150 years of Abanindranath Tagore

Along with E. B. Havell, principal of the Government School of Art, Abanindranath explored Mughal miniatures. While they were exquisitely painted, he felt they lacked bhava or emotional depth. Abanindranath’s The Passing of Shah Jahan, which was awarded a silver medal at the Delhi Durbar of 1903, was an attempt to address that. It is no mere depiction of Shah Jahan’s final days—the artist draws us into the moment sympathetically. The fading moon reflects the sorrows of the dying Emperor, even as it foreshadows the gradual decline of Mughal rule.

Initially intended to represent Banga Mata (Mother Bengal), Abanindranath’s painting of a saffron-clad woman with four symbols of life’s most fundamental needs in her four hands, became an icon of the Swadeshi movement. It was reproduced on large posters for fund-collection drives and celebrated for its innate Indian-ness by Sister Nivedita, who insisted it be recast as Bharat Mata (Mother India).
‘We have here a picture which bids fair to prove the beginning of a new age in Indian art. Using all the added means of expression which the modern period has bestowed upon him, the artist, here, has given expression nevertheless to a purely Indian idea.’  Sister Nivedita, The Modern Review, February 1907. 

Along with E. B. Havell, principal of the Government School of Art, Abanindranath explored Mughal miniatures. While they were exquisitely painted, he felt they lacked bhava or emotional depth. Abanindranath’s The Passing of Shah Jahan, which was awarded a silver medal at the Delhi Durbar of 1903, was an attempt to address that. It is no mere depiction of Shah Jahan’s final days—the artist draws us into the moment sympathetically. The fading moon reflects the sorrows of the dying Emperor, even as it foreshadows the gradual decline of Mughal rule.

Initially intended to represent Banga Mata (Mother Bengal), Abanindranath’s painting of a saffron-clad woman with four symbols of life’s most fundamental needs in her four hands, became an icon of the Swadeshi movement. It was reproduced on large posters for fund-collection drives and celebrated for its innate Indian-ness by Sister Nivedita, who insisted it be recast as Bharat Mata (Mother India).
‘We have here a picture which bids fair to prove the beginning of a new age in Indian art. Using all the added means of expression which the modern period has bestowed upon him, the artist, here, has given expression nevertheless to a purely Indian idea.’  Sister Nivedita, The Modern Review, February 1907. 

In this evocative postcard to Nandalal Bose from the seaside town of Puri, Abanindranth writes ‘I send you this dark image from Alor Ghat (Ghat of light). I have been sleeping a lot,’ he confesses. ‘Haven’t got much done.’ This moment of honesty between teacher and student, is made all the more poignant by the glimmering illusion of light and shadow the artist conjures.

Gaganendranath Tagore explored the use of multiple planes of light, inspired partly by Cubism. The architecture of Jorasanko and his theatre stage designs for various productions staged by family and friends are also reflected in these enigmatic compositions.

Sunayani Devi’s art looked inward. She drew upon the stories and visual traditions she grew up with, as well as her own imagination to paint dreamworlds that were uniquely her own. Along with Pratima Devi (1893 – 1969), Sunayani trained in art at the Bichitra Studio. Once, on being asked by Gaganendranath to issue their sister an institutional certificate, Abanindranath had refused, saying that Sunayani’s art will be recognised by people naturally, and that her vision was beyond institutional recognition. 

In this evocative postcard to Nandalal Bose from the seaside town of Puri, Abanindranth writes ‘I send you this dark image from Alor Ghat (Ghat of light). I have been sleeping a lot,’ he confesses. ‘Haven’t got much done.’ This moment of honesty between teacher and student, is made all the more poignant by the glimmering illusion of light and shadow the artist conjures.

Gaganendranath Tagore explored the use of multiple planes of light, inspired partly by Cubism. The architecture of Jorasanko and his theatre stage designs for various productions staged by family and friends are also reflected in these enigmatic compositions.

Sunayani Devi’s art looked inward. She drew upon the stories and visual traditions she grew up with, as well as her own imagination to paint dreamworlds that were uniquely her own. Along with Pratima Devi (1893 – 1969), Sunayani trained in art at the Bichitra Studio. Once, on being asked by Gaganendranath to issue their sister an institutional certificate, Abanindranath had refused, saying that Sunayani’s art will be recognised by people naturally, and that her vision was beyond institutional recognition. 

In this evocative postcard to Nandalal Bose from the seaside town of Puri, Abanindranth writes ‘I send you this dark image from Alor Ghat (Ghat of light). I have been sleeping a lot,’ he confesses. ‘Haven’t got much done.’ This moment of honesty between teacher and student, is made all the more poignant by the glimmering illusion of light and shadow the artist conjures.

Gaganendranath Tagore explored the use of multiple planes of light, inspired partly by Cubism. The architecture of Jorasanko and his theatre stage designs for various productions staged by family and friends are also reflected in these enigmatic compositions.

Sunayani Devi’s art looked inward. She drew upon the stories and visual traditions she grew up with, as well as her own imagination to paint dreamworlds that were uniquely her own. Along with Pratima Devi (1893 – 1969), Sunayani trained in art at the Bichitra Studio. Once, on being asked by Gaganendranath to issue their sister an institutional certificate, Abanindranath had refused, saying that Sunayani’s art will be recognised by people naturally, and that her vision was beyond institutional recognition. 

