short essay on folk art

Folk Art – Creating a Rich Tapestry of Cultural Heritage

In the vibrant tapestry of human creativity, Folk art emerges as a compelling thread, interwoven with tradition, culture, and the profound stories of everyday life. Rooted in the rich network of Folk art traditions, this article will traverse the globe to showcase examples of Folk art that celebrate the artistry born from the hearts and hands of ordinary people. Join us as we explore the diverse and enchanting landscapes of Folk art, where tradition meets innovation and authenticity finds its most striking expression.

Table of Contents

• 1.1 The Essence of Folk Art
• 2 The Roots of Folk Art Traditions
• 3.1 Authenticity
• 3.2 Diversity of Mediums
• 3.3 Community Connection
• 3.4 Symbolism and Narratives
• 3.5 Simplicity and Practicality
• 3.6 Timelessness
• 4.1 Eastern Europe’s Pysanky Tradition
• 4.2 Native American Beadwork
• 4.3 American Quilting Tradition
• 5.1 American Gothic (1930) by Grant Wood
• 6.1 Adaptation to Modern Life
• 6.2 Preserving Cultural Identity
• 6.3 Complex Narratives
• 6.4 Folk Art Revivals
• 6.5 Global Awareness and Connection
• 7.1 What Is Folk Art?
• 7.2 What Are the Characteristics of Folk Art?
• 7.3 How Is Folk Art Different from Traditional Art?

A Window into the Soul of Culture and Tradition: What Is Folk Art?

Folk art is a vibrant and captivating facet of human creativity that transcends generations and connects us with the rich tapestry of our cultural heritage. This form of artistic expression is deeply rooted in the traditions and narratives of ordinary people, celebrating the artistry that emerges from the hearts and hands of individuals who often go unrecognized in the mainstream art world.

The Essence of Folk Art

Folk art, a term that often defies precise definition, finds its essence in the authentic and unvarnished expressions of ordinary individuals within their cultural, social, or regional communities. Unlike the traditional highbrow art that frequently graces the hallowed halls of museums and commands exorbitant price tags, Folk art is firmly rooted in the grassroots of society. It acts as a mirror, reflecting the everyday lives, values, and traditions of everyday people, ensuring that their stories and voices are not lost amidst the grandeur of mainstream art.

Folk art transcends the confines of a single medium or discipline; it is a versatile and vibrant domain where creativity knows no limits.

Artists within this genre engage in a vast array of practices, encompassing painting, sculpture, textiles, pottery, music, dance, and even storytelling. Folk artists are not constrained by the limitations of a canvas or a stage; they draw inspiration from the world around them, infusing their creations with the spirit of their communities.

What sets Folk art apart from its more academically recognized counterparts is its intimate connection to the very soil from which it springs. It’s a tangible and profound embodiment of a shared history and cultural identity that often stretches back for generations. It’s not the solitary pursuit of a genius but the collective and timeless expression of a people. Folk artists draw from their surroundings, often using locally available materials, and their creations are informed by the cultural narratives that have been passed down through the generations.

The Roots of Folk Art Traditions

Folk art traditions are not fleeting creations but are deeply rooted in history, with a legacy that spans centuries and transcends generations. These traditions form an intricate tapestry of artistic expression, an ongoing narrative of creativity that evolves while preserving the fundamental elements of culture. The origins of Folk art are a reflection of humanity’s innate need to express itself, and they can be traced back to the very beginnings of civilization.

These customs are often handed down from one generation to the following, creating an unbroken chain of artistic transmission. In this way, Folk art maintains its ties to history and culture, making it a living testament to the past while adapting to contemporary contexts.

These traditions are vehicles for storytelling, cultural preservation, and community identity.

The roots of Folk art are deeply intertwined with the indigenous practices and beliefs of various cultures. These artistic expressions are a testament to the close relationship between people and their environment, mythology, and daily life. They reflect the fundamental human need to interpret the world and make sense of it through creative expression.

In India, the art of Madhubani painting is a stellar example of how Folk art traditions endure through the centuries. This style of art, hailing from the Mithila region, has been practiced for generations, with motifs inspired by mythology, nature, and daily life. Madhubani artists create intricate, colorful paintings on walls, cloth, and paper, each telling a unique story and often passed down within families. These paintings are an expression of devotion, creativity, and the interconnectedness of life and culture.

Similarly, in Mexico, the art of alebrijes provides a vivid illustration of Folk art traditions rooted in ancient civilizations. These brightly colored wooden sculptures , often resembling fantastical creatures, showcase the country’s deep connection to its Aztec and Maya heritage. The vibrant, intricate designs and vivid colors reflect the spiritual and mythological elements of the indigenous cultures that have shaped Mexican identity.

Folk art traditions are not static; they have been shaped by the ebb and flow of history, including migrations, colonization, and intercultural exchanges. These external influences have enriched and diversified the expressions of Folk art, resulting in a dynamic interplay of cultural elements.

The Characteristics of Folk Art

Folk art, a captivating and diverse form of artistic expression, is characterized by several distinct features that set it apart from mainstream art forms. Embedded in the traditions and heritage of normal people, Folk art embodies the essence of culture and community in unique ways.

Here, we explore the key characteristics that define and distinguish Folk art.

Authenticity

At the core of Folk art lies its authenticity. Unlike the more formal and often commercialized art forms found in galleries and museums, Folk art is the product of individuals within their cultural, social, or regional communities. It is a genuine reflection of everyday life, values, and traditions, making it an unfiltered and unvarnished representation of the human experience.

Diversity of Mediums

Folk art encompasses a wide range of creative practices, spanning painting, sculpture, textiles, pottery, music, dance, and storytelling. The versatility of Folk art is a testament to its adaptability, as it can emerge through any medium that allows for self-expression.

These mediums are chosen based on the availability of materials and the creative preferences of the artists within a community.

Community Connection

Folk art is intimately connected to the communities from which it originates. It is often a communal endeavor, passed down through generations, and deeply rooted in the shared history and cultural identity of a specific group of people. Whether it’s a style of painting, a type of music, or a particular craft, Folk art is a collective expression that binds communities together.

Symbolism and Narratives

Folk art often carries deep symbolism and narratives. It conveys the rich tapestry of human experience through motifs, colors, and patterns that hold cultural significance. These symbols and narratives may draw from mythology, nature, spirituality, and daily life.

This makes Folk art a rich source of stories and traditions passed down through generations.

Simplicity and Practicality

Folk art is often marked by its simplicity. It emphasizes functionality and practicality in the use of materials and design. This simplicity reflects the unpretentious nature of Folk artists and their focus on creating pieces that serve a meaningful purpose within their communities.

Timelessness

Folk art endures through the ages, preserving the ancestry and identity of a community. While it adapts to contemporary contexts, it maintains its fundamental cultural elements, ensuring that the spirit of tradition lives on in an ever-changing world.

A Global Tapestry of Examples

Folk art, with its remarkable diversity and cultural richness, can be discovered on every continent across the globe. It offers an exquisite window into the various cultural landscapes that define our world, and each region contributes its unique blend of stories, traditions, and artistic expressions.

Eastern Europe’s Pysanky Tradition

In Eastern Europe, a remarkable Folk art tradition known as “pysanky” has thrived for centuries. Pysanky refers to intricately painted wooden Easter eggs, and it has a rich and symbolic history. These masterpieces are created through a meticulous process of wax-resist dyeing, in which the artist applies wax in intricate patterns and then immerses the egg in a series of colored dyes. The resulting designs, often featuring intricate geometric shapes and vivid colors, symbolize renewal, fertility, and the arrival of spring.

The tradition is deeply intertwined with the celebration of Easter and reflects the enduring resilience and creativity of Eastern European cultures.

Native American Beadwork

Across North America, Native American communities have cultivated a profound tradition of intricate and colorful beadwork. This captivating form of Folk art is not merely a visual delight but a medium through which tribal history, spirituality, and daily life are communicated. Beadwork is a canvas upon which stories are woven, and intricate designs convey the deep cultural significance of each piece. The choice of colors, patterns, and materials reflects the diverse identities and traditions of different Native American tribes, preserving and celebrating their heritage.

American Quilting Tradition

In the United States, the vibrant tradition of quilting serves as a testament to resilience, creativity, and the interplay of cultures. Rooted in both European and African-American traditions, quilting emerged as an art form that goes beyond its functional purpose. Quilts are not mere blankets; they are intricate patchworks of fabric, design, and history. African-American quilters have, for centuries, used this medium to tell their stories, convey their experiences, and express their cultural identity.

In a similar vein, quilting has been embraced by various American communities, becoming a tangible embodiment of the nation’s cultural tapestry.

A Popular Example of Folk Art in Painting

In the realm of Folk art, painting stands as one of the most captivating and diverse mediums through which communities have expressed their culture, traditions, and stories. This section explores a popular and enduring example of folk art within the world of painting, shedding light on the rich narratives, striking visuals, and cultural significance that these creations convey.

American Gothic (1930) by Grant Wood

American Gothic is an iconic American painting recognized for its straightforward and visually striking composition. It is a good example of Folk art that also has a bit of traditional painting influences. The painting features a stern-faced, older man and a woman standing in front of a house. They are positioned at the center of the canvas, creating a balanced and symmetrical composition. The woman is to the man’s right, gazing slightly away from him, while the man looks directly at the viewer, evoking a sense of stern authority.

The man and woman depicted in American Gothic are dressed in simple, rural attire. The man holds a pitchfork, which serves as a focal point and symbol of his labor as a farmer. Their expressions are somber, and their clothing is practical, emphasizing their hardworking, no-nonsense lifestyle. The woman wears a dour expression and a distinctive apron, while the man wears overalls and a formal collar.

These visual elements underscore their roles as rural, working-class individuals.

The backdrop of the painting features a Gothic-style window from the house, symbolizing both the architectural style and the traditional values associated with rural life. The house itself is plain and functional, reflecting the simplicity of rural American dwellings. Grant Wood employs a limited color palette dominated by earthy tones, primarily shades of brown and gray. These colors contribute to the overall sense of seriousness and starkness, reflecting the harshness and practicality of rural life.

American Gothic has become an iconic image in American art, symbolizing the values of rural America, hard work, and traditionalism. It’s often interpreted as a representation of the sturdy and enduring American spirit during the Great Depression, a time when many were suffering.

Grant Wood’s painting simultaneously serves as a tribute to rural life and a satirical commentary on the stoic, conservative values of small-town America. The expressions of the subjects and the formality of their attire can be seen as a nod to the humor and irony that Wood injected into the piece. He humorously called it “American Gothic” after the architectural style, even though the house in the background is not an actual Gothic building but rather a plain farmhouse.

American Gothic is a prime example of American Regionalism, a 20th-century art movement that celebrated rural life and landscapes. It aimed to counter the dominance of European modernism by focusing on distinctly American subjects. Grant Wood, along with other regionalists, sought to capture the essence of American culture and identity. The painting also contains elements of social commentary, as it explores the traditional, conservative values and ideals held by some in rural America.

The subjects’ stern expressions and the man’s firm grip on the pitchfork symbolize the unwavering resolve of rural communities, but it can also be interpreted as a commentary on the rigidity and resistance to change found in such settings.

