DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43450#0175
Studio- Talk
kakemono: “a daughter of the sea”
BY A. N. TAGORE
pictures of the show were two kakemonos on silk,
The Lotus Girl and A Daughter of the Sea, designed
by A. N. Tagore, the master mind and originator of
the school, both being thoroughly Indian in feeling.
The other exhibits of the artist, which were all in
miniature, were very varied in their subject and
treatment and spoke eloquently of the versatile
range of his mind. Very interesting also were the
works of Hakim Khan, who seeks to represent
all that is best in the old Indo-Persian miniatures
at one time current in Upper India, and Nanda
Lal Bose’s miniature series of illustrations of the
“Ramayana,” in which the artist has struck a new
note in his artistic development. These pictures are
executed throughout in primary colours, and within
a very small space tell their stories effectively.
They are based on an indigenous school of paint-
ing at one time current in Bengal, and which now
survives in painted manuscript covers in wood,
some specimens of which were exhibited.
The exhibition of the society drew general
attention to a branch of Asiatic art which until a
few years ago was a sealed book to European
connoisseurs. The various phases of Japanese
pictorialism have now been thoroughly investigated
by expert critics. Chinese art has also been re-
ceiving some attention lately. The schools of
Indian painting, ancient and modern, deserve no
less sympathetic attention, and the Calcutta Society
above named and the Indian Society of London
are doing their best to claim recognition for them.
The revival of the traditions of Indian art is one of
the signs of an Oriental Renaissance which promises
to bring about an artistic rapprochement between
the East and the West. The symbolism of Indian
art is likely to baffle European critics for some
time yet, but even a superficial study of the many
phases of that art will suggest to Western artists a
new point of view and a spiritual and more ex-
pressive idea of design. The study of Indian art
is still in its infancy, and it is hoped that out of a
more adequate study will grow a wider appreciation.
O. C. G.
OKYO.—One of the most interesting ex-
hibitions recently held in Uyeno Park
was the First Exhibition of Educational
A Paintings. It was interesting not so
much from the standpoint of art, for it must be
conceded that there were surprisingly few good
paintings in the collection, but mainly from what
was suggested by the subjects chosen by con-
temporary artists as having an educational value,
and perhaps Western readers may like to become
acquainted with a short narrative of some of the
incidents which appeal to our aesthetic sense. Such
an acquaintance will go far towards a true under-
standing of the real spirit and character of the
kakemono: “the lotus girl” by a. n. TAGORE
163
kakemono: “a daughter of the sea”
BY A. N. TAGORE
pictures of the show were two kakemonos on silk,
The Lotus Girl and A Daughter of the Sea, designed
by A. N. Tagore, the master mind and originator of
the school, both being thoroughly Indian in feeling.
The other exhibits of the artist, which were all in
miniature, were very varied in their subject and
treatment and spoke eloquently of the versatile
range of his mind. Very interesting also were the
works of Hakim Khan, who seeks to represent
all that is best in the old Indo-Persian miniatures
at one time current in Upper India, and Nanda
Lal Bose’s miniature series of illustrations of the
“Ramayana,” in which the artist has struck a new
note in his artistic development. These pictures are
executed throughout in primary colours, and within
a very small space tell their stories effectively.
They are based on an indigenous school of paint-
ing at one time current in Bengal, and which now
survives in painted manuscript covers in wood,
some specimens of which were exhibited.
The exhibition of the society drew general
attention to a branch of Asiatic art which until a
few years ago was a sealed book to European
connoisseurs. The various phases of Japanese
pictorialism have now been thoroughly investigated
by expert critics. Chinese art has also been re-
ceiving some attention lately. The schools of
Indian painting, ancient and modern, deserve no
less sympathetic attention, and the Calcutta Society
above named and the Indian Society of London
are doing their best to claim recognition for them.
The revival of the traditions of Indian art is one of
the signs of an Oriental Renaissance which promises
to bring about an artistic rapprochement between
the East and the West. The symbolism of Indian
art is likely to baffle European critics for some
time yet, but even a superficial study of the many
phases of that art will suggest to Western artists a
new point of view and a spiritual and more ex-
pressive idea of design. The study of Indian art
is still in its infancy, and it is hoped that out of a
more adequate study will grow a wider appreciation.
O. C. G.
OKYO.—One of the most interesting ex-
hibitions recently held in Uyeno Park
was the First Exhibition of Educational
A Paintings. It was interesting not so
much from the standpoint of art, for it must be
conceded that there were surprisingly few good
paintings in the collection, but mainly from what
was suggested by the subjects chosen by con-
temporary artists as having an educational value,
and perhaps Western readers may like to become
acquainted with a short narrative of some of the
incidents which appeal to our aesthetic sense. Such
an acquaintance will go far towards a true under-
standing of the real spirit and character of the
kakemono: “the lotus girl” by a. n. TAGORE
163