NIOS Class 12 Painting Chapter 12 Pioneers of Contemporary Art Movements of India

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NIOS Class 12 Painting Chapter 12 Pioneers of Contemporary Art Movements of India

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Pioneers of Contemporary Art Movements of India

Chapter: 12

PAINTING

Ravana and Jatayu (Pic. 32)

Raja Ravi Verma belonged to the Royal family of Travancore (on the south west coast of India). He painted in oil and his work, in a late Neoclassical style, has a Victorian heaviness. The staginess of his art is much cleaner to us than it was to his contemporaries, who considered him the most outstanding painter in the western academic style. His painting were reproduced in oleographs and distributed widely. His painting are mostly with an epic or religious subject matter. He was not an incompetent portrait painter, his sole contribution perhaps in that he re-introduced Indian subjects as sacred national ideals and vision. An example of Raja Ravi Varma’s oil paintings is Ravana and Jatayu based on epic Ramayan. Varma reveals here his ability to seize movement and build up a composition on the principle of dynamic balance. Jatayu is trying free Sita from Ravana. In the act Ravana has cut the right wing of Jatayu with his sword. By covering her face Sita is avoiding to see the cruelty of Ravana. Upward movement of Ravana suggests the fleeing with Sita. Ravi Varma perpetuated a king of Indian feminine type. Other paintings of Raja Ravi Varma ‘Harishchandra’, ‘Bhishma’s Vow’, ‘Hamsa Damayanti’ are all good examples.

Radhika (Pic.33)

The foremost pioneer of Bengal School, Sri Abanindra Nath Tagore was born on 7 August 1871. In 1905, Abanindra Nath was appointed Vice-Principal of Calcutta School of Art. Younger artists began to adopt Abanindra Nath’s manner, with its tepid color and wishtful sentimentality. Abanindra Nath combined the Indian tempera-techniques with the Japanese water colour evolving a new style of painting called the wash technique. He also evolved a mystic and mellow style with diffused light background and elongated lyrical figures. Radhika is an example of Abanindra Nath style, Radha has gone to collect some water in an earthen pot from river. In a simple composition Radha is shown wearing a typical sari in Bengalee style. The figure is very natural, soothing and delicate, Tempera also became a popular medium of Bengal School paintings. In hs later works Abanindra Nath was influenced by calligraphist and painters from China and paint makers from Japan.

Students of Bengal School took inspiration from ancient epics, classical literature; their compositions were usually based on the format of Rajput and Pahari paintings.

Sri Chaitanya under Garuda stambha (Pic. 34)

Abanindra Nath’s disciple Nandlal Bose learnt at Govt. School of Art and Craft, Calcutta and extended the tradition by doing painting in a different style. Shantiniketan flourished under Nandlal Bose. Nandlal had a great respect for the Indian tradition both in art and life. He visited Ajanta and the Bagh caves in 1920-21, carefully making studies and drawing of the murals which later reflected in his works. Nandlal painted Sri Chaitanya under Garud Stambha in mixed medium (wash and tempera). Chaitanya in grief is reclining against a pillar. He is supporting his body with his right hand. Part of his body is covered with cloth. The gesture of limbs suggests depression. Longish fingers are with feminine delicacy. On the top of pillar Garud the carrier of Lord Vishnu, is sitting. A divine light is pouring down! to Chaitanya suggesting the blessings.

Crucifixion (Pic. 35)

Jamini Roy developed his own style rejecting both Bengal School and western style. His style is based on Bengal Folk art form. Jamini Roy was born in April, 1882 at Baliatore District Bankura in Bengal. When Jamini Roy was sixteen years of age, he was sent to Kolkata (Calcutta) to study painting. Though he was trained in western techniques but instead of using western facilities he reduced to seven colours which he prepared with local earth colours crush in tamarind glue or in the white of the egg. For the grays, he used the mud of river, for the vermilion he took from the ritual composition used by women; blue is just the simple indigo and white lime. And when he required black, it was the modest black of soot that he employed. In the preparation of his canvas he used cow dung. In his paintings he portrayed all the activities of the people. He expressed religious scenes, strange ritual dances etc. 

