Collage

Collage is a technique of pasting materials such as newspaper clippings, fur, wall paper, package labels, or dozens of other possible materials onto paintings, drawings, prints, even sculpture. By adding a “collage” an artist can change the nature of what he or she is creating, providing a new dimension for a work of art. Collage also influences the perception of a viewer, thereby changing the relationship of the observer to the art object in a meaningful manner. In some ways collage is a short cut, a time saving device that might eliminate the need to paint some areas of a canvas.

Both Picasso and Braque were influenced by the writings, theories, and paintings of Paul Cezanne. Along with another group, they began to paint in an abstract geometric style later referred to as analytic cubism. In an effort to return to a more realistic form of painting, they retained the geometric format but began to incorporate such realistic materials into their work as sand, newspapers, and strin. They built up areas and added texture in unorthodox ways by also including such items as hair, feathers, cloth, and even tickets and old matchbooks. Thus collage as a true art form was born as a result of the transition from analytic cubism to synthetic cubism.

However, collage did not stop at the two-dimensional level. The Dadaists used collage effectively to express their views of society by gluing together discarded everyday items. One of their most famous works is "The Urinal" by Marcel Duchamp. The word "collage" is taken from the French verb "coller", which means to paste or glue. The beginning of a collage is the pasting or gluing of paper to paper, of paper to board, or any of several materials to each other.

Collage today is an accepted and valued art form. It allows the artist the freedom to approach the medium in whatever manner is pleasing and does not restrict him/her to any format or material. This medium is a direct form of communication for an artist. That is, it allows one to work with whatever materials he/she chooses. Collage is different from other art forms because it does not dictate a particular style. Style is often controlled by materials and because the materials are never the same for any two persons, the style of collage is always a variable. Collage is an excellent medium for both the beginner and the experienced artist. The inventiveness and creativity used in a collage usually do not result from experience but from a willingness to experiment with the basic proceedure.

Collage in painting

Collage in the modernist sense began with Cubist painters Georges Braque and Pablo Picasso. According to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim Museum's online article about collage, Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after and was perhaps indeed the first to use collage in paintings, as opposed to drawings.

"It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper and attaching them to his charcoal drawings. Picasso immediately began to make his own experiments in the new medium."

Cubomania

Cubomania is a collage made by cutting an image into squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps identical, method are called etrécissements by Marcel Marien.

Decoupage

Decoupage is a type of collage usually defined as a craft. It is the process of placing a picture into an object for decoration. Decoupage can involve adding multiple copies of the same image, cut and layered to add apparent depth. The picture is often coated with varnish or some other sealant for protection.

In the early part of the 20th century, decoupage, like many other art methods, began experimenting with a less realistic and more abstract style.There are many varieties on the traditional technique involving purpose made 'glue' requiring fewer layers (often 5 or 20, depending on the amount of paper involved). Cut outs are also applied under glass or raised to give a three dimensional appearance according to the desire of the decouper.

Photomontage

Collage made from photographs, or parts of photographs, is called photomontage. Photomontage is the process of making a composite photograph by cutting and joining a number of other photographs. The composite picture was sometimes photographed so that the final image is converted back into a seamless photographic print. The same method is accomplished today using image-editing software. The technique is referred to by professionals as compositing.

  

Digital collage

Digital collage is the technique of using computer tools in collage creation to encourage chance associations of disparate visual elements and the subsequent transformation of the visual results through the use of electronic media. It is commonly used in the creation of digital art.

Costumes of Different States of India

PUNJAB

Male Costumes

There are two specific lower garments both Pyjamas are baggy and are known as Sulthan or Salwar. The second type is tight and is known as Churidar. The Churidar is loose above the knees and tight below where as Sulthan have big pouches and it has very wide Ghera. Punjabis are rarely seen wearing Dhothis. A Lungi known as Tehimas is common in some area. Both the edges of Tehimas are brought together and knot is formed in the front side. In few Brahmins communities Dhothi is worn with the underside brought in front from left side and tucked in at the navel. Lower edges through the legs are tucked at the back. The rest of the legs are tucked at the back. The rest of the portion was brought from right side in the front and was pleated and tucked in the waist.

