Globalisation and Its Effects on the Warli Art

Tribal art is a decorative art rather than purely aesthetic produced from the creative minds of indigenous culture. The art which is a part of their everyday activity is deep-rooted in their tradition. Tribal paintings are living tradition that unveils the hidden meanings of tribal symbols. Tribal are interested in the reality of the image not in the image of reality. The globalization has negatively impacted upon the tribal economies, culture and identities. The freedom of expression of an artist has been affected by the pressure of globalization. It has now become the commercial activity of Warli men. Education plays an important role in changes in the art form, education helps to develop creativity and skills and that results in the changes in the designs and forms. Commercialization of painting is also one of the reasons for the changes occurred in designs and form of the painting.

TRIBAL ART & THEIR RITUALISTIC, UTILITARIAN,INDIVIDUALISTIC IMPORTANCE: A GLIMPSE OF TRIBAL ART

Bhil tribes have a long history of their existence. Bhil love arrow and bow and it is believed that their name emerged from Dravid language word "billu" means bow and arrow. Their reference is in old literature Ramayana (in context of Shabri) and Mahabharata in context of Eklavya. In Sanskrit literature Bhil tribe occurs in Katha Sarit Sagar (600 A.D.). The traditional abodes of the tribes are hills and forests, and their popular names, meaning either the people of forest and hill or original inhabitants, are: Vanyajati (castes of the forests), vanvasi (inhabitants of forests), pahari (hill dwellers), adimjati (original communities), adivasi (first settlers), janjati (folk people), anusuchit janjati (schedules tribe). Amongst all these terms adivasi is known most extensively. Generally, the uppermost section of the enclosure, above a wavy line with geometric motifs.

THE ECO-FRIENDLY BAGH PRINTING

Bagh, which lends its name to the Bagh prints, is a small tribal village/ town in the Kukshi tehsil of Dhar district of Madhya Pradesh. Legend has it that the village of Bagh, the Bagh River, and the nearby Bagh caves (3rd & 5th century AD, with rich carvings and paintings dedicated to both Hindu as well as Buddhist deities) got their name from the baghs or tigers that inhabited the region. The village, located on the Dhar-Kukshi road, has a population of about 12,000. The Bagh River flows at a distance of about a kilometer from the Dhar-Kukshi road. From a near forgotten tribal art in a small village in Dhar district of Madhya Pradesh, today Bagh prints have left an imprint in the textile and art world.

GLOBALIZATION AND WARLI TRIBAL ART

The globalization has negatively impacted upon the tribal economies, culture and identities. The expansion of the art world under this version of globalization means that freedom of expression among artists is compromised under the pressure to conform to the market in order to succeed financially. The present scenario may change the true reflection of old culture and tradition of the Warli tribe. Because of the commercialization the transformation occurred, and they are venturing into mainstream society for the sake of their art. It has now become the commercial activity of Warli men. Because of the Industrial Revolution and modernization tribal art is a dying activity, now survives only in isolated areas whose inhabitants have a proud tradition of art and making things for themselves. Significance of the art has changed, earlier it used to be a social and religious tradition and ritual for women and everyday life, now it is a source of livelihood and exploration of individual creativity and a symbol of cultural and artistic pride. Introduction of the new modern motif of airplane, car, school building, factory are not necessarily a conscious effort to make art more commercial but rather a reflection of the changing world of the artists and to make painting more consumer- related.

The Symphony of Red Colour in Indian Art and Advertising: An Aesthetical Approach

Red is not only a colour but is a language of art and creativity from the dawn of civilization. The aroma of the red colour has the extravaganza of life with its fullest energy. In India art and architecture, variety of application of colour red can be seen as having multiple associations. Consequently, the approach can be seen in the art and architecture, the folk and tribal art practices too. This very genesis of red colour has been adopted in Indian art and advertising too. The symbolic association of red and its religious values which are usually associated with deities and ritualistic performances have been taken as a tool to manipulate the minds of the consumer. In various countries the same symbolic and organic temperaments of red colour have been taken as a semiotic for the coding of physiological approach in the consumer and art lovers. The paper aims to discuss the effective role symbolism of red colour in the creative process and productions. The paper has been based on two major aspects i.e. the approach of art and advertising with the significance of red colours with a special reference to Indian art.