Tracing Aesthetic Trails in India
Tracing Aesthetic Trails in India
The Collective - Issue 02 Vol. 01
Under the Jamun Tree- How wildlife feeds the Indian imagination
Cover Story by Malvika Tewari
Of India’s many names, Jambudweepa- the island of the Jamun tree, is one which does not identify with a ruler or political boundary. Rather, the image of an ancient tree, staining the earth with abundant fruit comes to mind. And under it, a network of creatures- minuscule and mighty, swift and slow, winged and subterranean, that this tree shelters. A dense, biodiverse landscape that is inseparable from our visual identity for as far back as we can possibly trace.
Over history, Indian wildlife forms have been captured in seals, pottery, paintings, murals, textiles, costumes, objects - and go back to a time when our relationship with nature was much stronger. The oldest of these highlight the zoolatry that is a common theme of the many religions that originated in the Indian subcontinent. Owing to the surreal nature of mythology, artists and storytellers have taken the liberty to create hybrid demi-gods, mythical creatures and a deep kinship even between prey and predators, which is unique to the aesthetic of the Indian subcontinent and a subject of intrigue across the world. Some of these fantastical creatures are the Yaali, Navagunjara, the Snow Lion, and the Iruthalai pakshi.
Wildlife in Indian art forms is detailed and opulent where it was given patronage and no material limitation- with every curve, tooth, and claw carved in stone temples and traced hair by hair in miniature paintings. More innovatively, it is abstracted to minimalist forms …
“Om is the most sacred sound ever produced.” Sharat, a violinist re-defining the aesthetics of modern Indian music.
Featured People- An audio Story
The Collective had the honour to interview him and ask his view on the aesthetics of India. During our interview, Sharat Chandra Srivastava, the famous Violinist, talks about the aesthetics of India from a unique perspective few understand. He says, “India, its culture, the fine arts (where poetry, & music come in as well), and so much more, all sum up to make India look aesthetic.
Music is one of the aspects of aesthetics, and when we talk about Indian aesthetics, we can not overlook Indian classical music. The sound of Indian classical music comes from Om. Om is universal, the most sacred sound ever produced. From Om, more Swaras come out. When a Violinist plays Sa with the violin, they can see the whole universe (Brahman). So that is the purity of the sound of Om.
Everything is contained within the breath of Sa. It's like when the breath is right and it is done with complete concentration. After that when you take a rag or ragini you develop it. That is the journey of the Indian subcontinent
“सा के अंदर ही सब कुछ समाया हुआ है”
Re-telling hidden stories within craft communities to explore traditions of interconnectivity in India.
People- Ankitha Kini
Ankitha Kini is a visual artist specializing in comics, illustration, and animation. Her core interests lie in exploring tactile and historical storytelling media, be it motifs and construction of textiles or paintings in rock-cut cave temples. She likes to find ways to understand and retell the stories hidden within. Her journey started with her Diploma Project while studying Animation Film Design at NID, Ahmedabad.
While working with Outreach Programmes in NID to create a children’s book on traditional crafts, Ankitha discovered the rich world of crafts in Kutch, Gujarat. She chose the intricate craft of Rabari embroidery to write the book about. When she started her field research, Ankitha was already in awe of the aesthetics of this traditional craft. But what surprised her were the stories hidden within the motifs and techniques of each community and the age-old interconnectedness of these craft communities as a whole.
Visual Narratives for Rural India
By Prerona Mazumder
One does not often come across the opportunity to design for audiences of remote rural India, speaking local dialects and tribal tongues. So, when I was briefed about the project SAFAL - where Crossed Design was designing communication material for local farming communities, I sure was intrigued. The brief was to design communication for an audience who could grasp information visually faster. So it had to be exciting, colouful, illustrative, and still be a little formal.
Understanding User/ Audience, Stakeholders, and their visual aesthetics:
Speaking from a visual design perspective, I tried to understand the audience & what their sense of aesthetics would be like. This project had different levels of stakeholders, and we had to create something that would be correct for the scientific community as well as visually pleasing for the rural community. I had to think about what government organisations find appropriate & what the rural community is used to seeing while keeping our tastes intact.
Aesthetics of a Diverse Nation: A Research Journey in the ‘not so’ Tibetan Ladakh
Commentary by Moon Moon Jetley
As one packs for a high-elevation region located between massive rugged ranges that stretch as far as Afghanistan, more than just medical kits, that may prevent the inevitable altitude sickness, are squeezed in our bags. Alongside our clothes are also bundles of preconceived notions, carefully tucked in the conscious and subconscious parts of our mighty brain, if not our suitcases. Such was the case as I packed for Ladakh. That I would be visiting a microcosm of Tibet became evident through videos and photographs of strong monastic establishments and structures that were splashed across the internet and popular readings of the region. However, as is the case with most regions in India, a pleasant awakening was in order.