Unit 3 -The Bengal School of Painting and the Modern trends in Indian Art

• National Flag of India and the Symbolic significance of its forms and the colours.
Name: - Evolution of the Indian National Flag

Artist: Unknown

Medium: coloured Cloth

Period: 1906 -1921- 1947

Courtesy: govt of India.

Subject Matter: aim of national flag was to have
separate identity of India. Different flag was made
at that time but final flag was made on 15 august
1947. This artwork shows how the Indian national flag changed over time. It has three flags from three
different years: 1906, 1921, and 1947. Each flag shows the feelings and hopes of Indians during the
freedom struggle.

Three Stages of the Flag

1. FIRST STAGE 1906 Flag (Calcutta Flag): this flag was hoisted on august 7, 1906 in green park of
Calcutta which is now Kolkata.

o Colours: Green (top), Yellow(middle), Red(bottom)

o Symbols:

▪ Eight white lotuses on top green stripe

▪ VANDE MATRAM written in blue and in Hindi on middle yellow stripe

▪ moon is shown on left side and sun on right in bottom red stripe

o Meaning: Unity of religions, love for the motherland, and hope for freedom.
2. SECOND STAGE 1921 Flag (Gandhi’s Flag): red colour represents Hindus and green Muslims.
Because they were only 2 major communities. This flag was hoisted in 1921.

o Colours: White (top), green (middle), red (bottom)

o Symbol: Blue spinning wheel (charkha) in the centre

o Meaning: Peace (white), growth (green), and self-reliance through khadi and spinning wheel.
Spinning wheel signifies the progress and self-sufficiency.

3. LAST STAGE 1947 Flag (Current National Flag): this was hoisted on 22 july,1947 and adopted by
constituent assembly.

• Colours: Saffron (top), White (middle), Green (bottom)

• Symbol: Navy blue Ashoka Chakra with 24 spokes in the centre on white middle part of flag.
• Meaning: This flag was adopted when India became free.

• Symbolic Colour Significance of 1947 Flag Saffron: Courage and sacrifice. It is the significant
colour of Hindus, Sikh and Jains. It also indicates the rejection of ego.
• White: Peace and truth, also represents knowledge and cleanliness, it lightens the path of truth.

• Green: Growth, faith and prosperity. It represents fertility, life, happiness, it indicates green fields all
over India.

• Ashoka Chakra (Blue Wheel): Law, justice, and movement. It shows that India should keep moving
forward. 24 spokes represent the 24 hours of day.

• This artwork is important because it shows how the Indian flag changed with time and how each
design had deep meant. It connects art with history and patriotism.

Khadi or handspan cloth is only material allowed to use for flag and size ratio 3:2 length and
breadth.

• Origin and development of the Bengal School of Painting

• Before Bengal School: British rulers promoted Western-style art in India. Indian artists were trained
in European methods, which ignored Indian traditions.

• Start of Bengal School: Around 1905, Abanindranath Tagore wanted to revive Indian art. He painted
in a soft, Indian style and rejected oil painting and realism.

• Support: The movement was supported by E.B. Havell (British art teacher) and Rabindranath
Tagore. They helped promote Indian values in art.

• Goal: To create art that showed Indian culture, spirituality, and pride. It became part of the freedom
movement and cultural nationalism.

• Growth: The style spread to other parts of India and inspired many artists. It became popular in art
schools and exhibitions.

• Main features of the Bengal School of Painting

• Indian Style: Inspired by Mughal, Rajput, Ajanta paintings.

• Soft Colours: Artists used light and gentle colours like brown, green, and yellow.
• Wash Technique: Watercolour was used with soft brush strokes to give a smooth look.

• Spiritual Themes: Paintings showed gods, nature, and peaceful scenes.

• No Harsh Lines: Lines were soft and flowing, not sharp or bold.

• Simple Backgrounds: Focus was on the main figure, with plain or light backgrounds.

• National Feeling: Paintings showed Indian pride and culture during the freedom struggle.
 • Contribution of Indian artists in the struggle for National Freedom Movement.

NAME: JOURNEY'S END

ARTIST: ABANINDRANATH TAGORE
MEDIUM: WATER COLOUR AND TEMPERA
PERIOD: 1937 A.D.
COURTESY: NATIONAL GALLERY OF MODERN ART
NEW DELHI
SUBJECT MATTER: This painting shows a tired and
overloaded camel on the edge of death. artist is showing a
reflection of human life through this piece of art-work.
baggage on Camel.
DESCRIPTION: In this painting artist has used red, brown
and a bit of yellow orange colour giving effect of sunset with wash technique. In foreground,
loaded Camel has a kind of cloth tied with rope on his back, showing that the work done by
camel is more than its capacity.

