[21/11, 8:59 am] Sangita: Class 12th notes pre board

● Decline of Company Painting and Role of Raja Ravi Verma for its Revival--

Company painting style was very popular among British in Indiha and also in Britain,
especially the albums consisting a set of paintings. This style of painting declined in mid-
19th century with the introduction of photography in India as camera offered a better way
of documentation However, the academic style of oil painting that used a European
medium to depict Indian subject matter, started flourishing in the art schools which were
setup by British.

This style of paintings can be seen in remarkable works of Raja Ravi Verma, who was-self-
taught artist from Travancore Court in Kerala.

He mastered the style of academic realism and used it to depict the scenes from epics like
Ramayana and Mahabharata. They became so popular that many of his paintings were
copied as oleographs and were sold in market. They even entered people homes as
calendar images.

●Origin of company school of painting----

Before the advent of British, art can be seen as statues on temple walls, miniature
painting that were illustrated with manuscripts, decoration on the walls of many houses in
village, etc. After the advent of Colonial rule around the 18th century, the Britishers were
attracted by different manners and customs of people of all ranks, tropical flora and fauna
and varying scenes. Many British officers, partly for documentation and partly artistic
reasons, commissioned local artists to paint scenes around them to get better idea of the
natives.The paintings were largely made on paper by local artists, who later migrated to
Murshidabad, Lucknow or Delhi. These artists have to rely more on close observations
rather than following memory and rule books. This was a striking feature of the European
art. They had to adapt their traditional way of painting to paint world around them, to
please their patrons. This mixture of traditional and European style of painting that came to
be known as Company School of painting.Origin of Bengal School of Painting
By the end of 19th century, the style adopted by Raja Ravi Verma was thought to be s
foreign and much Western to show Indian myths and history. The Bengal School of An
emerged amidat this nationalist thinking in the first decade of 20th century.

● Development of Bengal School of Painting

The Bengal school of art set the stage for the development of modern Indian painting
However, the struggle between Indian and European style in art continued.

For example, the students of Bombay school of art, trained by Principal Gladstone
Bolomon in realistic studies, were given the project for mural decorations for Lutyen's Delhi
buildings. On the other hand, the Bengal school artist decorated the Indian House in
London under close British supervision.

The contribution of artists in the development of art was

Abanindranath Tagore and EB Havell

Abanindranath along with El Havell (1861-1934), British administrator and Principal of

Calcutta school of art, were critical of Colonial art school and the manner in which they
imposed European style in art on Indians

They believed in creating a new type of painting that was Indian in subject matter as well as
style. Mughal and Pahari miniatures became important sources of inspiration for them
rather than company school of painting or academic style taught in Colonial art schools.

In the year 1896, they worked to Indianise art education in country. This started in
Government art school (now Government college of Art and Craft), Kolkata. Similar schools
were also established in Lahore, Bombay and Madras.
The primary focus of Abanindranath Tagore and EB Havell was on crafts like metalwork,
furniture and curios (a small valuable object that is rare and valuable) They both designed a
curriculum to include and encourage techniques and themes in Indian art traditions.

K. Venkatappa

He took training from Kala Bhavana and spread art in South India to reach out to wider
people rather than limiting to elite and anglicised class of people.

Jamini Roy

He was a modern Indian artist who used themes like women and children and rural life He
wanted his painting to be simple and easy to duplicate for masses to understand. He
gained training in the Colonial art school, but rejected it to adopt flat and colourful style of
folk painting seen in villages

[21/11, 2:54 pm] Sangita: Class 12th notes for pre board .

● Decline of Company Painting and Role of Raja Ravi Verma for its Revival--

Company painting style was very popular among British in Indiha and also in Britain,
especially the albums consisting a set of paintings. This style of painting declined in mid-
19th century with the introduction of photography in India as camera offered a better way
of documentation However, the academic style of oil painting that used a European
medium to depict Indian subject matter, started flourishing in the art schools which were
setup by British.

This style of paintings can be seen in remarkable works of Raja Ravi Verma, who was-self-
taught artist from Travancore Court in Kerala.

He mastered the style of academic realism and used it to depict the scenes from epics like
Ramayana and Mahabharata. They became so popular that many of his paintings were
copied as oleographs and were sold in market. They even entered people homes as
calendar images.

●Origin of company school of painting----

Before the advent of British, art can be seen as statues on temple walls, miniature
painting that were illustrated with manuscripts, decoration on the walls of many houses in
village, etc. After the advent of Colonial rule around the 18th century, the Britishers were
attracted by different manners and customs of people of all ranks, tropical flora and fauna
and varying scenes. Many British officers, partly for documentation and partly artistic
reasons, commissioned local artists to paint scenes around them to get better idea of the
natives.The paintings were largely made on paper by local artists, who later migrated to
Murshidabad, Lucknow or Delhi. These artists have to rely more on close observations
rather than following memory and rule books. This was a striking feature of the European
art. They had to adapt their traditional way of painting to paint world around them, to
please their patrons. This mixture of traditional and European style of painting that came to
be known as Company School of painting.Origin of Bengal School of Painting

By the end of 19th century, the style adopted by Raja Ravi Verma was thought to be s
foreign and much Western to show Indian myths and history. The Bengal School of An
emerged amidat this nationalist thinking in the first decade of 20th century.

● Development of Bengal School of Painting

The Bengal school of art set the stage for the development of modern Indian painting
However, the struggle between Indian and European style in art continued.