The Continuing Relevance of Folk Art

Folk art, far from being relegated to the dusty pages of history, maintains its vibrancy and relevance in the contemporary world. It stands as a living testament to the enduring power of creativity to connect communities, communicate complex narratives, and shape cultural identities. The stability of Folk art traditions is proof of the continuing nature of its significance.

Adaptation to Modern Life

One of the remarkable features of Folk art is its capacity to adapt to the changing landscapes of modern life. Folk artists today engage with the realities of the 21st century while preserving the essential elements of their cultural heritage. In doing so, they ensure that Folk art remains a dynamic and evolving medium.

This adaptability has allowed Folk art to resonate with new generations and remain relevant within a contemporary context.

Preserving Cultural Identity

Folk art plays a crucial role in preserving and celebrating cultural identities. In a world marked by globalization and rapid change, Folk art serves as a touchstone for cultural continuity. It safeguards the unique stories, symbols, and traditions of a community, offering a source of pride and identity. This preservation of cultural identity through Folk art acts as a bridge between generations, fostering a sense of belonging and pride among individuals.

Complex Narratives

Folk art excels at conveying complex narratives and themes, often related to the history, beliefs, and values of a community. These narratives are not static; they evolve to reflect contemporary issues and concerns. Folk artists draw from their heritage while addressing modern challenges, providing fresh perspectives and insights into the issues facing their communities.

In doing so, Folk art contributes to the ongoing dialogue about culture and society.

Folk Art Revivals

In some cases, there have been Folk art revivals, where communities rediscover and revitalize traditional practices. This revival reflects a reawakening of cultural pride and a recognition of the enduring value of Folk art. These movements often involve not only preserving existing traditions but also adapting them to modern sensibilities and markets. These revitalization efforts not only preserve the past but also inject fresh life into Folk art, ensuring that it remains a dynamic and evolving cultural expression that resonates with contemporary audiences. As these revivals take place, they celebrate the rich heritage of Folk art while simultaneously infusing it with new energy and relevance, thus ensuring its legacy endures.

Global Awareness and Connection

In an interconnected world, Folk art has the potential to foster global awareness and connection. The internet and increased access to international markets allow Folk artists to share their work with a global audience. This exposure not only helps them reach a wider customer base but also promotes cross-cultural understanding and appreciation. As Folk art transcends borders, it becomes a powerful tool for celebrating the diversity of human culture, sparking dialogue between different communities, and uniting people through their shared appreciation for the authenticity and rich narratives that Folk art offers. It serves as a bridge connecting individuals from various backgrounds, making the world a more interconnected and culturally enriched place.

As we’ve ventured through the intricate tapestry of Folk art traditions and delved into diverse examples of this genre from around the globe, we have come to understand that Folk art is far more than a mere artistic expression. It is a celebration of the ordinary, and an authentic embodiment of shared histories, values, and traditions. Folk art is a living testament to the resilience of communities and their enduring power to convey the complexities of life through creativity. Through its myriad of forms, Folk art binds us to our roots, enriches our understanding of cultural identities, and reminds us of the timeless appeal of human expression. In its simplicity, Folk art speaks volumes, revealing the profound and multifaceted beauty that lies within the everyday, and connects us to the heart of what it means to be human.

Frequently Asked Questions

What is folk art.

Folk art is a form of artistic expression that emerges from the grassroots of society, created by individuals within their cultural, social, or regional communities. It encapsulates a wide range of creative practices, such as painting, sculpture, textiles, pottery, music, dance, and storytelling. What distinguishes Folk art is its intimate connection to the community from which it originates, often serving as a visual and auditory embodiment of shared history, values, and cultural identity. It celebrates the everyday lives, traditions, and narratives of ordinary people, making it a vibrant and authentic reflection of the human experience.

What Are the Characteristics of Folk Art?

Folk art is distinguished by its authenticity. It is intimately connected to the communities from which it originates, often passed down through generations, and deeply rooted in shared history and cultural identity. This diverse form of artistic expression can encompass a wide range of mediums, including painting, sculpture, textiles, music, and storytelling, making it a versatile and authentic reflection of human creativity. Folk art often carries deep symbolism and narratives, drawing from cultural motifs and reflecting the rich tapestry of human experiences. Simplicity and practicality are also key characteristics, emphasizing functionality in the use of materials and design. Above all, Folk art endures through time, preserving cultural heritage while adapting to contemporary contexts.

How Is Folk Art Different from Traditional Art?

Folk art differs from traditional art in several key ways. While traditional art often reflects the work of professional and trained artists, and is typically showcased in mainstream galleries, Folk art is created by individuals within their cultural or regional communities. Folk art is characterized by its authenticity, deeply rooted in everyday life and cultural traditions, while traditional art often explores a broader range of themes and styles. Traditional art is often influenced by academic and artistic conventions, while Folk art tends to be more diverse, with a wide range of mediums and styles used. The purpose of traditional art can vary widely, while Folk art often emphasizes practicality and functionality, such as in crafts or textiles.

Nicolene Burger is a South African multi-media artist, working primarily in oil paint and performance art. She received her BA (Visual Arts) from Stellenbosch University in 2017. In 2018, Burger showed in Masan, South Korea as part of the Rhizome Artist Residency. She was selected to take part in the 2019 ICA Live Art Workshop, receiving training from art experts all around the world. In 2019 Burger opened her first solo exhibition of paintings titled, Painted Mantras, at GUS Gallery and facilitated a group collaboration project titled, Take Flight, selected to be part of Infecting the City Live Art Festival. At the moment, Nicolene is completing a practice-based master’s degree in Theatre and Performance at the University of Cape Town.

In 2020, Nicolene created a series of ZOOM performances with Lumkile Mzayiya called, Evoked?. These performances led her to create exclusive performances from her home in 2021 to accommodate the mid-pandemic audience. She also started focusing more on the sustainability of creative practices in the last 3 years and now offers creative coaching sessions to artists of all kinds. By sharing what she has learned from a 10-year practice, Burger hopes to relay more directly the sense of vulnerability with which she makes art and the core belief to her practice: Art is an immensely important and powerful bridge of communication that can offer understanding, healing and connection.

Nicolene writes our blog posts on art history with an emphasis on renowned artists and contemporary art. She also writes in the field of art industry. Her extensive artistic background and her studies in Fine and Studio Arts contribute to her expertise in the field.

Learn more about Nicolene Burger and the Art in Context Team .

Cite this Article

Nicolene, Burger, “Folk Art – Creating a Rich Tapestry of Cultural Heritage.” Art in Context. January 31, 2024. URL: https://artincontext.org/folk-art/

Burger, N. (2024, 31 January). Folk Art – Creating a Rich Tapestry of Cultural Heritage. Art in Context. https://artincontext.org/folk-art/

Burger, Nicolene. “Folk Art – Creating a Rich Tapestry of Cultural Heritage.” Art in Context , January 31, 2024. https://artincontext.org/folk-art/ .

Similar Posts

Abstract Art – Looking at Famous Abstract Art and its Artists

“Flâneur” Meaning – The Art of Roaming

Schizophrenia Art – The Relationship Between Art and Mental Illness

Persian Art – A History of Ancient Persian Paintings and Iranian Art

Fauvism – The Origins, Artworks, and Artists of the Fauve Movement

Early Christian Art – Christian Artwork and Biblical Paintings

Leave a reply cancel reply.

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

The Most Famous Artists and Artworks

Discover the most famous artists, paintings, sculptors…in all of history! 

MOST FAMOUS ARTISTS AND ARTWORKS

Discover the most famous artists, paintings, sculptors!

What is Folk Art? (Explained)

Folk Art is everywhere around us. It is unaffected by revolutions or academic theories. It includes work created by indigenous people, peasants, and other low-wage workers. 

Folk art, unlike fine art, is largely functional and decorative rather than solely attractive. It is distinguished by a naive style that rejects established proportion and perspective principles.

Table of Contents

Folk Art History

(This article may contain affiliate links and I may earn a commission if you make a purchase)

Flickr Image by Dennis Jarvis

“Folk art” is a word coined by white Christian, well-educated urbanites in the nineteenth century to characterize the charming arts and crafts of rural civilizations. Historically, this form of artwork has been classified as either utilitarian or decorative rather than just beautiful. Folk art, which is created by artistically minded individuals from different cultures around the world, directly reflects a society’s ideals.

It refers to artwork that is created by people with artistic talent who use their community’s actual cultural identity rather than a distinct aesthetic one. Folk artists learn most of their talents and skills through apprenticeships in informal social networks. Some, on the other hand, may acquire academic training.

Folk art in general:

• Can be decorative or practical/efficient
• Is handcrafted; it may have both handmade and new, artificial, or recycled components.
• Could be made for use within a community of practice or for sale as a source of money and empowerment
• Can be taught academically or informally, and it can also be self-taught
• Dance, singing, poetry, and foodways are examples of intangible forms of expressive culture.
• Is traditional; it represents cultural aesthetics and social problems that are shared. Traditional folk art may vary through time and may incorporate innovations in tradition, as traditions are dynamic.
• Is for, by, and about the people; everyone, regardless of class, rank, culture, community, race, gender, or religion.

Characteristics of Folk Art

• As we already mentioned, folk art is distinguished by the fact that it is unaffected by academic or fine art movements. It does not always contain artistic customers’ purchases of “high-class art” or “artwork” handled by a professional artist. However, numerous folk artists in the U. S. in the 18th and 19th centuries, notably itinerant portrait painters, made a livelihood from their painting work. Furthermore, some of them have left a substantial collection of artwork behind.
• Among the names that overlap with folk art are naive art, primitive art, pop art, outsider art, traditional art, popular art, tribal art, tramp art “wandering art,” and “self-taught” art.
• Folk art is an art that has emerged from a folk heritage and has a functional and aesthetic element. It is common people’s work, intended for a limited audience, and lacking in artistic pretensions. It’s mostly practical and handcrafted for personal, limited, or collective use. Paintings are frequently used to decorate trunks, clocks, and inside or external walls.
• It shows cultural identity by conveying shared community values and artistic taste. It also has a variety of utilitarian and decorative media such as fabrics, wood, papers, clay, metal, and many other things. When traditional materials are no longer available, new resources are frequently substituted, resulting in contemporary versions of traditional folk art forms.
• Folk art portrays the traditional art forms of a wide range of community groups — ethnic, tribal, religious, commercial, regional, age, or gender-based — who identify with one another and with society as a whole. 
• Quilting, ornate picture frame, and decoy carving are only some of the folk art traditions that are still practiced, and new ones are always developing.

Antique Folk Art

Flickr Image by Wonderlane

Such folk art refers to artifacts created by “country folk,” some of which were created to be admired, but many of which were practical products with a decorative feature such as a carved heart. Taking an ordinary item and making it into something more unique.

Contemporary Folk Art

Many folk art traditions, such as quilting, ornate picture frame, and decoy carving, are still alive and well, while new forms develop on a regular basis. Because their work is generally generated in isolation or in small towns across the country, contemporary folk artists are frequently self-taught.