The combination of colours has been extended to the foreground adding dark tint in blues for the stones
where the loaded camel is just about to fall. The theme of painting gives a poetic effect, where a loaded
camel after a long journey is about to die and fall on a stony ground. The dying camel is a masterly study of
the animal and reflects keen observation of the artist. The expression of the camel's face is tremendous.

NAME: SHIVA AND SATI

ARTIST: NAND LAL BOSE

PERIOD: 1908 (Bengal School)

MEDIUM: WATER COLOUR (TEMPERA)

COURTESY: NATIONAL GALLERY OF MODERN ART, NEW DELHI

SUBJECT MATTER: The subject matter of the painting depicts Lord Shiva is
shown seated and carrying goddess Sati in his arms and the scene is related to
one of the main episodes of Shiva and Sati. Here Sati is dead. This painting is
a narrative mythology.
DESCRIPTION: This monochromatic painting seems to be inspired from
Ajanta paintings A halo is shown around the head of Shiva for representing him as God. Expressions are
very good. The shades of light in white colour have been depicted on foreheads of both figures and also on
body of Shiva. The painting has been made in brownish monochromatic effects. The effects of clouds in the
foreground are very impressive.

The background is quite attractive. Sati has sacrificed her life for the sake of her husband Shiva's self-
respect. Sati's father Daksha who was against their marriage spoke abusive words for Shiva in a great party
(yajna) So, Sati ended her life through her intrinsic powers by burning her body through fire. So, in this
painting, Shiva is carrying Sati in his arms. He is in a sitting pose. It is one of the best paintings of Sh. Nand
Lal Bose. After being associated with the works of 'Indian Society of Oriental Art', this painting at one of the
society's first art exhibitions brought him a prize of Rs. 500 in 1908.
 NAME: RADHIKA

ARTIST M.A.R. CHUGHTAI

SCHOOL: MODERN
MEDIUM: WATER COLOUR TEMPERA (WASH)
COURTESY: NATIONAL GALLERY OF MODERN ART, NEW DELHI
SUBJECT MATTER: This painting is based on Indian young girl in
standing pose going out of her room. She is feeling shy. This painting
belongs to Hindu religion.
DESCRIPTION: It is a vertical painting of M.A.R. Chughtai. This is a
painting of typical Indian young girl in standing pose going out of her
room. Her head is down. Her left foot is forward and toe is shown nicely
while the right foot is shown with three fingers with a dominating little
finger of the foot. Her left hand and right hand are holding the lotus
flowers, left hand is bent normally near her neck while right hand is folded in a typical pose, and
an ant is walking on a lotus flower near her right hand. The ant is with wings, may be an insect.
In the background a lamp stand with flame is shown with a burning flame and smoke is going
upwards. Near the lamp some insects are shown dead on the ground.
The lady is wearing a blue coloured lehnga, red blouse and a yellow orhni. ornaments are shown with well
decorative lines. Lines are thin and sharp with full of expression. The whole painting is giving a very good
impression due to rhythmic, expressive and fine lines. Her hair is also painted with grey, black and brown
colour. Background is shown with centrally yellow colour and gradually outside orange and brown at the
bottom and top also. This painting is of wash technique which was only done by the Bengal School artists at
that time while this technique of Japan and China.

NAME: MEGHDOOT

ARTIST: RAM GOPAL VIJAIVARGIYA

SCHOOL: BENGAL SCHOOL

MEDIUM: WATER COLOUR, TEMPERA ON PAPER

PERIOD: 1961-66 Α.D

WATER COLOUR (Wash) TEMPERA ON PAPER

COURTESY: LALIT KALA AKADEMI, NEW DELHI

DESCRIPTION: Ram Gopal, a writer and poet and an outstanding artist, has
painted Meghdoot (cloud-messenger), one of his favourite themes, in three separate series each one having
up of 60 to 70 paintings. His characters had soft features, curving bodies, softly smiling mouths, thin shapely
arms and long fingers. handsome Yaksha is sitting on rocks in a forest and writing his feelings. He is writing
on a leaf with right hand and holding a flower in his left hand. His expressions are sober with tears in his
eyes as he longs for his beloved and his home while writing the message. He is wearing a yellow Dhoti and
a long stole hangs on his left shoulder. He is also wearing a necklace. In background there is hut and thick
forest trees in green and yellow colours. The hut, trees and rocky terrain are painted in light and dark brown
colour. They are painted with sky blue in the starlit dark sky. A few small birds are also flying amongst the
clouds. The colours are soft and light giving this painting a subtle glow, Lines are sharp with tonal variations
in brown colour. The story was as important as the technique of the painting

