Thus the influence of scientific and material culture gave birth to new concepts of art in the country. Most of today’s Indian sculptors tend to promote logical, mathematical or scientific harmonies in the result of a pure abstract form. This attitude enlarged the concepts of sculpture that today oscillate from emotional or emotional to rationally controlled, to the extent of work processes that combine many industrial and pre-industrial techniques with wall art painting.
A rapid change in attitude can be seen in Indian sculpture from the 1940s but the most decisive individual attitude is traceable from 1960 onwards. In the sixties, the younger sculptors found more interest in working with different materials and techniques, giving greater variations to the shape, concept and style.
Popular and tribal arts
Often, when we talk about art in India, we leave in the background the many artistic forms, defined as “popular”, which certainly have no less importance for the understanding of the development of classical forms, nor for the interpretation of contemporary artistic forms. The peoples of India belong to different ethnic groups who, in all ages and throughout the peninsula, have left manifestations of their art influencing the techniques and styles of the artists most financed by the sovereigns and literary Brahmins.
- In fact, next to the art that we define as aristocratic and which mainly concerns the palaces, temples and works destined to decorate them, there is an art often qualified as popular and which, despite its abundance and diversity, has found little space in museums. It is true that this art, most often made with perishable materials, is not at all weather resistant. Its manifestations are also very often temporary, made on the occasion of ceremonies or in particular circumstances and abandoned afterwards by the same people who had realized them and who did not care at all to make durable works.
- Popular art dates back to prehistoric times and it can be said that a number of engravings and wall paintings participate in this innate desire of men to leave a trace, perhaps temporary of their thought and their activity, both in the form of symbols and representing the gods , men or animals in relation to each other or translating their daily concerns. In India, the foot of Western industrial civilization has not been effective enough to conceal these spontaneous artistic manifestations. Popular art is still extraordinarily living in all rural Indian communities, not only in the aboriginal tribes that live in the most backward corners of the country.
The Reach of Art
There is no region that does not preserve social and cultural customs that involve the creation of statues, drawings, fabrics, objects of various types in relation to family, religious or tribal ceremonies. While in traditional society the concept of art for art never existed, at the time of the inevitable encounter with Western modernism began a new perspective of art that was relatively recently exalted in the West and practiced today in modern societies of modern art in Asia, which has a purely aesthetic, non-functional meaning.