Abanindranath Thakur, the quintessential painter and a versatile artiste was born in ‘Thakur Bari‘ (House of Thakurs) in Jorasanko. He was the son of Gunendranath and the great grandson of the illustrious Dwarakanath Thakur. Abanindranath is regarded as the first Indian artiste who won international fame and recognition for his exquisite Paintings.
As was the custom of ‘Thakur Bari’, Abanindranath was put under the tutelage of a home-tutor. It is he who is basically responsible for educating and enlightening young Abanindranath. Though for a short while, Abanindranath had also studied in the Sanskrit College. He was quite adept in English, French, Sanskrit and Bengali Literature. He had transitorily dabbled in the world of music as well.
‘Thakur Bari’ had always been known for patronizing art and culture. His elder brother Gaganendranath and sister Sunayani Devi became renowned artistes in their respective spheres by their own rights. Abanindranath learnt the subtle techniques of water-colour, pastel, oil-painting and portraits from Gillard and Pamar. But the sensitive artiste in him was not satisfied with these conventional European norms of painting. Hence, he dedicated himself to the arduous task of retrieving and resuscitating the lost school of exquisite Indian Art.
Mr. Havel, the principal of the Art College in Calcutta was very fond of Abanindranath. The veteran principal had made no mistake in recognizing the genius in Abanindranath. So he desperately wanted to get him in his institution for its all round welfare. As is the way with prodigious artistes, Abanindranath preferred to stay free and was initially very reluctant to join the Art College as a preceptor, which he thought would put into fetters his freedom and liberty as an artiste. However, Havel managed to persuade Abanindranath at long last to accept the post of Vice-Principal in the Art College in 1898.
Henceforth started an illustrious period which enriched the world of Indian Paintings and art in general. Abanindranath revived the lost school of glorious Indian Art and followed it in his drawings & paintings. His first painting in typical Indian ‘gharana’ was ‘Krishnalela’ or excerpts from the life of Lord Krishna. Some of his other remarkable paintings are ‘Bajra Mukut,’ ‘Ritu Sanhar,’ ‘Buddha O Sujata’ etc. In each of these paintings, the artiste Abanindranath has conspicuously followed the typical Indian norms of painting to a nicety.
Abanindranath was markedly different from other artistes and parties in his attitude, way of looking at things and subtle but detailed treatment of his subjects. He was very receptive to new techniques, styles and the finer aspects of art. Whenever and wherever he get an opportunity to enrich his artiste knowledge and skill, Abanindranath always made best use of it. Accordingly, he learnt the norms and techniques of unique Japanese paintings from Taikan, a Japanese maestro and the vice versa. However, this Japanese influence on Abanindranath was clearly manifested in his following painting. It was a spectacular specimen of exquisite art and was entitled ‘Omar Khaiyaam.’
Abanindranath was soon recognized as the precursor of a new era in Indian art and paintings. Several illustrious artistes who glorified the world of Indian Art in course of time had started coming to Abanindranath to become his disciples. They intensified the movement to revive and resuscitate the lost school of glorious Indian Art following the footprints of their teacher Abanindranath. The novity in style and artistio techniques as introduced by Abanindranath, blossomed in 1920s and burgeoned in 1930s. At the fag end of his life, Abanindranath Thakur gave birth to ‘Katum-Kutum,’ an unique art form which reveal a deeply contemplative, matured self of a phenomenal artiste.
Abanindranath abandoned the Art College after the retirement of Mr. Havel. The ‘Oriental Art Society’ was founded in 1907 by distinguished people from all walks of life. Notable among them were Sister Nivedita, Sir John Woodraff, Mr. Havel and men of their ilk. There motto was to spread the artistic doctrines of Abanindranath Thakur. In 1911, on the eve of the ‘Delhi Durbar,’ a colourful cultural programme was held in Calcutta. The stage on that occasion was decorated by Abanindranath and his followers. In 1913, fabulous painting exhibitions of the maestro and his disciples were held in London and Paris. Another remarkable exhibition of Abanindranath was held in Japan in 1919. Sir Asutosh Mukherjee had inspired him a lot on his sincere wish, Abanindranath was appointed as a ‘Bageswari’ professor a senior post in the Arts Department in the Calcutta University in 1921. In 1942, he became the chancellor of the Biswa Bharati. The quintessential artiste has also earned immense fame and popularity as a writer. He had composed umpteen stories and treatises which catered to varied tastes and preferences.
However, Abanindranath’s pen had a magic touch when it came to children. His story books for children will be remembered as invaluable treasure in the history of Bengali Literature. Again, there are several compositions of Abanindranath which came out sporadically in various magazines and periodicals at different times but have never been published as books. These compositions are noted for their precision of style, narrative techniques, vivid descriptions and fertile imagination. Some of his famous and popular books are ‘Kshierer Putul,’ ‘Buro Angla,’ ‘Raj Kahini,’ ‘Bharat-Shilpa,’ ‘Shilpayan,’ ‘Gharoa,’ ‘Jorasankor Dhare’ etc.
His remarkable series of Paintings are ‘Sahajadapur Drishyabali,’ ‘Arabyoponasher Galpa,’ ‘Kabikankan Chandi’ etc. All reste, some of his spectacular single paintings are ‘Pratyabartan,’ ‘Journey’s End,’ ‘Shah Hahan’ etc. Abanindranath had even contrived the design and style of several grotesque masks. Indeed, he was a versatile creative genius in the real sense of the term.