Upper garment known as Kurthas was very common. It was buttoned up in the front centre or left side. On ceremonial occasions Kurtha was worn along with Achkan. A similar coat known as Sherwani a small under skirt known as Nina with short sleeves and button in front was worn. Final article of clothing was a long length of cloth neatly folded and tide around the waist at festival occasions. Sometimes a waist length sleeveless or short sleeved Koti was worn. This Koti was embroidered with golden or silver thread.

Head Dress

The head dress of Punjabi males is a conical cap known as Kullah around which a muslin cloth was wrapped with one end flapping rather at the back or at the side. Sometimes only muslin piece is wrapped around the head. It is known as Sapha. Another head dress very commonly used is loosely twisted or folded turban, Pagrin or Pagg.

Female Costumes

Punjabi woman used to dress up on Salwar Kameez but the Ghera of Salwar was more than the Ghera in men’s wear. Men’s folk wore cotton Salwar. Silk was used only on ceremonial occasions where as women folk wore only silken or rich material Salwar Kameez was a tight fitted garment with long draping sleeves. With the Kameez and Salwar they took a short scarf known as Chunni/Dupatta/Chunri. Odhani or Laca were long scarfs which where generally ornamented along the border either by golden or silver embroidery known as Gotha Kinari.

The other garment was a Lehanga, a kind of skirt with a belt at the waist and lots of pleats all around. This garment was also known as Soya or Ghaghra. This is seen only in orthodox families. This Ghaghra used to have a border on the lower edge which was known as Lavani. A short thigh length Kameez was worn with the Lehenga. With the Muslim influence strengthening Punjabi women adapted Sharrara and Garrarha which is one piece. While going out of the house Punjabi women used to cover their whole body with Jaguli. It was something like a Burkha and was worn even by Muslims invaded our country.

Himachal Pradesh

The people from the upper hills are called as Ghaddies and those from the lower hills are called Paharies. These people have different costumes. For the men folk, the essential features of Ghaddies are the Chola Dora. The Chola is a multi joined garment of white woolen material descending in case of men a little above the knees worn as coat tied around the waist with Dora which is a dark woolen rope of great length. For the women folk the essential feature of Ghaddies were Salwar Kameez when at home. When they go to work or travel, they wear Chola Dora like men. It descends till the feet like a gown. It is a loose garment with many folds. The length of the Dora varies from 2 to 2.5 yards.

Peasant women from Kulu wear Lehenga Choli with a Dupatta known as Chaddri. Men wear Gandhi kurta and Churidaar Pyjama which is baggy at the top and tight at the ankles with horizontal folds. They also wore a special type of cap, white or black in colour with a set band in red and blue.

The lower hills pandits wear Kurta Pyjama. Kurta has a round neck and two side pockets. Cotton jacket is worn over the Kurta. On the shoulders they take a rich checked muslin cloth, called Parna. At home they wear slippers known as Phullan. Old men wear Pagrin and young wear black round cap. Prestigious people wear Achkan which is either white or black. Women of the Lower hills wear Churidaar Pyjama and Kurta. Churidaar is baggy above the knees and tight below. A big Dupatta called Chaddri is taken with which they always cover their heads. A woolen Chaddri made of Paghmina woven at home is taken over a Dupatta.

In cold climate both men women wear a waist coat and a special type of woolen cap with a flap. They wrap their waist with woolen and cotton pieces of cloth. Men wear woolen shirts with long coats or sleeveless jackets. Women in some areas wear Kurtas with woolen waist coats. In Kinnaur district, they have a garment known as Dhoti, which is wrapped around the body like a Saree. They wear full sleeved blouses and have a shawl wrapped over their shoulders, the ends of which are held together in front with a silver hook. The material is normally local made. Brides wear yellow coloured Chouga made of hand woven being cut. Red cotton Dupatta with all over Zari work is taken over. Another Dupatta called Salru is taken over the red Dupatta. After the hawan ceremony the bride wears a traditional satin skirt and Ghaghra. The bridegroom wears cotton Dhoti with a red border. On top it a silk or cotton Kurta is worn. He also carries a Chaddri.

Gujarat

Male Costumes

Dhoti is common garment among the men folk. Men of Savarashtra wore Dhoti with front pleats formed by the portion of the left side and the lower portion of the right side tucked at the back. This Dhoti is called Kuccha. But the men of Brahmin community wore Dhoti in a different manner. They pick up the lower edge of pleats and tucked them at the waist so that no loose pleats were formed. This form of Dhoti is called Dhotia/Dhotora/Potiya.

