This volume
��provides a revisionary critique of the art of Abanindranath Tagore, the founder of the national school of Indian painting, popularly known as the Bengal School of
Art. The book categorically argues that the art of Abanindranath, which developed during the Bengal Renaissance in the 19th-20th centuries, was not merely a normalization of national or
oriental principle, but was a hermeneutic negotiation between modernity and community. It establishes that his form of art-embedded in communitarian practices like kirtan, alpona, pet-naming,
syncretism, and storytelling through oral allegories-sought a social identity within the inter-subjective context of locality, regionality, nationality, and trans-nationality. The author
presents Abanindranath as a creative agent who, through his art, conducted a critical engagement with post-Enlightenment modernity and regional subalternity.
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