For example, the students of Bombay school of art, trained by Principal Gladstone
Bolomon in realistic studies, were given the project for mural decorations for Lutyen's Delhi
buildings. On the other hand, the Bengal school artist decorated the Indian House in
London under close British supervision.

The contribution of artists in the development of art was

Abanindranath Tagore and EB Havell

Abanindranath along with El Havell (1861-1934), British administrator and Principal of

Calcutta school of art, were critical of Colonial art school and the manner in which they
imposed European style in art on Indians

They believed in creating a new type of painting that was Indian in subject matter as well as
style. Mughal and Pahari miniatures became important sources of inspiration for them
rather than company school of painting or academic style taught in Colonial art schools.

In the year 1896, they worked to Indianise art education in country. This started in
Government art school (now Government college of Art and Craft), Kolkata. Similar schools
were also established in Lahore, Bombay and Madras.

The primary focus of Abanindranath Tagore and EB Havell was on crafts like metalwork,
furniture and curios (a small valuable object that is rare and valuable) They both designed a
curriculum to include and encourage techniques and themes in Indian art traditions.

K. Venkatappa

He took training from Kala Bhavana and spread art in South India to reach out to wider
people rather than limiting to elite and anglicised class of people.

Jamini Roy

He was a modern Indian artist who used themes like women and children and rural life He
wanted his painting to be simple and easy to duplicate for masses to understand. He
gained training in the Colonial art school, but rejected it to adopt flat and colourful style of
folk painting seen in villages
[21/11, 3:03 pm] Sangita: ● Appreciation of Famous Bengal Paintings

Journey's End that Name Journey's End

Painter Abanindranath Tagore

Period Collection 1913 AD Natamal Gallirry of Modern Art, New Delhi

This painting was made by Abanindranath Tagore in 1913 and was fint published in Bengali
magazine Pravasi/Prabasi. This painting was made by us tempera and wash technique of
water colours, which yields a soft, miaty and impressionistic landscape. It was made by
using a combination of red, brown, yellow blue and black colours. It represent the pain,
sufferings and plight of a camel carry goods on his back in the desert. The pain is visible by
half-open eye of the camel. Th camel is shown with yellow-brown colour in red background
of dusk which personifies the end of a journey through the end of a day.

the physical features of the camel is depicted through fine lines and delicate tones. The
background is painted using red, yellow, brown colour to give it a diffused sunset look. The
painter used darker tones of colour in the foreground such as red, brown, black, blue to
intensify the pain of this animal.

The sensory texture of the painting depicts the meaning of the painting. Through this
painting, artist is pointing towards difficulty that each human being face and how one
should cope up with it.

The posture of camel half bent is indicative of its never giving up attitude and its will to get
up every time there is some unforeseen situation. The artist is trying to evoke the human
sensation of compassion, empathy in an exceptionally stylised manner for his viewers.

Artist Abanindranath Tagore was born on 7th August, 1871. He is known as Father of
Modern Indian Painting. He was the founding member of Bengal school and also revived
the Indian traditional painting style. Tagore learnt the exceptional use of pastels, water
colours and life study under the mentorship of an Italian artist Signor Gilhardi.

Abanindranath Tagore was given the post of Vice-Principal in Government Art College of
Kolkata by Professor EB Havell, Abanindranath studied Rajput and Mughal school of
miniature painting under Prof. Havell's guidance. Abanindranath painted natural scenes,
folk-festivals, history, public life, fun activities of Krishna, stories of Purana, etc in his
paintings. Some famous works of Abanindranath Tagore are The Forest, Coming of Night,
Mountain Traveller, Queen of the Forest and a series of 45 paintings based on The Arabian
Nights.

● Radhika

Appreciation This painting was made by Abdul Rehman Chughtai in 1940. This painting was
made by using water colours on paper, through the tempera and wash technique. In this
painting, Radhika is portrayed in a state of trance or remorse, who is walking away from a
lighted lamp in a gloomy background. Her face is bent down, eyes are half-opened, her
hairs are in black-brown combination, reaches up to her waist. She is wearing necklaces on
her neck. She is also wearing bangles and jewels on both the arms. In the right hand, she is
softly holding a lotus and on the lotus a bee can be seen which signifies the presence of
Krishna. With other hand she is touching the flower to her face to feel its

softness.Radha can be seen wearing a light voilet transparent ghaghra and a yellow chunri
which had dark brown and red colour lines.

The background is a perfect combination of black, brown, and yellow colours with a
burning lamp which adds light to the surrounding. The darker tone is exceptionally used to
represent the grief of the main character Radhika.

Her dress ie. purple lehanga with blue prints, red blouse and yellow dupatta is adding extra
glow to the painting. The whole composition of colours is giving this painting an aesthetic
look.
justified fry the way he described his main character The character Radhika is based an
Hindu mythology which is drawn gracefully with a lyrical quality of calligraphy in every live.
The depiction is so rhythmic na if artist is narrating a poem.

Artid Abdul Rehman Chughtai (1899-1975) was born in 1897 in Labore. He was a
descendent of Ustad Ahmed, chief architect of Shahjahan. Chughtai was also the designer
of Jama Masjid and Red Fort in Delhi and Taj Mahal in Agra He was greatly influenced by
Abanindranath Tagore, Nandalal Bose and Gaganendranath Tagore.