A short double breasted jacket fastened on left side and tight fitting upto the waist called Chaubandi was also worn. This jacket had long narrow sleeves with a few horizontal folds at the wrist. This jacket was also known as Bodiyan/Badan. On ceremonial occasion they wore a long coat called Jama/Angrakha/Vagho. They carried a piece of fabric folded and draped over the shoulder known as Dupatta/Pachedi/Angvastra/Upvastra/Upvarni. Head dress consists of performed turban known as Pagrin or freshly folded Pagrin known as Sapha/Pheto.

Female Costumes

In Gujarat Ghaghra was worn as under garment over which a five yard Saree was tied. Ghaghra even being an under garment is richly embroidered and is called Caniyo or Carino. The Saree was worn in two different styles.

1. Saree was tucked in at the left side carried through waist from back and brought to the front over the right hip formed in two few pleats and these pleats were tucked in the Carino. This manner was called Oti.
2. Pleats were tied into a knot and held with Kamarbandh known as Pheta. Remaining part of the Saree was carried backward and then to cover the head and brought to the front right shoulder or tucked on left side of waist. The portion of the Saree hanging back is called Phadek/Sodia and the portion covering head is called Lagger/Ghunghat.

The upper part of the body is covered with backless Choli called Kacali. Some older women wore front fastening Choli. This was usually worn by tying up in front with two lapels. Saree worn by Gujarat women had a border which is called Choraleka/Gotha. The common term used for cotton Sarees was Laguda. Silken Saree were of three types.

• Paithan Saree – Red silk with silver or golden border and small motifs all over the field
• GharChoroSaree – White silk with red circular tie and dye motifs
• Ghatapoda – Any colour silk with black and white border.

Rajasthan

Male Costumes

The lower garment of men folk was Dhoti or Churidaar Pyjama. The Dhoti worn in Rajasthan was much shorter than the Dhoti of other parts of the country. Along with the Dhoti they wore Barabandi or Charbandi. It was a garment fitting tight upto the waist and below waist it was flared. It had long tight sleeves and strings tied on the left side. Barabandi was also a short jacket without flare and with half sleeves. Besides Barabandi they used to wear a Kurta called Achkan.

For the head, they wore a freshly folded turban called Potia. They also carried a neatly folded fabric over the shoulders called Khesla. Over the turban they used to tie a square piece of cloth folded in a triangular shape and tied at the chin. This scarf was known as Rumal.

Female Costumes

The lower costumes of female were Ghaghra or Lehenga. These Ghaghras were of two types. In the first type triangular pieces were joined together so that circumference at the lower edge was large as compared to the circumference at the waist. This was known as Gehra Ghumalo. The second type of the Ghaghra was an ordinary skirt with gathers inserted at the waist belt. These Ghaghras were richly embroidered. The Gehra Ghumalo is otherwise called as Kalidaar Ghaghra. Here the Kalis were of different bright colours. Married women used to carry Phetia, a piece of cloth tucked at the waist. The front part of the Phetia had danglers attached to it. Widows were not allowed to use Phetia.

The upper garment of Rajasthan women was a backless Choli known as Kacali/Kacava. These Cholis were also brightly coloured. The third piece of their costume was an Odhani. The Odhani was tucked on the left side of the waist. Then carried back and covering the head. It was brought in the front from the right shoulders and tucked at the left side of the waist. Another manner of carrying the Odhani was that the back hung below; covering the head and the two edges were brought in front and tucked in the Choli. The Odhani was printed or tied and dyed in bright colours. The borders of Odhani were worked with Gota Kinari or silver and golden threads. The Gota Kinari was known as Bankeri/Bankudi. While going out women used to cover themselves with a white sheet known as Thirena.

Maharastra

Male Costumes

The lower garments of men of Maharastra used to be a Dhoti called Dhotar. This Dhoti used to be white with narrow coloured border. The Dhoti was pleated on the left side and tucked tightly at the waist. The other edge was brought in the front and tucked at the left side. The lower edge was folded up till mid calf. These pleats were known as Kasa.

The upper part of the body was covered with a short jacket known as Banyan. This Banyan was like Barabandhi worn in Rajasthan. This Banyan had short sleeves and it was fastened on the left side. Over this Banyan a long coat called Jama was worn. A neatly folded Dupatta called Anghavastra/Upvastra/Upvarni was carried on the shoulders. At times they wore only a Dhotar and Anghavastra. The men of Maharastra wore a performed or a freshly folded turban as the head dress.

