BENGAL SCHOOL

Q-1 Write the Main feature of the BENGAL SCHOOL.

ANS--MAIN FEATURES OF THE BENGAL SCHOOL
The base of Bengal School was full of Indian traditions. Therefore, the linear delicacy,
rhythm and grace of Ajanta and Bagh are clearly visible in the paintings of this school. The
artists of Bengal School learnt a lot from Indian traditional art, Chinese and Japanese art.
Their preferred mediums were water colour, ink and tempera. The subject matters on
which Bengal School painters painted were historical, religious, literary, social, landscapes
etc. The Bengal School brought renaissance and attracted the attention of world towards
the heritage of Indian art. The 'Wash Technique' was original indigenous style of this
school.
The artists of Bengal School put stress to study the theme from all possible view points so
that it can be reproduced from memory in a creative manner. Their main aim behind it is to
maintain originality of the style. They studied history of Indian art to learn more about the
heritage of Indian art. They also encouraged to study anatomy of human body to add life in
their paintings. They studied. colours, right use and harmonious blending on the basis of
composition and also used light, shade and perspective in order to depict depth and to add

extra softness and linear delicacy in their paintings as done in Ajanta. -

Q-2 Describe the origin and development of BENGAL

SCHOOL .
ANS- Origin and Development of BENGAL SCHOOL
Indian art has a rich history and tradition. It survived in its suggestive, spiritualistic and
symbolic forms till 18th century A.D. This art had the power to reveal life in paintings
through forms and colours. After the establishment of East India Company and first war of
independence in 1857, a series of political changes ruptured our every walk of life including
art and culture. The Britishers left no stone unturned to finish our greatness. The impact of
west swept away every thing in the field of traditional Indian art. To teach western art,
three art schools were opened at Bombay (Mumbai), Calcutta (Kolkata) and Madras
(Chennai) where either students were compelled to copy European art or to make painting
as the mixture of Mughal and Western art. Really, it was an age of confusion that caused
vacuum and darkness of slavery in expressing our views and ideas. The first encouragement
for revival of Indian art was led by the famous European artist E. B. Havell, Principal, Art
School, Madras and later on Art School, Calcutta. He appreciated Indian art for its own
values. Havell attracted the attention of the world towards the Indian great artistic
traditions by his three books namely 'Indian Sculpture and Painting', 'Indian Architecture'
and 'The Ideal of Indian Art'. He motivated and inspired Abanindranath to study the
techniques used in Mughal, Pahari, Rajput and Ajanta painting to create a new style. After
that, Abanindranath painted a series of Radha-Krishna paintings. He also synthesized
traditional Indian art, Western art, Chinese art and Japanese art which finally became the
style of Bengal School and are known as Wash painting.

E. B. Havell and Dr. Anand Coomar Swami enhanced the fame of Abanindranath by
exhibiting his paintings. After the foundation of Archeological Survey of India in 1902 the
beauty of Indian art spread all over the world. His main students were Nandlal Bose, Asit
Kumar Haldhar, K. Venkattappa, Suren Ganguly, Devi Prasad Roy Choudhary etc. who
exhibited their paintings on International stage and enhanced the reputation of Indian art
which was being ruptured by the British. In short, we can say that it was Havell's
constructive ideas, decisions, inspirations and enthusiastic effort of patriotic Abanindranath
that gave rebirth to Indian art and laid the foundation stone of Bengal School. Indian
sentiments are deeply rooted in the Bengal School. Its main aim was to regenerate the
patriotism and to re-establish Indian cultural values.

The life span of the Bengal School corresponds to the last fifty years of struggle for freedom
and Abanindranath was the first pioneer of this artistic renaissance. Under the guidelines of
Bengal School several new art schools e.g. at Lahore, Lucknow, Calcutta, Madras, Delhi,
Jaipur, Mysore were opened all over the country by him and his students' efforts. Gurudev
started teaching of art at Santiniketan as a separate department called 'Kala-Bhavana'.
Nandlal Bose was the head of painting department there. Being enlightened with patriotic
thoughts of Gandhian School and authentic idealist, Nandlal revolted British by his forms,
colours and contours. The Haripura congress was a feast of Indian art and its beautification.
Available wall space, pillars, stalls and arches were magically decorated by Nandlal Bose
and his students on the request of Gandhi Jee. His creations on bamboo mats and on
hession were worth seeing. It was the Bengal School of art which saved India from the
slavery of expressions.

Q-3 Write the paintings name of BANGAL SCHOOL

with artist name .
ANS- BENGAL SCHOOL PAINTING WITH ARTIST NAME
1-Journey’s End---------Abanindranath Tagor
2- Radhika ---------------M. A.R Chughtai
3- Meghdoot----------- Ram Gopal Vijaivargiya
4- Shiva and Sati------------------ Nandlal bose

Q- 4 Describe the painting JOURNEY’S END.