MODERN TRENDS OF INDIAN ART: -

 NAME: RAMA VANQUISHING THE PRIDE OF THE OCEAN
ARTIST: RAJA RAVI VARMA
PERIOD- MID 19th CENTURY A.D.
MEDIUM- OIL ON CANVAS
COURTESY: LALIT KALA ACADEMY, NEW DELHI
COLLECTION: CHITRASHALA, MYSORE
SUBJECT MATTER: This painting is based on an episode of Valmiki's
Ramayana After preparing his forces for invading Lanka to recover Sita, Rama
was held up by the sea, and his army was separated from Lanka. Attempts to
build a bridge were failed by the angry ocean. Rama threatened Varuna (The
God of Ocean) that he would destroy him if he didn't allow the bridge to be
built. Only then his forces could cross the ocean to reach Lanka.

DESCRIPTION: This painting, Rama Vanquishing the Pride of the Ocean, shows Rama's anger at the God
of the Sea for not co-operating in his attempt to build a bridge to Lanka. The unbeatable Ram picks up his
bow in anger at the sea god and is ready to place an arrow at the string. At this, Varuna along with his
companions rushes to pacify Ram. Angry Ram is standing sternly, his face shown in profile with eyes
popping out. A bolt of lightning in the dark cloudy sky enhances the effect of the upcoming rage of Ram.
This moment of action is frozen in this painting with contrasting balance and dynamism at the same time.
There is turbulence in the waves where the energized figures of the sea rise from water. The waves hitting
the rocks at the shore where Ram stands form thick foam. The postures of the figures and their fluttering
garments depict the stormy atmosphere. The contrast between the textures of solid rocks where Ram is
standing and the anxious sea is rightly portrayed. In this painting colours are warm and muted with mostly
Brown, yellow and orange tones. The three figures of the sea are colourful. It is mostly the play of textures
that has a major role to bring about the desired effect

TITLE- MOTHER AND CHILD

ARTIST- JAMINI ROY

School- Bengal

MEDIUM-TEMPERA (Water Colour)

PERIOD: MODERN

SUBJECT MATTER: This painting depicts a mother holding her child. The subject
matter matches totally with the title of the painting.
DESCRIPTION: This is a vertical painting. A mother is holding her son with her left
hand on the left side on her waist. Face is cup shaped, eyes are elongated, the child also
has similar eyes with thick eyebrows. Mother's head is tilted towards the son. The child
is totally naked while the mother is wearing a sari. Border of sari is shown at different places. Both mother
and child are decorated with ornaments. There is a small bun on top of the child's head similar to baby
Krishna. the background captures the simplicity of local and rural life. Lines are very sharp, thick and
expressive. The bold lines defining curves come alive with her feminine beauty. The artist's palette is limited
to a few earthy colours, green, red, yellow ochre, grey, blue. The colour bands of varying thickness bring
down the harshness of the black line. The artist has limited himself to the basic white line drawing for
ornamentation.
 TITLE: HALDI GRINDERS

ARTIST: AMRITA SHERGIL

TIME: 1940
MEDIUM: OIL ON CANVAS
COLLECTION: NATIONAL GALLERY OF MODERN ART, NEW DELHI
SUBJECT MATTER: The whole picture represents an actual setting of a village
household. The women are sitting and grinding Haldi in a traditional way.
DESCRIPTION: Amrita Shergil had great empathy for rural poor and authentic
India. This painting is a very honest portrayal of a domestic Indian household.

It shows women doing a very routine chore of grinding turmeric, a common spice used in every Indian
cuisine. Here we see the view through two tree trunks that frame the main figures to bring them into focus.
The two women sitting sideways/in profile are grinding on a stone grinder that is operated manually in a
traditional style. Their heads are covered and faces are dark with no emphasis on facial features. There is a
young girl sitting next to them with turmeric seeds helping them out. These are women who have
surrendered to their fate and are comfortable as they are. Even the small girl is happy doing what women
around her do without any different expectations from her future. The female forms are simplified and
abstract in a very modern style that she brought with herself through foreign upbringing and training. The
trees, especially the details of leaves carry the influence of Rajput and Pahari miniature paintings that she
encountered after coming to India. Hence, this painting is an extraordinary mix of East and West. Her
colours are flat and earthy with intense reds, ochres, browns, yellows and greens, and her figures expressed a
new visual reality. It also reveals the artist's Sense of scientific perspective and balance of composition.