He experimented with wash technique and infused a distinct character of calligraphic line
which is represented in Mughal manuscripts and old Persian paintings. It gives a deeper
sensuous quality to his paintings.

The subject matter of his paintings was based on Hindu mythology as well as on the poetry
of Mirza Ghalib, Iqbal and Umar Khaijyam. Apart fro Hindu mythology he also painted
characters from Indo-Islamic, Rajput and Mughal wor etc. He learnt different style of
painting from Chinese and Japanese masters. Some of famous works are Gloomy Radhika,
Omar Khayyam, Dream, Hiraman Tota, Lady Unders Tree. Musician Lady, Man Behind a
Tomb, Lady Beside a Grave and Lady Lighting Lamp.

● Meghdoot

Appreciation This painting was made by Ram Gopal Vijayvargiya. This painting was mad by
using water colours on paper in artistic style, through the tempera and wa technique. It was
inspired by famous Sanskrit classic, Abhijananshakuntalam written Kalidas.

painting, the artist is arrating the scene where Yaksha and Yakshini are shown nding on a
white cottony cloud. The entire background has been romanticised and idealised in a anner
which looks realistic and reveals the artistic and aginatory tendency of the artist

In the painting, Yaksha can be seen with curly hair and an excellent body structure. He is
wearing pearl earrings, necklace and clothes with different shades of yellow. The Yaksha is
holding a lotus flower in his right hand which added special charm to the painting. Yakshini
is seen embracing Yaksha and reflects her affection towards Yaksha by putting her right
hand on Yaksha's chest.
representing her pleasant mood

and happiness. Yakshini is

Meghdoot

▪︎Name Painter Period

▪︎Ram Gopal Vijayvargiya

▪︎1940 AD

▪︎Collection Artist's Personal Collection

dressed up in pink and yellow clothes and wearing armlets, anklets and shiny ornaments.
Her hairs are tied up in a braid and decorated with flowers which adds beauty and grace in
the depiction. The colour of the sky is depicted with blue colour and four birds can be seen
flying in the sky The artist has exceptionally represented figures of both the characters by
using fine line to show curves, smile on their faces, elongated figures (broad), bright and
shiny theme which looks very attractive and eye-catching for its viewers.

Artist Ram Gopal Vijayvargiya was born in 1905 in Sawai Madhopur district in Rajasthan. He
studied in Maharaja school of arts and crafts, Jaipur and got education under the
supervision of Guru Shailendranath Dev. Primary themes of his paintings are Meghdoot,
Abhijananshakuntalam, Umar Khaiyyam, Kumar Sambhava and Bihari Satsai Ram Gopal
has excelled in gracefully depicting curving, thin and elongated figures. He was inspired by
Ajanta and Rajasthani miniatures. He was awarded with Padma Shri in 1984, by the
Government of India. He was also honoured with Kavita Puraskar for his poems named
'Abhisaar Nisha' by Rajasthan academy.

● Shiv and sati ---

Appreciation This painting was made by Nandalal Bose in 1947. This painting was made by
using fusion of tempera and wash technique. It was made on paper by using the yellowish,
brownish, violet and reddish colours in various shades and tones. In this painting, a
mythological event of Shiva and his wife Sati is narrated by the artist. The background of the
painting represents sun-set the using a diffused colour combination of red, brown and
yellow. The sky is painted in such a manner to give it a hazy and red-yellowish tint which
looks realistic. The foreground colour is kept light faded in order to represent the emotion of
Shiva and his feelings for his wife Sati.

In this painting, Shiva and Sati

Name -Shiv and Sati painter- Nandalal Bose

1947 AD

Period Collection

National Gallery of Modern Art, New Delhi

are depicted in the centre in sad mood. Shiva is depicted in sitting posture and his hair is
tied in a bun. He is wearing a necklace and there is a snake coil around his neck.

Shiva's figure is painted in a manner which depicts him as masculine, bulky and strong to
emphasise on strength. Shiva's forehead reflects a bright light with an aura of light yellow
colour around his head. Sati is depicted lying on the knee of Shiva. She has been shown
wearing a saree and ornaments such as necklace, earrings, bracelets and armets
(helmets). The central theme of painting depicts the plight, sorrow and grief of Lord Shiva
after looking at the pale face of his wife Sati lying unconscious.

Artist Nandalal Bose was born on 3rd December, 1838 in Munge, Kharagpur. He was invited
by poet and philosopher Rabindranath Tagore to head the painting department in Kala
Bhavana and in 1920 he was appointed as Principal of Kala Bhavana. Bose learned modern
Bengal painting tricks and method from Abanindranath and later developed his own styles.

[21/11, 3:22 pm] Sangita: 1● Appreciation of Famous Bengal Paintings

Journey's End that Name Journey's End

Painter Abanindranath Tagore

Period Collection 1913 AD Natamal Gallirry of Modern Art, New Delhi

This painting was made by Abanindranath Tagore in 1913 and was fint published in Bengali
magazine Pravasi/Prabasi. This painting was made by us tempera and wash technique of
water colours, which yields a soft, miaty and impressionistic landscape. It was made by
using a combination of red, brown, yellow blue and black colours. It represent the pain,
sufferings and plight of a camel carry goods on his back in the desert. The pain is visible by
half-open eye of the camel. Th camel is shown with yellow-brown colour in red background
of dusk which personifies the end of a journey through the end of a day.

the physical features of the camel is depicted through fine lines and delicate tones. The
background is painted using red, yellow, brown colour to give it a diffused sunset look. The
painter used darker tones of colour in the foreground such as red, brown, black, blue to
intensify the pain of this animal.

