He eventually found his own metier and challenged the existing style of expression as his figuration underwent a radical change. He began to seek a purity of form and his palette was awash with brilliant, saturated colours that brazenly defied the norms of naturalism.
He rejected academic realism and increasingly sought to express an indigenous voice. Folk arts specifically Bengal art and crafts traditions influenced him a great deal. He sought inspiration from Kalighat paintings and East Asian calligraphy as he made use of space division not unlike the vertical Bengal scroll paintings as well as the narrative modes used in the temple friezes. It is during the end of the first decade of the twentieth century, a period of political and cultural unrest in Bengal, that commenced a decade of ceaseless experiments for Roy.
He banished all traces of naturalism from his work and from onwards, he limited his chromatic range and painted almost monochromatic works. He began using rhythmic calligraphic lines to express volume and used subjects ranging from his favorite mother and child figures, balls, and seated women among others. However, this austere phase did not last long. Jamini Roy did not feel that the Kalighat style was an authentic expression of the genuine folk spirit and in the latter half of the decade, he once again began experimenting.
Consequently, he found himself returning to his roots, where he discovered a rich storehouse of motifs, symbols and narratives which formed an integral part of his consciousness. He changed his entire vocabulary in terms of form, line, and colour. He opted for simplicity in form as evidenced of the distinctive way in which he structured his figure and simplified his forms reducing them to their bare essentials. He played with lines, space and lit the picture with an explosion of colours.
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