| Story Text | [{"record_id":"0","storytext":" A large number of anonymous oil paintings on religious and mythological themes began to emerge in Bengal during the late eighteenth to early nineteenth century, originating from the French colony of Chandernagore and the Dutch colony of Chinsurah. Often referred to as French or Dutch Bengal oils, these works also came from other areas such as the Chitpur and Garanhata localities of Calcutta, and collectively came to be known as Early Bengal Oils. This tradition of early Bengal oil painting predominantly featured religious themes and was typically commissioned by wealthy patrons who could afford to place such works in their domestic temple shrines. The presence of soot on many of these paintings suggests they were actively worshipped. Patrons ranged from the affluent Bengali bhadralok<\/i> to Marwaris\u2014distinctions that are often visible in the dress of the figures depicted.","storytextauthor":"","initialize":"true"},{"record_id":"1","storytext":"At the centre are the two brothers Krishna and Balaram standing arm in arm, as per conventional iconography, beneath a tree lush with fruit and teeming with biodiversity\u2014monkeys, parrots and chameleons. The setting is Vrindavan, as suggested by the title, located on the banks of the Yamuna river. Krishna\u2019s blue skin and pitambari<\/i> (yellow) dhoti confirm his identity.","storytextauthor":"","initialize":"true"},{"record_id":"2","storytext":"To the right, a group of gopis<\/i> dressed in ghaghra-choli<\/i>\u2014an attire not native to Bengal but indicative of perhaps a Marwari patron\u2014are shown pointing toward the two brothers.","storytextauthor":"","initialize":"true"},{"record_id":"3","storytext":"The presence of gold pigment serves as an important indicator of elite patronage. Traditional techniques such as gold leaf and shell gold were used by artists in this region to enhance the opulence of these works.","storytextauthor":"","initialize":"true"},{"record_id":"4","storytext":"Artists of this period had not yet mastered the technique of linear perspective, though they were increasingly influenced by Western academic styles. Trained in earlier miniature painting traditions, which reflects flat perspective, these early Bengal oils show either a flat treatment of space or rudimentary attempts to create depth. This is particularly evident in the depiction of the river, where scale is inconsistently handled\u2014for example, the oversized boats and ducks floating on the water.","storytextauthor":"","initialize":"true"}] |
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| Art Artist Names Single | Unidentified Artist (Early Bengal School) |
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