Female Costumes

Women of Maharastra used to wear a nine yards long Saree had borders lengthwise widthwise or on both sides of the Pallu. One manner of wearing the Saree was by forming the pleats at the back. The Pallu was then used for covering the head and then brought in front and tucked at the waist. This style of wearing the Saree was like a skirt. This style of wearing the Saree was known as Gola Nesana. The upper part was covered with a Choli with sleeves till the elbow. A scarf or Dupatta called Sala was carried on rare and ceremonial occasions to cover the head.

Uttar Pradesh

Male Costumes

The lower garment of men of UP was a Dhoti. The front pleats were formed from the portion of the Dhoti that came from the right side. Another mode of wearing Dhoti which was and is present among the agriculturist class is to tuck the left side or draw up at the back. Then to take the portion coming from the right side lengthwise and rolling it upto wrap around the hip and at front to form a knot with the remaining portion. The Pyjama was an item of formal dress. It was distinguished into a number of varieties of Churidaar Pyjama.

The upper garment of men folk was a short tunic with buttons in the centre front. The tunic could be sleeveless or could have short or long sleeves. The tunic with short sleeves was known as Nina. If the upper lapel of the garment was fastened over the left side, it was known as Angarekha/Achan/Jama. For ordinary wear common upper garment was Bengalbandi which was a short close fitting coat with double lapels, the upper being tied on the left side. It reached up till the waist and had tapering with a pair of strings centrally at the lower end of the chest. It was known as Mirgai. The sleeveless garment was known as Bandhi or Pha. It was common amongst the lower classes of society.

Three types of head dresses were prevalent amongst the men of UP one was white cap, Kulla which was long enough to cover the ears of children. The second was a loose piece of cloth folded around the head. It was called Sapha/Peta/Memdasa/Nuretha. Among some people of eastern districts the Sapha was so arranged that it served a double purpose of turban and scarf called Gamcha. The third type of head dress was a pre folded turban called Pagrin.

Female Costumes

The lower garments of the women folk was a skirt called Lehenga. This garment had lesser number of gathers than a Ghaghra. The ladies of the upper class till recent times wear a five to six yards Saree. This upper part of the body was covered with Angiya/Choli. The front piece is fastened at the back with strings or straps. The portion of Choli covering the breast was called Katori. Over the Lehenga a short Kurta and a jacket were worn as the upper garments.

Ornaments

All women wore rings in their toes which were called Bichwa. They wore Tagri at the waist and red Bindi on the forehead. Sindoor in the parting of the hair were essential for married women. The high class women wore Hasli at the neck. This was made of gold or silver. Other ornaments were Baruband at the upper arm, Dasti around the waist and Jimbas. Men wore gold earrings and gold buttons on the Kurtas and Angharekhas. They also wore watches with golden chains.

Footwear

At home footwear was a wooden chappal with rubber band called Khudaun. For formal occasion’s velvet embroidered chappals were worn. Men wore Khudaun and shoes without laces.

Madhya Pradesh

Male Costumes

In this region, Pyjama disappears completely around the Dhoti called Cadara is worn in a very different manner. It is tucked behind in pleated style. The surplus portion of Dhoti coming from the right side is taken up, pleated widthwise and tucked in at the navel. It is not customary to draw up the lower ends of the hanging pleats, so the lower ends of the pleats keep on dangling about. The cloth does not have any coloured border. The upper part of the body was covered with a sheet. Jama a waist length coat was another upper garment, well to do families wore tunics called Pikran/Paidrn. The Pyjama worn in the region was called Kurana. Long conical turbans with border in the front were worn as head dress. Men from lower classes wore cap Bajubandh made of beads and stones was men’s ornament. They also wore necklace made of coins and red and black stones.

Female Costumes

A skirt of 8 to 10 yards was the main lower garment. With the skirt they carried an Odhani. In Bengal and central and western parts of the state, Saree was common garment amongst women. The Saree passes on the right shoulders cover the head and the free end is left over the left shoulder. The regular attire of the women is formed by a coloured Saree covering the figure from the head to knees. Married women cover their heads with the loose end before allowing it to dangle over the shoulder or the back. Except for women of certain castes most of them wore a bodice called Choli/Angia. Women of working classes used to draw up to front lower end of the Saree and tuck it at the back.

