Sarada Ukil was a well-known artist in the twentieth century India. He was a student of the prominent artist Abanindranath Tagore (of the Bengal school). Subsequently Ukil also became one of the pioneers of the school. His artworks are known for their almost dreamlike rendering of figures with carful brush strokes. painting in pale and sentimental colour washes in his art.
This artwork dated to 1938 is a brilliant example of his artistic excellence. Portrayed here is a scene from the Hindu Epic, the Ramayana. Rama is shown in a process of hunting the golden deer Maricha who was earlier a yaksha. Cursed by Sage Agastya, he later turned into a rakshasa or a demon and aided Ravana by transforming into a golden deer in order to abduct Sita. The story of Maricha played an important role in the abduction of Sita. Sita had asked Rama to hunt the golden deer. Maricha led Rama far away from the hermitage, and then stopped at a grassland. When Rama shot it with an arrow, seized the dying Maricha cried out for Lakshmana and Sita in Rama’s voice. Sita fell prey to his act and despite Lakshmana’s warning asked him to search for Rama. When Sita was alone, Ravana appeared at the hermitage in the ruse of a sage and abducted Sita.
Here, Ukil has artfully used sift and muted hues of blues, greens and yellows to depict the two figures. The background is kept relatively plain and simple, which allows the viewer’s attention to focus on the figures. The depiction of one the most central and vital parts of the epic has been rendered beautifully by Ukil. The artwork and its techniques are also highly reminiscent of the Bengal school of Art.
Sarada Ukil’s painting 'Rama Hunting the Golden Deer' shows a dreamlike scene from the Ramayana. Rama sits on a rise bow in hand watching the golden deer below. Ukil chooses stillness, thought and waiting of loud action hinting at the quiet before Sita’s abduction. The painting uses greens, blues, yellows and earthy browns. These gentle colour washes give a feel typical of the Bengal School. The plain landscape, with plants, rocks, far trees and mirror‑like water makes wide open space around Rama. This space shows Rama alone. Draws the eye to Rama and the deer. The composition also shows the deer as a trick and charming figure: its strange look pulls Rama from the hermitage and starts the tragedy. Ukil’s fine brush strokes, flat view, song‑like landscape and limited colours turn an epic scene into a quiet poem, about illusion, desire and fate. The painting shows how Bengal School artists reworked mythology with local themes and cool, mood‑making techniques.
