Introduction to the

Bengal School of Painting

I n t r o d u c t i o n

olonial colonial empire

empire harmed a lot
the Indian
to
Tvawcagore So
Long

painters and critics painting and pledged relating to that.

opean pa: thought their well-being even in
B ies., For that Indian painters caused to exposing their art and their
give this belief that there was no excellence
SPty) in traditional art developed in India. In the beginning of 20th century, many
( q u a l i t y )

Indian
young
anS, who were in favour of English language and European life-style, unreasonably for
Jheir selfishness, were not only supporting the mispublicity being done by the English but also
theirs e l f i s h

ad evaluating of any success on European standards or

parameters.
an the rulers and feudal chieftains of small estates seemed not only praising the European
Even
nlture but also feeling themselves glorified in adopting and assimilating that and whenever
and
nd wherever could be possible, especially in front of British rulers, started to understand
their glory in insulting the Indian culture and its traditional values and to avoid them. In that
ade, vehemence and ostentation had increased to such an extent that some influential Indians,
age,
meeting with European artists, started painting the Indian goddesses and gods and heroes
in Earopean style as if they were their friends. Sometimes they painted Lord Shiva wearing
European clothes and sometimes showed Lord Krishna driving a pheaton. They were of the
opinion that there was nothing specific in Indian works of art of painting and sculpture except
sexuality or libidinousness (eroticism) and exciting emotions.
In those circumstances of being in distress, Raja Ravi Varma and Abanindranath Tagore,
with their own efforts, glorified the Indian Art and produced new feelings in the Indians with
the idea of creativeness so that the self-respect of the Indian art did the task of Renaissance.

Origin and Development of Bengal School of Painting

The Bengal School of Painting came into existence in the beginning of the 20th century A.D.
when Indian painters and artists not only raised their voice against the activities of the
British Art Academy but also started separating themselves following blindly the lifeless
style of the Western realism. Owing to nationalistic movements, then, in place of that, the
Indian prosperous tradition and values were started to re-seen honourably.
In that time of distress, some such famous artists came into light that fearlessly gave the
art movement a new direction. The leaders of this tradition were-Raja Ravi Varma,
Abanindranath Tagore, Gaganendranath Tagore, Rabindranath Tagore, Nandalal
Bose and Jamini Roy. In this good cause, Prof. E.B. Havell, Principal of Government Art
School, Kolkata co-operated them. Havell was not in favour of the tradition of copying the

69
 Artist: Jamini Roy,
Water Colours on
Card
70 Artist: Abanindranath Tagore
History of Indian
Art-xI Oil Colours on Canva5
 nainting. Therefore, in 1904, he, getting the specimens of the European painting

tern relics, removed from the art gallery of the school. In place of them, getting to
Europear

a n dt h e w e s t

dhe
bepla
paintings of Ajanta, Bagh, Ellora, the Rajput and the Mughal to encourage the
ced the painting:

which were ideal and plentiful in Indian life.

art
indian

dranath's painting of Bharat Mata created tumult among the agitators. It was
used amalgamation of technique of
tural to be praised and criticised everywhere.
natural
He

uronean water colour-the blend of tempera and wash of Japan, to produce effect
dhe
in naintings like dreamland. That blended form became the symbol of the Bengal
that he
impressed
Havell with him and his work
of paintings. Professor E.B.
was so
strle
his school of art. In guidance
aDpointed him the Vice-Principal and head of the faculty of art of
of studying deeply the styles of Ajanta,
d Mr. E.B. Havell, Abanindranath got inspiration
on Bengal paintings can be clearly seen.
Bagh, the Rajput and the Mughal arts. Their effect
tenderness of
The painters of the Bengal school remained successful in producing the linear
Ajanta, rhythm and winsomeness excellently. In these paintings we can see and feel the effect

ofthe Mughal and the Rajput styles.

Tne Bengal school of painting has laid down the foundation-stone of the modern paintings.

Anong the elegant disciples of Abanindranath were-Nandlal Bose, Asit Kumar Haldar,
Kshitindranath Majumdar, Devi Roy Chowdhury, Shardacharan Ukil,
Prasad
Shailendranath Dey, Mukul Dey, Surendra Ganguli, Ravi Shankar Rawal, A.R.
new heights to the Indian art.
d A. Venketappa, who, with their techniques, gave
incidents but also landscapes,
odP10d, only the religious, social and historical
not
portraits animals and birds were painted in that style.
QUESTIONS FOR PRACTICE

OB-JECTIVE TYPE QUESTIONS

1. Choosel below.
e c t a suitable answer of the statement given
(im + h Taoore in Tndian ort aro allod
 Study oI the Paintings
of the Bengal School
folowingpaintingnos of the Bengal Sch0ol have been selected for
study:
J o u r n e y ' sE n d

