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Author | R. Siva Kumar |
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Country | India |
Language | English |
Subject | Art |
Publisher | National Gallery of Modern Art |
Publication date | 1997 |
Pages | 250 |
Santiniketan: The Making of a Contextual Modernism was an exhibition curated by R. Siva Kumar at the National Gallery of Modern Art in 1997, on the occasion of the 50th anniversary of India's Independence. [1]
The exhibition, through bringing about a hundred works each of four modern Indian artists, namely Nandalal Bose, Rabindranath Tagore, Ram Kinker Baij and Benode Behari Mukherjee on the centre stage, put the Santiniketan art movement into focus. [2]
Kumar argues that the "Santiniketan artists did not believe that to be indigenous one has to be historicist either in theme or in style, and similarly to be modern one has to adopt a particular trans-national formal language or technique. Modernism was to them neither a style nor a form of internationalism. It was critical re-engagement with the foundational aspects of art necessitated by changes in one’s unique historical position". [3]
The year 1997 bore witness to two parallel gestures of canon formation. On the one hand, the Baroda Group, a coalition whose original members included Vivan Sundaram, Ghulam Mohammed Sheikh, Bhupen Khakhar, and Nalini Malani—and which had left its mark on history in the form of the 1981 exhibition "Place for People"—was definitively historicized in 1997 with the publication of Contemporary Art in Baroda, an anthology of essays edited by Sheikh. On the other hand, the art historian Kumar’s exhibition and related publication, A Contextual Modernism, focused on the Santiniketan artists Rabindranath Tagore, Nandalal Bose, Benode Behari Mukherjee, and Ramkinkar Baij. Of the Santiniketan artists, Kumar observed that they "reviewed traditional antecedents in relation to the new avenues opened up by cross-cultural contacts. They also saw it as a historical imperative. Cultural insularity, they realized, had to give way to eclecticism and cultural impurity." [4]
According to Kumar "The Santiniketan artists were one of the first who consciously challenged this idea of modernism by opting out of both internationalist modernism and historicist indigenousness and tried to create a context sensitive modernism." [5]
The literary critic Ranjit Hoskote while reviewing the works of contemporary artist Atul Dodiya writes, "The exposure to Santinketan, through a literary detour, opened Dodiya’s eyes to the historical circumstances of what Kumar has called a “contextual modernism” developed in eastern India in the 1930s and ’40s during the turbulent decades of the global Depression, the Gandhian liberation struggle, the Tagorean cultural renaissance and World War II." [6]
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Kumar had been studying the work of the Santiniketan masters and thinking about their approach to art since the early 1980s. The practice of subsuming Nandalal Bose, Rabindranath Tagore, Ram Kinker Baij and Benode Behari Mukherjee under the Bengal School of Art was misleading. According to Kumar, "this happened because early writers were guided by genealogies of apprenticeship rather than their styles, worldviews, and perspectives on art practice". [5]
Kumar draws distinction between Santiniketan the art movement and Santiniketan the School:
I am not sure, however, if everyone noticed the distinction I drew between Santiniketan as an art movement and Santiniketan as a school very clearly. There was both a Santiketan movement and a Santiniketan school, but these are two different things. The movement was shaped by the practices of the masters, chiefly Nandalal, Benodebehari, Ramkinkar and Rabindranath. Their art practices were interrelated but did not stylistically converge. They were linked more by concerns and as participants in a discourse to which each contributed in a different manner. They themselves saw this very clearly but many who wrote about them did not. They either plumped for Nandalal and Benodebehari, or for Ramkinkar and Rabindranath; one pair representing a traditionalist position and the other a modernist position. I am not suggesting that there are no differences between them but that they saw themselves as co-authors of an art scene being essayed around shared issues, complementing each other and expanding their concerns and reach rather than at war with each other.
— All the Shared Experiences of the Lived World [5]
Shantiniketan is a neighbourhood of Bolpur town in the Bolpur subdivision of Birbhum district in West Bengal, India, approximately 152 km north of Kolkata. It was established by Maharshi Devendranath Tagore, and later expanded by his son, Rabindranath Tagore whose vision became what is now a university town with the creation of Visva-Bharati.
The National Gallery of Modern Art (NGMA) is the premier art gallery under Ministry of Culture, Government of India. The main museum at Jaipur House in New Delhi was established on 29 March 1954 by the Government of India, with subsequent branches at Mumbai and Bangalore. Its collection of more than 1700 works by 2000 plus artists includes artists such as Thomas Daniell, Raja Ravi Verma, Abanindranath Tagore, Rabindranath Tagore, Gaganendranath Tagore, Nandalal Bose, Jamini Roy, Amrita Sher-Gil as well as foreign artists. Some of the oldest works preserved here date back to 1857. With 12,000 square meters of exhibition space, the Delhi branch is one of the world's largest modern art museums.
The Bengal School of Art, commonly referred as Bengal School, was an art movement and a style of Indian painting that originated in Bengal, primarily Kolkata and Shantiniketan, and flourished throughout the Indian subcontinent, during the British Raj in the early 20th century. Also known as 'Indian style of painting' in its early days, it was associated with Indian nationalism (swadeshi) and led by Abanindranath Tagore (1871–1951), but was also being promoted and supported by British arts administrators like E. B. Havell, the principal of the Government College of Art and Craft, Kolkata from 1896; eventually it led to the development of the modern Indian painting.
