The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features,
The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features,
The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features,
The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features,
The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features,
The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features,
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The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features,
.jpeg)
The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features,
The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features,
