With the increasing global attention in the Indian art industry, Ram Kumar’s paintings too have gained appreciation in the art market. Ram Kumar has had numerous solo exhibitions including the International Biennales in Tokyo in 1957 and 1970, the Venice Biennale 1958 and in Sao Paulo in 1961, 1965 and 1972.  Apart from this, he has also participated in the Festival of India show held in the former USSR and also in Japan in 1987-88. Ram Kumar has also received the prestigious ‘Prem Chand Puraskar’ from the Uttar Pradesh Government for ‘Meri Priya Kahaniyan’ which was a collection of short stories.

Born in 1924 in Shimla, Ram Kumar is one of the post colonial contemporary artists of India. He achieved his master’s degree in economics from St. Stephens College, Delhi University. Ram Kumar use to take painting classes at the Sharda Vakil School of art and was noticed by the famous painter In 1985, he was awarded the ‘Kalidas Samman’ by the Madhya Pradesh State Govt. Ram Kumar lives and works in New Delhi. At Paris, Kumar took guidance under Andre Lhote and Fernard Leger between 1949 and 1952.

Ram Kumar maintains the nitty grities in his work by depicting the art of reminiscence. Ram Kumar relinquished his engagement with the state and civil society which claimed to characterize his position. The artist prefers to turn inward; choosing to be an inside expel of the soul. Ram Kumar’s recent paintings have been quite aesthetic screaming from within the soul. The stern structure and the intensity of the brush strokes evoke the universal rhythm of art creation in Kumar’s paintings. The still silence of Kumar’s paintings in a way screams to the onlooker. The journey of Kumar’s art has been an experience like that of the flowing river, moving graciously from festive expressivity to menacing reticence. The true subject of Ram Kumar’s art is perhaps the sensuousness of the beautiful landscapes that he creates in his paintings.

India has a rich tradition of arts and culture since ancient times. Painting has been in existence since the advent of Indian civilization. Murals belong to the tradition of paintings. The history of murals goes beyond the pages of history. Many experts reckon murals as earliest evidence of Indian paintings. Painting has been accorded the respectful position in several Indian classical texts like Vishnudharmottarapurana and Kamasutra. Many ancient rulers had maintained pictorial depiction of different themes in their backyards. Painting is nothing but medium of expression. It expresses emotions and deepest instinct felt by the artists. These feelings were later on merged with his cultural heritage and social experiences.

The origin of paintings is dated back to pre-historic era when rock wall paintings or cave paintings were in vogue. Also known as murals, they were discovered in central India. Natural materials like animal fat, red ochre, terra verte and chalk were used for color materials. The art works were done on bare rocks or grounds. Themes were often taken from family, community, hunting, festivals or animals. Such themes also give us a clue about how observing the pre-historic men were!

Several prestigious and historical treatises like Silpashastra, Shilparatna, Kashyapashilpa, Vishnudharmottara etc give detailed description of murals. The details also include preparation method and colors of the murals. Techniques have also been in given in these texts but were not followed in strict sense. Artists developed their own sense of creation and added new life to these historical murals. Different eras in Indian history like Mughal rule, Cholas kingdom, North-east region etc have been found with art that has been inspired of rich variety of murals.

Krishen Khanna is one of the distinguished names in the Indian art industry. Along with his friends M.F. Husain, Tyeb Mehta, Ram Kumar, Raza, Souza, Gaitonde and others; Khanna started painting at a time when there was not much happening in the art industry. He was born in 1925 in the Lyallpur district (now in Pakistan). He then moved to Shimla during the partition era. In Lahore, Khanna attended evening classes at the Mayo School of Art. After coming to India, he took up a job with Grindlays Bank and was placed in Mumbai. But he gave up a job in Grindlays Bank to pursue art about four decades ago. During that time the art scenario was much different and enclosed than what it is now.  His ardor for art motivated him to take such a step. His hard work, perseverance and interest won him many rewards and praises in the art world. Krishen Khanna has also taught art in the United States without any formal academic qualification in the subject. The artist’s sympathy towards the browbeaten and poor people is vivid in his paintings. . Depiction of violence and can also be seen in Khanna’s work coming from his experiences during the Partition. 

Khanna sold his first painting in a major exhibition in to Dr. Homi Bhabha for the Tata Institute of Fundamental Research. His father always encouraged and supported him to pursue art as a career. In fact his wife also supported him when he resigned from the job. Khanna shows and exhibitions in Mumbai were very well received and this boosted up his confidence. Khanna was also invited to join the Progressive Artists’ Group with whom he remained involved for the rest of his time.

In 1962, Khanna was awarded the ‘Rockefeller Fellowship’. In 1963-64, he was ‘the Artist in Residence’ at the American University in Washington. Apart from several solo shows, he has participated in group shows like the ‘Tokyo Biennale’ in 1957 and 196 1, the ‘Sao Paulo Biennale’ in 1960, ‘the Venice Biennale’ in 1962, and several others. Khanna has held many vital positions in decision-making bodies of the Lalit Kala Academy, National Gallery of Modern Art and Roopanker Museum, Bhopal. In 1996, he was awarded the grand ‘Padma Shri’.

