Ambadas (1922–2012) was a pioneering Indian abstract artist whose works transcended form, subject, and ideology, capturing the raw essence of creation. Known for his deep connection to the energy of nature and the spontaneity of artistic expression, Ambadas’s paintings resonate with a timeless and universal truth. In this reflective essay, artist Akhilesh pays tribute to Ambadas, exploring his unique artistic process and the silent voices that emerge from his canvases. Akhilesh delves into the hesitancy, energy, and humanity that define Ambadas’s work, celebrating it as a pure, unbound creation—one that exists beyond language and ideology, much like the primal art of early humans.
Form Distinction
Ambadas does not give titles to his paintings. There is no reason to give titles, nor is there any reason not to. This approach is quite similar to the way Ambadas creates his art. In 1928-29, René Magritte painted a work featuring a large pipe across the canvas, titled “This is not a pipe” (Ceci n’est pas une pipe). Since then, the relationship between paintings and titles in the art world has changed. Magritte struck a blow to the long-standing tradition of assigning titles to paintings—a blow so impactful that it completely broke the convention. The art world thereafter appeared entirely liberated, where painters could give titles or choose not to. The phrase “Untitled” became a universally available title. Most of Ambadas’ paintings—or perhaps all of them—are untitled, except for two works. These two pieces, titled Roopbhed-1 and Roopbhed-2, are part of the Bharat Bhavan collection in Bhopal. Perhaps Ambadas once held an exhibition under the title Roopbhed.
The titles of these paintings, created in the early 1980s, derive from the Kamasutra, where Roopbhed (form distinction) is identified as the first of the six limbs of art (Shadanga):
“Roopbhedah pramanani bhava lavanya-yojanam
Sadrishyam varnika-bhanga iti chittam shad-angakam”
–(Kamasutra)
It is fascinating to explore what Ambadas’ paintings represent in the context of the characteristics of Roopbhed. Was he referring to the diversity of forms? Or was the title chosen simply because Roopbhed seemed like an intriguing phrase? To illustrate this, I recall a tale from the Mahabharata that sheds light on Roopbhed and perhaps offers a glimpse into the challenges faced by artists:
In Draupadi’s swayamvar, Arjuna, disguised as a Brahmin, stood with a bow in hand, his gaze fixed on the reflection of a fish’s eye in the oil below. Every seventh moment, the fish’s eye appeared to meet his. The task was simple—on the seventh moment, the arrow would pierce the eye. Arjuna had understood this, yet his mind was not steady. For the first time, he was disturbed by the distinction between the target and the reward. Until now, striking the target had always been the goal, but today, hitting the fish’s eye was merely a means; the real reward was Draupadi. This was not Lakshyabhed (target distinction); this was Roopbhed—the attainment of form through a target. Composing himself, Arjuna matched the arrow’s distance to the fish’s motion. He remembered the bird’s eye when his guru, Dronacharya, had once asked, “What do you see?” Upon opening his eyes, the guru had stopped him from shooting. Now, he asked himself, “What do you see?” “The eye,” he replied and released the arrow. Amid the applause, he found Draupadi garlanding him. Arjuna had transcended the Roopbhed. He bowed to Draupadi.
Perhaps this story was also in Ambadas’ mind when he titled his paintings Roopbhed. Did Ambadas aim for a distinction? What kind of effort led to the creation of form? Is Roopbhed here a manifestation of form? It seems that every artist discovers Roopbhed in the process of shaping form. The resulting form is often beyond the artist’s imagination. The aim is one thing, but the attainment is often something else. The artist begins with a target and reaches a form.
Certainly, I am not referring to paintings born out of Marxist guilt or rigid objectives, where there is no celebration of form. Nor am I referring to those uncertain, indeterminate journeys where encountering form by chance brings wonder. In these cases, form often dissolves into the eagerness of observation, leaving them devoid of essence. Hidden within their technical precision lies an impotence that becomes their narrative.
For Ambadas, the arrow is aimed at a form present in the cosmos, unseen in the reflection of oil. This is not a pursuit of form but of sensibility. There is no preconceived idea of the form to be attained. Here, the target and the reward are one. Form is experienced through the soul and the eyes. The visible is the fish’s eye; the reward is a spiritual experience. Visual knowledge is acquired through the eyes but assessed through experience. The mere sight of form does not constitute its experience. Like a camera lens, the eyes only perceive it. Form distinction is an experience.
In Ambadas’ paintings, the wandering sperm are arrows shot in pursuit of form. In this search for form, there is no expectation. What matters is the moment of creation—the beauty of the moment of creation, the form of the moment of creation. These wandering sperm are at rest, marked by hesitation—the hesitation of being observed during creation, the hesitation of expression.
Ambadas’ paintings are paintings of hesitation. Their immediate connection fills them with hesitation. The drama of distinction holds them in place. Ambadas becomes absorbed in the act of creation, and an energy transition begins to manifest on the canvas—a celebration of one energy merging into another. This energy celebration embodies the theatricality of a warrior becoming the fish’s eye. In Roopbhed, the creator, the target, and the reward are one.
Ambadas’ Roopbhed is not a distinction; it is a manifestation of form.
Excerpt from the Book ‘Unke Baare Me‘ by Akhilesh. Original text in Hindi translated into English.
(Part-1) Why Ambadas’s Paintings are Paintings of Hesitation? (Click to read)
Feature Image: Ambadas | Abstract artist & founder member of Group 1890 | DAG
Born in 1956, is an artist, curator and writer. He has gained worldwide recognition and appreciation for his works through extensive participation in numerable exhibitions, shows, camps and other activities.
