The Journey
The Indian view of the identity of personality and conduct with teaching is well rendered in the apt comment of a Hindu friend of Heinrich Zimmer in criticism of a certain popular book on Oriental philosophy. "Real attainment is only what finds confirmation in one's own life. The worth of a man's writing depends on the degree to which his life is itself an example of his teaching." This is very true of the works of Madanlal the artist and the man. Characterized by smooth rounded voluminous forms, textured within by gentle etchings, each one a universe in itself, and soft tones doctored by minimal lines, have long been the recognisable features of Madan Lal's works.
 |
There is a transparency in his colours to suggest the transient nature of the physical, as believed in Hindu philosophy, wherein the body or form, is fleeting, the life force passing from one to another in birth and rebirth. The bent head makes humble the persona, underlining the spirit contained within. The physical presence could be that of a monk, a peasant, or even a king of abdicated throne. But above all probably it is the common man, meek and docile.
Made consciously flexible and Indian, there is a universe implanted within each of his forms, layered and textured, replete with life. Marked with architectural registers of civilisation, impressions of ancient scripts, fish, suggesting the beginning of life, the kite to voyage the flights & freedom, or simply seed, grain and textures of love -- his compositions are poetic with an effortless ease that makes them truly representative of the artist. In spirit the works are all embracing, formally aligning all life forms human, animal or plant, dovetailing them into one another, the cow discernible in the some of the four-legged forms, probably in veneration of its benevolent motherhood.
In reality, Madan Lal is as much a poet of words as of palette, line and colour, and perhaps even a philosopher in his personal capacityof artistic creativity. He talks with great fascination of the poetic stalwarts of the Punjab, now as much a part of folklore as of Punjabi Literature, and inspiration derived from them. Windows to his inner world, Madan Lal's paintings portray "ego less forms'', people supple in humility, complementing the lyric and volume of their frame. This volume also invests them with a discernibly sculptural character, deriving from ancient India, pegging it deep into tradition.
Philosophic wisdom in the east is considered a specialised learning directed to the attainment of higher state of being and thus quite above general information.At another level though, it is also quite simple, its foundations laid on the basic principles of detachment, discipline and self control. Pursued even in moderate degree, these can make a philosopher of man, more so if he is creative. This is true of Madan Lal. Content in his personal space of quiet living and rooted lifestyle, his works convince even more after meeting him in person. It is difficult indeed to count the components of his oeuvre because they encompass the cosmos in their depth and reach, exuding a fecundity that is manifest more as a potent cosmic continuum, rather than any evocation of sensuality. It throbs with a life force that permeates the world, effecting a fruition that is continuous and pervasive, both music - and prayer at the same time. Indian philosophy also proposes the human soul as one With Brahma, the vital force. The diffused boundaries in Madamlal's frames tend to reaffirm this merger, his colours fusing into each other as the life force with its source, each frame a universe by itself.
Made consciously flexible and Indian, there is a universe implanted within each of his forms, layered and textured, replete with life. Marked with architectural registers of civilisation, impressions of ancient scripts, fish, suggesting the beginning of life, the kite to voyage the flights & freedom, or simply seed, grain and textures of love -- his compositions are poetic with an effortless ease that makes them truly representative of the artist. In spirit the works are all embracing, formally aligning all life forms human, animal or plant, dovetailing them into one another, the cow discernible in the some of the four-legged forms, probably in veneration of its benevolent motherhood.
In reality, Madan Lal is as much a poet of words as of palette, line and colour, and perhaps even a philosopher in his personal capacityof artistic creativity. He talks with great fascination of the poetic stalwarts of the Punjab, now as much a part of folklore as of Punjabi Literature, and inspiration derived from them. Windows to his inner world, Madan Lal's paintings portray "ego less forms'', people supple in humility, complementing the lyric and volume of their frame. This volume also invests them with a discernibly sculptural character, deriving from ancient India, pegging it deep into tradition.