The sensory texture of the painting depicts the meaning of the painting. Through this
painting, artist is pointing towards difficulty that each human being face and how one
should cope up with it.

The posture of camel half bent is indicative of its never giving up attitude and its will to get
up every time there is some unforeseen situation. The artist is trying to evoke the human
sensation of compassion, empathy in an exceptionally stylised manner for his viewers.

Artist Abanindranath Tagore was born on 7th August, 1871. He is known as Father of
Modern Indian Painting. He was the founding member of Bengal school and also revived
the Indian traditional painting style. Tagore learnt the exceptional use of pastels, water
colours and life study under the mentorship of an Italian artist Signor Gilhardi.

Abanindranath Tagore was given the post of Vice-Principal in Government Art College of
Kolkata by Professor EB Havell, Abanindranath studied Rajput and Mughal school of
miniature painting under Prof. Havell's guidance. Abanindranath painted natural scenes,
folk-festivals, history, public life, fun activities of Krishna, stories of Purana, etc in his
paintings. Some famous works of Abanindranath Tagore are The Forest, Coming of Night,
Mountain Traveller, Queen of the Forest and a series of 45 paintings based on The Arabian
Nights.

2● Radhika

Appreciation This painting was made by Abdul Rehman Chughtai in 1940. This painting was
made by using water colours on paper, through the tempera and wash technique. In this
painting, Radhika is portrayed in a state of trance or remorse, who is walking away from a
lighted lamp in a gloomy background. Her face is bent down, eyes are half-opened, her
hairs are in black-brown combination, reaches up to her waist. She is wearing necklaces on
her neck. She is also wearing bangles and jewels on both the arms. In the right hand, she is
softly holding a lotus and on the lotus a bee can be seen which signifies the presence of
Krishna. With other hand she is touching the flower to her face to feel its

softness.Radha can be seen wearing a light voilet transparent ghaghra and a yellow chunri
which had dark brown and red colour lines.

The background is a perfect combination of black, brown, and yellow colours with a
burning lamp which adds light to the surrounding. The darker tone is exceptionally used to
represent the grief of the main character Radhika.

Her dress ie. purple lehanga with blue prints, red blouse and yellow dupatta is adding extra
glow to the painting. The whole composition of colours is giving this painting an aesthetic
look.

justified fry the way he described his main character The character Radhika is based an
Hindu mythology which is drawn gracefully with a lyrical quality of calligraphy in every live.
The depiction is so rhythmic na if artist is narrating a poem.

Artid Abdul Rehman Chughtai (1899-1975) was born in 1897 in Labore. He was a
descendent of Ustad Ahmed, chief architect of Shahjahan. Chughtai was also the designer
of Jama Masjid and Red Fort in Delhi and Taj Mahal in Agra He was greatly influenced by
Abanindranath Tagore, Nandalal Bose and Gaganendranath Tagore.
He experimented with wash technique and infused a distinct character of calligraphic line
which is represented in Mughal manuscripts and old Persian paintings. It gives a deeper
sensuous quality to his paintings.

The subject matter of his paintings was based on Hindu mythology as well as on the poetry
of Mirza Ghalib, Iqbal and Umar Khaijyam. Apart fro Hindu mythology he also painted
characters from Indo-Islamic, Rajput and Mughal wor etc. He learnt different style of
painting from Chinese and Japanese masters. Some of famous works are Gloomy Radhika,
Omar Khayyam, Dream, Hiraman Tota, Lady Unders Tree. Musician Lady, Man Behind a
Tomb, Lady Beside a Grave and Lady Lighting Lamp.

3● Meghdoot

Appreciation This painting was made by Ram Gopal Vijayvargiya. This painting was mad by
using water colours on paper in artistic style, through the tempera and wa technique. It was
inspired by famous Sanskrit classic, Abhijananshakuntalam written Kalidas.

painting, the artist is arrating the scene where Yaksha and Yakshini are shown nding on a
white cottony cloud. The entire background has been romanticised and idealised in a anner
which looks realistic and reveals the artistic and aginatory tendency of the artist

In the painting, Yaksha can be seen with curly hair and an excellent body structure. He is
wearing pearl earrings, necklace and clothes with different shades of yellow. The Yaksha is
holding a lotus flower in his right hand which added special charm to the painting. Yakshini
is seen embracing Yaksha and reflects her affection towards Yaksha by putting her right
hand on Yaksha's chest.

representing her pleasant mood

and happiness. Yakshini is

Meghdoot

▪︎Name Painter Period

▪︎Ram Gopal Vijayvargiya

▪︎1940 AD

▪︎Collection Artist's Personal Collection

dressed up in pink and yellow clothes and wearing armlets, anklets and shiny ornaments.
Her hairs are tied up in a braid and decorated with flowers which adds beauty and grace in
the depiction. The colour of the sky is depicted with blue colour and four birds can be seen
flying in the sky The artist has exceptionally represented figures of both the characters by
using fine line to show curves, smile on their faces, elongated figures (broad), bright and
shiny theme which looks very attractive and eye-catching for its viewers.