Jamini used the traditional tempera technique. His sources of inspiration were the pata-chitras of Kalighat and terracotta toys Bankura. His paintings show a remarkable of economy of lines, simplicity of drawing and solidity in his compositions. The art of Jamini Roy, however, does not limit itself to the face of India; it has sometimes searched for inspiration from outside countries. It resulted in strange portrait of Christ. Crucifixion is the resemblance

with those painted in Byzantium and is an astonishing painting. This painting in tempera on paper shows the event of crucifixion of Christ. Amongst three figures, two right and left side figures are painted in dark colours thus giving the importance to the central figures. In the background a number of followers are praying with folded hands. The mood of the entire painting is grief.

Intext Questions 12.1 

Fill up the blanks:

1. Ravi Varma belonged to __________.

(a) Artist family.

(b) Royal family.

(c) Poor family.

Ans: (b) Royal family.

2. Ravi Varma did __________ painting.

(a) Water color. 

(b) Tempera. 

(c) Oil.

Ans: (c) Oil.

3. __________ was the first Indian painter to

paint in Oil.

(a) Algiri Naidu. 

(b) Raja Raja Varma.

(c) Ravi Varma.

Ans: b. Raja Raja Varma.

4. __________ made Ravi Varma famous.

(a) Photograph. 

(b) Telegraph.

(c) Lithograph.

Ans: (b) Telegraph.

Intext Questions 12.2

Fill up the blanks:

1. The new style of painting evolved by Abanindra Nath is called as _________.

Ans: Wash-techniques.

2. _________ is an example of Abanindra Nath Style.

Ans: Radhika.

3. Abanindra Nath was influenced by _________ and _________ from China and paint makers of Japan.

Ans: Calligraphist, painters.

Intext Questions 12.3

Circle the correct word: 

1. Art schools were established by

(a) EB Havell. 

(b) British.

(c) Abanindra Nath.

Ans: (c) Abanindra Nath.

2. Nandlal Bose followed

(a) EB Havell.

(b) Gogonendra Nath. 

(c) Abanindra Nath.

Ans: (c) Abanindra Nath.

3. Nandlal Bose learnt at

(a) Govt. School of Art, and Craft. 

(b) Art school of Mumbai.

(c) Art school of Madras.

Ans: (a) Govt. School of Art, and Craft. 

Intext Questions 12.4

Choose the right answer: 

1. Jamini Roy used

(a) Natural colors. 

(b) British colors.

(c) Wash Colors. 

Ans: (a) Natural colors.

2. Jamini was born in

(a) April 1882

(b) June 1838 

(c) July 1882

Ans: (a) April 1882.

3. Jamini Roy used the traditional

(a) Tempera technique.

(b) Acrylic colors.

(c) Oil colors.

Ans: (a) Tempera technique.

4. The mood of Jamini Roy’s Crucifixion is

(a) Joy. 

(b) Sorrow.

(c) Grief.

Ans: (c) Grief.

Model Questions

1. What was the purpose of East India Company to recruit the Indian artists?

Ans: While traveling into India, British brought prints of paintings from Europe. The availability of European prints provided Indian artists new modes of expression and new ways of looking at problems of naturalistic representation. This European component in Mughal painting was a lasting contribution that filtered through into the later regional schools from which Company artists were recruited. Many of the traditional artists got opportunities to see them at work. It was in this informal and un-programmed way that the Indian artists of, what has been called the Company School of painting, gained some skill in the Western type of realism.

2. Describe the themes of Ravi Varma’s paintings.

Ans: His painting were reproduced in oleographs and distributed widely. His painting are mostly with an epic or religious subject matter. He was not an incompetent portrait painter, his sole contribution perhaps in that he re-introduced Indian subjects as sacred national ideals and vision. An example of Raja Ravi Varma’s oil paintings is ‘Ravana and Jatayu’ based on epic Ramayan. 

3. Write briefly Abanindra Nath’s Painting ‘Radhika’.

Ans: The foremost pioneer of Bengal School, Sri Abinindra Nath Tagore was born on 7 August 1871. In 1905, Abinindra Nath was appointed Vice-Principal of Calcutta School of Art. Younger artists began to adopt Abaindra Nath’s manner, with its tepid color and wishtful sentimentality. Abanindra Nath combined the Indian tempera-techniques with the Japanese water colour evolving a new style of painting called the wash technique. He also evolved a mystic and mellow style with diffused light background and elongated lyrical figures. Radhika is an example of Abanindra Nath style. Radha has gone to collect some water in an earthen pot from river. In a simple composition Radha is shown wearing a typical sari in Bengalee style. The figure is very natural, soothing and delicate. Tempera also became at popular medium of Bengal School painters. In hs later works Abanindra Nath was influenced by calligraphist and painters from China and paint makers from Japan. 

