Works of Rabindranath Tagore
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The Padma, the houseboat ("Bajra") of
the Tagore family, at Shilaidaha
Kuthibadi, Bangladesh, where
Tagore wrote many of his short stories and other works.[1]
The Works of Rabindranath
Tagore consist of poems, novels,
short stories, dramas, paintings, drawings, and music that Bengali poet and Brahmo philosopher Rabindranath
Tagore created over his
lifetime.
Tagore's literary reputation is
disproportionately influenced very much by regard for his poetry; however, he
also wrote novels, essays, short stories, travelogues, dramas, and thousands of
songs. Of Tagore's prose, his short stories are perhaps most highly regarded;
indeed, he is credited with originating the Bengali-language version of the
genre. His works are frequently noted for their rhythmic, optimistic, and
lyrical nature. However, such stories mostly borrow from deceptively simple
subject matter — the lives of ordinary people.
Contents
[hide]
·
1Drama
·
3Novels
·
4Poetry
Drama[edit]
Tagore performing the
title role inValmiki Pratibha (1881) with his niece
Indira Devi as the goddess Lakshmi.
At sixteen, Tagore led his brother
Jyotirindranath's adaptation of Molière's Le Bourgeois Gentilhomme.[2] At twenty he wrote his
first drama-opera: Valmiki Pratibha (The Genius of Valmiki).
In it the pandit Valmiki overcomes his sins, is
blessed by Saraswati, and
compiles the Rāmāyana.[3] Through it Tagore
explores a wide range of dramatic styles and emotions, including usage of
revamped kirtans and adaptation of
traditional English and Irish folk melodies as drinking songs.[4] Another play, written in
1912, Dak Ghar (The Post Office),
describes the child Amal defying his stuffy and puerile confines by ultimately
"fall[ing] asleep", hinting his physical death. A story with
borderless appeal—gleaning rave reviews in Europe—Dak Ghar dealt with death as, in
Tagore's words, "spiritual freedom" from "the world of hoarded
wealth and certified creeds".[5][6] In the Nazi-besieged Warsaw Ghetto,
Polish doctor-educator Janusz Korczak had orphans in his care
stage The Post Office in July 1942.[7] In The King of Children, biographer Betty Jean
Lifton suspected that Korczak, agonising over whether one should determine when
and how to die, was easing the children into accepting death.[8][9][10] In mid-October, the Nazis
sent them to Treblinka.[11]
[I]n
days long gone by [...] I can see [...] the King's postman coming
down the hillside alone, a lantern in his left hand and on his back a bag of
letters climbing down for ever so long, for days and nights, and where at the
foot of the mountain the waterfall becomes a stream he takes to the footpath on
the bank and walks on through the rye; then comes the sugarcane field and he
disappears into the narrow lane cutting through the tall stems of sugarcanes;
then he reaches the open meadow where the cricket chirps and where there is not
a single man to be seen, only the snipe wagging their tails and poking at the
mud with their bills. I can feel him coming nearer and nearer and my heart
becomes glad.
“
”
— Amal in The Post Office, 1914.[12]
but the meaning is less
intellectual, more emotional and simple. The deliverance sought and won by the
dying child is the same deliverance which rose before his
imagination, [...] when once in the early dawn he heard, amid the noise of
a crowd returning from some festival, this line out of an old village song,
"Ferryman, take me to the other shore of the river." It may come at
any moment of life, though the child discovers it in death, for it always comes
at the moment when the "I", seeking no longer for gains that cannot
be "assimilated with its spirit", is able to say, "All my work
is thine".[13]
— W. B. Yeats, Preface, The Post Office,
1914.
