Artists painting Indians. North American Indians

Once upon a time, in the endless prairies of America there were no asphalt roads, no cities with glass skyscrapers, no gas stations and supermarkets. There was only the sun and the earth, grass and animals, sky and people. And these people were Indians. Their old wigwams have long been trampled into dust, and only a handful of the American natives themselves remain; so why do they still live in culture and art? Let's try to solve the riddle in this review.

Totems and shamans

Indian America is a world imbued with magic from head to toe. The spirits of strong animals and wise ancestors merged into one whole - the worship of the ancestral animal, totem. Wolf-men, deer-men and wolverine-men met astonished Europeans in the forests of wild North America.

But the mystical connection with the spirits of animals and forefathers cannot be maintained without an Intermediary - a shaman. His power is enormous, and second only to the power of the leader - unless he combines both of these roles. The shaman causes rain and disperses clouds, he makes sacrifices and protects from enemies, he sings and conjures peace.

Shamanism and totemism, long forgotten by Europeans, shocked the white people: it was like a return to the deep childhood of humanity, almost erased from memory. At first, the newcomers from Europe sneered at the “savages”; but centuries later they recognized in the Indians themselves thousands of years ago, and laughter gave way to awe at the ancient secrets.

The mystical culture of America is still alive. It was she who gave the world the great shaman Carlos Castaneda - and at the same time cocaine and hallucinogens. In the visual arts, Indian America is imbued with witchcraft; translucent shadows and animals with human eyes, silent menacing shamans and decrepit totems - these are the favorite images of art on Indian themes.

Alien eyes

The art of every great civilization is special and unlike other traditions. In America there were several great Indian civilizations - and all of them were surprisingly different from everything known and familiar in Eurasia and Africa.

The wonderful and strange Indian style did not interest the gold-hungry conquistadors; when they became a thing of the past, people of art peered with curiosity at the paintings and decorations, at the temples and outfits of the natives of America.

It’s impossible to say right away what the key to this style is. Maybe this is “primitive” minimalism: in the paintings of the Indians there are no unnecessary details, their sketches amaze with their laconicism and incredible persuasive power. It seems as if some gods discard the little things, leaving the very essence of their creations in their original form: the intangible ideas of ravens, deer, wolves and turtles...

Rough and angular lines combined with the brightest colors are another sign of Indian art adopted by modern stylists. Sometimes such creations resemble something between cave paintings and the mating dance of a peacock.

Nostalgia for the Golden Age

But all this still does not explain the attractiveness of the heritage of Indian America for contemporary art. To get the answer, we'll have to go further.

The most important and terrible disappointment of ancient humanity was the transition from free hunting and fruit gathering to agriculture and cattle breeding. The world, built on treating nature as a mother, collapsed irrevocably: in order to feed themselves, people had to turn the earth into a cash cow, forcibly plowing it and mercilessly cutting off the stalks of wheat.

Man, hitherto free and inseparable from the world around him, became its master - but at the same time a slave. Bitter lament for the loss of a trusting relationship with nature and God - this is the content of all the myths and legends about the past Golden Age, about the lost paradise, about the taste of sin and the fall of man.

But the Indians did not fully experience this catastrophe, which was as inevitable as saying goodbye to childhood. When the Europeans came to them, the simple-minded aborigines were much closer to the face of pristine nature; they could still and had the right to feel like her beloved children. And the Europeans could only envy and destroy.

The artistic world of Indian America is the last gift of a forever-gone primitive culture. We can only carefully preserve it. Just as our distant descendants will preserve the last paintings and films with animals and trees - when we finally destroy nature on the planet and begin to cry about the lost green world. After all, the history of mankind is a history of inevitable losses and the constant setting of the Sun: without this there would be no dawn.

But don't worry; better listen to this song.

The custom of geometrizing plant and animal forms in ornament has been preserved from ancient art. There is an ornament similar to the Greek meander. Particularly interesting are the carved totem poles made from a single tree trunk. The geometrization of their pictorial elements is so strong that in the process of adaptation to the volumetric shape of the pillar, individual parts are separated from each other, the natural connection is disrupted, and a new layout arises, associated with the mythological ideas of the “world tree”. In such images, the eyes of a fish or bird may appear on the fins or tail, and the beak on the back. In Brazil, drawings of American Indians were studied by the famous anthropologist C. Lévi-Strauss. He explored the techniques of simultaneous images and "X-rays".

