A charming 2022 ink drawing of Lord Ganesha by Jogen Chowdhury, rendered with expressive, flowing lines. The relaxed posture, distinctive elephant features, and delicate ornamental details give the traditional subject a warm, intimate, and distinctly human character. The simplicity of the line work allows the personality of the figure to come through beautifully.
Jogen Chowdhury | Ganesha | Ink on Paper | 11.75 x 8.25 inches | 2022
Ganesha is a delicate yet expressive figurative drawing by Jogen Chowdhury, created in 2022 in ink on paper. The artwork presents Lord Ganesha in a relaxed, almost intimate posture, capturing the familiar deity with a distinctly human warmth.
The drawing is built with loose, hand-drawn lines that give the figure a sense of movement and spontaneity. Ganesha’s characteristic elephant head, large ears, curved trunk, crown, and multiple arms are rendered with simple but confident strokes. Small details—such as the flower near the head, the ornamental crown, and the carefully suggested hands and feet—add charm without making the composition feel overly decorative.
What makes the work especially engaging is its informality. Rather than presenting Ganesha as a rigid, monumental religious figure, Chowdhury gives him a softer and more approachable presence. The expressive line work, elongated forms, and subtle irregularities of the drawing create a sense of immediacy, as though the image has been captured in a spontaneous moment.
The restrained use of line allows the texture of the paper to remain visible, adding to the intimate, handmade character of the work. It is a simple composition at first glance, but one that rewards closer looking through its expressive gestures and distinctive draughtsmanship.
Born on 15 February, 1939 in Faridpur (now in Bangladesh), Jogen Chowdhury’s family moved to Calcutta following the partition.
Chowdhury studied art at the Government College of Art and Crafts, Calcutta, and subsequently at École Nationale Supérieure des Beaux-Arts, Paris. A student of Prodosh Das Gupta, Chowdhury worked in the expressionist style of figuration in his early years. He created his own gallery of the grotesque, featuring lewd men with bellies like sacks and women with loose, hanging breasts. The Paris sojourn sharpened his creative thought process, helping in the evolution of his distinctive personal style.
Chowdhury interprets the human form through the x-ray vision of his creativity: attenuated, exaggerated, fragmented, reconfigured, and rephrased. For Chowdhury, the body has to communicate in silence. Often placing his figures against a vacant background, he does not appropriate the specificity of place or environment; instead, he transfers feelings of anguish on to his figures through gestural mark-making. His dense, crosshatched lines simulate body hair and a web of veins takes away the smooth sensuality of the classical body to manifest the textures of life.
Chowdhury believes art in India is neither subsumed in the miniature traditions nor in those of Ajanta, for India is neither a monolith nor a static entity; and that a notion of Indianness should not be fixed into some kind of timeless loop. He has been awarded the Madhya Pradesh government’s Kalidas Samman, and was honoured at the 2nd Havana Biennale. He lives and works in Kolkata and Santiniketan.
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