His other works fuse lyrical flow and
emotional rhythm into a tight focus on a core idea, a break from prior Bengali
drama. Tagore sought "the play of feeling and not of action". In 1890
he released what is regarded as his finest drama: Visarjan (Sacrifice).[3] It is an adaptation of Rajarshi, an earlier novella of
his. "A forthright denunciation of a meaningless [and] cruel superstitious
rite[s]",[14] the Bengali originals
feature intricate subplots and prolonged monologues that give play to
historical events in seventeenth-century Udaipur. The devout Maharaja of
Tripura is pitted against the wicked head priest Raghupati. His latter dramas
were more philosophical and allegorical in nature; these included Dak Ghar. Another is Tagore's Chandalika (Untouchable Girl),
which was modelled on an ancient Buddhist legend describing how Ananda, the Gautama Buddha's
disciple, asks a tribal girl for water.[15]
\
In Raktakarabi ("Red" or
"Blood Oleanders"), a kleptocrat king rules over the residents of Yaksha puri. He and his retainers
exploit his subjects—who are benumbed by alcohol and numbered like inventory—by
forcing them to mine gold for him. The naive maiden-heroine Nandini rallies her
subject-compatriots to defeat the greed of the realm's sardar class—with the morally
roused king's belated help. Skirting the "good-vs-evil" trope, the
work pits a vital and joyous lèse majesté against the monotonous
fealty of the king's varletry, giving rise to an allegorical struggle akin to
that found in Animal Farm or Gulliver's
Travels.[16] The original, though
prized in Bengal, long failed to spawn a "free and comprehensible"
translation, and its archaic and sonorous didacticism failed to attract
interest from abroad.[17]
Chitrangada, Chandalika, and Shyama are other key plays that
have dance-drama adaptations, which together are known as Rabindra Nritya Natya.
Short stories[edit]
A drawing by Nandalall
Bose illustrating Tagore's short story "The Hero", an
English-language translation of which appeared in the 1913 Macmillan
publication of Tagore's The Crescent Moon.
Tagore began his career in short stories in
1877—when he was only sixteen—with "Bhikharini" ("The Beggar
Woman").[18] With this, Tagore
effectively invented the Bengali-language short story genre.[19] The four years from 1891
to 1895 are known as Tagore's "Sadhana" period (named for one of
Tagore's magazines). This period was among Tagore's most fecund, yielding more
than half the stories contained in the three-volume Galpaguchchha (or Golpoguchchho; "Bunch of
Stories"), which itself is a collection of eighty-four stories.[18] Such stories usually
showcase Tagore's reflections upon his surroundings, on modern and fashionable
ideas, and on interesting mind puzzles (which Tagore was fond of testing his
intellect with). Tagore typically associated his earliest stories (such as
those of the "Sadhana" period) with an exuberance of vitality
and spontaneity; these characteristics were intimately connected with Tagore's
life in the common villages of, among others, Patisar,
Shajadpur, and Shilaida while managing the Tagore
family's vast landholdings.[18] There, he beheld the
lives of India's poor and common people; Tagore thereby took to examining their
lives with a penetrative depth and feeling that was singular in Indian
literature up to that point.[20] In particular, such
stories as "Kabuliwala" ("The Fruitseller from Kabul", published in 1892), "Kshudita
Pashan" ("The Hungry Stones") (August 1895), and
"Atithi" ("The Runaway", 1895) typified this analytic focus
on the downtrodden.[21]
In "Kabuliwala", Tagore speaks in first person as
town-dweller and novelist who chances upon the Afghani seller. He attempts to
distill the sense of longing felt by those long trapped in the mundane and
hardscrabble confines of Indian urban life, giving play to dreams of a
different existence in the distant and wild mountains: "There were autumn
mornings, the time of year when kings of old went forth to conquest; and I,
never stirring from my little corner in Calcutta, would let my mind wander over
the whole world. At the very name of another country, my heart would go out to
it ... I would fall to weaving a network of dreams: the mountains, the glens,
the forest .... ".[22]
Many of the other Galpaguchchha stories were written in
Tagore's Sabuj Patra period from 1914 to 1917,
also named after one of the magazines that Tagore edited and heavily
contributed to.[18]
Tagore's Galpaguchchha remains among the most
popular fictional works in Bengali literature. Its continuing influence on
Bengali art and culture cannot be overstated; to this day, it remains a point
of cultural reference, and has furnished subject matter for numerous successful
films and theatrical plays, and its characters are among the most well known to
Bengalis.
The acclaimed film director Satyajit Ray based his film Charulata ("The Lonely
Wife") on Nastanirh ("The Broken
Nest"). This famous story has an autobiographical element to it, modelled
to some extent on the relationship between Tagore and his sister-in-law,
Kadambari Devi. Ray has also made memorable films of other stories from Galpaguchchha, including Samapti, Postmaster and Monihara, bundling them together
as Teen Kanya ("Three
Daughters").
Atithi is another poignantly
lyrical Tagore story which was made into a film of the same name by another
noted Indian film director Tapan Sinha.
