Page 31 - Art and Crafts of Bangladesh

28 ART AND CRAFTS

method introduced by Abanindranath was never a purely Indian one, it
was in fact a synthesis of the traditions of Ajanta, Mughal, European
naturalism and the Japanese wash technique (pl.1.5). The new art, done in
watercolor and depicting scenes from Indian religious, mythological,
literary and historical themes, was hailed by the nationalists as the
befitting art for a neo-India and replaced Ravi Varma’s as the most
popular art trend in India. Abanindranath’s preferences were more
towards historical and literary themes instead of religion and mythology
and his sophisticated taste, senses of observation and proportion and his
training in naturalistic rendering have given his art a rare charm and
poetic splendour. Nandalal Bose was the only one among his disciples
who was able to display his individual talents and made for himself a
separate mark within the characteristics of the movement (pl.1.6).
However, excepting one or two, the others lacked any creative
imagination, and the movement in their hands soon became overtly
sentimental, decorative and imitative in character and lost its potency.
Abdur Rahman Chughtai (1894-1975), a Muslim painter from Lahore,
created an individualistic style inspired by the Bengal School and became popular
among the Muslim community in undivided India and later on in Pakistan.
6. Creative Individuals: Gaganendranath - Jamini Roy -Rabindranath
Although in the first few decades of the twentieth century the Bengal School remained
popular and the acceptance of the western naturalistic trend was widespread, there
emerged a few creative persons with individual characteristics. They endeavored to go
beyond the monotony of the prevailing trends and tried to incorporate in their work
contemporary ideas and individualism. Their relevance in the contemporary art of
India remains important. Gaganendranath Tagore (1867-1938), Jamini Roy (1887-
1973) and Rabindranath Tagore (1861-1941) are such three exceptional personalities.
Gaganendranath, the elder brother of Abanindranath Tagore, initially attached himself
with the Bengal School movement, but gradually drifted away and attempted to create
an individualistic language of
expression. He was the first cartoonist
in India who tried to comment upon
political and social realities in this
fig. 1.12 (top) Asit branch of art. He was also the first
Haldar, a drawing from painter in India who attempted
the Omar Khayyam consciously to come out of both the
Series, pen and ink on traditionalistic and naturalistic
paper, early 1940s viewpoints and tried to look at the
painting-surface as an arrangement of
fig. 1.13 (bottom) line, form, color and light and shade.
Rabindranath Tagore, His paintings depicted conflicting
Katakuti