Exact Match
Krishna and Gopis
Title Krishna and Gopis
Museum Name National Gallery of Modern Art, New Delhi
Gallery Name NGMA-New Delhi
Object Type Painting
Main Material Wash and tempera on paper
Main Artist Jamini Roy (1887 - 1972)
Artist's Nationality Indian
Artist's Life Date / Bio Data Jamini Roy was one of the earliest and most significant modernists of twentieth century Indian art. From 1920 onwards his search for the essence of form led him to experiment with dramatically different visual style. His career spanning over nearly six decades had many significant turning points and his works collectively speak of the nature of his modernism and the prominent role he played in breaking away from the art practices of his time. Trained in the British academic style of painting in the early decades of the twentieth century, Jamini Roy became well-known as a skilful portraitist. He received regular commissions after he graduated from the Government Art School in what is now Kolkata, in 1916. The first three decades of the twentieth century saw a sea-change in cultural expressions in Bengal. The growing surge of the nationalist movement was prompting all kinds of experiments in literature and the visual arts. The Bengal School, founded by Abanindranath Tagore and Kala Bhavana in Santiniketan under Nandalal Bose rejected European naturalism and the use of oil as a medium and were exploring new ways of representation. Jamini Roy, too, consciously rejected the style he had mastered during his academic training and from the early 1920s searched for forms that stirred the innermost recesses of his being. He sought inspiration from sources as diverse as East Asian calligraphy, terracotta temple friezes, objects from folk arts and crafts traditions and the like. What was increasingly apparent from 1920 onwards was that Roy brought a joy and
Country India
Inscription Signed 'Jamini Roy' in Bengali at the right bottom corner of the painting with brush and black colour.
Dimensions 20.5 X 16.7 cms
Detailed Description This painting is an evocative image of a rural community. Jamini Roy has beautifully represented in many of his paintings the sect of the Vaishnavas, the followers of Krishna as either making offerings to the lord or on the way to a temple in a procession or going around villages singing kirtans (devotional songs) on the life of Krishna, and seeking alms. Jamini Roy drew imagery that was authentic using simplification of form inspired by the folk arts of the region that had evolved over the centuries. In this painting the artist has divided the picture space into two horizontal planes with the upper panel showing Krishna in the center surrounded by Gopinis on either side holding fans in their hands and cheering in praise of the lord. The below panel also has five gopinis with their arms raised in obeisance. Even as Krishna is amongst his folks the artist has suggested his elated status by executing the figuration of Gopinis with a slight diminution. Although this painting is from the Krishna- Leela series the artist has used a more upright posture in the representation of the figures of Krishna as well Gopinis or herd women or milkmaids in contrast to the tribhanga style of the traditional iconography. The artist has used tempera colours even as he has adhered to the notions of ideal feminine beauty with the depiction of the doe eyes, demure stances and the voluptuous figure of the Gopini. The artist conveys a sense of an idyll where faith, religion and spirituality create an organic wholeness in life.
Brief Description This painting is an evocative image of a rural community. Jamini Roy has beautifully represented in many of his paintings the sect of the Vaishnavas, the followers of Krishna as either making offerings to the lord or on the way to a temple in a procession or going around villages singing kirtans (devotional songs) on the life of Krishna, and seeking alms. Jamini Roy drew imagery that was authentic using simplification of form inspired by the folk arts of the region that had evolved over the centuries. In this painting the artist has divided the picture space into two horizontal planes with the upper panel showing Krishna in the center surrounded by Gopinis on either side holding fans in their hands and cheering in praise of the lord. The below panel also has five gopinis with their arms raised in obeisance. Even as Krishna is amongst his folks the artist has suggested his elated status by executing the figuration of Gopinis with a slight diminution. Although this painting is from the Krishna- Leela series the artist has used a more upright posture in the representation of the figures of Krishna as well Gopinis or herd women or milkmaids in contrast to the tribhanga style of the traditional iconography. The artist has used tempera colours even as he has adhered to the notions of ideal feminine beauty with the depiction of the doe eyes, demure stances and the voluptuous figure of the Gopini. The artist conveys a sense of an idyll where faith, religion and spirituality create an organic wholeness in life.