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Warli
Warli
Warli
Warli Painting is the folk painting of Maharashtra. The name ‘Warli’ is inspired by the
largest tribe found in the northern outskirts of Maharashtra’s capital Mumbai. It is dated back
to the 10th century AD. Relevant facts about the Warli painting are important in relation to
the art and culture syllabus of the IAS Exam.
In Aug 2020, the Press Information Bureau reported that a PSU – National Fertilizers Limited
has decided to display Maharashtra’s Warli art on the outer walls of its Noida corporate
office. Aspirants can stay updated with the latest PIB summaries from the linked article.
This article will provide you with information about the history of Warli Paintings, its salient
features and significance, for UPSC 2021 preparation.
Read about Scheduled Tribes and major tribes in India in the links mentioned below:
Scheduled Tribes in India
Major Tribes in India
The topic, ‘Warli Paintings’ is covered under UPSC Art and Culture in both Prelims and Mains GS 1.
To complement your art and culture preparation and study similar important topics, follow the links
below:
1. It originated in Maharashtra.
2. The warli paintings are related with the daily events that are common to the tribes.
3. Most Warli art themes revolve around people dancing in spirals, and in open-ended
circles.
4. Originally, the paintings were done on walls but gradually warli art was drawn on
various other objects like:
Bamboo
o
o Cloth
o Mud pots
o Dried bottle gourd
5. Earlier only two colours were used in the Varli paintings:
Earth brown
o
White by rice paste; but with time, the background colours of the Warli art
o
also include — Henna, Indigo, Ochre, Black, Earthy mud, Brick red.
6. Initially, only Warli women called Savasini used to do the Varli paintings, however,
gradually it was shifted to men folks too and they also began Warli painting.
7. No mythological stories are depicted in the Warli Art of Warli paintings.
8. Warli paintings can be categorized into four groups:
o The Gods – The warli paintings related to this category revolve around the old
folklores of the Warli tribe. Through this warli art, the tribesmen show their
history that they believe in.
o The People – Through these warli paintings, they depict good and bad deeds
by the people.
o The Animals – Many animals that were in their surroundings, are depicted in
these Warli paintings. Tiger is the famous animal painting in Warli art.
o Rights and Ritual – The most prominent of all the categories is the Warli
paintings depicting rights and rituals. The joy, happiness, celebration, day to
day activities are depicted under this category.
9. One of the most famous paintings is ‘Chawk’ where married women paint on their
kitchen walls with white color. A rectangular space with Goddess Palaghat (A fertility
God) is painted in the center. Around the Goddess; trees, men performing daily
activities, dancers, objects used by women for many activities, and animals are also
painted.
10. Basic Geometric Shapes used in the Warli wall paintings:
o Triangles
o Circles
o Squares
o Dots
o Dashes
Read about other forms of Tribal Paintings in India in the linked article.
1. Pandanallur style,
2. Vazhavoor style,
3. Melathoor style, and
4. Kalakshetra style.
Pandanallur Style
This is credited to Guru Sri Meenakshi Sundaram Pillai (1869–1964), who lived in
Pandanallur, which is situated in the Thanjavur district, the Indian state of Tamil Nadu.
Guru Sri Meenakshi Sundaram Pillai belonged to the family of nattuvanars and was a
decedent of the famous Thanjavur brothers: Chinnaiah, Ponniah, Sivanandam, and
Vadivelu.
After Guru Sri Meenakshi Sundaram Pillai, his son-in-law Chokkalingam Pillai (1893–
1968) became the next veteran teacher of the Pandanallur style.
Later his son Subbaraya Pillai (1914 to 2008) went on to become the next leading
teacher of Pandanallur style with training in Pandanallur under his father and grandfather.
Mathematical importance:
This is something one should mainly look for while watching the Bharata Natyam recital in
traditional Pandanallur form. The Pandanallur form mainly emphasises on liner geometry, i.e.
every hand and leg movement makes corresponding angles with each other at 45 ◦, 90 ◦, 180 ◦
etc.
Understatement of Abhinayam:
Underplay of Abhinayam is seen in the Pandanallur style, in contrast to the other forms, where
Abhinayam is given more importance than Adavu (basic dance steps). The expressions are not
exaggerated and are very subtle to make it look more natural and real.
