NAME : LALIT SHARMA
BIRTH IN : 1953
BIRTH PLACE : NATHDWARA (UDAIPUR) RAJ. INDIA
EDUCATION : M.A. DRAWING & PAINTING
UNIVERSITY OF UDAIPUR, 1975-76
FAMILY BACKGROUND : INHERITED TRADITIONAL ART BACKGROUND FROM HIS FATHER SHRI GHANSHYAM SHARMA. A MASTER OF TRADITIONAL MINIATURE PAINTING OF NATHDWARA, RECEIPIENT OF PRESIDENT AWARD.
STUDIO : 10-D KALAJI GORAJI , NEW COLONY
UDAIPUR - 313001, INDIA
PHONE : 0091-294- 2523963
MOBILE - 09414157963
1972-73 : "GOLD MEDAL" BY TULIKA KALAKAR PARISHAD, UDAIPUR
1975, 79, 89 : THRICE AWARDED BY RAJASTHAN LALIT KALA AKADEMI, JAIPUR.
1976 : COMMENDATION IN NATIONAL EXHIBITION OF ART.NEW DELHI
1997 : AWARDED BY THE IFACS ON THE 50 YEARS OF THE INDEPENDENCE DAY AT JAIPUR.
1996-97 : DISTRICT LEVEL AWARD FOR HANDI CRAFT.
1997 : NATIONAL AWARD BY IFACS ON THE 50 YEARS OF THE INDEPENDENCE DAY NEW DELHI.
2001 ; SILVER MEDAL BY KALANKAN PRAYAS, DHANBAD (JHARKHAND)
2002 : MERIT CERTIFICATE IN 3RD ART EXHIBITION BY TILAK SMARAK PUNE.
2005 : KALA KOUSTUBH SAMMAN. CREATIVITY & REGULARITY IN THE FIELD OF CONTEMPORARY ART. KVN UJJAIN.
INTERNATONAL EXHIBITIONS & DEMONSTRATION
1995 : WORKING IN CARADIFF AS A PART OF THE WALES/ RAJASTHAN EXCHANGE PROGRAMME (MAY & JUNE)
1995 : NEW LIBRARY CARDIFF, U.K.
1997 : 50 YEAR OF INDEPENDENCE DAY ART EXHIBITION CELEBRATED BY WEST FRIED MUSEUM, NETHERLAND
1998 : DEMONSTRATION AND PERSONAL SHOW IN YOKOHOMA, JAPAN ORGANISED BY KAZU YAMADA.
2005 : 2ND TRIENNIAL OF CONTEMPORARY ART, MAURITIUS.
ONE MAN SHOW
1981 : JEHANGIR ART GALLERY, MUMBAI
1996 : RAVI SHANKAR RAWAL AHMEDABAD.
2000 : BAJAJ ART GALLERY, MUMBAI.
2001 : JEHANGIR ART GALLERY, MUMBAI
2002 : JUNEJA ART GALLERY, JAIPUR.
1978-1998 : TAKHMAN-28 GROUP SHOWS AT JEHANGIR ART GALLERY, MUMBAI. AKADEMY OF FINE ARTS, CALCUTTA AND UDAIPUR.
1978 : NATIONAL KALA MELA, NEW DELHI
1980,86,88,91,98 : JEHANGIR ART GALLERY, MUMBAI.
1980 : ART EXHIBITION AT MADRAS
1984 : TAKHMAN-28 NEW DELHI
1986 : CONTEMPORARY ART GALLERY, AHMEDABAD
1992 : "KALA MELA" MUMBAI AND JAIPUR.
1995-97 : TWO MAN SHOW AT AHMEDABAD
1996 : GROUP SHOW AT JAWAHAR KALA KENDRA, JAIPUR.
1997 : GROUP SHOW KATHMANDU, MUMBAI, AHMEDABAD, GOA.
2001 : WELSH DUNES EXHIBITION, ORGANISED BY BRITISH COUNCIL, NEW DELHI
2001 : TAKHMAN 28 GROUPS SHOW IN JAHANGIR ART GALLERY BOMBAY.
2002 : GROUP SHOW AT NEHRU CENTER, BOMBAY
2005 : EXHIBITION IN JAHANGIR ART CALLERY, BOMBAY.
1979 ; MOLELA TERRACOTTA CAMP & EXHIBITION, UDAIPUR
1980 : PAINTERS CAMP ORGANISED BY TAKHMAN-28 AT UDAIPUR.
1985 : LITHOGRAPHY PRINTMAKING CAMP, JAIPUR
1987 : PRINT MAKING CAMP, UDAIPUR.
1988 : GRAPHIC CAMP ORGANISED BY TAKHMAN-28, UDAIPUR.
1988 : FRESCO CAMP JAIPUR ORGANISED BY R.L.K.A. & W.Z.C.C. JAIPUR.
