BENGAL SCHOOL OF PAINTING
Introduction
After the downfall of Mughal empire artists settled themselves here and
there in the different parts of the country. Some artists reached and
sought shelter under the Nawab of Murshidabad, as the condition of that
place was better. But because of the quarrels of East India company the
painters ran further and settled at Patna.
Painting went on in Patna for two centruries (18th to 20th). In those
days this place was a big centre of [Link] was also the main
commercial centre of the Britishers.
They taught the new technique of water colour to these artists and
got the painting done in the same style. As these artists were of
Mughal school. we find a mixture of Mughal and
western art in Patna school and the painting too were of a middle
standard.
The artist who properly copied their art and painted in the same
European style was encouraged by given the title of Company
painter.
ORIGIN
During the early part of the twentieth century artists were looking to
move away from the British Academic system of art education and
technique and to create an art that was more connected to
the Indian art, cultural heritage and tradition. An art more Indian in
feeling. Abanindranath Tagore was instrumental in the creation of
the Bengal School Even after long efforts, Britishers could not
develop the western art of painting in India. By the end of 19th and
beginning of 20th century this art came to an end with Raja Ravi
Verma.
Within 10 years a new school of painting was established with the
help of the joint efforts of [Link] and Shri Abanindranath
Tagore. It was based fully on Indian traditions which came to be
known as Bengal school.
A group of Bengal artists gave birth to a new traditional painting style after
copying the paintings of Mughal school, Rajput school and Ajanta etc. and
created a renaissance under the guidance and headship of Abanindra Nath
Tagore.
SUBJECT MATTER OF BENGAL SCHOOL
1. Historical painting- So many historical events were painted in this style.
Buddha and Sujata painted by Anindranath Tagore is very famous.
2. Religious Paintings- Mahakali, Shiv Parvati, Krishna and Gopies etc. many
events were painted under this theme.
3. Literacy Themes- Themes in Indian literature were liberally painted in
this school. Megh Doot, of Asit Kumar Haldar is very famous under this
theme.
4. Social life- There is an abundance of the social and daily life painting in
this school. Hard-ware merchant, beggar, The last journey etc. are worth
mentioning.
5. Birds and Animals- Birds and animals have also been painted. But the
animals painted are very beautiful and expressive. In the ‘Last Journey’ the
end of a camel has been depicted. It is a wonderful emotional sight. The
expressions on the face of the camel are very touching.
6. Landscape painting -Landscape paintings have been done beautifully in
this School.
MAIN FEATURES OF BENGAL SCHOOL
1. EFFECT OF AJANTA Thesoul of Ajanta is very clearly visible in the Bengal
paintings. Bengal painters have tried tointroduce linear delicacy, rhythm
and grace of Ajanta in their paintings to the best of theirability.
2. SOFT AND RHYTHMIC FIGURES The figures are delicate and graceful.
There is no hardness in them anywhere which makes the on looker
spellbound. Paintings are simplified and normal.
3. ATTRACTIVE COLOUR SCHEME Wash technique has been used in order
to bring harmony in the painting. Bright and gaudy colours have not at all
been used anywhere.
4. IMPACT OF MUGHAL AND RAJASTHANI SCHOOLS The Impact of
Mughal and Rajasthani School can be seen in the paintings which proves
that the roots of this style is there underneath Indian miniature.
5. USE OF LIGHT AND SHADOW Light and shade has been very delicately
shown. At no place we find any hardness in the paintings because of it.
PLATE-01
Title : JOURNEY’S END
Artist : Abanindranath Tagore
Period : 1937
Medium : Water colour
Technique : Wash and Tempera
School : Bengal School
SUBJECT –MATTER/ COMPOSITONAL
This painting is acclaimed as a great piece of art. In
this painting the miserable beast of burden (camel)
is shown to be breathing his last, after a long-day
tiring journey. The whole episode invites a
sympathetic look. The pain and suffering of the
dumb animal can be clearly seen in the half opened
eye of the beast. In this Painting red, brown, a bit of
orange and yellow colours have been used. Wash of
colours has given the background and the sky a hue
of sunset. Fore ground is painted in the darker
tones of the same colours adding tint of blue on the
ground. Massive weight of the load on the camel’s
back seems to be crushing the poor animal down.
He has yet not given up the hope of standing once
more as he is on his knees with the back legs
upright and head slightly raised.
