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NCERT Class 12 Fine Art Chapter 6 The Bengal School and Cultural Nationalism
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The Bengal School and Cultural Nationalism
Chapter: 6
| SHORT QUESTION ANSWER |
1. Who is considered the pioneer of the Bengal School of Art?
Ans: Abanindranath Tagore.
2. Which cultural movement was closely associated with the Bengal School of Art?
Ans: The Indian nationalist and cultural revivalist movement.
3. Name one prominent artist of the Bengal School apart from its founder.
Ans: Nandalal Bose.
4. What was a key characteristic of the Bengal School’s painting style?
Ans: Emphasis on Indian themes, use of traditional techniques, and a departure from Western realism.
5. In which year was the Bengal School of Art founded?
Ans: 1905.
| EXERCISE |
1. Collect a local newspaper of the past two weeks. Select images and text from these that you consider important in the life of the modern democratic state of India. With the help of these visuals and texts, compile an album that narrates the story of an independent sovereign India in the contemporary world.
Ans: Do yourself.
2. Comment on the importance of the Bengal School artists in the making of a national style of art?
Ans: The Bengal School of Art, founded in the early 20th century by artists like Abanindranath Tagore, played a pivotal role in shaping India’s artistic identity during its struggle for independence and in the post-independence era.
There is an importance of the Bengal School artists in the making of a national style of art.
(i) Revival of Indian Artistic Traditions: The Bengal School artists sought to revive and celebrate traditional Indian artistic techniques and themes, which had been overshadowed during the colonial period. They drew inspiration from ancient Indian art, Mughal miniatures, and folk art forms, contributing to a cultural renaissance.
(ii) Nationalistic Expression: Their art was deeply intertwined with the nationalist movement. By rejecting Western academic styles and embracing indigenous forms, they sought to foster a sense of pride and identity among Indians. Their paintings often depicted themes of Indian mythology, folklore, and rural life, serving as a visual representation of the country’s cultural heritage.
(iii) Development of a National Style: The Bengal School artists aimed to create a distinctive Indian style that could be recognized globally while remaining rooted in local traditions. Their emphasis on simplicity, spirituality, and the use of natural colours contributed to the emergence of a cohesive national artistic style that transcended regional differences.
(iv) Influence on Modern Indian Art: The Bengal School laid the foundation for modern Indian art movements. Many of its artists, such as Nandalal Bose and Jamini Roy, went on to influence subsequent generations of artists, shaping the trajectory of Indian art well into the 20th century.
(v) Legacy and Contemporary Relevance: Even today, the Bengal School’s influence can be seen in various forms of Indian art. It continues to inspire artists who seek to balance tradition with modernity, emphasising cultural roots and national identity in their work.
3. Write your view on any one painting by Abanindranath Tagore.
Ans: One of Abanindranath Tagore’s most iconic paintings is “Bharat Mata” (Mother India). Created in 1905, this work transcends mere artistry to become a powerful symbol of Indian nationalism. In the painting, Tagore depicts Mother India as a serene, nurturing figure, dressed in a saffron sari and seated on a lotus. Her four arms hold objects symbolising different virtues: a book for knowledge, a sheaf of grain for prosperity, a mala (rosary) for spirituality, and a white cloth for peace. This portrayal not only invokes the cultural and spiritual richness of India but also serves as a unifying image during the struggle for independence. Tagore’s use of traditional Indian motifs and his ability to imbue the painting with deep nationalistic fervour make “Bharat Mata” a timeless masterpiece, reflecting the hopes and aspirations of a nation yearning for freedom and identity.
4. Which art traditions of India inspired the Bengal School artists?
Ans: The Bengal School artists drew inspiration from several traditional Indian art forms, seeking to revive and integrate these styles into their work as a reaction against Western artistic influence. They were particularly influenced by the intricate and delicate techniques of Mughal miniature paintings, which emphasised detailed brushwork and rich, natural colours. Additionally, they looked at the Ajanta cave murals, with their expressive figures and vibrant use of colour, as well as the lyrical fluidity and spirituality found in Rajput paintings. The simplicity and elegance of traditional Japanese wash techniques also played a significant role in shaping their aesthetic, blending seamlessly with Indian themes. Folk art traditions and rural life imagery provided further inspiration, imbuing their work with a distinctly Indian ethos and contributing to the creation of a national art style that celebrated India’s cultural heritage and identity.
5. What were the themes that Jamini Roy painted after he abandoned the academic style of painting?
Ans: Jamini Roy is a unique example of a modern Indian artist, who after undergoing academic training in the colonial Art School rejected it only to adopt the flat and colourful style of folk painting seen in villages. He wanted his paintings to be simple and easy to duplicate to reach a wider public and based on themes like women and children, specifically, and rural life, generally.
However, the struggle between the Indian and European taste in art continued as seen in the art policy of the British Raj. For example, the project for mural decorations for Lutyens Delhi buildings went to the students of Bombay School of Art, trained in realistic studies by its Principal, Gladstone Solomon. On the other hand, the Bengal School artists were allowed to decorate the Indian House in London under close British supervision.
This is a gouache painting on paper made by Jamini Roy (1887–1972) in 1940. He was called the father of the folk renaissance in India, who created an alternative vision of modern Indian identity. In the mid–1920s, he travelled to the countryside of Bengal to collect folk paintings (pats) and learn from folk artisans. He wanted to learn from the expressive power of their lines. In this painting, a mother and her child are rendered with bold simplifications and thick outlines with sweeping brush strokes. The painting exudes a crude vigour hitherto unknown in Indian art. Figures are coloured in dull yellow and brick-red background, emulating the terracotta relief of his home village in Bankura. The two-dimensional nature of the painting is derived from past paintings and his search for simplicity and pure form is visible. Roy borrowed volume, rhythm, decorative clarity and instrumentality of the pat in his artworks. To achieve and learn the purity of the pat, he first made many monochrome brush drawings, and then, gradually, moved to basic seven colours applied with tempera. He used Indian red, yellow ocher, cadmium green, vermilion, charcoal grey, cobalt blue and white made from organic material, such as rockdust, tamarind seeds, mercury powder, alluvial mud, indigo and common chalk. He used lamp black to outline the drawings and started making his own canvas with home-spun fabric (parts used paper or cloth or baked paper). Roy used the notion of village community as a weapon of resistance to colonial rule and a political act of making local signify national.
