotton varieties of floor coverings.

 In-single colour or simple stripes in different colours or broke into

rectilinear sections or quiet patterns.

 Makes cool and handy floor covering.

 Different kinds for beds, and floors.

 Done in infinite variations of a basic design.

 Primitive durries weaving started in Punjab, Haryana.

 COLORFUL DHURRIES- NAVALGUND, DHARWAR , KARNATAKA.

 Highly decorative, intricate designs, unusual patterns,

stunning colours.
 Designs- Geometrical in Juxtaposition , delicate tracery outlines with floral
motifs in cross borders.
 Bright colours.
 Has silkiness though woven on cotton.

 Other places- Himachal Pradesh, Punjab, Madhya Pradesh,

West Bengal, Rajasthan, Uttar Pradesh.

 KASHMIR:
• GUBBAS- Common man’s carpet by embroidering
and applique on blankets.
• NAMDAS- Applique, Embroidered on dyed wool, felt
for its background.

 Sometimes floor covering- Hand printed cotton spreads.

FLOOR COVERINGS-CANE, BAMBOO,GRASS
 MAT WEAVING:

i. KORA GRASS MAT

 Kerala- Palghat., Tamil Nadu, PATHAMADAI.

 Usually woven in golden cream, the natural grass colour.

 Decorated mats, geometrically patterned borders, comprising lines, chevrons,

zigzags, diagonals, swastikas- combined to make flooring patterns.

 Sometimes motifs present in body of mats.

 Colour - Red, green, brown.

 West Bengal- MUDNAPORE RUSH MATS.

 Assam- SITALPATI- made from green cane strips, provide a cool surface.

 Andhra Pradesh-Wheat or rice straw,weed and fine bamboo.

FLOOR COVERINGS-CANE, BAMBOO,GRASS
 SCREENS:
i. North and Central India- wind screens of bamboo slats tied with plain on colored
strings called CHIKS.
ii. Tripura- Bamboo work screens ornamented with colored bamboo chip applique.
 COIR MATS
 Kerala- Palghat- a product of coconut palm- fibre to make colourful mats.

 SCREWPINE MATS
 Gregarious shrub- from which mats are made.
 Used on beds or diwan.

 Has excessive embroidery.

FLOOR COVERINGS-CANE, BAMBOO,GRASS
 SISAL RUGS and SUNHEMP CARPETS- Kerala
 JUTE
 Backing materials- taken new rolls.

 Base for embroidered curtains, cushions, table mats, bags & floor

coverings.

 Natural colour, heavy texture, twill kind of body, strong earthiness.

RURAL FURNITURE
 Made of cane, bamboo, willow.

 CANE (or) RATTAN

• Kind of climbing palm- long, thin, solid, many jointed stem USES
• Cane rods- make legs, supports of furniture  Finely shaped lamps of lanterns
• Cane splits- interlacing  Elegant furniture
• Durable, decorative, dignified  Complete tableware
• Even few no of pieces give a fullness to the interior of the  Travel kit
room.
 MOORAS/MOODAS
• Low seats made of bamboo, cane
• Top - woven in artistic designs.
 BIHAR- noted for bamboo works

 PATNA- research to adopt bamboo to modern use.

FOLKS DECORATION & PAINTINGS
Walls
Floors

INTRODUCTION:

 Living in close association with and amidst nature has produced certain impression which led to inner
psychology response and an awesome veneration for its secrets and also that of the universe.

 Belief was created in the existence of supernatural powers.

 This has given rise to various customs, creeds, taboos, rites and ritualistic practices-which have been reflected
through some of the art and craft expressions.

 Deification of natural forces is reflected in the decorative motifs of every crafts.

 There was belief in the power of evil forces, spirits which have to be intimidated or avoided.
 FOLKS DECORATION & PAINTINGS
 This yearning to remove the bad and the ugly in any form, presuppose the love of the good and this
SYMBOLISM has given the outcome of an urgent necessity to create objects and forms that will;
 Brighten and enliven the scene
 Create a sense of well being
 Security & prosperity ensured
 Ennoble the heart and mind.

