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Unit 3 Company, Bengal and Contemporary School of Painting

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Unit 3 Company, Bengal and Contemporary School of Painting UNIT 3 COMPANY, BENGAL AND CONTEMPORARY SCHOOL OF PAINTING Structure 3.1 Introduction 3.2 Colonial Influences 3.3 Bengal School 3.4 Indian Painting after Independence- 3.5 Modem Art Movement Figurative Phase Folk Art Phase Tantric Phase Spiritual Phase Symbolist Phase Abstract Phase. 3.5.1 Contemporary Art 3.6 Sunnnary 3.7 Self-Assessment Questions 3.8 Terminal Questions 3.9 Answers r4 3.1 INTRODUCTION In the previous unit we have gone through the development of miniature school paintings in detail. This has given us an idea how the Indian heredity artists learnt new techniques in painting under the Mughal Master painters. After the decline of Mughals India was brought under the Colonial rule. This time the masters were Europeans and the Indian artists altered their thinking and artistic abilities to the taste of the company officers and masters. In this unit we will study how the trends and approaches in Indian painting have changed during Colonial times. Bengal movement was in protest of British approaches in art. After the independence the fresh approaches were followed by Indian artists. It is very interesting to study all these changing trends in art. Objectives: After studying this unit you will be able to: • distinguish the different schools of paintings in India; • discuss the changes that occurred in cultural life of the concerned period; • understand the modem art movement heralded the freshness of expression. 3.2 COLONIAL INFLUENCES India faced the rule of European powers such as British and French from the beginning 36 of 18th century. India became the major colony of British as such political and economic systems changed according to their needs. So also the art forms began to alter themsel ves Company, Bengal and Contemporary School to cater the interest of the masters. The British officers of East India Company began to of Painting record their life, visits, nature study - flowers, plants, fruits etc, interesting incidents that they came across, through sketches and paintings done by the visiting British artists and local artists. The paintings and sculptures produced during this period are considered as Company Period Paintings. Since photography was not discovered these paintings were put in albums and sent to Britain. British artist Daniel published the book with limited number of copies known as 'Oriental Scenery' using large size prints based on the paintings they have done when they visited India. The British established art schools in Bombay, (the present J.J.School), Calcutta (Govt. Fine Arts College), Madras (Arts & Crafts College) and imparted art education in the British formal way. The students trained in these schools were employed in publication division, as teachers, recorders, artists and many such other places. The British academic style of painting emerged during colonial times. The famous artist Raja Ravi Verma has mastered this style of painting. He used oil and canvas, painted in western techniques but chosen Indian subjects for his portrayal. 3.3 BENGAL SCHOOL The beginning of 1900 was marked with national spirit in India. Every group of people participated in the freedom struggle. One of the way of protest was rejecting all that was British. The artists of Bengal under the leadership Abanidranath Tagore and Nandalal Bose protested against British by rejecting to paint in Western style. Instead they visited Ajanta and explored the possibilities of painting in Indian way by using natural, powder colours. They understood the strength of line and content in India Painting. The Japanese artists like Hakakura visited India and Indian artists learnt the wash technique in water colour. (Number of times the light coating of colours mixed with water has to be given in this technique care has to be taken in drying the surface each time before painting. 7-21 coats of wash were used.) Indian natural tempera colours, water colours, mural and miniature styles of paintings were taken seriously again. With all these efforts revival ofIndian painting took place. From 1900 to 1920 the Indian artists refused to paint in British style. This revivalist movement originated in Bengal and spread to other parts of India. The woman artist by nameAmrita Sher Gill and the Noble Laureate Rabindranath Tagore gave the insight of universality to Indian art. 3.4 INDIAN PAINTING AFTER INDEPENDENCE After India got Independence in 1947 every stream of life began to emerge according to the fresh needs. In the field of art also new interests and new trends appeared. In the field of dance Rukrninidevi Arundelled a movement of revi val of Indian dance and its status as classical art. In visual art Progressive Group of Artists in Bombay, Madras and Calcutta introduced several approaches on which the future of Indian art stood on. The artists such as Hebbar, Bendre, Ara, Souza, Raza, M.F.Hussain, and others of that generation were the members of Progressive Art Group. Artists like Venkatappa, Devi Prasad Roy Choudhury, Binode Bihari Mukherji, Ram Kinkar Baij, Sornnath Hore, KG Subramanyan, Meera Mukherji, and others made their mark in the field of Indian visual arts after Independence. 