Match List - I with List - II.

Choose the correct answer from the options given below:

(A)-(II), (B)-(I), (C)-(IV), (D)-(III)

The correct answer is Option (1) → (A)-(II), (B)-(I), (C)-(IV), (D)-(III)

Explanation:

Journey's End: Made by Abanindranath Tagore (1871–1951) in 1913, this painting is in watercolour. Abanindranath Tagore was seen as a father figure of nationalist and modernism of art in India. He revived certain aspects of Indian and oriental traditions of paintings in terms of themes, style and techniques, and invented the wash painting technique. The wash technique yields a soft, misty and impressionistic landscape. This quality of hazy and atmospheric effects of the wash are utilised to be suggestive or evocative of an end of a life. 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.

Shiva and sati is a beautiful painting by Nandlal Bose. It shows a mythological event of Lord Shiva and his wife Sati ( Parvati). This is a dramatic depiction on offset paper using yellow, brown, violet, and red colours in various shades and tones. In the background of the picture, the light and dark combination of brown and yellow colours have been used to show the sky which goes to merge with earth’s surface looking undulating shape through violet, brown and white colours. In the center of the picture, lord shiva and sati have been depicted prominently in the sad mood. Shiva sits looking at sati’s faded face helplessly and stretching both arms to support the body of Sati which is lying on his left knee in unconscious state wearing necklaces, earings, armlets, bracelets and light red colour saree. An aura of light yellow colour has been shown behind Shiva’s head. His forehead looks bright and his hair are tied in a bun on top. He is wearing necklace and a snake around his neck.The torso of Lord Shiva is looking a little bulky. Foreground of the painting looks like a blurry vision.

Art historian Partha Mitter writes, “The first generation of the students of Abanindranath engaged in recovering the lost language of Indian art.” To create awareness that modern Indians could benefit from this rich past, Abanindranath was the main artist and creator of an important journal, Indian Society of Oriental Art. In this manner, he was also the first major supporter of Swadeshi values in Indian art, which best manifested in the creation of Bengal School of Art. This school set the stage for the development of modern Indian painting. The new direction opened by Abanindranath was followed by many younger artists like Kshitindranath Majumdar (Rasa-Lila) and M. R. Chughtai (Radhika).

The colonial art policy had created a divide between those who liked the European academic style and those who favoured Indian style. But following the Partition of Bengal in 1905, the Swadeshi movement was at its peak and it reflected in ideas about art. Ananda Coomaraswamy, an important art historian, wrote about Swadeshi in art and joined hands with a Japanese nationalist, Kakuzo Okakura, who was visiting Rabindranath Tagore in Calcutta. He came to India with his ideas about pan-Asianism, by which he wanted to unite India with other eastern nations and fight against western imperialism. Two Japanese artists accompanied him to Calcutta, who went to Shantiniketan to teach wash technique of painting to Indian students as an alternative to western oil painting.