Selling and buying art is becoming more and more commercial because people consider this as an investment that can give you high returns. Indian art industry is booming and it surely has a lot to offer to art connoisseurs and art industry enthusiasts all across the globe. Indian art is not only selling like hot cakes, it is selling at pretty high prices as well. Moreover, the spending power and indulgence amongst the masses of the country has greatly increased due to which people do not mind investing in art. Majority of the people across the nation have developed taste for this due to which Indian art dealers have become very popular and much in demand.

So who is an art dealer? Well, in simple terms he or she is primarily into buying and selling of art works. So how exactly do you sell and buy art? It is simply through the art dealers. They ensure that the customer is not cheated into fake art and thus he or she facilitates the whole process at the cost of a small commission. This also gives them an opportunity of combining business with personal interest. Selling art gives you an offer to make huge profits. This has resulted into many corporate art dealers. They possess huge number of art collections. Some even specialize in a typical style of art. In case if any of you have an inclination towards art which I am sure you do, you can consider becoming an art dealer. However, needless to say, an art dealer constantly needs to be aware of activities in art world. 

In the whole process of buying and selling art, an art dealer has a crucial role to play. Any art and artist having a statement is able to sell in rapidly growing global art market. Art dealer often conveys that statement to the world. He or she is a person with large network of people and wonderful public relationship skills. Being an art dealer means you need to have creative inclination as well as business acumen. 

Last century witnessed lots of discoveries of cave paintings in India. In fact, this is not just an Indian phenomenon. Several countries have discovered cave paintings of pre-historic age. The tide turned in India in the year 1958 when Dr Wakankar discovered oldest Indian cave paintings at Bhimbetka caves in Madhya Pradesh. That was surely an archeological marvel that led to many more discoveries. The one found at Bhimbetka were as old as 20,000 years. Mostly primitive in nature, the cave paintings gave a certain indication of the time when Homo sapiens used in live in caves and were discovering the world.

This discovery was also significant in the light of the fact that we have no other records of our pre-historic ancestors. There are no written or oral records except these cave paintings. The discovery led to several other discoveries across the India. We also came to know a great deal about our ancestors. Places like Ajanta, Bagh, Ellora and Chhattisgarh have been found with historical cave paintings. Over 600 caves with paintings were found in Bhimabetka. The name Bhimabetka got its name from Bhima, one of the Pandava brothers.

The cave paintings of Bhimabetka clearly show usage of red and white color along with occasional green and yellow. Animal fat, vegetable dyes, colored earth and charcoal were used in paintings whereas brushes were made up of fibrous plants. The most surprising part was these paintings were still intact. Themes have been selected from everyday life like, hunting. Images of animals like elephants, tigers and wild boar etc can be seen in these cave paintings. Other themes include household occasions, dance and festivals. These cave paintings belong to seven different historical periods like upper Paleolithic, Mesolithic, Chaleolithic, Early historic and Medieval.

Thangka paintings are inspired by Buddhist philosophies. These art works are basically fused three dimensional in nature. Tibetan Buddhists accord extreme importance to Thangka paintings. Art works are considered as more of religious objects and one can see them hanging on Buddhist monasteries. Thangka paintings are often used in Buddhist religious processions. Before proceeding further, let’s have some information about the term ‘Amitabh’. According to Buddhist religion, Amitabha Buddha is the “Buddha of Infinite Light” and Thangka paintings represent him seated in ‘Sukhavati’, his celestial paradise. Sukhavati is also known as realm of bliss. The term ‘Amitabha Thangkas’ has spiritual connotations. It signifies physical illustration of the metamorphosis of worldly requirements into all encircling incandescent consciousness. The paintings show Amitabh Buddha in a position where he has his hands in a meditation position and holding a begging bowl. The bowl signifies receptivity and infinite openness.

Thangka comes from the Tibetan word Thang that means a flat surface. Add ‘ka’ to it and it becomes a painting ovn a flat surface. Mostly done on flat surfaces, Thangka paintings can also be rolled up like scroll paintings. However, scrolling is done only when the art works are not being displayed.  Structurally, Thangka has a mounting embellished with a silk cover, leather corners, embroidered picture panel and wooden decorative knobs.  These Thangka are made in Buddhist dominated areas like Dharmashala in Himachal Pradesh. This place is dominated by Buddhist monks and amazing Thangka can be seen over there.

Many religious art forms do not follow any artistic intent. They are more guided by religious beliefs. Similarly with Thangka paintings, Buddhist philosophy is the prime theme. These paintings depict contemplative experience of monks. Probably, because of its highly religious nature, they have remained secluded from mainstream of art.

The folk dances of India which originally must have been a form of social interaction or entertainment are now the integral heritage factor of our modern India. They depict the emotions in coordination with the theme or festival. The particular season also exhibits the passion and exuberance of colors interplayed with the melody in the rich regional language that is rendered with raw traditional instruments, drum beats and the voices of village folk. The clothes and adornments are related typically to each state.

