The Evolution of Printmaking in Assam, North-East India

Masterarbeit , 2018 , 79 Seiten

Südasienkunde, Südostasienkunde

The graphic art or printmaking was known & flourished during half of the 19th century in Assam. Earlier it was used purely for the commercial purpose. But in the early time this technique was not much discussed by the artist, writer and scholar. After "Orunodoi Era" it got more importance among the art scenario in Assam.

Printing is considered as the technique of producing multiple prints by applying ink to the mother block, with multiple prints option the maximum number of editions can be made available to mass at the same time.

The origin of the phrase, 'Graphics' has been derived from the 'Greek Graphikos' through the Latin 'Graphicus' and its stand for the writing, drawing and Art.

Printmaking is the process of making artworks by printing, usually on paper. Printmaking normally comes as only the process of creating prints with an element of originality rather than just being a photographic reproduction of the same piece which is called edition of print each piece produced is not a copy but considered as an original edition. It is not a reproduction of work of art and can be technically considered as an 'Impression'. Creating a work by taking impression from the matrix and applying pressure which is prime means of making multiple copies of a work of art or images. Aristotle, use of the word impression to speak of the mental image must have been more preceded by the existence of seals and other geographical signs and practices in ancient Greece. At the same time, unlike other art work impression, art is not a passive reflector of society but active participant in the larger historical process and social information.

CONTANTS

1. INTRODUCTION

2. CHAPTER-1 THE HISTORICAL REFERENCE OF PRINT MEDIA IN INDIA >THE PRINTING MEDIA STARTED IN ASSAM DURING MIDDLE OF 19TH CENTURY (HISTORICAL REFERENCE).
- “ORUNODOI” AS A EVIDENCE OF THE DEVELOPMENT IN PRINT MEDIA IN ASSAM.
- JODUMONI CHOPAKHANA IS HISTORICALLY IMPORTANCE FOR IT'S SEVERAL PRINTING PRODUCTION DURING THE TIME OF PRE­ INDEPENDENCE

3. CHAPTER-2 THE PIONEERS OF PRINTMAKING INTRODUCED AS A IMPORTANT LANGUAGE OF ARTS, DURING 1950'S TO 80'S

4. CHAPTER-3 THE EMERGENCE OF PRINTMAKING ACADEMICALLY IN ART SCHOOLS OF ASSAM

5. CHAPTER-4 A BRIEF ANALYSIS ABOUT THE INTRODUCTION OF PRINTMAKING AS A MODERN VISUAL LANGUAGE DURING 1980'S ONWARDS.
- NONI BORPUJARI AS A PRINTMAKER AND HIS EXPERIMENTATION ON DIFFERENT MATRIX.
- THE VITAL ROLE OF DILIP TAMULY IN THE FIELD OF PRINTMAKING AND A BRIEF DISCUSSION ABOUT HIS JOURNEY AS A PRINTMAKER.
- DISCUSS ABOUT DR. RAJKUMAR MAZINDER AND HIS WORKS OF PRINTMAKING IS A SIGNIFICATION OF SECULARISM DURING 90S ONWARDS IN A BROADER ASPECT.
- MANESWAR BRAMHA AS A EXPLORATORY INNOVATOR IN CONTEMPORARY SCENARIO OF PRINTMAKING

6. CONCLUSION

7. BIBLIOGRAPHY

Editor's note: Some images have been removed due to copyright issues.

ACKNOWLEDGMENT

I express my heartiest gratitude to my supervisor Prof. JayaKumar G. Reddy, Head of the Department of Visual Arts, JnanaBharati Campus Bangalore University, for his guidance and inspiration. His intense efforts, inspirational guidance and support are all aspects that encouraged me to start the initial research for my dissertation. He has constantly facilitated me with his valuable suggestions and showed me the right track to proceed in my endeavour. I am sincerely grateful to him for infusing in me confidence and motivation to carry out my research with assertion. I would once again like to thank him from the core of my heart for keeping me enthusiastic and creative all along.