Folk Arts have influenced mainstream art, and these artworks have influenced many artists too. For example, African tribal sculptures and masks influenced Pablo Picasso, while traditional Russian popular prints known as luboks inspired Natalia Goncharova and others.

Why is Folk Art Important?

Here is why folk art is important:

• Rituals, festivity, and community are all incorporated into folk art. These are critical for passing down our ethnic groups’ cultural values from generation to generation. The showcasing and sharing of folk arts in the community adds to the diversity of our neighborhoods.
• It is critical to know that traditional art is not a rigid form that does not develop with time. It is a creative process, much like any other art form; however, the ideas come from history, culture, and community practice.
• It can shift and grow as the artist digs deeper into their roots and the communities where they dwell. Immigrants make up a large portion of our folk artists and teachers. The protection and preservation of our community’s tradition-bearers, instructors, and artists are critical.
• The social and economic benefit of knowledge transfer is crucial for both minority and mainstream social groups within a state, and it is equally vital for developing and developed countries.
• Self-taught artists’ work contributes to the expression of cultural identity by articulating shared community values.

Since they are not well-known or understood, traditional folk artists are frequently disregarded and dismissed in the funding sector. If we could better grasp the cultural foundations, customs, and arts of our immigrant populations, our world and society would be a better place.

Folk Artists and Their Works

Ammi phillips.

Ammi Phillips , born in Colebrook, Connecticut, was an early American folk art painter. Phillips was an untrained artist who learned to paint by examining imported prints. He worked in Connecticut, Massachusetts, and New York and was known as the Border Limner and the Kent Limner. 

Famous Work : Girl in red dress with cat and dog

Henry Darger

Henry Darger is a great storyteller whose artworks were motivated by his personal mental health and upbringing. 

He is regarded as one of the great “outsider painters.” The story of the Vivian girls is undoubtedly Darger’s best and most acclaimed work. This specific work, which is thought to date back to 1909, is made up of twelve volumes. The plot of this series unfolds in a way that is now widely recognized as strongly influenced by the Civil War.

Leonard Knight

Flickr Image by Joe Bielawa

Leonard Knight had no professional artistic training and, until very late in life, refused to be labeled an artist. His naive approaches, primitive materials, humorous style of painting, and haphazard construction methods contributed to American Folk Art traditions. 

This, paired with his rebellious and destitute living on the margins, cemented his reputation as one of our great outsider artists, paving the way for future artists operating on the margins of the established art world. 

Known For – Salvation Mountain

Anna Mary Robertson Moses

Also known as Grandma Moses , she had no official training as an outsider artist with “folk” and “naive” tendencies; she was an unusually inventive figure who worked in isolation.

Grandma Moses’ paintings depict everyday agricultural operations such as “sugaring off” (producing maple syrup), shearing and bathing sheep, and making soap and butter, to name a few. These actions are depicted in her paintings as highly creative undertakings in and of themselves.

In addition, the paintings frequently have a three-dimensional appearance that harkens back to the artist’s previous work as a yarn embroiderer.

Jamini Roy was an Indian painter who started off as a commissioned portrait artist. He was inspired by the Kalighat Pat (Kalighat painting), a type of art with broad sweeping brushstrokes, and looked to contemporary folk and tribal art for inspiration. 

Roy quickly established a new style based on Bengali folk traditions, with the goal of capturing the essence of simplicity reflected in the lives of indigenous peoples, making art accessible to a wider audience, and giving Indian art its own identity via his work. 

Famous work – Three Pujarins

How to Preserve Folk Art?

Below are ways to preserve folk art:

Seminars to Raise Awareness

The majority of individuals follow the current trends while rejecting all traditions. Only a small percentage of the older generation has a solid understanding of diverse art and cultural genres. 

So that no art form goes extinct, the youth of today must be persuaded of the importance of capturing such vast amounts of information from their elders.

In today’s global culture, cultural heritage appreciation should be expressed through an integrated education method. Education should be supported as a means of ensuring the long-term preservation of cultural assets. It is a method of preserving both tangible and intangible cultural heritage.

Workshops are locations where you can let go of all your inhibitions. They’re fantastic places for people to interact, learn, and grow. They are held under the supervision of experts from various fields. The interactive platform allows attendees to contribute their knowledge and learn new things at the same time.

Fairs and Exhibitions

Flickr Image by Younghoon Kim

Exhibitions and fairs are the most effective means of preserving art forms such as painting and sculpture. People can view a variety of traditional fine art pieces that have been meticulously made. Shows like these encourage children to learn traditional art forms.

Live Performances

Live performance has an effect that no seminar or awareness workshop can match. Many people have the opportunity to see and study old art styles. It is fairly typical to witness someone who has never heard of a certain art form become a fan after seeing a live performance by a talented performer.

Frequently Asked Questions

What is indian folk art or traditional art.

Pottery, sketching, metalwork, paperwork, weaving, and designing things like jewelry and toys are examples of Indian folk and traditional art forms. These aren’t just decorative items; they have deep cultural, religious, and regional significance in India.

What is the difference between traditional art and folk art?

Folk and traditional arts are deeply based in and reflective of a community’s cultural life. They cover a wide range of expressive culture that is linked to folklore and cultural history. Objects that have historically been produced and used within a traditional community are considered tangible folk art.

How is Contemporary art different from traditional art?

The phrase “contemporary art” refers to art made in the current era. Folk art is a type of traditional art that includes art created by indigenous people, peasants, and other laborers. They reflect contemporary ideas and viewpoints that are vulnerable to societal change.

What is the difference between traditional and folk arts?

Folk and traditional arts are those that are developed as part of the cultural life of the community whose people share a shared ethnic history, cultural beliefs, dialect, religion, occupation, or geographical area.

What is Korean folk art?

Minhwa is a term used to describe Korean folk art created primarily by nomadic or untrained artists who imitate contemporary fine art styles for the sake of everyday utility or decoration. Yanagi Muneyoshi coined the term “minhwa.”

Why is it critical to preserve art?

Historical objects must be preserved for future generations to remember and respect their contributions. The historical story is preserved for future generations as long as an artifact is conserved in its existing condition.

What can we do to preserve art?

For artwork, experts recommend a humidity level of 55 percent. It’s best to keep your artwork in a cool, dry, and dark environment: The best approach to protecting your artwork from the negative consequences of sunshine and humidity is to keep it cool, dry, and dark. It is actually incredibly effective when it comes to safeguarding unframed artwork.

What is Folk Art – Conclusion

That’s it! I hope you now have a better understanding of folk art and how to revive it!

Bryan is an artist living in Las Vegas, Nevada who loves travel, ebiking, and putting ketchup on his tacos (Who does that?!). More about Bryan here.

Similar Posts

What Is Kinetic Art? – A Comprehensive View

Kinetic art is a type of modern art that requires movement (or the illusion of movement) for the viewer to fully appreciate the message and effect behind the piece. The term ‘kinetic art’ was founded in the 1920s by artists, Naum Gabo and Antoine Pevsner, and was inspired by the movements of American sculptor, Alexander…

Idealized Art (A World of Perfection)

Have you ever seen a piece of art and thought it was perfect? Not just perfect in its execution but literally perfect. Idealized art depicts subjects in a way that depicts an ideal beauty or standard. A Greek sculpture such as Venus de Milo by Praxiteles or Leonardo da Vinci’s Vitruvian Man are examples of…

Why is Modern Art So Bad? (What You Need to Know)

When it comes to great works of art, most people can appreciate the Vitruvian Man by Leonardo da Vinci and Raphael’s Sistine Madonna. However, when it comes to more modern and contemporary pieces of art, the reception varies. One of the biggest challenges contemporary artists face is the criticism that their art is bad. This…

Abstract Art: How To Tell When it’s Good (or Bad)

When you look at an abstract art piece, you might think it looks simple to make…but you’d be wrong. This is why many find this style of art hard to interpret. With this in mind, you may be wondering, “what makes abstract art good?” Good abstract art showcases meaning, intention, skill, and expression. Unlike other…

What Is The Main Subject Of Persian Landscape Art? (Explained)

Persian art, also known as Iranian art, is one of the richest art heritages in the world, which encompasses many influences of neighboring countries and cultures. Most Persian artists prefer to paint landscapes; however, the main subject in these paintings differs from the subjects in Western-style landscapes. So, what is the main subject in Persian…

What is Representational Art? (Explained with Examples)

When you look at an artwork, the first thing that crosses your mind is how attractive or unattractive the art is. While some artwork simply expresses aesthetic beauty, other artworks aim to pass a message or represent real situations. The latter type of art is known as representational art. Representational arts are artworks that depict real…

Folk Art from India: Sculpture and Decorative Objects

By Academy of Fine Arts and Literature

Owl: eyes fixed at its prey (1901/1999) by unknown Academy of Fine Arts and Literature

Sculpture and Decorative Objects

The Arpana Fine Arts Museum’s is a strange world. Its artifacts bewitch with their beauty, astonish with their strangeness, and besides their visual impact, have immense symbolic width and deep underlying meaning. If a pot installed on an intricately designed multi-legged pod, which a group of lizards guard, represents beauty with an obnoxious and awful face, a deity-image with its base expanded to contain oil and serve as a lamp attributes to light divine dimensions. If the lizards’ mystery pot reminds of some old forgotten myth, perhaps one relating to some pot of nectar of which lizards were the guardians, something identical to the common belief that vipers guard all old treasures, the lamp conceived as the deity-image’s expansion re-asserts the universally acknowledged theological belief that God manifested first as light and then manifested His creation.

Frying pan or ritual pot with bull-head handle (1901/1999) by unknown Academy of Fine Arts and Literature

The symbolism involved in the two legends is alike obvious. If the former asserts that the way to nectar – endless life, routes through the venomous course of death, which lizards represent, or that beauty’s other face is obnoxious and awful, the latter asserts that let there be light within and God Himself would be within you.This section has artifacts from all art-regions in India – Rajasthan, Gujarat, Maharashtra, Kerala, Orissa, Bengal, Bihar, Uttar Pradesh, Chhattisgarh, Ladakh, South India … In the world’s most art forms creativity is coupled with aestheticism, in India its underlying tones are spiritual, and beauty, its frame. Hence, even an ordinary artifact has spiritual connotations, something that it reveals beyond form.

Eka-danta Ganapati (1901/1999) by unknown Academy of Fine Arts and Literature

Here is an exceptionally simplified image of Lord Ganesh, Indian god of auspices. With his broken tusk prominently exposed he manifests his Eka-danta form. The artist has so used his motifs that each conveys at least two meanings. With bells attached to it, his ‘chhatra’ – umbrella, acquires a shrine’s status. The motif held in upper left hand is suggestive of both, a trident and a lotus. The form of a serpent hood has been used to become his ‘varada’-imparting lower right hand. As simple a form defines his ‘abhaya’-imparting upper right hand. The lower left hand is just a projection, not larger than a lamp-stand. It carries his favourite sweet ‘laddu’ – sugar-ball. The pot-bellied Ganesh is riding his mount mouse.

With bells attached to it, his ‘chhatra’ – umbrella, acquires a shrine’s status. The motif held in upper left hand is suggestive of both, a trident and a lotus.

