Dr. Shyam Bihari Agrawal happened to be a disciple of Kala Guru Khitindra Nath Majumdar and thus naturally belongs to the Bengal school of painting from which his guru derived his sustenance. Dr. Agrawal is one of those rare living artists who are enriching and extending the territories of the tradition of painting established by Avanindra Nath Tagore.
Dr. Agrawal is a very unassuming, simple and humble person. He was born in a well-known freedom fighters family of Sirsa, Allahabad on the 1st September, 1942. After passing Diploma in Painting from Allahabad University in 1960, on the advice of his Kala Guru he joined Govt. College of Art & Craft, Kolkata for Post Graduate Diploma in Drawing & Painting (Indian Style & Mural). Here working under the supervision of some of the greatest artist of the time. Dr. Agrawal achieved a real excellence in his field.
After completing the P.G. Diploma in 1966 from Kolkata. Dr. Agrawal came back to Allahabad where he organized a painting exhibition in Dec. 1967. The ten Governor of Uttar Pradesh Dr. B. Gopala Reddi, had inaugurated this exhibition. The then Vice-Chancellor of Allahabad University, Mr. R.K. Nehru, paid a visit to this exhibition. Mr. Nehru became highly impressed by the paintings of Dr. Agrawal so much so that he invited him to join the Painting Department of the University in place of Mr. Majumdar who had retired in 1965. Since Jan. 1968 then Dr. Agrawal has been ceaselessly engaged in artistic pursuits, producing and propagating art-culture in the country. Allahabad University awarded him D. Phil degree in 1979.
Dr. Shyam Bihari Agrawal is a very sensitive, imaginative and skilful painter, sculptor and photographer, full of immense potentiality and capability. He is an eminent Artist of India and makes his mark in the history of Indian Painting.
Indian civilization is very alive and ancient. The art and culture of this country has established the unity of oriental civilization down the centuries. Here spiritualism, religion, imagination and art have been recognized as constituent factors of social harmony. That is why the religious reform and reawakening movement have spread beyond the frontiers of India and painting has been their chief harbinger. The impact of Indian art and philosophy along with their successive developments can be very easily perceived on the art and philosophy of the entire Asian continent from Bactria to Cambodia and from Japan to Java. The liveliness and humanism of the Indian art have made it universal and conducive to the entire mankind.
Ancient Indian painting has been analysed in this book in this very context. The principle of painting propounded by Vedic seers and inherent in Indian art has been expounded here from the point view of artist and every effort has been made to make it more and more useful by providing a brief introduction to ancient painting of Asia especially of China and Japan seen in the light of Indian painting. We can thus be in a position to revaluate our glorious past. With this end in view this aspect of Indian art History has been analyzed here in.
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