SYNCRETISM IN BENGAL ART

Shortly after Tipu Sultan's death in 1799, the East India India Company established a stronghold in Mysore (present-day Mysuru), with Krishnaraja Wodeyar III ruling under British suzerainty. This engraving by F. C. Lewis (Sr.), based on a painting by his son, F. C. Lewis (Jr.), tries to represent cordial relations between the British and the Maharaja. The expertly executed work, which came with an index to every individual in the frame, was celebrated across the Empire.

The engraving by F. C. Lewis possibly inspired this oil painting of the scene of Draupadi's vastraharan from the Mahabharata. The unnamed artist tackles European academic conventions by using perspective to heighten the drama of the scene, and moulds the figures with light and shade to emulate a naturalistic style. In this painting an incident from a Hindu epic sits comfortably under arches that were typical to the Nizam's palaces—a testimony to the syncretic nature of religious art of the time. 

Shortly after Tipu Sultan's death in 1799, the East India India Company established a stronghold in Mysore (present-day Mysuru), with Krishnaraja Wodeyar III ruling under British suzerainty. This engraving by F. C. Lewis (Sr.), based on a painting by his son, F. C. Lewis (Jr.), tries to represent cordial relations between the British and the Maharaja. The expertly executed work, which came with an index to every individual in the frame, was celebrated across the Empire.

The engraving by F. C. Lewis possibly inspired this oil painting of the scene of Draupadi's vastraharan from the Mahabharata. The unnamed artist tackles European academic conventions by using perspective to heighten the drama of the scene, and moulds the figures with light and shade to emulate a naturalistic style. In this painting an incident from a Hindu epic sits comfortably under arches that were typical to the Nizam's palaces—a testimony to the syncretic nature of religious art of the time. 

In one of Abanindranath Tagore's early iconic works, The Passing of Shah Jahan, the artist self-consciously drew on the miniature tradition of the Mughals in the composition and fine line-work. Abanindranath would continue to explore Islamic themes and stories through his career, often combining the Bengali script with Nastaliq forms in his signature. He would later visualize Omar Khayyam's Rubaiyat and The Arabian Nights through his paintings.

Prosanto Roy's paintings demonstrate his sensitive use of the wash technique as he drew inspiration from his two teachers, Abanindranath and Gaganendranath Tagore. This Untitled painting captures fragmentary episodes from the story of Ali Baba in multiple visual frames, with figures that are as delicately drawn as Mughal miniatures. Curiously, packages labelled in Bengali sit on the kitchen shelves—another nod to Roy's mentor, Abanindranath's own penchant for blurring geographic and linguistic lines.

M. A. R. Chughtai, later recognised as an important national artist of Pakistan, brought together Art Nouveau aesthetics with Islamic and Hindu themes in his paintings. Languid forms, the use of the wash technique, and graceful figuration characterise his best works. 

In one of Abanindranath Tagore's early iconic works, The Passing of Shah Jahan, the artist self-consciously drew on the miniature tradition of the Mughals in the composition and fine line-work. Abanindranath would continue to explore Islamic themes and stories through his career, often combining the Bengali script with Nastaliq forms in his signature. He would later visualize Omar Khayyam's Rubaiyat and The Arabian Nights through his paintings.

Prosanto Roy's paintings demonstrate his sensitive use of the wash technique as he drew inspiration from his two teachers, Abanindranath and Gaganendranath Tagore. This Untitled painting captures fragmentary episodes from the story of Ali Baba in multiple visual frames, with figures that are as delicately drawn as Mughal miniatures. Curiously, packages labelled in Bengali sit on the kitchen shelves—another nod to Roy's mentor, Abanindranath's own penchant for blurring geographic and linguistic lines.

M. A. R. Chughtai, later recognised as an important national artist of Pakistan, brought together Art Nouveau aesthetics with Islamic and Hindu themes in his paintings. Languid forms, the use of the wash technique, and graceful figuration characterise his best works. 

In one of Abanindranath Tagore's early iconic works, The Passing of Shah Jahan, the artist self-consciously drew on the miniature tradition of the Mughals in the composition and fine line-work. Abanindranath would continue to explore Islamic themes and stories through his career, often combining the Bengali script with Nastaliq forms in his signature. He would later visualize Omar Khayyam's Rubaiyat and The Arabian Nights through his paintings.

Prosanto Roy's paintings demonstrate his sensitive use of the wash technique as he drew inspiration from his two teachers, Abanindranath and Gaganendranath Tagore. This Untitled painting captures fragmentary episodes from the story of Ali Baba in multiple visual frames, with figures that are as delicately drawn as Mughal miniatures. Curiously, packages labelled in Bengali sit on the kitchen shelves—another nod to Roy's mentor, Abanindranath's own penchant for blurring geographic and linguistic lines.