NAME: MOTHER TERESA

ARTIST: M.F. HUSAIN

MEDIUM: WATER COLOUR

PERIOD-1997 A.D.

SUBJECT MATTER: This is one of the paintings from

Mother Teresi series by the artist.

DESCRIPTION: The painting shows a faceless figure with flowing drapes of the blue bordered white sari
that was worn by Mother Teresa, the sari is actually symbolic of the uniform of the nuns of the orphanage
and homes run by Mother Teresa. A sick person is on her lap and she is leaning protectively (gently) over his
body. The left extended palm is somewhat similar to Abhay mudra to assure the needy to have faith in the
healing power of God. The black colour below the covered head in place of the face merges with the
background. The faceless entity is to establish her universal motherhood for which caste, colour or religion
is unimportant. It also indicates complete rejection of ego, a quality of this extremely selfless person. The
spread of her sari shelters a homeless child on the right and on the left, a naked infant orphan is held by her
replica. It actually signifies her as one with whoever needs help. There is one more saree covered head
behind the mother's head, almost similar but without the blue border. It could probably be for symbolising
the other nuns who also did the same kind of work for the needy. The sick man is painted with Indian red
colour. The brightness of the saintly white saree is brightening up the whole spirit of the composition. The
mother rises as a guardian angel against the dark and brings light to the lives of the poor and the needy. The
figure of Mother Teresa acquires the position of a universal mother, while the figure of the old man is
helpless and lies in her lap. The saree with a blue border that covers her head and draped around her, the
strong play of colours with black, has influence of Roman stained glass and mosaics.
Graphic – prints:

NAME: CHILDREN
ARTIST; SOMNATH HORE

MEDIUM; ETCHING AND AQUATING

PERIOD: 1955-1970 A.D.

COURTESY: THE NATIONAL GALLERY OF MODERN ART, NEW DELHI

SUBJECT MATTER: The print is a visualization of the artist's emotional response

to the pain and suffering of the poor and deprived the wounded humanity. It is
about the physical suffering of the victimized and the wounded, with no hope of
rescue in this world, or the other.

DESCRIPTION: This etching in black and white symbolising the artist's protest
against the injustice towards the innocent poor people. It is a composition of five
standing figures grouped together, all victims of starvation. The thin, worn-out
children have bloated' stomachs and thin rectangular ribcages showing the effects of prolonged hunger.
Heads are enormous skulls with small bony faces resting on rickety torsos and limbs. Eyes are white
horrifying hollows/ Their mother, standing behind them, has put her protective hands on their shoulders. In
the foreground a semi dressed child is standing wearing a necklace. The tallest figure on top with hands on
both sides of the head appears ghostly. A girl with her back towards the viewer is standing on the left vertical
plane. The human forms are divided into cubist style geometric planes. Different tones of blue and grey are
used in linear texture in the background as well as the shaded part of the bodies for depicting the under
nourished children from the poor deprived society. Hore's work was deeply influenced by the 1943 Bengal
famine which shook him deeply. His subjects are the neglected poor people who suffer in everything social
or natural. His symbolic abstraction in art cries of suffering and existences left with no hope

NAME: DEVI
ARTIST: JYOTI BHATT
PERIOD: 1965-1975 AD
MEDIUM: ETCHING
COURTESY: THE NATIONAL GALLERY OF MODERN ART, NEW DELHI
SUBJECT MATTER: This etching print shows Devi as a power of worship and
the hidden power of feminine shakti.

DESCRIPTION: The composition is a combination of two rectangles (rounded

at corners) made with a coiling form of Kundalini. The upper rectangle has a
bold face in its centre and the lower one has two circles with one human figure
each, separated by a tail. The figures are curled within the dimensions of the
circles. There are small birds and other small motifs of folk art as well in these
circles. On the forehead of the face on the upper rectangle a brilliant vermilion (Red) Bindi catches the eye.
The wide-open eyes are typically like that of Durga idol. Tones of sap green are used on each side of Devi's
head in the shape of decorative pendants. There is interesting writing on both pendants. The flowers drawn
on the cheeks and the earrings are part of Bhatt's stylization of the goddess face. As per the tantra
philosophy, kundalini has a counterpart that resides in brain where power of Shiva resides. The powers of
shiva and shakti unite by the rise of Kundalini which then leads to spiritual awakening. Jyoti work falls into
the genre of pop art that explored and re- explored a personal language of symbols taken from Indian
culture. Peacock, parrot, lotus, stylized Indian gods and goddesses and tribal and village designs can be seen
in his work in different variations.

