Traditional methods of art were experimented with and reinvented while new ones were being explored. Emotions of national pride, nation building were exuberating and there was a quest for a new identity and ideology. It was during this period that the Japanese artist Tenshin Okakura, met Rabindranath Tagore in Calcutta.

While Okakura was eager to learn about the revivalist movement being spearheaded by Tagore, Tagore was deeply keen to know more about the ancient Japanese art technique called Sumi-e. Tracing its origin to China with Zen Buddhist monks, Sumi-e is derived from two Japanese words. ‘Sumi’ refers to ink while ‘e’ stands for a painting. Tagore honed this technique, embracing it into the Bengal School of Art and popularising it as the wash technique. 

A minimalist style of watercolour painting with soft, subtle, muted tones of colour, this technique was accepted and practiced by several noteworthy artists including Abanindranath Tagore, Nandalal Bose, Somalal Shah, Shailendra Nath De and Ram Gopal Vijayvargiya. 

Under the tutelage of Shailendra Nath De, Ram Gopal Vijayvargiya mastered the wash technique. Blending tones of sepia, he created delicate yet powerful compositions. Through this style of painting he explored a cornucopia of subjects, drawing inspiration from the Sanskrit plays of Kalidasa, Indian mythological scenes, works of revered and celebrated poets such as Bihari and Omar Khayyam. 

One such important work is part of the upcoming Olympia Indian, Islamic, Himalayan and South-East Asian Art and Greek and Roman Antiquities auction scheduled to take place on the 4th of June. 

Lot 293 features two exemplary paintings by Padma Shree awardee Vijayvargiya. The first work (image above, detail) depicts a group of ‘yakshinis’, engulfed in a billow of clouds with the backdrop of a palace or temple perhaps. Their graceful, curved danceau bodies, striking a pose, lyrical, in motion with their elongated, tapering fingers and doe-like eyes. Draped in almost translucent, sheer-like linen fabric they each carry a chamar or fan. Chamars or fly-whisks are associated with royalty often finding mention in Indian and Mughal literature and painting. The chamar comprises two important parts and has been an integral part of ceremonial events. The first being the handle which is either created in pure gold or silver at times with ornate, embossed motifs. The second being the brush made from silver thread or yak hair.  The yakshinis are slowly waving the chamars perhaps making way for the God and Goddess part of the second work of art. 

The second work (image above), a continuation of the previous one, depicts Lord Shiva and Goddess Parvati walking arm and arm through the clouds. Vijayvargiya experiments with a myriad shades of blue making the viewer feel as if one is transported to heaven’s abode. The God and Goddess, gaze lovingly at each other symbolising their deep adoration and love for one another. Ethereal.