Like Shyam, whose monumental work led to the creation of a new school of Indian art called the Jangarh Kalam, works of several other traditional Indian artists are now commanding lakhs. Yet, it remains lower in comparison with the crores quoted for works by contemporary artists.

An untitled acrylic on canvas by Shyam. Pic Courtesy/saffronart

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"Over the last three years, we have seen a steady rise in the buyer base for folk and tribal art. Although the level of interest and awareness was much higher internationally due to institutional collections and museum shows. We now find that an increasing number of Indian collectors are coming forward. There is a strong interest in folk bronzes from South India, which include the Bhuta traditions and masks used in performative rituals.

Madhubani painting in the Krishna Gallery in CSMVS. Pic/Atul Kamble

The first generation of Madhubani painters is highly coveted — they had an overseas market and are rarely found in Indian collections. Women artists in particular, such as Bauwa Devi and Sita Devi [untitled piece sold for Rs 9lakh in their April auction] are considered masters of this style," says Minal Vazirani, co-founder and president, Saffronart.

Ritual mirror Karnataka/Kerala, circa 20th century, bronze. Pics Courtesy/saffronart

When you step into the Krishna Art Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), a 19th century Nathdwara artwork is the centre of attention. Also on display is a newly commissioned Madhubani painting. "Other museums have stopped collecting pieces beyond the 19th century but artists continue to practise their traditional arts," says Vandana Prapanna, senior curator, Miniature Paintings, CSMVS.

Boar, Karnataka/Kerala, 19th century

"If we don't collect them, we will lose a part of history after 100 years. So we are still collecting works of such artists," she elaborates. The museum also commissions pieces to fill the gaps in its exhibits. "An important reason for buying folk art is patronage. We need to encourage artists to continue their practice," she sums up.

A Tree of Life roghan artwork from Kutch. During his visit to India in 2014, former President of the US, Barack Obama was gifted roghan works by PM Narendra Modi

Basic rules

Radhi Parekh, founder, ARTISANS’

Smooth transition
Several folk artists practised art for themselves and some forms weren’t mobile. So there has been a transition of medium, such as pattachitra on tussar from palm leaf. This transition should not be market-conscious.

Authencity
We should not only see how authentic the artist is to the visual language of their art, but also to oneself and their context.

Original processes
Check if the artist is using original methods and natural colours. If there aren’t any original methods, for instance, the Jogis were given a Rotring pen to use by artist Haku Shah; the individual perspective of their context is important.

A modern approach
You will notice trains in the Shekhawati wall paintings of Rajasthan, which date from 1830 to ’70s. It was when trains first arrived in India. It’s important for artists to reflect what they see around them. Living arts shouldn’t be fossilised. Like Santosh Kumar Das’ Mithila Radha Krishna paintings reflected romantic Bollywood songs. However, this does not work when an agent asks them to just execute it in an inorganic way.

Anatomy
Anatomy and the sense of composition is important. Different schools have different rules. Pattachitra follows the Natya Shastra, where the proportions delineate in the Shastra. For Pichwais, there is an understanding of the proportions of Shrinathji, or shringar. This may not apply to stylised or abstract art forms, such as Warli or Bhil.

Radhi Parekh, founder, ARTISANS’

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