Abanindranath Tagore

Abanindranath Tagore


Famous painter and writer. Born in Jorasanko Tagore family. Dwarkanatha Tagore’s eldest son Girindranath’s youngest son Gunendranath’s youngest son.


In the diverse environment of Tagore’s family, along with learning English, Persian, Sanskrit and Bengali languages, he developed an innate attraction towards painting.


Art school teacher Gillard was his first teacher. He also has training in pastel drawing, watercolor etc. He studied oil painting and life studies under his second teacher, Parmar.


Abanindranath decided to set up a studio in the foreign style at an early stage as a result of learning from foreign teachers. But just then the exquisite craftsmanship, brightness and color combination of some native paintings attracted his mind in such a way that he decided to paint in the native style. Krishnalila Chitravali is his first work in the country style.

In 1898, he was appointed as the assistant principal of the art college at the request of Havel, the then principal of the art college.


Havel helped him especially in the practice of Indian art. The results of this practice can be seen in Abanindranath’s paintings of Vajramukuta, Ritu Sanghar, Buddha and Sujata etc.


Jap painter Taikan then introduced him to Japanese painting. 1907 AD Establishment of Oriental Art Society with the collaboration of sister Nivedita, Havel etc. is one of the greatest achievements of Abanindranath’s life. Through this society, Abanindranath started trying to connect the ideals of art with the national life.


1913 AD An art exhibition of Abanindranath and his followers was first held in London and Paris. 1919 AD It was organized in Tokyo city. Through these exhibitions, Abanindranath’s artwork became known abroad and he gained a permanent place among foreign artists as well.


Abanindranath then painted the famous Omar Khayyam paintings. Abanindranath’s identity with Japanese and Indian art styles found in these paintings is not only unique, but it has been identified as a new horizon opener of a new genre.


Abanindranath’s style of art could not be influenced by any local or foreign traditions. He was recognized as a guru of the Indian art world by exhibiting his own characteristics.


Rabindranath discovered the poet Abanindranath. His daughter-in-law He wrote ‘Shakuntala’ first with him.


Rabindranath thought of making a series for children. Named Balgranthavali series.


At that time there were no good books for children to read. He said to Abanindranath, ‘You write stories.


Abanindranath has been painting for so long, he has not written anything. That too for the younger ones, which is the most difficult to write. Naturally he was afraid. He said that he does not care.


Abanindranath could tell wonderful stories orally in very simple language. So Rabindranath warned him and said, “You don’t write, you write like you tell a story orally”.

After that Abanindranath wrote Shakuntala. The love and rivalry between Dushmanta and Shakuntala is the main theme of Shakuntala story. But due to the quality of Abanindranath’s language, even children can get endless joy from him. Reading it is like coming to the fairy tale kingdom.


Rabindranath was happy to read ‘Shakuntala’. Abanindranath’s mind opened from the day he received his clearance. Then he wrote Kshir Putul.


Abanindranath took the structure from the ancient Bengali fairy tales and created a wonderful story with his own style of storytelling. He has also incorporated many rhymes into fairy tales with his own skill.


He combines with such skill that it seems the rhymes too it was part of a wonderful fairy tale.


After that, one by one Rajkahina, Bhoot Patri Desh, Nalak, Buro Angla etc. were born from his pen. Once Abanindranath Jatrapala was addicted to writing. In this formula


The origin of his female literature.


Among the punthis composed by him, Maruti’s punthi, Chaiburi’s punthi, Hanuman’s punthi, Jayaram’s punthi, Khuddur’s Ramayana etc. are notable. The few books Abanindranath wrote thinking about children are Bengali literature it is an eternal treasure.


In the context of writing, Abanindranath’s Bageswari art essays inevitably come up. 1921 AD Rani Bageshwari brought Sir Ashutosh Abanindranath to Calcutta University as a professor.


He held this position from 1921 to 1929. He gave a total of thirty nine speeches.


Crowds used to throng Dwarbhanga Hall to listen to artist Abanindranath’s speech. The audience was mesmerized by the unique arrangement of words, the inimitable diction.


Abanindranath’s painting gradually declined. He used to say himself, ‘And the mind is not full.’ Instead of painting, he used to collect pieces of wood, tree roots, broken branches, coconut garlands, amra sticks, all these very trivial materials, and made various things with these things like princes, ships, animals and many more.

All monolova, eye-opening. He was so engrossed with these things that he had forgotten who had taken the picture for about eight or nine years.


Abanindranath wrote many stories and essays for children and adults. His then


Many articles have been published in various journals. which has not yet been documented. his


Notable works on art written are Shadanga of Bharat-Shilpa, Bageshwari Shilpa Essays, India-Industry, Industrialization etc. In his later years he composed Gharoy, Jorasankor with the help of sruti scribe on the edge


1951 AD Abanindranath passed away.

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