Important Notice

Bengal, Late 19th Century CE
Oil on canvas
29 x 41 in (73.7 x 104.1 cm)

REGISTERED ANTIQUITY-NON-EXPORTABLE

Provenance: A Private Collection, Aurangabad


The term "Dutch-Bengal School" falls under the umbrella of Company School painting and refers to works made between the mid-18th and mid-19th centuries in Bengal. During this period, both British and Indian aristocrats in Bengal demanded works made by Indian artists in the Western academic style. These artists had worked in Mughal ateliers, and were skilled in the miniature technique. The dominance of the new aesthetic saw the decline of Mughal miniature painting, and artists were forced to adapt to the new, prevailing style of art. However, owing to the rich history of miniature painting, they incorporated aspects of it into their works. Though the inclusion of the word "Dutch" suggests that practices in Holland influenced Indian artists, it actually refers to a confluence of this imposed Western realism and indigenous miniature painting practices. Paintings made in this style displayed certain elements of realism, such as light, shadow and perspective, and were stunning in scale and unique in execution.

This 19th century Dutch Bengal School painting is significant for its stylistic execution and thematic relevance. Though the gentry demanded paintings in the academic style, they endorsed paintings that depicted scenes from Indian mythology, or borrowed from Indian tradition and values. The lot on offer depicts one of the most crucial scenes of the Mahabharata: Dusshasan disrobing Draupadi on the orders of his older brother, Duryodhan, following the Pandavas' defeat in a game of dice. Draupadi's disrobing is the last act of humiliation, and the worst, against the Pandavas, after they lose their entire kingdom to the Kauravas and have nothing else to wager. Dhritarashtra, seated on the throne in the centre, is silent. The Kuru elders, Bhishma and Dronacharya, do not speak up. The remaining courtiers watch on. Seated in the foreground at the far right, Yudhisthira, the oldest of the Pandava brothers who agreed to the game, hangs his head in shame. The Pandavas' finery lie strewn across the carpet in front of Dhritarashtra. Duryodhan, seated to the right of Dhritarashtra, watches the drama unfold, and Draupadi tries desperately to save her honour when no one else dare speak for her. This scene reveals the baseness and powerlessness of everyone present-save for Vikarna, one of the Kauravas, and Vidura, who both protest Draupadi's disrobing.

The painting is also significant for documenting customs and trends at the time. Draupadi is shown draped in a Bengali-style saree, while the courtiers are dressed in garb adopted by Royalty in the 19th century. The painting stays true to the ideal of beauty in the Mahabharata; Draupadi was dusky in complexion and regarded as the most beautiful woman in the saga, and the artist has retained her dusky complexion here. The durbar hall and throne bear a striking resemblance to the Mysore Palace, suggesting that photography and ease of communication and transport diversified sources of information, hence influencing style. The gentry favoured this hybridity.

Company School paintings declined in popularity when pioneering artists such as Abanindranath Tagore and Nandalal Bose championed for an aesthetic rooted in nationalism At auctions, these paintings sell at high prices, reflecting their demand and value among collectors. Similar paintings can be found in the collection of the National Gallery of Modern Art.

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