INDIGENOUS COMMUNICATION OF EVERYDAY LIFE AND PHILOSOPHY: AN ANALYSIS OF GOND PAINTINGS IN MADHYA PRADESH

Authors

  • Aiswarya Thamanna Ph.D. Research Scholar, Department of Journalism and Mass Communication, Periyar University, Salem, Tamil Nadu, India
  • R. Subramani Associate Professor, Department of Journalism and Mass Communication, Periyar University, Salem, Tamil Nadu, India

DOI:

https://doi.org/10.29121/shodhkosh.v4.i2.2023.645

Keywords:

Communication, Folk Art, Gond Paintings, Indigenous Philosophy, Everyday Life

Abstract [English]

Folk arts in India possess a distinct identity, setting them apart from other art forms, and they serve a crucial social mission in creating and preserving cultural identities. The Gond tribe, one of India's largest tribal communities, resides predominantly in central India, particularly in the regions of Madhya Pradesh and Chhattisgarh. Over the past few decades, Gond paintings have gained global recognition and acclaim, primarily thanks to the work of artist Jangarh Singh Shyam. For many years, members of the Gond tribe have continued to practice and pass down this traditional art form through generations. The data for this study was collected using visual analysis and in-depth interviews. The study aims to analyze the representation of everyday life in Gond paintings and examine viewers' perceptions of these artworks. The study's results demonstrate that Gond art vividly expresses the essence of the culture in all its vibrant hues. Gond paintings are a form of storytelling folk art, providing a captivating gateway to a world of imagination and astonishment. These artworks utilize a distinctive style characterized by multi-hued and dot-bright techniques to portray various aspects of Gond culture and everyday activities through indigenous communication.

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References

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Published

2023-11-28

How to Cite

Aiswarya Thamanna, & Dr. R. Subramani. (2023). INDIGENOUS COMMUNICATION OF EVERYDAY LIFE AND PHILOSOPHY: AN ANALYSIS OF GOND PAINTINGS IN MADHYA PRADESH. ShodhKosh: Journal of Visual and Performing Arts, 4(2), 572–585. https://doi.org/10.29121/shodhkosh.v4.i2.2023.645