Abstract

This paper proposes a discussion regarding the traditional practice of printmaking in the Santiniketan. Here comes the argument that how the continuous practice of printmaking within students, teachers and significant artists transcend local histories and conventions. Besides, local histories santiniketan’s departmental environment of the Kala Bhavana helps us to maintain the traditional practice with its own glory. The statement does not portray the relation between contemporary and traditional art as necessarily antagonistic but instead as productively dialectical.

Keywords: Traditional Practice, Visual Art, Printmaking, Planography.