4. Describe the painting ‘Chaitanya under Garuda Stambha’.

Ans: Abinindra Nath’s disciple Nandlal Bose learnt at Govt. School of Art and Craft, Calcutta and extended the tradition by doing painting in a different style. Shantiniketan flourished under Nandlal Bose. Nandlal had a great respect for the Indian tradition both in art and life. He visited Ajanta and the Bagh caves in 1920-21, carefully making studies and drawing of the murals which later reflected in his works. Nandlal painted Sri Chaitanya under Garuda Stambha in mixed medium (wash and tempera). Chaitanya in grief is reclining against a pillar. He is supporting his body with his right hand. Part of his body is covered with cloth. The gesture of limbs suggests depression. Longish fingers are with feminine delicacy. On the top of pillar Garuda the carrier of Lord Vishnu, is sitting. A divine light is pouring down to Chaitanya suggesting the blessings.

Very Type Questions Short Answer

1. Which painter became the legend of Indian painting of modern era? 

Ans: Raja Ravi Varma (1848-1906).

2. What was the style of Ravi Varma’s painting? 

Ans: Ravi varma painted in a European style. 

3. Name some famous paintings of Raja Ravi Varma?

Ans: Ravana and Jatayu, Harishchandra, Bhisma’s vow and Hamsa Damyanti.

4. To which family Raja Ravi Varma belonged? 

Ans: Raja Ravi Varma belonged to the Royal family of Travancore. 

5. Who was foremost pioneer of Bengal school?

Ans: Shri Abanindra Nath Tagore.

6. What influenced Abanindra Nath Tagore?

Ans: Abanindra Nath was influenced by calligraphist and painter makers from Japan. 

7. What is the ‘Wash technique’?

Ans: Abanindra Nath combined the Indian tempera- techniques with the Japanese water colour evolving a new style of painting called the ‘wash technique’.

8. Give an example of painting of Abanindra Nath Tagore’s style.

Ans: Radhika.

9. Name the famous disciple of Abanindra Nath Tagore.

Ans: Nandlal Bose. 

10. Name the famous painting by Nandlal Bose.

Ans: Sri Chaitanya under Garuda Stambha. 

11. What does gesture of limbs in the painting ‘Sri Chaitanya uber Garuda stambha’ show?

Ans: The gesture of limbs suggests depression.

12. What does the longish fingers in the painting ‘Sri Chaitanya under Garuda Stambha’ represents? 

Ans: Longish fingers represent feminine delicacy.

13. What was the style of Jamini Roy? 

Ans: Jamini Roy developed his own style rejecting both Bengal school and western style. His style is based on Bengal Folk art form.

14. With which foreign painting is the painting crucifixion identified? 

Ans: Those painted in Byzantium. 

15. What is mood of the painting ‘crucifixion’?

Ans: The mood of the entire painting is grief.

Short Type Questions Answer 

1. What happened to Indian art when Indians lost first war of independence in 1857? 

Ans: When Indians lost their war of independence in 1857, India became a British colony. At that moment, art movement succeeded in weaning away the young painters to the strong influence of British naturalism and classical western art, but it soon lost its relevance. The age-old themes derived from epics and classical literature, so popular among the Bengal School artists, did not remain relevant to the needs of a changing society. The Indian people on the one hand were reeling under the British oppression and on the other hand were trying to throw away the yoke of slavery. The were struggling to usher in an era of independence, of self-respect and self-determination in socio- economic and political spheres. The need was felt for an art from which reflected the mood of a changing society.

2. Write a short note on Raja Ravi Varma. 

Ans: An example of Raja Ravi Varma’s oil paintings is Ravana and Jatayu based on epic Ramayana. Varma reveals here his ability to seize movement and build up a composition on the principle of dynamic balance. Jatayu is trying to free Sita from Ravana. In the act Ravana has cut the right wing of Jatayu with his sword. By covering her face Sita is avoiding to see the cruelty of Ravana. Upward movement of Ravana suggests the fleeing with Sita. Ravi Varma perpetuated a king of Indian feminine type. Other paintings of Raja Ravi Varma ‘Harishchandra’, ‘Bhishma’s Vow’, ‘Hamsa Damayanti’ are all good examples. 

