Answer any three of the following questions:- 3x10=
a) Discuss about 'Bengal School' in details.
b) Discuss elaborately about RASA in Art.
c) Discuss about the different phases of Ganganendrana
Tagore's Works.
d) Discuss about the artist Binodbihari Mukhopadhyay.
e) Discuss about any art exhibition which you have visited.
Answers
Answer:
a)Discuss about 'Bengal School' in details
ANS=The Bengal School of Art commonly referred as Bengal School,[1] was an art movement and a style of Indian painting that originated in Bengal, primarily Kolkata and Shantiniketan, and flourished throughout the Indian subcontinent, during the British Raj in the early 20th century. Also known as 'Indian style of painting' in its early days, it was associated with Indian nationalism (swadeshi) and led by Abanindranath Tagore (1871-1951), but was also promoted and supported by British arts administrators like E. B. Havell, the principal of the Government College of Art, Kolkata from 1896; eventually it led to the development of the modern Indian painting.[1][2][3]The Bengal school arose as an avant garde and nationalist movement reacting against the academic art styles previously promoted in India, both by Indian artists such as Raja Ravi Varma and in British art schools. Following the influence of Indian spiritual ideas in the West, the British art teacher Ernest Binfield Havell attempted to reform the teaching methods at the Calcutta School of Art by encouraging students to imitate Mughal miniatures.[4][5] This caused controversy, leading to a strike by students and complaints from the local press, including from nationalists who considered it to be a retrogressive move. Havell was supported by the artist Abanindranath Tagore, a nephew of the poet Rabindranath Tagore. Tagore painted a number of works influenced by Mughal art, a style that he and Havell believed to be expressive of India's distinct spiritual qualities, as opposed to the "materialism" of the West. Tagore's best-known painting, Bharat Mata (Mother India), depicted a young woman, portrayed with four arms in the manner of Hindu deities, holding objects symbolic of India's national aspirations. Tagore later attempted to develop links with Japanese artists as part of an aspiration to construct a pan-Asianist model of art. Through the paintings of 'Bharat Mata', Abanindranath established the pattern of patriotism. Painters and artists of Bengal school were Nandalal Bose, M.A.R Chughtai, Sunayani Devi (sister of Abanindranath Tagore), Manishi Dey, Mukul Dey, Kalipada Ghosha
b)Discuss elaborately about RASA in Art.
ANS=In Indian aesthetics, a rasa (Sanskrit: रस) literally means "juice, essence or taste".[1][2] It connotes a concept in Indian arts about the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience but cannot be described.[2] It refers to the emotional flavors/essence crafted into the work by the writer and relished by a 'sensitive spectator' or sahṛdaya, literally one who "has heart", and can connect to the work with emotion, without dryness.
Rasas are created by bhavas:[3] the state of mind.
The rasa theory has a dedicated section (Chapter 6) in the Sanskrit text Natya Shastra, an ancient scripture from the 1st millennium BCE attributed to Bharata Muni.[4] However, its most complete exposition in drama, songs and other performance arts is found in the works of the Kashmiri Shaivite philosopher Abhinavagupta (c. 1000 CE), demonstrating the persistence of a long-standing aesthetic tradition of ancient India.[2][5][6] According to the Rasa theory of the Natya Shastra, entertainment is a desired effect of performance arts but not the primary goal, and the primary goal is to transport the individual in the audience into another parallel reality, full of wonder and bliss, where he experiences the essence of his own consciousness, and reflects on spiritual and moral questions.[5][6][7]
Although the concept of rasa is fundamental to many forms of Indian arts including dance, music, theatre, painting, sculpture, and literature, the interpretation and implementation of a particular rasa differs between different styles and schools.[8][9][10] The Indian theory of rasa is also found in the Hindu arts and Ramayana musical productions in Bali and Java (Indonesia), but with regional creative evolution.[11]