The Indians masterfully mastered wood processing techniques. They had drills, adzes, stone axes, woodworking and other tools. They knew how to saw boards and cut figured sculptures. They made houses, canoes, work tools, sculptures, and totem poles from wood. Tlingit art is distinguished by two more features: multi-figuredness - the mechanical connection of different images in one object, and polyeikonicity - the flow, sometimes encrypted, hidden by the master, smooth transition of one image to another.

Living in the rainy and foggy climate of the sea coast, the Tlingits made special capes from grass fibers and cedar bast, which resembled ponchos. They served as a reliable shelter from the rain. The works of monumental art included rock paintings, paintings on the walls of houses, and totem poles. The images on the pillars are created in a style called bilateral (two-sided). The Indians of North America used the so-called skeletal style to apply drawings on ritual objects, ceramics, and also when creating rock paintings. In the field of painting, as in jewelry, basketry, and pottery, the southwest region was at the forefront of the Indian Renaissance that has been observed in recent times. His leadership was due in part to the fact that the people of the area avoided the destruction of their way of life and culture that the East and West Coast tribes faced, as well as the complete removal and removal from their homelands that the Plains and Southeast Indians experienced. The Indians of the southwest went through humiliation and poverty and periods of bitter exile and exile; but on the whole they managed to remain on the lands of their ancestors and were able to maintain a certain continuity of lifestyle and culture. In a smaller country, such an original movement would certainly receive immediate and long-term recognition. For half a century, Native American artists of the southwest created remarkable work full of vibrant originality. Interest in them, as well as in Indian literature, gives hope for the increasing role of Indian art in the entire American culture.

Shortly after the end of World War I, a small group of white artists, scientists, and residents of Santa Fe and the surrounding area created a movement called the Santa Fe Movement. They set out to introduce the world to the powerful creative potential that the Indians possessed. As a result of their efforts, the Academy of Indian Fine Arts was created in 1923. She helped artists in every possible way, organized exhibitions, and eventually Santa Fe became one of the most important centers of fine art in the United States, equally important for both Indian and white artists.

Surprisingly, the cradle of modern Indian art was San Ildefonso, a small Pueblo settlement where the star of the famous ceramics masters Julio and Maria Martinez was rising at that time. Even today, San Ildefonso is one of the smallest pueblos; its population is only 300 people. Even more surprising is that the founder of the movement to revive Indian art is considered to be Crescencio Martinez, the cousin of Maria Martinez. Crescentio (Abode of the Elk) was one of the young Indian artists who, at the beginning of the 20th century. experimented with water paints following the example of white painters. In 1910, he was already working very fruitfully and attracted the attention of the organizers of the Santa Fe movement. Unfortunately, he died untimely from the Spanish flu during the epidemic; this happened in 1918, when he was only 18 years old. But his initiative was continued; soon 20 young artists were working in San Ildefonso; Together with talented potters, they worked fruitfully in these little Athens on the banks of the Rio Grande.

Their creative impulse spread to the surrounding pueblos and eventually reached the Apaches and Navajos, drawing them into this “creative fever.” In San Ildefonso itself, another famous artist appeared - it was Crescenzio’s nephew named Ava Tsire (Alfonso Roybal); he was the son of a famous potter and had Navajo blood in his veins. Of the other outstanding artists of the period of the real surge of creative energy observed in the 20-30s. XX century, we can name the Tao Indians Chiu Ta and Eva Mirabal from the Taos pueblo, Ma Pe Wee from the Zia pueblo, Rufina Vigil from Tesuque, To Powe from San Juan and the Hopi Indian Fred Kaboti. At the same time, a whole galaxy of artists from the Navajo tribe emerged, known for their ability to quickly assimilate and original, original processing of creative ideas; Here are the names of the most prominent of them: Keats Begay, Sybil Yazzie, Ha So De, Quincy Tahoma and Ned Nota. Speaking of Apaches, Alan Houser should be mentioned. And as if to top it off, at the same time, the Kiowa’s own art school was created on the Plains with the financial support of white enthusiasts; The founder of this school is considered to be George Kebone. And the Sioux Indian artist Oscar Howie influenced the development of all Indian fine arts.

Today, Native American art is one of the fastest and most vigorously growing branches on the tree of American sculpture and painting.