Artist Ram Gopal Vijayvargiya was born in 1905 in Sawai Madhopur district in Rajasthan. He
studied in Maharaja school of arts and crafts, Jaipur and got education under the
supervision of Guru Shailendranath Dev. Primary themes of his paintings are Meghdoot,
Abhijananshakuntalam, Umar Khaiyyam, Kumar Sambhava and Bihari Satsai Ram Gopal
has excelled in gracefully depicting curving, thin and elongated figures. He was inspired by
Ajanta and Rajasthani miniatures. He was awarded with Padma Shri in 1984, by the
Government of India. He was also honoured with Kavita Puraskar for his poems named
'Abhisaar Nisha' by Rajasthan academy.

5● Shiv and sati ---

Appreciation This painting was made by Nandalal Bose in 1947. This painting was made by
using fusion of tempera and wash technique. It was made on paper by using the yellowish,
brownish, violet and reddish colours in various shades and tones. In this painting, a
mythological event of Shiva and his wife Sati is narrated by the artist. The background of the
painting represents sun-set the using a diffused colour combination of red, brown and
yellow. The sky is painted in such a manner to give it a hazy and red-yellowish tint which
looks realistic. The foreground colour is kept light faded in order to represent the emotion of
Shiva and his feelings for his wife Sati.

In this painting, Shiva and Sati

Name -Shiv and Sati painter- Nandalal Bose

1947 AD
Period Collection

National Gallery of Modern Art, New Delhi

are depicted in the centre in sad mood. Shiva is depicted in sitting posture and his hair is
tied in a bun. He is wearing a necklace and there is a snake coil around his neck.

Shiva's figure is painted in a manner which depicts him as masculine, bulky and strong to
emphasise on strength. Shiva's forehead reflects a bright light with an aura of light yellow
colour around his head. Sati is depicted lying on the knee of Shiva. She has been shown
wearing a saree and ornaments such as necklace, earrings, bracelets and armets
(helmets). The central theme of painting depicts the plight, sorrow and grief of Lord Shiva
after looking at the pale face of his wife Sati lying unconscious.

Artist Nandalal Bose was born on 3rd December, 1838 in Munge, Kharagpur. He was invited
by poet and philosopher Rabindranath Tagore to head the painting department in Kala
Bhavana and in 1920 he was appointed as Principal of Kala Bhavana. Bose learned modern
Bengal painting tricks and method from Abanindranath and later developed his own
styles.Artists in Struggle for National Freedom Movement

Indian art and tradition faced identity crisis with the establishment of British rule and
partition of Bengal in 1905. In this scenario noted artists like Abanindranath Tagore,
Nandalal Bose, Gaganendranath etc used their art as a means in struggle for National
freedom movement.

6● Role of Artists towards National Freedom Movement

▪︎In 1907, Indian Society of Oriental Art was started by Abanindranath to raise awareness
about India's rich past. The new direction given by Abanindranath was followed by many
younger artists like MR Chughtai (the painter of Radhika) Abanindranath Tagore was also
the first major supporter of Swadeshi values in Indian art. He also painted Bharat Mata to
develop patriotism among the masses.

▪︎Gaganendranath's cartoon 'Punjab Mein Shanti Ghosit' after Jallianwala Bagh massacre
developed hatred towards Britishers.
▪︎Nandalal Bose painting's 'Sati', 'The Death of Sati' and 'The God of Fire' revived the Indian
traditional painting.

▪︎Amrita Sher-Gil during 1930s immensly contributed to National freedom movement

through her painting of Bharat Mata. In this painting, she shows a poor old lady in a white
torn saree which reflects the pathetic condition of Indian society.

▪︎ With the cooperation of artists like sister Nivedita, Nandalal Bose, Asit Haldar and
Samarendranath along with Lady Herringham of Indian Society of London, the prototypes
of Indian Works of Art, preserved in Ajanta, Ellora and Bagh caves were published in
European magazines and the European became familiar about the significance of these
Indian works.

7■ National Flag of India and the Symbolic Significance of its Forms and the Colours

Indian National Flag is the hallmark of India which is a symbol of pride and unity

Evolution of Indian National Flag

The evolution of National Flag reflects the political development which India witnessed
during the 20th century. Indian National Flag was approved by Indian Constitution
Committee on 22nd July, 1947 after a deep deliberation and research so as to absorb
political, social and emotional sentiments of Indian people.

[22/11, 9:28 am] Sangita: Painting

● 1.Rama Vanquishing the Pride of the Ocean.

-Appreciation This painting was made by

 Raja Ravi Verma. The painting is based on Puranic (ancient mythological stories) theme
and depicts a scene from Valmiki Ramayana This painting was made by using oil colours on
canvas. It was made by using Europeon style of art which rely on the close observation by
the artist.

It narrates the scene when rama needs to build a bridge in Southern India to the island of
Lanka for his army to cross the ocean. He prays to the God of Ocean, Varuna, to permit him
to cross the ocean, but Varuna did not respond. Then, Rama in anger stands to shoot his
fiery (arrow) into the ocean. At this, Varuna appears immediately and requested Rama and
stopped him from doing it.

This event depicted in this painting sequentially serves as a springboard (stepping stone)
for the next painting. This method or style of painting depicts not only the major moments
in the lives of Rama and Sita, but the entire epic. The background is painted with
combination of dark colours to represent the sky with a bright flash of lightening in the
middle.

In this painting, the serenity of colours is capable to attract attention of its viewers. The
main character Rama is standing on a dark coloured rock and is wearing a white dhoti with
a bow in his left hand and an arrow in his right hand. His dhoti is blowing in the air which
reflects the strength of wind blowing from the ocean. The white milky waves, rising from
ocean and moving towards the shore, highlights artist's imaginary characteristic to set a
background. In the middle of the sky, Varuna and his wives are shown in their traditional
attires.

