P. V. Janakiram has perhaps taken over from where Bhagat left. In sculpture, particularly in the Indian tradition, the aspect of ‘frontality’ has been very important, both in a cave and temple sculpture.
Prompted by the situation and trends, Janakiram has chosen to create a pictorial sculpture in sheet-metal as free-standing forms and embellishing their surface with linear elements.
Their presentation bear the look of deities or incarnations with their details and signification.
Through their elaborately crafted frontality, Janakiram lends an apparent indigenous character to his sculptures. However, these details are not primary to the essential grasp of volume, and thus, to the intrinsic law of sculpture.
He freely used the ‘open-mindedness’ of his forms in characteristic indigenous workmanship. But then this was his achievement as well as his limit.
|Durga (P. V. Janakiram)|
For, he was moving closer to the originals in the traditional imagery and their iconographic descriptions prescribed in the ancient disciplines.
His Krishna, Shakti, Ganesha, and Christ are some typical examples of his work of the 1970s. reveals his extraordinary ability in harmonizing elaborate linear details into the overall form.
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