The graphic art or printmaking was known & flourished during half of the 19th century in Assam. Earlier it was used purely for the commercial purpose. But in the early time this technique was not much discussed by the artist, writer and scholar. After "Orunodoi Era" it got more importance among the art scenario in Assam.
Printing is considered as the technique of producing multiple prints by applying ink to the mother block, with multiple prints option the maximum number of editions can be made available to mass at the same time.
The origin of the phrase, 'Graphics' has been derived from the 'Greek Graphikos' through the Latin 'Graphicus' and its stand for the writing, drawing and Art.
Printmaking is the process of making artworks by printing, usually on paper. Printmaking normally comes as only the process of creating prints with an element of originality rather than just being a photographic reproduction of the same piece which is called edition of print each piece produced is not a copy but considered as an original edition. It is not a reproduction of work of art and can be technically considered as an 'Impression'. Creating a work by taking impression from the matrix and applying pressure which is prime means of making multiple copies of a work of art or images. Aristotle, use of the word impression to speak of the mental image must have been more preceded by the existence of seals and other geographical signs and practices in ancient Greece. At the same time, unlike other art work impression, art is not a passive reflector of society but active participant in the larger historical process and social information.
Table of Contents
1. INTRODUCTION
2. CHAPTER-1
THE HISTORICAL REFERENCE OF PRINT MEDIA IN INDIA
>THE PRINTING MEDIA STARTED IN ASSAM DURING MIDDLE OF 19TH CENTURY (HISTORICAL REFERENCE).
• “ORUNODOI” AS A EVIDENCE OF THE DEVELOPMENT IN PRINT MEDIA IN ASSAM.
• JODUMONI CHOPAKHANA IS HISTORICALLY IMPORTANCE FOR IT’S SEVERAL PRINTING PRODUCTION DURING THE TIME OF PRE-INDEPENDENCE
3. CHAPTER-2
THE PIONEERS OF PRINTMAKING INTRODUCED AS A IMPORTANT LANGUAGE OF ARTS, DURING 1950’S TO 80’S
4. CHAPTER-3
THE EMERGENCE OF PRINTMAKING ACADEMICALLY IN ART SCHOOLS OF ASSAM
5. CHAPTER-4
A BRIEF ANALYSIS ABOUT THE INTRODUCTION OF PRINTMAKING AS A MODERN VISUAL LANGUAGE DURING 1980’S ONWARDS.
• NONI BORPUJARI AS A PRINTMAKER AND HIS EXPERIMENTATION ON DIFFERENT MATRIX.
• THE VITAL ROLE OF DILIP TAMULY IN THE FIELD OF PRINTMAKING AND A BRIEF DISCUSSION ABOUT HIS JOURNEY AS A PRINTMAKER.
• DISCUSS ABOUT DR. RAJKUMAR MAZINDER AND HIS WORKS OF PRINTMAKING IS A SIGNIFICATION OF SECULARISM DURING 90S ONWARDS IN A BROADER ASPECT.
• MANESWAR BRAMHA AS A EXPLORATORY INNOVATOR IN CONTEMPORARY SCENARIO OF PRINTMAKING
6. CONCLUSION
Objectives of the Research
This dissertation aims to trace the evolution of printmaking in Assam from the 19th century to the contemporary era, analyzing its transition from a commercial tool to a recognized modern visual language in art schools and the contributions of key contemporary practitioners.
- Historical context of printing media in India and the specific emergence of print technology in 19th-century Assam.
- Evaluation of the role of 'Orunodoi' magazine in introducing woodblock print illustration.
- Examination of the academic institutionalization of printmaking within Assamese art schools.
- Detailed case studies of four major contemporary printmakers: Noni Barpujari, Dilip Tamuly, Dr. Rajkumar Mazinder, and Maneswar Bramha.
Extract from the Book
INTRODUCTION
The graphic art or printmaking was known & flourished during half of the 19th century in Assam. Earlier it was used purely for the commercial purpose. But in the early time this technique was not much discussed by the artist, writer and scholar. After “Orunodoi Era” it got more importance among the art scenario in Assam.
Printing is considered as the technique of producing multiple prints by applying ink to the mother block, with multiple prints option the maximum number of editions can be made available to mass at the same time.
