A REVIEW OF FOLK REFERENCES IN INDIAN MYTHOLOGICAL AND MODERN PAINTING

Abstract [English]

The tradition of Indian painting is not limited merely to the primacy of color, form, and line; rather, it is also a living document of Indian society, culture, and philosophy. In Indian mythological narratives, art is not viewed simply as a means of ornamentation, but as an integral part of spiritual experience and folk life. Although it is not possible to clearly trace the exact origins of folk art, its presence can be observed from ancient times to the present day. Texts such as the Vishnudharmottara Purana, Agni Purana, Ramayana, and Mahabharata connect painting with religion, folk life, and ethics, making it evident that the purpose of art is not merely aesthetic beauty but also the experience of simplicity in everyday life.

Throughout the history of Indian painting, works related to mythological narratives and folk life have been created in every period. The earliest examples of folk art are found in prehistoric paintings, where a sense of simplicity is clearly visible in the depiction of human life. The influence of folk art can also be seen in the Mother Goddess figurines discovered from the Indus Valley Civilization, where a synthesis of spirituality and folk elements is evident. References to painting are also found in the Vedic period. “In the Upanishads, King Janaka is described, whose kingdom was a major center of art and culture throughout India. At the time of Sita’s swayamvara, the entire region of Mithila became filled with paintings” (1).

Similarly, Mughal, Pahari, and Rajasthani schools of painting depict spiritual, mythological, and folk life themes. Company painting also shows a significant presence of spiritual subjects. The paintings of Raja Ravi Varma reflect deep engagement with spirituality and mythological themes. In modern Indian art, when Indian artists encountered Western modernity, they redefined folk art and mythological symbols as a way of returning to their cultural roots. Artists such as Jamini Roy, M. F. Husain, K. G. Subramanyan, and Kshitindranath Majumdar expressed the essence of Indian identity in modern contexts through folk language, symbols, and colors.

This research paper reviews how folk references in Indian mythological texts and modern painting are interconnected. Folk art provided Indian art with simplicity, sensitivity, and vitality, while mythological consciousness endowed it with spiritual and cultural depth. The confluence of these two forms the fundamental basis of continuity and cultural identity in Indian art.