Goat by unknown Academy of Fine Arts and Literature

Fasting Buddha (1901/1999) by unknown Academy of Fine Arts and Literature

This emaciated figure of the Great Master is known as fasting Buddha. An identical fasting Buddha statue, perhaps its proto-model, of around the 3rd century A.D. is in the Lahore Museum, Lahore, Pakistan. Before Buddha attained Enlightenment, he underwent a long fast rendering him very weak and thin. The fasting Buddha images represent the same state. He had broken his fast with pudding offered to him by a ‘shudra’ girl Sujata. Perhaps, in veneration to her all figures conceived as devotees on the pedestal are women. The ‘Pipal’ leaf motifs on the pedestal’s upper edge symbolise the Bodhi tree he sat under meditating and fasting. The gesture of palms reveal determination and the lotus leaf like surging ‘antariya’, the unfolding of light within.

He had broken his fast with pudding offered to him by a ‘shudra’ girl Sujata. Perhaps, in veneration to her all figures conceived as devotees on the pedestal are women.

A tribal transform of Shiva by unknown Academy of Fine Arts and Literature

The image is an exceptionally simplified form of Shiva. His multi-arms have been substituted by two arms but with such length as could be managed only when contained in folds. In one of his hands he is holding a trident and in the other, a small drum – damaru. His ears, nipples, eyes and legs all correspond to forms that tribal womenfolk render with clay on their mud-walls. The deity’s face reveals an unearthly sentiment.

His ears, nipples, eyes and legs all correspond to forms that tribal womenfolk render with clay on their mud-walls. The deity’s face reveals an unearthly sentiment.

Savitri Bata-puja by unknown Academy of Fine Arts and Literature

The lady is worshipping a tree, a representation of Savitri Bata-puja which takes place in the month of Shravana. Man’s association with tree dates back to unknown times. In a Bata, banyan tree, the Vedic seers perceived wish-fulfilling power and ordained its worship. They also proclaimed that a certain tree would burst with flowers when a beautiful virtuous young woman touched it. In Indian tradition, Savitri stands for exemplary virtue and womanhood, and Bata for accomplishment of wish. Savitri Bata-puja is a blend of two traditions.

Man’s association with tree dates back to unknown times. In a Bata, banyan tree, the Vedic seers perceived wish-fulfilling power and ordained its worship.

Mother feeding her child by unknown Academy of Fine Arts and Literature

The mother, lying by her child, is feeding it with a bottle. Child’s costume is interesting. Modeling of mother’s face is typical of Bastar’s tribal art. Features are as bold as those rendered using clay on the mud wall of a hut and as much simplified.

Owl (1901/1999) by unknown Academy of Fine Arts and Literature

Unhappy or angry, perhaps with its naughty offspring not obeying it, the figure of the owl, otherwise an ordinary toy, has been delightfully conceived. The posture of its beak and the form of eyes reveal an emotion, perhaps displeasure or annoyance, so common with man and animal.

Unhappy or angry, perhaps with its naughty offspring not obeying it, the figure of the owl, otherwise an ordinary toy, has been delightfully conceived.

Warrior by unknown Academy of Fine Arts and Literature

The warrior, carrying a spear with broad blade and a shield, and wearing a very special helmet, rich costume and lavish jewellery, defining his royal status, is standing on a high and beautifully modeled pedestal. An elegantly designed base is one of the essential features of Bastar statues.

An elegantly designed base is one of the essential features of Bastar statues.

Reading a fiction book by unknown Academy of Fine Arts and Literature

As suggests her posture, the woman lying upside down, is in her leisure time entertaining herself with a book. Her feet, lifted above the ground, style of hair-dressing, circular formation of arms, and prominent nose are quite interesting.

Tiny container shaped like a fish and usable as wall show-piece (1901/1999) by unknown Academy of Fine Arts and Literature

The filigree like treatment of the body denotes fishscales

Reading a book by unknown Academy of Fine Arts and Literature

The figure, a woman though with a depressed breast-part, is holding a book in her hands as if reading from it. Circular forms of the figure's arm, face, coiffure and ears are characteristic features of Bastar folk anatomy.

Summer reading by unknown Academy of Fine Arts and Literature

The lady, from an affluent class, is whiling away summer by reading, with a fan in the other hand. Her rich and heavy jewellery and style of costuming, as well as her habit of reading link her with society’s upper strata. Her elongated figure, style of sari worn down to knee-height and round face, coiffure, ears etc. truly define the anatomical dimensions of Bastar metal casts.

Her rich and heavy jewellery and style of costuming, as well as her habit of reading link her with society’s upper strata.

Leisure-reading (1901/1999) by unknown Academy of Fine Arts and Literature

The woman, obviously one from society’s upper strata, is lying on an elegantly floored ground with her head supported on her left arm. In full leisure she is reading a book.

The woman, obviously one from society’s upper strata, is lying on an elegantly floored ground with her head supported on her left arm.

Bagh (1901/1999) by unknown Academy of Fine Arts and Literature

This bagh blends two sets of motifs, one known as Mirchi, and other, multiple squares patterned like Mughals’ Charbaghs.

This bagh, embroidered using belan motifs on the entire field and laharia on the ‘pallu’ – border, is an artifact characteristic of western Punjab. It might be classified as belan bagh. Unlike those from eastern Punjab the ladies of the western part used white in abundance. Apart, they used soft colours like orange, yellow or magenta. Motifs which they used were simpler and their range not as large as was in eastern part.

This bagh, embroidered using belan motifs on the entire field and laharia on the ‘pallu’ – border, is an artifact characteristic of western Punjab. It might be classified as belan bagh.

Phulkari or flower-work (1901/1999) Academy of Fine Arts and Literature

A phulkari is hardly different from a bagh except that while in a bagh embroidery covers the entire field in a phulkari it covers special areas. Even when embroidered motifs are scattered all over the field, as in this phulkari, the ground remains sufficiently visible. Not so strictly in a bagh, darn or a large running stitch is the essence of embroidery in a phulkari. Embroidery rendered using cross stitch or its any other type will not class as phulkari. As in a bagh in phulkari also ‘pallu’ is distinctly designed. A phulkari like this in which similar motifs are embroidered in groups like tree-groves is usually known as bella or grove phulkari.

A phulkari is hardly different from a bagh except that while in a bagh embroidery covers the entire field in a phulkari it covers special areas. Even when embroidered motifs are scattered all over the field, as in this phulkari, the ground remains sufficiently visible.

Indian Miniature Paintings: The Pahari School

Academy of fine arts and literature, folk and tribal paintings: the gond school, folk and tribal paintings: the godana and madhubani schools, indian miniature paintings: the company school and popular prints, tantric paintings, indian miniature paintings: the mughal and persian schools, folk art: objects from across the world, indian miniature paintings: the deccani and paithan schools, folk and tribal paintings: the bhil and orissa schools, indian miniature paintings: the rajasthan school.

Heilbrunn Timeline of Art History Essays

Nineteenth-century american folk art.

The Raymond Children

Robert Peckham

Quillwork Shadowbox

Myra Bates (Willcutt)

Edward and Sarah Rutter

Joshua Johnson

The Plantation

Peaceable Kingdom

Edward Hicks

Mrs. Mayer and Daughter

Ammi Phillips

The Alling Children

Oliver Tarbell Eddy

Andrew Jackson

William H. Rumney

John and Louisa Stock

Joseph Whiting Stock

The Falls of Niagara

Girl of the Bangs-Phelps Family

Erastus Salisbury Field

Carrie Rebora Barratt The American Wing, The Metropolitan Museum of Art

October 2004

The collection of American folk art at the Metropolitan Museum is characterized by pure serendipity. It is highly prized and was acquired almost entirely by gift. Among the generous donors, Colonel Edgar William and Bernice Chrysler Garbisch stand out as the principle benefactors. Enthusiastic collectors of myriad works of art, the Garbisches began buying American paintings and antiques in the 1940s for their country home on Maryland’s Eastern Shore. They soon began a program of giving works to museums that concluded with their bountiful bequest in 1980; in all, the Metropolitan received more than 100 paintings and drawings.

The Garbisches described their American paintings as naive, casting their weighty vote in the terminology debates sparked by this field of study. Others refer to such art as plain, rural, provincial, outsider, idiosyncratic, or nonacademic—terms that are all marred by implications of condescension and inferiority. At the Metropolitan, we use the term “folk art” because it is traditional and recognizable, even if it does not begin to characterize the diversity of artistic approaches and expressions it purports to represent. No single term can meet that challenge.

Folk paintings are unified by conventions of method, aesthetics, and circumstance. The artists worked principally in the Northeast, away from urban centers; most spent their careers moving from place to place courting local audiences. Quite a few were highly trained ornamental painters. Almost all of them favored strong colors, broad and direct application of paint, patterned surfaces, generalized light, skewed scale and proportion, and conspicuous modeling. Most developed compositional formulas that allowed them to work quickly, with limited materials and in makeshift studios.

Portraiture was by far the most prevalent art form among itinerant painters in the American Northeast. These artists spent their careers on the road, seeking commissions. While most developed distinctive styles and artistic methods, all of their works betray the common circumstances of their nomadic production in rural America, and all are indebted in some measure to academic conventions. The poses, props, and settings for country portraits were no different from those employed by artists in the cities. These portraits, however, are restrained in every other respect. They are characterized by sharply defined forms, neatly organized compositions with clearly defined spatial arrangements, some with an almost mathematical precision and symmetry, generalized lighting, equal attention paid to all areas of the canvas, an absence of expressive brushwork, and an overall flatness and linearity. A current, compelling theory about the look of folk portraits is that they matched the face of the neatly and geometrically farmed agrarian landscape. In any case, it is important to recognize that folk artists worked according to criteria set by their rural clientele. As a group, the portraits describe socially reticent sitters eager to record a likeness but shy of declaring personality and emotion. Elements of pride and class status are apparent but circumspect. Portraits record lasting traits and conditions (some are even memorials to the dead), rather than transitory mannerisms and situations.

It is common to think of folk painters as untrained, but most were in fact highly trained and multi-talented. Different types of art required different types of preparation, and those artists who apprenticed to craftsmen or to artisans developed a unique repertoire of skills, a distinct vocabulary of subject matter, and a peculiar expressive vision. Most folk artists began their careers painting signs or furniture, which required special techniques to ensure legibility and durability. When they turned to academic forms of painting, that is, two-dimensional works without utilitarian function, their particular skills recommended them, especially to clients who wanted pictures that resonated with familiar images and techniques. Paintings by artists trained as craftsmen are highly illustrative, emblematic, and moralistic; religious and historical subjects are common and naturalism is rare. The relative importance of figures is indicated by their size, and animals, which are usually emblematic, are ubiquitous.