Tarapada, a young Brahmin boy, catches a boat ride
with a village zamindar. It turns
out that he has run away from his home and has been wandering around ever
since. The zamindar adopts him, and finally arranges a marriage to his own
daughter. The night before the wedding Tarapada runs away again.
Strir Patra
(The letter from the wife) was one of the
earliest depictions in Bengali literature of bold emancipation of women. Mrinal
is the wife of a typical Bengali middle class man. The letter, written while
she is traveling (which constitutes the whole story), describes her petty life
and struggles. She finally declares that she will not return to her patriarchical home, stating Amio bachbo. Ei bachlum ("And I shall live.
Here, I live").
In Haimanti, Tagore takes on the
institution of Hindu marriage. He describes
the dismal lifelessness of Bengali women after they are married off,
hypocrisies plaguing the Indian middle class, and how Haimanti, a sensitive
young woman, must — due to her sensitiveness and free spirit — sacrifice her
life. In the last passage, Tagore directly attacks the Hindu custom of
glorifying Sita's attempted self-immolation as a means of appeasing
her husband Rama's doubts (as depicted in the epic Ramayana).
In Musalmanir Golpo,
Tagore also examines Hindu-Muslim tensions , which in many
ways embodies the essence of Tagore's humanism. On the other hand, Darpaharan exhibits Tagore's
self-consciousness, describing a young man harboring literary ambitions. Though
he loves his wife, he wishes to stifle her literary career, deeming it
unfeminine. Tagore himself, in his youth, seems to have harbored similar ideas
about women. Darpaharan depicts the final
humbling of the man via his acceptance of his wife's talents.
Jibito o Mrito, as with many other
Tagore stories, provides the Bengalis with one of their more widely used
epigrams: Kadombini moriya proman
korilo she more nai ("Kadombini died,
thereby proved that she hadn't").
Novels[edit]
Among Tagore's works, his novels are among
the least-acknowledged. These include Noukadubi (1906), Gora (1910), Chaturanga (1916), Ghare Baire (1916), Shesher Kobita (1929), Jogajog (1929) and Char Odhay (1934).
Ghare Baire or The Home and the World, which was also released
as the film by Satyajit Ray (Ghare
Baire, 1984) examines rising nationalistic feeling among Indians
while warning of its dangers, clearly displaying Tagore's distrust of
nationalism — especially when associated with a religious element.
In some sense, Gora shares the same theme,
raising questions regarding the Indian identity. As with Ghare Baire, matters of
self-identity, personal freedom, and religious belief are developed in the
context of an involving family story and a love triangle.
Shesher Kobita (translated twice, as Last Poem and as Farewell Song) is his most lyrical
novel, containing as it does poems and rhythmic passages written by the main
character (a poet). Nevertheless, it is also Tagore's most satirical novel,
exhibiting post-modernist elements whereby several
characters make gleeful attacks on the reputation of an old, outmoded,
oppressively-renowned poet (named Rabindranath Tagore).
Though his novels remain under-appreciated,
they have recently been given new attention through many movie adaptations by
such film directors as Satyajit Ray, Tapan Sinha and Tarun Majumdar. The
recent among these is a version of Chokher
Bali and Noukadubi (2011 film) directed by Lt. Rituparno Ghosh,
which features Aishwariya Rai (in Chokher Bali). A favorite trope of
these directors is to employ rabindra sangeet in the film adaptations'
soundtracks.s.
Among Tagore's notable non-fiction books
are Europe Jatrir Patro ("Letters from
Europe") and Manusher Dhormo ("The Religion of
Man").
Poetry[edit]
Title page of the 1913 Macmillan edition of Tagore's Gitanjali.
Internationally, Gitanjali (Bengali: গীতাঞ্জলি)
is Tagore's best-known collection of poetry, for which he was awarded the Nobel Prize in 1913. Tagore was the
first person (excepting Roosevelt) outside Europe to get the Nobel Prize.
Besides Gitanjali, other notable works
include Manasi, Sonar Tori ("Golden
Boat"), Balaka ("Wild Geese" —
the title being a metaphor for migrating souls)[23]
The
time that my journey takes is long and the way of it long.
I came out on the chariot of the first gleam of light, and pursued my voyage through the wildernesses of worlds leaving my track on many a star and planet.
It is the most distant course that comes nearest to thyself, and that training is the most intricate which leads to the utter simplicity of a tune.
The traveller has to knock at every alien door to come to his own, and one has to wander through all the outer worlds to reach the innermost shrine at the end.