Name Journey'sEnd
Painter :Abanindranath Tagore Period Modern
Medium Water colours on paper Techniquue :Tempera and wash
Circa Collection : National Gallery of Modern
1937 A.D.
Art, New Delhi

DESCRIPTION
hpainting, with tempera and wash technique of water-colours, was painted by-
indranath Tagore in 1937 A.D. Having been published in Bengal magazine Pravasi,

73
 time.
In
this
pieture heen show
has been
a
recognition
first
h1s b a c k
tied with came
great
creation of art got
goods
laden on
s shown
his
the
massive
colours. The tem.
colour and
wth
yellow-brown

black,
brown
and yellow
his listlesoL
nent nand
of blue, shown

by the proper
combination

and thirsty
camel
has been
body by his
tired, hungry
Sufferings ofthe weak,
Journey's End.
half-opened eyes as ultmate and tyranny
exploitation a n d .

back is the
symbol of his by
load laden on his to his owner m

Therefore,
massive raithful
The wants to be
remained

this animal
his owner. Nevertheless, To clarify the c a m e l ' s +.

tries to stand up again. mien

he
with all his might and courage,
the shade of blue colo
beneath him with
1

and image, the painter has given

the stones Inthe
and brown colours, the paintas
combination of red, yellow has
background, through the proper
at the time of sun-set,
shown the real feeling of redness in the
atmosphere of desert

A.D.). Tagore was born

Abanindranath
orn on
Artist-Abanindranath Tagore (1871-1951
Calcutta (now Kolkata), He
in
August 7, 1871, family at Jodasanko' in
afamous Tagore as

dedicated to art like his grandfather, father and elder brother.

It was the time when both the Indian art and traditions were declining due to mispropaganda
of the Britishers. But Abanindranath developed a new style with the co-ordination between
Indian tradition and European realism. Resulting that it was recognised as Modern Indian
Style of Painting.
In hispaintings, Abanindranath painted natural scenes, folk festivals,
history, public-life, fun
and frolics of Krishna, Shabiha and
numerous stories of the Purans
by tempera and wash
technique (wash is a Japanese technique). Among his most
famous paintings are-Bharar
Mata, Ganesh Janani, Birth of
Buddha, Buddha and Sujata,
Mahal, Death of Shahjahan, The Tisyarakshita, Tq
Evening of Life, and made by wash
Evening technique Fog an
Through the painting named Journey's End, he has tried to
mercy and sympathy, in the minds of the awalken human sensation as

spectators, toward their pets.

Rabirdrarau togore A Mn
Qmreses him Hwogh
ong
 and Sati
i h i v aa n d ,

Shiva and Sati

Nandalal Bose
Modern
errod
Paper
Midium
Sepia
(alour
1947 A.D.

43x 56 cm

lection
ational Gallery of Modern
Art, New Delhi

D E S C R I P T I O N

this
nting, the artist Nandal Bose has
In a mytholog event of Lord Shiva
sho s wife Sati (Parvati). This is a dramatic
depiction
o n offset
paper using the yellowish,
ish, violet and reddi colours in various
brownish

shades
and tones. In the ackground of the
picture,
the light and dark combination of
hrownish and yellowish colours have been used
which goes to merge with earth's
to show sky
surface looking undulating shape through
brownish and whitish colours.
violet,
In the centre of the picture, Lord Shiva and Sati have been depjicted prominently in the sad
at the Sati's faded face helplessly and
mood. Shiva has been shown in sitting pose looking
which is lying on his left knee in unconscious
stretching his both arms to support Sati's body saree to Sati's
bracelets and light red colour cover
state wearing necklaces, earnings, armlets,
body and sensitive organs.
Shiva's head. His forehead is looking
An of light yellow colour has been shown behind
behind his both shoulders. He is
aura

bright. His hair is tied with bun on the top but it is spreading a little bulky.
Shiva looking
is
around his neck. The torso of Lord
wearing necklace and a snake brownish and whitish colours.
blurred using violet,
Foreground of the painting is on
Bose was born at Munger (Kharagpur)
Artist-Nandalal Bose (1883-1966 A.D.). to the Vice-
at Art College, Kolkata, he was introduced
December 3, 1883. While studying short formulae of modern
Abanindranath Tagore, and
there he learnt tricks or
Principal, assist English mural painter
With the co-operation of Abanindranath, to and the Bagh
Bengal paintings. facsimiles of murals of the Ajanta
he was sent to prepare the the excellent paintings of
Lady Herringham, an opportunity
to come into
contact with

aves. In this way he got came wide maturity

and changes in his style.
ndian art. From this very place Returning of
Shiv Drinking Poison, Parthsarthi,
are-Sati, Ardhnarishwar, Vriksharopan,
mong his famous paintings
Shivlok, Sujata, Uma, Veenavadini,
famous.
Dandi March is very
adha, Swarnkalash, etc. His linocut made on
Dniy and Sati, Mother and Child, honoured him
Several universities
Bhavan'.
L 2 0 , he was appointed
as the Principalof 'Kala him with the
embellishment

the Government of
India honoured
particular titles. In 1961,
of Padma Bhushan'. 75
School
of the Bengal
of the Paintingss
Study
 Radhik,
Radhika

