Human in Art - Ramkinkar Baij, A modernist from grass root... By Prabuddha Ghosh

Human in Art - Ramkinkar Baij, A modernist from grass root

Tribute in his death anniversary 

Indian paintings and sculptures of post- independence period have indicated the impact of stimulating and invigorating sensations from the west, end to end with the ideals of Indian sensation and eastern values in the philosophy of life and aesthetics of the arts. At this juncture to achieve the need of a makeover or a turn towards a ‘freshly new’ approach, a good number of intellectuals opted for a ‘modern’ approach that would assimilate the native art impulses and philosophical culture in their art practices. This modernist vocabulary was to bring in a courageous efforts in the thirties by Ramkinkar Baij. 

 

Human forms in visual arts feature all through the history of art. From magical through spiritual towards modern concepts and common feeling, the figure representation becomes common for non- spiritual purposes and more secular contexts in art. Figures and faces have also continued to be incorporated into ritual art in almost all cultures around the world; the human figure remains central part to both spiritual and decorative art of the present day too. 

 

Perhaps one man who could inspire him and add wings to his liberated artistic ambitions was Rabindranath Tagore himself. Tagore took upon himself to see that his young boy from a modest family background found his creative realization to the full capacity. He would converse with him, leave him with words of encouragement and ideas on which Ramkinkar would think and would internalize much what was suggested to him by the poet. Gurudev advised him to work and fill Santiniketan with his art so as not to leave a single space untouched by his vision. 

 

When he made portraiture painting of freedom fighters, the themes of Non-Cooperation Movement against the British Rule in India, he left some special touch and signature of his own, very much of his own. This was before he joined Santiniketan in mid of 1920-30, as a student of art. These overtly nationalist themes apparently were soon overtaken by a more idealistic and yet real humanity that he found in the world of the Santhal community. Undoubtedly Rabindranath's own world view helped the young artist to forsake early in his life a high pitched nationalistic overtones for a more real, as he envisioned, the future India and capture more exuberantly how India as a free nation could reinvent itself as a dynamic world culture.