M. A. R. Chughtai, later recognised as an important national artist of Pakistan, brought together Art Nouveau aesthetics with Islamic and Hindu themes in his paintings. Languid forms, the use of the wash technique, and graceful figuration characterise his best works. 

Hailing from Rajasthan's Sawai Madhopur district, Ramgopal Vijaivargiya was taught by early proponents of the Bengal School. This painting of the five Pandavas and Draupadi from the epic Mahabharata shows the influence of the Ajanta murals in the use of twilight tones and elongated features.

Asit Kumar Haldar was among the young artists who joined Lady Christiana Herringham's Ajanta expedition of 1909 - 11. Like Nandalal Bose, he was inspired by the warm colours and graceful figures he encountered in the caves. This painting, part of a series of illustrations on Indian history, depict Queen Prabhavati of the Vakataka dynasty, who ruled with her son on her lap. The columns and capitals in this work are reproductions of similar images recorded at Ajanta.

One of the later artists of the Bengal School, Sanat Chatterjee explored Hindu philosophy through his religious paintings. In this depiction of Shiva and Uma, the subtle use of watercolours is reminiscent of the Bengal School, while the framing of the larger than life figures at the centre of image, and the swirling ornamental lines of the clouds recall Buddhist thangkas.

Hailing from Rajasthan's Sawai Madhopur district, Ramgopal Vijaivargiya was taught by early proponents of the Bengal School. This painting of the five Pandavas and Draupadi from the epic Mahabharata shows the influence of the Ajanta murals in the use of twilight tones and elongated features.

Asit Kumar Haldar was among the young artists who joined Lady Christiana Herringham's Ajanta expedition of 1909 - 11. Like Nandalal Bose, he was inspired by the warm colours and graceful figures he encountered in the caves. This painting, part of a series of illustrations on Indian history, depict Queen Prabhavati of the Vakataka dynasty, who ruled with her son on her lap. The columns and capitals in this work are reproductions of similar images recorded at Ajanta.

One of the later artists of the Bengal School, Sanat Chatterjee explored Hindu philosophy through his religious paintings. In this depiction of Shiva and Uma, the subtle use of watercolours is reminiscent of the Bengal School, while the framing of the larger than life figures at the centre of image, and the swirling ornamental lines of the clouds recall Buddhist thangkas.

Hailing from Rajasthan's Sawai Madhopur district, Ramgopal Vijaivargiya was taught by early proponents of the Bengal School. This painting of the five Pandavas and Draupadi from the epic Mahabharata shows the influence of the Ajanta murals in the use of twilight tones and elongated features.

Asit Kumar Haldar was among the young artists who joined Lady Christiana Herringham's Ajanta expedition of 1909 - 11. Like Nandalal Bose, he was inspired by the warm colours and graceful figures he encountered in the caves. This painting, part of a series of illustrations on Indian history, depict Queen Prabhavati of the Vakataka dynasty, who ruled with her son on her lap. The columns and capitals in this work are reproductions of similar images recorded at Ajanta.

One of the later artists of the Bengal School, Sanat Chatterjee explored Hindu philosophy through his religious paintings. In this depiction of Shiva and Uma, the subtle use of watercolours is reminiscent of the Bengal School, while the framing of the larger than life figures at the centre of image, and the swirling ornamental lines of the clouds recall Buddhist thangkas.

This rare woodcut print by Jamini Roy is a part of the artist's lifelong interest in biblical themes. He was curious to see if the abstract pictorial language he had developed could be universally applied to evoke subjects that were far removed from his own context. While Roy is particularly remembered for his depictions of scenes from Christ's life such as the Last Supper and the Crucifixion, this simple, unadorned image of Christ recalls his humble origins, reminding us why the story of Christ resonates with everyday people from around the world.

Over the centuries, many civilisations and cultures have used mosaics to depict myths and rituals—from the ancient Mesoamericans, to Greeks, and Byzantines. Jamini Roy renders a scene from the Mahabharata featuring Hanuman and Garuda in a similar style. Or, perhaps, he was offering his own interpretation of Pointilism, where the artist conjures a single visual impression from disparate specks of colour.

This rare woodcut print by Jamini Roy is a part of the artist's lifelong interest in biblical themes. He was curious to see if the abstract pictorial language he had developed could be universally applied to evoke subjects that were far removed from his own context. While Roy is particularly remembered for his depictions of scenes from Christ's life such as the Last Supper and the Crucifixion, this simple, unadorned image of Christ recalls his humble origins, reminding us why the story of Christ resonates with everyday people from around the world.

Over the centuries, many civilisations and cultures have used mosaics to depict myths and rituals—from the ancient Mesoamericans, to Greeks, and Byzantines. Jamini Roy renders a scene from the Mahabharata featuring Hanuman and Garuda in a similar style. Or, perhaps, he was offering his own interpretation of Pointilism, where the artist conjures a single visual impression from disparate specks of colour.