I would be lacking in my venture, if I do not mention the support and advice provided, from time by time by my teachers, Ms. Dimple B. Shah and Ms. Bhagya Ajaikumar, present faculty of Graphics Art (printmaking) department of Visual Arts, Bangalore University, and Dr. Rajkumar Mazindar, Assistant professor of the department of Visual Arts, Assam University Silchar. They have been providing immense help in motivation and guidance throughout the research.

AIMS AND OBJECTIVES:

1. To study the brief history of printmaking in Assam since early 19th century.

2. To make a comparative analysis and study the reasons for the emergence of Printing in other parts of India.
3. To study about the ‘Orunodoi' as a signification of the developing trends of printing technology in Assam.
4. To study the academic importance of printmaking in Art Schools during post­independence period in Assam.
5. A brief analysis about the contributors and introduction of printmaking as a unique modern visual language of art since 1970s.

The Major printmaker-

1. Noni Barpujari
2. DilipTamuly
3. Dr. RajkumarMazinder
4. ManeswarBramha.

SCOPE OF STUDY:

As preferably scope of study, regarding my dissertation “the evolution of printmaking in Assam” is to focus on four major contemporary printmakers as-

1. Noni Barpujari
2. Dilip Tamuly
3. Dr. Rajkumar Mazinder
4. Maneswar Bramha.

The evaluation of Printmaking in Assam examines these artists' innovation towards creativity and their pioneering role in the development of printmaking.

DESCRIPTION OF METHODOLOGY

Data:

The Data set includes both primary and secondary sources. The primary sources are original print and printing equipments of the artist various book/ catalogue for text and visual material of respective artists. The secondary sources are journal, books and through internet etc. In this study the original work of print from artist of various periods will be taken as special consideration.

Methodology:

The methodology decides on for the study by conducting interviews with the individual artists/ scholar/ academician, has been visited to actual site to collect necessary data, visuals, etc. The type of my research regarding my dissertation is descriptive.

REVIEW OF LITERATURE

The entire literature available for the present study is divided in to four broad themes.

1. The origin of printmaking in Indian context.

2. The history of the Innovation of printmaking in Assam.

3. The emergence of printmaking academically in various art schools in Assam.

4. The contribution of the particular printmakers to develop the printmaking as a contemporary form of Art during 80s onwards.

CHAPTER-1 THE HISTORICAL REFERENCE OF PRINT MEDIA IN INDIA >THE PRINTING MEDIA STARTED IN ASSAM DURING MIDDLE OF 19TH CENTURY (HISTORICAL REFERENCE).

- “ORUNODOI” AS A EVIDENCE OF THE DEVELOPMENT IN PRINT MEDIA IN ASSAM.
- JODUMONI CHOPAKHANA IS HISTORICALLY IMPORTANT FOR ITS SEVERAL PRINTING PRODUCTIONS DURING THE TIME OF PRE-INDEPENDENCE.

CHAPTER-2 THE PIONEERS OF PRINTMAKING INTRODUCED AS AN IMPORTANT LANGUAGE OF ARTS, DURING 1950'S TO 80'S

CHAPTER-3 THE EMERGENCE OF PRINTMAKING ACADEMICALLY IN ART SCHOOLS OF ASSAM

CHAPTER-4 A BRIEF ANALYSIS ABOUT THE INTRODUCTION OF PRINTMAKING AS A MODERN VISUAL LANGUAGE DURING 1980'S ONWARDS.

- NONI BORPUJARI AS A PRINTMAKER AND HIS EXPERIMENTATION ON DIFFERENT MATRIX.
- THE VITAL ROLE OF DILIP TAMULY IN THE FIELD OF PRINTMAKING AND A BRIEF DISCUSSION ABOUT HIS JOURNEY AS A PRINTMAKER.
- DISCUSS ABOUT DR. RAJKUMAR MAZINDER AND HIS WORKS OF PRINTMAKING IS A SIGNIFICATION OF SECULARISM DURING 90S ONWARDS IN A BROADER ASPECT.

