Harappan art 2500 1800 BC

Also known as the bronze age
Architecture refers to designing of and construction of buildings where are the sculpture is a three-dimensional work of art
In architecture ,various types of materials are used that is a stone , wood, glass, metal etc .where as sculpture is made of single piece of material.
Architecture involves study of engineering And Engineering Mathematics and depends upon measurements, where as sculpture involves creativity and imagination , may not depend on measurements.

I-SEALS

Are a square or rectangular or circular or triangular piece of material mainly stone with an average size of 2”x2” .dominantly square seals were found on them ,we find pictographic scripts along with animal Impressions which are yet to be deciphered.
Seals are made up of steatite (a river soft stone ) . Evidences of Copper Gold and Ivory seals has also been found in some instances
5 signs or symbols on an average are present on a seal
Direction of writing is right to left
Seals are decorated with animal motif such as Unicorn bull , rhinoceros ,tiger ,elephant, goat, buffalo, etc (except cow)
Inscription of human figure are present on both side of the seals,even in some cases they are present on all 3 sides.

Significance /purpose of seal

mainly used as unit of trade and Commerce
Also used as amulets for productive and spiritual purpose(mainly Copper),dead bodies found had a hole for wearing them
Also used as an educational tool
Example Pashupati seals and Unicorn seals

II -Terracotta figures (sculptures)

Terracotta are fired baked clay
These figures are handmade using punching methods
For example mother goddess ,toys cards with wheels, birds and animals etc

III-Bronze sculptures

Bronze casting was practised on a wide scale under Harappan art
The technique used for Casting is known as “lost wax technique”
Under this technique at first wax figures are covered with a coating of clay and allowed to dry. Then it is heated and molten wax is allowed to drain out through a tiny hole at the bottom of the clay cover .the hollow mould is then filled with bronze or any other metal . Once the metal is cooled the clay is removed
Evacuations where it was prominent

Kalibangan presently Rajasthan
Daimabad presently Maharashtra
Harappa

Example -Bronze dancing girl

It is a naked girl wearing only ornaments which include bangles , armlets & necklace the left hand is on the hip. It is made using lost wax technique

Others stone sculpture

Bearded priest
Male torso (red sandstone)

IV- POTTERY

Red and black pottery(painted pottery)
It consists of mainly wheel made wares. Very few are handmade
The more common is plain pottery
Under red and black pottery red colour was used to paint the background and black colour to draw design of trees, birds, animals, human figures and other geometrical patterns

Uses of pottery

For household purpose (storage of water ,food grains )
For decoration -miniature vessel used for decoration
Used for perforated pottery
Large hole at the bottom and small holes all over the wall and was probably used for straining liquor .

V-ORNAMENTS

They are made up of a large variety of material ranging from precious metals, gemstones, bone and even baked clay
Necklace armlets and finger rings were common and worn by both males and females .while women wore a earings and anklets evidences of dead bodies Burried along with ornaments have also been found.
Harrapans were also conscious of fashion ( as different hairstyles ,wearing of a beard etc have been found
Cinnabar was used as a Cosmetic lipstick, Face paints and even eyeliner were also known to them.
Spinning of cotton and wool was common among Harappan

VI- EXTENSIVE TOWN PLANNING

Houses were build of baked bricks, of fixed size.
Use of stone and wood in building has also been found
The concept of two storied houses were also present
Public Bath was a common feature example great bath at Mohenjo Daro ,it had galleries and rooms on all sides.
Granaries was another important creation which used to be located in Citadel .there construction was so intelligent that strategic conduct and platform can be found.
Drainage system of Harappa was note worthy .there was a temporary cover to drains,underground
Roads use to cut at right angles

INDIAN THEATRE

Origins

Origins of Indian theatre not very well known
Drawings on caves show that dance, music and drama were an intrinsic part of the life of the people
Sitabengona and Jogimara (Ramgarh, MP) have structures that are possibly the oldest theatres of the world
IVC: a seal shows a person beating drum while other disguised as a tiger
A few hymns of the Rig Veda are in the monologue and dialogue form
Natyashastra evolved some guidelines for drama

