different between Indiian and British painting
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Indian painting has a very long tradition and history in Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka rock shelters, some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 30,000 years old.[1] India's Buddhist literature is replete with examples of texts which describe palaces of the army and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals. Smaller scale painting in manuscripts was probably also practised in this period, though the earliest survivals are from the medieval period. Mughal paintingrepresented a fusion of the Persian miniaturewith older Indian traditions, and from the 17th century its style was diffused across Indian princely courts of all religions, each developing a local style. Company paintingswere made for British clients under the British raj, which from the 19th century also introduced art schools along Western lines, leading to modern Indian painting, which is increasingly returning to its Indian roots.
Indian paintings provide an aesthetic continuum that extends from the early civilisation to the present day. From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
The history of British painting is intimately linked with the broader traditions of European painting. Kings and queens commissioned portraits from German, Dutch, and Flemish artists. Holbein, Van Dyck, and other eminent foreign portraitists imparted an aura of grandeur to even their most unimposing sitters.
During the 18th and 19th centuries, young members of the British upper classes broadened their education with the Grand Tour of continental Europe. They encountered a sophisticated level of artistic achievement that influenced their tastes as art patrons. To ensure similarly high standards in Britain, the Royal Academy was founded in London in 1769. Its first president was Sir Joshua Reynolds, a brilliant painter of lively and elegant portraits as well as an influential lecturer/author whose Discoursesauthoritatively addressed many aesthetic topics—including the preeminence of history painting. Royal Academicians and American ex-patriots Benjamin West and John Singleton Copleybecame celebrated as memorializers of the recent past. John Martin, around the same time, created dramatic, multifigured, biblical
Indian paintings provide an aesthetic continuum that extends from the early civilisation to the present day. From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
The history of British painting is intimately linked with the broader traditions of European painting. Kings and queens commissioned portraits from German, Dutch, and Flemish artists. Holbein, Van Dyck, and other eminent foreign portraitists imparted an aura of grandeur to even their most unimposing sitters.
During the 18th and 19th centuries, young members of the British upper classes broadened their education with the Grand Tour of continental Europe. They encountered a sophisticated level of artistic achievement that influenced their tastes as art patrons. To ensure similarly high standards in Britain, the Royal Academy was founded in London in 1769. Its first president was Sir Joshua Reynolds, a brilliant painter of lively and elegant portraits as well as an influential lecturer/author whose Discoursesauthoritatively addressed many aesthetic topics—including the preeminence of history painting. Royal Academicians and American ex-patriots Benjamin West and John Singleton Copleybecame celebrated as memorializers of the recent past. John Martin, around the same time, created dramatic, multifigured, biblical
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