Fine lines that drew characters and episodes from epics and mythology; the organic pigments in tonal gradations; the gold foils used for deft embellishments; and the gesso embossing that stamped them as the traditional art of Mysore. All these elements in perfect harmony make up the old art form intrinsic to Mysore. But the age-old art, which has evolved over hundreds of years from the time of the Vijayanagar Empire, is in danger of being forgotten.
The patience and time required to hone one’s skills, the high cost of raw material and the popularity of more modern art forms among buyers and artists together are contributing to its fading popularity.
Karnataka Chitrakala Parishath (which conducts classes) and even senior artistes who hold private classes have noticed a drop in students with each passing year. Anecdotal evidence suggests that this decline has accelerated in the last five years. Gangadhar H. of the parishath said the Mysore Traditional Art course gets about 10 students a year, and this was about 60 per cent less compared to enrolment rates a decade ago. “The arrival of modern art about 20 years ago or so was the beginning of the slowdown for the traditional form,” he said.
There’s also a lukewarm response to the art itself even among students owing to the fact that it could take as long as two years for someone to master the art form. “Modern art gave more scope for youngsters to wield their brush of individualism and subjective expressions,” Mr. Gangadhar added.
“One needs patience to study it and discover its minuscule and diminutive facets,” said Prabha Mallesh, a Shilp Guru Award winner associated with the art form for the last 30 years. “Even as a hobby, it is expensive. A 2ft x 2ft painting will set you back by Rs. 5,000 for gold foils, gesso lead powder, frame, board, paper or cloth and colours.”
According to practitioners, there’s a decline of buyers for traditional paintings. This leads to fewer learners and the old paintings gaining more value.
Today, a new 1ft x 1ft painting sells for nothing less than Rs. 15,000, while older works from master artists fetch “gold value” as they are difficult to find. A 10ft x 10ft or 15ft x 15 ft paintings are sold for anywhere between Rs. 30 lakh to Rs. 40 lakh, according to sources in galleries and senior artists in Bengaluru.
This has spurned a demand for the restoration of paintings. “They now reach restoration galleries to have their heritage tag intact,” said Madhu Rani K.P, director, ICKPAC Bengaluru, a unit of INTACH’s Conservation Institutes. “For the past 20 years, our centre has been conserving and restoring Mysore paintings by the hundreds. Some require minimal intervention but the more badly maintained ones need intensive restoration to credit the piece with its bygone value.”
A rich past
The old Mysore paintings displayed on the walls of the Karnataka Chitrakala Parishath museum and the City Central Library with their 22-carat gold-leaf ornamentation reflect the grandeur of the centuries-old traditional art. “Its subdued aristocracy with a restrained and flat outlook is what differentiates it from the more opulent and flamboyant Thanjavur art that had generous gold foils and gems for ornamentation,” said contemporary artist Rani Rekha, daughter of the patriarch of the Mysore traditional art, late S. Visweswara Raju, who trained thousands of artists in Karnataka.
Ms. Rekha is the 13th generation member of the Mysore art family practitioners; her forefathers were court artists at the palace. Even though Mysore art with themes drawn from epics and mythical lore adorned the palace pavilions, wealthy homes and bhajana mandiras, it was never instantly recognised. Most people often mistook them for being Thanjavur art, said artists and teachers.
Mysore art has its roots in the Vijayanagar Empire. After the empire’s fall in the 17th century, its artists were left high and dry. While several entered the courts of the Thanjavur rulers, a large section received the patronage of Krishnaraja Wadiyar III of Mysore. And it was during this period that Mysore art started developing. Gradually, the subsequent maharajas nurtured it to assume an affluent art form.
Gender shift
Students and practitioners of Mysore traditional art may be reducing in numbers but there is a clear gender shift. Ninety per cent of the classes are now dominated by women. It’s quite a contrast to the past where the art form was dominated by men, said experts.
Resource: http://www.thehindu.com
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