#thota

[bloorpeon]

Rough sketch of Baby Bird (the accidentally acquired infant from The Ghosts of The Aequitas)

Chapter 3 will be out soon <3

[thunderstruck9]

Thota Vaikuntam (Indian, 1942), A Portrait of a Woman in Purple & Yellow. Acrylic and ink on paper, sheet: 15 x 10 3/4 in.

[psikonauti]

Thota Vaikuntam (Indian, b. 1942)

Untitled, 2012

Acrylic on canvas

[bhrm555]

Untitled 3 & 4 by Thota Vaikuntam

[loveshotzz]

bouncer!steve? imma bounce on that dick if he’s gonna be so hot AND so boyfriend material! damn!

bouncer!steve is both hot and baby girl, it’s truly a deadly combination.

[polymorphousculturevulture]

Thota Vaikuntam - TV Untitled 7

[artetcarticleblog]

Thota Vaikuntam’s growth and his footprints in western comic

Thota vaikuntam prints is a renowned contemporary Indian artist from Telangana, a state that has served as a constant source of inspiration.

https://artetcs.com/thota-vaikuntams-growth-and-his-footprints-in-western-comic/

[dcpl73]

Thota Vaikuntam Art at Laasyart – Iconic Indian Paintings

INTERVIEW WITH LEGENDARY INDIAN ARTIST THOTA VAIKUNTAM

Known for his boldly colorful depictions of the rural people of Telangana and recognized for his particular bright yet earthy color palette, ​​Thota Vaikuntam is one of the most popular Indian artists living and working today. On my recent trip to India, I sat down for a chat with Mr. Vaikuntam to share his story with Laasya Art, having had the pleasure of knowing him for over a decade.

Do you remember when your interest in art was aroused?

I guess it must have been in childhood, can’t really say. Like all children in a village, I used to watch street plays, puppet shows and folk dance dramas that would be enacted regularly through the year. Often, these performances would go on throughout the night. I was fascinated by the characters they portrayed — Bhima, Hanuman — their costumes and supernatural strength. I would come home and draw them from memory! As my skills improved, I was able to fine-tune these drawings, closer to reality. When I became older, I sometimes even participated in the performances — I loved to put on colorful costumes, paint my face. I would say that is how I ‘entered’ the area of ‘art’ without knowing what art is!

Then, when I was in middle school, I would go to the nearby temples and draw the figures sculpted on the pillars and walls. I would sometimes skip school to do that! And, one of my friend’s family had a shop, and I would make posters for special deals they were offering or new products. I did not know anything about design or the commercial part of it, but still I did it.

I also had a teacher later in school who would often talk about what is design, what is landscape, how to depict nature, and so on. I learned many things from him. After matriculation, I didn’t know what to do. Somebody mentioned a college in Hyderabad called the College of Fine Arts. That’s when I got the feeling I should go there.

How did you get into art school? Was your family supportive of the idea?

We are from the bania/vyapari community. My father was a trader, a businessman. He traveled a lot. He made sure the house had all the commodities it needed. So money was not a big problem in the family. The bania community is thrifty, always believing in saving money. We were not very rich, but not poor either.

After I finished school, I did not want to continue academic studies. One day, I heard about the College of Fine Arts and was intrigued about studying art, sketching, drawing, painting all day. But my father refused to give me the money to enroll in such a college. What will you earn making paintings, he asked.

What was the experience like to go to art college in a big city like Hyderabad, especially growing up in a small town?

What did you do after you graduated from JNTU?

I went to MS University in Baroda, where I stayed for two years. When I went to Baroda, my teachers asked me upfront, what do you want to do? You have already studied for six years. But still, I had not planned a particular subject matter or style for my practice. I was also interested in music. Then legendary Prof. KG Subramanyan (Manida) met me and we had a detailed talk. He told me upfront, first you decide what you want to do — figure out what you want to paint about, something that is unique to you. He asked me to think about the subject, focus on what is going on in my head. It made sense. I could see everyone around me working towards some kind of a subject, or goal.

After much thought, finally I said I wanted to work on the theme of culture in our villages. So Manida suggested that I go to my village for 15 days — Kaam karke aao (do some work and come back). He advised that I should not blindly imitate the style of successful artists, but I should study how they have developed their own signature style. Manida told me gently, I should pay keen attention to the details of the village, understand it in depth, not just superficially. And he said to come back to him when I was ready. He was such a gentleman!