My eyes strayed far and wide before I shut them and said 'Here art thou!'
The question and the cry 'Oh, where?' melt into tears of a thousand streams and deluge the world with the flood of the assurance 'I am!'
I came out on the chariot of the first gleam of light, and pursued my voyage through the wildernesses of worlds leaving my track on many a star and planet.
It is the most distant course that comes nearest to thyself, and that training is the most intricate which leads to the utter simplicity of a tune.
The traveller has to knock at every alien door to come to his own, and one has to wander through all the outer worlds to reach the innermost shrine at the end.
My eyes strayed far and wide before I shut them and said 'Here art thou!'
The question and the cry 'Oh, where?' melt into tears of a thousand streams and deluge the world with the flood of the assurance 'I am!'
“
”
— Song XII, Gitanjali, 1913.[24]
Tagore's poetic style, which proceeds from
a lineage established by 15th- and 16th-century Vaishnava poets, ranges from
classical formalism to the comic, visionary, and ecstatic. He was influenced by
the atavistic mysticism of Vyasa and other rishi-authors of the Upanishads, the Bhakti-Sufi mystic Kabir, and Ramprasad Sen.[25] Tagore's most innovative and
mature poetry embodies his exposure to Bengali rural folk music, which included
mystic Baul ballads such as those of
the bard Lalon.[26][27] These, rediscovered and
repopularised by Tagore, resemble 19th-century Kartābhajā hymns that emphasise
inward divinity and rebellion against bourgeois bhadralok religious and social
orthodoxy.[28][29] During his Shelaidaha
years, his poems took on a lyrical voice of the moner manush, the Bāuls' "man
within the heart" and Tagore's "life force of his deep
recesses", or meditating upon the jeevan devata—the demiurge or the
"living God within".[30] This figure connected
with divinity through appeal to nature and the emotional interplay of human
drama. Such tools saw use in his Bhānusiṃha poems chronicling the Radha-Krishna romance, which were
repeatedly revised over the course of seventy years.[31][32]
Tagore reacted to the halfhearted uptake of
modernist and realist techniques in Bengali literature by writing matching
experimental works in the 1930s.[33] These include Africa and Camalia, among the better known
of his latter poems. He occasionally wrote poems using Shadhu Bhasha, a Sanskritised dialect
of Bengali; he later adopted a more popular dialect known as Cholti Bhasha. Other works include Manasi, Sonar Tori (Golden Boat), Balaka (Wild Geese, a
name redolent of migrating souls),[34] and Purobi. Sonar Tori's most famous poem,
dealing with the fleeting endurance of life and achievement, goes by the same
name; hauntingly it ends: Shunno nodir tire rohinu
poŗi / Jaha chhilo loe gêlo shonar tori—"all I had achieved
was carried off on the golden boat—only I was left behind." Gitanjali (গীতাঞ্জলি) is Tagore's best-known
collection internationally, earning him his Nobel.[35]
The year 1893 AD, was the turn of the
century in the Bangla calendar. It was the Bangla year 1300. Tagore wrote a
poem then. Its name was ‘The year 1400’. In that poem, Tagore was appealing to
a new future poet, yet to be born. He urged in that poem to remember Tagore
while he was reading it. He addressed it to that unknown poet who was reading
it a century later.
Tagore's poetry has been set to music by composers: Arthur Shepherd's
triptych for soprano and string quartet, Alexander
Zemlinsky's famous Lyric Symphony, Josef Bohuslav Foerster's cycle of love songs, Leoš
Janáček's famous chorus "Potulný šílenec" ("The
Wandering Madman") for soprano, tenor, baritone, and male
chorus—JW 4/43—inspired by Tagore's 1922 lecture in Czechoslovakia which
Janáček attended, and Garry Schyman's "Praan", an
adaptation of Tagore's poem "Stream of Life" from Gitanjali. The latter was composed
and recorded with vocals by Palbasha Siddique to accompany Internet
celebrity Matt Harding's 2008
viral video.[36] In 1917 his words were
translated adeptly and set to music by Anglo-Dutch composer Richard Hageman to produce a highly
regarded art song: "Do Not Go, My Love". The second movement of Jonathan Harvey's "One Evening" (1994) sets
an excerpt beginning "As I was watching the sunrise ..." from a
letter of Tagore's, this composer having previously chosen a text by the poet
for his piece "Song Offerings" (1985).[37]
 |
Part of a poem written by Tagore in Hungary,
1926.