Folk Theatre vs Classical Sanskrit Theatre

Table 1

	Classical Sanskrit	Folk	Modern
Place of performance	Normally performed privately or semi-privately – in palaces or rich homes, or in temple courts	Performed in open grounds or in pandals	Auditoriums
Auditorium	Design of auditorium described in Natyashastra.
Stage	Use features like back-stage, front-stage, wings and curtains
Themes	Plays written by dramatists – well structured. Themes of love, grief, myths etc	Folk legends and myths. Later themes focusing on social conditions became important	Dramas began to take up social themes, voice political unrest, express resentment against alien rule
Acting	Actors use rich gesture language and facial expressions to communicate effectively atmosphere and situation	Spontaneous, simple and sometimes crude. Combines music, dance and acting
Other characteristics	Standard form	More regional in form

Prominent folk theatre forms

Kerala
- Mudiyettu
  - Ritualistic dance drama
  - Performed annually in Kali temples
  - Signifies triumph of good over evil as Kali vanquishes the demon Darika
  - Included in UNESCO list of Oral and Intangible Heritage of Humanity (2010)
- Krishnattam
- Kudiyattam (Sanskrit theatre)
- Theyyam
Assam
- Anika Nat (one act play)
Rajasthan
- Bhavai
- Khyal (dance drama)
Haryana
- Saang
Kashmir
- Jashin
Himachal Pradesh
- Karyala
Maharashtra
- Tamasha
TN: Therukkothu
Bengal, Orissa:yatra
Goa: Zatra
UP: Nautanki
MP: Macha
North India in general
- Rasleela
- Ramleela

Important Dramatists

Classical

Asvaghosa – Buddhacharita
Kalidasa – Abhijnanasakuntalam, Meghduta, Kumarsambhava
Bhasa – Madhyamavyayoga
Shudrak – Mricchkatika
Vishakahdatta – Madrarakshasa
Bhavabhuti – Mahaveercharita

Modern

Dinbandhu Mitra – Neeldarpan
Aga Hashra Kashmiri (aka Indian Shakespeare?)
Bhartendu Harishchandra
Jaishankar Prasad
Habib Tanveer – Mitti ki Gadi, Charandas Chor
Mohan Rakesh – Ashadha ka ek din
Dharamveer Bharti – Andha Yug
Vijay Tendulkar – Shantata Court Chalu Ahe, Ghasiram Kotwal
Girish Karnad – Tughlaq, Yayati

Puppet Theatre

Rajasthani Kathaputli
- Legend of Amarsingh Rathore is very popular
Orissa: Sakhi Kundhei
Assam: Putla Nach
Maharashtra: Malasutri Bahuly
Karnataka: Gombeyatta
TN: Bommalattam
Kerala: Tolpavakoothy
AP: Tholu Bomalata

Modern Drama

New theatre movement was initiated in Bengal and Maharashtra
Influence of Europeans
European plays translated and staged
Themes: Dramas began to take up social themes, voice political unrest, express resentment against alien rule
- Deenbandhu Mitra’s Neeldarpan took the theme of the plight of the indigo plantation workers
- Krishnaji Prabhakar Khadilkar’s Kichaka Vadha relected nationalist sentiments
Indian People’s Theatre Association (IPTA) became a part of the mass struggle of peasants, youth and workers
- It was the cultural wing of the CPI
Parsi theatre aimed at entertainment
Maharashtra
- Indian National Theatre
- Prithvi Theatre