I used to do abstract work at that time. Then I turned to figuration. I made many different kinds of paintings in the 15 days that I had gone home. Every day I asked myself, what should I do? Why did I do it? I had gone to the right teacher.

What was it like to have Manida as a teacher?

I was very close to him. So wise, so knowledgeable. He would look at my work and say, yes, you are getting there. Continue to develop your style. But he spoke very little and never much about the work.

Where did your artistic journey go from there?

When did you start getting some recognition as an artist?

About when I was 45. I was married with children. I had found a job, working as a teacher in Bal Bhavan. This job was like a second mother to me. It gave me stability. I was quite happy; I would sit at my desk and draw. The students watched me and began drawing too!

When did you get the job at Bal Bhavan?

When I was 40, I think. For 10 years before that, I had no job and faced hard times, living in a small room. Even when I got the job, the salary was Rs. 150 or something, but in those days things were not so expensive and we managed. Senior artist Suryaprakash helped me a lot. He organized exhibitions in which my works were displayed, so I was able to sell my works and that increased my confidence. I was about 50 years old then. I also started getting invited to art camps. There I could make large paintings as the organizers got us all the materials. Money started trickling in slowly.

When did you leave the job at Bal Bhavan? Did that free your mind to devote yourself to painting?

What was the most challenging time in your life?

The decision regarding what to do was the most difficult — trying to find something unique as an artist. That took a very, very long time for me. Then when I got married and began raising a family, there was little money. I used to make some money doing illustrations.

Between the ages of 25 and 40 when you found a job at Bal Bhavan, did you ever think of leaving art?

Yes. Many times. But I could not do anything else. My wife was most supportive and the children most undemanding…

Can you name three people you consider important to your success as an artist?

Of course, you found your signature and have developed your own distinct style of depicting village life. You use a lot of bright, primary colors in your works — why so much attraction to these colors?

My subject has always been the village. And villagers like only bright colors!

Lastly, which medium did you like the best?

Charcoal is very important. Everybody starts from drawing — pencil or charcoal.

Thank you so much, Vaikuntamji.

To browse our curated collection of contemporary paintings and fine art prints by Indian artist Thota Vaikuntam, visit https://laasyaart.com/thota-vaikuntam. If you would like to make an appointment to see these works in person at our Indian art gallery in Palo Alto, please reach out at info@laasyaart.com or +1 650-770-9088.

— Sonia Patwardhan

[thotavaikuntam]

Thota Vaikuntam

Thota Vaikuntam, born in 1942 in Boorugupalli, in undivided Andhra Pradesh, is an iconic Indian artist renowned for his vivid portrayal of rural Telangana. His work, deeply rooted in his cultural heritage, stands out for its celebration of native simplicity and beauty. Thota Vaikuntam paintings are a testament to his fascination with the vibrant spirit of Telangana’s people, particularly its women, who dominate his artistic universe with their grace and charm.

Early Life and Artistic Foundation

Vaikuntam’s journey into the world of art began at the College of Fine Arts and Architecture in Hyderabad, where he earned his diploma in 1970. His artistic skills were further refined under the guidance of Prof. K. G. Subramanyan at M.S. University, Baroda, through a Lalit Kala Akademi Fellowship in Painting and Printmaking. While he briefly explored abstraction, it was the essence of his homeland that ultimately captured his heart and defined his career.

Themes and Techniques

Thota Vaikuntam paintings are unmistakable, characterized by bold primary colors, intricate lines, and detailed figures that embody the essence of rural life. His choice to work exclusively with primary colors stems from his belief that these hues reflect the purity of nature. Against these vibrant backdrops, he captures the everyday lives of Telangana’s men and women, transforming them into timeless muses.

The village women in his works, with their dark complexions, almond-shaped eyes, and voluptuous forms, are adorned with vermillion bindis, colorful sarees, and elaborate jewelry. These recurring motifs often echo Vaikuntam’s memories of his mother, who wore bright sarees and large bindis, leaving an indelible mark on his artistic psyche. His men, often depicted playing flutes or interacting with nature, add a harmonious layer to his compositions, creating an enchanting rural tableau.