Ornaments

The most important ornament was shaped jewelry studded with jewels and stones present in the form of pendants. The anklets were known as Lallong Rasanthi. The foot ornaments were of two types. One Payal other toe ring called Angurtha. It is round at the edges but the top has the shape of a fish, flower or any other design. Few tribal women wore silver coins, black beads and multi coloured stones around the neck. Their nose ornament called Bulak was set with pearls or other gems. It was worn in the centre with a small golden wire and jewel dangling down on the centre curve of the upper lip. A Powder made from turmeric, basin and lime was used.

Jammu and Kashmir

The clothes of the villagers were simple and extremely neat in appearance. There was very little difference between the garments for men and women. They both wore long loose and heavy gowns with buttons at the neck. In winter these garments were made of wool and on summer they were made of cotton. Kashmir has people of two different regions – Hindu and Muslims.

Hindu Male and Female costumes

Men folk usually wore shirt and Churidaar Pyjama. They also wore Pheran. The head dress was a turban. The tucks of white turban were on the right. The gown with long narrow sleeves was fastened on the left side. The pandits wore dark maroon dress called Kimsi. They also wore Tarang, a cap with a right band. On this cap a scarf was pinned with the golden and black beads called Poache, Kinsi, Mirror dress. The women of Dogra races at the foothills of the Kashmir put on close fitting trousers along with extremely loose tunics. They also carried a Chunni around their heads.

Muslim Male and Female Costumes

Muslim male wore Salwar and Shirt. They wore Pheran which was plain most of the times. The sleeves were wide and loose. It was a sign of respectability to wear cuffs turned backward. The head dress they wore was a skilled cap made of cotton. The tucks of the turban were on the left. The trousers of the Muslim men were loose and wide and their gowns were fastened on the right side.

Muslim female wore long cotton shirts and Salwars with loose Pouches. They also wore Pherans which were very loose dresses worn over the shirts. Pheran hung down almost till the anklets. It had loose sleeves and open collar which slipped down the neck with its heavy folds. A waist cloth was worn on their heads when at work. A Burkha was worn while going out. The Burkha of the old ladies was white in colour and that for ladies of the royal families was black in colour.

Ornaments

Silver jewelry was commonly used. Kanakandi was a special kind of armlet and earring. The Koka was a small stud of single diamond or ruby fixed at the corner of the left nostril. The Mukri was a golden or silver loop worn on the outer border of the ear. Kantha was a necklace made up of heavy bells of gold. The Hansali was a ring of gold and silver worn around the neck. As a perfume the females of Kashmir used camphor, sandal and saffron.

Footwear

Leather shoes were worn by well to do men and women. Ordinary Kashmiris wore straw sandals.

Hairstyle

Female of Kashmir has a peculiar hair style of arranging many plaits, women with black wool or silk.

Kutch and Savarashtra

Male Costumes

The lower garment of men of this area was Churidaar Pyjama known as Corano and Sarvala. The Sarvala was loose above the knees and tight below. It had a number of horizontal folds at the ankle. Along with Sarvala a short shirt called Passabandi was worn. It was a tight fitted garment above the waist and flared below. Passabandi was tied up on the left side with the help of strings. This costume was generally worn by farmers and other lower class men. The upper class men wore jackets or coats. The men folk of Kutch used to carry a loose cloth which was plain or had a small border. One side was rounded up and held under the armpit and the second piece was worn over the trousers. This cloth was draped from the back and the edges were brought in the front. The lower edges of the draped cloth were also brought in the front and tied up. The back side was draped till or below the knees and over it they wore a sash to hold the piece lengthwise. The Bania class wore a Dhoti, in which pleats were formed in the front by cloth coming from the left and the right sides. These pleats formed in the centre were passed through the legs and tucked at the back. They wore a pleated form of turban known as Pagrin, while going out they wore a long coat called Vagho.

