CREATIVITY AND INNOVATION

Creativity
Many definitions of creativity
▪ Creating meaningful new ideas, forms, methods, interpretations
▪ Seeing the intersection of seemingly unrelated topics and combining them into something new
▪ A new way of looking at something
▪ Seeing and communicating ideas in ways that are unique, compelling, and unexpected
▪ Inventing, experimenting, growing, taking risks, breaking rules, making mistakes, and having fun

What is art?
Art is the skill and imagination in the creating of aesthetic objects, environments or experiences that can
be shared with others. The aim of art is not to express the outward appearance of things but their inward
significance (Aristotle). Art serves many purposes.

▪ Art is basic to human expression

▪ Art helps record and preserve visual images for posterity
▪ Art stretches our ability to perceive and offers an innovative way of looking at the world
▪ Art provides enjoyment to the viewer

Art has wide scope, including literary, visual and performing art. Visual arts include painting, sculpture,
architecture and photography. Performing arts include dance, music and drama.

Creativity in Art
▪ The ability to give a unique and tangible form to something that is intangible
▪ The adoption of new techniques and materials in the creative process

Primitive Rock Art

There are three types of primitive rock art.
▪ Petroglyphs: Rock engravings or carvings
▪ Pictographs: Paintings or drawings on walls
▪ Megalith: Arrangement of stones to create a monument

Bhimbetka
The Bhimbetka site is located in the Vindhya Range, Madhya Pradesh and comprises about 750 rock
shelters. It is famous for depicting the man’s experimentation with creativity during different periods. It
was inhabited since 100,000 years ago up until medieval times. There are Stone Age period paintings,
dated from 30,000 years ago. UNESCO designated it the status of World Heritage Site.
Paintings make use of white and red colors, along with the hints of yellow, ochre and green. Colors used
for the paintings were prepared from manganese, hematite, red stone and wooden coal. Vegetable colors,
leaf extracts and animal fat were also used. Plant fiber was used for the painting brushes

At Bhimbetka, a variety of animals form the primary subject of paintings, followed by humans and
occasional trees and flowers. Hunting scenes, riding figures, and dancers have been depicted.
Creativity in primitive rock art
These paintings were made when humankind lived at a basic level, hunting for food with primitive
implements. In spite of harsh life conditions, their creative impulse is seen in the art. Primitive man tried
to express his inner world (thoughts and feelings) and external world through visual images
They created paints and brushes from minerals and plant. They would have created scaffolding to reach
high inaccessible places. They used symbols and geometric designs. They evolved techniques to paint the
surface. Art was not a response to a function but a creative outpouring.

Indian Painting
Indian Mural Painting
There are multiple examples of mural painting in India. Murals have been painted on walls, natural and
rock-cut caves. They mainly depict Hindu, Buddhist and Jain religious themes. Colors are typically
derived from the natural materials like terracotta, chalk, red ochre and yellow ochre mixed with animal
fat.
Ajanta Caves
Ajanta caves are considered to be one of the finest examples of mural paintings in India. They are located
in Aurangabad District, Maharashtra. The caves are Buddhist monasteries with chaityas and viharas and
were excavated in a horse–shoe shaped bend of rock surface nearly 76 m in height. There were two
phases of painting -- 2nd BC to 2nd AD and 5th C to 7th C.

The painting technique in the Ajanta caves is the fresco secco or tempera process. Rock surfaces were
prepared before painting. The ground layer consists of a rough layer of ferruginous earth mixed with
rock-grit or sand, or other fibrous material. A second coat of mud and ferruginous earth mixed with fine
rock-powder or sand and fine fibrous vegetable material was applied. The surface was finally finished
with a thin coat of lime wash. Over this surface, outlines were drawn boldly and then the spaces were
filled with requisite colors. The colors and shades utilized also vary from red and yellow ochre, terra
verte, to lime, kaolin, gypsum, lamp black and lapis lazuli

The painting style is flowing and elegant with various graceful poses, multi-view compositions, and a
classical style with pan Asia influence. Ajanta murals cover multiple themes including Buddhist religious
figures, celestial beings, Jataka scenes and flora and fauna.

