Match List I with List II

Choose the correct answer from the options given below:

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

The correct answer is Option 4- (A)-(II), (B)-(III), (C)-(I), (D)-(IV)

Journey's End: Made by Abanindranath Tagore (1871–1951) in 1913, this painting is in watercolour. 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. 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. 

Mother and  Child: This is a gouache painting on paper made by Jamini Roy (1887–1972) in 1940. He was called the father of the folk renaissance in India, who created an alternative vision of modern Indian identity. In the mid –1920s, he travelled to the countryside of Bengal to collect folk paintings (pats) and learn from folk artisans. He wanted to learn from the expressive power of their lines. In this painting, a mother and her child are rendered with bold simplifications and thick outlines with sweeping brush strokes. The painting exudes a crude vigour hitherto unknown in Indian art. Figures are coloured in dull yellow and brick-red background, emulating the terracotta relief of his home village in Bankura. The two-dimensional nature of the painting is derived from pat paintings and his search for simplicity and pure form is visible. Roy borrowed volume, rhythm, decorative clarity and instrumentality of the pat in his artworks. To achieve and learn the purity of the pat, he first made many monochrome brush drawings, and then, gradually, moved to basic seven colours applied with tempera.

Shiva and sati: It 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.

Rasa-Lila: This is a watercolour painting in wash technique portraying the divine life of Sri Krishna made by Kshitindranath Majumdar (1891–1975). He was one of the early students of Abanindranath Tagore, who carried forward the wash tradition with some deviations. Rustic, thin, slender figures, modest gestures, idyllic settings and delicate watercolours express his stylistic features. He has painted mythological and religious subjects. Man Bhanjan of Radha, Sakhi and Radha, Lakshmi and Birth of Sri Chaitanya are few examples of his extraordinary power of expression inspired by his understanding of religious concepts as a follower of the Bhakti Marga. In this painting, Krishna is dancing with Radha and sakhis, and the background of trees creates a simple village atmosphere as illustrated in the Bhagvata Purana and Gita Govinda. Figures and their clothes are drawn with simple, flowing, delicate lines. The sublime moods of characters are captured well. Krishna and gopis are drawn with same proportion. Thus, humans and God are brought on the same level.