: Radhika

Va
: M.A.R. Chughtai Period Modern
Phinter
Water colours on paper Technique Tempera and wash
Medium
: 1940 A.D. Collection National Gallery of Modern
Circa
Art, New Delhi

DESCRIPTION
in 1940 A.D. with
tempera
rMohammad Abd Abdur Kehman Chughtai painted this painting
Mohammad been shown with emotion
using water colours. In this painting, Radhika has
ch te
andwash technique
to the waist. Two contiguous
eyes, bent down her neck, hair spread up
of half-opened
love,hal
and a special embellishment
is
her throat, one of them made of pearls
Llaces rounded a thread is hanging
from up to
neckla

from it. Another beautiful ornament like

nging downward
downward
She is putting on
hanging
bodice from that peeping out breasts.
transparent
nOver red-coloured downward but softly having
both the arms, out of them right hand hung
the
kangles and jewels
on
Krishna. With the other
hand she is touching
of
on that a bee showing
presence
transparent
hold a lotus,
tenderness. Below the loin
she is wearing a light violet,
her face and feels yellow-coloured stole
fower to forward far out and away. A
which is spread that thin
and loose
skirt (ghaghra)
to a great extent
has been showm. On
the waist and
the loose-skirt
(chunri) covering have been marked.
and red colours the
dark-brown reflected from
lines of and
with a special gleam
from the lamp (deeya) the s a m e colour.
The is scattering
light been shown by darkening
have
of the clothes emitting light,
w o r e . The crumples
clothes she decorated lamp (deeya)
shown an inordinately and yellow
has been c o m b i n a t i o n of red
In the background with the appropriate red and
its light, with glitter, shades of blended blue,
and the part lit by been coloured
with the
distant parts have gentleness and
colours. And the beautifully, with
has painted this
picture very have
lovelorn Radhika
colours. M.A.R. Chughtai temperaments of
yellow In this painting, the
colours and lines.,
rhythmicity of
born
been shown artistically. Rehman Chughtai w a s
Mohammad Abdur
(1897-1975 A.D.). in preparing
outline
Artist-M.A.R. Chughtai an important role
ancestors had performed Fort and the
Jama
A.D. His Mahal, the Red
in Lahore in 1897 as the Taj
world famous
buildings of the world-
period's had learnt the qualities
of the Mughal will-to-power, back to
dint of his he, after coming
Masjid. Abdur Rehman, by lifeless and therefore,
He felt the European
style
brothers. It is by
that technique he
standard painting. of Ukil
in closeness or theme
wash technique the subject-matter
learnt Japanese On the o n e hand,
India, paintings. w a s based
on the
r o m a n t i c i s m in his
develop On the other hand, that
tried to mythics.
based on the Hindu paintings in London,
paintings w a s He used to exhibit his
ofhis and Umar
Khaiyyam.
the occasions of meeting
with
of Mirza Ghalib, Iqbal remained getting
poetry he the
Due to that, maturity. After
Berlin and Philadelphia. developing into
Paris,
and consequently
remained
world-famous painters
the Lahore.
and settled in
of the country, he went School 79
79
partition
Paintings of the Bengal
Study ofthe
leghdoot
Meghdoot

Gopal Vijayvargiya Period : Modern

. Ram
yister Water colours
on paper Technique :Tempera and wash
aun Collection :Artist'sPersonal Collection
:1940A.D.
rca

sCRIPTION series.
of the paintings of Meghdoot
this is
Gopal Vijayvargiya 1940,
in one
Dam
t e db yR a m
has been delineated in artistic style.
co-ordination of colours, this painting
ellent rhythmicity in the
h t h ee x c

cottony clouds have been shown, with special

flving on white colour-scheme. Yaksha's
shown with real
and Yakshini have been
Hiding
and