Varuna is extending his hand to stop Rama from using his bow and arrow and to calm down
furious Rama. The foreground of the painting is colourful which exceptionally represent the
theme. This painting exceptionally describes the incident in a story format which is very
comprehensive. The display of light and shadow that is revealed by this painting is inspired
by the qualities of European style of art.

Artist-- Raja Ravi

Verma was born on 29th April, 1848 in Travancore, Kerala. He was one of the first Indian
painters to use oil paint. He also mastered the art of lithographic reproduction for
mythological subject. His paintings generally depicted scenes from epic like Ramayana
and Mahabharata and painted in the form of drama or story.

He revived Indian themes in paintings using European style which he learned from Theodor
Jenson, who was a Dutch painter. He gave a new dimension to the Indian art form. He used
his daughter and South Indian females as models for his paintings.

The paintings of Raja Ravi Verma are present on wall calendars and even sold in the
market. Some of his famous works are Release of Ahalya, Rama Breaking the Sacred Bow
of Siva before his Marriage to Sita, Rama, Sita and Lakshmana crossing the Saryu, Ravana
Abducting Sita and Opposed by Jatayu, Sita in Ashoka Grove, The Coronation of Rama, etc.

2.● Mother and Child

Appreciation This painting was made in 1920 by Jamini Roy (1887-1972). This painting
was made by tempera technique of water colour. This is a gouache painting was made on
with paper bold simplifications and thick outlines with sweeping brush strokes. In this
painting, Jamini Roy depicted motherhood which is a popular theme in Indian Art. He
focused on mother's unconditional love, responsibility and care for her child. In the
painting, the mother is holding her child in her lap. Both human figures are coloured in dull
yellow and brick-red background, which is similar to the terracotta relief of Jamini's home
village in Bankura. The two dimensional nature of the painting is derived from 'pat
paintings'. In this painting, the influences of pat painting can be seen in the simplicity,
volume, rhythmic composition and decorative elements.

The mother and child figures are drawn with bold and thick outlines sweeping brush
strokes. The curves in both the figures are very sharp and distinct with expressive eyes and
pleasant facial appearance.

A colour combination of green, white, grey and black is used. The fine lines used to draw
ornaments and design of sari is highly appreciated. There is smoothness and linearity in
both the figures which effectively narrates the bond between the mother and her son. The
artist painted flowers and leaves in a very simplistic manner to add grace and beauty to the
background. The painting shows a sense of affection and calmness in the eyes of mother.
This emotion depicts her happiness when she is with her son away from all the stress.
● Artist ----Jamini Roy. was born in 1887 at Bankura in West Bengal. He was called the
father of the folk renaissance in India. He was the disciple of Abanindranath Tagore. He
created an alternative vision of modern Indian identity. In the mid-1920s, he travelled to the
countryside of Bengal to learn from folk artisans and to collect folk paintings. For learning
and achieving purity of the pat, he first made many monochrome (black and white) brush
drawings and then, gradually, started using basic seven colours with tempera technique.

He used Indian red, yellow ochre, cadmium green, vermilion, charcoal grey, cobalt blue
and white colours. These were made from organic material, such as rock dust, tamarind
seeds, mercury powder alluvial mud, indigo and common chalk. He used lamp black
colour to outline the drawings and started making his own canvas with home-spun fabric.
Roy used the concept of village community as a weapon against colonial rule. He got fame
and recognition after his paintings were exhibited in London exhibition in 1946 and in New
York in 1953. He was awarded Padma Bhushan in 1955 by Government of India

● Haldi Grinders---

Appreciation This painting was made in 1940 by Amrita Sher-Gil. This painting was made by
using European modern oil painting technique with Indian miniature themes. It was made
by using oil colours on canvas. In the painting, three elderly Indian women can be seen
grinding dry turmeric. It depicts the traditional activity of rural areas, thus it was painted in
Indian style.

All the three women are covering their heads using sari. Beside the tree trunk a young girl is
sitting holding a bunch of turmeric. Some turmeric seeds are laid scattered on the ground.

Amrita used bright and wet colours to paint this work. She created the shapes of figures by
colour contrast without outline. The women and trees are painted as flat shapes. She has
used distinctive technique in the depiction of jewellery by thick, raised drops of white paint.
The background is very dull and hazy. The foreground and their clothes are bright and
represented using red, yellow and white colours .
Sher-Gil was not interested in creating any depth in the landscape in the painting and used
semi-abstract pattern. The painting shows the influence of Basohli school of miniature
painting which was famous in Northern India.

● Artist--- AmritaSher-Gil

was born on 30th January, 1913 in Budapest, Hungary. She went to Ecole Art School in
France due to her interest in art.

She noted the similarities between miniature traditions of North India and European,
modernism during her training in modern art in Europe. She admired Paul Gaugin which is
visible from her work Three Girls'

Amrita Sher-Gil died at a very young age of 28 in 1941. Her work was declared as National
art treasure by Government of India. A road called Amrita Sher-Gil Marg was named in
Lutyens Delhi on her name by Indian government.

A postage stamp has been released depicting her work Hill Women'in 1978. Some of her
famous works are Hill Women, Women Resting in a Charpai, Red Clay Elephant and The
Red Varanda.

