Indian Art and Letters

Author(s): India Society
Publisher: India Society

Page 14

India Society's Exhibition of Modern Indian Art there have perhaps been occasions on which it has been in danger of becoming merely imitative. But whenever such a tendency has displayed itself, the movement has always languished.
Speaking from my own experience, which I admit is confined almost entirely to developments in Bengal, I have no hesitation in saying that the art of India of to-day is true to what may be described as having been throughout the centuries the distinguishing characteristic of Hindu as compared with European art-namely this, that it has been the aim of the artist to give expression to mental concepts rather than to reproduce the objects of the external world which he sees around him.
But there is much more behind the movement than a very natural inclination on the part of the Indian artist to base himself upon the art canons of his own people. The driving force behind the movement which was set or foot at the beginning of the present century by two members of a very remarkable family, Mr. Goganendranath Tagore and Dr. Abanindranath Tagore, was undoubtedly a spiritual impulse which was the outcome of a growing realization upon their part that not politically only, but in the sphere of culture also, their country had fallen under the domination of an alien ideal. It was the same spirit of revolt against the undue Westernization of India that played so large a part in the Nationalist movement that inspired the little circle of men who brought into being the modern School of Art in Bengal.
“The National movement," to quote the words of the late Mr. C. R. Das, “has no justification if it does not carry with it some hope of a new manifestation of the Indian genius in relation to the real needs of life," and it is interesting to recall the fact as an indication of the subconscious nature of the impulse which drove the brothers Tagore upon their way that they were at that time ignorant, as they themselves have told me, of both the tradition and the formulæ of the Silpasastras, the ancient Indian classic of fine art.
I have recalled these few facts for the purpose of showing that there is good reason for the view that I have expressed, that the work which you will see exhibited round these walls is a thing of the spirit and that it is consequently of high significance.
It would, of course, be easy to talk at great length upon that aspect of the case, but I must not trench further upon your Royal Highness' time. There are one or two gentlemen whom I desire to invite to say a few words before I ask your Royal Highness to declare the Exhibition open.
There is Sir William Llewellyn, President of the Royal Academy, who is here to extend the hand of friendship from the artists of this country to their colleagues in India; Mr. R. A. Butler, who, in the unavoidable absence of Sir 92