Untitled

Medium:Ink
Height:15 inch / 38.1 cm
Width:22 inch / 55.9 cm
Dimension:W: 55.9 cm × H: 38.1 cm

In this 1993 ink drawing, Rabin Mondal creates a striking allegorical scene where a solitary nude figure is surrounded by symbolic elements like a caged bird, a butterfly, and a watchful cat. The bold, flowing lines contrast the tension between freedom and confinement, as the figure reaches out to a butterfly while a bird remains trapped behind bars. Rendered in stark black on white, the composition reflects Mondal’s expressive exploration of inner conflict, desire, and the human condition through potent, minimalist imagery.

Description

Rabin Mondal | Ink on Paper | 15 x 22 inches | 1993

This 1993 ink on paper work by Rabin Mondal is a compelling blend of symbolism and expressionist figuration. In stark black lines on a white background, a nude human figure dominates the composition, surrounded by animals and objects—a caged bird, a butterfly, a cat, and a spiky tree. The imagery suggests an intricate relationship between freedom and entrapment, nature and human vulnerability. The figure, seated cross-legged, gazes intently at the butterfly perched delicately on an outstretched hand, offering a stark contrast to the bird confined within the cage. The cat, often a symbol of watchfulness or independence, lies nearby, adding to the layered narrative. Mondal’s bold, almost primitive linework and minimal background evoke a dreamlike space where psychological and symbolic elements converge. It’s a visual meditation on confinement, longing, and the fragile balance between control and liberation.

Rabin Mondal was inspired by primitive and tribal art, its potent simplifications and raw energy.
The son of a mechanical draughtsman, Rabin Mondal took to drawing and painting at the age of twelve when he injured his knee and was confined to bed.
The Bengal famine of 1943 and the Calcutta communal riots of 1946 deeply impacted his psyche; he joined the Communist Party and became an activist. Mondal’s final refuge was art as the ultimate weapon of protest.
Mondal’s figuration derived from a growing abhorrence towards mankind’s moral decay in all spheres of life. The cubo-futuristic angularities of forms within the pictorial space arranged around them evolved into a series of paintings depicting highly distinct human figures that struggled to live a hero’s life in a mocking but tragic world.
Mondal’s images have a deeply felt iconic appearance. The series Queen, King, Man represent figures that are static, totemic, tragicomic, ruthlessly shattered and ruined. Having subverted the classical canons of harmony and beauty, Mondal evolved a vocabulary to express his anguish and rage towards decadence in society. The expressionistic use of splattered colours and the bold application of black are part of that vocabulary.
Beginning his career as an art teacher, with a stint as an art director in films, he was a founder member of Calcutta Painters in 1964, and from 1979-83 a general council member of Lalit Kala Akademi, New Delhi. He passed away in Kolkata on 2 July 2019.

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