● Mother Teresa

Appreciation This painting was made by MF Husain and it belong to the 1980s. This painting
was made by using oil and acrylic colours on canvas. In the painting, the central figure
Mother Teresa has been shown in a white saree with blue border and green leaves. without
a face. She is shown shouldering a homeless girl and a grown up person is laying
horizontally on her lap. Her right hand is shown as it is giving hope, empathy and love.

In the left, Mother Teresa is shown in yellow saree holding an infant. In the right, a kneeling
figure of women can be seen.
The flat shapes used in the painting to depict the scene, are inspired by modern art. They

appear like a collage of paper cutouts. Mother Teresa is depicted with dull green and

black background. This painting indicates artist's familiarity with European art,

especially, the famous sculpture of Italian Renaissance master, Michelangelo's Pieta. The
faceless Mother Teresa as used in this painting, can also be seen in other paintings of MF
Husain where she is holding a baby and attention is given to the hand gestures.

From his paintings of Mother Teresa, MF Husain is not interested in depicting the life of

Mother Teresa realistically. He depicted the idea or theme of painting by giving some hints

in the painting itself. The theme of the painting can be learnt by looking at the hints in the
painting. For example, the theme of this painting is about healing and nursing the helpless
which can be thought by seeing the kneeling figure of the woman in the right.

▪︎ Artist ---Maqbool Fida Husain

was born in Madhya Pradesh in 1915. Initially, he started painting posters related to Indian
cinema. He was influenced by Basholi paintings and used bright and contrasting colours
was also inspired by European artists like Picasso and Juan Gris. His world famous
paintings expressing violence and injustice were inspired from Ramayana and
Mahabharata.

In 1947, his painting Sunhera Sansar was exhibited at Bombay Art Society in Bombay For
his works, he received Padma Shri, Padma Vibhushan and Padma Bhushan by Government
of India. He was honoured with degree of Doctor of Literature by Banaras Hindu University.
Some of his famous works are The Theatre of the Absurd and Splash, Front Page, etc.
● Graphic prints of Modern Indian art----

■ Children -

Appreciation This graphic was made by monochromatic (using only one colour) etching
along with aquatint technique on paper. In this print, three weak children and their mother
have been shown and one child can be seen standing behind by holding his head by his
hands.

The mother is trying to comfort her children by putting her hand around their shoulders. The
images of children were taken from the experience of the Bengal famine of 1943. These
children represent the vulnerable section of our society. The figures are linear and the
malnutrition of the figures are represented by their bone structure, skeleton torso,
cheekbone and ribcage for the thorax. The whole body is seen resting on two stick-like legs
which is supporting a huge skull, with a small face.

The print is etched using black and

white. It is a representational work which symbolises the injustice prevalent in our society.
The artist is trying to convey the pain, grief and sufferings of poor, hungry and destitute. A
narrative quality is created in the picture as artist follows simplification method in making
this print.

Artist -- Somnath Hore

(1921-2006) was born in Chittagong, Bangladesh in 1921. Hore joined Government School
of Art in Calcutta in 1945 on the advice of PC Joshi. He was influenced by Zainul Abedi who
mastered drawing victims of famine. The experience o the Bengal Famine of 1943 left a
lasting impression on him. His early sketches and drawings were accurate and life drawings
of unfortunate victims of the famine, suffering and dying peasants.

also depicts sick, infirm, destitute and portraits of men, women, children and animals. He
acquired great skills in woodcut, wood engraving and linocut.

In 1969, he was appointed as professor of Graphics at Kala Bhavana in Shantiniketan.

Somnath Hore was greatly affected by Bangladesh war and Vietnam war and this effect
was clearly visible in his paintings. From 1974 onwards, he changed his style and adopted
bronze casting. Some of his famous works include Peasant's Meeting, Wounded Animal,
The Child, Mother with Child, Mourners and Unclad Beggar Family. He was awarded Padma
Bhushan by Government of India.

●Devi --

Painter - JITENDRA MANSHANKAR BHATT

period-- 1970 AD

Appreciation This print was made by Jyoti Bhatt in 1970. This graphic print was made by
using etching technique on paper. In this print, pictorial image of Devt is changed and
redefined with a linear drawing of the frontal face of a woman, folk motifs and patterns. The
portrait of Devi is centrally placed as an iconic image.

In this print, artist illustrates the awakening of Kundalini. This Kundalini is present near the
end point of the spine of both male and female. This power can be awakened by performing
meditation, chanting mantras and through yoga. Jyoti Bhatt very beautifully illustrated the
idea of female fertility through Devi. He visualised the form of Kundalini surrounding the
female fertility power in the form of a young lady. On the cheeks of Devi, two flowers have
been shown that depicts her beauty. She is wearing floral earrings.

Three words are writtten on her left palmie. Tantrik, Ram Ram and Shree in Devanagari
script along with the artist's name. In the middle, the words Ram Ram are written while on
her right palm, three words are written ie. Pseudo, Tantric and Kundalini in English along
with Devi in Devangari script. The presence of a red bindi on the forehead of central figure
resembles Durga images from Bengal.

This bindi signifies large open eyes of Devi as mark of awakening. The two-dimensionality
of words and motifs around the portrait expresses the Tantric philosophy.

Artist Jyoti Bhatt was born in Bhavnagar in Gujarat in 1934. He studied painting,
printmaking and photography and was inspired by his mentor KG Subramanyan. Bhatt was
impressed by the works of Picasso and Ben Nicholson. He carved out an art language
based on folk traditions and popular practices. He brings together many visual elements in
a narrative form. His works occupy slight balance between traditional style and modern
style.

