Government of India
A Sketch from Album No 71
Keywords: Sketch
Artwork
Publisher: National Gallery of Modern Art, New Delhi
Description: Nandalal was one of the front runners who followed the principle of the revival of the classical Indian art and was one of the pioneers of the Bengali Renaissance movement. His early works often were pictorial representations of the literary and historical episodes noted in the Puranas. In this drawing, the artist has represented a beautiful maiden carrying a spouted vessel in her right hand as she balances a large tray on her head, also containing varied utensils. The fluid handling of the line and their strong delineation in the calligraphic style adds vigour and grace to the form of the maiden, her drapery and coiffure as also in a true representation of the trees in the background. A diminutive figure of a meditating sage can also be seen seated under the tree. Dinkar Kowshik in his article 'Drawings and Sketches of Nandalal in the book, "Nandalal Bose - A collection of Essays" writes, "Much of his (Nandalal) strength and sensitive wealth finds expression in the spontaneity of his sketches. They are a veritable treasure of shrewd observation, powerful calligraphy, psychological insight, rich sallies of humor, and emphatic portrayal of the flora and fauna." The sketch bears an inscription mentions, signed and dated 'Nando (Bengali), 3.10.50 (English)' at the left bottom corner with a pen.
Type: Sketch
Received From: National Gallery Of Modern Art, New Delhi
| DC Field | Value |
| dc.creator | Bose, Nandalal (1882-1966) |
| dc.coverage.spatial | India |
| dc.date.accessioned | 2020-10-08T11:37:46Z |
| dc.date.available | 2020-10-08T11:37:46Z |
| dc.description | Nandalal was one of the front runners who followed the principle of the revival of the classical Indian art and was one of the pioneers of the Bengali Renaissance movement. His early works often were pictorial representations of the literary and historical episodes noted in the Puranas. In this drawing, the artist has represented a beautiful maiden carrying a spouted vessel in her right hand as she balances a large tray on her head, also containing varied utensils. The fluid handling of the line and their strong delineation in the calligraphic style adds vigour and grace to the form of the maiden, her drapery and coiffure as also in a true representation of the trees in the background. A diminutive figure of a meditating sage can also be seen seated under the tree. Dinkar Kowshik in his article 'Drawings and Sketches of Nandalal in the book, "Nandalal Bose - A collection of Essays" writes, "Much of his (Nandalal) strength and sensitive wealth finds expression in the spontaneity of his sketches. They are a veritable treasure of shrewd observation, powerful calligraphy, psychological insight, rich sallies of humor, and emphatic portrayal of the flora and fauna." The sketch bears an inscription mentions, signed and dated 'Nando (Bengali), 3.10.50 (English)' at the left bottom corner with a pen. |
| dc.description.statementofresponsibility | Nandalal Bose, popularly known as the Master Moshai, was born on December 3rd, 1882 in Kharagpur, Monghyr District, Bihar. A disciple of Abanindranath Tagore, he graduated from the Government School of Art, Calcutta in 1910. Nandalal was fascinated by the potential of folk art and indigenous modes of expression and inculcated them in his works although stylising them in a unique representation for depiction and narration of local life. His explorative temperament with artistic materials allowed him to create a vast body of work with printmaking techniques such as lithography, linoleum prints and Sino-Japanese techniques while remaining faithful to his narrative subject: India's environment and its ethos. Nandalal Bose's art conjures newness unbound, yet it is flushed with the memories of yesterday. Inspired by Far Eastern sensibilities that celebrate the traditional, the genius of his art lies in the interplay of sensual silhouettes and his powerful rendering of contemporary themes with the traditions, customs and sensibilities of Indian heritage. It is this intermingling that invigorates his works and captures the minds of his viewers. He began his artistic career in the fervour of the Swadeshi movement, rejecting western colonial norms of art and taking inspiration from the ancient murals of Ajanta and Bagh caves as well as Mughal miniatures. In 1919, Nandalal Bose accepted Rabindranath Tagore's invitation to become the Principal of the newly established art school Kala Bhavan at Visvabharati University in Santiniketan. He travelled in and out of India including places like Burma, China, Japan, Malaysia, Java and Sri Lanka seeking artistic stimulus from observing different cultural traditions. He also painted a series of posters for the Indian National Congress at Haripura in February 1938. The range of Nandalal's artistic expression is seen in his various landscapes with human figures, his varied images of nature and the Santiniketan Murals. His works reflect the changing landscape, portraying people and places at a time when modern India's cultural development was at its threshold. Nandalal Bose died on April 16th, 1966 in Santiniketan, West Bengal. He won several accolades including the Padma Vibhushan by the President of India in 1953. He was awarded an honorary Doctorate in Letters (D. Litt.) from Banaras Hindu University in 1950 and Calcutta University in 1957. The NGMA has over 6800 of his works in its collection. |
