Amina Ahmed Kar’s intellectual and creative pursuits were ever-evolving. Her dual legacy as an artist and academic is reflected in her oeuvre, which remains largely unexplored. As one of India's early abstract artists, she created works across various mediums. Call it the academic in her who would leave no leaf unturned or an artist in search of her creative expression, Kar’s body of work transformed endlessly.
An artist and scholar of unyielding creativity and depth, Kar’s journey led her from traditional art forms to radical abstraction. Faces and figures frequently emerged in her works, reflecting profound philosophical inquiries and personal introspection. Alongside her artistic pursuits, Amina was a dedicated researcher in ancient Southeast Asian art and culture. Her seminal work, 'The Angkorian Records' (1977), showcased her ability to blend vivid creativity with rigorous academic research, leaving a legacy that beautifully merges art and intellect.
Early Years and Education
Amina Ahmed was born in 1930 in erstwhile Calcutta. Her father was a well-known Dental Surgeon and a politician. Kar was hence amidst an intellectually stimulating and culturally rich environment during her childhood. An enthusiastic learner, she showed early signs of academic excellence. Kar had an intrinsic passion for art and took to painting at a young age.
Academy of Fine Arts Calcutta Exhibition Catalogue 1946.
In 1946, at the mere age of 16, Amina’s talent for drawing was recognised when she was awarded the first prize for her work titled Manmohan at the Academy of Fine Arts’ 10th Annual Exhibition. The young student’s works were displayed alongside master artists such as Atul Bose, Gobardhan Ash, Zainul Abedin and Rathin Maitra.
In 1949, Amina’s keen academic aptitude and her curiosity about the art world led her to Paris at the young age of 19. Drawn to Indian culture, language and history, she studied Sanskrit Philology - a field traditionally focused on the history of language and literary texts. She also furthered her scholarly interest in art by studying Art History. Here, she was mentored by some of the most prominent French Orientalists including Philippe Stern, George Coedes, and J. Auboyer. Paris was a cultural melting pot. Her frequent interactions with bohemian circles and intellectuals affected her academic pursuits and artistic sensibilities. This was also the time when she met her husband and visual artist Chintamoni Kar.
Amina Ahmed Kar's artistic journey was enriched by a diverse and comprehensive education. She studied oil painting at the Académie Julian and graphic art at Hayter's Studio. Her academic pursuits included research in archaeology and art traditions of India at Sorbonne University in Paris. Additionally, she honed her skills in figural drawing at the Académie de la Grande Chaumière and worked in the Paris studio of abstractionist M. Cesar Domela, which significantly impacted her move towards abstract and geometric compositions. Her education laid a strong foundation for her innovative and abstract artistic expressions.
Amina as an Academic
Amina Ahmed Kar’s scholarly interests were vast and deeply rooted in the study of ancient Southeast Asian art and culture, particularly Khmerology. Her academic prowess is exemplified in her thoroughly researched book, The Angkorian Records published in 1977. This seminal work highlighted her dedication to understanding and documenting Cambodian iconography, merging insights from Indian and Iranian traditions. Beyond Khmerology, Kar's academic pursuits encompassed Graeco-Roman art, Indian art, and archaeology. Her extensive research and intellectual curiosity significantly influenced her artistic practice.
Developing her Signature Style
Amina Ahmed Kar, Untitled (Face of a Woman), Mixed media on paper
Kar derived her signature style from her experimentation with various mediums including pencil, ink, crayon, watercolour, oil, acrylic, lithograph, and etching on diverse surfaces like writing-paper and canvas. Her art was characterised by a ceaseless transformation, with the human face as a recurring motif. In one of her works, the half-face of a woman emerges from a complex interplay of bold lines and layered textures. This reflects her deep engagement with both form and identity, and her autobiographical journey with abstraction, adding a profound and reflective element to her work.
The obscure artist’s oeuvre reveals her preoccupation with South-east Asian art and architectural structures. While some of her works emit a sense of darkness with a blend of figurative realism and abstraction, her paintings also establish a significant female presence. The deformed female bodies and faces gently emerge from thick brushwork and cubist planes, creating a powerful visual narrative that encapsulates her unique artistic vision.
Amina Ahmed Kar, Untitled, Mixed media on paper
Kar's exposure to both European and Indian art forms, particularly during her time in Paris, significantly influenced her transition to radical abstraction. This period saw her deeply engaging with the works of artists like Matisse and Picasso, blending Eastern and Western sensibilities in her creations. Her technical skill evolved to include a complex layering of form, colour, and texture, producing works that defied simple classification into figurative or abstract, realist or expressionist. Her ability to represent intangible concepts through her art carved a unique niche for her creative expression.
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Amina Ahmed Kar, Untitled, 1958, Mixed media on paper
Amina Ahmed Kar's life and work are a testament to her relentless pursuit of artistic and academic excellence. Her legacy, a unique blend of vibrant creativity and scholarly depth, continues to inspire. Despite her profound contributions, Amina remains under-researched, adding an air of mystery to her already captivating work.
Throughout her career, Amina's works were showcased in several prestigious exhibitions, including Lalit Kala Akademi, New Delhi; The Academy of Fine Arts, Calcutta; Galerie Collette, Paris; CIMA; and NGMA, New Delhi.
If not for the dedication of her husband, Chintamoni Kar, much of Amina's remarkable work might have been lost. After her death in 1995, he tirelessly gathered her sketches and mixed-media pieces, preserving her legacy. His efforts uncovered treasures, like reams of sketches hidden in old household accounts books, revealing the depth of her talent.
Amina continued to experiment with abstract art during her reclusive years, producing works that were often left unfinished. Her pieces, a unique blend of figurative and non-figurative elements, reflect the complexity of her thoughts and emotions.
Her art is a seamless fusion of intellectual inquiry and creative expression. As we delve deeper into her oeuvre, Amina Ahmed Kar's legacy stands as a vivid testament to the enduring power of art and intellect, offering a rich tapestry for future generations to discover and cherish.
References
[1] Aveek Sen. “It’s Easy to Invent a Life.” The Telegraph, 2001
[2] Academy of Fine Arts Calcutta Exhibition Catalogue 1946. Prinseps
[3] Labonita Ghosh. “Galerie 88 in Kolkata Organises Exhibition of Abstract Painter Amina Ahmed Kar.” India Today, 2001.
[4] Samir Dasgupta. “A Twilight World.” The Telegraph, 2004
[5] “Amina Ahmed Kar.” Angkor Database
[6] “The City as a Museum - Edition 2.” DAG World
