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@article{189605,
        author = {Arun Kumar Ghosh},
        title = {Between Technique and Tradition: A Critical Study of Bendre’s Pointillism Through Indian Aesthetic Theory},
        journal = {International Journal of Innovative Research in Technology},
        year = {2025},
        volume = {12},
        number = {7},
        pages = {7433-7441},
        issn = {2349-6002},
        url = {https://ijirt.org/article?manuscript=189605},
        abstract = {Narayan Sridhar Bendre occupies a pivotal position in the evolution of Indian modernism, negotiating a delicate balance between Western aesthetic techniques and indigenous cultural sensibilities. Among his many contributions, his distinctive engagement with pointillism—adapted from neo-impressionist practices yet rendered through a deeply Indian visual consciousness—offers fertile ground for scholarly inquiry. This paper explores Bendre’s pointillist technique through the lens of Indian aesthetic theory, arguing that his visual language performs a unique mediation between technique and tradition. Through a close analysis of four artworks—Gulmarg (1948), Sunset at Udaipur (1950s), The Village Scene (1960s), and The Cowherd (1970s)—the study investigates how colour, texture, and compositional rhythm embody an aesthetic synthesis that transcends the usual binaries of East and West. Methodologically, the paper adopts a visual-analytic approach combining quantitative assessment of chromatic distribution and dot-density patterns with qualitative interpretation grounded in rasa, dhvani, and phenomenological reception. Findings indicate that Bendre’s pointillism neither merely imitates its Western antecedents nor functions solely as visual experimentation. Instead, it becomes a vehicle for expressing cultural memory, spatial intimacy, and a spiritually inflected contemplation of nature. The study argues that Bendre’s work constitutes a decolonial artistic strategy—subverting Western technique to articulate indigenous sensibilities. The paper concludes by asserting Bendre’s significance as a cultural bridge, whose pointillist interpretations offer new dimensions to Indian modernism and provide fertile ground for future interdisciplinary research in art history, digital humanities, and transcultural aesthetics.},
        keywords = {N. S. Bendre, Pointillism in Indian Modernism, Indian Aesthetic Theory (Rasa–Dhvani), Visual and Textural Analysis, Cross-cultural Art Hybridities, Modern Indian Art History.},
        month = {December},
        }