Title - RASA-LILA
Artist - Kshitindranath Majumdar
Medium - Water colours
Technique Wash, tempera on paper
SUBJECT–MATTER/ COMPOSITONAL
The painting Rasa-Lila is a poetic creation full of
beauty and rhythm to evoke a sense of pleasure on
the beholder. In this painting Krishna is shown
dancing with the gopis almost twelve in number
under the tree. Artist’s exquisite sense of line and
subdued colouring tried to evoke his own
meditations on such subjects. They are covered
with a sense of the spiritual. In this painting
Krishna is centered in the composition in front of
the tree trunk in the dark complexion. All the
gopies are shown at the both sides of Krishna
forming a group against the trees. Composition is
divided into two sections .In the lower section all
the human figures are drawn but the upper section
only huge tree is drawn. Figures are tall, slender,
flexible and graceful. Krishna and gopis are
depicted as God and souls. Gopis seem to lost in
their meditation while dancing.
Title : RADHIKA
Artist : M.A.R. Chugtai
Period : 1897-1975
School : Bengal School
Medium : water colour
Technique : Wash and Tempera
SUBJECT–MATTER/ COMPOSITONAL
The painting Radhika is a poetic creation full of beauty and
imagination to evoke a sense of pleasure on the beholder.
This is a fine detailed painting of Radha shown as delicate,
flexible, graceful and lovelorn in profile. She is shown in the
romantic posture, delicately bending her neck down, cheek
resting on her left hand and in the right hand she is shown
holding a big lotus flower on which a bhanwra is sitting. The
background a decorative lamp is shown with flame in
Mughal manner. The brightness illuminated by the burning
lamp is yet another remarkable achievement of the artist.
The treatment of colours in the background is filled in
purely Bengal School style. Yellow,
orange, red, and purple colours are beautifully mixed and
the same colours are used in the figure of Radha. Radha is
shown wearing blouse of orange colour, lahnga of purple
colour and ordhni of yellow colour.
Collection: National Gallery of Modern Art, New Delhi.
Title : MEGHDOOT
Artist : Ram Gopal Vijayvargiya
Period : 1945
School : Bengal School
Medium : water colour
SUBJECT–MATTER/ COMPOSITONAL
This art work is taken from the series of
Meghdoot Chitravali. It is based on the story
Meghdutum written in Sanskrit by Kalidas
The Meghadut means the Cloud Messenger.
Ram Gopal Vijayvargiya seizes this moment and
builds-up his composition on the principle of
dynamic balance. In this painting Yaksha is shown
sitting and writing a letter to his wife on the palm
leaf which he wants the cloud messenger to hand
over to his wife as clouds are also shownin the
painting. Yaksha is placed in the centre in yellow
colour dhoti and white [Link] in the
painting is very effective. Fluttering garments and
trees and plants suggest the strength of the wind.
Lots of rocks and a hut is also shown in the
background. A water stream is shown in thefore
ground.
EVOLUTION OF THE INDIAN NATIONAL
FLAG
Title : National Flag
Medium : Cloth
Period : 1906, 1921 and 1947
National Flag is the identity of one’s nation. The
evolution of the Indian National Flag reflects the
political developments in the country during the
20th century.
1906 –
The first National Flag of India was hoisted on
August 7, 1906 in the Parsee Bagan Square (Green
Park), Kolkata. The flag was composed of three
equal horizontal stripes of green, yellow and red.
The green stripe on the top had eight white lotuses
embossed in a row. The word Vande Mataram was
inscribed in deep blue on the middle yellow stripe
at the bottom had the sun in white on the left and
the crescent and a star in white on the right.
1921 –
The call for new leadership brought Mohandas
Karamchand Gandhi to the forefront in 1921.
During the session of the All India Congress
Committee meeting at Bezwada (now
Vijayawada) an Andhra youth Pingali Venkaiyah
prepared a flag and brought it to Gandhi ji. It
was in two colours red and green, representing
the two major communities. Gandhi ji
suggested the addition of a white strip to
represent the rest of India’s communities and
the Charkha (spinning wheel ) as
a symbol of progress. It also symbolised
Gandhiji's goal of making Indians self-reliant by
fabricating their own clothing.
1947-
The National Flag of India is a horizontal
rectangular tricolour of deep saffron on the
top, white in the middle and dark green at the
bottom with the Ashoka Chakra, a 24-spokes
wheel, in blue at the centre of the white band.
It was adopted in its present form during a
meeting of the Constituent Assembly held on
22 July 1947,when it became the official flag of
the free India.
Interpretation of colours
Saffron : courage and sacrifice.
White : truth and peace.
Green : faith and prosperity
Chakra : Dharma and continuous progress
24 spokes