ANS – TITLE- Journey’s End
ARTIST- Abanindranath Tagor
MEDIUM- Water colour on Wash and Tempera.
MUSEAM- New Delhi
SUBJECT MATTER- In this painting an overloaded camel is about to
end his life after a long and tiring journey at the end of the day in a desert
area.
DESCRIPTION -
This is a symbolic pure Indian painting of Shri Abanindranath Tagore done in water colour.
It was completed in the best combination of wash and tempera technique on paper
in 1937. In this painting an overloaded camel is about to end his life after a long and tiring
journey at the end of the day in a desert area. The camel is about to collapse on a hard
stony ground. No one is there to help the dying camel. His half closed eyes and tiredness
expresses that work done by camel is much more than his capacity. The expression and
posture of camel looks real and lively. His front legs are shown bent on his knees while his
back legs are upright. His head is painted slightly high from the ground as if he has a desire
to get up once again. The colour composition of red, yellow, brown, black and orange is
giving the mystical effect to complete work. The sky is shown with the diffused light of
sunset in the background and a tint of blue colour is given at the place where the camel
died. The whole environment and main object is made the most realistic, which also
represents the artist's keen observation of animal study beyond the explicity of pictorial
element. Now, it is a collection of National Gallery of Modern Art, New Delhi.

Q- 5 Describe the painting SHIVA AND SATI.

ANS – TITLE- SHIVA AND SATI
ARTIST- NANDLAL BOSE
MEDIUM- WATER COLOUR ON WASH PAINTING .
MUSEAM- NEW DELHI
SUBJECT MATTER- THIS PAINTINGS BASED ON SHAIV-MYTHOLOGY
DESCRIPTION -
'Shiva and Sati' is a beautiful wash painting of Nandlal Bose. It is one of the series of his
wash paintings based on Shaiv-mythology. He transformed religious prototype venerated
form of Lord Shiva to a simple person of eternal youth who gives lession to everyone from
his work and behaviour. His Shiva, in a new looks, infact, represents 'Shiva-tatva', the
essence of Shaivism on a new spiritual platform.
In this painting we feel eternal peace and sorrow is spread everywhere because Sati's body
is shown in the lap of Shiva. Inspite of that, the face of Shiva is shown in deep meditation.
There is a hallo shown around the head of Shiva. He looks in a placid mood. There is no sign
of agitation on his face. It reflects the height of spiritualism which conveys that the worst
situation of life should be crossed with placid meditative mood and neutral emotion.
Though the flat colours are used in this painting but the plasticity of Sati's body is shown by
drawing. The outline of the whole composition is smooth, rhythmic and sharp. The soft and
monochromatic effect of the mixture of white, yellow ochre, orange, brown and black is
nice. In the guise of this mythic theme Nandlal gives a message of transcendental truth to
modern human life. Now. It is a collection of National Gallery of Modern Art, New Delhi.

Q- 6 Describe the painting RADHIKA .

ANS – TITLE- RADHIKA
ARTIST- M.A.R CHUGHTAI
MEDIUM- WATER COLOUR ON WASH PAINTING .
MUSEAM- NEW DELHI
SUBJECT MATTER- . IN THIS PAINTING, A VERY DELICATE INDIAN
LADY IS SHOWN COMING OUT OF HER ROOM.
DESCRIPTION -
Radhika is one of the beautiful wash paintings of M. A. R. Chughtai. In this painting, a very
delicate Indian lady is shown coming out of her room. Her face is profile; head is down and
eyes are in graceful look with sharp eyebrows. Her left foot is in forward motion. She is
hanging down in a typical posture. A honeybee is shown sitting on the flower. She is
wearing light purple lehnga, red blouse and yellow odhani. Her hair is painted in black and
brown combination and reaches up to her back. She is wearing well finished pearl necklace
with pendant and thread necklace along with a beautiful pendant. She has bangles in her
hands and rings in fingers. In background a lamp along with lampshade is shown with
burning flame and smoke. The background is made beautiful by the fusion of red, yellow
and black colours. The whole composition is giving a beautiful impression due to its
rhythmic form and flexibility. Now, it is a collection of National Gallery of Modern Art, New
Delhi.

Q- 7 Describe the painting MEGHDOOT .

ANS – TITLE- MEGHDOOT
ARTIST- RAMGOPAL VJAIVARGIYA
MEDIUM- WATER COLOUR ON WASH PAINTING .
MUSEAM- NEW DELHI
SUBJECT MATTER- . IN THIS PAINTING, A VERY DELICATE INDIAN
LADY IS SHOWN COMING OUT OF HER ROOM.
DESCRIPTION - Ram Gopal Vjaivargiya painted the theme Meghdoot in three
separate series based on famous Sanskrit classic 'Abhigyan Shakuntalam' written by Kalidas.
Each series consists of 60 to 70 paintings. In this painting, the cloud messenger Meghdoot is
shown taking Yaksha's message to his consort during rainy season. This painting has
obvious effect of Bengal School style mixed with typical Ajanta characteristics. The drawing
reflects calligraphic freedom and maintains the essence of form. The Yaksha is shown
sitting in knee down posture having profile face, softly smiling face, fluttering hair and doe
like eyes. He has some wild flowers in his long and thin left hand. He has tapering artistic
fingers and long legs. He is shown indulged in writing a love letter in the midst of vibrant
forest site in the lap of nature. The nature is shown in a happy and blissful mood. He is
shown wearing traditional dhoti and having a long veil on his left shoulder. There is a flower
garland around his neck and a traditional closed thread called 'Janeu' on his right shoulder.
The clouds full of rain water are shown floating very close to Yaksha as if they were eager
and excited to take message from Yaksha and send to his consort. Here clouds are depicted
in a very special manner which looks natural and attractive. The birds are shown flying
higher than clouds. New Delhi. Now, it is a collection of National Gallery of Modern Art,