Binod Behari Mukherjee

Benode Behari Mukherjee (1904–1980) was one of the foremost pioneers of modern Indian art and a key figure in the Santiniketan school of painting. A painter, muralist, and teacher of extraordinary vision, Mukherjee played a vital role in shaping the modern artistic consciousness of India through his synthesis of Indian traditions and modernist ideas. Despite being partially blind from birth and losing his eyesight completely later in life, he produced some of the most profound and innovative works in twentieth-century Indian art.

Early Life and Education

Benode Behari Mukherjee was born on 7 February 1904 in Behala, near Calcutta (Kolkata), into a Bengali Brahmo family. He suffered from severe myopia since childhood, which limited his formal education but heightened his visual sensitivity and spatial awareness.
In 1917, he joined Kala Bhavana, the art school at Visva-Bharati University, Santiniketan, founded by Rabindranath Tagore. At Santiniketan, Mukherjee came under the influence of two great mentors — Nandalal Bose and Rabindranath Tagore — whose humanist and holistic philosophies of art and education profoundly shaped his development.
Santiniketan’s open-air environment and emphasis on a synthesis of art, nature, and life provided the perfect setting for Mukherjee’s emerging creativity. He grew up alongside other pioneering artists such as Ramkinkar Baij, Rathindranath Tagore, and Abanindranath Tagore, forming the core of what would later be known as the Santiniketan school.

Artistic Philosophy and Vision

Benode Behari Mukherjee’s art reflected a deep philosophical inquiry into the relationship between man, nature, and the spiritual order of existence. He believed that art was not a mere aesthetic pursuit but a way of understanding the world.
Influenced by Tagorean humanism, Buddhist philosophy, and Japanese aesthetics, he sought harmony between form and emotion, representation and abstraction. He once remarked, “Art is not imitation, but the expression of inner vision.”
Mukherjee’s visual language evolved from the Indian miniature tradition, Ajanta murals, and Japanese calligraphic brushwork, yet he absorbed elements of Cubism and modernist composition, creating a style that was uniquely his own.

Early Works and Stylistic Development

Mukherjee’s early paintings of the 1920s and 1930s were marked by lyrical depictions of rural Bengal, folk life, and natural landscapes around Santiniketan. He portrayed simple village scenes, trees, and fields with rhythmic lines and subtle tonal variations, reflecting a meditative observation of nature.
He drew inspiration from Rajput and Mughal miniatures, as well as from Far Eastern art, especially Chinese and Japanese ink painting. His works reveal a refined sense of composition and movement, where line and colour evoke emotional resonance rather than literal realism.
As his style matured, Mukherjee began to experiment with spatial abstraction, treating nature as an interwoven pattern of rhythm and harmony. This was a significant departure from the sentimental realism of the Bengal School, marking his transition into true modernism.

Murals and Monumental Works

Benode Behari Mukherjee is best remembered for his murals, which represent the pinnacle of his artistic career. He believed that mural painting, as a public and collective art form, had the power to unite artistic expression with community life.
Some of his most celebrated murals include:

• “Medieval Saints” (1946) – Located at Hindi Bhavana, Santiniketan, this monumental mural is one of his finest works. It depicts Indian Bhakti and Sufi saints such as Kabir, Chaitanya, Namdev, and Mira Bai, symbolising India’s syncretic spiritual traditions. Executed in tempera, the mural is remarkable for its rhythmic composition, flowing lines, and balanced integration of figures and landscape.
• “Life of the Medieval Saints” (1947–48) – This series continued his exploration of spiritual themes and the unity of all faiths.
• Mural at Shantiniketan Library (1938) – One of his earliest murals, combining earthy tones and dynamic figuration.
• Mural at the Government College of Art, Patna (1958) – Created after his return from Japan, this work reflects his engagement with modern abstraction and spatial balance.

His approach to mural-making was not merely decorative but philosophical, embodying his belief that art should serve as a medium of public enlightenment and moral reflection.

Teaching Career and Influence

Benode Behari Mukherjee’s contribution as a teacher was as significant as his artistic output. After completing his studies, he joined Kala Bhavana as a faculty member and taught for over three decades, influencing generations of artists.
His students included some of India’s most distinguished painters and sculptors, such as K. G. Subramanyan, Somnath Hore, and Sakti Burman. His teaching emphasised freedom of expression, observation from nature, and self-discovery, rather than rigid academic instruction.
Mukherjee encouraged students to study folk art, craft traditions, and architecture, fostering a holistic understanding of visual culture. His pedagogy laid the intellectual foundation for the Santiniketan art movement, which merged modernism with indigenous sensibilities.

Journey to Japan and Artistic Growth

In 1937–38, Benode Behari Mukherjee travelled to Japan on a fellowship to study Japanese art and calligraphy. This experience profoundly influenced his artistic thinking. He admired the Japanese emphasis on discipline, simplicity, and harmony, and incorporated these principles into his painting technique.
The Japanese approach to brushwork, ink control, and compositional balance became integral to his later works. His exposure to Zen Buddhist aesthetics also deepened his philosophical understanding of silence, emptiness, and impermanence as central aspects of art.

Blindness and Late Works

In the early 1950s, Mukherjee gradually lost his eyesight due to cataracts and eventually became completely blind by 1957. However, this physical limitation did not end his creative journey. With immense determination, he continued to draw, sculpt, and teach by relying on memory, imagination, and touch.
In his later years, he created collages, reliefs, and small sculptures using tactile materials, demonstrating extraordinary resilience and adaptation. His blindness gave him new insight into the inner world of perception, reinforcing his belief that art was a product of the mind and spirit rather than sight alone.
His student Satyajit Ray, the renowned filmmaker, paid tribute to him in the documentary film The Inner Eye (1972), which poignantly portrays Mukherjee’s life, blindness, and artistic vision.

Style and Characteristics

Benode Behari Mukherjee’s art is characterised by:

• Rhythmic Line and Form: Influenced by calligraphy and miniature painting, his lines flow organically to create rhythm and structure.
• Integration of Man and Nature: His compositions express unity between humans and their environment, reflecting his deep ecological and spiritual sensibility.
• Spiritual Symbolism: Rooted in Indian thought, his themes celebrate universality, humility, and harmony.
• Minimalism and Abstraction: His later works tend toward abstraction, emphasising inner meaning over representation.

He often used tempera, gouache, and ink, preferring earthy tones that echoed the natural environment of Santiniketan.

Recognition and Awards

Benode Behari Mukherjee received several honours for his artistic and educational contributions, including:

• Padma Vibhushan (1974) – India’s second-highest civilian honour.
• Deshikottama (Honorary Doctorate) from Visva-Bharati University (1977).
• Ravindra Bharati Award for his contributions to Indian art.