In the 1960s, some artists turned to local traditions for an Indian abstract art. In G. R. Santosh’s works, the visual sense of cosmic union of male and female energy reminds us of
Answer & explanation
Correct answer: option 3
The correct answer is Option (3) → purusha and prakriti of the Tantric philosophy
Option (1) Indian mythology and religious sources — Incorrect. M. F. Husain drew from Indian mythology and religious sources. Santosh’s cosmic union recalls a Tantric idea, not these.
Option (2) bindu as a symbol of oneness from Indian philosophy — Incorrect. S. H. Raza used bindu as a symbol of oneness in some of his abstract paintings. Santosh’s cosmic union recalls male and female energy, not oneness.
Option (3) purusha and prakriti of the Tantric philosophy — Correct. Santosh’s cosmic union of male and female energy recalls purusha and prakriti of the Tantric philosophy.
Option (4) the Ajanta frescoes from past traditions — Incorrect. Nandalal Bose and Asit Kumar Haldar drew inspiration from the Ajanta frescoes. Santosh’s cosmic union recalls a philosophy, not these murals.
NCERT (2026-27): “Abstraction – A New Trend …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. … G. R. Santosh created a visual sense of cosmic union of male and female energy, reminding us of purusha and prakriti of the Tantric philosophy.…” |