However it cannot be denied that he transformed the aristocratic upper class women of his times into his heroines by combining the sacred and the seductive: passive Mandodari suffering her unfaithful husband; unhappy, abandoned Shakunthala; Draupadi in a state of utter despair; coquettish Menaka seducing the sage Vishwamitra; and the many portraits of beautiful, winsome women, identifiable female types of his times.
Hence even after thousands of years of evolution its all about “a dot and a sari“.
Jamini Roy
Jamini Roy celebrated peasant women of Bengal in her simple yet colorful surroundings, an embodiment of Indian womanhood. His quaint depiction of women are said to be a reflection of the inner strength of the women of India. They were depicted in normal were not as obviously objectified as Verma’s women. Since his style was an offshoot of the novel Kalighat School, his women were also social institutions rather than individual figures.
M.F. Hussain
It is said that when M.F.Hussain is not painting horses he paints Madhuri Dixit as an embodiement of Indian womanhood, and this sweeping statement is not as much of a joke as it may seem to be,for M. f. Hussain does use this Bollywood actrees as an inspiration for what he calls peans of Indian beauty. His abstract depictions of women seem to strictly endorse the stereotype of “Indianess”. The bindi or the red dot is almost always there and the Indian woman is always represented as either the mother,the lover,the seductress or the muse. In other words as an extension of the male need.
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