A confluence for the ages

Art of the Bengal Renaissance is reminiscent of the minimalistic compositions and ink washes that are associated with Japanese art.

Muted colours in earthy tones; long, lithe figures; and a wash of watercolour that imparts an ethereal haze.

These are a few characteristic elements of the works by the artists Abanindranath Tagore and Nandalal Bose, prominent figures of Bengal Modernism, often referred to as the Bengal Renaissance, in 20th-century India. It is no coincidence that these images are reminiscent of the minimalistic compositions and ink washes that are associated with Japanese art. In the early 20th century, a series of visits by Japanese artists like Yokoyama Taikan, Hishida Shunsō, and Arai Kampōto Bengal, hosted by the Tagore family, fostered a rich artistic exchange that left a lasting influence.

The early 20th century was a period of introspection for both India and Japan. While Japan grappled with the effects of self-imposed westernisation and internal reforms, India remained under colonial rule. Yet, intellectuals and artists in both nations wrestled with the same question: how to define a national identity distinct from European influence. Amidst these questions, Okakura Kakuzo, the Japanese art critic and scholar and Rabindranath Tagore, the Indian poet, writer and Nobel Laureate, formed a friendship based on their mutual interest in exploring resonances and exchanges between Asian cultures and countries. From 1901 until 1912, Kakuzo visited India frequently, prompting the young artists of Bengal to embrace a more pan-Asian aesthetic. Through Kakuzo, Tagore also facilitated visits by artists Shunsō, Taikan and Kampō, paving the way for a cross-pollination of artistic ideas.

Examining the artworks themselves reveals the essence of this reciprocal influence. Kampō’s meticulous copies of the Ajanta murals stand as a testament to the deep well of inspiration Japanese artists found in Indian iconography. Similarly, Taikan’s Ryuto (Floating Lanterns), with its ethereal depiction of three women swathed in diaphanous sarees on the banks of the river Ganga, directly references Indian subjects.

If Japanese artists found inspiration in Indian iconography, Nandalal Bose and Abanindranath Tagore’s exposure to Japanese painting techniques informed their works for years. Tagore, in particular, was a strong advocate for bhava or heightened emotion in art. He viewed the Japanese wash technique, with its subtle gradations and atmospheric effects, as the perfect tool to achieve this. “Replete with the serene simplicity of shadows cast by clouds heavy with rain,” he remarked, capturing the essence of how the technique allowed him to imbue his works with a sense of quiet contemplation.

The brief yet impactful encounter between Indian and Japanese artists resulted in some of the most celebrated works in Indian modern art. Tagore’s Bharat Mata (Mother India), rendered in his unique Japanese-inspired wash style, depicts a four-armed slender woman draped in a saffron-hued robe, with a form of blessing in each hand: grain for food, cloth for clothing, rosary beads for faith and a manuscript for knowledge. Created during Bengal’s Swadeshi movement, and personifying the nation, the landmark painting would eventually inspire other versions of Bharat Mata. This Indo-Japanese artistic confluence remains a crucial chapter in the history of Indian art, highlighting the power of cultural exchange in shaping artistic movements and national narratives.

(Discover Indian Art is a monthly column that delves into fascinating stories on art from across the sub-continent, curated by the editors of the MAP Academy. Find them on Instagram as @map_academy or write to them at [e-mail])