Drawing, female figure, by Jamini Roy, pen and ink on cardboard, Kolkata, ca. 1942-1943

The drawing, in pen and ink on cardboard, depicts the profile of a woman wearing a sari standing in the 'tribhanga' posture. The posture which means 'equipoised stance bent in three places' is the South Asian medieval equivalent of the classical western 'contrapposto'.
The tribhanga is one of the five bhangas (equipoised stances) that can be found in traditional South Asian art. It is possible that Jamini based his drawing on a Khajuraho sculpture held at the Indian Museum of Calcutta. In this drawing, the woman is combing her hair while regarding herself in a hand-mirror; her right knee is bent. Her voluptuous forms are emphasised by the use of flowing yet minimal brush strokes. The inherent dynamism of the composition enhances the overall sense of poise and equilibrium. On the reverse of the drawing, the artist has sketched another female figure.

The profile of a woman wearing a sari standing in the 'tribhanga' posture.

Purchased from Mr J. C. Irwin in 1979 who acquired it directly from the artist. RF: 79/1370

Jamini Roy (1887-1972) was one of the most important artists of the modern period in India, drawing on the popular and folk traditions of rural Bengal for his inspiration. Born in Beliator, a village in the Bankura district of Bengal, Jamini was raised in a family of small landowners.

In 1906 he entered the Calcutta School of Art and studied under Abanindranath Tagore, the pioneer and leading exponent of the Bengal School of Art. Abanindranath's tutorage secured Jamini's dexterity both in European and indigenous painting traditions. For a short period Jamini became a portrait painter, a skill for which he was highly regarded in Calcutta. He then experimented with Impressionistic landscapes before rejecting his European training in favour of indigenous art forms.

Initially Jamini adopted the Kalighat style of painting, a popular art form with origins in the rural traditions of Bengal, but found thriving in the back streets of Calcutta. However by the 1920s, Jamini felt that Kalighat paintings had lost their rural ideal having being adapted too much to fit the requirements of their new urban environment. Jamini sought to define an authentic modern Indian art; he therefore travelled through Bengali countryside studying folk painting traditions. He developed his own personal style which was characterised by bold lines and flat use of colour. He used indigenous materials, including lamp black for the outline drawing, 7 basic colours (Indian red, yellow ochre, cadmium green, vermilion, grey, blue and white), which he applied with organic tempera, earth and mineral pigments to homemade canvas spun with fabric. His paintings can be divided into three main themes: the everyday life of rural Bengal, particularly the women of the Aboriginal Santhal community, Hindu mythological subjects and Christian imagery.

Jamini was a supporter of the Indian independence movement and his search for an authentic modern India was a response to this. Part of his search involved the restoration of the collaborative indigenous artisanal labour model. Thus, in his workshop he produced a range of stock motifs which his apprentices then copied- all were signed with his name. This increased the production and dissemination of original works which were then affordable to a wider body of people, not just the rich. Jamini gained an international reputation during the 1940s; his work was exhibited in London in 1946 and in New York in 1953.

Jamini Roy (1887-1972) was one of the most important artists of the modern period in India, drawing on the popular and folk traditions of rural Bengal for his inspiration. He developed his own personal style which was characterised by bold lines and flat use of colour.

This sketch is one of a series in the V&A collection which show his experimentation with different subject matter. The drawing depicts the profile of a woman wearing a sari standing in the 'tribhanga' posture. The posture which means 'equipoised stance bent in three places' is the South Asian medieval equivalent of the classical western 'contrapposto'. The tribhanga is one of the five bhangas (equipoised stances) that can be found in traditional South Asian art. It is possible that Jamini based his drawing on a Khajuraho sculpture held at the Indian Museum of Calcutta. In this drawing, the woman is combing her hair while regarding herself in a hand-mirror; her right knee is bent. Her voluptuous forms are emphasised by the use of flowing yet minimal brush strokes. The inherent dynamism of the composition enhances the overall sense of poise and equilibrium.

IS.71-1979