Introduction
TRIBAL PAINTING ‘
Tribal art is the visual arts and material culture of indigenous peoples. Also known as ethnographic art, or, controversially, primitive art, tribal arts have historically been collected by Western anthropologists, private collectors, and museums, particularly ethnographic and natural history museums.
The term "primitive" is criticized as being Eurocentric and pejorative.
Major exhibitions of tribal arts in the late 19th through mid-20th centuries exposed the Western art world to non-Western art. Major exhibitions included the Museum of Modern Art's 1935 Africa Negro Art and 1941 Indian Art of the United States.
Exposures to tribal arts provide inspiration to many modern artists, notably Expressionists, Cubists, and Surrealists, notably Surrealist Max Ernst.
Cubist painter, Pablo Picasso stated that "primitive sculpture has never been surpassed."
Tribal art is often ceremonial or religious in nature. Typically originating in rural areas, tribal art refers to the subject and craftsmanship of artefacts from tribal cultures.
In museum collections, tribal art has three primary categories:
African art, especially arts of Sub-Saharan Africa
Art of the Americas.
Oceanic art, originating notably from Australia, Melanesia, New Zealand, and Polynesia
Collection of tribal arts has historically been inspired by the Western myth of the "noble savage", and lack of cultural context has been a challenge with the Western mainstream public's perception of tribal arts.
In the 19th century, non-western art was not seen by mainstream Western art professional as being as art at all.
The art world perception of tribal arts is becoming less paternalistic, as indigenous and non-indigenous advocates have struggled for more objective scholarship of tribal art..
Review of literature
A literature is an evaluative report of information found in the literature related to your selected area of study. It should be summarized or a theoretical base for the research and help the researcher to determine the nature of research. Literature pertaining to any field forms the foundation upon which the future work is built. Primary objective of reviewing literature is to understanding the previous work that has been done on subject and to find out researcher with focus on the unexplored problems.
RANI, S. (1995) ‘Designing of utility articles with combination of khadi and jute fabrics’ carried out a study on designing of utility articles with the combination of left over pieces of jute and khadi fabrics. Different articles like cushions, table mats, and magazine holder were constructed and their acceptability was found more than 80%.
SHARMA, N. (1997) ‘stencil printing with cut work: modern interpretation’ the study was undertaken by the investigator to add new creative ideas for the construction of home furnishing articles with the combination of cutwork and stencil printing.
GOEL, S. (1998) ‘Designing of wall panels by the use of tribal and modern art’ used six tribal and modern arts of different centuries for designing of wall panels. To retain the originality of tribal arts, real texture materials were used for construction of home d”cor article. Consumer preferences were found ranging from excellent to very good.
SINGH, S. (1998) ‘Innovation of home furnishing articles by using appliqu” work with kantha embroidery’ the study was undertaken by the investigator to add new interesting ideas to give a touch of novelty in home. Home furnishing articles were designed by using appliqu” work with kantha embroidery, keeping the view in mind a new range of home furnishing articles
BHATNAGAR, P. (2004) ‘Traditional Indian Costumes and Textiles’, did the study on Indian traditional costumes and traditional jewellery is used to adorn the look of costume. It merged the tradition and our heritage in our daily life, which makes the consumer more comfortable.
BHATIA, (2008) ‘Comparative study on acceptance of traditional & modern design in textile designing’ in the study of design history, we observe that motifs re-occur, with the adaptations that become land mark. With the re-adaptations of the same designs, the entire look is reborn. History and traditions are often applied to textile designs in different ways. When they are applied in the sphere of contemporary designs, it results more acceptance & distinctive approaches to the use of technology, materials or imagery
Sodhi, S. (2016) ‘Development of Designs by Adaptation of Warli Painting Motifs’, in this study designing is done with warli painting motifs as inspiration. New designs were developed with new adaptations to break the monotony in designs
MATERIAL AND METHODS
The aim of the study was to investigate and adapt tribal painting for design development.
MATERIAL
Fabric:-
– Pure cotton fabric with threads and colours.
Other materials:-
– Needles,
– Threads, colours, brush
– Fabric colour, etc.
METHOD
The procedure for the study was divided into these categories:-
3.1 Secondary data will be collected on tribal painting through books, magazines, internet and newspaper.
3.2 Theme board was prepared for above traditional textiles.
3.3 Five illustrations were made depicting and tribal painting and one illustration was selected for garment design.
3.4 The selection was done based on the feasibility and visual appeal of the illustration.
3.5 Color/swatch board of the selected design was prepared and garment was constructed.
3.6 Photo shoot and evaluation of the garment was done .
RESULT
1) COLLECTION OF DATA
The data is collected and all the necessary details about the topic is written in review of literature. The data was collected from various sources such as books, internet and magazines
. 2) PREPARATION OF THEME BOARD
Theme board was prepared on the topic traditional textiles the theme board displays the beauty of tribal painting. The theme board is displayed in Plate no 1.
3) IILUSTRATIONS
Five illustrations were made keeping in mind about tribal painting and are displayed in Plate number.
Plate 2- In this design, there is a kurti of tribal painting fabric which and designed on it by upper knee length.
Plate 3-In this design, there is a tribal painting fabric which designed on the upper of the left side dress.
Plate 4- In this design, there is a kurti of tribal painting fabric designed on it through the upper side (left) to the upper left.
Plate 5- In this design, there is a knee-length dress fabric and designed on the left side of the and right side .
Plate 6- In this design, there is a kurti of tribal painting fabric which and designed on the knee length
.
SELECTION OF DESIGN
One garment was selected on the basis of the feasibility and visual appeal by the concerned faculty. The selected design is displayed in Plate number 2.
4) CONSTRUCTION AND PHOTOSHOOT
The selected garment was constructed and the design is shown in plate number.
The photo shoot was done and the snap is displayed in plate number9
Conclusion
Each state of India displays a variety of design, producing distinct
textiles and craft in the region, traditional Indian textiles can be classified according to the region of production. The tribal painting in India is our life cycle of birth ,death, marriage, farming, celebration, harvest and five basic element of mother earth and the process of doing starts with the craftsmen sitting cross-legged around the , the wooden framework, with their tools.
The project gave a new thought about these two traditional textiles of Indian this project helped in knowing the beautiful facts and the beauty of tribal painting. The combination of the two gave an experience of how tribal painting textiles look together. We got a new vision about how designs are created in set patterns with the help of this project helped to understand traditional textiles of India more closely and to know about them.
Information was gathered about the two textiles. Theme board colour and swatch boards were created design development was done and search was done for the fabrics and other trims and accessories for the garments construction of the selected design