These representations, sometimes made on long rolls of canvas mounted on bamboo paintings, of generally naive style, are carefully designed and colored with bright colors where reds and blues dominate. Popular art widely felt in Rajasthan, Karnataka and Tamilnadu is that of paintings on glass, representing the great deities or characters typical of the legend of Krishna or the Ramayana. They are evidently relatively recent works. For the paintings for living room you can consider the followings now.
The use of terracotta
Used since the protohistoric era of Mohenjo-daro to make small statues and toys, the terra cotta in India has always been the favorite material of village artists both in ceramics (especially for daily use) and in representations of gods and characters of folklore or legends, sometimes showing a real talent as modelers. This type of art and workmanship is widespread throughout India, where in every corner of the country you can find objects of small or large dimensions, an authentic expression of a traditional art for use by the community whose ideas are often taken at present borrowed from modern artists who, influenced by purely western motifs, reflect Indian artistic and popular ideas revisited in the light of modern influence.
Nostalgia – Sudhir Patwardhans
Beginning in the seventies, the Indian art scene began to undergo considerable changes, and in the era of the free markets of the eighties artists are more aware of the forces that govern commerce. Narrative art with recognizable subjects returns with renewed vigor, but states differently. The human figures are still not treated with European naturalistic detail, but in a typically Indian style where the expressive element prevails. Of this period, artists of considerable originality are Sudhir Patwardhan and Gieve Patel of Mumbai who focused on individual visions that exemplify the variety and richness of this style.
In this context, among all the aspects that could be addressed in this regard, we would like to dwell on the Indian participation in the female in the national and international art scene. In fact the great contemporary revolution has certainly been the vigorous and lively entry since the seventies of women as a group aware of themselves and of their own potential. The aims and results of female art, especially in the wake of the movement of the 1970s, are quite distinct from those of men and transcend the political frontiers that separate the three nations of India, Pakistan and Bangladesh.
The female artists of the subcontinent constitute a group in which some concerns, anxieties and aspirations are shared given the inequality with respect to men in the social and cultural spheres. It is no coincidence that many artists have been active since the seventies, a period in which feminism took its first steps. Some, belonging to the movement, tried to subvert with irony the common perception of the role of women both as maternal sentiment and as destruction and to engage in a profound analysis of sexuality. The first evidence of female artists in colonial India dates back to an art exhibition in Calcutta in 1879, in which 25 amateur artists participated.