1988-89 : ARTIST CAMP ORGANISED BY W.Z.C.C. UDAIPUR.
1989 : GRAPHIC CAMP ORGANISED BY W.Z.C.C. UDAIPUR.
1991 : TERRACOTTA CAMP, UDAIPUR
1992 : SCULPTORS CAMP ORGANISED BY TAKHMAN-28
1992 : ALL INDIA PAINTERS CAMP IN BANGALORE, ORGANISED BY LALIT KALA AKADEMY, LUCKNOW
1993 : TRADITIONAL PAINTINGS WORKSHOP AT MYSORE ORGANISED BY S.C.Z.C.C. NAGPUR
1995 : ARTISTS CAMP JAWAHAR KALA KENDRA, JAIPUR.
1996 : KALA CHETNA ORGANISED BY R.L.K.A. JAIPUR, 1996
1997 : ALL INDIA MULTIMEDIA CAMP ORGANISED BY TAKHMAN-28
1998,2000,2005 : ALL INDIA PAINTERS CAMP ORGANISED BY KALAVART UJJAIN, MP.
2000 : PAINTERS CAP L.K.A. LUCKNOW.
2000 : MILLENNIUM 2000, ARTIST CAMP AT JAIPUR.
2005 : ARTIST IN RESIDENCE AT C.N. COLLEGE, AHMEDABAD ORGANISED BY L.K.A. LUCKNOW.
2005 : NATIONAL ART FESTIVEL IN GANG TOK (SIKKIM)
2007 : ART EXHIBITION OF RAJASTHAN, U.K. EXCHANGE ARTIST ORGANISED BY BRITISH COUNCIL
STATE & ALL INDIA EXHIBITIONS.
1972-2000 : ANNUAL ART EXHIBITION OF R.L.K.A. JAIPUR, AIFACS, NEW DELHI.
1976-2006. : NATIONAL EXHIBITION OF ART ORGANISE BY L.K.A. NEW DELHI.
1980 : AN EXHIBITION OF CONTEMPORARY INDIAN PAINTING AND SCULPTURE BY KALA YATRA, CALCUTTA.
1980 : ART EXHIBITION AT MADRAS.
1979 : GRAPHIC EXHIBITION AMRITSAR AND CHANDIGARH
1980 : DRAWING EXHIBITION IN CHANDIGARH.
1981 : LALIT KALA AKADEMI, JAIPUR
1987 : "RAJ" AN EXHIBITION OF PAINTINGS BY "THE GALLERY"
1996 : "STONA-96" THIRD INTERNATIONAL FAIR OF GRANITES AND STONE, BANGALORE.
1999-2000 : L.K.A. NEW DELHI, REGIONAL CENTER, L.K. NOWO & COVER.
2001 : 1ST ALL INDIA ART CONTEST & EXHIBITION, DHANBAD (JHARKHAND)
2002 : 3RD ALL INDIA LOKMANYA TILAK ART EXHIBITION, PUNE
: COLLEGE OF AGRI. ENGG. UNIVERSITY, UDAIPUR
: M/S BAJAJ INTERNATIONAL PRIVATE LIMITED, BOMBAY
: COLLEGE OF ART NEW DELHI AND CHANDIGARH
: RAJASTHAN LALIT KALA AKADEMI, JAIPUR
: JAWAHAR KALA KENDRA
: W.Z.C.C. UDAIPUR, MORARJI GROUP BOMBAY
: COMMISSION WORK FOR INDIA FESTIVAL AND INTERNATIONAL AIRPORT NEW DELHI.
: TAJ GROUP OF HOTELS, BOMBAY.
: RAJASTHAN STATE GOVT. KALA YATRA, MADRAS.
: SHAH HOUSE CEILING COMMISSION, BOMBAY
: TAKAKU IMAGAWA, JAPAN.
: ART COUNCIL OF WALES, U.K.
: OLD LIBRARY CARDIFF, U.K.
: KAJU YAMADA JAPAN.
: VELLERY LONDON
: TESIA WATE, U.K.
: NORWICH, U.S.A., SIKKIM.
: U.T.I. BANK, JAIPUR
: GARDEN SILK, MUMBAI.
: LALIT KALA AKADEMI, NEW DELHI
: HUDCCO, NEW DELHI.
: USA GERMANY, FRANCE, HONGKONG AND OTHER COUNTRIES.