Indian Miniature Painting

Miniature paintings are those which could be held in the hand, often illustrated texts. There are six main
schools
▪ Pala manuscripts (8-12 CE): Comprise palm leaf paintings threaded together and enclosed in
wooden covers. Primarly Buddhist themes. Originated from Bengal, Bihar, Orissa, and Nepal
▪ Jain manuscripts (11-15 CE): Comprise palm leaf and paper manuscripts stored in bhandars;
Jain themes including representations of monks, preceptors, divine beings and illustration of
texts. Originated in Rajasthan and Gujarat
▪ Mughal (16 – 18 CE): A fusion of Persian, Central Asian and Indian styles directly influenced
by the ruling emperor. Themes included royal portraits, court scenes, illustration of texts, flora
and fauna with significant use of calligraphy. Originated in Delhi and Mughal provinces
 ▪ Rajasthani (16 – 19 CE): Stylized rather than naturalistic images. Dramatic visual appeal due to
bold drawing and bright colors; Both Hindu and secular themes including illustration of epics,
folklore, Sanksrit literature, seasons and Ragamala. Originated from Rajput kingdoms
▪ Pahadi (17 – 19 CE): From the foothills of the Himalayas. Influenced by both Mughal and
Rajasthani paintings. Hinduism was the inspiration. Paintings characterized by beautiful
landscapes, elegance and great technical skill
▪ Deccan (16 – 18 CE): Style developed under the Deccan Sultanate. Paintings were influenced by
Mughal and Persian, early Rajasthani and Vijayanagar traditions. Themes include portraits, court
scenes and Ragamala

Indian Folk Painting

Indian folk painting is art created by tribals and villagers living in the interiors of various states. A
common feature among different tribals is the closeness to nature and their unique customs and beliefs,
which is reflected in their work. Locally available materials are originally used. From the 1970’s onwards,
tribal art has been brought to public view. From traditional materials, paper and commercially made
paints are now used

There are many types of Indian folk painting

▪ Gond Painting (Madhya Pradesh): Characterized by vibrant colors and the use of dashes and
dots. Themes include celebrations, rituals and man’s relationship with nature. The artists use
natural colors derived from charcoal, soil, plant sap, leaves, and cow dung
▪ Phad (Rajasthan): Large format paintings typically to venerate the deeds of Rajasthani folk
dieties. Traditionally painted with vegetable colors on cloth
▪ Patachitra (Orissa): Characterized by vibrant colors. Themes are primarily mythological. Lord
Jagannath is a key theme
▪ Warli (Maharashtra): Uses geometric designs to depict human figures, animals, etc.
Traditionally done in the homes of the people. Themes include festivals, harvests, marriages and
other celebrations
▪ Kalamkari (Andhra Pradesh): Literally means “work of the pen”. The artists use a bamboo or
date palm stick pointed at one end with a bundle of fine hair. Themes include scenes from Hindu
mythology. Vegetable dyes along with mineral salts of iron, tin, copper, alum, etc. are used
▪ Madhubani (Bihar): Were traditionally painted on walls, now on paper, on special occasions
such as marriage and festivals. Themes include man’s relationship with nature, deities, social
events and nature