NAME: OFF WALLS

ARTIST: ANUPAM SUD
MEDIUM: LITHOGRAPH
PERIOD: 1982 A.D
COURTESY: ALL INDIA FINE ART CRAFT SOCIETY,
NEW DELHI.
SUBJECT MATTER: This Art work is a journey of the artist
down her memory lane-of childhood. The subject is
unconsciously lost in the mystery of time, with nothing in
particular but a gliding image that has found place in her
creation. This work is often interpreted as a representation of
poverty and loneliness. However, for the artist it is more of a
personal moment

DESCRIPTION: This horizontal Art work is in a new technique of Lithograph print. The artist Anupam Sud
imagines in this etching, an experience she had when she returned to the house where she had spent her
childhood. In the background you can see the walls of the Chaveli the spacious stone house where she grew
up. While many things have changed since that time, with her etching Anupam converts the memories of
that time into solid and real images. For instance, the wall drawings that she had made as a little girl
reappear. They are all single line drawings with plane triangles, circles and rectangles. The wall stayed in the
subconscious because it was very big for the child that lived there once, but now it seems to have shrunk.
The print is etched in brown colour and line drawings are in white colour A poor faceless lady sitting on a
pavilion of the wall on one side is clad in an untidy looking sari and is bare feet. In the foreground two legs
and a foot are visible, of a man sleeping near the wall. The artist's keen power of seeing the ordinary and
then transferring that realism' without any beauty or glamour onto the etchings is extraordinary. She could
extract immense emotive and visual details out of her medium. Her realism focuses on the human body that
is exposed to the harshness of the society and the suffocating walls of prejudices. The almost photographic
details of her works explore the physical reality of humans and objects and represent them as mortal flesh,
texture, volume and form. The contours are very well defined in shades and shadows of prints. Anupam Sud
exposed the hidden face of the society and presented it in a straightforward manner. She was always
interested in the feminine subjects, depicting women's deprivation and exploitation and explored the nature
of her psyche. In this case the faceless figure of the woman represents her vulnerability and emptiness in
continuous, endless time. The work is thoughtful, haunting and indistinct with the deep monochromes
enhancing the overall effect.
 NAME- MAN, WOMAN AND TREE
ARTIST- K. LAXMA GOUD
MEDIUM: LITHOGRAPH
SCHOOL: MODERN
COURTESY: THE NATIONAL GALLERY OF MODERN ART,
NEW DELHI
SUBJECT MATTER: It is a depiction of village life basing on artist's
childhood memories of rural and tribal liveliness. A native of an
Andhra village, the artist has presented a man, a woman and a tree.
DESCRIPTION: This vertical graphic print has four trees in the
background. One on the left side of the print and three trees on the
right side. In the background we can see trees which have branches
only at the top of the trunk. While in the foreground, a woman clad in
a saree is sitting under the single tree, wearing a nose ring. necklace
and two bangles each in both arms. She is looking towards the man
who is standing beside her under the three trees and looking at her.
They are simple villagers of South India.
Between the man and woman, flowering plants and shrubs are seen separating the two. The treatment of
leaves in each tree and plant is distinctly done in detail. Light blue and green colours are used to depict the
whole print expressively and impressively. We can see patches of blue and green colours on top of the
branches of the trees. It's a soft palette of monochrome greys in which Humans and nature are in complete
harmony. In this print also there are traces of physical attraction between the man and the woman. This
expression of village nostalgia mingled with fantasy in this print is totally absorbed in nature.

Sculptures:
NAME- SANTHAL FAMILY

ARTIST- RAMKINKAR BAIJ

MEDIUM- CEMENT and CONCRETE

PERIOD- 1938 A.D

LOCATION: VISVA-BHARATI, KALA BHAVAN

CAMPUS, SANTINIKETAN
SUBJECT MATTER: Santhal Family is a free-standing
out-door sculpture. It is a depiction of a tribal peasant
family-a man, a woman, children and a dog.

