On February 2, at Perks Matriculation School, artist and writer Monikha will sit with art historian Vital Rao to discuss his latest book, Nevena Indriya Oviyam: Varlaram Vimarsnam ,Modern Indian Art: History and CriticismThe book published in 2023 is the culmination of research of over a decade, which detects the development of modern Indian paintings from King Ravi Verma to Ghulamohammad Sheikh.

For Monikha, head of the Department of Visual Communications at Avinashillingam College, Coimbatore, the book is not only a chronicle of movements and artists, but an attempt to bridge the difference between Indian art history and public understanding. She says, “I felt that it is necessary to bring it into vicular language because people at home have to know what is happening around.” “This is a lot of need.”

The book is well obtained, with the support of writers such as Theodore Baskaran and Maridu. Its origin, however, moves much further. “I started working in late 2011,” Monikha explains. “My writing was first published in online magazine Thinnai And then as a series of essays Kumudam TheranadhiThese essays were compiled in the book, but I had to expand a bit. For example, I realized that I did not write about Nandalal Bose, so I included him. ,

This book not only introduces readers for major art movements of India – Santinicion, Group of Progressive Artists, Baroda Radical, Cholamandal Artists Village and others – but also highlighted the Stark partition between the northern and southern modern art discourses. Has gone. “There have been many important art movements in India,” she says, “but unfortunately, students often do not know what happens there and what is the influence of the rest of the world.”

Question of modernity

A major topic in Nevena Indriya Oviyam Is there a question of modernity in India? Says Monika, “Although modern art emerged in Europe in the 19th century, it came to India only in or later in the 20th century.” When was modernity? She investigates whether Indian artists have only adopted Western functioning or have infected modernism with indigenous concepts.

For example, she notes how the Sentinicatean School integrated the Japanese and Chinese Tempura painting styles, while King Ravi Verma adopted European oil painting techniques. “In my book, I detect movements ranging from Ravi Verma to Galamhammad Sheikh, which covers about 19 artists and two or three art movements,” she says.

Mohini on a swing by King Ravi Varma. Photo Credit: Special Arrangement

Despite his passion for documentation, Monikha is important for how art is preserved in India. “In relation to public galleries and institutions that preserve art in India, it is really tragic,” she says. He is vice versa with his experiences abroad, where the museums provide a detailed reference to the historical and cultural significance of each artwork.

“Here, we have a 15th -century Jain sculpture, and we just say it comes from the quot Shop properly, not the same treatment.

However, she accepts the recent progress made with the establishment of the Kiddi Museum. “Regarding contemporary art, we need to pay a lot of attention and work on broadcasting it to the public,” she says.

AI question

As an artist, Monikha is also reflecting on the impact of AI on illustration. “Ever since i was working Ponyin selvan And other serial novels first, I thought, why not try AI for a change? “She says.” I used Chatgpt to generate a signal about the period of the Chola, described a princess standing on a boat with a Swan figurehead. But the pictures I received were quite fun and the original There was no relation with the culture or manifestations of the residents.

An image of a chola princess is parked on a boat with a swan figurehead, which generated by the Dal-E of Openai. Photo Credit: Originated by Openai’s Dall-E

She argues that the AI-borne art lacks the soul of traditional painting. “The process of painting gives you great pleasure. You move your fingers, touch the paper, and do many things that bring happiness, “she says. “When you make something digitally, you don’t get that kind of enjoyment. You are isolated from the work you produce. ,

As she prepares for her discussion with Vital Rao, Monikha sees Nevena Indriya Oviyam Just as a step in a long journey. For that, the book is as much about India’s artistic past as it is about its future. On February 2, the conversation in Coimbatore will continue a dialogue that she has been engaged for years – a document, wants to criticize, and eventually, celebrates the developed story of Indian art.