Barratt, Carrie Rebora. “Nineteenth-Century American Folk Art.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/afkp/hd_afkp.htm (October 2004)

Additional Essays by Carrie Rebora Barratt

• Barratt, Carrie Rebora. “ Gilbert Stuart (1755–1828) .” (October 2003)
• Barratt, Carrie Rebora. “ American Portrait Miniatures of the Nineteenth Century .” (October 2004)
• Barratt, Carrie Rebora. “ John Singleton Copley (1738–1815) .” (October 2003)
• Barratt, Carrie Rebora. “ American Portrait Miniatures of the Eighteenth Century .” (October 2003)
• Barratt, Carrie Rebora. “ George Washington: Man, Myth, Monument .” (May 2009)
• Barratt, Carrie Rebora. “ American Scenes of Everyday Life, 1840–1910 .” (September 2009)
• Barratt, Carrie Rebora. “ Students of Benjamin West (1738–1820) .” (October 2004)
• Barratt, Carrie Rebora. “ Thomas Sully (1783–1872) and Queen Victoria .” (October 2004)

Related Essays

• Alice Cordelia Morse (1863–1961)
• American Quilts and Coverlets
• Industrialization and Conflict in America: 1840–1875
• Kodak and the Rise of Amateur Photography
• Nineteenth-Century American Drawings
• America Comes of Age: 1876–1900
• American Impressionism
• American Portrait Miniatures of the Eighteenth Century
• American Portrait Miniatures of the Nineteenth Century
• Childe Hassam (1859–1935)
• The Daguerreian Era and Early American Photography on Paper, 1839–60
• Duncan Phyfe (1770–1854) and Charles-Honoré Lannuier (1779–1819)
• George Inness (1825–1894)
• Gilbert Stuart (1755–1828)
• The Hudson River School
• John Singer Sargent (1856–1925)
• Mary Stevenson Cassatt (1844–1926)
• Nineteenth-Century American Jewelry
• Nineteenth-Century Classical Music
• Post-Revolutionary America: 1800–1840
• Religion and Culture in North America, 1600–1700
• Students of Benjamin West (1738–1820)
• Thomas Eakins (1844–1916): Painting
• Winslow Homer (1836–1910)
• The United States and Canada, 1800–1900 A.D.
• 18th Century A.D.
• 19th Century A.D.
• 20th Century A.D.
• American Art
• American Folk Art
• Floral Motif
• North America
• United States
• Women Artists

Artist or Maker

• Eakins, Thomas
• Eddy, Oliver Tarbell
• Field, Erastus Salisbury
• Hicks, Edward
• Johnson, Joshua
• Peckham, Robert
• Phillips, Ammi
• Rumney, William
• Stock, Joseph Whiting
• Willcutt, Myra Bates

Online Features

• Connections: “Anonymous” by Amelia Peck

Indian Folk-art: An Expression of Cultural Diversity

India is a religious and ethnically diverse country. Indian culture is characterized by distinct languages, and rich traditions among various ethnic and religious groups. Despite hosting a Hindu-majority it is difficult to attach a singular and unifying notion of identity to Indian culture. This is in part due to the flexible nature of the Hindu religion which allows for the aggregation of numerous regional cultures, and ethnic practices to grow and flourish. The folk and tribal arts of India express the cultural diversity of the nation and provide a window through which one can explore the rich heritage of Indian culture. 1

What is Folk-art?

Folk-art as a visual medium does not have a unique definition but generally consists of all forms of visual art delivered in the context of an existent society within a particular geographical and cultural niche. In this manner, folk-art caters to local tastes and needs, is reflective of the way of life and culture in a community, and provides tangible and intangible forms of art with distinctive styles and objects that stand removed from other cultural developments of their time. 2 3

Intangible folk-art forms include music, dance, and narrative structures, while tangible folk-art forms refer to objects that are crafted by hand or other means within the traditional practices of a community. The purpose of folk-art is to serve as a medium through which a community’s traditions, beliefs, and attitudes can be transmitted and passed from one generation to another. This is often achieved within families and community via practical demonstrations, conversation, and daily practice. 4

Folk-art was developed to address the very real needs, and desires of a community. Once that need is removed, the relevant folk-art may gradually vanish within the annals of history thanks to decreased transmission and communication of its existence within the community. 5

Indian Folk-Art

Folk-art in India manifests in various forms including pottery, painting, paper-art, weaving, sculpting, metallurgy, and object design involving jewelry and toys. Relevant objects can include masks that are used in religious rituals and ceremonies, paintings, textiles, baskets, kitchen utensils, arms and weapons, religious sculptures (idols) etc. It is also common to have the human body serve as a platform for folk-art via the practices of piercings and tattoos during festivals and religious celebrations.

Folk-art products each have a symbolic meaning that is attached to them as well as the materials and techniques used to fabricate them. Easily recognizable forms of Indian folk-art include the dazzling sculptures and paintings of puranic gods and mythological figures of Hinduism often sold and displayed in temples, fairs, festivals, and city districts as well as in local households.

The Indian folk-arts have also served as a medium of expression for the cultures of nomadic tribes and ethnic groups within the country. The relevant art forms express the transient and dynamic patterns of lifestyles said communities have experienced while traveling across India. 6

Over the course of Indian history, the various folk-art forms of the nation have been protected and survived under the umbrella of religious and ethnic traditions revolving around familial beliefs, and daily practices. Unfortunately, globalization has resulted in the development of a synthetic macro-culture that has led to the gradual attrition of Indian folk-art. Thus, tremendous efforts have been undertaken by the government of India alongside various NGOs to preserve and protect these arts and to promote them. 7 8

In this article, we will consider five of the most popular and widely recognizable folk-art forms of India that have survived the passage of time.

Thanjavur Art

Tanjore or Thanjavur paintings originate from the South Indian state of Tamil Nadu, in the city of Thanjavur, about 300 km from the state’s capital city of Chennai. These paintings are essentially “religious paintings with a royal heritage” and are among the greatest traditional art forms noted worldwide. 9

The subject matter of these paintings largely revolve around mythological themes from Hinduism and demonstrate spirituality within the essence of creative art. Once adorning the royal dwelling of the Hindu rulers of Vijayanagar Rayas and Thanjavur Nayaks in the 16 th century, these paintings can now be commonly found in every household with figures of Lord Krishna in various poses and depictions of his life being the most popular.

Thanjavur paintings are characterized by remarkable gold leaf work, brilliant color schemes, decorative jewelry with stones and cut glass. The paintings used to be adorned with rubies, diamonds and other precious gemstones, but nowadays, semi-precious stones are used in their place while the practice of using gold foil hasn’t been altered. The paintings are made such that the shine and glean of the gold leaves used last forever. 10

Madhubani Painting

Also referred to as the art of Mithila, Madhubani paintings are said to originate from the kingdom of Janaka, who was the father of Sita in the much beloved Hindu epic Ramayana , in Nepal and in present-day Bihar. 11

The paintings are produced using mineral pigments prepared by the artists and were traditionally drawn on freshly plastered mud walls. For commercial purposes, the same has now been achieved on paper, cloth, canvas, and other media.

The method involves using cotton wrapped around a bamboo stick as the brush. Black color is obtained by mixing soot with cow dung, yellow from turmeric or pollen or lime and the milk of banyan leaves, blue from indigo, red from the kusum flower juice (from the Ceylon Oak tree) or red sandalwood, green from the leaves of apple trees, white from rice powder, and orange from palasha flowers.

The art form is characterized by geometric patterns and mostly depict scenes gods, weddings, flora, and fauna. Madhubani paintings are widely practiced by women as a means to cultivate their spirituality and yearning to be one with God. In fact, the All India Handicrafts Board and the Government of India have encouraged female artists to produce said paintings on handmade paper for commercial sale. In this manner, the Madhubani paintings have become a primary source of income for many families. The paintings now serve as a tribute to the original women of Mithila who first developed the techniques of said wall paintings. 12

Warli Painting

Warli is one of the oldest art forms of India and originates from the Warli tribe found on the northern outskirts of Mumbai in Western India. Despite their close proximity to one of the largest metropolitan cities in India, Warli culture is distinct in shunning all influences of modern urbanization. 13

Warli tribal art is representative of this attitude and mainly uses geometric structures such as circles, triangles, and squares to depict daily and social events of the Warli tribe. Compared to the Madhubani paintings, Warli art is quite simple. The paintings are often done on a red ochre or dark background, while the shapes are white in color. This color is obtained from the grounding of rice into white powder. 14

Humans are represented by a circle and two triangles, and through the paintings the Warli believe they can invoke the powers of their gods of worship. Altogether, the paintings are reminiscent of prehistoric cave paintings in execution and depict human figures engaged in hunting, dancing, sowing, and harvesting. The paintings are traditionally done in the homes of the Warlis and have served as a means of transmitting stories and traditions to a populace not acquainted with the written word. Warli paintings on paper have now become very popular and are sold all over India. 15

Pattachitra Painting

An east-Indian counterpart to the Warli as one of the oldest and most popular art forms of India, we find Pattachitra paintings from Odisha. The word Pattachitra is a combination of the Sanskrit words patta (canvas), and chitra (picture), and is basically a canvas painting.

The preparation of the canvas is among the most important aspects of a pattachitra painting. The painters, also called chitrakars, achieve this by preparing tamarind paste (by soaking tamarind seeds in water for three days). The seeds are crushed, and heated in an earthen pot to turn into a paste or niryas kalpa. The paste is used to hold two pieces of cloth together with it, and coated with a soft clay stone powder to keep it firm.

Once the cloth has become dry, it is polished with a rough stone and the surface is made smooth to become a canvas upon which the painting is made. The paints for the pattachitra originate from the gum of the kaitha tree which serves as the primary base for the various pigments to be generated. Powdered conch shells are used to make white pigments while lamp soot is used for black pigments. The root of the keya plant serves as a course brush, while mouse hair attached to wooden handles serve as finer brushes.

Pattachitra paintings are popular sources of representation of the ten avatars of Lord Vishnu, the Krishna Lila – where Vishnu’s avatar Krishna displayed his powers, and the depiction of Lord Ganesh as a five-headed deity. Nowadays, pattachitra paintings have also been made on other media including tussar silk and palm leaves, and are frequently used as wall hangings and showpieces. 16

Kalamezhuthu

Last, but not least, the Kalamezhuthu comprises a form of folk-art that is among the most recognizable of Indian folk art. Popular variants or counterparts to the Kalamezhuthu include the Rangoli and Kolam or mandalas observed in the domestic routines of Hindu and Indian households in general to draw patterns at the doorstep and courtyard to welcome a deity into the house. 17

Kalamezhuthu specifically comprise of the tradition of drawings found at the entrances of homes and temples. This folk-art form is unique to the south Indian state of Kerala and is practiced in temples and sacred groves where the representations of Hindu deities are made on the floor. The drawings are made using natural pigments and powders of five colors (white, black, yellow, red, and green) and are done with bare hands without the use of tools.

The beautiful patterns are drawn from the center and grow outwards. Lighted oil lamps are often utilized at strategic positions of the patterns to brighten the colors. The patterns themselves are decided in observance with strict religious rules and unlike in rangoli and kolam are rarely made by the choice of artist.

