He enrolled at the Calcutta School of Art in 1905 and received his training under Abanindranath, the then Vice-Principal of the School. Their association lasted until the demise of Abanindranath in 1951.
This opportunity gave him a first- hand experience of the subtleties and nuances of our ancient artistic tradition, an understanding which stimulated his creative vision.
He, however, genuinely believed that art solely and wholly dependent on tradition becomes stiff.
He, however, preferred to avail himself of the offer by Abanindranath to work at Jorasanko, the ancestral home of the Tagore family, where his emotional and intellectual horizons widened.
He came in contact with A K Coomaraswamy, Sister Nivedita, Okakura and Rabindranath Tagore, whose literary works he illustrated for many years.
He eventually joined the Kala Bhavan at Shantiniketan in 1920, where he was revered by his students and affectionately called ‘Master Moshai’.
He invariably preferred oriental to Western trends which he improvised and transformed so that his conceptual and visual manifestations were truly Indian.
He once said, “Indian artists should have a thorough knowledge of anatomical construction, form and bodily proportions, is beyond all doubt. But not in the European academic way.”
He did not succumb to the principle of linear perspective because he believed that “the mind is the artist and not the eye.”
In fact, both in terms of his theories on art and creative manifestations, he was deeply rooted in the Indian ethos.
And whereas he was greatly conditioned by the Upanishadic and other Indian doctrines, that influenced his theoretical approach, the essential ingredients of his mature style were drawn from the artistic traditions of the Ajanta and miniature schools and fused with Chinese and Japanese techniques.
He did not view nature only in terms of its varying external manifestations but realized that its essence was an underlying unity of principle that creates and rules all differences and dissimilarities in nature.
He painted these in wash technique as well as in tempera, and eventually adopted some of them in large murals and frescoes.
He also painted insects, birds, animals, plants, flowers, mountains, mist, cloud, rains, landscapes and the life around which pulsates profoundly and asserts its inner self.
He attributed a very significant place to art in society and held that ‘The fine arts rescue us from the drabness of everyday life by lifting us into the realms of joy. ‘
His oeuvre consisted of nearly ten thousand works: paintings, watercolors, drawings and graphics, including his famous Haripura Panels, which are a masterly mix of emotions, attitudes, and feelings, and represent a culminating point in his experiments with styles and media.
But more than that these reflect his belief in the dignity of the simple life. There is convincing evidence of attitudes and beliefs in ‘Swadeshi’—grand and meaningful symbols in keeping with the Gandhian philosophy.
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