Indian Sculpture
India has a long history of image making, both individual icons and carved on temple walls. Traditional
sculpture in India is mainly religious in nature and follows a set iconography, symbology and iconometry.
It is a living tradition. Indian sculpture uses many different media, such as metal, stone, and terracotta.
There are many phases / styles of Indian sculpture. To provide some examples:
▪ Prehistoric sculpture: Example: Harappan seals, Bronze Dancing girl
▪ Mauryan Period: Example: Ashoka pillar at Vaishali
▪ Kushana Period (2nd BCE - 2nd CE): Two major art centers: Gandhara in modern Pakistan and
Mathura
 ▪ Gupta Period (4th CE-6th CE): Main centers were Mathura and Sarnath, but the classical style
spread across India and beyond. During the Gupta times, an idealized depiction of the human
form which we recognize as Indian and classical evolved. Aesthetic canons were systemized and
the shilpa shastras were written down and spread across India. The vocabulary of Indian art,
hastas and iconography evolved during the Gupta period. The Gupta images are graceful, inward
looking and serene.
▪ Chola Sculpture (9th to 13 CE): For 400 years the Cholas of Thanjavur were a dominant force in
the south: culturally, artistically, religiously and politically. The custom of taking out processions
of portable images of gods and goddesses increased during the Chola period. Chola sculptors
were masters of the bronze casting technique. Icons are characterized by refinement and elegance
and restrained ornamentation. Expressions are calm and serene with a distinct facial type.
Symbolism of Nataraja – Creation, Protection , Destruction, Veiling, and Grace.
▪ Pala Period: The Palas ruled from Bengal, Bihar and parts of Orissa. Initial work has Buddhist
themes, later Hindu themes as well. Material used was ashta dhatu and black chlorite.
Characterized by surrounding prabhavali and rich ornamentation

Indian Architecture
Comprises both religious and secular architecture
▪ Religious: Cave temples, Structural temples, Stupas, Mosques etc
▪ Secular: Civic structures, residences, palaces, stepped wells etc

Indian temple architecture

A temple delineates sacred space and is considered the home of the god symbolized by the idol. Some
simple forms of temples could be stones under trees, trees themselves, rivers, mountains and so on.
Gradually permanent structures evolved to house deities. The temple became the focus of a community
and served cultural, social and at times political and economic functions
Parts of a temple are Prakara (Enclosing walls), Gopura (Entrance gateways), Dvaja Sthambha (Flagpost),
Mandapa (Pillared halls), Garba Griha (Sanctum), and Kalyani (Temple tank).
There are three main temple styles in India
▪ Dravida: Horizontal superstructure, Example: Brihadeeswara temple, Tamil Nadu
▪ Nagara: Verticality in superstructure, Example: Kandariya Mahadev temple, Madhya Pradesh
▪ Vesara: A combination of both. Example: Somnatha temple, Karnataka

Islamic Architecture
Multiple types of Islamic architecture including Mosques, Minarets (example: Qutub Minar), Tombs
(example: Taj Mahal a 17th CE white marble tomb), Madrassas, Palaces and Forts, and Gardens

Contemporary Art & Architecture

Some concerns of modern Indian artists post Independence
▪ How to express their unique Indian-ness?
▪ How to relate to the international scene and the challenges of new media?
▪ How to express their creativity and evolve an original idiom?
Multiple phases of modern Indian art
 ▪ 18th to 19th C: Company Paintings and Kampani Kalam
▪ Early 20th C: Early Modernists (Examples include Raja Ravi Varma and Amrita Shergil) and
Bengal School (Examples include Abanindranath Tagore, Nandalal Bose and Jamini Roy)
▪ Post independence: Progressive Arts Group, Mumbai (Examples include M.F. Husain,
S.H.Raza, and F.N.Souza) and regional groups in Delhi (Anjolie Ela Menon), Calcutta (Paritosh
Sen), Madras (KCS Paniker), Baroda (Vivan Sundaram) and Mumbai (Tyeb Mehta)

Contemporary Art / Post Modernist art takes many different forms -- installations, video art, digital art,
performance art, etc. Created in the context of a globalized economy and disappearing borders

Summary: Creativity and Innovation in Art

▪ Creativity in expression
▪ Creativity in fusing form and function (architecture)
▪ Creativity in choice of materials
▪ Creativity in techniques