| dc.format.extent | 8.8 X 13.8 cm |
| dc.format.mimetype | image/jpg |
| dc.publisher | National Gallery of Modern Art, New Delhi |
| dc.subject | Sketch Artwork |
| dc.type | Sketch |
| dc.identifier.accessionnumber | ngma-08853 |
| dc.format.medium | image |
| dc.format.material | Pen, Ink, Postcard |
| DC Field | Value |
| dc.creator | Bose, Nandalal (1882-1966) |
| dc.coverage.spatial | India |
| dc.date.accessioned | 2020-10-08T11:37:46Z |
| dc.date.available | 2020-10-08T11:37:46Z |
| dc.description | Nandalal was one of the front runners who followed the principle of the revival of the classical Indian art and was one of the pioneers of the Bengali Renaissance movement. His early works often were pictorial representations of the literary and historical episodes noted in the Puranas. In this drawing, the artist has represented a beautiful maiden carrying a spouted vessel in her right hand as she balances a large tray on her head, also containing varied utensils. The fluid handling of the line and their strong delineation in the calligraphic style adds vigour and grace to the form of the maiden, her drapery and coiffure as also in a true representation of the trees in the background. A diminutive figure of a meditating sage can also be seen seated under the tree. Dinkar Kowshik in his article 'Drawings and Sketches of Nandalal in the book, "Nandalal Bose - A collection of Essays" writes, "Much of his (Nandalal) strength and sensitive wealth finds expression in the spontaneity of his sketches. They are a veritable treasure of shrewd observation, powerful calligraphy, psychological insight, rich sallies of humor, and emphatic portrayal of the flora and fauna." The sketch bears an inscription mentions, signed and dated 'Nando (Bengali), 3.10.50 (English)' at the left bottom corner with a pen. |
| dc.description.sponsorship | Nandalal Bose, popularly known as the Master Moshai, was born on December 3rd, 1882 in Kharagpur, Monghyr District, Bihar. A disciple of Abanindranath Tagore, he graduated from the Government School of Art, Calcutta in 1910. Nandalal was fascinated by the potential of folk art and indigenous modes of expression and inculcated them in his works although stylising them in a unique representation for depiction and narration of local life. His explorative temperament with artistic materials allowed him to create a vast body of work with printmaking techniques such as lithography, linoleum prints and Sino-Japanese techniques while remaining faithful to his narrative subject: India's environment and its ethos. Nandalal Bose's art conjures newness unbound, yet it is flushed with the memories of yesterday. Inspired by Far Eastern sensibilities that celebrate the traditional, the genius of his art lies in the interplay of sensual silhouettes and his powerful rendering of contemporary themes with the traditions, customs and sensibilities of Indian heritage. It is this intermingling that invigorates his works and captures the minds of his viewers. He began his artistic career in the fervour of the Swadeshi movement, rejecting western colonial norms of art and taking inspiration from the ancient murals of Ajanta and Bagh caves as well as Mughal miniatures. In 1919, Nandalal Bose accepted Rabindranath Tagore's invitation to become the Principal of the newly established art school Kala Bhavan at Visvabharati University in Santiniketan. He travelled in and out of India including places like Burma, China, Japan, Malaysia, Java and Sri Lanka seeking artistic stimulus from observing different cultural traditions. He also painted a series of posters for the Indian National Congress at Haripura in February 1938. The range of Nandalal's artistic expression is seen in his various landscapes with human figures, his varied images of nature and the Santiniketan Murals. His works reflect the changing landscape, portraying people and places at a time when modern India's cultural development was at its threshold. Nandalal Bose died on April 16th, 1966 in Santiniketan, West Bengal. He won several accolades including the Padma Vibhushan by the President of India in 1953. He was awarded an honorary Doctorate in Letters (D. Litt.) from Banaras Hindu University in 1950 and Calcutta University in 1957. The NGMA has over 6800 of his works in its collection. |
| dc.format.extent | 8.8 X 13.8 cm |
| dc.format.mimetype | image/jpg |
| dc.publisher | National Gallery of Modern Art, New Delhi |
| dc.subject | Sketch Artwork |
| dc.type | Sketch |
| dc.identifier.accessionnumber | ngma-08853 |
| dc.format.medium | image |
| dc.format.material | Pen, Ink, Postcard |
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