|
Song VII of Gitanjali:
আমার এ গান ছেড়েছে তার
সকল অলংকার তোমার কাছে রাখে নি আর সাজের অহংকার। অলংকার যে মাঝে প'ড়ে মিলনেতে আড়াল করে, তোমার কথা ঢাকে যে তার মুখর ঝংকার। তোমার কাছে খাটে না মোর কবির গরব করা- মহাকবি, তোমার পায়ে দিতে চাই যে ধরা। জীবন লয়ে যতন করি যদি সরল বাঁশি গড়ি, আপন সুরে দিবে ভরি সকল ছিদ্র তার। |
Amar
e gan chheŗechhe tar shôkol ôlongkar
Tomar kachhe rakhe ni ar shajer ôhongkar Ôlongkar je majhe pôŗe milônete aŗal kôre, Tomar kôtha đhake je tar mukhôro jhôngkar. Tomar kachhe khaţe na mor kobir gôrbo kôra, Môhakobi, tomar paee dite chai je dhôra. Jibon loe jôton kori jodi shôrol bãshi goŗi, Apon shure dibe bhori sôkol chhidro tar. |
Tagore's free-verse translation:
My song has put off her adornments.
She has no pride of dress and decoration.
Ornaments would mar our union; they would come
between thee and me; their jingling would drown thy whispers.
My poet's vanity dies in shame before thy sight.
O master poet, I have sat down at thy feet.
Only let me make my life simple and straight,
like a flute of reed for thee to fill with music.[38]
She has no pride of dress and decoration.
Ornaments would mar our union; they would come
between thee and me; their jingling would drown thy whispers.
My poet's vanity dies in shame before thy sight.
O master poet, I have sat down at thy feet.
Only let me make my life simple and straight,
like a flute of reed for thee to fill with music.[38]
"Klanti" (ক্লান্তি; "Weariness"):
ক্লান্তি আমার ক্ষমা করো প্রভু,
পথে যদি পিছিয়ে পড়ি কভু॥ এই-যে হিয়া থরোথরো কাঁপে আজি এমনতরো এই বেদনা ক্ষমা করো, ক্ষমা করো, ক্ষমা করো প্রভু॥ এই দীনতা ক্ষমা করো প্রভু, পিছন-পানে তাকাই যদি কভু। দিনের তাপে রৌদ্রজ্বালায় শুকায় মালা পূজার থালায়, সেই ম্লানতা ক্ষমা করো, ক্ষমা করো, ক্ষমা করো প্রভু॥ |
Klanti
amar khôma kôro probhu,
Pôthe jodi pichhie poŗi kobhu. Ei je hia thôro thôro kãpe aji êmontôro, Ei bedona khôma kôro khôma kôro probhu. Ei dinota khôma kôro probhu, Pichhon-pane takai jodi kobhu. Diner tape roudrojalae shukae mala pujar thalae, Shei mlanota khôma kôro khôma kôro, probhu. |
Gloss by Tagore scholar Reba Som:
Forgive me my weariness O Lord
Should I ever lag behind
For this heart that this day trembles so
And for this pain, forgive me, forgive me, O Lord
For this weakness, forgive me O Lord,
If perchance I cast a look behind
And in the day's heat and under the burning sun
The garland on the platter of offering wilts,
For its dull pallor, forgive me, forgive me O Lord.[39]
Should I ever lag behind
For this heart that this day trembles so
And for this pain, forgive me, forgive me, O Lord
For this weakness, forgive me O Lord,
If perchance I cast a look behind
And in the day's heat and under the burning sun
The garland on the platter of offering wilts,
For its dull pallor, forgive me, forgive me O Lord.[39]
Songs (Rabindra Sangeet)[edit]
Tagore was a prolific composer, with 2,230
songs to his credit. His songs are known as rabindrasangit ("Tagore
Song"), which merges fluidly into his literature, most of which—poems or
parts of novels, stories, or plays alike—were lyricised. Influenced by the thumri style of Hindustani music, they ran the entire gamut of human
emotion, ranging from his early dirge-like Brahmo devotional hymns to
quasi-erotic compositions.[40]They emulated the tonal
colour of classical ragas to varying extents. Some
songs mimicked a given raga's melody and rhythm faithfully; others newly
blended elements of different ragas.[41] Yet about nine-tenths of
his work was not bhanga gaan, the body of tunes
revamped with "fresh value" from select Western, Hindustani, Bengali
folk and other regional flavours "external" to Tagore's own ancestral
culture.[30] Scholars have attempted
to gauge the emotive force and range of Hindustani ragas:
The pathos of the purabi raga reminded Tagore of the
evening tears of a lonely widow, while kanara was the confused
realization of a nocturnal wanderer who had lost his way. In bhupali he seemed to hear a voice
in the wind saying 'stop and come hither'. Paraj conveyed to him the deep
slumber that overtook one at night's end.[30]
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"Tabu Mone
Rekho", a song by Tagore, sung in his own voice. The song was written in
1887 CE (1294 Bengali year).[43]
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Problems playing this file? See media help.