Philosophic wisdom in the east is considered a specialised learning directed to the attainment of higher state of being and thus quite above general information.At another level though, it is also quite simple, its foundations laid on the basic principles of detachment, discipline and self control. Pursued even in moderate degree, these can make a philosopher of man, more so if he is creative. This is true of Madan Lal. Content in his personal space of quiet living and rooted lifestyle, his works convince even more after meeting him in person. It is difficult indeed to count the components of his oeuvre because they encompass the cosmos in their depth and reach, exuding a fecundity that is manifest more as a potent cosmic continuum, rather than any evocation of sensuality. It throbs with a life force that permeates the world, effecting a fruition that is continuous and pervasive, both music - and prayer at the same time. Indian philosophy also proposes the human soul as one With Brahma, the vital force. The diffused boundaries in Madamlal's frames tend to reaffirm this merger, his colours fusing into each other as the life force with its source, each frame a universe by itself.
 |
The slightly undefined quality of protagonists renders them remote and mysterious, sans the rigidity of modern times,gnarled and knotted with desire and ambition, driven by material hunger. Somewhere deep down in the artist's consciousness is discernable a yearning for the past. Modernity today is a special situation arisen under the impact of industrial and electronic revolutions, unleashing fatal forces. The wheel in one of the works here denotes just this, painted in greasy black machine tool colour, dark and menacing in its presence. The upper half of the work conveys tranquillity, portrayed in hues of blue, grey and mauve. Modernity is also depicted via recurring images of the bicycle in different situations. Undeterred though, the spirit overcomes times to soar free, maintaining clarity.This is represented in the inclusion of the dove or the kite.
Madan Lal is freshly returned from his show in England as we sit talking. A sudden spurt of April rains begin to beat down the roof punctuating the afternoon making me sigh with relief as the dust settles down. Madan worries over the untimely pour. "The crops will spoil," he rues, revealing an earnest concern and connectivity to his soil. 'We are after all sons of the soil---farmers at heart. Crops will always remain central to our thoughts." I am touched and full of admiration. So it is that among the myriad elements of his compositions, we discern neat little rows of cultivation dotting the frame reminders of our neglected subsistence.
Rituals in the East are serious business. They would otherwise not survive to get carried through generations and cultures. Likewise for some, living life as per one's own calling is like a ritual, to be practiced and nurtured to fulfil one's commitments to self, and the world. Seeds falling from open palms form inevitable threads of continuity. Leaves drop, a kernel opens to reveal new life, almost making a ritual of the very process of living, nurturing roots within the peace of a contented existence. Consistency and faith in one's being, over time makes ritual of a lifestyle. Carried with belief it becomes,as it should, a religion personal, and true to Hindu philosophy, a way of life, unlike many other religions of the world.
Not to be bypassed is Madan Lal's penchant for drawing as a precursor to painting, for therein lie his thought for each work, the scaffolding to support everything that is to be built thereafter. In mindless times such as these people and artists like Madan Lal are much need antidotes to our restless society.
Madan Lal is freshly returned from his show in England as we sit talking. A sudden spurt of April rains begin to beat down the roof punctuating the afternoon making me sigh with relief as the dust settles down. Madan worries over the untimely pour. "The crops will spoil," he rues, revealing an earnest concern and connectivity to his soil. 'We are after all sons of the soil---farmers at heart. Crops will always remain central to our thoughts." I am touched and full of admiration. So it is that among the myriad elements of his compositions, we discern neat little rows of cultivation dotting the frame reminders of our neglected subsistence.
Rituals in the East are serious business. They would otherwise not survive to get carried through generations and cultures. Likewise for some, living life as per one's own calling is like a ritual, to be practiced and nurtured to fulfil one's commitments to self, and the world. Seeds falling from open palms form inevitable threads of continuity. Leaves drop, a kernel opens to reveal new life, almost making a ritual of the very process of living, nurturing roots within the peace of a contented existence. Consistency and faith in one's being, over time makes ritual of a lifestyle. Carried with belief it becomes,as it should, a religion personal, and true to Hindu philosophy, a way of life, unlike many other religions of the world.
Not to be bypassed is Madan Lal's penchant for drawing as a precursor to painting, for therein lie his thought for each work, the scaffolding to support everything that is to be built thereafter. In mindless times such as these people and artists like Madan Lal are much need antidotes to our restless society.
Aruna Bhowmick