Exhibitions and Recognition

Thota Vaikuntam’s artistry has captivated audiences globally. His first solo exhibition in 1973 at Kalabhavan, Hyderabad, marked the beginning of an illustrious career. Over the years, his works have graced prestigious galleries, including Thota Vaikuntam: Redefining the Cultural Gaze with Art Alive Gallery (2024), Grosvenor Gallery in London in collaboration with Art Alive Gallery (2015), Jehangir Art Gallery in Mumbai, and Sanskriti Art Gallery in Kolkata.

Internationally, Thota Vaikuntam paintings have been showcased in group exhibitions such as the India Art Fair, Aicon Gallery in New York, and 1x1 Gallery in Dubai. His distinctive style has garnered numerous accolades, including the Bharat Bhavan Biennale Award (1999) and the National Award for Painting (1993). His contributions to Indian art have also been documented in publications like Thota Vaikuntam: Redefining the Cultural Gaze, Rustic Ragas and Thota Vaikuntam: The Man and His Women.

[archerartgallery]

https://www.archerindia.com/thota-vaikuntam

Thota Vaikuntam: Paintings, Prints and Limited Edition Serigraphs

Explore the exquisite collection of paintings, prints, limited edition serigraphs, portfolios, and drawings by artist Thota Vaikuntam. Available now at affordable prices.

[gallerienvya]

The Impact of Indian Painters in the Dominance of Art

Indian artistry is described by its rich social legacy and variety. Artists like Jamini Roy drew motivation from customary Indian society artistry and utilized energetic varieties and basic structures to make convincing works. His style was a take-off from Western impacts, zeroing in on topics from Indian folklore and provincial life.

[thunderstruck9]

Thota Vaikuntam (Indian, 1942), Untitled. Acrylic on canvas, 10 x 8 ⅛ in.

[psikonauti]

Thota Vaikuntam (Indian, b. 1942)

Untitled, 2017

Acrylic on canvas

[subbareddy]

From Bureaucracy To Politics, Dr. Thota Chandrashekhar Has Left No Stone Unturned

As the President of the BRS party, Dr. Thota Chandrashekhar, a retired IAS officer with a MSc and a PHD, has been making waves in Andhra Pradesh. Dr. Chandrashekhar has gone above and beyond in his efforts to change the state, drawing on his impressive political and bureaucratic experience. A rare honor for an ex-IAS officer is that Telangana Chief Minister K. Chandrashekhar Rao recently appointed him as the President of the AP BRS. Dr. T Chandrashekhar's new blood donation crusade, which saw in excess of 100 individuals give blood, was only one of his numerous drives pointed toward working on the existences of individuals, and he likewise coordinated the planting of trees on Telangana Chief Minister K. Chandrashekhar Rao's birthday, featuring his obligation to natural manageability. His accomplishments go past these new occasions. As a previous IAS official, he has a noteworthy history of public help. During his time in the common help, he served in different limits in the public authority of Andhra Pradesh, including as the Collector of East Godavari region, Joint Secretary in the Division of Modern Approach and Advancement in the Service of Business and Industry, and Chief General of the Public Foundation of Customs, Extract, and Opiates. Dr. Thota's work as Collector of East Godavari Locale was especially remarkable. During his tenure, he implemented a number of novel initiatives, such as a project to promote organic farming and a program to empower rural women. The district became a model for sustainable development under his leadership, with an emphasis on agriculture and rural development. Dr. Chandrashekhar has been involved in politics in addition to his work in the civil service. Since then, he has put in a lot of effort to advance the party's agenda and effect change in the state. Dr. Chandrashekhar has voiced his disapproval of Andhra Pradesh's current situation. He has been straightforward about the unfortunate condition of framework, the absence of water system and drinking water, and the developing issue of joblessness. Additionally, he has criticized the state's political leadership, claiming that they have not kept their promises to the people of Andhra Pradesh. Notwithstanding these difficulties, Dr. Chandrashekhar stays hopeful about what's in store. He is of the opinion that the BRS party will emerge as a viable alternative to the state's current political parties. He has illustrated an unmistakable vision for the party, zeroed in on advancing supportable turn of events, enabling ladies, and working on the existences of individuals of Andhra Pradesh. In conclusion, Dr. Thota Chandrashekhar is a remarkable person who has worked for the public good all his life. His most recent tree planting and blood donation campaigns are just the recent manifestations of his unrelenting efforts to improve the lives of others. His great history in the common assistance and his obligation to legislative issues have assisted him with turning into a strong voice for change in Andhra Pradesh. The state's future appears to be very bright with Dr. Chandrashekhar in charge of the Ap BRS Andhrapradesh.