The Silent Muslim Boy

Indra Dugar grew up in the aesthetic ambience of Kala Bhavana but did not receive any formal training in art. He focused on close observations of nature and developed a language for landscapes, which was very different from Bengal School’s visual vocabulary. This painting depicts a bridal party’s journey to a temple, far into the distance on top of the hill, though the entire foreground is overwhelmed by natural features. The vermillion palanquin is dwarfed by the immensity of the mountains turning verdant—the exuberance of spring is brought to life by the artist in countless shades of green.