section) and in recent past, works of Bengal schools of art and art movement by Abanindra Nath and Nandalal Bose of Visva Bharati, followed a special style of body proportions, (Kamrisch, 1924). The units of palm lengths measure human body.
Elongated but proportionate to each human body parts that helps expressing the essence of the story or theme. Contemporary art forms, e.g., work of Yamini Roy, presented bigger than normal size body parts to express specific importance to the personality, Fig. 39.
An identity to Indian art have come to fore through depicting geographic specialty, flora and fauna, varieties lifestyle, culture, festivals, faith and rituals, and ornamentations and decorations. In Fig. 40, the Ladle with Siva-shakti form a typical Indian Hindu symbol, can be said a utility art items; similarly a mythological owl, Fig.
41, (The Telegraph Magazine, Graphiti, 2005) can be cited as typical Indian in terms of its ornamented appearance. In addition, similar approach with Indian socio-cultural emotion can be seen, e.g., in Raja Ravi Varma’s creations, the theme of these works is mythological and depictions of fimale figures and dresss in the work have Indian character, Fig. 42. It draws our attention, what specific elements make these to perceive Indian in typical.
Buddhist influences, Fig.43 (Gangtok, Sikkim) with specific features of China, Japan and neighbourhood are also found plenty in North and Northeast region of country.
This confirms that not only the origin of this land, elements from outside India have also been welcome to blend with Indian identity. Question comes, how much of these are to be considered.
Artifacts and its design for functionality
Man made objects, i.e. artifacts, for example, a tool or an ornament, especially one that has archaeological or cultural interest may not be always functional. Instead it may be used only as decorative items without any functionality. Some special artifacts or designed objects expected to be functional which we know as utility items. Therefore, the measurements and proportions of these have to be realistic and created to be functional as well as aesthetic appealing too. Question comes, when art items also serve function, create ambient suitable to different needs. Then,
if we want to identify elements to give specificity to a design how to differentiate between art elements and design elements. It would be very difficult to draw separator lines between the elements; can it be application specific? As example, T- shirt graphics depicting Ravana from Ramayana, Fig. 44, and Indian sacred symbol ‘OM’, Fig. 45, (The Telegraph, Graphiti, 2005) that becomes a global metaphor for peace and brotherhood, tell us about artistic modulation of ancient theme as well as direct letter imprint has become design application.
It would be good, if the prevalent art and artifacts are observed. These bear the marks of socio-cultural influences from time to time, and present various elements through product specific filtration. Appropriate use of these elements would give a regional identity of the Indian produces.
Use of design elements
Identity could not only be crude copy of the geographic specialty, flora and fauna varieties, but it also should bear the signature of lifestyle, culture, festivals, faith and rituals; and would reflect as an overall appearance. Some representative abstract forms can be developed with various permutation and combinations of these elements, and can be used as identifiable mark.
One example can be given in support of this attempt, e.g., Agricultural produces of Northeast may be represented with a simplified form of pineapple with a boundary boarder of motifs taken from Bihu dress of Assam to express its identity that it is from Assam. Similar examples of pineapple form with red and black lines to mention its Nagaland origin. Series of such symbols can be developed. These may be termed as the crude use of elements. Assam Oil’s corporate symbol depicting rhino is also a crude transformation of the flora-fauna of this region with rhino predominance.
National game’s (scheduled for 2006 to be held in Assam) mascot with rhino-headed man carrying game torch, (source: Sports authority of India, Guwahati) and Mithun’s headgear are also can be said a crude transformation, Fig. 46, (Guwahati, Imphal) of such local features.
Functional components may be adopted from various sources to achieve intended function of the product and system but some specific signature of regional flavour would bear identity of its origin. How abstraction of these applications can be made in practice?
Search for elements
Search should be on the representative elements from major contributor sub groups of the Northeast population and ways to find out how appropriately these can be used. Abstract transformation of Northeast features is not much seen. It should carry the essence and ethos of its people and environment of origin.
It would be an appropriate idea to see the different types of culture and traditional values prevalent in this region and to see various utility items; enquire about them, study their origin and their social and functional value. Try to identify elements from them, find out the commonality, and try to use them while conceptualising various possible design uses.
To fulfill this need many factors are responsible. To begin with, the below attempt was made to document representative local artifacts and various culture relevance, and to analyse these viewing to get common as well tribe specific elements that can contribute towards design specificity from Northeast region.