The modern Indian artist is close to abstract and semi-abstract motifs, which are well known to him from traditional Indian patterns on leather items made of beads and porcupine quills, as well as on ceramics. Showing a growing interest in their past, Native American artists are trying to rethink the mysterious geometric images on ancient ceramics and find new creative approaches and solutions based on them. They study such trends in modern art as realism and perspective in order to find their own original style based on them. They try to combine realism with fantasy motifs inspired by nature, placing them in a limited two-dimensional space, which once again evokes an analogy with the art of Ancient Egypt. Since ancient times, Indian artists used bright, pure, translucent paints, often only the main components of the color scheme, while adhering to individual color symbolism. Therefore, if, in the opinion of a white man, he sees only an ordinary pattern, then the Indian looking at the picture penetrates much deeper into it and tries to perceive the true message coming from the artist who created the picture.

There is no place for dark tones in the Indian artist's palette. He does not use shadows and light and shadow distribution (what is called the play of light and shadow). You feel the spaciousness, purity of the surrounding world and nature, the ebullient energy of movement. In his works one can feel the vast expanses of the American continent, which greatly contrasts with the gloomy, closed and cramped atmosphere emanating from the paintings of many European artists. The works of the Indian artist can probably be compared, albeit only in mood, with the life-affirming and endlessly open paintings of the Impressionists. Moreover, these paintings are distinguished by deep spiritual content. They only seem naive: they contain deep impulses from traditional religious beliefs.

In recent years, Native American artists have successfully experimented with the abstract movement of modern art, combining it with those abstract motifs, or at least seemingly so, found in basketry and ceramics, as well as similar motifs of religious signs and symbols. The Indians also showed abilities in the field of sculpture; they successfully completed extensive frescoes that flow into each other and once again proved that in almost any form of modern art their talent and imagination can be in demand and in any of them they can show their originality.

Indian art is an aesthetics focused on details; even seemingly simple paintings and engravings can contain the deepest inner meaning and carry the hidden intention of the author. The original art of the Indians in a number of countries (USA, Canada, Uruguay, Argentina, etc.) has practically died out; in other countries (Mexico, Bolivia, Guatemala, Peru, Ecuador, etc.) it became the basis of folk art of the colonial period and modern times.

art mythology Indian ornament

Sons of Manitou. A selection of portraits

Once upon a time, very different peoples lived, fought, and made peace on the continent of Abaya Ayala...
Does this name mean anything to you? But this is exactly what the indigenous inhabitants of present-day Central America called the continent long before the arrival of Christopher Columbus’s expedition to its shores on October 12, 1492

Feshin Nikolay:

One of the most common myths about Indians is their red skin color. When we hear the word “redskin,” we immediately imagine an Indian with a painted face and feathers in his hair. But in fact, when Europeans began to appear on the North American continent, they called the local aborigines “wild,” “pagans,” or simply “Indians.” They never used the word "redskins." This myth was invented in the 18th century by Carl Linnaeus, a Swedish scientist who divided people into: homo Europeans albescence (white European man), homo Europeans Americus rubescens (red American man), homo asiaticus fuscus (yellow Asian man), homo africanus niger (African black man). At the same time, Karl attributed the red complexion to the war paint of the Indians, and not to the natural color, but by people who had never met these very painted personalities in their lives, the Indians were forever called “redskins.” The real skin color of the Indians is pale brown, so the Indians themselves began to call the Europeans “pale-faced.”

Indians are the indigenous people of North and South America. They received this name because of the historical mistake of Columbus, who was sure that he had sailed to India. Here are some of the most famous tribes:

Abenaki. This tribe lived in the United States and Canada. The Abenaki were not sedentary, which gave them an advantage in the war with the Iroquois. They could silently disappear into the forest and unexpectedly attack the enemy. If before colonization there were about 80 thousand Indians in the tribe, then after the war with the Europeans there were less than one thousand left. Now their number reaches 12 thousand, and they live mainly in Quebec (Canada). Read more about them here

Comanche. One of the most warlike tribes of the southern plains, once numbering 20 thousand people. Their bravery and courage in battles forced their enemies to treat them with respect. The Comanches were the first to intensively use horses and also supply them to other tribes. Men could take several women as wives, but if the wife was caught cheating, she could be killed or her nose cut off. Today, there are about 8 thousand Comanches left, and they live in Texas, New Mexico and Oklahoma.

