{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O82527"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O82527/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2013GK1363/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2013GK1363/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2013GK1363","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006AH4354","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O82527/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O82527","accessionNumber":"IS.304-1951","objectType":"Painting","titles":[{"title":"Baul singer","type":"generic title"}],"summaryDescription":"This scene depicts a Baul singer in a meditative state plucking an ektara. The combination of watercolour and grey wash creates subtle changes in the different shades of grey, giving an overall sense of mist.\r\n\r\nThe artist Abanindranath Tagore (1871 - 1951) was the pioneer and leading exponent of the Bengal School of Art which flourished between 1905 and 1920. In his paintings, he sought to counter the influence of Western art as taught in art schools under the British Raj, by modernizing indigenous Moghul and Rajput traditions. His work became so influential that it was eventually accepted and regarded as a national Indian style.","physicalDescription":"Chromoxylograph, a Baul singer in a meditative state plucking an ektara. The scene is painted in shades of grey. The chromoxylograph was probably printed in Japan from wood-blocks.","artistMakerPerson":[{"name":{"text":"Tagore, Abanindranath","id":"A9969"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[],"techniques":[{"text":"printed","id":"AAT53319"}],"materialsAndTechniques":"Chromoxylograph","categories":[{"text":"Religion","id":"THES48900"},{"text":"Paintings","id":"THES48917"},{"text":"Prints","id":"THES48903"},{"text":"Hinduism","id":"THES48941"},{"text":"Bonita Trust Indian Paintings Cataloguing Project","id":"THES263148"}],"styles":[],"collectionCode":{"text":"SSEA","id":"THES48598"},"images":["2013GK1363","2006AH4354"],"imageResolution":"high","galleryLocations":[{"current":{"text":"003","id":"THES403815"},"free":"","case":"","shelf":"","box":""}],"partTypes":[[{"text":"painting","id":"AAT33618"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Bengal","id":"x30825"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"ca. 1905","earliest":"1900-01-01","latest":"1909-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Given by Lady Sonia Wilson","dimensions":[{"dimension":"Height","value":"20.4","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"13.6","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Height","value":"20.7","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"Paper upon which card is mounted","note":""},{"dimension":"Width","value":"14","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"Paper upon which card is mounted","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Gift. RF 51/3488. From the Collection of Sir E. B. Havell. Given by Lady Sonia Wilson, daughter of E.B. Havell.","historicalContext":"Abanindranath Tagore (1871 - 1951) was the pioneer and leading exponent of the Bengal School of Art. In his paintings, he sought to counter the influence of Western art as taught in art schools under the British Raj, by modernizing indigenous Moghul and Rajput traditions. His work became so influential that it was eventually accepted and regarded as a national Indian style.\r\n\r\nIn his work, Abanindranath retrieved themes from the Indian epic past or scenes from romantic tales, such as Arabian Nights or Omar Khaiyam and reworked them in a highly romanticised style. The artist’s desire to emancipate Indian art from European influence was also fostered by Japanese artist Okakura Kakuzo, who visited him in 1902. Later, studying Japanese art under Japanese artists, Taikoan and Hilsida, Abanindranath assimilated Far Eastern techniques such as the wash into his work. His Omar Khaiyam series (1906-08) reflects such influences. Abanindranath’s use of colour was also highly personalized and found its appropriate language in two major techniques: wash and tempera.","briefDescription":"Painting, Baul singer, chromoxylograph, Bengal, ca. 1905","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Dr Ratan Parimoo, The paintings of the three great Tagores: Abanindranath Tagore, Gaganendranath Tagore and Rabindranath Tagore. Chronology and comparative studies, 1973"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"","id":""}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[{"text":"Baul","id":"AUTH408064"}],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["IS.304-1951"],"accessionNumberNum":"304","accessionNumberPrefix":"IS","accessionYear":1951,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-03-13","recordCreationDate":"2003-07-18","availableToBook":true}}