EXAMPLES OF MAN’S NEED FOR CREATIVE EXPRESSION:

What sets a human.
 The spiritual and philosophical urge to create is a conscious and ever expanding one.
 Closely linked to this his urge to beautify, and ornament his habitat, even during the period of mans semi
settled existence he began to record and depict the world around him.
 The curiosity to capture through his drawings and colours, the images of his minds eye and to represent
them on :

 ROCKS
 WALLS OF THE DWELLINGS
 PALM LEAVES
 WOOD
 CLOTH : is a singular example of man’s need for creative expression.

PAINTINGS:
ROCK PAINTINGS:
 Are in caves
 Earliest specimens of folk art as conventionally understood.
 Very earlier ones that have survived in INDIA are schematic figures in dark red, gray, cream.
 Later ones are more naturalistic – depicts animal hunting.
 Buddhist frescos at Ajantha wall paintings at Alchi Monastry at Ladhak.

 Shows sophistication

 Evolution of techniques and style from first century B.C. to the eleventh centuryA.D

 Later period .. we find a definite established tradition of paintings on various

objects particularly;

i. Floors

ii. Walls

iii. Objects of everyday use

iv. The act of painting associated and some ritual.

ORIGIN OF PAINTING:
 Origin is traced to a legend recorded in CHITRALAKSHWA , the earliest treatise on
painting.
FLOOR PAINTINGS
INTRODUCTION:
 Beautiful and varied decorative designs.

 Has come across through the ages.

 Can trace their origin to as far back as the INDUS VALLEY CIVILIZATION, where designs of this nature have
been found.
 Enriched through the centuries by various influence custom and faith have enjoyed, that every important
FESTIVAL and RITUAL has its appropriate floor designs.
 Floor designing is done primarily as a symbol of ritualistic custom which is bound up with ceremonial,
auspicious occasions.
 Drawn on the floor before- the shrine, the pooja room, on occasions along the route on which deities
are taken in procession on festival days.
 Generally done in freehand with fingers.

 Use rice paste which is considered auspicious, lime or chunnam being added sometime
FLOOR PAINTINGS
 This art is known as:

Rangoli - Maharashtra
Sathia - Gujarat
Mandana - Rajasthan
Alpana - West Bengal
Aripan - Bihar,Orissa
Chowk - U.P
Kolam - Tamilnadu
Muggulu - A.P

 The entire graph must be an unbroken line, no gaps left anywhere in the line for an evil spirit to enter.

 Decorating floor- Still a daily routine.

-Accepted as good omen

-Done in pooja room, round the holy tulsi plant

-Patterns changed daily

 Where necessary thin sticks wound with a rag or cotton are used.
 Symbolic motifs are set in FLORAL, GEOMETRIC  LUCKY COLOURS:
PATTERNS like lines, dots, squares, circles, triangles:
 Golden yellow of turmeric
 Swastik
 Red and black of the earth
 Lotus
 Ochre red
 Trident
 Green of leaves
 Fish
 Blue of indigo
 Conch shell
 Flower petals
 Foot prints
 Coloured powder
 Trees
 Grains of rice
 Leaves
 Wheat flour
 Creepers
 Vegetable dyes are used for floor designs.
 Flowers

 Anthromorphic figure as used

 These MOTIFS have ritualistic significance or associated with deities.
 They get modified to fit in the local images.
FLOOR DESIGN AT VARIOUS REGIONS
 NORTH BIHAR
 Best known decorations are found in MADHUBANI, a village in North Bihar. The
women draw on the ground ‘DHULI CHITRA’- DUST PAINTINGS as they are
known, done in rice paste.

 RAJASTHAN

 Has decorative motifs in dark shades like blue, black, chocolate, green on a
bright crimson red background.

 BENGAL, ASSAM

 ALPANAS are highly decorative with complicated patterns in flowing lines.

 Designs are drawn on the floor with chalk powder and filled with coloured
powder or rice and bits of leaves and different kinds of flowers.

 Background- black, yellow, red, beige.

FLOOR DESIGN AT VARIOUS REGIONS
 TAMILNADU:

 KOLAM- essentially a sketch only outline done in dots and lines drawn
across them.

 In chalk powder, rice powder on wet ground or rice paste on dry

surface.