I inherited Indian Traditional art back ground from my forefathers. My belonging to traditional Indian art family of Nathdwara, Rajasthan. My parents and grand parents had continued their creation and contributed Indian Miniature painting such as Nathdwara, Mewar and Rajput painting. My works carry the influence and inspiration of my traditional background. I also studied painting in Post graduation from University of Udaipur. Udaipur Rajasthan. Therefore I shifted my interest in contemporary Indian art and my media of expression is in oil on canvas. from very beginning of my study, I was heaving special interest in architecture, buildings and palaces of Rajasthan which is visible in my painting i.e. streets, buildings, palaces, surrounded by hills and trees and Local environment is also visible in my painting, when one enters through palaces, windows and doors gates all carries the architectural interest. My painting having the environmental influence, local environment of Rajasthan and also a traditional Indian miniature.
SIX GENERATIONS OF AN ARTIST FAMILY
Halurapuri, a small village in the south of India, is the original birthplace of the Jangid Community. The Jangids are said to have been the oldest artists of Mewar who migrated from Halurapuri to the northern part of Rajasthan and later settled in Mewar.
The Jangids are known for continuing the ancient art of tradition and miniature in Mewar, the cultural seat of Ghuhil rulers of Medpat.
The name Jangid comes after the name of Sage Angira which was his another name. Later his followers were known as Jangid.
About Samwat 222 Jagid Nandrakh left for "Kasi" (Now Banaras). From here Puledatt came to Pali in Rajasthan and settled there. But his successors spread all over the Mewar as the records have been gathered from the community's predegree handwritten accounts handed over orally from father to son by the community bards.
The Jangids settled in Amer, Sonagar, Malpura and at Ladani a small village near Mavali in Udaipur District.
Ladani being tiny village was little known to the people but it was a centre where from many a traditional artists moved to Chittorgarh, Udaipur and Nathdwara. Large number of artists of this community still live and are engaged in following the ancestral artistry.
In the succession of the tradition the well known minuature painter Ghashyam Sharma comes from the learnage of Mannaji who left Udaipur and settled in Nathdwara in 1762. Painter Mannaji was survived by his son Pithaji and grandson Dungaji whose works are found in traditional art books in the collection of Royal palaces.
The Jangid family of artist Ghanshyam Sharma has its interesting historical development. To trace and enlighten the historical growth of this clan Durtgaji's son Chatterbhuji was regarded to be the first and foremost artist of this generation. He was a very skillful painter. He executed many wall paintings around 1859 and depicted Pichhawais in Nathdwara style of painting. His pictures rendered at Sanwad and at the "Bankyanji ka Deora" have a special place in the wall paintings of Mewar as learnt from the historical records.
His paintings were the depictions of Bagdawat Tales, various Gods and Godesses, elephant fights, women engaged in observing rituals at the portals of Deora- a holy place for worshiping the family deity.
After Chatterbhuj ji his son Narayan Palecha (1860-1932) came to the scene. His painting - Bija Sorath - a folk lore, was given a special reproduction in a japanese book "The images of Indian Miniature Painting "by Kaju Yamada which received a prestigious Non-fiction Award of Japan. His another painting "Rajarani" executed in 1990 was also published in Mewar ki Chitrankan Parampara. His many other paintings can be seen even today at Goverdhan Kund in Nathdwara as the highest art work of this traditional talent. Narayan Palecha had also painted several coin size paintings of Shri Nathji, is still in the possession of his successors.
Narayan Palecha had four sons. Motilal ( 1988-1970 ) Narottam Narayan (1896-1990), Bhuralal (1899-1970) and Damodar (1905-1968). All the brothers have been known for their artistic excellence and generic style of Nathdwara School of paintings.
Among the brothers Narottam Narayan had been the most elegant and talented artist. His popularity reached far and wide and attracted the British and German art collectors and art historians. Narottam Narayan lived for the full century. In the early years of 20th century in 1910-11 he used oil colours and adopted European technique of portraiture and received a great appreciation in the art world. His paintings of Gods and Goddesses became household pictures.
Many pictures were published by S.S.Brijwasi and Harnarayan Sons & Co. of Delhi. Many of them were printed for the calenders by the only company of Karanchi, now in Pakistan, which sold in Delhi.
His original paintings are still in the publishers possession their Chandani Chowk Showrooms, Delhi. His largely sold pictures - Rama ki Panchayat, Lakshmi priya, Krishna's Mathura Gaman, Satyanarayan Vrit, etc. can be compared with those of Raja Ravi Verma's works at times with a greater choice art appreciation.
Narottam Narayan's brother were his contemporary artists. His third brother Bhuralal worked at the City Palace of Udaipur for many years. He painted royal palaces of Dungarpur, Udaipur, Jhalawar, Temples of Dwarkadhish at Mathura and Barsana and Kusum Saravar at Nathdwara. Popularly known for his excellent craftmanship he was invited to paint the Bharatpur palace by the then ruler in 1947.
The youngest of this family was Damodar who was equally a strong painter. His panels at Kankroli temple are the brilliant examples of his superb craftsmanship. It is a well known fact that all these brothers were trained at the studio of master Gasi Ram, an eminent artist whose technical and estate guidance helped them grow as the superior painters of their times.
