Each Bengal School painter is known for his own way of working. Match…

Each Bengal School painter is known for his own way of working. Match List-I with List-II:

List-I (Painters)	List-II (Facts about them)
A. Kshitindranath Majumdar	I. Pen-and-ink studies of villagers
B. Nandalal Bose	II. Symbolic aesthetics, literary allusions
C. Abdul Rehman Chughtai	III. Rustic, thin, slender figures
D. Abanindranath Tagore	IV. Affinities with Chinese, Japanese masters

Choose the correct answer from the options given below:

Answer & explanation

Correct answer: option 4

The correct answer is Option (4) → A-III, B-I, C-IV, D-II

List-I	List-II	Reason
(A) Kshitindranath Majumdar	(III) Painted rustic, thin, slender figures in idyllic settings	Rustic, thin, slender figures, modest gestures and idyllic settings mark his style.
(B) Nandalal Bose	(I) Made pen-and-ink brush studies of local villagers	To capture village life in his Haripura panels, he made pen-and-ink brush studies of local villagers.
(C) Abdul Rehman Chughtai	(IV) Had stylistic affinities with renowned Chinese and Japanese masters	Chughtai worked in wash with a calligraphic line, and his style had affinities with Chinese and Japanese masters.
(D) Abanindranath Tagore	(II) Used symbolic aesthetics and literary allusions	In Journey’s End he used symbolic aesthetics on one hand and literary allusions on the other.

NCERT (2026-27): “Rasa-Lila This is a watercolour painting in wash technique portraying the divine life of Sri Krishna made by Kshitindranath Majumdar (1891–1975). He was one of the early students of Abanindranath Tagore, who carried forward the wash tradition with some deviations. Rustic, thin, slender figures, modest gestures, idyllic settings and delicate watercolours express his stylistic features.…”

“Tiller of the Soil … To capture the essence of village life in his Haripura panels, Bose made pen-and-ink brush studies of local villagers.…”

“Radhika This is a wash and tempera painting made on paper by Abdul Rehman Chughtai (1899 –1975). …Chughtai experimented with wash technique and infused a distinct character of calligraphic line, typical in Mughal manuscripts and old Persian paintings. …Chughtai had stylistic affinities with renowned Chinese and Japanese masters.…”

“Journey’s End … Abanindranath tried to capture the portrait and narration with the help of symbolic aesthetics on one hand and literary allusions on the other.…”