Abanindranath Tagore: The Father of Modern Indian Art
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Courtesy of Victoria Memorial Hall, Online Exhibits |
Introduction The Victoria Memorial Hall in Kolkata has brought forth a landmark exhibition of works by one of India’s greatest modern artists, Abanindranath Tagore (1871–1951). Curated by the esteemed art historian Professor Ratan Parimoo, Director of the Lalbhai Dalpatbhai Museum of Indology, this exhibition celebrates the legacy and vision of a man often regarded as the founder of the Bengal School of Art. It features many rare and never-before-seen paintings from both the Victoria Memorial Hall and the Rabindra Bharati Society collections.
Abanindranath Tagore and the Bengal School Abanindranath was not just the nephew of the Nobel laureate Rabindranath Tagore but also a visionary who spearheaded a cultural and aesthetic awakening in India. As the founder of the Indian Society of Oriental Art, he rejected the rigid academic realism taught under British colonial influence and strove to develop a distinctly Indian style of painting. This nationalist movement in art aimed to reclaim indigenous styles like Mughal and Rajput miniatures, blending them with modern techniques and philosophies.
His iconic painting Bharatmata (1905) became the face of the Swadeshi movement, portraying a four-armed ascetic woman symbolizing the spiritual and material strength of the nation. This visual language was deeply rooted in Indian traditions yet avant-garde in its reinterpretation.
Early Works from the Victoria Memorial Collection The exhibition begins with sketches and watercolors from Abanindranath’s formative years. These include:
Still Life with Divan and Hookah: A pen-and-ink exploration of domestic Bengali life.
Sindoor: A series of studies of women applying vermilion, inspired by early memories of traditional rituals.
Rohini II and Old House and a Boat: Delicate renderings capturing rural Bengal's architectural and natural beauty.
Khagen Babu: A vivid sketch of a middle-class Bengali man, showcasing Tagore’s talent in portraiture.
Courtesy of Victoria Memorial Hall, Online Exhibits
Krishna Lila and Mangal Kavya Series A major part of the exhibit is devoted to his interpretation of Vaishnava literature, especially the Krishna Lila. Paintings such as Krishna the Boatman, Angry Radhika, and The Toll of Love illustrate how he innovatively merged Rajput miniatures with Western perspective and light techniques. These works are not merely devotional; they reinterpret mythology through a modern lens.
Taj Series and The Passing of Shah Jahan One of Abanindranath’s most celebrated works, The Passing of Shah Jahan, is both haunting and poetic. Depicting the dying Mughal emperor with his daughter Jahanara by his side, the scene captures the emperor gazing at the Taj Mahal through a window. This painting, rich in detail and emotion, became a symbol of nostalgia and fading grandeur of the Mughal era. First exhibited at the Delhi Durbar in 1902-03, it was later reproduced as a lithograph in 1910.
Arabian Nights and the Global Influence The Arabian Nights series reveals Abanindranath’s openness to global narratives. Influenced by Persian art and literature, these paintings combine Indian techniques with Middle Eastern motifs and storytelling. Notable among them is Greek King and the Physician, which showcases his ability to harmonize Eastern and Western aesthetics.
The Playmate, Open-Air Play, and Mask Series Abanindranath brought humor and introspection into his work through series like:
Open-Air Play: Satirical depictions of Bengali theatre characters, including Mahadeva and The Captive Hero.
Playmate Series: Symbolist interpretations of themes such as old age, beauty, and longing.
Mask Series (1929): Portraits of family members and cultural figures like Rabindranath Tagore and Dinendranath Tagore wearing theatrical masks. These works reflect the dualities of public personas and inner identities.
The Parrot’s Training (1918) Inspired by Rabindranath Tagore’s satirical story on modern education, this series critiques rote learning and blind conformity. The use of caricature and symbolism in Parrot’s Training No.1 is a bold statement against colonial education systems.
The Darjeeling Series Tagore's love for nature is evident in serene landscapes from Darjeeling, with mist-covered hills, railways, and trees portrayed using a subtle wash technique. These works evoke a sense of tranquility and introspection, often bordering on the mystical.
Krishnamangal and Kabikankan Chandi Series Tagore returned to themes from Bengali folklore in these series. Killing Putana, Slaying the Tornado Demon, Kalketu the Hunter, and The Tiger King are all energetic and narrative-rich. Using fluid forms and vibrant washes, he created visually compelling stories that resonate with mythic grandeur.
The Kabikankan Chandi paintings, like The Goddess Abhaya at the Hunter’s Home, combine folk narratives with spiritual symbolism, rendering the divine in everyday settings. These compositions embody Abanindranath’s deep understanding of Indian village life and devotion.
Bird and Falguni Series From The Snipes to Rabindranath as Kavishekhar, these later works demonstrate Tagore’s mastery of wash painting, luminous backdrops, and ethereal compositions. They blur the lines between performance, poetry, and painting.
Legacy and Influence Abanindranath Tagore’s contribution to Indian art cannot be overstated. His work laid the groundwork for generations of Indian artists to explore modernity without forsaking their cultural roots. As a painter, teacher, and writer, he inspired artists like Nandalal Bose, Asit Haldar, and Jamini Roy.
His methodology encouraged introspection and rooted expression, forming the backbone of the nationalist art movement during British rule. The Bengal School became a beacon for artists seeking an identity that was authentically Indian yet progressive.
Conclusion The exhibition at the Victoria Memorial Hall offers an unprecedented look into the diverse, innovative, and deeply Indian world of Abanindranath Tagore. It is not just a retrospective but a celebration of the birth of modern Indian art. By reviving forgotten traditions and marrying them with modern aesthetics, Tagore created a language that was uniquely his own.
As the public views many of these masterpieces for the first time, one can only marvel at how a single artist redefined an entire nation's visual culture. This exhibition stands as a testament to his genius and serves as a bridge connecting India's rich past with its artistic future.
Credits
Curator: Professor Ratan Parimoo
Collections: Victoria Memorial Hall, Kolkata & Rabindra Bharati Society
Images: Courtesy of Victoria Memorial Hall, Online Exhibits