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In 1971,
Amar
Shonar Bangla became the national
anthem of Bangladesh. It was written — ironically — to protest the 1905 Partition of Bengal along communal lines:
cutting off the Muslim-majority East Bengal from Hindu-dominated West Bengal
was to avert a regional bloodbath. Tagore saw the partition as a cunning plan
to stop the independence movement, and he aimed to rekindle
Bengali unity and tar communalism. Jana Gana Mana was written in shadhu-bhasha, a Sanskritised register
of Bengali, and is the first of five stanzas of a Brahmo hymn Bharot Bhagyo Bidhata that Tagore composed. It
was first sung in 1911 at a Calcutta session of the Indian National Congress[44] and was adopted in 1950
by the Constituent Assembly of the Republic of India as its national anthem.
Tagore thus became the only person ever to have written the national anthems of
two nations.
The Sri Lanka's National Anthem was inspired by his work.[45][46][47]
For Bengalis, the songs' appeal, stemming
from the combination of emotive strength and beauty described as surpassing
even Tagore's poetry, was such that the Modern Review observed that
"[t]here is in Bengal no cultured home where Rabindranath's songs are not
sung or at least attempted to be sung ... Even illiterate villagers sing his
songs". A.
H. Fox Strangways of The Observer introduced non-Bengalis
to rabindrasangit in The Music of Hindostan, calling it a
"vehicle of a personality ... [that] go behind this or that system of
music to that beauty of sound which all systems put out their hands to
seize."[48]
Tagore influenced sitar maestro Vilayat Khan and sarodiyas Buddhadev Dasgupta and Amjad Ali Khan.[41] His songs are widely popular
and undergird the Bengali ethos to an extent perhaps rivalling Shakespeare's
impact on the English-speaking world.[citation needed][who?] It is said that his songs
are the outcome of five centuries of Bengali literary churning and communal yearning.[citation needed] Dhan
Gopal Mukerji has said that these songs
transcend the mundane to the aesthetic and express all ranges and categories of
human emotion. The poet gave voice to all—big or small, rich or poor. The poor
Ganges boatman and the rich landlord air their emotions in them. They birthed a
distinctive school of music whose practitioners can be fiercely traditional:
novel interpretations have drawn severe censure in both West Bengal and
Bangladesh.[citation needed]
Art works[edit]
Primitivism: a pastel-coloured rendition of
a Malagan mask from northern New
Ireland, Papua New Guinea.
Tagore's
Bengali-language initials are worked into this "Ro-Tho" (of
RAbindranath THAkur) wooden seal, stylistically similar to designs used in
traditional Haida carvings from the Pacific Northwest region of North America.
Tagore often embellished his manuscripts with such art.[49]
At age sixty, Tagore took up drawing and
painting; successful exhibitions of his many works — which made a debut
appearance in Paris upon encouragement by artists he met in the south of France[50] — were held throughout
Europe. Tagore — who likely exhibited protanopia ("color
blindness"), or partial lack of (red-green, in Tagore's case) colour
discernment — painted in a style characterised by peculiarities in aesthetic
and colouring style. Nevertheless, Tagore took to emulating numerous styles,
including scrimshaw by the Malanggan people of northern New
Ireland, Papua New Guinea, Haida carvings from the Pacific Northwest region of North America, and
woodcuts by the German Max Pechstein.[51]
[...] Surrounded by
several painters Rabindranath had always wanted to paint. Writing and music,
play writing and acting came to him naturally and almost without training, as
it did to several others in his family, and in even greater measure. But
painting eluded him. Yet he tried repeatedly to master the art and there are
several references to this in his early letters and reminiscence. In 1900 for
instance, when he was nearing forty and already a celebrated writer, he wrote
to Jagadishchandra Bose, "You will be surprised to hear that I am sitting
with a sketchbook drawing. Needless to say, the pictures are not intended for
any salon in Paris, they cause me not the least suspicion that the national
gallery of any country will suddenly decide to raise taxes to acquire them.
