. Vinod Wamanrao Chachere


This research paper is based on the modern art scenario independence. The aim of this research paper is to trace analyses various in development of modern Indian art pre-independence Indian painting and painters. The present text is at best a brush up to refresh the account of modern art during the most crucial phase when India was approaching Independence from the colonial rule. Tracing back to Mughal period the article tries to re-locate the story of modern art pregnant with discontinuities, conflicts and high points. Beginnings, be it art or science, have often been a matter of contestation. There is no brief history still that could establish the beginning of time. Same is the case with the beginnings of modernism in art whether it is East or the West. In India we can notice how Rajput painting deviates from Mughal realistic/naturalism and assumes a more idealized and mannered outlook. At a certain point it may also seem a matter of discontinuity to see Rajput painting closer to Safavid (which was the main point of departure for Mughal painting) in its love for pure lines and color. The shifting positions of revivalist and anti-revivalist stands shared by the artists of Bengal School further enhanced the complexity of the evolution of art. In its early phase the urgency of finding an indigenous alternative to the Victorian academic realism assumed a nationalist ‘revivalist’ tempo, which was subject to serious criticism. And later the students of Abanindranath Tagore (1871-1951), the founder of Bengal School, in Santinekatan preferred the immediate and empirical over the historicist oriental sense of Indian modern. The story of art as a non-linear and considerably conflicting historical discourse becomes more complex in the failures or myths of modernism deliberated in the postmodern theories.


Modern Art

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