Choreography:
The Pandanallur style is renowned for its choreography, which consists of unique adavu
choreography for Swaram patterns by Sri Meenakshi Sundaram Pillai and Muthu Kumara
Pillai.
It also includes highly regarded pieces as the Nine or Ten Tanjore Quartet pada-
varnams.
These works feature choreography by Pillai, who named the dramatic choreography
“hands,” and was also responsible for the adavu choreography for the Swara passages.
Part of their heritage is the valuable jatiswarams (in ragams Vasantha, Saveri,
Chakravakam, Kalyani, Bhairavi), which incorporate abstract adavu choreography.
Vazhuvoor Style
Vazhuvoor Ramiah Pillai was a revered guru. He directed with passion and devoted
himself to Bharatha Natyam. Vazhuvoor Ramiah Pillai was born in Isai Vellalar, clan
of conventional dancers and musicians.
The shrine at Vazhuvoor village is dedicated to Lord Siva, under the name of
Gannasabeshan (lord of the stage), and to this day, the pupils of Vazhuvoor school,
pay homage to the idol Gannasabeshan in the form of Thodaya Mangalam as an
invocatory piece.
Ramiah Pillai has also disciplined famous dance teachers, such as Thiripurasundari
Cumarasamy who is the first student to fly from Jaffna, Srilanka; others like Kumari
Kamala, actress Vyjayanthimala, Padmini, Padma Subramanyam who are from India
and various exceptional dancers of today.
The Vazhuvoor style was proceeded by his son Vazhuvoor R. Samaraj who lived
in Mylapore, Chennai.
This prosperous Bani (tradition) concentrates on the artistry of movement, elegant
poses mingling with an alluring technique that delivers visual delight.
The Vazhuvoor Bani is entrusted with bringing in the aspect of arriving from the wings on
stage.
The dance-steps are brisk and intricate but mixed with grace and fascinating eye
movements.
Poses are often introduced in the fragments especially in the final dance (Thillana) to add
space in time.
The jatis (Rhythmic patterns) or nritta entities have more korvai is (A korvai is a sequence
containing many different adavus) or gaps than usual, to add a sense of time being
suspended, giving the dance an impressive quality.
The body from the waist up is slanted slightly forward to give more dimensions to the
body.
The adavus or dance units are done evenly without too many jerky movements to give an
impression of naturalness and dignity.
Graceful leaps are present in every jati.
Choreography and Abhinaya:
Melattur Style
The Melattur Bani of Bharta Natyam dance was expanded largely out of the devadasi
practices and Melattur Bhagavata Mela by Mangudi Dorairaja Iyer, a saint
following Srividya Upasana.
He renewed the Shuddha Nrittam from Kuchipudi which involves the sophisticate tapping
footwork that scrutinizes different time measures in distinctive tempos, Bhattasa Natyam
similar to Kalaripayattu and PeraniNatyam, a dance on the clay pot.
Mangudi became interested in Shuddha Nrittam (a pure dance) after attending a concert
by devadasi of Cheyyur Sengalvarayar shrine, who performed shudda nrittam along with
other items.
Unlike other Bharta Natyam gurus, Mangudi sidestepped the items which glorified the
poet’s anthropoid patrons, as performing such items would be incompatible with
his faithfulness to spiritual practices of Srividya Upasana.
He believed, it is only the divinities or the great saints who were worthy of
such apotheosis.
Thus, the repertory of a Melattur bani consists essentially, the ancient dance piece
performed in the temples.
Choreography and Abhinaya:
The Melattur bani depresses stamping the feet hard against the floor.
Rather, the dancer is foreseen to use the anklets in a more delicate manner that
produces a range of sounds and highlights the rhythm.
Another singular feature is the presence of Panchanadai and extensive use
of Gatibhedas. For example, in Varnam there would be Gatibhedam in every Jati.
There is exclusive attention on brisk adavus, fluid variations or patterned korvais.
Due to the Melattur Bhagavata Mela influence, the style composes large-scale use of the
dramatic aspects, i.e. characterization, which requires eminently expressive and
delicate Abhinaya.