Female Costumes

The women of agriculturist class used to wear rough material Lungi, tightly wrapped around the hips. The two edges used to meet at the centre front. The upper part of the body was covered with a back fastening or a backless Choli called Kasali. The Choli which was tied with strings was called Kankho. The Lungi was worn below the level of the navel and the women of Savarashtra never attempted to cover their bare parts. They used to take an Odhani known as Cerso with which they covered their head and it was brought in front from the back of the shoulder and then under the armpit finally tucking it in the Choli. One edge of the Cerso was tucked in the waist. The ladies of the upper class wore a skirt called Ghaghra. The Ghaghra with very big flare was called Phulpha. The one with five coloured panels was called Panipal or Gagro. With the Ghaghra, they wore a backless Choli which was heavily embroidered with silken or golden and silver threads. The Dupatta or Odhani was very long and used to be worn in two styles. One was forming pleats and tucking it at the waist like a half Saree. And the other was forming pleats at the edge tucking it at the waist and covering the head with the waist and covering the head with the outer edge then bringing it in the front and tucking it at the waits. The Dupatta/Odhani carried by women of this area were of these following types.

• Choli Chuni - It was also known as Chunri and was carried by brides
• Navrang – It was five coloured Odhani
• Sarong – It was 100 coloured Odhani
• Lanriya – It had stripes in horizontal, vertical or diagonal direction
• Dakhni Nacika – It was a Chunri from the southern part of India worked with silver or golden border. It was used by women of upper class.

Begining of Costumes

From the beginning the subject of costume was received a full share of the world’s attention. The impulse towards adornment was prominent in the primitive ancestor in his usage of paints, tattoos and human bones which is today expressed in milady’s rouge, feathers and fur. In the distant age man lived in caves and under rocky cliffs. He mainly wanted to secure food and preserve his life. Dress did not exist but the impulse towards dress out of this early life which was dedicated to the hunt and the chase.

Body Decoration

The beginning of dress was in the form of body decoration. Painting, cutting and tattooing of the skin are forms of body decoration which were the first steps towards dress.

1. Painting

The ambition to be distinguished from others stimulated the desire towards dress.

a) Blood Marks

When primitive hunter returned to his tribe stained with blood, he found that these evidences of his might were respected and admired. Thus physical power was the only standard of worth in early age. The blood stains indicated courage and might which compelled veneration of others. So, man sought for more permanent badges of bravery. Blood marks were left upon the body as long as possible. When they were gone, the scars remained. Out of admiring blood marks and scars on human skin, a dim sense of beauty arose.

b) Coloured Clay

The next source of inspiration after blood marks were coloured clays. They were available in plenty. The people started to apply the clay to their faces, heads and bodies. Soon they were expressed at regular and measured intervals. Thus a sense of rhythm and idea of pattern began. Even now the present day savage of Australia carries a supply of white earth and red and yellow ochre with which he touches up his face with spots of colour. On festive occasions, he paints his entire body in pattern.

The Adamese living in Andaman island of Indian ocean are the lowest order of savages and paint the entire body with a pale green when in mourning. They use while for decoration and yellow ochre mixed with fat for facial decoration. The American indians when going on war cover their faces with rhythmic patches of yellow, red and blue. The rouge and patch which were in fashion during the 18^th century are refinements of age old body painting.

2. Cutting

After painting another form of body decoration was discovered. It was the cutting edge. Knife blades made of bones, horns, flints and other stones were finished with a fine point and edges. With these tools the fashion leader used to cut or slash his skin in forms of pattern.

3. Tattooing

Cutting was followed by tattooing. Here the skin was marked with incisions and colouring material was added. This form of decorative was expressed in elaborate pattern. This custom is even today found among South sea islanders, the Burmese, the Chinese and Japanese. Among the things found of the ancient cave men remnants of ground ochre and other colours used in painting and tattooing have been found.

Body Ornamentation

The second impulse towards dress was body ornamentation. The marks of distinction were ornaments added to the body. People in many parts of the world have worn a bit of bone, wood or stone run through a hole in the lip, nose or ears. Slowly these bits of facial ornamentation were supplemented by trophies of war and the chase.

Begining of Art

Stone Age Art

The first known period of prehistoric human culture, during which work was done with stone tools. The period began with the earliest human development, about two million years ago. It is divided into three periods.

The Paleolithic period or Old Stone Age

The longest phase of human history. Its most outstanding feature was the development of the human species – Homo sapiens. Paleolithic peoples were generally nomadic hunters and gatherers who sheltered in caves, used fire and fashioned stone tools. Their cultures are identified by distinctive stone tool industries. By the Upper Paleolithic there is evidence of communal hunting, constructed shelters and belief systems centering on magic and the supernatural. Rock Carving and Paintings reached their peak in the Magdalenian culture of Cro-Magnon man.

