Samikshavad is the first indigenous movement of art in modern India, which started in north India in 1974. Can anyone tell me more about this art movement please
Posted On : 4/25/2009 2:57:20 AM
Maniam PS [Guru] Reward Points : 137200 Member Since : Wednesday, March 18, 2009
Samikshavad is the first indigenous Art movement in modern India, which started in north India in 1974. It has a different identity from the western movements of art. It is neither affected or inspired by the western art. Its main source of inspiration are the present social, political, cultural and economical conditions. Its aim is to make the Art free from personalized obligations and to socialize it, to change the art from mystery to something having special aim. By this style, the artist tends to expose the corruption prevalent in the society and politics, with a language that is symbolic and satirical. This movement has changed the scenario of modern Indian painting in India in late 70s. Few of the artists who were inspired by this movement were Ravindra Nath Mishra, Hridya Narayan Mishra, Santosh Kumar Singh, Virendra Prasad Singh, Ram Shabd Singh, Raghuvir Sen Dhir, Ved Prakash Mishra, Gopal Madhukar Chaturvedi,Bala Dutt Pandey etc. Prof. Ram Chandra Shukla, Professor and Head of the department, of Painting at Banaras Hindu University, Varanasi, at that time, was the initiator and the main source of inspiration for this movement. Samikshavadi artists are not at all interested in merely showing feats of colour and form. Colour and form or their composition in itself that of Abstract art may produce musical or magical effect but art cannot survive or thieve on that alone. Such music or magic, if they just remain to be a form of entertainment and do not serve a higher purpose of social upliftment, cannot claim to be great art. They may remain in the category of crafts. But those crafts which are not useful like witch-craft have no place in the modern society. Today the so called Modern artists who are better than such craftsmen, when called upon to explain the purpose of their art, prattle, We create Form , Colour composition or Symbol . They go no further and expect the visitor to appreciate and explain their jargon themselves. Line, form, colour, texture or tones are just elements of the language of art. They cannot be an and in themselves. They have to be used skillfully to serve the purpose of communication or expression. If they fail in this they are just like heaps of useless bricks, sand and cement gathered together. They cannot claim to be purposeful if they do not help in creating a building suitable for human living. Samikshavadi painters are not interested in showing their excellence of skill or painterly qualities as an end in itself. Samikshavadi painters use a symbolic language. They express their ideas and feelings through common and powerful symbols. It is because of this that sometimes they are mistaken for Surrealists, which they certainly are not. Surrealists are also supposed to use dream symbols influenced by Freud s Dream Psychology and they claimed it to be pure psychic automatism through which it is intended to express the true functioning of thought. Thought dictated in the absence of all control exerted by reason whereas Samikshavadi s use common symbols consciously and rationally to express their desired idea. Surrealist works are mystic and fantastic in nature but Samikshavadi artist is socially motivated, Surrealist attitude is highly personal and individual whereas Samikshavadi attitude is generally impersonal. Surrealism is basically an anti art movement but Samikshavadi is an art movement suited to the present atmosphere in the country. It is generally satirical in nature. The element of satire is its specialty. Up till now the element of satire was generally considered to be a feature of cartoons or caricatures. Never before in the history of Indian art satire was used as an important medium of art expression in the form of painting, as seen in the Samikshavadi art. Perhaps satire was not considered to be necessary or advisable in painting because mostly our ancient and medieval art was religious, mythological and idealistic. Under the present circumstances and social change art cannot remain only religious. It has tended towards secularism. The Samikshavadi painters are motivated by the day to day happenings and are sensitive to the political and social conditions in which they live today. The social, political and economic problems of India are depressing. Life is becoming insecure and helpless. Poverty has multiplied. Exploitation is at its height. Under such circumstances artists and writers have to play an important role. They cannot just remain in a dreamland. They have to educate their people and awaken them to be prepared to fight the evils of the society. Satire is a powerful media to bring to bring people back to senses. Satire can give a shock treatment to generate a new energy in the people to face the real problems, to transform the society. Samikshavad aims at that and that is why it has taken a new course which was not commonly used