Jagai Madai

A student of Abanindranath Tagore, Sarada Charan Ukil belonged to a generation of Indian painters who embraced indigenous traditions during a time of anti-colonialism and anti-Eurocentrism in art. His work seems to have drawn inspiration from early Mughal paintings, evident in his rhythmic, delicate line style. His works have delicate colour washes, as in his own words he was – ‘essentially a colourist and [his] paintings have a subdued atmosphere about them’. He explored Indian mythology and epics in his works, blending Indian life with spiritual messages and themes. His collections include a Krishna series for the Gopalji Temple in Bilaspur and his Buddha series (only one painting of this collection has survived). This artwork 'Jagai Madai' (38.1 x 27.9 cm) depicts the Gaudiya Vaishnava story of Chaitanya Mahaprabhu rescuing Nityananda from Madhai and Jagai, two brothers who would end up seeking redemption for their actions and in turn become Vaishnavites. The painting captures three figures, two standing and one splayed on the ground. The two standing figures clasp each other, with the figure in the foreground, bruised on the head, leaning into the taller figure. The standing figures are Chaitanya Mahaprabhu and Nityananda, with the seated figure being Jagai, who seems to be gripping some sort of tumbler or bowl in his right hand. His hand is to his throat; he seems to be reflecting on his action. The micro-facial changes add a layer of depth and richness that also stand out in the painting. Sarada Ukil’s work utilises soft, tonal watercolour washes. This particular painting is rendered in a dreamy, hazy, blue wash, with the figure themselves being a peach-reddish shade. The warm hues of the figures stand out against the cool background, bringing it into focus for the viewer. And yet, the softness of the lines and the limited colour palette soften the painting. There is a gentle, romantic quality to Sarada Ukis’s work, with the background nearly blending into each other to create a rhythmic softness and grace that also lends the painting a dream like quality. This artwork captures the spirit behind his ethos and philosophy in life and in art. Sarada Ukil and his brother were instrumental in pushing the Bengal school of art into the rest of India. He passed away on 21 July 1940 in New Delhi, at the age of fifty-two.