The Mesolithic period or Middle Stone Age

It began at the end of the glacial era over 10,000 years ago. Cultures included gradual domestication of plants and animals, formation of settles communities, use of the bow and development of delicate stone microliths and pottery

Neolithic period or New Stone Age

The time periods and cultural content of this age vary with geographic location. The earliest known Neolithic culture developed from the Natufian in southwestern Asia between 9000 and 7000 BCE. People lived in settled villages, cultivated grains and domesticated animals, developed pottery, spinning and weaving and evolved into the urban civilizations of the Bronze Age. In Southeast Asia a distinct type of Neolithic culture cultivated rice before 2000 BCE. New world peoples independently domesticated plants and animals and by 1500 BCE Neolithic cultures existed in Mesoamerica that led to the Aztec and Inca civilizations.

Facial Painting

It is said that this special art derived from the Chinese opera has different origins. But no matter what its origin is, the facial painting is worth appreciating and full of artistic value. The colours of the makeup are heavy and follow specified designs for meaning. The paintings are presentations of character’s role. For examples

• Red Face – It usually depicts the role’s bravery, uprightness and loyalty

• White Face – It explains the role’s sinisterness, treachery and guile

• Green Face – It describes surly stubbornness, impetuosity and lack of self restraint

In addition, the pattern of the facial painting reveals the role’s information too. In a word, the unique makeup in the opera monologues on the stage voicelessly.

Changing Faces

Peking opera performers mainly have two types of facial decorations, masks and facial painting. The frequent on stage changing of masks or facial makeup is a special technique known as changing faces.

Changing faces is a difficult technique in operatic performance. It is considered to be a stunt that can only be mastered after extensive training. Face changing is also a special technique used to exaggerate inner feelings of characters, portray their dispositions, set off the atmosphere and improve effects. Facial changes expressing sudden changes in a character’s feelings are done in four ways.

• Blowing dust – The actor blows black dust hidden in his palm or close to his eyes, nose or bears so that it blows back into his face.

• Manipulating Beard – Beard colours can be changed while the beard is being manipulated from black to gray and finally to white expressing anger or excitement.

• Pulling-down Masks – The actor can pull down a mask that has previously been hidden on top of his head, leaving his face red, green, blue or black to communicate happiness, hate, anger or sadness respectively.

• Mop – The actor mops out the grease paint hidden in his sideburns or eyebrows around his eyes and nose to change his facial appearance.

Body Painting

History of Tattoos

Tattoos have an ancient history stretching back over thousands of years. Egyptians were tattooing themselves for decorative reasons back in the days of the pyramids. The Chinese adopted the form around 2000 BC. The body of a primitive man found frozen in the Swiss mountains dated to 2000 years ago had multiple tattoos on him. The practice of making permanent marks into the skin with pigment has been found at some point in nearly every major culture in history.

In some societies it helped identify bands of people as when family crests or tribal symbols were used. During the Victorian era, the modern tattoo machine was first invented and patented, a design that has changed very little in style to this day. When explorers of that era came across primitive cultures that practiced tattooing, individuals were often returned to Europe foe audiences and exhibitions. When religious missionaries encounter tattooing, they often do their best to discourage and end the practices. Sadly the twentieth century saw many native tattooing practices disappear, especially in the South Pacific island cultures.

In other societies, criminals or outcasts were marked in order that others would know clearly who they were. One of the most notorious uses of tattooing was in ancient china where the offender was marked with three lines on the forehead, forming the character for “dog” after the third offense. The Yakuza, a Japanese organized crime syndicate, historically has used full-body tattooing as a way of identifying members and proving commitment. Street gangs in contemporary America frequently utilize tattooing, often on the neck or hands to prove commitment, as the marks can’t be hidden casually and your group identity is always on view.

The modern wave of tattoo interest has its roots in the late 1960s. For the first time, people with fine art training began to work in the field of skin art, bringing with them all their art history knowledge. The modern body art renaissance has been the saving grace for many tribal tattoo styles, now being worn by people with no attachment to the symbolic histories of many of these patterns. Nonetheless, this fascination with mixed cultural tattoo styles has saved certain styles of skin art from extinction.