The completion of the Kalam is accompanied by the singing of ritual songs in worship of the deity that is being celebrated. The songs themselves are part of an oral tradition with the rituals being performed by the artists themselves in a folk-art form that combines tangible and intangible media. Upon completion of the rituals, the “kalam” is immediately erased. 18

Indian folk-art abounds in expression of the country’s rich heritage. Indian art forms are diverse and exquisite in nature but also explicit in their use as a media of communicating ancient oral traditions. With 29 states and 7 union territories, each with their own distinct cultural and traditional identities, India boasts a collage of folk art forms that speak volumes about the country’s diverse cultural identity that is rooted in the daily lives of its people.

Works Cited

• “Folk and Tribal Art” . Know India. Culture and Heritage. Visual Arts and Literature. National Informatics Centre, Government of India. 2005 . ↩
• https://www.ukessays.com/essays/cultural-studies/introduction-to-indian-folk-arts-cultural-studies-essay.php ↩
• Wertkin, Gerard C. (2004). “Introduction”. In Wertkin, Gerald C. (ed.). Encyclopedia of American Folk Art . New York, London: Routledge. pp. xxvii–xxxiii. ↩
• https://en.wikipedia.org/wiki/Folk_art ↩
• GVSS, Gramin Vikas Seva Sanshtha (12 June 2011). “Evaluation Study of Tribal/Folk Arts and Culture in West Bengal, Orissa, Jharkhand, Chhatisgarh and Bihar” (PDF). Planning Commission. Socio-Economic Research (SER) Division, Planning Commission, Govt. of India New Delhi. p. 53. Retrieved 2 March 2015. … globalization has triggered the emergence of a synthetic macro-culture…is gaining popularity day by day and silently engineering the gradual attrition of tribal/folk art and culture. ↩
• “Decline of tribal and folk arts lamented” . Deccan Herald. Gudibanda, Karnataka, India. 3 July 2008. Archived from the original on 2 March 2015. Retrieved 2 March 2015. In the wave of electronic media, our … ancient culture and tribal art have been declining, …, said folklore researcher J Srinivasaiah. ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/tanjore-art.php ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/madhubani-painting.php ↩
• https://www.thebetterindia.com/53993/10-indian-folk-art-forms-survived-paintings/ ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/warli-folk-painting.php ↩
• https://theculturetrip.com/asia/india/articles/indian-folk-arts-evolution-and-diversity/ ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/pattachitra-painting.php ↩
• https://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/kalamezhuthu.php ↩
• https://www.thehindu.com/society/history-and-culture/kalamezhuthu-when-art-is-integral-to-ritual/article25622568.ece ↩

What do you think? Leave a comment .

Want to write about Arts or other art forms?

Receive our weekly newsletter:

47 Comments

The Moghuls were steeped in Persian Architecture and Art. Persian esthetic became the cannon for both the Moghuls and their Indian feudatories, especially in Architecture and miniatures. It would be most interesting not only to discover the biographies of individual painters but also how the techniques of miniatures became “incultured” to Hindu and Shia Muslim Artists.

Reading about the history of the Moghuls you can easily see how steeped the Persian culture was infused with Indian culture and vice versa. As an Indian citizen, who was lucky enough to visit the Middle East as well as other African nations, it was an enlightening experience to see how the various cultures had intersecting facets of daily life and practices from something as simple as the cuisines to religious practices and art.

Thank you very much for writing this article. I love everything about India and also to see how fabric, pots and many more diffrent products made traditionally by hand – they are awesome.

Thank you for reading the article!

That was truly a great insight on the difference Indian Folk Arts. Now i can easily identify these paintings.

Glad to know it helped!

For me, being a student, its a revision of social studies I learnt from class 6th & 7th in a good way. 14 years later you guys are reminding me values and morals of my culture. On such a platform, nobody doing this better than The Artifice.

Beautiful pictures and eloquent analysis. It was a pleasure to read. I look forward to any future articles you write.

A fascinating insight into Indian folk art. I confess I was quite ignorant of the breadth and scope of Indian folk art before helping in the editorial stage for your article, so your writing has been an education for me. Thank you for all the time and effort you put into this work. I was particularly intrigued by the idea of the Kalam being erased immediately after the completion of the rituals. I suppose that act of erasing could be interpreted as an expression of the only permanence in life being change. All things must pass – even beautiful art.

I absolutely love your perspective on the kalam, and in fact, that is part of what I was taught growing up as a kid in India. The notion of change as the eternal constant is fundamental to Indian philosophy but also many others in the Asian subcontinent. It is that unifying feature that also serves to make the Indian culture more diverse in its ability to connect with several different cultures.

These intricate, beautiful art have such a rich and evocative feeling to them. Thanks for the introduction!

Thank you for reading!

Stunning art. Thank you for sharing the history. India is a beautiful country. I have many friends from Gunter, Mumbai, Calcutta, and Bangalore who I know personally. India has a special place in my heart.

With all its beauty, so much sadness and poverty exist; I work with several orphanages in those cities.

Beautiful! Thank you for sharing about this culture so I can learn more about it.

There is an interesting tradition the women in the Northern Bihar have of decorating their walls by painting intricate patterns on them during religious ceremonies or weddings.

Mithila is the home of Sita, a prominent figure in the Hindu religion and wife of Rama. Mithila is indeed considered to be the modern day Bihar. What you are referring to is in fact the Mithila paintings or the Madhubhani paintings I have described in the article.

India has rich heritage of traditional art!

There are different types of tribal & folk paintings all over India and each of the styles are different from the others. My favorites are cave paintings.

My favorite is Batik Art.

From what I can see of the paintings here, they are extraordinary in their vibrancy. I think artists are drawn towards subjects which fascinate them.

Absolutely, I think the vibrancy and the diversity of Indian folk art is a beautiful reflection of the diversity of thoughts, ideas, and facets of the Indian culture.

Wonderful Paintings!

While admitting that I have no knowledge of the technicalities about paintings, when my neighbour’s five year daughter showed me a similar work I said “wonderful painting”.

I wish I wish I could go and learn In India. What amazing art they have there.

Great post. Indian folk art is still alive in many parts of the country. They’re all unique, admirable and beautiful in their own ways.

Madhubani is an amazing part of our rich art and culture. I’d visited the National Crafts Museum last year and was amazed to see the various styles of paintings. Thanks for this amazing post.

I’m a huge fan of madhubani paintings. The motifs, the color and the link to ancient tales. Fantastic!

Living so close to madhubani, I never got a chance to see the paintings. These are really beautiful and vibrant.

So inspiring and motivating… shows Indian culture in the truest sense.

When I see people like you who really values our culture and our beliefs then it makes me happy and by the way I am from Mithila region.

I love how Madhubani literally translates into honey forests.

I love them. The paintings are known for their simplicity, line work and vibrant colors.

Wonderful, educative and enlightening.

Lovely, I always adore indian folk art.

I had an indian art session with my students. The children were delighted with their finished pieces!

They look so beautiful. Absolutely arts！

Lovely article. Enjoyed seeing the bright pictures and different forms of Indian arts

Lovely folk art!! To deliver something like this quality require a lot of hard work. Salute to these people to keep this ancient art live today.

Wonderful insight into these highly intricate creative processes. I enjoyed your infusion of history with the process as an explanation of the symbolism and diversity of Indian folk art.

Absolutely enchanting article! I love the description of all the natural elements used to create the Madhubani paintings.

This article was really insightful for me! As a creative myself, I never thought of how other places of the world engage with art and how it often is an expression of religious values and family traditions. Their art consists of so much time and effort to prepare the materials. This article I think helped me appreciate art even more from other places because of the intentionality put into them. That’s awesome.

So cool. I’ve always been fascinated by Indian art because of the eclectic color palette and intricacies of the work. You’ve selected beautiful pieces to accompany a very informative article.

This was such a great introduction to Indian Folk-art! I found it interesting to learn about the preparation of the canvases in Pattachitra Paintings.

As a proud compatriot, it really pleased me to see this topic on the Artifice and how well you handled it. Given the current grim scenes I encounter on a regular basis due to COVID, this article pleasantly reminded me of my childhood days where I spent more than a year exploring temples across South India, particularly Kerala. The richness of folk art is something that never fails to astound me on a daily basis and the more Income to know about India’s rich cultural legacy, the more spellbound I am.

Great article, India is host to over 50 folk art forms. Tanjore, Madhubani, Pattachitra, Warli are some of the folk arts that managed to survive.

Pattachitra from Odisha Patachitra from Bengal Durgamata Patachitra comes under Bengali Patachitra, artist community known as Chitrakar or Patua. I worked with Patuas Community, because the scroll narrative art of Bengal is my PhD topic which enabled me a doctorate degree. I am fully grateful to the Artifice for depicting this worthy article on Indian Folk-art: An Expression of Cultural Diversity.

Leave a Reply Cancel reply

Save my name, email, and website in this browser for the next time I comment.

Prove you are human, type c a t s in singular form below:

Indian Folk Arts: Evolution and Diversity

Explore the origin and evolution of Indian tribal and folk art forms and shall further reflect on their influence on Modern Indian Art scenario. See if these art forms remain relevant in the contemporary society and if there remains future possibilities for their survival.

The world’s audience might have certain familiarity with Indian tribal and folk art motifs which often get reproduced through the medium of print on various commodities. However, you might not know the origin of those images that connote and represent an aura of India. Indian art motifs are as diverse as Indian culture itself, but one may still be acquainted with the reappearing symbols of deities, flora and fauna, courtly life and customs among other images which have often been produced by folk artists.

Madhubani Art

Madhubani, practiced in the Mithilia region of India, is a famous form of folk art. It is done with the help of natural pigments and dyes. The equipment for painting is also usually hand crafted. Geometrical figures and vibrant use of colour are the most strking features of Madhubani paintings. The paintings were initially made on the freshly plastered mud walls but now have been using different mediums like cloth, handmade paper and canvas. The most common subject of Madhubani paintings concerns itself with the depiction of Ardhnarishwar (the creator); the practitioners of Hinduism believe that the world was formed because of the union the female and male powers of Parvati and Shiva. This is the reason that artists working in Madhubani art do not draw a single line but always draw double lines symbolizing the harmony between the opposites. Other themes include the depiction of birth, marriage, festivities, natural phenomenon (sun rise, rain, sun-set) and pujas . Some of the award winning and well known practitioners of Madhubani art are Mahasundari Devi, Sita Devi, Godavari Dutt, Bharti Dayal and Bua Devi.

Warli painting is an art form that was first conceived by the Warli tribe, residing in mountainous as well as coastal regions of Gujarat and Maharashtra border and surrounding areas. The paintings are traditionally done in white over brown background. The white pigment is rice mixed with water and gum and the ochre shade is achieved because of the cow-dung plastered mud walls. Yashodhara Dalmia in her book, The Painted World of the Warlis, accounts the history and development of Warli paintings which according to her originated in 2500 and 3000 BCE. Their subject commonly depicts narratives from tribal life and presents common village rituals, allude to religious practices and deify gods and goddesses. However, the figures are extremely rudimentary and the composition is achieved with the help of variations in the basic shapes: circle, triangle and square. Despite the fact that the paintings usually adorn the inner walls of mud houses, yet their study shall convey interesting narratives about the hardships of rural life, religious beliefs and tribal ideologies. The tragedy of the loss of the commons also often finds its way into the narratives of the paintings.

