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Jamini Roy (1887-1972)
As early as the 1930s, Jamini Roy had anticipated the current vogue amongst the artists to draw upon folk-art in fashioning artwork.
He attempted to create a distinct indigenous style in seeking inspiration from folk-art traditions as against the elitist approach of the Bengal School.
He found a quality of freshness, directness, and robustness in the artistic spirit that still survived in the scrolls, the bazaar paintings of Kalighat, in the Puja images, in toys and dolls and the hordes of artifacts created for rituals—all synthesized with the visual effects of kanthas and alpanas.
He abandoned his interest in portraiture in oils and the ‘wistful sentimentality’ of Abanindranath’s style after 1910.
He was attracted to the folk- art sources, adopting not only the freest possible manner, characteristic of native folk arts, to shape the figures in his works, but also formal ideas from Orissan and Jain manuscript illustrations of the medieval period.
After the mid-1920s he adopted an increasing use of firm and majestic curves and simple forms. He also changed his palette to mineral and vegetable dyes popularly used in villages, so as to fully identify with the village ethos.
His style, however, gradually became more decorative than poetic or sensuous. He moved away from Kalighat, although he retained some of its characteristics like the large eyes and the oval faces.
In some of his works Of the early 1930s, the stress is on the vertical rigid forms reminiscent of Byzantine icon paintings.
His paintings on the theme of Christ and the satirical paintings of animals, like those of cats with protruding eyes, clearly show the influence of the Jain School.
But, by and large, his paintings are marked by the conventional features of the native folk paintings, i.e. the flattening out of design in-depth, and of voluminous and otherwise massive forms, by omitting light and shade, and use of pure and positive colors in the interaction of their tonal quality and strength.
Jamini Roy’s paintings are a sheer expression of rhythmic lines drawn with curved and elliptic sweeps that define the robust forms of his figures.
He seems to be subordinating everything to the repetitive decorative rhythm in his panel pictures but not in his sketches, some of which are powerful spontaneous expressions.
He added an element of subtlety and sophistication to the simplistic painting of Kalighat, resulting in a strongly individualistic style.
One may wonder why Jamini Roy adopted a style based on folk-art, which, as is well known, he did after a great deal of heartsearching.
Starting his career as a portrait painter in the Western academic tradition and later experimenting with impressionism, he, subsequently discontinued both.
And though the Bengal School was then in the ascendant, he found it too eclectic to be attracted to it.
To overcome this stalemate in the art scene of that time, he strove to strike a new path by turning to native folk-art traditions wherein he discovered the art impulses and genius of his own people.
He, however, did not foresee that the folk-art style he adopted would, in course of time, lead him into a blind alley.
For, unfortunately, his enthusiastic endeavor to strive for Indianness resulted in a ‘factory’ producing Jamini Roys for the elite.
Though artistic control plays a quiet but crucial role in Jamini Roy’s paintings, it raises questions about the significance of creativity in art.
In his search for finding an identity, he styled his artistic activities as a ‘Patua’—the Bengal folk painter. For, he compared his free repetitious approach to that of the ‘Patua’.
Jamini Roy’s stimulus-response model is based on emotionally charged and decorative religious content which, though necessary, is not sufficient for creative expression.
Mere sensation ‘furnishes’ the mind with nothing whatsoever; it leaves no legible character on the ‘white paper’ within us.
For, art is an expression of a totally imaginative creative experience. How- ever, Jamini Roy’s art had nationalistic significance, especially when India was trying to free itself from the clutches of the political and cultural influences of the West.
No one, perhaps, knows with certainty whether Jamini Roy was heading in the right direction; for no one has subsequently followed his approach or style concertedly.
How far his explorations of the aesthetic norms of folk- art were successful in reviving the spirit of indigenous art traditions is a debatable question.
And how valid are the aesthetic norms of bygone days for artistic expression today, especially when the present-day artist faces a vast array of material, styles, and traditions all of which are equally internationally valid? Perhaps time only will decide whether Jamini Roy’s pursuit of artistic labor was successful or not.
Be that as it may, we must remember that Jamini Roy was the first artist to prominently and creatively use folk-art at a time when more and more Indian artists were attracted to alien art forms.