DESCRIPTION: This is a rough textured sculptural group, comprising an adult male and a female -
obviously a couple, with the female holding a child on to the left side of her body with her left arm. The
male is carrying another child who is sitting on the front basket hanging from a bamboo pole on his
shoulder. A lively dog walks along happily. The figures are one and a half times larger than life. This
sculpture brings to life, migrating towards a new destination, leaving behind their home in search of work.
Everyone is carrying a part of their little belongings in their hands and on their heads. little luggage shows
that they are extremely poor. The man is wearing the rolled up gamchha on his head and the lady has a
rolled-up mat on top of the basket. The sculpture is iconic because it gave a dignity and grace to the common
people. The work is impressionistic in style by the way it has captured the family in movement. At the same
time, it has expressionistic quality as well, in capturing the feeling of contentment, togetherness and joy of
daily life. Ram Kinkar successfully brought a personal style with a blend of modern western and Indian pre-
classical sculptural values.

NAME CRIES UNHEARD

ARTIST: AMARNATH SEHGAL

MEDIUM: BRONZE

PERIOD: MODERN

COURTESY: THE NATIONAL GALLERY OF MODERN ART, NEW

DELHI

SUBJECT MATTER: Sehgal's works primarily revolved around importance of

individual freedom and human dignity, and his response to the horrors of
political violence.

DESCRIPTION: There are three standing figures of a family, their faces

showing distress. A family of three - Man, woman and child from the downtrodden society has raised their
hands towards the sky. The child has also raised his right hand up but his left hand is down. The figures are
tall and elongated. Faces are mask like - suffering and exploitation. Their nakedness symbolizes poverty.
The inclusion of the child in the same action is to emphasize the continuous oppression for generations. The
theme of this Sculpture is to suggest the painful cries of suffering humans by making hollows in their heads.
Their helpless expressions are shouting to the world how through ages they have been victims of political
and social injustice

NAME: GANESHA

ARTIST: P.V. JANAKIRAM

SCHOOL: MODERN

PERIOD: MODERN (1970s)

MEDIUM WIRE AND TIN, OXIDISED COPPER

COURTESY: THE NATIONAL GALLERY OF MODERN ART, NEW

DELHI

SUBJECT MATTER: A modern sculpture of the Hindu god Ganesha.

DESCRIPTION: This sculpture of Ganesha is made of black metal, tin and

wires. Ganesha with six arms is in a dancing position. His body is balanced on his left foot bent at the knee.
The right leg is also bent, resting close to the ankle of the left one. He is holding and playing a Veena with
two hands in front. Other hands are holding a lotus bud, a conch, a wheel and a mace. The features are made
in geometrical shapes with the help of wire. The trunk is a broad and flat plane. There are red and orange
patches at places on an otherwise monochromatic figure of oxidized metal. The sculptor has given a
completely novel and traditional figure. This sculpture of Ganesha looks impressive. Though the sculpture is
frontal, the concave surface of the metal plate has brought plasticity of three dimensionality in its form. The
ornamentation in simple geometrical shapes has a Southern folk influence. This rhythmic and dynamic form
reveals the thoroughness of Janki ram’s craftsmanship as a sculptor.

mace

conch

NAME: TRIUMPH OF LABOUR

ARTIST- D.P. ROY CHOWDHURY

MEDIUM- BRONZE and CEMENT

PERIOD: 1959 A.D.

COURTESY: THE NATIONAL GALLERY OF MODERN ART,

NEW DELHI.

SUBJECT MATTER: The monument is symbolic of human spirit that wins over hardships with united
labour. It is a brilliant study of four human figures with rippling muscles, their personal moment of intense
physical effort, captured for the world to see and appreciate their daily sweat and labour for livelihood.

DESCRIPTION: In this sculpture four labourers are engaged in the task of moving a block of stone with the
help of wooden staffs. These four figures are perfect studies of men engaged in an extremely difficult task of
lifting a huge rock. These labourers are wearing only loin cloth and two of them have covered their heads
with a piece of cloth. They are engaged in their work with full force. Two are bent forward and applying
force with their hands. With their action and strained body muscles one can feel their strength and effort.
Each muscle of the body shines in sweat and physical exertion. This sculpture depicts an inspiring example
of teamwork of labourers. The strong muscular bodies of the men. their energetic postures make this an
extremely expressive work. This statue depicting the dignity and triumph of labour exemplifies the soul and
sweat of a back-breaking effort. it is also a tribute to the labour class. This aesthetically pleasing work of art
will remain an outstanding example of contemporary Indian sculpture.

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