Become a Culture Tripper!

Sign up to our newsletter to save up to 500$ on our unique trips..

See privacy policy .

Tanjore Art

Tanjore Art evolved from the Thanjavur district of south Indian state of Tamil Nadu. The paintings usually concern themselves with the depiction of religious subjects, deities and their depiction in a courtly setting. The paintings are done on wooden planks and are embedded and adorned with gold plates, precious and semi-precious stones, along with the pigments for colouring. The composition usually contains two dimensional figures. The act of painting, abiding to the Indian artistic tradition was considered sacred and accompanied by certain rituals; consequently, the paintings remained sacred and were never signed by the composers. These painting were first composed under the patronage of Hindu rulers of Vijayanagar Rayas and Thanjavur Nayaks in Tamil Nadu in the sixteenth century and thus. the subjects remain traditional. However, the charismatic depiction of the subjects and the detailed adornment of ornaments, clothings and architecture make the paintings peculiar. The paintings by C. Kondiah Raju and his student followers continue to produce the modern versions of the art form.

Gond art is a tribal art form from the Central India, believed to have been conceived by the communities that resided in the area of Gondwana, which is now known to be located in eastern Madhya Pradesh. Like Warli paintings, Gond art also originated by attempts of the tribal communities to decorate the walls and floor which later transposed onto paper and canvasses. The traditional Gond images were introduced to the world by the late painter J. Swaminathan, who recognized the talents of seventeen-year-old Jangarh Singh Shyam decorating the huts of Patangarh in Madhya Pradesh. Jangarh Singh Shyam’s paintings were internationally acclaimed after his exhibitions in Tokyo and Paris. The pigments are organically extracted and the paintings are easily recognizable because of the recurrent use of dashes, dots and vibrant colours to compose images. The characteristic motifs of Gond art are surreal images that have origin in mythology of the tribe and the experiences of their interactions with the world. These paintings have succeeded in recording the histories of a people who have often relied in oral sources for handing down of narratives. These tribal art forms continue to be practiced in different parts of the country and the world and have inspired various modern art forms because of their own peculiarities and brilliance. They have been experimented with and adapted to the modern world, because of the presence of a different cultural scenario where one has witnessed various technological advancements. Natural dyes and hand-made equipment and paper are rarities, yet the cultural resonances continue to survive. There are greater challenges posed to these cultural forms by the more hegemonic cultures, and seizure of land from the communities who have been practicing these art forms, leading to their displacement and breaking of cohesiveness amongst their people.

KEEN TO EXPLORE THE WORLD?

Connect with like-minded people on our premium trips curated by local insiders and with care for the world

Since you are here, we would like to share our vision for the future of travel - and the direction Culture Trip is moving in.

Culture Trip launched in 2011 with a simple yet passionate mission: to inspire people to go beyond their boundaries and experience what makes a place, its people and its culture special and meaningful — and this is still in our DNA today. We are proud that, for more than a decade, millions like you have trusted our award-winning recommendations by people who deeply understand what makes certain places and communities so special.

Increasingly we believe the world needs more meaningful, real-life connections between curious travellers keen to explore the world in a more responsible way. That is why we have intensively curated a collection of premium small-group trips as an invitation to meet and connect with new, like-minded people for once-in-a-lifetime experiences in three categories: Culture Trips, Rail Trips and Private Trips. Our Trips are suitable for both solo travelers, couples and friends who want to explore the world together.

Culture Trips are deeply immersive 5 to 16 days itineraries, that combine authentic local experiences, exciting activities and 4-5* accommodation to look forward to at the end of each day. Our Rail Trips are our most planet-friendly itineraries that invite you to take the scenic route, relax whilst getting under the skin of a destination. Our Private Trips are fully tailored itineraries, curated by our Travel Experts specifically for you, your friends or your family.

We know that many of you worry about the environmental impact of travel and are looking for ways of expanding horizons in ways that do minimal harm - and may even bring benefits. We are committed to go as far as possible in curating our trips with care for the planet. That is why all of our trips are flightless in destination, fully carbon offset - and we have ambitious plans to be net zero in the very near future.

Film & TV

Embrace the barbie spirit by visiting the world's most colourful cities.

Guides & Tips

Top tips for travelling in india.

The Best Places to Travel in November

See & Do

The top things to do and see in jaipur.

Fun-Filled Travel Experiences to Boost Your Serotonin Levels

Photo Journal: 10 Photos From Jaipur's Ganguar Festival

5 Delicious Indian Dry Bean and Lentil Recipes

This Homestay Could Help Save Rajasthan’s Nomadic Camel Pastoralists

How To Spend a Week in Maharashtra

How to spend 10 days in Madhya Pradesh, India

Simran Lal, Founder of Nicobar, On How She Launched Her Lifestyle Brand and Tips On Travelling to India

A Guide To Madhya Pradesh’s Tiger Reserves

Winter sale offers on our trips, incredible savings.

• Post ID: 362536
• Sponsored? No
• View Payload

• Vision & Mission
• Accomplishments
• Chancellor's Message
• Vice-Chancellor's Message
• Leadership Team
• Governing Body
• Academic Advisory Board
• International Advisory Board

• Arts & Design
• Architecture & Planning
• Liberal Arts & Humanities
• Faculty Directory
• B.Com (Hons.)
• B.Des (Hons.)
• BA LLB (Hons.)
• BBA LLB (Hons.)
• MBA (General)
• MBA (Financial Services)
• MBA (Business Analytics)
• Custom Programs

• Scholarship
• Admission Process
• Financial Aid & Loans
• Program Fee

• International Exchange & Progressive Studies
• Internationalization
• Students Factsheet
• Admissions Process
• Visa Guidelines
• Global Opportunities

• Centers of Excellence
• Advisory Committee
• Funded Projects
• Conferences
• Case Study Centre
• Forms & Policies
• Publications
• Woxsen to World

• Vithal Gandhi Centre
• Health & Wellness
• Sports Arena
• Health Club
• Ink & Water
• AI & Robotics Studio
• Analytics & Behavioural Lab
• Bloomberg Finance Lab
• Digital Design Lab
• Labs, Studios & Workshops
• Trade Tower
• Student Support
• Student Clubs
• Campus Layout
• City Life of Hyderabad
• Exchange & Progressive Studies

FOLK ART TRADITIONS OF INDIA

Folk art of India is belonged to very ancient and passed from one generation to another. Still, these ancient art forms practicing in various places in India. They became a part of Indian tradition and culture. During the period of Indian art, many art forms were advanced and some vanished. However, the ancient folk art forms modified in colors and styles and still surviving in the society with their unique structure. The artists adopted the themes from epics, god and goddesses. In olden days the artists used natural colors, mud, charcoal and leaves. They painted on canvas and cloth to bring the antiquity to the art.

Let us see the brief description of some of Folk art traditions of India.

Madhubani Paintings

Madhubani is one of folk art traditions of Mithila region presently situated in the state of Bihar. It is believed that Mithila Kingdome ruled by King Janaka father of Sita. Mostly women practiced this art in Mithila region. This art form is mostly decorated on the walls of the huts. Most of the art forms are in Mural shape with subject of flora and fauna and God figures. The painting is traditionally done by hand on a plastered wall or on a mud wall but now the commercial demand is bringing the paintings to paper and clothes.

This is the traditional Art of Rajasthan. Phad artists paint the religious forms of folk deities Pabujai and devnarayan. These paintings are in large size and used fifteen high canvas or cloth. The artists used the natural vegetable colors and characterized the heroic deeds of deities.

Warli art is the tribal of Maharashtra where it is practiced today. Warli art is the finest tradition of Indian folk art. Warli artist use their clay huts as the back drop for their paintings. These artists use basic geometric shapes of circle, triangle and a square. Warli art paintings painted on the concept of Mother Nature and elements of nature as their focal point.

In these ritual paintings festivals and dances are depicted as common scenes. The Warli paintings painted with mixture of rice flour, water and gum on the red ochre back ground. But now these paintings not painted on ritual purpose but because of artistic pursuit. Presently Warli paintings moved on to paint on paper and cloth also.

Kalamkari Art

Kalamkari Art traditione is practiced in Machiliptnam and Srikalahasthi in the state of Andhra Pradesh. Kalamkari is a Persian word kalam means pen and kari means craftsmanship. The colors prepared naturally with leaves, vegetables and other natural sources. The artist used one type of pen to bring unique pictures.

Block printing style followed by artists in Machilipatnam and artists from Srikalahasthi are following the art drwing with pen on fabric. The art objects are flora and fauna. In Srikalahasthi, the artists adopt the themes from epic events.

Tanjore Paintings

The Thanjavur Nayakas of Tamilnadu patronaged to flourish the Tanjore art form. The painting made on wooden planks depicts devotion Gods and Goddesses. The art from is the combination of Maratha, Deccan and European styles.

Kalighat Paintings

This painting style was originated in the 19th century at Kalighat West Bengal. At first the artists adopted the themes from Hindu Epics. Later the artists concentrated on social reform subjects. They use the squirrel hair brushes to apply the colors. The artists used cheap paper and color pigments. The purpose of the paintings is to raise the awareness about the social conditions.

Authored By:

Murali V Kesaboina,

Assistant Professor,

School of Arts & Design

Woxsen University

• Achieve Legal Mastery and Excellence Through BA LLB Hons
• Impact of IoT on Computer Science Engineering Ahead
• CUET UG: The Ultimate Gateway To Premier Universities After 12th 
• Choosing the Best BDes Course: A Comprehensive Guide to Your Future in Design
• The Feasibility of Pursuing a Dual Major in Architecture and Business
• September 2020
• August 2020
• February 2020
• January 2020

• Art & Culture
• Offbeat Travel
• Volunteering
• Nostalgiphilia
• Culture Directory
• Collaborate

Culture of Manipur: Mesmerizing Tradition, Art, Music, Food and Festivals

• Culture of Indian States
• Indian Culture
• Northeast India

Table of contents

The influence of korea in culture of manipur, food culture of manipur, music of manipur, dances of manipur, handicrafts of manipur, art forms of manipur, architecture of manipur, festivals of manipur.

Manipur, fondly called “the bejeweled land”, is truly one of the hidden gems of Northeast India . Relatively unexplored as compared to the other parts of the country, the culture of Manipur is full of treasures. Here, we dive deep into the rich tradition and culture of Manipur that is home to enchanting art forms, delicious food, and vibrant festivals .

The Manipuri culture is a distinct blend of Korean, Central Indian, and Northeast Indian cultures . Owing to the Hallyu or the Korean wave that has spread worldwide, the impact of South Korean way-of-life is prominent among the younger Northeastern and specially Manipuri people. Korean international competitions are also held in the state, with famous K-pop artists visiting them for music tours. Many youngsters can even converse in Korean fluently! Korean movies and dramas are seen regularly, with their CDs being sold on the sidewalk and huge stores alike. Yet, such is the beauty of Indian culture , that while integrating other aspects, the natives have not lost their traditional culture of Manipur.

