Warli art
213457654
Globalisation and Its Effects on the Warli Art
Abstract Tribal art is a decorative art rather than purely aesthetic produced from the creative minds of indigenous culture. The art which is a part of their everyday activity is deep rooted in their tradition. Tribal paintings are living tradition that unveils the hidden meanings of tribal symbols. Tribal are interested in the reality of the image not in the image of reality. The globalization has negatively impacted upon the tribal economies, culture and identities. The freedom of expression of an artist has been affected by the pressure of globalization. It has now become the commercial activity of Warli men. Education plays an important role in changes in the art form, education helps to develop creativity and skills and that results in the changes in the designs and forms. Commercialization of painting is also one of the reasons for the changes occurred in designs and form of the painting.
Nisha Khandekar
191477082
Adaptation of Warli art for the development of blocks for printing of apparels.
India had always been known as the land that portrayed cultural and traditional vibrancy through its conventional arts and crafts. Every region in India has its own style and pattern of art, which is generally known as folk art. Perhaps the best known genre of Indian folk paintings is the Warli painting from Maharashtra state. Traditionally Warli paintings were done by hand which is tedious, time consuming and laborious process. But due course of time with easy availability of different styles of printing, these paintings can be brought down on cloth by using various printing techniques. Hence, in the present study an attempt was made to develop blocks of Warli paintings of Maharashtra for printing of apparels and handicraft items. Total thirty designs were developed with the help of computer software "Adobe Photoshop" and "Corel Draw" ten each for apparels including kurties, suits and sarees. All the developed designs were subjected to visual evaluation for selection of two best designs from each category by the panel of thirty judges. The selected designs were applied on apparels using block printing technique. The cost of each article was calculated on the basis of expenditure on raw materials, labour charges, finishing charges and profit margin. Among the apparel items, brick red and black colour printed kurti (K9) green and purple colour painted suit (D7) and purple colour printed saree (S6) were highly appreciated and accepted. However, all the other products were also appreciated. Selling price of apparel items was ranged between Rs. 492/ to Rs. 1163/ The adaptation of Warli motifs on apparels using block printing has paved the way for the plethora of product diversification that could lead to a flourishing market.
Ekta Grover Susan Carol Paul
225366553
REDEFINING THE FOLK ART WARLI PAINTINGS IN INTERIORS
Bhagath Mayur Kumar Patel Srishti Srivastava
234698445
GLOBALIZATION AND WARLI TRIBAL ART
The globalization has negatively impacted upon the tribal economies, culture and identities. The expansion of the art world under this version of globalization means that freedom of expression among artists is compromised under the pressure to conform to the market in order to succeed financially. The present scenario may change the true reflection of old culture and tradition of the Warli tribe. Because of the commercialization the transformation occurred, and they are venturing into mainstream society for the sake of their art. It has now become the commercial activity of Warli men. Because of the Industrial Revolution and modernization tribal art is a dying activity, now survives only in isolated areas whose inhabitants have a proud tradition of art and making things for themselves. Significance of the art has changed, earlier it used to be a social and religious tradition and ritual for women and everyday life, now it is a source of livelihood and exploration of individual creativity and a symbol of cultural and artistic pride. Introduction of the new modern motif of airplane, car, school building, factory are not necessarily a conscious effort to make art more commercial but rather a reflection of the changing world of the artists and to make painting more consumer related.
International Journal of Research GRANTHAALAYAH
Nisha Khandekar
149206759
CONTEMPRORY SENERIO OF WARLI PAINTING
This research paper is based on the contemporary scenario of Warli painting which has been running globally all over world. India had always been known as the land that portrayed cultural and traditional vibrancy through its conventional arts and crafts. The folk and tribal arts of India are very ethnic and simple, and yet colourful and vibrant enough to speak volumes about the country's rich heritage. Folk art in India apparently has a great potential in the international market because of its traditional aesthetic sensibility and authenticity. The rural folk paintings Of India bear distinctive colourful designs, which are treated with religious and mystical motifs Folk art expresses cultural identity by conveying shared community values and aesthetics.