Apache. A nomadic tribe that settled in the Rio Grande and later moved south to Texas and Mexico. The main occupation was buffalo hunting, which became the symbol of the tribe (totem). During the war with the Spaniards they were almost completely exterminated. In 1743, the Apache chief made a truce with them by placing his ax in a hole. This is where the catchphrase came from: “burying the hatchet.” Now approximately one and a half thousand descendants of the Apaches live in New Mexico. About them here

Cherokee. A large tribe (50 thousand) inhabiting the slopes of the Appalachians. By the early 19th century, the Cherokees had become one of the most culturally advanced tribes in North America. In 1826, Chief Sequoia created the Cherokee syllabary; free schools were opened with tribal teachers; and the richest of them owned plantations and black slaves

The Hurons are a tribe numbering 40 thousand people in the 17th century and living in Quebec and Ohio. They were the first to enter into trade relations with Europeans, and thanks to their mediation, trade began to develop between the French and other tribes. Today, about 4 thousand Hurons live in Canada and the United States. More details here

The Mohicans were a once powerful union of five tribes, numbering about 35 thousand people. But already at the beginning of the 17th century, as a result of bloody wars and epidemics, there were less than a thousand of them left. They mostly disappeared into other tribes, but a small handful of descendants of the famous tribe live today in Connecticut.

Iroquois. This is the most famous and warlike tribe in North America. Thanks to their ability to learn languages, they successfully traded with Europeans. A distinctive feature of the Iroquois is their masks with a hooked nose, which were designed to protect the owner and his family from disease

This is a map of the settlement of Indian tribes, large and small. One large tribe may include several small ones. Then the Indians call it "union". For example, "union of five tribes", etc.

Another study on human settlement on the planet turned into a sensation: it turned out that the ancestral home of the Indians was Altai. Scientists talked about this a hundred years ago, but only now anthropologists from the University of Pennsylvania, together with colleagues from the Institute of Cytology and Genetics of the Siberian Branch of the Russian Academy of Sciences, were able to provide evidence of this bold hypothesis. They took DNA samples from the Indians and compared them with the genetic material of the Altaians. Both were found to have a rare mutation on the Y chromosome, passed from father to son. Having determined the approximate rate of mutation, scientists realized that the genetic divergence of nationalities occurred 13-14 thousand years ago - by that time the ancestors of the Indians should have already crossed the Bering Isthmus to settle in the territory of the modern USA and Canada. Now scientists have to find out what made them leave a place that was comfortable in terms of hunting and habitat and set off on a long and dangerous journey

Alfredo Rodriguez.

Kirby Sattler

Little Bear Hunkpapa Brave

Robert Griffing

Charles Frizzell

Pow-WowSinger

Cun-Ne-Wa-Bum, He Who Looks at the Stars.

Wah-puss, Rabbit. 1845

Elbridge Ayer Burbank - Chief Joseph (Nez Perce Indian)

Elbridge Ayer Burbank - Ho-Mo-Vi (Hopi Indian)

Karl Bodmer - Chief Mato-tope (Mandan Indian)

Gilbert Stuart Chief Thayendanega (Mohawk Indian)

Ma-tu, Pomo Medicine Man, painting by Grace Carpenter Hudson

Sitting Bear – Arikara

These words were spoken by Venezuelan President Hugo Chavez at the opening ceremony of an aqueduct in one of the formerly forgotten villages in the state of Zulia on October 12, on the occasion of a date that was formerly celebrated as “Discovery Day of the Americas” and is now celebrated in Venezuela as the Day of Indian Resistance.

But the mystical connection with the spirits of animals and forefathers cannot be maintained without an Intermediary - a shaman. His power is enormous, and second only to the power of the leader - unless he combines both of these roles. The shaman causes rain and disperses clouds, he makes sacrifices and protects from enemies, he sings and conjures peace.

American Art - Indian Culture

Shamanism and totemism, long forgotten by Europeans, shocked the white people: it was like a return to the deep childhood of humanity, almost erased from memory. At first, the newcomers from Europe sneered at the “savages”; but centuries later they recognized in the Indians themselves thousands of years ago, and laughter gave way to awe at the ancient secrets.

