Wildlife art and illustration: some experiments in Auroville, India

Main Article Content

M.E. Ramanujam
S.J. Brooks

Abstract

The various media experimented with and some experiences have been discussed. The difference between traditional animal art (where religious and anecdotal insinuation, decoration and function are the onus) and wildlife art (where exactness to the natural form is the catchword) has been reiterated. The present schools of wildlife art (American and European) have been touched upon and so has the theory of our fascination for wildlife art.

Article Details

How to Cite
[1]
Ramanujam, M. and Brooks, S. 2011. Wildlife art and illustration: some experiments in Auroville, India. Journal of Threatened Taxa. 3, 4 (Apr. 2011), 1702–1710. DOI:https://doi.org/10.11609/JoTT.o2673.1702-10.
Section
Conservation Applications
Author Biographies

M.E. Ramanujam

M. Eric Ramanujam has been a wildlife illustrator for nearly two decades. Since 1997 he has been involved in full time conservation and has undertaken wildlife surveys in the Kaliveli region and Adyar wetland complex. His main sphere of interest is the natural history of the Indian Eagle Owl Bubo bengalensis. He heads the design and art studios in Pitchandikulam.

S.J. Brooks

S. Joss Brooks established Pitchandikulam, a forest community in Auroville, and was one of the pioneers of re-establishing the indigenous coastal vegetation of this region. He is the lead consultant to the prestigious Government of Tamil Nadu’s Tholkappia Poonga eco-restoration project in Adyar, Chennai.