Indian Artists

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.

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