Nandalal Bose (1882  – 1966) became the first principal of Kala-bhavana at Rabindranath Tagore’s university at Santiniketan, besides illustrating the Indian constitution and being a favourite of Gandhi’s. 

Asit Kumar Haldar (1890  – 1964) was born into the Tagore family. An artist of great versatility, he was among Abanindranath’s students who visited the Ajanta caves with Lady Christiana Herringham’s team. In his use of wash, interpretations of the human anatomy, and his vision of a glorious past, Haldar exemplifies his allegiance to the Bengal School. Haldar would go on to serve as principal of Kala Bhavana in Santiniketan, and later as principal of the College of Arts and Crafts, Lucknow. 

Mukul Dey (1895  – 1989) was a student of Santiniketan, who was a pioneer in print-making and dry-point etching. In 1928 he became the first Indian principal of the Government School of Art, Calcutta, leaving behind a significant legacy as part of the Bengal School. 

Prosanto Roy (1908 – 1973) trained under Gaganendranath and Abanindranath at Jorasanko, whose dual influences are visible in his oeuvre. Here Roy paints a scene from the Arabian Nights, inspired perhaps by Abanindranath’s interpretations of the series, re-contextualised in contemporary Calcutta. Roy became the curator of the Kala Bhavana Museum, Santiniketan, in 1952. 

Nandalal Bose (1882  – 1966) became the first principal of Kala-bhavana at Rabindranath Tagore’s university at Santiniketan, besides illustrating the Indian constitution and being a favourite of Gandhi’s. 

Asit Kumar Haldar (1890  – 1964) was born into the Tagore family. An artist of great versatility, he was among Abanindranath’s students who visited the Ajanta caves with Lady Christiana Herringham’s team. In his use of wash, interpretations of the human anatomy, and his vision of a glorious past, Haldar exemplifies his allegiance to the Bengal School. Haldar would go on to serve as principal of Kala Bhavana in Santiniketan, and later as principal of the College of Arts and Crafts, Lucknow. 

Mukul Dey (1895  – 1989) was a student of Santiniketan, who was a pioneer in print-making and dry-point etching. In 1928 he became the first Indian principal of the Government School of Art, Calcutta, leaving behind a significant legacy as part of the Bengal School. 

Prosanto Roy (1908 – 1973) trained under Gaganendranath and Abanindranath at Jorasanko, whose dual influences are visible in his oeuvre. Here Roy paints a scene from the Arabian Nights, inspired perhaps by Abanindranath’s interpretations of the series, re-contextualised in contemporary Calcutta. Roy became the curator of the Kala Bhavana Museum, Santiniketan, in 1952. 

Nandalal Bose (1882  – 1966) became the first principal of Kala-bhavana at Rabindranath Tagore’s university at Santiniketan, besides illustrating the Indian constitution and being a favourite of Gandhi’s. 

Asit Kumar Haldar (1890  – 1964) was born into the Tagore family. An artist of great versatility, he was among Abanindranath’s students who visited the Ajanta caves with Lady Christiana Herringham’s team. In his use of wash, interpretations of the human anatomy, and his vision of a glorious past, Haldar exemplifies his allegiance to the Bengal School. Haldar would go on to serve as principal of Kala Bhavana in Santiniketan, and later as principal of the College of Arts and Crafts, Lucknow. 

Mukul Dey (1895  – 1989) was a student of Santiniketan, who was a pioneer in print-making and dry-point etching. In 1928 he became the first Indian principal of the Government School of Art, Calcutta, leaving behind a significant legacy as part of the Bengal School. 

Prosanto Roy (1908 – 1973) trained under Gaganendranath and Abanindranath at Jorasanko, whose dual influences are visible in his oeuvre. Here Roy paints a scene from the Arabian Nights, inspired perhaps by Abanindranath’s interpretations of the series, re-contextualised in contemporary Calcutta. Roy became the curator of the Kala Bhavana Museum, Santiniketan, in 1952. 

Nandalal Bose (1882  – 1966) became the first principal of Kala-bhavana at Rabindranath Tagore’s university at Santiniketan, besides illustrating the Indian constitution and being a favourite of Gandhi’s. 

Asit Kumar Haldar (1890  – 1964) was born into the Tagore family. An artist of great versatility, he was among Abanindranath’s students who visited the Ajanta caves with Lady Christiana Herringham’s team. In his use of wash, interpretations of the human anatomy, and his vision of a glorious past, Haldar exemplifies his allegiance to the Bengal School. Haldar would go on to serve as principal of Kala Bhavana in Santiniketan, and later as principal of the College of Arts and Crafts, Lucknow. 

Mukul Dey (1895  – 1989) was a student of Santiniketan, who was a pioneer in print-making and dry-point etching. In 1928 he became the first Indian principal of the Government School of Art, Calcutta, leaving behind a significant legacy as part of the Bengal School. 

Prosanto Roy (1908 – 1973) trained under Gaganendranath and Abanindranath at Jorasanko, whose dual influences are visible in his oeuvre. Here Roy paints a scene from the Arabian Nights, inspired perhaps by Abanindranath’s interpretations of the series, re-contextualised in contemporary Calcutta. Roy became the curator of the Kala Bhavana Museum, Santiniketan, in 1952.