The comic muse, they say, does not inspire great art. Noble sentiments, the stuff of awe-inspiring works, are not within its purview. In traditional Indian aesthetics, however, ‘hasya rasa’ is as valid an emotional state as fear, anger, pity, and so on. Similarly, in contemporary art, the use of wit and irony is not to be dismissed lightly. It has given another dimension to the visual language. Modern sensibility savours its expression. It recognises that with the evolution of urban, technological society, art must and should go beyond the traditional genres and express new cultural and emotional values. Wit and irony are now often used as a comment on the conflict between what is considered traditional and what belongs to modernity, serving as a weapon to cut through cant. As in literature, the absurdities of modern existence are underscored with black humour.

One of the painters who added sharpness to his images with a liberal dose of wit is Shyamal Mukherjee, a towering figure in the contemporary art scene from Calcutta. Born in 1961 and hailing from Dasghara in the Hooghly district of West Bengal, Mukherjee is known for his highly stylised paintings executed in the century-old tradition of reverse painting on acrylic sheets. Using this vibrant craft, he created a new language for the medium that suited both his temperament and the viewers’ modern sensibility. In doing so, he breathed new life into an almost forgotten medium. Mukherjee believes that all visual arts are primarily based on visual facts and our corresponding responses to them. His works feed on many-layered impulses that temper romanticism with wit and a tinge of eroticism. The medium is explored and pushed to its boundaries, responding to a particular sensibility strand.

Characteristic of the artist, his sensuous and humorous works depict the lives, whims, and fancies of the Babu and Bibi, drawing upon the rich resources of myth, memory, and tradition to make powerful statements that express his unique vision of the world. His paintings reflect his various interactions with people during his travels and his close study of Bengali folk cultural practices. In his own words, “Most of my inspiration comes from observing people around me.”

The men and women around him—the musicians, auto drivers, gods and deities, calendars on the walls, movie stars, and snake charmers—all find their way into his paintings. A matching wanderlust propelled the artist to travel deep into the villages, marketplaces, and local fairs, where the profusion of colour proved to be a constant source of inspiration and joy, which is vividly reflected in his creations.

It was this unrelenting desire to draw and make a mark on the world that caught his fancy as a young boy, and that he pursued with complete dedication—rising at the break of dawn, drawing with a concentration that surprised everyone around him. This deeply committed passion led him to travel from Dasghara to Kolkata daily, attending painting classes at Rabindra Bharati University. His zest and candid approach to his craft caught the eye of Shanu Lahiri, the Dean of the Visual Arts Faculty, who greatly encouraged the young Shyamal. Right from his college days, the young artist was always engaged in searching for a new way of looking at things.

The visualisation of his characters is, to a certain extent, an extension of his personal preference for bold and bright colours—reflected in his choice of clothes and even his cars. Inspired by many visual idioms, Mukherjee has arrived at a style he can claim as his own. His spirit of experimentation and adventure has taken him far and wide, and his massive, voluminous figures of men and women seldom fail to evoke a smile.

- Vinayak Pasricha