Indian painting has a very long tradition and history in Indian art, though because of the climatic conditions very few early examples survive. The earliest Indian paintings were the rock paintings of prehistoric times, such as the petroglyphs found in places like the Bhimbetka rock shelters. Some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 10,000 years old.
Nandalal Bose was one of the pioneers of modern Indian art and a key figure of Contextual Modernism.
The Inner Eye is a 1972 short documentary film made by Satyajit Ray on Benode Behari Mukherjee, a blind artist and a teacher from Visva-Bharati University, a university founded by Rabindranath Tagore at Santiniketan. The twenty minutes documentary features the life and works of Mukherjee in the form of paintings and photographs, starring himself. The documentary covers his journey from childhood till his blindness along with much of his works and features his words, "Blindness is a new feeling, a new experience, a new state of being". The documentary was awarded as Best Information Film (Documentary) at 20th National Film Awards in 1972.
Patha Bhavana is an institution of primary and secondary education in Santiniketan, West Bengal, India. Founded by Nobel laureate Rabindranath Tagore in 1901, starting with only five students, the school is characterized by its philosophy of learning with the heart in closeness to nature without any superficial barriers between teachers and students, as opposed to the strict, repetitive and the rote learning system that was mainstream during Tagore's childhood. Often referred to as an ashram system, initially what started out as this school, later grew into what is now Visva-Bharati University. It is one of the two primary and secondary school affiliated with the Visva-Bharati University; the other being Siksha Satra.
Benode Behari Mukherjee was an Indian artist from West Bengal state. Mukherjee was one of the pioneers of Indian modern art and a key figure of Contextual Modernism. He was one of the earliest artists in modern India to take up to murals as a mode of artistic expression. All his murals depict a subtle understanding of environmental through pioneering architectural nuances.
Ramkinkar Baij was an Indian sculptor and painter, one of the pioneers of modern Indian sculpture and a key figure of Contextual Modernism.
Kalpathi Ganpathi "K.G." Subramanyan was an Indian artist. He was awarded the Padma Vibhushan in 2012.
The modern Indian art movement in Indian painting is considered to have begun in Calcutta in the late nineteenth century. The old traditions of painting had more or less died out in Bengal and new schools of art were started by the British. Initially, protagonists of Indian art such as Raja Ravi Varma drew on Western traditions and techniques including oil paint and easel painting. A reaction to the Western influence led to a revival in primitivism, called as the Bengal school of art, which drew from the rich cultural heritage of India. It was succeeded by the Santiniketan school, led by Rabindranath Tagore's harking back to idyllic rural folk and rural life. Despite its country-wide influence in the early years, the importance of the school declined by the 'forties' and now it is as good as dead.
Raman Siva Kumar, known as R. Siva Kumar, is an Indian contemporary art historian, art critic, and curator. His major research has been in the area of early Indian modernism with special focus on the Santiniketan School. He has written several important books, lectured widely on modern Indian art and contributed articles to prestigious international projects such as the Art Journal, Grove Art Online or The Dictionary of Art, Oxford University Press.
Kala Bhavana is the fine arts faculty of Visva-Bharati University, in Shantiniketan, India. It is an institution of education and research in visual arts, founded in 1919, it was established by Nobel laureate Rabindranath Tagore.
Suresh K. Nair is an artist based in Banaras. Nair obtained his national diploma in mural painting from the Institute of Mural Painting Guruvayur, Kerala under the guidance of Mammiyur Krishnan Kuty Nair. He was inspired by the works of Rabiindranath Tagore, Nandalal Bose, Benode Behari Mukherjee and Ramkinker Baij and continued his studies at the Department of Painting, Visva Bharati University, Santiniketan. Nair has acquired a presence in the Indian and international art scene over the last decade with several shows organized by regional and international galleries and museums, and created many murals in India and abroad. His early works are based on Kerala murals, both in terms of technique and ideas. One of his modern paintings, ‘Cosmic Butterfly" is owned by Essl Museum, Vienna, Austria since 2010. His works were exhibited in the US, Spain, and Canada, and his awards include the Elizabath Green Shield Foundation Scholarship (1999) of Canada; Fulbright Fellowship ( 2006–07) for an Educational Exchange Program at Tyler School of Art, Temple University, Philadelphia under Professor Nicholas Kripal; and the State Award of Kerala Lalithkala Akademi, Ministry of Culture, Government of Kerala.
Chitranibha Chowdhury was a twentieth-century Indian artist, a member of the Bengal School of Art, and one of the first female painters in Bengal. She created over a thousand artworks, including landscapes, still lifes, decorative art, murals, and portraits. She was a student of Nandalal Bose and was the first female painting teacher in Shantiniketan Kolabhaban.Her real name Nibhanani Bose to Chitranibha Bose by Rabindranath Tagore.
The following is a list of notable people associated withVisva- Bharati University and/or Santiniketan, a neighbourhood in Bolpur city in West Bengal, India:
Dinkar Kowshik (1918-2011) was an Indian painter. As principal of Kala Bhavana at Santiniketan, he reshaped it for contemporary art practices.
Jamuna Sen was an Indian artist, known for her design work in a variety of mediums including Batik and Alpona as well as developing, in an Indian context, a variety of traditional crafts from across the world. She was a pioneer in establishing the practice of Batik in India in modern times. Daughter of Nandalal Bose, a central figure in modern Indian art, she was brought up in the artistic and intellectual milieu of Santiniketan and made significant contributions in the field of design.