The Evolution of Printmaking in Assam, North-East India

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THE HISTORICAL REFERENCE OF PRINT MEDIA IN INDIA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THE PRINTING MEDIA STARTED IN ASSAM DURING MIDDLE OF 19TH CENTURY (HISTORICAL REFERENCE).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

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.