3.5 MODERNARTMOVEMENT These artists are the pioneers of Indian Modem Art Movement. Freedom of ideas and expression were reflected in Indian painting, sculpture and architecture. The artists 37 Indian Painting - Major began to look for different sources for their expression. It is interesting to know that the Schools rich heritage of India offered variety of ideas and each region came out with new expression. New art schools and departments were set up under universities such as Shantiniketan, Baroda, Delhi, Bangalore, Mysore and Chandigarh etc. During 1960 a band of young artists emerged from these institutions to express freely their individual expression choosing from a variety of sources. They had set a trend resulting into different phases in Indian visual arts and it continues. Figurative Phase: In the early stages of modern art movement in India every artist experimented with the human, animal, structural and other forms in nature. As such the figures were drawn or imagined with fresh outlook. The figures were portrayed in strong lines by artists like Hebbar, N.S.Bendre and M.F.Hussain from Bombay, Nandalal Bose, and Gaganendranath Tagore from Calcutta. Some artists like Souza and SultanAli, Kishan Khanna, Santanam and others did not put the figures in the natural form or proportions rather they over emphasised and made them look oversized that is distorted. Folk Art Phase: Some of the artists were inspired by Indian folk art. They chose their form sourced from folk figures, colours and themes. KKHebbar was inspired by the Yakshagana art (originated in South Canara, Kamataka), Jaimini Roy picked up his forms from Kalighat paintings from Calcutta and Ramkinker Baij from the Santala Tribes. Later Laxma Goud and others expressed the folk elements in other mediums such as printrnaking. In printrnaking they chose engraving and enamelling. Tantric phase: Indian heritage has offered many phases of artistic development. One such phase is the tantric worship where the male or female energy is taken into consideration. The chantings are consecrated on the geometrical patterns and the deities which are-uncommon. These geometric motifs or patterns are based on the union of male and female principles. The artists like Beren De, GR.Santosh and others have used these philosophic principles in their artistic expression. Spiritual Phase: The ultimate expression of art lies in the act of spirituality. Indian spiritual heritage is a great contribution to World Order. Artists like Raza, Haridasan, KKHebbar and others used the panchbhuta tatva - the primordial elements such as earth, sky, air, fire and water in relating to their forms and painted some great works. Symbolist phase: Indian rituals, folk or temple rituals and marriage rituals are highly symbolic. The gestures, mantras, the motifs are symbolically expressed by artists like Panikkar, Reddappa N aidu, KKHebbar and others. Abstract phase: Some artists rejected the figurative forms and tried to express in the abstract manner, like use of different colours, falling of natural forms, etc. Adimoolam, 1ahangir Sabavala, Akbar Padamasee and others fall in this category. 38 3.5.1 Contemporary Art Company, Bengal and Contemporary School Contemporary is present art. The changing trends in Indian visual arts are very much in of Painting response to global happenings in the field of vi sual arts. In contemporary times scope in the application of art principles has widened the possibilities of using ideas and art materials in response to the present world around us. Freedom of expression is a great priority; as a result the contemporary art is highly individualistic. It began with mixed media where different techniques and materials are used in creating one work. Later combining video, photography and digital medias are also used in creating art works. Environment itself became the space for art; as a result installation art emerged as important medium. Combining acting, music dance, poetry, open space, nature into visual arts is the significant feature of Contemporary art. 3.6 SUMMARY In this unit, we have tried to view the development painting as an artin various periods of Indian history. So far we have learnt that, • We are able to answer the questions arising from the heritage of Indian painting. • The techniques and the subjects of painting have changed due to colonial times. Indian artists worked under the directions of the European masters. There is a strong impact of colonial influences on Indian painting. • During the struggle of Indian Independence the artists from Bengal protested against British way of teaching art. They looked towards the eastern culture for their ideas, techniques and inspiration. • After the Independence the artists painted with fresh ideas with freedom of expression. As a result Progressive Artists Group were formed in Bombay, Madras and Calcutta.
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