 The pot depicting symbolic cooking of new grain is done on PONGAL

(harvest festival).

 KERALA:

 During festivals, decoration done using central flower bed, coconut

husks and powder on rim- POO KOLAM.

 ANDHRA PRADESH:

 Muggulu drawn with rice powder or chalk.

 WALL PAINTINGS:
 RELIGIOUS:
 Convey religious themes.
 Embellishment in the form of flora, fauna, symbols, objects
associated with deities.
 Done on walls of puja room. SECULAR- in content
 Has heroes and heroines from the folk lore.
 Done on the inside and outside walls of living area, over doorways,
around niches where oil wick lamps are kept.
 Have deeper themes, are narrative.
 They are stories being told sometimes in a series of panels.
 PURPOSE - Decorative
 Constitutes a form of visual education like picture.
 WALL PAINTINGS:
 A communal act done by all women of a family.
 Patterns are carefully preserved and handed down from generation to generation.
 Thus each community still preserves its own distinctive style though similar to others.
ORISSA:

 An Orissan housewife decorates the outer walls of the dwelling with simple and beautiful drawings made by
hand occasionally in stencil .
 Particular kind of fruits with an ornamental cross section is dipped in colours and used as a stamp.
BIHAR:

 The village of MADHUBANI in north Bihar is famous for its wall paintings which take their name form the
village.

 This region has been swept by many religious emotions including Buddhist and tantric, each leaving its own
imprint.
 WALL PAINTINGS:
 MADHUBANI- means a forest of honey and its here that the flora, fauna, legend,
social customs, artistic expressions continue to give India one of the most
sophisticated and skilled form of folk art practiced anywhere.
 The paintings have vitality, naivety, simplicity which perhaps is their attraction that
both soothes and pleases the eye.
 Use– Bamboo sticks wrapped in cotton and indigenous colour that they make
themselves.
 Dyes from wild flowers, creepers, wood coal, black soot that collects on the
underside of earthen vessel
 No edible or growing plant is plucked.

MAHARASHTRA
 Done by WARLI TRIBALS of THANE district in Maharashtra.
 WARLI painting named after the tribals.
 WALL PAINTINGS:
 Human figure is depicted in a long triangular shape and with stick like arms and
legs.
 Executed in white colour made of rice paste on a red ochre or dung plaster
background.
 These murals reflect a sense of life in its most quintessential form, a sense of
eternity and immediacy, a sense of human endeavour within a cosmic motion.
 All delineated in the most simple lines and patterns.
RAJASTHAN
 Many of the subjects of wall paintings have pictographic themes and floral motifs.
 Intricate and very artistic, they are a distinctive feature of the village
 WALL PAINTINGS:
GUJARAT
 LIPPON WORK found in Kutch, Gujarat- attractive form
of wall decoration.
 Purely ornamental purposes.
 Bright little mirrors, beads, and stucco work combine to
make the decorations.
 The stylized natural and geometrical motifs form together
to make the interior of the most modest home bright
with colour tone and designs.

MADHYA PRADESH:

 Wall painting drawn in white clay, red ochre and black

earth colors done for ornamental purposes. Done in
relief, placed around the entrance to form an arch over
the doorways.
 WALL PAINTINGS:
 Allied to wall decorations is the ornamental work done on storage containers.

 Large food and grain containers 3’-4’ high and 3” thick are coated in the outside with a mixture of white clay
and cow dung powder and then ornamented in relief.

 Because of thickness of the containers they act as coolers and keep the food fresh.

SAURASHTRA

 Has a rich tradition of relief decoration.

 Evident on festive occasions.

 In many homes, walls facing the inner courtyard are plastered with mixture of clay, cow dung, straw.

 Raised patterns of stylized parrots and elephants.

 A fine coat of clay and lime wash is applied with an inset of mica pieces.

 When sunlight strikes the finished surface, it reflects from a brilliant white wall.
CONCLUSION
 The change in the social, cultural and economic conditions of the rural and tribal areas, with an
accompanying change of values is having a visible impact on creative folk arts.

 In many areas, they are becoming repetitive and hesitant and there is very little indication of the emergence
of new and vital forms.
 RURAL
FURNITURE
RURAL FURNITURE