Here are some of Jamini Roy’s famous paintings, including their year, media, and name:
| Painting Name | Year | Media |
|---|---|---|
| Bride and Two Companions | 1940s | Tempera on Cardboard |
| Krishna and Balarama | 1940s | Tempera on Paper |
| Mother and Child | 1940s | Tempera on Cloth |
| Three Pujarinis | 1950s | Tempera on Board |
| Santal Boy with Drum | 1935 | Tempera on Canvas |
| Gopini | 1940s | Tempera on Paper |
| St. Ann and the Blessed Virgin | 1945 | Tempera on Canvas |
| Cats Sharing a Prawn | 1940s | Tempera on Canvas |
| Ravana, Sita, and Jatayu | 1940s | Tempera on Cloth |
| Ramayana Series | 1940s | Tempera on Paper |
| Queen on Tiger | 1930s | Tempera on Paper |
| Makara and a Flock of Fish | 1940s | Tempera on Board |
| Radha and Krishna | 1940s | Tempera on Cloth |
| Seated Woman with Hookah | 1940s | Tempera on Board |
| Chaitanya and His Followers | 1940s | Tempera on Cloth |
| Woman in White Sari | 1940s | Tempera on Canvas |
| Blue Krishna with Gopis | 1940s | Tempera on Board |
| Woman Holding a Lotus | 1950s | Tempera on Canvas |
| Ganesh Janani | 1940s | Tempera on Cloth |
| Dancing Ganesha | 1940s | Tempera on Board |
Jamini Roy was known for his use of earthy colors, bold outlines, and influence from folk art, especially Kalighat paintings.
Chart of Jamini Roy’s paintings from the 1930s, including their year, media, and name:
| Painting Name | Year | Media |
|---|---|---|
| Queen on Tiger | 1930s | Tempera on Paper |
| Santal Boy with Drum | 1935 | Tempera on Canvas |
| Woman with Pitcher | 1930s | Tempera on Board |
| Seated Woman in Sari | 1930s | Tempera on Cloth |
| Mother and Child | 1930s | Tempera on Canvas |
| Woman Holding a Bird | 1930s | Tempera on Paper |
| Dancing Girl | 1930s | Tempera on Board |
| Baul Musician | 1930s | Tempera on Cloth |
| Krishna with Cows | 1930s | Tempera on Paper |
Jamini Roy’s 1930s works marked his transition from Western-style academic painting to a more folk-art-inspired style, using bold lines and natural pigments.
Chart of Jamini Roy’s paintings from the 1940s, including their year, media, and name:
| Painting Name | Year | Media |
|---|---|---|
| Bride and Two Companions | 1940s | Tempera on Cardboard |
| Krishna and Balarama | 1940s | Tempera on Paper |
| Mother and Child | 1940s | Tempera on Cloth |
| Gopini | 1940s | Tempera on Paper |
| Cats Sharing a Prawn | 1940s | Tempera on Canvas |
| Ravana, Sita, and Jatayu | 1940s | Tempera on Cloth |
| Ramayana Series | 1940s | Tempera on Paper |
| Makara and a Flock of Fish | 1940s | Tempera on Board |
| Radha and Krishna | 1940s | Tempera on Cloth |
| Seated Woman with Hookah | 1940s | Tempera on Board |
| Chaitanya and His Followers | 1940s | Tempera on Cloth |
| Woman in White Sari | 1940s | Tempera on Canvas |
| Blue Krishna with Gopis | 1940s | Tempera on Board |
| Ganesh Janani | 1940s | Tempera on Cloth |
| Dancing Ganesha | 1940s | Tempera on Board |
During the 1940s, Jamini Roy fully embraced the folk art style, using natural pigments, simplified forms, and strong outlines inspired by Kalighat paintings.
Chart of Jamini Roy’s paintings from the 1950s, including their year, media, and name:
| Painting Name | Year | Media |
|---|---|---|
| Three Pujarinis | 1950s | Tempera on Board |
| Woman Holding a Lotus | 1950s | Tempera on Canvas |
| Black Horse | 1950s | Tempera on Paper |
| Dancing Figure | 1950s | Tempera on Cloth |
| Mother and Child | 1950s | Tempera on Board |
| Krishna with Flute | 1950s | Tempera on Paper |
| Woman with Flower | 1950s | Tempera on Canvas |
By the 1950s, Jamini Roy had fully established his folk-art-inspired style, using bold colors, simplified figures, and themes from rural life and mythology.
Chart of Jamini Roy’s paintings from the 1960s
Jamini Roy’s artistic peak was between the 1930s and 1950s, and he created fewer notable works in the 1960s. However, here are some of his paintings from that period:
| Painting Name | Year | Media |
|---|---|---|
| Woman with Red Bindi | 1960s | Tempera on Board |
| Mother and Child | 1960s | Tempera on Paper |
| Krishna with Gopis | 1960s | Tempera on Cloth |
| Santal Couple | 1960s | Tempera on Canvas |
| Seated Woman in Blue Sari | 1960s | Tempera on Board |
By the 1960s, Jamini Roy had already received national recognition for his contribution to Indian modern art, and his works continued to reflect folk traditions and mythology.