3. Describe the painting “Ravana and Jatayu”. 

Ans: Raja Ravi Verma belonged to the Royal family of Travancore (on the south west coast of India). He painted in oil and his work, in a late Neo-classical style, has a Victorian heaviness The staginess of his art is much clearer to us than it was to his contemporaries, who considered him the most outstanding painter in the western academic style. His painting were reproduced in oleographs and distributed widely. His painting are mostly with an epic or religious subject matter. He was not an incompetent portrait painter, his sole contribution perhaps in that he re-introduced Indian subjects as sacred national ideals and vision. An example of Raja Ravi Varma’s oil paintings is Ravana and Jatayu based on epic Ramayana.

4. Write a short note on Bengal School.

Ans: The foremost pioneer of Bengal School, Sri Abanindra Nath Tagore was born on 7 August 1871. In 1905, Abanindra Nath was appointed Vice-Principal of Calcutta School of Art. Younger artists began to adopt Abanindra Nath’s manner, with its tepid colour and wishtful sentimentality. Abanindra Nath combined the Indian tempera-techniques with the Japanese water colour evolving a new style of painting called the wash technique. He also evolved a mystic and mellow style with diffused light background and elongated lyrical figures. Radhika is an example of Abanindra Nath style. 

5. Describe the painting “Radhika”.

Ans: Radhika is an example of Abanindra Nath style. Radha has gone to collect some water in an earthen pot from river. In a simple composition Radha is shown wearing a typical sari in Bengalee style. The figure is very natural, soothing and delicate. Tempera also became a popular medium of Bengal School painters. In his later works Abanindra Nath was influenced by calligraphist and painters from China and paint makers from Japan. 

6. From where did students of Bengal school took inspiration?

Ans: Students of Bengal School took inspiration from ancient epics classical literature; their compositions were usually based on the format of Rajput and Pahari paintings.

7. Write a brief profile of Nandlal Bose. 

Ans: Abanindra Nath’s disciple Nandlal Bose learnt at Govt. School of Art and Craft, Calcutta and extended the tradition by doing painting in a different style. Shantiniketan flourished under Nandlal Bose. Nandlal had a great respect for the Indian tradition both in art and life. He visited Ajanta and the Bagh caves in 1920-21, carefully making studies and drawing of the murals which later reflected in his works. Nandlal painted Sri Chaitanya under Garuda Stambha in mixed medium (wash and tempera).

8. Describe the painting ‘Sri Chaitanya under’ Garuda Stambha’.

Ans: Nandlal painted Sri Chaitanya under Garuda, Stambha in mixed medium (wash and tempera). Chaitanya in grief is reclining against a pillar. He is supporting his body with his right hand. Part of his body is covered with cloth. The gesture of limbs suggests depression. Longish fingers are with feminine delicacy. On the top of pillar Garuda the carrier of Lord Vishnu, is sitting. A divine light is pouring down to Chaitanya suggesting the blessings.

9. Write a brief profile of Jamini Roy. 

Ans: Jamini Roy developed his own style rejecting both Bengal School and western style. His style is based on Bengal Folk art form. Jamini Roy was born in April, 1882 at Baliatore, District Bankura in Bengal. When Janimi Roy was sixteen years of age, he was sent to Kolkata (Calcutta) to study painting. Though he was trained in western techniques but instead of using western facilities he reduced to seven colors which he prepared with local earth colors crushed in tamarind glue or in the white of the egg. For the grays, he used the mud of river, for the vermilion he took from the ritual composition used by women; blue is just the simple indigo and white lime. And when he required black, it was the modest black of soot that he employed. In the preparation of his canvas he used cow dung. In his paintings he portrayed all the activities of the people. 

He expressed religious scenes, strange ritual dances etc. Jamini used the traditional tempera technique. His sources of inspiration were the pata-chitras of Kalighat and terracotta toys of Bankura. His paintings show a remarkable economy of lines, simplicity of drawing and solidity in his compositions. The art of Jamini Roy’s, however, does not limit itself to the face of India; it has sometimes searched for inspiration from outside countries. It resulted in strange portrait of Christ.

10. Describe the painting “Crucifixion”. 

Ans: Crucifixion is the resemblance with those painted in Byzantium and is an astonishing painting. This painting in tempera on paper shows the event of crucifixion of Christ. Amongst three figures, two right and left side figures are painted in dark colors thus giving the importance to the central figures. In the background a number of followers are praying with folded hands. The mood of the entire painting is grief.