Read the passage on Neo-Tantric art of the 1960s.
In the 1960s, Biren De and G. R. Santosh in Delhi and K. C. S. Paniker in Madras turned to the past and local artistic traditions. Their abstract style came to be known as Neo-Tantric art because of its use of geometrical designs seen in yantras, the traditional diagrams for meditation. Santosh created a visual sense of cosmic union of male and female energy, while Paniker used diagrams, scripts and pictograms that he saw in his region.
Which concern of many Indian artists and critics led to this move?
Answer & explanation
Correct answer: option 3
The correct answer is Option (3) → Worry about their imitation of modern art from the West
Option (1) Worry about finding a market among Western collectors — Incorrect. The ready market came later, as a result. These works sold well during the Hippie movement in the West, after the style was made.
Option (2) Worry about telling stories the larger public could understand — Incorrect. This drove the figurative artists from the 1970s. They used old miniatures, calendar and folk art to paint stories, not abstract designs.
Option (3) Worry about their imitation of modern art from the West — Correct. Many Indian artists and critics grew worried about imitating Western modern art. They felt the need for an Indian identity, so these artists turned to the past and local traditions.
Option (4) Worry about art remaining confined to art galleries — Incorrect. This was the view of K. G. Subramanyan of the Baroda Art School. He made murals on public buildings for all to see.
Note: This topic was not named in the CUET 2026 syllabus, but it was part of the NCERT chapter. In 2025 and 2026, NTA also asked questions on topics in NCERT that the CUET syllabus did not name. So our mocks have questions from every part of the NCERT chapter, to give you enough practice. Read the whole chapter, not only the sub-topics named in the syllabus.
NCERT (2026-27): “Abstraction – A New Trend …Many Indian artists and critics grew worried about their imitation of modern art from the West and felt the need to establish an Indian identity in their art. In the 1960s, Biren De and G. R. Santosh in Delhi and K. C. S. Paniker in Madras moved in this direction when they turned to the past and local artistic traditions to create a unique Indian abstract art. This style became successful in the West and later in India and came to be known as Neo-Tantric art because of its use of geometrical designs seen in traditional diagrams for meditation or yantras. Such works made during the height of the Hippie movement in the West found a ready market, and were sought by galleries and collectors alike.…” “The New Figurative Art and Modern Art from 1980s Since the 1970s, many artists began to move towards the use of figures and stories that are easy to recognise. …Like the earlier generations of Indian artists, they, too, explored old miniature paintings and popular art forms like calendar and folk art to be able to paint stories that could be understood by the larger public.…” “The New Figurative Art and Modern Art from 1980s …K. G. Subramanyan, Sheikh’s teacher and a founding member of the Baroda Art School, had studied in Shantiniketan. …He did not want art to remain confined to art galleries but be made a part of public buildings for all to see.…” |