The mystical culture of America is still alive. It was she who gave the world the great shaman Carlos Castaneda - and at the same time cocaine and hallucinogens. In the visual arts, Indian America is imbued with witchcraft; translucent shadows and animals with human eyes, silent menacing shamans and decrepit totems - these are the favorite images of art on Indian themes.

Alien eyes

The art of every great civilization is special and unlike other traditions. In America there were several great Indian civilizations - and all of them were surprisingly different from everything known and familiar in Eurasia and Africa.

The wonderful and strange Indian style did not interest the gold-hungry conquistadors; when they became a thing of the past, people of art peered with curiosity at the paintings and decorations, at the temples and outfits of the natives of America.

It’s impossible to say right away what the key to this style is. Maybe this is “primitive” minimalism: in the paintings of the Indians there are no unnecessary details, their sketches amaze with their laconicism and incredible persuasive power. It seems as if some gods discard the little things, leaving the very essence of their creations in their original form: the intangible ideas of ravens, deer, wolves and turtles...

Rough and angular lines combined with the brightest colors are another sign of Indian art adopted by modern stylists. Sometimes such creations resemble something between cave paintings and the mating dance of a peacock.

Nostalgia for the Golden Age

But all this still does not explain the attractiveness of the heritage of Indian America for contemporary art. To get the answer, we'll have to go further.

The most important and terrible disappointment of ancient humanity was the transition from free hunting and fruit gathering to agriculture and cattle breeding. The world, built on treating nature as a mother, collapsed irrevocably: in order to feed themselves, people had to turn the earth into a cash cow, forcibly plowing it and mercilessly cutting off the stalks of wheat.

Man, hitherto free and inseparable from the world around him, became its master - but at the same time a slave. Bitter lament for the loss of a trusting relationship with nature and God - this is the content of all the myths and legends about the past Golden Age, about the lost paradise, about the taste of sin and the fall of man.

But the Indians did not fully experience this catastrophe, which was as inevitable as saying goodbye to childhood. When the Europeans came to them, the simple-minded aborigines were much closer to the face of pristine nature; they could still and had the right to feel like her beloved children. And the Europeans could only envy and destroy.

The artistic world of Indian America is the last gift of a forever-gone primitive culture. We can only carefully preserve it. Just as our distant descendants will preserve the last paintings and films with animals and trees - when we finally destroy nature on the planet and begin to cry about the lost green world. After all, the history of mankind is a history of inevitable losses and the constant setting of the Sun: without this there would be no dawn.

Painting

In the field of painting, as in jewelry, basketry, and pottery, the southwest region was at the forefront of the Indian Renaissance that has been observed in recent times. His leadership was due in part to the fact that the people of the area avoided the destruction of their way of life and culture that the East and West Coast tribes faced, as well as the complete removal and removal from their homelands that the Plains and Southeast Indians experienced. The Indians of the southwest went through humiliation and poverty and periods of bitter exile and exile; but on the whole they managed to remain on the lands of their ancestors and were able to maintain a certain continuity of lifestyle and culture.

In general, in the United States there are a lot of artists of various schools and directions; but it is such a large country that there is very little communication between the various cultural centers; The existence and fruitful work of exceptionally gifted and talented artists may be unknown in the distant New York and Los Angeles areas. These two cities are not the same cultural centers as London, Paris and Rome are in their respective countries. For this reason, the existence in the southwest of a unique school of Indian artists, if not ignored, did not play a role comparable to the talents represented in it. In a smaller country, such an original movement would certainly receive immediate and long-term recognition. For half a century, Native American artists of the southwest created remarkable work full of vibrant originality. Interest in them, as well as in Indian literature, gives hope for the increasing role of Indian art in the entire American culture.

Shortly after the end of World War I, a small group of white artists, scientists, and residents of Santa Fe and the surrounding area created a movement called the Santa Fe Movement. They set out to introduce the world to the powerful creative potential that the Indians possessed. As a result of their efforts, the Academy of Indian Fine Arts was created in 1923. She helped artists in every possible way, organized exhibitions, and eventually Santa Fe became one of the most important centers of fine art in the United States, equally important for both Indian and white artists.