MANESWAR BRAMHA AS A EXPLORATORY INNOVATOR IN CONTEMPORARY SCENARIO OF PRINTMAKING

INTRODUCTION

The graphic art or printmaking was known & flourished during half of the 19th century in Assam. Earlier it was used purely for the commercial purpose. But in the early time this technique was not much discussed by the artist, writer and scholar. After “Orunodoi Era” it got more importance among the art scenario in Assam.

Printing is considered as the technique of producing multiple prints by applying ink to the mother block, with multiple prints option the maximum number of editions can be made available to mass at the same time.

The origin of the phrase, ‘Graphics' has been derived from the ‘ Greek Graphikos' through the Latin ‘Graphicus' and its stand for the writing, drawing and Art.

Printmaking is the process of making artworks by printing, usually on paper. Printmaking normally comes as only the process of creating prints with an element of originality rather than just being a photographic reproduction of the same piece which is called edition of print each piece produced is not a copy but considered as an original edition. It is not a reproduction of work of art and can be technically considered as an ‘Impression'. Creating a work by taking impression from the matrix and applying pressure which is prime means of making multiple copies of a work of art or images. Aristotle, use of the word impression to speak of the mental image must have been more preceded by the existence of seals and other geographical signs and practices in ancient Greece.” At the same time, unlike other art work impression, art is not a passive reflector of society but active participant in the larger historical process and social information.

Printmaking is not chosen only for its ability to produce multiple copies, but for the unique qualities that each of the prints making process.

There is a historic - aesthetic aspect of printmaking at large, and has been closely associated with the proliferation of popular cultural artifacts thanks to enabling industrial innovation. The interaction between distinct practices and their influence and each other force as to redefine the parameters of looking at printmaking today. “Walter Benjamin” anticipated that the reproducibility of a work of art erodes its “aura” or its quality of uniqueness.

The importance of the beginning of printing activities is defined as replacement of the work by the medieval scribe and illuminator such quickly and completely with growing status of printed picture and printed books. The pictorial and literal value was getting more preference during the earlier phase of printing. The Sumerian had been the earlier printers during 5000 years ago. They used to take impression on the clay surface from the stone seals. From there the use of seals spread to India and later on to China. In 2nd century AD, the invention of paper is became the primary reason for the printmaking as an analogue of book illustration.

Since the late 19th century, artists have generally signed individual impressions from an edition and often number the impression to form a limited in book form such as illustrated books or artist's books. Relief printing, Intaglio, Lithography and Serigraphy, these four process have been considered as autographic method of recording image, before 1964 all the printed picture for both illustrative and non illustrative purpose were together titled Graphic Art. As the purpose and attitude of each differs from that of the other, it became vital necessity to coin a new term to distinguish between them. To solve this problem the print council of America in 1964 restricted the original print and gradually the term printmaking was generally accepted. Before 1960s all printed picture either done for commercial and illustrating purpose or created for artistic activities as display prints all together were called Graphic Art.

According to few researchers the origin of printing can be traced back to china where it was the need for religious literature and pictures in connection with the propagation of Buddhism. In general, Block printing is thought to have been used for printing portraits of the Buddha in 650A.D. In Europe printing with the use of movable types began in the fifteen century, although block printing was known much earlier. Even in Europe the credit for the innovation of the movable types are ascribed to Gutenberg (Germany) Caster (Holland) & Pamfilo Castalde (Italy).

It is not the printed that was altogether unknown in India before the British settlement. As far as evidence is considered the Mughal period recorded faithful attachment with printed illustration or rather engraving of European graphic artists, which were printed to the court by the European envoys and merchantmen from 1557 onwards during the reign of Akbar. However the Mughal artist copied the practice of block printing which was known and available to the artist of the Mughal court.