Unlike other Bharta Natyam bani, the facial expressions of the Melattur style dancer are
not rigidly represented. They are neither exaggerated nor downplayed, which requires a
high degree of contemplation and individual spontaneity.
Due to the devadasi impact, there is a stress on Sringararasa, rather than on a
neutral Bhakti rasa.
The Nrittaabhinaya is contrasty from most other styles in the impression that each body
movement is to be echoed in a distinctive facial expression automatically.
Kalaskshetra Style
Kalakshetra Foundation, erstwhile Kalakshetra, is an Indian art and cultural institute committed to
preserve and promote conventional values in the field of Bharta Natyam. Stationed in Chennai,
the institute was established by Rukmini Devi Arundale and her spouse George Arundale.
Under Arundale’s direction, the foundation accomplished national and international recognition
for its unique style and perfectionism.
Rukimidevi Arundale studied the Pandanallur style for three years, under the revered
gurus of Pandanallur style of Bharta Natyam.
Subsequently, she brought in group performances and staged various Bharta Natyam-
based ballets.
Choreography and Abhinaya:
The Kalakshetra Bani is noted for its angular, straight, ballet-like kinesthetics, and
its restriction of Rechakas and the uninhibited movement of the limbs.
Compared to other styles, the Kalakshetra style does not use a wide range of adavus.
What Do You Mean by Sufism?
Sufism is defined as the inner mystical dimension of Islam. Sufism is often stated by its
believers as congregations formed around a grand master referred to as a mawla who
maintains a direct chain of teachers back to the Islamic prophet, Muhammad.
This topic is relevant for all IAS exam aspirants.
Sufism is also known as Tasawwuf in the Arabic speaking world. It is not a particular sect of
Islam, rather it transcends all the sects of Islam. It is a style of worship which emphasises on
introspection, closeness with God, purification of the soul, renunciation of worldly things.
Candidates can enhance their UPSC exam preparation by attempting UPSC Previous Years Question
Papers now!!
To complement your preparation for the upcoming exam, check the following links:
Current Affairs
UPSC Notes PDF
IAS Mock Tests
NCERT Notes PDF
Daily News Analysis
100 Difference between Articles for Revision
Definition of a Tirthankar
A Tirthankar is referred to as ‘teaching god’ or ‘Ford Maker’ in Jainism. A few points of
discussions about Tirthankaras are:
Difference Between Vedas and Upanishads Difference between Buddhism and Jainism
NCERT Ancient History Notes for UPSC History Questions from UPSC Mains GS 1
Tips to Study Ancient History for UPSC Chronological Order from Ancient to Modern History of India
Key Terms in Ancient Indian History UPSC Mains GS 1 Strategy, Syllabus and Structure
The topic, ‘Pithora Painting’ is covered under UPSC Art and Culture in both Prelims and Mains GS 1.
To complement your art and culture preparation and study similar important topics, follow the links
below:
1. Three walls are prepared for Pithora art – Front wall and two walls on either side.
2. Lipai – Two layers of cow dung and mud paste and one layer of white chalk is applied on the
walls.
3. The colours are made with milk, Mahua liquor, flower seeds and other leaves; while the
brush used to make Pithora art is made up of bamboo sticks
4. The painting is not only done on walls but also on cloth, papers, cardboards etc.
1. Horses
2. Sun, and
3. Moon
Apart from the three mascots; the other objects/activities that depicted in the pithora art are:
1. Farming
2. Hunting
3. Ploughing
4. Dancing
5. Singing
Odissi Dance
Odissi Dance originates from the Indian state of Odisha. According to Natya Shastra, ‘Odhra
Magadha’ is the earliest form of present-day Odissi Dance. IAS Exam aspirants should know
that Odissi is one of the eight Indian Classical Dances.
This article will provide you with relevant facts about Odisha’ dance called Odissi for
the IAS Exam (Art & Culture) preparation.