In his works, vibrant collection of past forms is translated into dynamics of the
contemporary. He specialises in Intaglio technique and use of contour lines which got him
many awards. He made artworks like Kalpuruksha, Self-Portrait, Forgotten Monuments,
Sita's Parrot, Still Life with Two Lamps, Scattered Image under the Warm Sky. Tirthankara,
etc. He was honoured with Gold Plague at National exhibition in 1956 and National award
in 1964. He received first prize for his postage stamp design for Silver Jubilee of Indian
Independence.

● Painting --

Man, Woman and Tree

Painter-k Laxma goud

Circa- 1980

Appreciation This print was made by Laxma Goud in 1980-90. This graphic print was made
by etching and aquatint technique on paper. In this etching, man and woman are shown
with trees in the background. It is based on Goud's childhood occupied in nature.
memories

Illustration of a rural idyll is characterised through the prototypes of peasant man and
woman. The highly and decorated outlined shape in the print depict actual appearance of
villagers. The woman is wearing traditional Indian attire i.e. sari and blouse. She is wearing
a nose ring, necklace and two bangles in each hand. In the printing, three part of her body
is shown in aqua colour. Her hair is tied in a bun. The woman is facing the man. The man is
partially shown hidden in the grooves.

The tree is decorated well with leaves and twigs. There are leaves scattered all over the
ground. There are also some small flowering plants that adds grace and beauty to entire .
This print depicts the natural attraction present between different components of nature. It
spreads the message of co-relation between nature and humans and explain nature's
importance in the existence of human race.

Artist -

K Laxma Goud was born in 1940 at Nizampur in Andhra Pradesh. He was a fine drafts-man
and print maker. He studied mural painting and print-making at MS University Baroda. He
was influenced by his teacher KG Subramanyan's experiments with the narrative mode and
figuration of visual traditions, classical, folk and popular cultures.

Through his work, he tries to remove sharp differences between major and minor arts, thus,
giving it linguistic touch. This has helped him to work with various mediums, such as glass
painting, terracotta and bronze. He wanted to spread the message of a continuous
relationship existing between man, animal, nature and vegetation.

He represents both rural and urban themes. The central idea of his art is to depict the
human thoughts as human mind is full of fantasy and ideas. He wanted to symbolically
represent disorganised human thoughts in most of his work. Some of his famous works are
Woman, Man, Landscape of Turkey, Untitled and Xiyan china.

Walls

Name--painting

Of Walls

Painter Anupam Sud

Period: 1982 AD
Collection: National Gallery of Modern Art, New Delhi

Appreciation This print was made by Anupam Sud in 1982. This graphic print was made by
using fusion of lithography 10 and photographic images. It was made by using zinc plate
and printed on paper. In this graphic print, she depicted a lonely women in white clothes.

seated before a ruined wall. In the foreground, only the lower part of a poor man sleeping
on the ground is shown. This sight of the man as compared to the clothed woman adds
sadness to the print. Anupam Sud creates the form of woman without face. The absence of
face gives it a brooding (silent) and sad expression. In the background, some drawings of
activities are shown on the wall made using white colour which represent the daily life
activities of this woman.

Artist Anupam Sud was born in 1944 in Hoshiyarpur, Punjab. In the early 1970s, she had
studied printmaking at the Slade School of Fine Art, University College, London. She has
deep interest in understanding social problems of marginalised community and
representing them artistically. She adopted many styles like etching, lithography, aquatint,
intaglio and mezzotint. She developed her skills as an artist under the mentorship of
Somnath Hore in Delhi. In 1975, she received Gold plaque from President of India for her
work. Some of her famous works include Adam and Eve, Purush and Prakriti and Autumn.

Santhal Family

● Painting Name--

Santhal Family 1937 AD

Period Painter : Ramkinkar Baij Collection Shantiniketan, West Bengal

Appreciation This sculpture was made by Ramkinkar Baij in 1937. This sculpture was ade
out of metal armature by using cement mixed with pebbles. It shows a scene of a Santhal
man, carrying his children in a double basket joined by a pole. His wife and dog re walking
alongside with him. It shows that the family is migrating from one region to another,
carrying all their possessions. This must be an everyday scene for the artist ving in the rural
landscape. However, he gives it a monumental status. The sculpture depicts the harsh
reality of migration in our society where hunger and poor are forced to migrate.
This sculpture is made in the round so that it can be seen from all sides. It is placed on a
low platform so that viewers can feel as if they are part of it. The significance of this work is
that it is regarded as the first public modernist sculpture in India. The artist has used
cement as it is a symbol of modernisation and avoided use of traditional mediums like
marble, wood or stone. This sculpture is placed in the compound of Kala Bhavana,
Shantiniketan, India's First National Art School.

Artist Ramkinkar Baij was born in 1910 in Bankura, West Bengal. He used kitchen
ingredients like spices and vermilion to paint. Baij style is very distinctive. He used
materials like stone, red clay, soil and concrete to make his sculptures. He usually used his
surroundings as his theme and most of his sculptures are outdoor works. His painting Sita's
Exile was published in Prabasi magazine. This helped him to get a gold medal in a painting
exhibition in Delhi. Some of his famous works are Returning from the Market, Sujata,
Reaper and Girl and The Dog.