REFERENCE OF PRINT MEDIA IN HISTORICAL INDIA

India was open towards new ideas from the Babylon and Bible, in the bases of mass exploration. It was Christian Missionaries, who introduced printing and publishing in India. In fact, we got the first printing press as a happy accident. As early as 1542, Francis Xavier, a Spaniard, was teaching the Bible in ‘Tharangambadi' (Tamil Nadu) also when the victory of Goa, on behalf of King Joan of Portugal, opened School for Indians books had to be provided. Thus, pressure was put on Portugal by Francis Xavier to dispatch Printing Press to India, Ethiopia and Japan. Meanwhile, the European of Abyssinia (Ethiopia) requested the king of Portugal to send a press along with the missionaries. Thus as luck would have it, the press stayed in Goa. Today, the huge press is set up at the College of St. Paulin Goa. Today, the huge arch of the St. Paul College Gate restored by the Archeological Survey of India stands as a witness to this pioneering effort.

It was only in 1556, when Jesuit brother Joan de Bustamante who knew the art of printing, landed in Goa with the printing press. The art of printing entered in India for the first time on September 6, 1556 through Jesuits. So Bustamante must therefore be considered as the pioneer of the art of printing in India.

As the Portuguese started mechanical book printing in India, the British Traders started printing pictures and illustration during last part of eighteenth century

In India during the late 19th century it was a revolutionary change in a printing industry when major printing presses dedicated their full concentration on the production of prints subjects god- goddess's mythological themes and historical icons. Later the medium, Lithography was soon expanded to other subjects for advertisement of Goods and services as well for Freedom movement propaganda. It was not so sure that the Indian film had also taken the advantage of this medium.

Printmaking as a contemporary medium has accepted witness to the development of the national aesthetics in Art. Printed illustrations, caricature and political cartoon have served as a means to study and satire contemporary social anomalies. The Gaganendranath Tagore's Chromolithograph Print in 1917.

Printmaking has often been looked, upon as a medium that is heavily Technique­dependent, especially when it comes to it being taught in institution, not only has printmaking laid itself open to be employed in counter- cultural and inspiration to artist and deviated from reputed modernist protocol interestingly enough as a medium, Printmaking has involved materials and techniques, which approximate industrial process at a smaller more personal scale.

THE PRINTING MEDIA STARTED IN ASSAM DURING MIDDLE OF 19TH CENTURY- (HISTORICAL REFERENCE)

During the early 19th century the Burmese invasion in Assam was the reason of Socio- Economic change over the Common People. It ruined the hundred years duration of Art & Culture in Assam. In 1826 after the Yondaboo Treaty, the British came and they took the ruling power over the Burmese. The Christian missionaries introduced printing technology by that time. In 1836 they came and settled over Sadia in Assam. Basically they intended to explore the Christian religion in North East region of India along with the some parts of Himalayan region. But they were not able to enter China and they came back to Assam and explored Christian religion over there. They realised that they need to learn the regional language of Assam to spread their religious aspects. The two American Baptist Nathan Brown and Oliver T. Cutter established a printing press at Dulukolongia Gaon at Shivsagar on the bank of the river Dikhow. Under the name of ‘Shibsagar Mission Press' they started printing Bible in Assamese Language along with some impressive illustration.

illustration are not included in the reading sample

Plate1. The first Offset Perss,”AouniatiSatra, Marjuly & Plate1.1 “Assam Bilasini” the Cover page 1876

[...]

• Autor: Pranjit Sarma (Autor:in)
• Erscheinungsjahr: 2018
• Seiten: 79
• Katalognummer: V1371815
• ISBN (PDF): 9783346911759
• ISBN (Buch): 9783346911766
• Sprache: Englisch
• Schlagworte: evolution, printmaking, assam, north-east, india