Odissi is one of the eight classical dances of India. Candidates must read about the remaining seven of
Indian Classical Dances from the links below:
1. Bharatanatyam
2. Kathak
3. Kathakali
4. Kuchipudi
5. Manipuri
6. Mohiniyattam
7. Sattriya
Odissi Dance
Odissi Artist
Odissi is a classical India dance form and it originates from the state of Odisha. It is a
sensuous and lyrical dance form. Considered a dance of love, it touches on the human and the
divine aspects of life. It also touches on the subtleties of life, as well as the mundane.
Odissi can be traced back to a dance style called the Odhra Magadha. This is mentioned as
the southeastern style of classical dance, and one of the many varieties of dance in the Natya
Shastra.
There is 2nd-century archaeological evidence of Odissi in the caves of Khandagiri and
Udayagiri near the city of Bhubaneswar. There is evidence of the continuing tradition of this
dance form from the second to the tenth century AD in the form of Buddhist sculptures,
Nataraja, tantric images, celestial dancers and musicians in ancient Shaivite temples.
Odissi is a very stylized Indian dance and to some degree depends on the established Natya
Shastra and the Abhinaya Darpana.
Odissi nearly takes after the principles set around the Natya Shastra. Outward appearances,
hand signals and body developments are utilized to propose a specific feeling, a feeling or
one of the nine rasas.
The procedures of development are worked around the two essential stances of the Chowk
and the Tribhanga. The chowk is a position emulating a square – an exceptionally manly
position with the heaviness of the body similarly adjusted. The tribhanga is an extremely
feminine position where the body is diverted at the neck, middle and the knees.
Art and Culture Related Links:
Glove Puppets in India – Popular in Kerala, West Hindustani Music and Carnatic Music – An Overview
Bengal, Orissa of Differences
Tribal Paintings of India: Warli Painting, Gond Art, Folk music in India – Types of Folk Music, Baul, Lavani,
More Tribal Art etc
Puppetry – Ancient Form of Art and Different Types Tirthankaras
in India
Also, the Jayadeva’s Gita Govinda is famous for inspiring Odissi Dancers in seeking the
themes for dance.
Candidates can enhance their UPSC exam preparation by attempting UPSC Previous Years Question
Papers now!!
To complement your preparation for the upcoming exam, check the following links:
Current Affairs
UPSC Notes PDF
UPSC Age Limit
NCERT Notes PDF
Daily News Analysis
100 Difference between Articles for Revision
Pala School
Orissa School
Jain School
Mughal School
Rajasthani School
Nepali School
The initial examples of the Indian Miniature painting are those connected to the Pala School.
Pala School highlighted on the representative use of color in the paintings, which was taken
from tantric ritual.
The other characteristics of the Pala School include
He was a Classical Sanskrit writer, extensively considered as the greatest poet and
dramatist of Gupta Period.
The six major works of Kalidasa are
Abhijnanashakuntala
Vikramorvashi
Malavikagnimitra
The epic poems Raghuvamsha
Kumarasambhava
Meghaduta
Vishakhadatta
The famous plays of Vishakhadatta are
Mudrarakṣhasa
Mudrarakshasha means “Ring of the Demon” and it recites the ascent of Chandragupta
Maurya to throne.
Shudraka
He wrote 13 plays which echo the lifestyle of the Gupta Era along with its prevalent
beliefs and culture.
Bharavi
He is known for Kiratarjuniya, which talks about the conversation of Shiva and
Kiratarjuniya, an epic style Kavya is considered to be among the greatest works in
Sanskrit.
Bhatti
Kuchipudi Bharatanatyam
It is a classical dance form from Andhra Pradesh It is a classical dance form from Tamil Nadu
Depicts a human’s undying desire to unite with God It is termed as the fire dance, replicating the
fire within a human body
The costume has just 1 single fan that is lengthier than the The costume has 3 fans of different lengths
lengthiest fan in Bharatanatyam costume.
Aspirants would find this topic very helpful in the IAS Exam.
Aspirants should begin their preparation by solving UPSC Previous Year Question Papers now!!
To complement your preparation for the upcoming exam, check the following links:
1. Pacha (Green) – To portray noble characters like kings and divine beings
2. Kathi (Knife) – To portray arrogant and evil characters.
3. Kari (Black) – Used to portray evil characters.
4. Thaadi (Beard) – There are 3 different types in this category.
5. Minukku (Radiant) – To portray spiritual characters like sages.
Aspirants should begin their preparation by solving UPSC Previous Year Question Papers now!!