Government Initiatives

National School of Drama, 1959

ART

Different schools of art compared

Table 1

	Mughal	Pahari	Rajasthani/Rajput	Madhubani/Mithila	Manjusha/Angika	Tanjore
Origin	Earlier Persian blend. Became Indian under Akbar.	Originated in the sub-Himalayan kingdoms of 19^th century.	Early 16^th century. Various sub-schools existed	Done traditionally by the women in the villages near the town of Madhubani. It originated as floor and wall paintings. Essentially a folk tradition		17^th century under the patronage of Tanjore’s Maratha rulers
Type	Mostly in miniature form	Mostly done in miniature form
Themes	Document of life at the Mughal court, battles, hunt, arrival of embassies, festivities Portrait paintings developed under Jahangir	Love of man for woman. Symbolised by Krishna and Radha	Strongly influenced by the contemporary literary and musical forms, and draw upon their motifs <details below>	Nature and Hindu religious motifs		Usually portrayed deities. Vishnu,Shiva and Krishna
Exceptional Point				Was originally practiced by Brahmins and Kayasthas. Later SC women also adopted it. But the themes of the two are different. While higher castes depicted mythological themes, SCs experimented with day-to-day scenes.
Characteristics	Realism is the keynote of this style Artists had made contacts with Western art. Influence can be seen.	Bold and intense – Basohli Delicate and lyrical; Tones subdued and lines exquisitely fine – Kangra	Decorate in their composition and colour scheme Landscape lacks the naturalism of the Mughal school	Two dimensional imagery. Colors derived from plants. No space is left empty. Gaps are filled by painting flowers, plants animals and even geometric shapes.	Snakes are a prominent feature	Artists adhered strictly to iconography as these paintings were made for ritual and worship and not for display as is mostly the case today.
Technique			Used wider canvas	Traditionally done as murals on mud walls. Now is also done one cloth, paper and canvas		Made on jackwood pasted with unbleached cloth to which a mixture of limestone, chalk powder, gum and honey are applied in layers on a sketch of the icon. Extra coats given to raise some parts of the painting. Jewellery etc are put.
Major Artists	Basawan, Daswanth, Kesudasa, Mansur			Jagdamba Devi, Mahasundari Devi
Major Works	Akbarnama illustrations; rare birds and animals – Falcon (CS Museum, Bombay), Red Blossoms – floral painting		Jodhpur and Nagaur paintings.
Major schools		Basohli, Guler, Kangra	Malwa, Mewar (Ragamala paintings), Marwar, Kishangarh, Jaipur, Bundi, Kotah	Bharni style, Kachni style
Patrons	Akbar, Jahangir	Raja Kripal Singh (Bahsoli)				Sarabhiji 2, Shivaji 2, Mummadi Krishnaraja Wodeyar

Rajasthani Art Schools

Mewar (Ragamala)

themes from the life of Krishna and his frolic with the gopis; heroes and heroines of Hindi poetry.
Scenes from Bhagvata and Ramayana
Landscape lacks the naturalism of the Mughal school

Marwar

Genuine Rajput style evolved under this school
Equestrian portraits of the royal house and the nobility.
Show bold types of expression with broad, fish eyes in human faces
This school is essentially Hindu

Jaipur

Raslila was painted. It became ‘an earthly erotic amusement’

Manjusha Art

Manjushas are temple shaped boxes containing eight pillars
The boxes often contain the paintings of gods, goddesses and other characters
The boxes are used in Bishahari Puja
This is practiced in the Bhagalpur region of Bihar

Handicrafts

Channapatna toys
- Wooden toys from Karnataka
Nirmal Toys
- Wooden toys made in the town of Nirmal in Adilabad district
Tanjore doll
- Bobblehead made of terracotta

Sandpainting

Kolam

Drawn using rice powder by female members in front of their home
Mainly in South India

Rangoli

North India. Using sand colors, flour or flowers

Other fine arts

Mehandi
Pichhwai
- Intricate paintings that portray Lord Krishna
- Exist in the town of nathdwara in Rajasthan
Tarakashi
- A type of metalwork from Cuttack

Indian Art Awards

Kalaimamani
- By Tamil Nadu Iyal Isai Nataka Manram
Kalidas Samman
- Presented by the MP govt
Sangeet Natak Akademi Award
Sangeet Natak Akademi Fellowship
Shilp Guru
- By GOI to a master craftsperson. Started in 2002.
Tulsi Samman
- By MP govt. In fields of art, theatre, dance and music.
Varnashilpi Venkatappa Award
- By Karnataka govt for excellence in painting