But, just as a mother lavishes most affection on her ugliest son, so I feel
secretly drawn to the very skill that comes to me least easily.‟ He also
realized that he was using the eraser more than the pencil, and dissatisfied
with the results he finally withdrew, deciding it was not for him to become a
painter.[52]
The
Last Harvest : Paintings of Rabindranath Tagore.[53]
Tagore also had an artist's eye for his own
handwriting, embellishing the cross-outs and word layouts in his manuscripts
with simple artistic leitmotifs.
Rabindra
Chitravali, a 2011 four-volume book set edited by
noted art historian R. Siva Kumar, for
the first time makes the paintings of Tagore accessible to art historians and
scholars of Rabindranth with critical annotations and comments It also brings
together a selection of Rabindranath’s own statements and documents relating to
the presentation and reception of his paintings during his lifetime.[54]
The Last Harvest : Paintings of
Rabindranath Tagore was an exhibition of
Rabindranath Tagore's paintings to mark the 150th birth anniversary of
Rabindranath Tagore. It was commissioned by the Ministry of Culture, India and
organized with NGMA Delhi as the nodal agency. It consisted of 208 paintings
drawn from the collections of Visva Bharati and the NGMA and presented Tagore's
art in a very comprehensive way. The exhibition was curated by Art Historian R. Siva Kumar.
Within the 150th birth anniversary year it was conceived as three separate but
similar exhibitions,and travelled simultaneously in three circuits. The first
selection was shown at Museum
of Asian Art, Berlin,[55] Asia Society, New
York,[56] National Museum of Korea,[57] Seoul, Victoria and Albert Museum,[58] London, The Art Institute of Chicago,[59] Chicago, Petit Palais,[60] Paris, Galleria Nazionale d'Arte Moderna, Rome, National Visual Arts Gallery (Malaysia),[61] Kuala Lumpur, McMichael Canadian Art Collection,[62] Ontario, National Gallery of Modern Art,[63] New Delhi.
See also[edit]
·
Rabindranath Tagore (film) — a biographical
documentary by Satyajit Ray.
Citations[edit]
1.
Jump up^ Ghulam M.
Suhrawardi (2015). Bangladesh Maritime History. FriesenPress.
pp. 57–58. ISBN 978-1-4602-7278-7.
3.
^ Jump up to:a b Tagore & Chakravarty 1961, p. 123.
4.
Jump up^ Dutta & Robinson 1995, pp. 79–80.
5.
Jump up^ Tagore, Dutta & Robinson 1997,
pp. 21–23.
6.
Jump up^ Tagore & Chakravarty 1961,
pp. 123–124.
7.
Jump up^ Lifton & Wiesel 1997, p. 321.
8.
Jump up^ Lifton & Wiesel 1997, pp. 416–417.
9.
Jump up^ Lifton & Wiesel 1997, pp. 318–321.
10.
Jump up^ Lifton & Wiesel 1997, pp. 385–386.
11.
Jump up^ Lifton & Wiesel 1997, p. 349.
12.
Jump up^ Tagore & Mukerjea 1914, p. 68.
13.
Jump up^ Tagore & Mukerjea 1914, pp. v–vi.
14.
Jump up^ Ayyub 1980, p. 48.
15.
Jump up^ Tagore & Chakravarty 1961, p. 124.
17.
Jump up^ O'Connell 2008.
18.
^ Jump up to:a b c d (Chakravarty 1961, p. 45).
19.
Jump up^ (Dutta & Robinson 1997, p. 265).
20.
Jump up^ (Chakravarty 1961, pp. 45–46)
21.
Jump up^ (Chakravarty 1961, p. 46)
22.
Jump up^ (Chakravarty 1961, pp. 48–49)
23.
Jump up^ (Dutta & Robinson 1995, p. 1)
24.
Jump up^ Prasad & Sarkar 2008, p. 125.
26.
Jump up^ Tagore, Stewart & Twichell 2003,
p. 94.
27.
