Cultural Nationalism, Swadeshi and the Occidental Orientation

Presentation by Afreen Kraipak Khyriem

Indian Nationalism and the visual art during 1905-1920 was an amalgamation based on the ideology of the Swadeshi or self reliance. It was at this juncture in history that Occidental orientation echoed the Nation-wide collective consciousness that sought to rid itself of Colonial Westernization and its attributes. As a sign, art of the Revivalist aesthetics became a tool of the cultural renaissance that began first during the Partition of West Bengal and eventually manifested into a Hindu nationalism. My Paper seeks to critique the dominant Orientals and Colonial discourse that defined Hindu Identity and culture as lesser to the West (Colonial Britain). To examine the impact of the Swadeshi ideology in art and the artists interest in the art of Ajanta and Miniature tradition. An outline of the major leaders and their contribution such as E. B Havel, Sister Nivedita and Abanindranath Tagore’s shall also be mentioned within the contextual framework of Revivalism art movement.

Abanindranath Tagore’s methodology, art teaching and art practice became a formidable exemplar to the new generation of Indian artist’s. Although, Abanindranath Tagore’s art practice was a paradigm shift from the dominant Classical Art’s and resonated with the ideology of the Swadeshi, my paper will also refute the notion that his art was a direct bi-product of the Swadeshi ideology itself.