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Paper ID:IJSREM5123

Colour Symbolism in Indian Painting: An Aesthetic and Cultural Study

Stream/Area:

-

Subject:

-

Paper ID:

IJSREM5123

Volume:

4 |

7 |

Jul 2020

Pages:

1-6

Publication Frequency:

Monthly (12 issues per year)

DOI
Digital Object Identifier
10.55041/IJSREM5123

License:International Journal of Scientific Research in Engineering and Management follows the Creative Commons Attribution 4.0 (CC BY 4.0) License, allowing free use and distribution with proper attribution.

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Authors

DAK

Dr. Avneet Kaur

Department of Fine Arts

Mata Gujri College Fatehgarh Sahib Punjab, India

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Abstract

Colour has always been one of the most expressive and meaningful elements of Indian painting. Beyond its decorative function, colour serves as a visual language capable of communicating emotions, philosophical ideas, religious beliefs, cultural values, and psychological experiences. From the prehistoric cave paintings of Bhimbetka to the refined traditions of Ajanta murals, Mughal miniatures, Rajput paintings, Pahari art, and the Bengal School, Indian artists have consciously employed colours to symbolize spiritual concepts, social identity, seasonal changes, and aesthetic ideals. The symbolism of colour in Indian painting is deeply rooted in the principles of Rasa, Bhāva, and Indian aesthetics, where visual elements are designed not merely to represent reality but to evoke emotional and intellectual responses. The present study examines the symbolic significance of colours in Indian painting from historical, cultural, aesthetic, and psychological perspectives. It analyses how different colours communicate diverse meanings within various schools of Indian painting and explores their continuing relevance in contemporary Fine Arts, visual communication, and digital design. The research adopts a qualitative and analytical methodology based on classical literature, scholarly publications, and contemporary research. The study concludes that colour symbolism remains an essential component of Indian artistic identity and continues to influence both traditional and modern visual practices.

KEYWORDS

Indian Painting Colour Symbolism Fine Arts Indian Aesthetics Visual Culture Rasa Theory Colour Psychology.

Cite This Article

Dr. Avneet Kaur, "Colour Symbolism in Indian Painting: An Aesthetic and Cultural Study," International Journal of Scientific Research in Engineering and Management, vol. 4, no. 7, pp. 1-6, Jul 2020. https://doi.org/10.55041/IJSREM5123

Full Article/Conclusion

Colour occupies a central position in Indian painting because it functions as a visual language capable of expressing emotions, spirituality, philosophy, and cultural identity. Throughout the history of Indian art, colours have been employed consciously to communicate meanings that extend far beyond decorative beauty. From prehistoric cave paintings and Ajanta murals to Mughal miniatures, Rajput paintings, Pahari art, and the Bengal School, colour has remained one of the most significant elements of artistic expression. The present study demonstrates that colour symbolism in Indian painting is deeply connected with the principles of Rasa, Bhāva, religious traditions, mythology, psychology, and cultural values. Different colours communicate distinct emotional experiences while contributing to the overall harmony and expressive power of visual compositions. The research further indicates that traditional colour symbolism continues to remain relevant in contemporary Fine Arts. Modern painters, designers, photographers, and digital artists continue to employ colours strategically for emotional communication, cultural representation, and visual storytelling. Despite technological advancements, the symbolic meanings of colours continue to influence artistic creativity and audience perception. Therefore, understanding colour symbolism is essential not only for appreciating India's artistic heritage but also for strengthening contemporary Fine Arts education and visual communication. Future research may further examine the relationship between colour symbolism, digital aesthetics, neuroscience, and intercultural visual studies, thereby expanding new possibilities for academic research in Fine Arts.

References

1.                Brown, P. (1975). Indian Painting. The Macmillan Company of India. 2.                Coomaraswamy, A. K. (1956). The Dance of Shiva. Munshiram Manoharlal. 3.                Gombrich, E. H. (1995). The Story of Art (16th ed.). Phaidon Press. 4.                Goswamy, B. N. (1993). The Spirit of Indian Painting. Penguin Books. 5.                Harle, J. C. (1994). The Art and Architecture of the Indian Subcontinent. Yale University Press. 6.                Havell, E. B. (1918). Indian Sculpture and Painting. John Murray. 7.                Randhawa, M. S. (1980). Indian Painting. National Book Trust. 8.                Sivaramamurti, C. (1970). Indian Painting. National Book Trust.

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Publication Date

7/29/2020

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Review Rounds: 2

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