Ghanshyam Sharma, the well known descendent of the fourth generation of this tradition is a living example of this exquisite style of miniature painting. The seventy six years old Sharma is a master craftsman and has earned a great reputation as a miniature masters.
As a young artist Sharma started his training under the guidance of his famed brother Narottam Narayan. He mastered the techniques and gripped the craftsmanship and thus developed his own style with fine qualities of portraiture. His virtuosity was recognized and he was awarded and honoured by the President of India. His paintings on ivory plates are valued for their superb artistic qualities. His works are in collection of art lovers of India and abroad. Among them the Mexican Ambassador, some connoisseurs from France, U.S.A., and Japan are the regular ones, who have a great fancy for his works.
Till now the Jangid artist have shown their methodical excellence in the execution of the traditional miniature style of paintings and built a prestigious image of superb craftsmen and technical traditionalists.
However, Lalit Sharma's arrival, the fifth in succession, on the scene, an artist of rate excellence introduced new changes in traditional environ of artistic activity. He combines the virtuosity of a miniature master and aesthetic sensibility of a modernist.
Unlike his ancestors he is a trained and highly conscious artists. Having obtained his Master's Degree in Fine Arts from R.L.S. University, Udaipur, he engaged himself "as freelance". The fusion of the skill of a miniaturist and sensibility of the modernist provided with additional creativity power and his art acquired a unique character. His in exhausted knowledge of modern movements and historical past has facilitate him with awareness to enliven the tradition and make its conscious use in the light of contemporary
His works have been acknowledged and appreciated in the art world and drew attention of the fellow artists. There are several individual and group shows to his credit in India and abroad. During his stay in Wales in the exchange programme his paintings drew the foreign eye. Art academies and institutions have recognized his artistic talent and creative note. The middle aged Sharma's creativity encompasses the changing nerves of the time and its spirit.
His son Kapil Sharma a young promising artist follows the footprints of his father and grandfather to add to his artistic endeavor he is being groomed at N.I.D. Ahmedabad as a student. Prior to this he studied at the Fine Art Faculty of Baroda for a year and then shifted to this great institute of Design. Likewise his sister has also found her path in the fashion designing in N.I.F.D. an integral part of artistic activity She is a young gifted designer also tuned in her family tradition over the centuries the artists of Jangid clan by continuing the stream of tradition and simultaneously creating and innovating the art from time. Time have enriched the art of this region. Their contribution to the field is historical and significant.
LALIT SHARMA – Expression through indigenous life. Man is always crazy to get and add more experienced in his life and the depiction of these experienced in the format of innovative ideas express his intellectual abilities. The environment of surrounding where is an artist lives, certainly effected by and he choose the material for his creation out of it. He accepts the material as a form of art and execute it as a part of his work of art. Though an artist express his views by so many experiments yet the matter of fact that the human forms and its related subjects had ever been taking place in the history of visual art since the ancient time.
Lalit Sharma is a born artist who obtained the art by hereditary.Ghanshyam Sharma father of Lalit is a well known name in the chain of traditional painters of Nathdwara school. His art is to swell ‘n’ blown in the boundary of tradition and with loving touch of his father. Lalit completed his higher studies in art from Udaipur University and in the mean time he is to make known formally by the different aspects of art. Simultaneously he learnt theintense techniques of traditional art also.He has assimilate the technical effect of traditional art like aesthetics of line, variation of forms with given importance to space in his composition and by that he had to begin a neotraditional movement to miniature art. He dexterously utilize the concept of multiple perspective in his large size canvas with oil medium . From the childhood the illegitimate beauty of Udaipur has ever being the source of inspiration to the artist. Ever since he had to made lakes, chain of Aravalli mountain, nature abounding with flowers and other architectural forms like Hawali, Jharokha, Prasad, Chajja are the chosen beauty of his paintings.
In the journey of art he has to pass through with so many difficulties but he had never to feel concern with them and to keep busy in painting in his own style. As Lalit click his camera to captured the “Hat Bazar” in the streets of Udaipur and the living style, freedom to livelihood and the ignorance towards modernism of daily workers could be perceive in his paintings . The common ground of his brush expression ever based on community Lives and its related subjects like malan, subjiwali, panwala, sunar, suthar, bhisti, chai-ke-dukan, jalebewala had taken ideal place in his paintings. By the stylization of fleshy bodies, transparency in water colors, with skillfully operation of tempera has become tool of his expression. By the painting neither he need a character to whom by the tells and add a story nor he gives any message to the society. Being a follower of tradition he is doing sincere efforts to retain the dying community art. The series of paintings in the show are certainly an edition of narrative movement in which one can see the good co-ordination of
Dr.Vidhysagar Upadhyay .