In the winter of 1909 British artist and connoisseur Lady Herringham led a team of artists to copy the glorious murals of the Ajanta caves. The team included two young Indian artists ‘Oshit Kumar Haldar’ and ‘Nandalal Bose’ on the recommendation of their guru Abanindranath Tagore.
Nandalal Bose met Rabindranath Tagore in the same year 1909 and was inducted into the cultural circle of Jorasanko Thakur Bari. Rabindranath persuaded Nandalal Bose to join the art department of his school at Santiniketan which became ‘Kala Bhavan’ in 1921.
The vivid memory of Ajanta led him to step towards a more monumental and public art, as a result Nandalal made mural paintings an integral part of art education in Kala Bhavan.
About the same time Pratima Tagore introduced in Santiniketan the technique of Fresco Buono, which she learned in France. Gradually this art form took roots in Santiniketan.
Nandalal Bose, Surendranath Kar and a host of students including in particular the legendary Benode Behari Mukherjee who was to be Nandalal’s chief assistant in this endeavour.
In 1933, Narsingh lal was invited to Santiniketan to assist Nandalal in painting the murals on the ground floor veranda of the Patha Bhavan.
The fine buildings designed by Surendranath Kar in the tradition of ancient Indian architecture presents another facet in the artistry of Santiniketan.
Cheena Bhavan housing the department of Chinese studies contain some of the finest murals of Santiniketan, the crowning glory is Nandalals depiction of Tagore’s dance drama ‘’Natir Puja (the dancers offering)’’ is based on a Buddhist tale.
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31 дек 2018
