In addition, Tagore sought to incorporate "Bhava", or feeling, into his artwork. This idea of 'feeling' was especially important to the 'Passing of Shah Jahan'; the painting had attempted to explain the romantic ideas of loss, focusing on Shah Jahan's imprisonment at the Red Fort and the loss of his wife. Prior to Tagore, this idea was never visualized, though many Mughal and Western artists had drew many portraits and figures of Shah Jahan and other Mughal characters. However, neither group had attempted to illustrate the emotions of these characters nor did they contain narrative elements. Tagore's attempt to depict the pathos of Shah Jahan imprisoned in the Red Fort and his last look at the Taj Mahal was a revolutionary element in Indian painting, especially at a time when the study of Indian history gained attention by British colonialists and native Indian people. The "Passing of Shah Jahan" won several awards. It was first exhibited at the Delhi Durbar Exhibition of Arts and Crafts (1902-1903), where it had won a silver medal. The painting was next exhibited at the Congress Industrial Exhibition (1903) where it had won a Gold medal. After Tagore had received public recognition for his works, many other artists had begun to incorporate the same themes and techniques. Abanindranath Tagore was eventually known to be one of the most well known Indian artists of his time, both in and outside of Bengal, due to the nationalist works during the swadeshi years. Tagore went on to become a founder of the new school of Indian-style painting, though this became a role he had increasingly distanced himself from during his later years.