| Medium | : | Tempera |
|---|---|---|
| Height | : | 14 inch / 35.6 cm |
| Width | : | 8 inch / 20.3 cm |
| Dimension | : | W: 20.3 cm × H: 35.6 cm |
A serene folk-inspired floral composition featuring three stylized blossoms in earthy red tones, marked by geometric simplicity, rhythmic balance, and handcrafted charm.
Jamini Roy | Tempera on Board | 14 x 8 inches
This minimalist painting presents three stylized floral forms rising vertically from a shallow base, rendered in a restrained palette of earthy terracotta red against a warm, textured ground. The flowers are simplified into geometric circles and linear stems, each surrounded by dotted halos that suggest blossoming energy rather than botanical realism. Enclosed within a hand-drawn border, the composition feels both ornamental and symbolic, echoing the visual language of rural folk traditions. The rhythmic repetition of forms and the balanced symmetry create a calm, meditative quality, while the visible surface texture and uneven lines lend the work an intimate, handmade character. The painting celebrates nature through abstraction, emphasizing harmony, simplicity, and timeless folk aesthetics.
One of india’s most loved artists, Jamini Roy is remembered for forging a unique indian aesthetic for modern art by bringing together elements of traditional bengali folk art and kalighat patachitras, rendered in clean lines and earthy colours.
Born on 11 April 1887 in a landowning family in Bankura district of Bengal, Roy trained in European academic-realist painting at the Government College of Arts and Crafts, Calcutta, and began his career painting landscapes and portraits.
Soon, moving away from these, he started experimenting with a more indigenous visual vocabulary. Level surfaces, flattening of design in depth, and the use of dissonant primary colours were aspects of folk painting that Roy incorporated in his work. Also, he took up the volumetric forms of the Kalighat patachitras. However, unlike the spontaneous brushwork of the traditional patuas, Roy’s lines were more restrained and precisely delineated.
Roy would paint several versions of a subject, breaking and reforming the theme over months. Turning his family into a production unit, he tried to emulate a craft-guild mode of artistic production. He painted on a wide range of themes—common people, mythological tales, Christian iconography, as well as visual characteristics of home-sewn Bengal quilts and Byzantine icons.
Roy was awarded the Viceroy’s gold medal in 1935, the Padma Bhushan in 1955, and elected a fellow of the Lalit Kala Akademi in 1956. Declared a National Treasure artist in 1976, his works cannot be exported. He passed away on 24 April 1972.
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