in the field of painting up till now. Their path may appear to the prejuThe Themes of Samikshavadi paintings are taken from social life of the common people. It is not something new. Many artists have done so in the past and are still doing so. In India Amrita Shergil was the first important and powerful painter of social life. Satish Gujral in his early phase also painted social life powerfully. Others have also done it. But there is a difference of approach between them and Samikshavadi painters. Most of the artists have been interested in their day to day social life. That also is no doubt important and useful in bringing about social change but Samikshavadi painters are not contented with that only. They have gone a step further. They may show the plight of the people also but they are much more interested in attacking those who are responsible for it. If the causes are exposed the people will be more alert to eradicate them. Their description of the malady suggests lines of treatment. Moreover Samikshavadi painters are generally interested in conscious symbolic sarcasm which is definitely a new phenomenon in the field of painting. This attitude has been witnessed casually in some form or the other in some of the artists work in India and abroad, but never before it has come out as a combined movement with this particular purpose. Mostly other painters have been just satisfied in mocking at the contemporary life pattern as did the Pop Artist of the west, which has been nothing but an anti-art attitude, or the Surrealists like that of Chagall, Richard Hamilton. Bhupen Khokhor of India has followed the same attitude of the Pop artist of the West. Beauty is a misnomer. Whatever is liked by an individual is considered beautiful by him. There is nothing like Universal beauty. Similarly a group of persons or a particular society may consider something but the other society or culture may not. But certainly the artist being a part of a particular society does consider that thing beautiful which has been accepted by that society. Some particular form of things may be appealing to an individual or a particular society and paintings of that may be appreciated by them but the real beauty in art lies in its power of expression or communication. Samikshavadi painters believe in expressing their ideas feelings powerfully. They are not interested in painting beautiful objects, as has been done by idealist, traditionalists or realist painters. They just want to be simple, direct, meaningful and powerful in their expression, so that the people may be educated, moved and awakened. They are not idealist who imagine and invite others to an ideal world. Samikshavadi painters want the people to realize what is at the root of all their miseries and misfortunes. They do not want to lead the people on any predetermined specific course. They want them to become alert. Samikshavad is a socially purposeful art movement quite different from Western Modern Art which is a generally purposeless or skill or technique oriented, like that of Op Art, or Kinetic Art and other such forms.
Hi all.....The themes of Samikshavadi paintings are taken from social life of the common people. It is not something new. Many artists have done so in the past and are still doing so. In India Amrita Shergil was the first important and powerful painter of social life. Satish Gujral in his early phase also painted social life powerfully. Others have also done it. But there is a difference of approach between them and Samikshavadi painters. Most of the artists have been interested in their day to day social life. That also is no doubt important and useful in bringing about social change but Samikshavadi painters are not contented with that only. They have gone a step further. They may show the plight of the people also but they are much more interested in attacking those who are responsible for it. If the causes are exposed the people will be more alert to eradicate them.So
Thanks all.. for offering such nice information. However i would like to add that Prof. R.C.Shukla propagated this movement in 1974. This style is now well known in India. By this style, the artist tends to expose the corruption prevalent in the society and politics, with a language that is symbolic and satirical. Samikshavadi artists are not at all interested in merely showing feats of colour and form. They expect the visitor to appreciate and explain their jargon themselves. Line, form, colour, texture or tones are just elements of the language of art. They cannot be an and in themselves. but collectively can depict the socio economical and political scenario in the most eloquent way. This is the theme of Samikshavad
Samikshavad is an Indian modern art movement that is opposed to the tendency of Indian artists following the Western trends of Modern art. Its basic purpose is to help create such an art in the country which has its roots in the Indian soil. Samiksha is a Sanskrit word which means criticism of life and society in which they live in. It is also against any type of imitation of the past styles or the present styles of art .