Lovelorn Yaksha excellent body structure,

necklace on the throat,
made of pearls, pearl
a
v esky.
Mrear-rings a lotus flower
in his right
in hands and fingers, taking
nface, feeling of tenderness vivid shades yellow colour and in them (clothes) and
embellished with
the of the mind of the
viewer.
lothes lines, all these specialities
enchant
shown
in the
colourfull
her right hand has been
mieity by his back and have
Yaksha is sitting sticking Yakshini's hair
behind are embraced.
chini
aksh
in such a way as
if two lovers
made of pearls
is
Yaksha's chest A beautiful necklace
ting
outta
on
white flowered plait
or band.
cloth and below
tied with the breast with a
pink-coloured
iwen
DEEL
shown
throat. She is covering
her On her legs
are
around her have been shown crumps.
aDDearing cloth on which in eyes
lustrous yellow feeling of love
armlets. The
wearing a
the loin is she has worn
hands
and in both the
anklets as jewellery obviously. becoming
lips is seen the clouds
and smile on side and down n e a r
been shown blue
in upper composed with
the sky has foreground. This picture
The colour of shown flying in
the t e n d e r n e s s is a n

white birds have been with the feelings of

light. Four technique in Bengal
style together
the wash and tempera colours.
charming and
pleasing
c o - o r d i n a t i o n of w a s born
at a small village
excellent Vijayvargiya Bhanwar
Ram Gopal father,
Vijayvargiya. in 1905 A.D. His
A r t i s t - R a m Gopal School of Arts
district in Rajasthan, Maharaja
Karauli' in Sawai Madhopur admitted him in To
named interest in art, S h a i l e n d r a n a t h Dey.
c o n s i d e r a t i o n his of Guru
into supervision
paintings. By
mere
Lal, taking under the
he
education
night in making
There got continue day
and
and Crafts.
used to magazine published
for art, he Review, a n English
quench his thirst Editor of
Modern
w o m e n taking
pitchers on
Ramanand Chatterjee, shown three
coincidence, in which
was magazines
painting to various
his his paintings
Kolkata, published Then he sent Chand
rom a s Saraswati,
heads. In this way
he got recognition. Bharat, his paintings
heir addition to
Vishal and Urdu languages.
to be published; among
them in
magazines
of Gujarati, Bangla
e v e n in
the Shakuntalam, Meghdoot,
Madhuri were published Abhigyana
have been
4na
Hindi
paintings versatile genius. In
Vijayvargiya's He was a
prime themes of Satsai.
ne and Bihari of stories and1
Khaiyyam one compilation
Sambhava, Umar collections of
poems,
umar published three
he had
na Brijbhasha, books relating to arts. Academy
honoured him
about half-a-dozen the Rajasthan
Nisha, his excellent
named
'Abhisaar h o n o u r e d him for
collection of poems Rajasthan
Or his Government of Padma Shree.
The with the title of
Kavita Puraskar. honored him
The Government of India
writir and, in 1984 the 81
Bengal School
of the Paintings ofthe
Study
 QUESTIONS FOR PRACTICE

I. OBJECTIVE TYPE QUESTIONS

1. Choose/select a suitable answer ofthe statement given below.

()Journey's End is the paintingby Abanindranath Tagore with using ta
(a) Intaglio (6) Etching and Aquatint technique
(c) Lithograph d) Tempera and Wash
(a) Shiva and Sati' is the painting painted by

(a) M.A.R. Chughtai (b) Ram Gopal Vijayvargiya

(c) Nandalal Bose (d) Raja Ravi Varma
(i) A painting ofyour syllabus painted by Kshitindranath Majumdar is
(a) Rasa-Lila (6) Radhika (c) Meghdoot d) Shiva and Sati
(iv) Radhika is a painting of modern period which is painted by
(a) Ram Gopal Vijayvargiya 6) MA.R. Chughtai
(c) Nandalal Bose (d) Kshitindranath Majumdar
() Ram Gopal Vijayvargiya painted a series of painting named
(a) Radhika (6) Rasa-Lila (c) Meghdoot (d) Shiva and Sati
Ans. (i) d) (i) (e) (ii) (a) (iv) (6) (v) (c)
II. SHORT ANSWER TYPE QUESTIONS-I
2. Discuss the colour combination of the painting Radhika'
3. Who is the artist of the painting Radhika?
4. What are the specification of the artworks of Kshitindranath Majumdar?

IIL. SHORT ANSWER TYPE QUESTIONS-II

5. Which anguishes has the painter diselosed in painting named Journey's End'?
6. Describe the characteristics of the painting Meghdot.
7. Diseuss the compositional arrangement of the painting Shiva and Sati'.
8. Comment briefly on painting Radhika'.

IV. LONG ANSWER TYPE QUESTIONS

9. Describe the painting composition of 'Shiva and Sati of Bengal School of Paintings
10. Describe the specific humanistic sensitivities that the painter has delineated
painting named Rasa-Lila.
11. What has the artist displayed in Meghdoot? Describe the compositional arrangem
of this painting.

82 History of Indian Art-XlI