Jamini Roy continued his folk-art-inspired style in the 1960s, focusing on themes of rural life, mythology, and simplicity. His works during this period maintained his signature use of bold outlines, earthy colors, and tempera on materials like paper, board, and cloth.
Many of his paintings from this time were variations of his earlier works, as he refined and repeated themes such as Mother and Child, Krishna with Gopis, and Santal Life.
In the 1960s, Jamini Roy continued to refine his unique folk-art style, drawing inspiration from traditional Kalighat paintings, Bengali folk art, and rural life. His works from this period followed the same artistic principles he had developed earlier but with more emphasis on simplification, minimalism, and repetition of themes.
Key Features of Jamini Roy’s Art in the 1960s:
- Bold Black Outlines: He used thick, strong outlines to define figures, much like traditional Indian folk art.
- Limited Color Palette: His colors were mostly earthy tones, including ochre, red, blue, green, and white, often made from natural pigments.
- Religious and Folk Themes: He focused on Hindu mythology (Krishna, Radha, Gopis), rural Bengali life (Santal couples, musicians, and dancers), and mother-child relationships.
- Use of Traditional Materials: He avoided oil paints and canvas, preferring tempera on cloth, board, or paper.
- Flat, Two-Dimensional Figures: His figures lacked shading and depth, appearing flat but expressive.
Notable Paintings from the 1960s:
| Painting Name | Media |
|---|---|
| Woman with Red Bindi | Tempera on Board |
| Mother and Child | Tempera on Paper |
| Krishna with Gopis | Tempera on Cloth |
| Santal Couple | Tempera on Canvas |
| Seated Woman in Blue Sari | Tempera on Board |
Even in his later years, Jamini Roy’s art remained deeply connected to Indian traditions, folk culture, and simplicity. His work influenced many modern Indian artists and remains highly valued today.
Jamini Roy’s Artistic Techniques and Influences
Jamini Roy was one of India’s most celebrated modern artists, known for rejecting Western artistic traditions and embracing Indian folk art. His work was deeply influenced by Bengali rural culture, Kalighat paintings, and temple art.
1. Artistic Techniques Used by Jamini Roy
A. Use of Traditional Materials
- He abandoned oil paints and canvas, using tempera (a mixture of pigment and water) on cloth, board, and paper.
- He preferred natural colors made from organic sources, such as:
- Red: From crushed stones and flowers
- Yellow: From turmeric
- Blue: From indigo
- Black: From soot
- White: From crushed shells
B. Simplified, Folk-Inspired Figures
- His figures were flat, two-dimensional, and outlined in bold black lines, much like traditional Kalighat paintings.
- He used minimal details to keep the focus on form and emotion rather than realism.
- The eyes in his paintings were large and expressive, influenced by Indian iconography.
C. Limited Color Palette
- He used earthy and primary colors instead of Western-style shading or realism.
- Colors were applied in flat, unblended areas, creating a striking and bold effect.
D. Repetition of Themes
- Roy painted multiple versions of his subjects, refining them over time.
- His recurring themes included:
- Hindu mythology (Krishna, Radha, Ramayana scenes)
- Mother and child (symbolizing maternal love and Indian motherhood)
- Bengali village life (Santals, musicians, dancers)
- Animals (Cats, horses, owls, and fish)
2. Major Influences on Jamini Roy
A. Kalighat Paintings
- Kalighat paintings originated near the Kalighat Temple in Kolkata and were created by local artisans.
- These paintings had bold lines, vibrant colors, and religious themes, all of which Roy incorporated into his work.
B. Bengali Folk Art and Rural Traditions
- Roy was deeply inspired by Bengali patachitra (scroll paintings) and terracotta temple carvings.
- He painted Santals (an indigenous community) with bright costumes and musical instruments, capturing their lively culture.
C. Ajanta Cave Paintings
- The ancient Ajanta cave murals influenced Roy’s use of flat compositions, elongated figures, and spiritual themes.
D. Western Training and Rejection of Realism
- Initially trained in Western classical painting at the Government College of Art & Craft, Kolkata, Roy mastered European styles.
- However, he rejected realism and Impressionism, turning to Indian folk traditions to create an authentic national art style.
3. Impact of Jamini Roy’s Art
- He was one of the first Indian artists to develop a truly “Indian modern art” style, free from European influences.
- His work was affordable and accessible, making art available beyond the elite class.
- He was awarded the Padma Bhushan (India’s third-highest civilian award) in 1954 for his contribution to art.
- Today, his paintings are highly valued and displayed in major museums, including the National Gallery of Modern Art (NGMA) in New Delhi.
Conclusion
Jamini Roy’s work was a revolution in Indian art, blending tradition with modernity. His use of folk themes, natural colors, bold outlines, and simplified forms made his art timeless and unique.
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