Accepted paper:

Illustration of Rabindranath Tagore in context of modern Indian art and culture


Sudipta Tarafdar (Bhattacharya) (R.B.C. College for Women, W.B.India)

Paper short abstract:

The British rule of the nineteenth century brought a renaissance in every aspect of life,art and culture.'Shilpaguru' Abanindranath tagore was the first artist of the oriental art in India.But Rabindranath tagore was the first proper artist of modern Indian art in various context.

Paper long abstract:

Rabindranath Tagore is the first proper modern artist of modern India.Tagore was able to express through his paintings what he could not in his literature, music or theatre. Hence 'form' was developed from the random criss-crosses and doodles drawn while writing poetry- 'intertextuality'gave birth to illustration. He overcame the restrictions of conventional painting procedures and gave expression to what can be called the country's first of modern art. Though the British rule of the nineteenth century brought a renaissance in every aspect of life, art and culture was relatively deprived. It was in the second decade of the twentieth century when traditional oriental art was captured in the genre of art that was practiced by Abanindranath Tagore, on whom was conferred the title of 'Shilpaguru'. Orientalism in those days was not used in the context in which it is used today. With the advent of great artists like Okakura, Indian art too became a part of "Asia is one". However the question of determining the originality of Indian art recurred in the letters of Rabindranath. The nous of the Nobel winner was seeking a way out of this concern. By 1930 Rabindranath's paintings achieved structural maturity from the decoration of Doodles art nouveau type. In 1930 an exhibition of 220 pictures of Tagore at the GaleriePigalle in Paris moved the art critics of Europe. The expression of vulnerability of the modern human race gave Tagore a permanent place in the world of international modern art.

panel WMW16
Material traces: questioning authenticity in cultural heritage