Surprisingly, the cradle of modern Indian art was San Ildefonso, a small Pueblo settlement where the star of the famous ceramics masters Julio and Maria Martinez was rising at that time. Even today, San Ildefonso is one of the smallest pueblos; its population is only 300 people. Even more surprising is that the founder of the movement to revive Indian art is considered to be Crescencio Martinez, the cousin of Maria Martinez. Crescentio (Abode of the Elk) was one of the young Indian artists who, at the beginning of the 20th century. experimented with water paints following the example of white painters. In 1910, he was already working very fruitfully and attracted the attention of the organizers of the Santa Fe movement. Unfortunately, he died untimely from the Spanish flu during the epidemic; this happened in 1918, when he was only 18 years old. But his initiative was continued; soon 20 young artists were working in San Ildefonso; Together with talented potters, they worked fruitfully in these little Athens on the banks of the Rio Grande.

Their creative impulse spread to the surrounding pueblos and eventually reached the Apaches and Navajos, drawing them into this “creative fever.” In San Ildefonso itself, another famous artist appeared - it was Crescenzio’s nephew named Ava Tsire (Alfonso Roybal); he was the son of a famous potter and had Navajo blood in his veins. Of the other outstanding masters of art during the real surge of creative energy observed in the 20s and 30s. XX century, we can name the Tao Indians Chiu Ta and Eva Mirabal from the Taos pueblo, Ma Pe Wee from the Zia pueblo, Rufina Vigil from Tesuque, To Powe from San Juan and the Hopi Indian Fred Kaboti. At the same time, a whole galaxy of artists from the Navajo tribe emerged, known for their ability to quickly assimilate and original, original processing of creative ideas; Here are the names of the most prominent of them: Keats Begay, Sybil Yazzie, Ha So De, Quincy Tahoma and Ned Nota. Speaking of Apaches, Alan Houser should be mentioned. And as if to top it off, at the same time, the Kiowa’s own art school was created on the Plains with the financial support of white enthusiasts; The founder of this school is considered to be George Kebone. And the Sioux Indian artist Oscar Howie influenced the development of all Indian fine arts.

Today, Native American art is one of the fastest and most vigorously growing branches on the tree of American sculpture and painting. The modern Indian artist is close to abstract and semi-abstract motifs, which are well known to him from traditional Indian patterns on leather items made of beads and porcupine quills, as well as on ceramics. Showing a growing interest in their past, Native American artists are trying to rethink the mysterious geometric images on ancient ceramics and find new creative approaches and solutions based on them. They study such trends in modern art as realism and perspective in order to find their own original style based on them. They try to combine realism with fantasy motifs inspired by nature, placing them in a limited two-dimensional space, which once again evokes an analogy with the art of Ancient Egypt. Since ancient times, Indian artists used bright, pure, translucent paints, often only the main components of the color scheme, while adhering to individual color symbolism. Therefore, if, in the opinion of a white man, he sees only an ordinary pattern, then the Indian looking at the picture penetrates much deeper into it and tries to perceive the true message coming from the artist who created the picture.

There is no place for dark tones in the Indian artist's palette. He does not use shadows and light and shadow distribution (what is called the play of light and shadow). You feel the spaciousness, purity of the surrounding world and nature, the ebullient energy of movement. In his works one can feel the vast expanses of the American continent, which greatly contrasts with the gloomy, closed and cramped atmosphere emanating from the paintings of many European artists. The works of the Indian artist can probably be compared, albeit only in mood, with the life-affirming and endlessly open paintings of the Impressionists. Moreover, these paintings are distinguished by deep spiritual content. They only seem naive: they contain deep impulses from traditional religious beliefs.

In recent years, Native American artists have successfully experimented with the abstract movement of modern art, combining it with those abstract motifs, or at least seemingly so, found in basketry and ceramics, as well as similar motifs of religious signs and symbols. The Indians also showed abilities in the field of sculpture; they successfully completed extensive frescoes that flow into each other and once again proved that in almost any form of modern art their talent and imagination can be in demand and in any of them they can show their originality.

It can be concluded that, despite the general decline of traditional forms of Indian art (although there are a number of very important exceptions to this trend), the Indians not only have not squandered their creative potential and have not lost their creative abilities, but are also trying more and more actively apply them, including in new, yet untraditional directions. As the Indian people enter the 21st century. with hope and ever-increasing energy, there will be a growing interest not only in individual Indian artists, but also in Indians in general; to their spirit, to their attitude towards life and way of life. In turn, the art of the white man will only be enriched by absorbing the bright and unique originality of Indian art and the entire Indian culture.