Jump up^ Urban 2001, p. 18.
28.
Jump up^ Urban 2001, pp. 6–7.
29.
Jump up^ Urban 2001, p. 16.
30.
^ Jump up to:a b c Ghosh 2011.
31.
Jump up^ Tagore, Stewart & Twichell 2003, p. 95.
32.
Jump up^ Tagore, Stewart & Twichell 2003,
p. 7.
33.
Jump up^ Dutta & Robinson 1995, p. 281.
34.
Jump up^ Dutta & Robinson 1995, p. 192.
35.
Jump up^ Tagore, Stewart & Twichell 2003,
pp. 95–96.
36.
Jump up^ Harding 2008.
37.
Jump up^ Harvey 1999, pp. 59, 90.
38.
Jump up^ Tagore 1952, p. 5.
39.
Jump up^ Tagore, Alam & Chakravarty 2011,
p. 323.
40.
Jump up^ Tagore, Dutta & Robinson 1997, p. 94.
41.
^ Jump up to:a b Dasgupta 2001.
43.
Jump up^ "Tabu mone rekho" (in Bangla).
tagoreweb.in. Retrieved 11 May 2012.
44.
Jump up^ Monish R.
Chatterjee (13 August 2003). "Tagore and Jana Gana Mana".
countercurrents.org.
45.
Jump up^ de Silva, K. M.; Wriggins, Howard (1988). J.
R. Jayewardene of Sri Lanka: a Political Biography - Volume One: The First
Fifty Years. University of
Hawaii Press. p. 368. ISBN 0-8248-1183-6.
46.
Jump up^ "Man of the series: Nobel laureate Tagore". The Times of India. Times News Network.
3 April 2011.
47.
Jump up^ "How Tagore inspired Sri Lanka's national
anthem". IBN Live. 8 May 2012.
48.
Jump up^ Tagore, Dutta & Robinson 1997,
p. 359.
49.
Jump up^ Dyson 2001.
50.
Jump up^ (Dutta & Robinson 1997, p. 222).
51.
Jump up^ (Dyson 2001).
52.
Jump up^ [[#CITEREFR._Siva_Kumar2011|R. Siva Kumar 2011]].
55.
Jump up^ "Staatliche Museen zu Berlin - Kalender".
Smb.museum. Retrieved 2012-12-18.
56.
Jump up^ Current
Exhibitions Upcoming Exhibitions Past Exhibitions. "Rabindranath Tagore: The Last Harvest | New
York". Asia Society. Retrieved 2012-12-18.
57.
Jump up^ "Exhibitions | Special Exhibitions".
Museum.go.kr. Retrieved 2012-12-18.
58.
Jump up^ "Rabindranath Tagore: Poet and Painter - Victoria
and Albert Museum". Vam.ac.uk. Retrieved 2012-12-18.
60.
Jump up^ "Le Petit Palais - Rabindranath Tagore (1861-1941) -
Paris.fr". Petitpalais.paris.fr. 2012-03-11. Retrieved 2012-12-18.
61.
Jump up^ "Welcome to High Commission of India, Kuala Lumpur
(Malaysia)". Indianhighcommission.com.my. Archived from the original on January 14, 2013.
Retrieved 2012-12-18.
62.
Jump up^ "McMichael Canadian Art Collection > The Last Harvest:
Paintings by Rabindranath Tagore". Mcmichael.com. 2012-07-15.
Retrieved 2012-12-18.
 |
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·
Chakravarty, A
(1961), A Tagore Reader, Beacon Press, ISBN 0-8070-5971-4.
·
Dutta, K; Robinson, A
(1995), Rabindranath Tagore: The Myriad-Minded Man, St. Martin's
Press, ISBN 0-312-14030-4.
·
Dutta, K (editor);
Robinson, A (editor) (1997), Rabindranath Tagore: An Anthology, St.
Martin's Press, ISBN 0-312-16973-6.
·
Som, KK (2001), "Rabindranath Tagore and his World of Colours", Parabaas,
retrieved April 1, 2006.
·
Tagore, R
(1977), Collected Poems and Plays of Rabindranath Tagore, Macmillan
Publishing, ISBN 0-02-615920-1.
Further reading[edit]
·
Bhattacharya, Sabyasachi
(2011). Rabindranath Tagore: an interpretation. New
Delhi: Viking, Penguin Books India. ISBN 978-0670084555.
External links[edit]
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