The quest for reviving identities

Curator Vijay Kowshik takes us through the work of luminaries who initiated the Bengal movement of art and the ones who took it forward. By Kritika Dua

Rabindranath Tagore’s paintings were not a reflection of the grandeur that revolved around the society rather brought depicted the realistic nature that others refused to take notice of. And years later, his work, Veiled women at Evolving Identities — Masters of Bengal brought back the very aspect of the society. The focal point of the abstract painting was a woman showing her partial face, with sadness emoted well through eyes. “Rabindranath has made numerous emotive paintings of rural women dominated by the patriarchal norms which one can still associate with. And this particular work is a perfect representation of their condition,” noted Vijay Kowshik.

Following the footsteps of  Rabindranath, his nephews — Gaganendranath and Abanindranath Tagore were also engrossed in art. Both were critical of the Western art, as Indian art scene suffered from the close adherence to the British style which they found excessively materialistic.

Gaganendranath’s initial phase (till 1911) was a reflection of the prominent Japanese brushstroke. One of the paintings, aptly titled Crash of Civilisation, using watercolour and ink, highlighted the ills of capitalism. The canvas depicted a car crash near a lamp post, through cartoon style, in a caricaturish manner which left two men injured. One growling in pain while the one behind the wheels is covered in blood and looks lifeless. Kowshik asserted, “He created this piece during the British period which witnessed the liquidation of our culture. He highlights the ruckus that was brought by the colonisers.”

When Ernest Binfield Havell came to Calcutta as the principal of the Government College of Arts in 1896, he attempted to reform the teaching to emphasise Indian traditions, metamorphosing into a unique style that was later referred as the Bengal school of art. His initiative was supported by Abindranth Tagore. Said he: “Abindranth did a lot of head studies and some of the sketches here are proof of his simple yet captivating pencilwork with a myriad of expressions as people were consumed in their thoughts.”

Another painting of his that caught our attention was from the dark series — Sandhya Sundari, a village belle, clad in a yellow saree and adorned with jewels is in a deep thought. It is symbolic of the women and their situation at that time.

Abindranath took over the position as the officiating principal in 1905. Together with Nandlal Bose, they worked towards developing an exclusive genre which sowed the seeds of Bengal movement of art and was taken forward by several other artists at Kala Bhavan, Santiniketan. The identities of artists whose work was influenced by this particular style evolved with time and they became synonymous with the movement.

Rabindranath was an admirer of Nandlal’s work, following which he asked him to look after Kala Bhavan and thus, he was there till the time he passed away. One of the artist’s work was inspired by Baul musicians (mystic minstrels from Bengal). “Bauls were certain men who went from one village to another singing songs of wisdom to create awareness about spirituality.”

Ram Kinker Baij and Binode Bihari Mukherjee were Nandlal’s students and later his colleagues at Kala Bhavan. Ram Kinker’s style had expressionist dimensions to it. One of his untitled watercolour and ink work, is an interpretation of a tree in an individualistic manner. The colour palette varies from black and grey for the trunk, dark green and mustard for leaves and above that  is the clear blue sky in a darker shade of blue.

Another work of the artist, Two Brahmins, brimming with rawness and strength shows them plucking out something from a piece of cloth through a rough sketch.

The exhibit also had works of Binode Behari Mukherjee, Jamini Roy and some of the Kalighat Paintings. One of Binode Bihari’s painting captures the essence of nature — simplicity and tranquillity through Butterflylily or Dolanchapa flowers. “Bihari had a high degree of aesthetic sensitivity which is reflected in his work.”

Kalighat paintings had its origin in the Kalighat temple in Kolkata, some folk artists used to sit outside the temple grounds and create pieces of art influenced by mythology. The devotees used to buy  and hang it in their homes. One of his work has a humanoid bird — Garuda, known as the carrier of Lord Vishnu in Hindu mythology. He is seen carrying Lord Krishna and Balaram on his powerful shoulders. Similarly, Jamini Roy’s art was heavily influenced by Kalighat paintings. But some of his interpretation of Lord Ganesha was awe-inspiring. Jamini portrays Ganesha, sitting in the lap of Parvati through a vibrant folk art painting. While Asit Kumar Haldar’s work is heavily inclined towards Sufi saints. One of the Sudhir Ranjan Khastagir’s work focuses on an amorous couple. Lalit Mohan Sen opts for a black backdrop and on display were realistic portraits of a woman and a monk done in white.