To complement your preparation for the upcoming exam, check the following links:
The class created amid the Bhakti development, the pattern of mystical commitment which
advanced in medieval Hinduism. The Kathakars convey stories through rhythmic foot
movements, hand gestures, facial appearances and eye work. This performing workmanship
that consolidates legends from antiquated folklore and awesome Indian stories, particularly
from the life of Lord Krishna turned out to be very famous in the courts of North Indian
kingdoms. Three particular types of this sort are three gharanas (schools), which generally
vary in accentuation given to footwork as opposed to acting, are more acclaimed in particular,
the Jaipur Gharana, the Benaras Gharana and the Lucknow Gharana.
Bharatnatyam
Kuchipudi
Odissi
Manipuri
Kathakali
Mohiniyattam
Sattriya
Yakshagana
Yakshagana is a traditional folk dance form popular in coastal Karnataka districts and some
parts of Kerala. It is considered that Yakshagana has originated as a product of the
Vaishnava bhakti movement.
The article provides information about one of the signature folk dances of Karnataka –
Yakshagana in the context of the IAS Exam.
The information is useful for preparing the Art & Culture section of the UPSC Syllabus.
The candidates can read more on Art & Culture topics for their upcoming exams from the
links provided below:
Difference between Classical and Folk Dance Traditional Theatre Forms of India
Introduction
Yakshagana literally means, “song” of the yaksha (demi-gods/spirits).
The mela or troupe consists of two main parts:
Elements of Yakshagana
The Act
Each performance typically focuses on a small sub-story (known as ‘Prasanga’) from ancient
Hindu epics of Ramayana or Mahabharata.
The show consists of both stage performances by talented artists and commentary
(performed by the lead singer or Bhagavatha) accompanied by traditional music.
Who is a Bhagavatha?
The Bhagavatha, part of the himmela, is the lead singer and narrates the story through songs, while
the dancers/actors (mummela) enact the stories drawn from the Ramayana, the Mahabharata and
the Puranas.
Bhagavatha is the chief narrator of the story.
Bhagavata sings in his magical high-pitched voice, invoking the Gods for the successful completion of
the evening’s performance.
The Music
Musical instruments used in Yakshagana include:
1. Chande (drums),
2. Harmonium,
3. Maddale,
4. Taala (mini metal clappers) and
5. Flute among others.
The Dress
1. Saligrama mela,
2. Dharmasthala Mela,
3. Mandarthi Mela,
4. Perduru Mela
Garba Gujarat;
Dance in a circle with batons
Lavani Maharashtra
Bhavai Gujarat
Tamasha Maharashtra
Yakshagana Karnataka
Theyyam Kerala
Variants of Yakshagana
It is found that two variants of Yakshagana exist. The characteristics/features of these two
different styles of Yakshagana are listed and tabled below:
Badagutittu Tenkutittu
It is prevalent in Northern parts of South Canara, This style is prevalent in Southern areas of South
from Padubidri to Byndoor and North Kanara Canara, that is, from Mulki to Kasargod.
District.
Instrument used – a typical Karnataka chande drum. Instrument used – Kerala maddalam (traditional
Kerala percussion instrument).
Popularised as shorter, and more modern form of Its less exuberant costumes, particularly the demon
Yakshagana. Their ornaments are made out of light costumes, make it seem more like Kathakali than like
wood, pieces of mirror, and coloured stones. Badagutittu.
Famous artist – Keremane Shivarama Heggade Famous artist – Sheni Gopalakrishna Bhat
Recent Development
Dakshina Kannada District Sahitya Sammelan has urged the Karnataka government to
declare Yakshagana as a representative art form of the State.
Who was the first Yakshagana artist to receive the Rashtrapati Award?
Keremane Shivarama Heggade is the first Yakshagana artist to receive the Rashtrapati Award. He is
the founder of the Yakshagana troupe named Idagunji Mahaganapathi Yakshagana Mandali. He is an
exponent of Badagutittu style of Yakshagana.