Abdul Rehman Chughtai experimented with the wash technique in his paintings. He infused them with a distinct character of calligraphic line. In which tradition is such a line typical?
Answer & explanation
Correct answer: option 3
The correct answer is Option (3) → Mughal manuscripts and old Persian paintings
Option (1) Folk scroll paintings of the patuas — Incorrect. The folk style of the patuas or scroll painters is recalled in Nandalal Bose’s Haripura panel Tiller of the Soil, not in Chughtai’s line.
Option (2) Ajanta wall paintings and sculptures — Incorrect. These inspired the design and colour of Bose’s Tiller of the Soil panel.
Option (3) Mughal manuscripts and old Persian paintings — Correct. Chughtai’s calligraphic line is typical in Mughal manuscripts and old Persian paintings. It gives a deeper sensuous quality to his paintings.
Option (4) Company School and academic oil paintings — Incorrect. Havell and Abanindranath preferred Mughal and Pahari miniatures to the Company School and the academic style of the colonial Art Schools.
NCERT (2026-27): “Radhika This is a wash and tempera painting made on paper by Abdul Rehman Chughtai (1899 –1975). … He was influenced by Abanindranath Tagore, Gaganendranath Tagore and Nandalal Bose. Chughtai experimented with wash technique and infused a distinct character of calligraphic line, typical in Mughal manuscripts and old Persian paintings. It gives a deeper sensuous quality to his paintings.” “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. He used thick tempera in a bold cursory style and broad brushwork. This technique and style was reminiscent of the folk art practice of patuas or scroll painters. … The strong senses of formal design, bold colour scheme, and their blend of nature and convention in this panel reflect Bose’s inspiration from Ajanta wall paintings and sculptures.” “The Bengal School …They firmly believed in creating a new type of painting that was Indian not only in subject matter but also in style. For them, Mughal and Pahari miniatures, for example, were more important sources of inspiration, rather than either the Company School of Painting or academic style taught in the colonial Art Schools.” |