The origin of the phrase, ‘Graphics’ has been derived from the ‘ Greek Graphikos’ through the Latin ‘Graphicus’ and its stand for the writing, drawing and Art.
Printmaking is the process of making artworks by printing, usually on paper. Printmaking normally comes as only the process of creating prints with an element of originality rather than just being a photographic reproduction of the same piece which is called edition of print each piece produced is not a copy but considered as an original edition. It is not a reproduction of work of art and can be technically considered as an ‘Impression’. Creating a work by taking impression from the matrix and applying pressure which is prime means of making multiple copies of a work of art or images.
Summary of Chapters
1. INTRODUCTION: Provides an overview of the flourishing of graphic art in 19th-century Assam and defines the fundamental technical and etymological aspects of printmaking as a medium.
2. CHAPTER-1: Explores the historical background of print media in India and Assam, highlighting the significance of the "Orunodoi" magazine and the Jodumoni Chopakhana printing press.
3. CHAPTER-2: Focuses on the innovators who introduced printmaking as a vital artistic language in Assam between the 1950s and the 1980s.
4. CHAPTER-3: Details the academic integration of printmaking into the curriculum of art schools in Assam, noting the struggle for proper infrastructure.
5. CHAPTER-4: Analyzes the work and philosophy of four prominent Assamese printmakers—Noni Barpujari, Dilip Tamuly, Dr. Rajkumar Mazinder, and Maneswar Bramha—in the context of contemporary visual art.
6. CONCLUSION: Summarizes the transformation of printmaking from commercial illustration to a sophisticated, individual artistic practice and emphasizes the influence of the mentioned pioneers.
Keywords
Printmaking, Assam, Graphic Art, Printing Press, Orunodoi, Noni Barpujari, Dilip Tamuly, Dr. Rajkumar Mazinder, Maneswar Bramha, Lithography, Etching, Art Education, Modernism, Visual Language, Traditional Art
Frequently Asked Questions
What is the core focus of this dissertation?
The work documents the historical and academic evolution of printmaking in Assam, transitioning from early commercial mass production in the 19th century to its modern application as a specialized medium of artistic expression.
Which thematic areas are covered?
The research spans colonial-era printing history, the establishment of art schools, the impact of significant printing presses, and the stylistic innovations of contemporary Assamese artists.
What is the primary objective of this research?
The objective is to provide a comprehensive analysis of printmaking's development in North-East India and to document the contributions of four specific printmakers who helped elevate the medium to a modern art form.
Which methodology is employed in this study?
The research is descriptive and relies on a combination of primary sources, such as original prints and equipment, and secondary sources, including interviews with artists, visits to archives, and literature reviews.
What are the main topics discussed in the middle section of the book?
The middle chapters detail the academic growth of printmaking in institutions like the Government College of Art & Craft, Guwahati, and examine the technical experimentation and conceptual depth in the works of leading contemporary practitioners.
Which keywords best characterize this work?
Key terms include Printmaking, Assam, Graphic Art, Lithography, Modernism, and Visual Language.
How did 'Orunodoi' impact the print landscape?
Orunodoi served as the first major literary magazine in Assam that incorporated woodblock relief printing, marking the introduction of British Academic Realism in local print illustration.
How is Dilip Tamuly’s contribution to printmaking described?
Tamuly is recognized as a pioneer who utilized lithography and a unique reductive method to blend individualistic expression, social reality, and traditional motifs from Assamese culture.
What is the significance of the artist-focused chapter?
This chapter serves to document the influence of Noni Barpujari, Dilip Tamuly, Dr. Rajkumar Mazinder, and Maneswar Bramha, whose transition from traditional craft to modern art defined the contemporary scene in Assam.
How has institutional development influenced printmaking in Assam?
Initial efforts in colleges like the Government College of Art & Craft faced infrastructural hurdles, but the eventual establishment of specific graphic departments allowed artists to move beyond relief printing into more complex methods like etching and lithography.
- Citar trabajo
- Pranjit Sarma (Autor), 2018, The Evolution of Printmaking in Assam, North-East India, Múnich, GRIN Verlag, https://www.grin.com/document/1371815
