Thota
Vaikuntam's Art
His
paintings depict feminine beauty of a every second nice. They neither describe
the slender and fresh-skinned damsel of popular culture, nor realize they
intend to make a broadcast through overly worked or changed illustrations of
women.
Thota
Vaikuntam favorably binds himself to his rural roots and creates soothing,
powerful art, that embodies feminine and rural beauty as he knows it. He paints
the quintessential Modern Indian Arts Telangana people of his childhood, the
ones he has grown going on on the subject of, and the ones he is most familiar
considering.
Early Experiments
Thota
Vaikuntam was born in 1942 into the very rustic surroundings of Burugupalli
village, in South India. The verdant village of his childhood played a colossal
portion in challenging the performer in Vaikuntam, even after he moved to the
urbane surrounding of Hyderabad in his higher years.
His build up
subsequent to the female figure began during his childhood days, behind he used
to be enamored by travelling theatre groups that had men impersonating women.
In fact, his olden experiments bearing in mind art in childhood, were sketches
of the various characters Rama, Hanuman,
Krishna and Ravana, that he saying in these dramas.
A Student of Art
Despite
their impoverished background, his parents allowed Vaikuntam to pursue an arts
education. He completed a degree in Painting at the College of Fine Arts,
Hyderabad and later studied at the famed School of Fine Arts at MS University,
Baroda out cold the opinion of the eminent K.G. Subramanyan.
During his
years in abroad, he came across discussions regarding what constituted Indian
art. Vaikuntam became disenchanted like he realized that it was the western
mannerism of painting that was physical adopted at the period. Post his
education, he struggled following unfriendliness himself from European art, and
finding an Indian identity for his art.
Discovering His Identity in Telangana Women
In his
search of a utter Indian identity, Vaikuntam found inspiration in his original
village roots. He made several charcoal sketches of the village women in an
attempt to take possession of their beauty and vibrancy.
Some of
these were an imagery of his mother in her traditional attire. Vaikuntam was
intensely private more or less these to come sketches as he was intimidated by
the sensuality of his female forms.
Slowly, he
started painting women who were unabashedly dusky, voluptuous and rural. They
were decorated, behind complex bangles, hair add-ons, tortured feeling sarees
and immense nose rings. Instead of the frequently seen delicate or graceful
bindi, his women came gone turmeric smeared foreheads layered subsequent to an
earsplitting vermillion bindi.
The women
Vaikuntam painted were not village belles, but hermetic matriarchs. And these
Telangana women, outlined when formless charcoal lines and draped gone
decorative detail, became Vaikuntams unique identity, travelling the world on
his canvas.
Changed, Yet the Same
Vaikuntams
art has always been, and continues to be virtually his rural roots. But beyond
three decades, his paintings have evolved in their form and characteristics.
Men, earlier consigned to a youthful role, now make a larger melody within his
paintings.
His canvases
have transformed from tight frames featuring a single girl, to those that
collective groups of women about in their entirety.
Today, the
term A Vaikuntam refers to a canvas pulsating subsequent to primary colours and
decorative finesse. But most of all, it refers to flat illustrations of village
folk, specifically the almond-eyed women exuding beauty and strength in their
genuine representation - dark, rustic, and distinctly Indian.
Tags: Indian
art work, Indiearts, Serigraphs, Thota
Vaikuntam Serigraphs, Art, Artist, Limited Edition, Paintings, Prints, Wall Art,
Modern Indian Art
