Match the paintings of the Bengal School in List-I with a feature of each painting in List-II:
| List-I (Painting) | List-II (Feature) |
|---|---|
| A. Tiller of the Soil | I. Diamond-shaped planes, prismatic colours |
| B. Radhika | II. Mughal-Persian calligraphic line |
| C. Journey’s End | III. Symbolic aesthetics and literary allusions |
| D. City in the Night | IV. Ajanta-inspired bold design and colour |
Choose the correct answer from the options given below:
Answer & explanation
Correct answer: option 3
The correct answer is Option (3) → A-IV, B-II, C-III, D-I
| List-I | List-II | Reason |
|---|---|---|
| (A) Tiller of the Soil | (IV) Ajanta-inspired bold design and colour | Nandalal Bose made this Haripura panel. Its strong formal design and bold colours reflect his inspiration from Ajanta wall paintings. |
| (B) Radhika | (II) Mughal-Persian calligraphic line | Chughtai worked in wash and gave it a calligraphic line. This line comes from Mughal manuscripts and old Persian paintings. |
| (C) Journey’s End | (III) Symbolic aesthetics and literary allusions | Abanindranath tells the story through symbols: a collapsed camel at dusk stands for the end of a journey. He used symbolic aesthetics and literary allusions to capture portrait and narration. |
| (D) City in the Night | (I) Diamond-shaped planes, prismatic colours | Gaganendranath used the language of Cubism. He built his imaginary city from diamond-shaped planes and prismatic colours. |
NCERT (2026-27): “Tiller of the Soil …This is one of the panels made by Nandalal Bose in 1938 for the Haripura Congress. …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.” “Radhika …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.” “Journey’s End …In this painting, a collapsed camel is shown in red background of dusk and in that sense it personifies the end of a journey through the end of a day. Abanindranath tried to capture the portrait and narration with the help of symbolic aesthetics on one hand and literary allusions on the other. The physical features of the camel rendered appropriately in fine lines and delicate tones, and its sensory texture leads us to the meaning of the painting.” “City in the Night …He visualised the mysterious world of his imaginary cities like Dwarka (Lord Krishna’s legendary abode) or Swarnapuri (The Golden City) through multiple viewpoints, multi-faceted shapes and jagged edges of Cubism. He painted an interplay of diamond-shaped planes and prismatic colours, resulting in fragmented luminosity to render the mountain ranges of the city.” |