The cuisine of Manipur is as diverse as the state itself. With each of the multitude of tribes of the state having their special dishes, their blend is a wonderful concoction of culture. Popular dishes include those like Eromba Chutney, Yen Thongba (chicken), Nganu Thongba (duck), Oak Thongba (pork), and San Thongba (beef). Prepared in a style of cooking exclusive to the region, their usage of the native spices gives an edge to the brilliant food culture of Manipur. Though daily home-cooked meals include rice and side dishes of vegetables or meat.

The indigenous culture often includes various aspects like melodious music skillfully produced from the instruments like Pena which have existed since centuries. The Pena, which is similar to a violin, is made of bamboo and has stood the test of time. Today, it has become one of the most popular Manipuri instruments. Nameirakpam Ibemni Devi is a highly acclaimed musician from the state who was awarded one of the country’s highest civilian awards, the Padma Shri. She was an accelerator of the Khongjom Parba genre of Manipuri classical music.

The dances of Manipur are often so mesmerizing that the viewers are left stunned by its beauty, grace and coordination. The distinct dance form of the state is the Manipuri dance or Jagoi which is recognized as one of India’s major classical dance forms. This dance depicts the love story of Lord Krishna and his lover Radha during the festival of Raas Leela. Unlike the popular Kathakali dance and its similar forms which heavily rely on facial expressions and eye movements, the Manipuri dance is quite lax in this forte. Instead, the dance form is more focused on the graceful movement of the entire body.

Another popular dance form of the state is the Pung Cholom, literally meaning ‘the roar of the drums’ which is a drum dance. It begins on a mild note with a few men or women playing the drum called Pung but quickly escalates to mid-air acrobatics with them whirling about, all while playing the Pung. This dance form, true to its inspiration, resembles martial arts.

The notable art and heritage crafts forms of the land include extensive usage of bamboo and Papier-mâché. The Kauna variety of reed that grows on the river banks is also used for the local handicrafts. The notable art style of the state is the Longpi pottery that originates from the two villages of Longpi. The Tangkhul Naga tribes inhabiting this region are skilled at crafting these beautiful utensils from black serpentinite stone and a special brown clay and then polishing them with the leaves of a native tree. These utensils and pottery have recently seen a rise in international sales and have become a major export.

The state’s traditional form of martial arts is the Huyen Langlon, otherwise known as Thang-Ta. This native art has both armed and unarmed versions, with weapons like spears, axes and shields. This martial-art form steers away from violence and instead focuses on self-defence.

Manipur has also produced many skilled film directors, actors and musicians. The prominent names in Manipur’s entertainment industry include Ratan Thiyam, who served as the director of National School of Drama and set up famous theatre groups in his state. Some of the acclaimed dancers of the state are Haobam Ongbi Ngangbi Devi and Kshetrimayum Ongbi Thouranisabi Devi. They both have been awarded the Padma Shri.

The architecture itself is a form of art in Manipur. The temples of the state like Kiyong, Thellon, and Laishang are the best examples of the state’s architecture. After the arrival of Hinduism, the Vaishnava influence could be seen clearly on the structures. These temples also had the holy horns or Chirongs as a distinguishing feature of the architecture. These Chirongs were also added to the tribal houses as these were believed to make the house complete. On these symbolic Chirongs, various elements relating to daily lives, like birds and flowers are carved.

Vibrant cultures often lead to numerous festivals to celebrate their diversity. Manipur too has many such events. Many Indian cultures have their unique forms of boat racing. Manipur celebrates its version in the Langbal month of their calendar annually. The lively boat races that take place in the Bijoy Govinda Canal are a spectacle to behold. The northeastern states of our country have a significant Christian population. The religion is a majority in many of these states. In Manipur, the festival takes place with great pomp and joy, and all religious communities celebrate this festival in harmony. Another festival is the Lai Haraoba, literally the festival of Gods, which revers all the lords of Manipuri Mythology simultaneously.

Suggested Read –  Festivals of Manipur, A Mesmerising Visual Treat to Your Eyes

Like most Northeastern states, Manipur is also waiting for its appropriate share of tourism and economic boost. Truly, it is an unexplored gem of our country. Tucked away in the lands of rolling hills and wading rivers, and guarded by the dragon lords, Manipur is waiting to be discovered.

Image credits: The copyright for the images used in this article belong to their respective owners. Best known credits are given under the image. For changing the image credit or to get the image removed from Caleidoscope, please contact us.

10 COMMENTS

Well, where are the culture and identities of tribal people living in the hill areas of Manipur Aren’t they part of manipur ? Why only meitei culture is exposed and why is tribal culture hidden?

We have exclusively covered the tribes of Northeast in this article, please check. https://www.caleidoscope.in/art-culture/northeastern-tribes-of-india

This is a very well written article! As someone who is not familiar with Manipuri culture, this article gave me a very good overview of how beautiful Manipur is. Looking forward to more articles from you!

COOOOOOOOOOOOOOL! I got awesome information from this Article.

The claim of Korean influence on the Meitei culture is wildly inaccurate. They both share in the expansion of the Tai Shan from what is now western China, but had entirely different developments of that culture.

As a Manipuri and a Meitei, I find it misleading that our culture would be appropriated in this way. While it is true that Korean culture is popular among the youngsters of the state because of the global spread of kpop and k-dramas, it is a big leap to claim that Korean culture is a part of Manipuri culture. Also, as stated in one of the comments above, this article is very one dimensional since it focuses only on the Meiteis and omits the various other tribes inhabiting our state. The writers can hopefully rectify these in the future if they do write another article about Manipur.

nice article thanks caleidoscope for this valuable informative article

LEAVE A REPLY Cancel reply

Save my name, email, and website in this browser for the next time I comment.

INSPIRING READS

Old love vs modern love, world radio day: celebrating india’s legacy from akashvani to podcasts, states that were not under british rule in india, 5 trendsetting mangalsutra designs for the contemporary bride, shankaracharya – the saint who revived hinduism, 15 wishes on makar sankranti to share with your loved ones, trending topics.

• Terms of Use
• Privacy Policy

Affiliate disclosure: As an Amazon Associate, we may earn commissions from qualifying purchases from Amazon. Learn more

© caleidoscope - 2024.

Essay on Karnataka

Students are often asked to write an essay on Karnataka in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Karnataka

Introduction.

Karnataka, a southern Indian state, is a place of diverse culture, rich history, and natural beauty. It’s known for its magnificent architecture, folk arts, and delicious cuisine.

Karnataka is surrounded by the Arabian Sea and other states like Goa, Maharashtra, Telangana, Andhra Pradesh, Tamil Nadu, and Kerala. It has lush green forests, beautiful beaches, and mighty waterfalls.

The state is home to various dance forms, music, and drama. Kannada is the official language. Festivals like Ugadi and Dussehra are celebrated with great enthusiasm.

Historical Significance

Karnataka has a rich history with kingdoms like the Vijayanagara Empire and Hoysala Dynasty. It houses many historical monuments.

Karnataka’s economy is driven by agriculture, manufacturing, and information technology. It’s often called the ‘Silicon Valley of India’.

Also check:

• Paragraph on Karnataka
• Speech on Karnataka

250 Words Essay on Karnataka

Karnataka, a South Indian state, is a vibrant fusion of natural beauty, rich culture, and technological advancement. Known for its diverse linguistic, ethnic, and religious demographics, it has made significant strides in various sectors, from agriculture to IT.

Geographical Diversity

Karnataka’s geographical diversity is remarkable, with coastal regions, fertile plains, and mountainous terrain. The Western Ghats contribute to the state’s rich biodiversity, making it a hotspot for ecotourism and wildlife conservation.

Cultural Heritage

Karnataka’s cultural heritage is a tapestry of music, dance, art, and literature. It is the birthplace of Carnatic music and the Kannada language’s literary tradition, dating back to centuries. The state is also home to various UNESCO World Heritage Sites, including Hampi and Pattadakal, showcasing its historical significance.

Economic Progress

Economically, Karnataka is a powerhouse. It is the IT capital of India, hosting numerous multinational corporations in Bengaluru. Additionally, it is a major player in biotechnology, aerospace, and other high-tech industries. Concurrently, traditional industries like agriculture and silk production continue to thrive.

Social Dynamics

Despite its progress, Karnataka faces social challenges like literacy rate disparities and urban-rural divide. However, with robust policies and initiatives, it is striving towards inclusive growth and sustainable development.

In essence, Karnataka embodies the harmonious coexistence of tradition and modernity. Its multifaceted persona offers invaluable lessons on balancing economic growth with cultural preservation. As it continues to evolve, Karnataka remains rooted in its heritage, celebrating its past while embracing the future.

500 Words Essay on Karnataka

Karnataka, a state in the southwestern region of India, is a treasure trove of culture, history, and natural beauty. Its diverse landscape, ranging from the pristine beaches of the Arabian Sea to the lush Western Ghats, encapsulates a unique blend of tradition and modernity.

Karnataka’s history dates back to the Paleolithic era, as evidenced by the discovery of hand axes and cleavers at places like Hunsgi, Kibbanahalli, and Koppa. The state has been the cradle of several powerful empires, including the Maurya, Chalukya, Rashtrakuta, Hoysala, and Vijayanagara. The architectural grandeur of these periods, such as the Hampi ruins and the temples of Belur and Halebidu, stand as silent testimony to Karnataka’s rich historical legacy.

Cultural Richness

Karnataka’s culture is a vibrant tapestry of music, dance, art, and literature. The state is the birthplace of Carnatic music, and its classical dance forms like Yakshagana and Bharatanatyam are renowned worldwide. The Kannada language, one of the oldest Dravidian languages, has a rich literary tradition with eight Jnanpith awardees, the highest literary honor in India. The state’s cuisine, with its diverse range of vegetarian and non-vegetarian dishes, is another cultural highlight.

Economy and Development

Karnataka’s economy is one of the most dynamic in India. It is the IT hub of India, with Bengaluru being known as the ‘Silicon Valley of India’. The state is also a major player in the biotechnology industry and houses several top educational and research institutions. The manufacturing, agriculture, and tourism sectors also contribute significantly to the state’s economy. Karnataka’s focus on sustainable development is evident in its initiatives towards renewable energy, particularly in the wind and solar power sectors.

Natural Wonders

Karnataka is blessed with an array of natural wonders. The Western Ghats, a UNESCO World Heritage Site, is a biodiversity hotspot with numerous endemic species. The state’s coastline, with its beautiful beaches and picturesque sunsets, is a tourist’s delight. The numerous national parks and wildlife sanctuaries, like Bandipur and Nagarhole, offer a glimpse into the state’s rich biodiversity.

Karnataka is more than just a state; it is a microcosm of India’s diversity and dynamism. Its historical legacy, cultural richness, economic vitality, and natural beauty make it a fascinating study. As we delve deeper into understanding Karnataka, we realize that it is a perfect blend of the old and the new, tradition and modernity, and nature and development. Its journey from the ancient empires to the IT capital of India is a testament to its resilience and adaptability, making Karnataka a state that truly symbolizes the spirit of India.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on Qualities of a Successful Person
• Essay on Qualities of a Good Person
• Essay on My Ideal Person

Apart from these, you can look at all the essays by clicking here .

Happy studying!

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.