In the South of India, the kavadi dance is a major event where the festival of Lord Karthikeya is celebrated with pompous movements and piercings on the body. Pole balancing is also a form of kavadi dance. The ghoomar dance of Rajasthan is a perfect mix of style in speed and grace. It is a difficult art form with sudden stops, circular movements and also steps that are typically Rajasthani. The ghungat-veil and flared skirt accentuates the twirls in the dance. The godhi or horse dance is another variant of folk dancing from Rajashthan.

The bhangra dance is now a popular dance all over the world owing to the hip hop element in fusion music. Originally these are performed by jats or Punjabis to celebrate any festive occasion. Full of energy and effort the giddha dance is typically a ladies affair and Punjabi dress clad women do full justice by participating eventfully. The Orissa folk dance has a format in Jumar and the Kela Kulani is another folk dance from here.

There are other dances like Garba raas which is now an all India ritual during Navratri. This is also a major get together festival for NRI’s who happily participate in the 9 day festival performing the garba and dandia. The Onam dance of Kerala is a typical movement of Kay Koti Kali that is highlighted with claps and taps. Any dance has its significance with jewelry, songs and melody that is the rich tradition of the state.

One form of paintings that was almost forgotten but still managed to come back into the limelight was Pithora paintings. This art form is practiced by tribes of Bhils, Rathwas and Nayaks of Madhya Pradesh and Gujarat. For these tribes, the art form holds significant importance. It is much more than colorful paintings on the wall. The images represent important occasions in the lives of the tribes like festivals, wedding, birth etc. Pithora paintings act as a medium to signify auspicious occasions that takes place in community and family. The paintings have animated figures and wonderful usage of colors at its core. The art from represents joy and celebration and thus they represents emotions of the artists.  

One of the terms often associated with Pithora paintings is ritual. Many experts consider it as a ritual than an art form. The reason being, these paintings are a way to express gratitude or to thank Lord Almighty. The paintings are very earthy in nature. The ethnicity of rural India is truly manifested through Pithora paintings. Right from idea to theme and execution, the ethnicity factor rules the roost. Even the colors used are very much natural. Materials are prepared by mixing milk with pigments. The artist community is very much dependent on forest and its resources for their livelihood. They normally live in mud houses that are decorated with Pithora paintings.

What differentiates Pithora Paintings from other rural paintings like Warli and Madhubani painting is the fact that it is dominated by male. That implies most of the art work is done by males only. Pithora paintings have come into focus again after years of hibernation. It is getting its due in big way. Hope, the encouragement for this genuine and original form of art continues.  

Contemporary arts in India dates back to 1960s. It was the time when change was taking place world wide. Contemporary art basically does not belong to any particular method. It uses different modes of expression and themes that are extremely different. One can witness a kaleidoscopic view of emotions portrayed in contemporary art. It is often inspired by real life scenarios which are nothing but reflection of changing social, political and cultural scenario. The variety becomes of paramount importance. Indian contemporary art is a wonderful mix up of our traditional values and modern day beliefs. Experimentation lies at the centre of Indian contemporary art. Indian contemporary art has seen lot of movements since the time of independence. Right from leftist leanings to progressive movement, it has seen it all. It has also witnessed emphasis on visual arts and use of modern technologies. Artists were free to use their own comfortable mode of expression. It is much more flexible.

The contemporary art commands huge market value. Many contemporary art galleries that primarily focus on this genre of art have flexible and experimental setting. In other terms, the exhibitions are quite progressive and intrepid. These specialized galleries display, exhibit and keep in stock the best collection of contemporary artworks. An art connoisseur can find most sought after collections that possess tremendous aesthetic and artistic values. To the delight of many art enthusiasts, there are many online galleries for contemporary art. Because of the busy schedule of people not all of them can visit real life art galleries.

Our God’s very own country has a rich tradition of murals and they are quite well known in the art industry through the history. Kerala has a rich and varied tradition of art and painting and much to the evidence of this are the murals in temples, churches and palaces in Kerala which the tourists and the art enthusiasts visit.

The murals of Tirunandikkara and Tiruvanchikulam are marked as the earliest specimens of Kerala painting. These have been assigned to the period from the 9th to the 12th century A.D. All most all the murals that are now seen in Kerala temples belong to the period from 15th century onwards. It is said that the tradition of painting on walls began in Kerala when the pre-historic rock paintings were found in the Anjanad valley of Idukki district. Rock engravings dating to the Mesolithic period have also been discovered in two regions of Kerala namely Edakkal in Wayanad and at Perumkadavila in Tiruvananthapuram district.

Art was highly regarded during the Dravidian period in the district and hence it is no difficult to trace the root of the Kerala mural style of paintings on the walls. These can be traced to the more ancient Dravidian art of Kalamezhuthu. Art was almost considered sacred and was connected to the religious rituals as portrayed in so many murals. People would sketch, border and then fill colours with the powder that was available to them.The oldest murals in Kerala were discovered in the rock-cut cave temple which is now in the Kanyakumari District of Tamil Nadu.