Vinod Wamanrao Chachere
114287822
DEVELOPMENT OF DESIGNS BY ADAPTATION OF WARLI PAINTING MOTIFS
India had always been known as the land that portrayed cultural and traditional vibrancy through its conventional arts and crafts. Every region in India has its own style and pattern of art, which is generally known as folk art. Perhaps the best known genre of Indian folk painting is the Warli painting from Maharashtra state. The present study on "Creation of designs by adaptation of Warlipainting motifs" was conducted to strengthen creativity by exploring the possibility of fusion of traditional motifs of Warli painting for Aari work. The concept behind the theme was to create new range of textile designs by maintaining the beauty and originality of traditional painting as well as Aari work. In this study motifs were collected through secondary sources and fifteen motifs were selected by expert's preferences for development of designs. Two designs for each selected motifs of the painting were developed using CAD. Thirty designs were developed from fifteen selected motifs using CAD. Three developed designs were selected on the basis of expert's preferences for adaptation to Aari work.Samples of selected Warlipainting designs were prepared with Aari work. The prepared samples were got assessed by the experts and consumers in terms overall appeal, cost acceptability and suitability of designs to Aari work. It was found that the respondents had very high opinion about the developed designs. The cost of prepared samples of Warli painting was highly acceptable by the majority of the respondents. The work done in the form of prepared samples was appreciated and preferred for application on wide range of articles. Thus, the motifs explored fromWarli painting were highly acceptable for product development as variety of designs can be created through the use of CAD technology.
216435094
Art Fun Groups Approach in Learning Mural Painting
Warli Haryana Ayat Suryatna
194077161
Profile of warli artisans of Maharashtra
Tribal art generally reflects the creative energy found in rural areas that acts as an undercurrent to the craftsmanship of the tribal people. Over the years they have found worldwide appreciation and admiration from art connoisseurs. Warli painting is the famous folk art of Maharashtra.Warli is the name of the largest tribe found on the northern outskirts of Mumbai, in Western India. The present explorary study was conducted in Maharashtra as the higher concentration of the warli artisans found in Dhanu, Jawahar, Manor and Cosbad Villages of Thane distt. to assess the socio economic profile of warli artisans.
Sangeeta Vaishnav Meenu Srivastava
145263353
Book Reviews Yashodhara Dalmia, The Painted World of the Warlis: Art and Ritual of the Warli Tribes of Maharashtra, Lalit Kala Akademi, New Delhi, 1988, 239 pp. bibliography, Rs. 200
to be fully understood. The book opens with a brief, general description of the Warlis and their history, and then moves on to describe the myths of death and creation, gods and goddesses, and the religious beliefs and practices associated with the ritual cycle of the seasonal year, culminating in the marriage season and the paintings. What follows is a discussion of the paintings themselves, the process, the technique and the images. The book closes.with reflections of Warli painters on their social and symbolic world, their hopes and aspirations in the emerging context of commercialisation of their art. A typical Warli painting always has the same format a triangular central figure of a mother goddess surrounded by an ornamental square. The goddess Palghata (pal: plants, ghata: pot) is the goddess of plants and trees, the personification of the pot overflowing with vegetation with life itself (p. 35) The paintings encompass the entire Warli world real and fantastic. Around the caukat large and luminous 'trees soar with magical powers. Objects and activities from everyday life fill the space without cluttering it. T he real and the imaginary, ,the good and the evil, the sun and the moon, the dead and the living, the past and the present coexist without causing tension. In the Warli worldview, humans, plants and animals are intimately related and involved in a lively interaction.
Indra Munshi Saldanha
188449454
The painted world of the Warlis art and ritual of the Warli tribes of Maharashtra
Yashodhara Dalmia