On 26th May 1906, Ramkinkar the legendary artiste was born in a penurious family in Yugipara, in the district of Bankura. His parents were Chandi Charan Paramanik and Sampurna Devi. Ramkinkar had an elder brother Rampada and four sisters. Tragedy struck his family during his tender age when his younger sister sank in the water and died a pathetic death. His maternal uncle’s house was in Kodakulipara, Vishnupur.
From his childhood, Ramkinkar had a keen aesthetic sense and an artistic bent of mind. The colony of the carpenters was situated near Yugipara. The inhabitants of this place were skilled artisans. They were equally adept in pottery and wood - carving. In Bankura, painters and skilled artisans were very much adored. Ramkinkar took his first lessons in sculpture from Ananta Sutradhar who was popularly known as Ananta Mistry. However, this quintessential painter and sculptor was an innate genius and was basically self-taught.
The exquisite stone carvings and beautiful designs of the temples in Vishnupur fascinated Ramkinkar. He derived inspiration from them for his future creations. At an early age, he started to make sculptures with burnt clay and stone. Besides, he had an intrinsic proclivity for painting and drawing. He became adept in dealing with water colours and making oil-paintings at an early age. He came in touch with Jamini Roy in Beletore. At that time, Jamini Roy was very much influenced by occidental art and followed it to a nicety. While in Bankura, he was fortunate to have got full support and inspiration from his parents to carry on his artistic pursuits. His kith and kin had also played a positive role in moulding him as an artist par excellence.
Ramkinkar received his primary education in a local ‘Pathshala’ (rural lower primary school). Later, he studied sporadically in the Banga Vidyalaya and Jatiya Vidyalaya. In the interim, he got admitted in the Night School as well. During the Non Cooperation Movement, he had established propinquity with the renowned professor and patriot Anil Baran Roy. The latter inspired Ramkinkar to make portraits of Chittaranjan, Arabindo Ghosh and M.K. Gandhi in oil - colours.
Ramkinkar put the Kibosh on his academic life much before appearing in the Entrance Examination. For a short while, he acted as the art designer in local theatres. He was a dab hand in drawing background scenes for theatres, writing sign boards for shops, decorating the carriages pulled by stallions and making clay idols of deities. In this regard, he owed his knowledge and skill to Ananta Mistry. Ramkinkar, it is heard, was adept in making images of Bhadu (rural object of worship. It is a popular festival in rural Bengal. Bhadu is believed to be a benignant Goddess whose blessings would usher in better harvest and good times).
The Swadeshi Movement was intensified during this phase and Ramkinkar somehow joined the ‘Swadeshi’ bandwagon. He had also developed an intimate relationship with the Ramkrishna Mission. It is painting that brought him to Calcutta. He came here in search of better colours, brushes and superior devices for enriching his artistry. He sent some specimen paintings for the ‘Bharatharsha’ from Bankura.
In Calcutta, he happened to meet Ramananda Chattopaddhaya whose valuable influence transmogrified his life. After delivering his valuable discourses in the Brahma Mandir, Ramananda came to Ramkinkar’s house in Pathakpara. Earlier, Ramananda had seen a unique painting of Ramkinkar in an exhibition. He was so deeply moved that he called on young Ramkinkar and advised him to take some training in Shanti Niketan which he thought would churn out the best of his creative self. In due time, Ramanada sent a missive to Ramkinkar and invited him to Shanti Niketan. The missive also contained the route-direction to Bolpur.
Ramkinkar set off for Shanti Niketan with some specimens of his paintings. These works contained the signature of dexterity which he had attained he had attained as a painter a sculptor in Bankura. He arrived in Shanti Niketan in 1925. At the age of nineteen, he got admitted in the Kala Bhavan. Here his knowledge was enriched, vision widened in an infinite perspective and his creative self was enlightened.
In the Kala Bhawan, he became the disciple of Acharya Nandalal, the seigneur’s artist. Moreover the ambience of the ‘Ashram’ (hermitage) in the bosom of nature, the sylvan surroundings, interesting curriculum with a perfect amalgamation of formal studies and extra - curricular activities, hob-nobbing with several illustrious artistes transmogrified him as a creative genius. Above all, there was the invisible but vehement influence of a towering personality which permeated all living beings and even non-living objects of the ‘Ashram’ and sanctified the atmosphere.
In the Kala Bhawan he was fortunate to get Dhirendra Krishna Dev Burman, Ramendranath Chakravarty, Manindra Bhushan Gupta, Satyendranath Bandopaddhaya, Binod Behari Mukherjee as his compeers. He visited different parts of India with his friends and teachers and witnessed the vestiges of exquisite art and culture of ancient India. The capacitive old paintings, sculpture and architectural grandeur fascinated him. He was mesmerized by the rich heritage of Nalanda, Rajgeer, Jaipur, Chitor, Udaipur. He had a zeal for traveling and his itinerant self prompted him after twenty six years to visit Mumbai, Aurangabad, Ellora, Konarak, Gopalpur and several other places.
Ramkinkar started to undergo rigorous training in painting and sculpture simultaneously at the Kala Bhawan. Initially, he followed the conventional norms of painting in Bengal. Soon, he started drifting from the age - old patterns of art and introduced innovative techniques. He also went on making oil - paintings with the exuberance of an enlightened artist. In this field, he had some differences of opinion with Nandalal the maestro. Despite this, the latter was very fond of Ramkinkar because he had recognized the genius in him. However, in the field of sculpture, Ramkinkar had always been the undisputed champion and a trend - setter.
In the Kala Bhawan, Ramkinkar was privileged to learn from two occidental teachers. Both these preceptors were ladies. Liza Fon Paut was a sculptor from Vienna whereas another teacher was Margaret Milword. The latter was disciple of Bourdell who was again the disciple and an ideal student of the legendary Rodan. Another illustrious sculptor from Britain arrived in Shanti Niketan during this time. His name was Bergman. Ramkinkar learnt some techniques of sculpture in ‘relief,’ a method of carving, moulding etc. in which design projects from surface. However, Ramkinkar simply learnt some professional techniques and skills from his teachers for rendering that extra touch of excellence to his art. But the fundamental ideas, outlook and visualization of Ramkinkar remained unaffected and could not be least influenced by anybody. In contriving a multitude of artistic designs, he has always shown signs of originality and a class which was hitherto unknown.
Ramkinkar was especially indebted to yet another occidental artist. She was Kramriteha. She had taught him the history and background of western art and discussed the neo - European trends and style of art in the post - Renaissance period. Ramkinkar was fortunate to go through several prints from the precious collection of Ms. Stella Kramritche. This was a boon for Ramkinkar and his knowledge was thoroughly enriched. This could only take place under the patronage of Rabindranath Tagore. He sincerely wished that the artist - members of his ‘KalaBhavan’ should be well abreast of all current affairs and whatever is happening in the world of art and culture all over the world. In fact, it was Tagore’s Kala Bhavan which made such a noble endeavor for the first time. Even in Europe, the new genre of art culture had not held its sway till then. The enormous library and museum of Kala Bhavan were built on generous donations from the connoisseurs of art and culture from all corners of the globe.
Ramkinkar finished his studies in the Kala Bhawan in 1929. For a little while, he practiced artistry independently in his own way. He even served Kala Bhawan as a teacher without talking any remuneration. In 1931, he was appointed as the ‘Arto Teacher’ in Ushagram Missionary School of Assansol. In the 1932, he was again appointed as the ‘Arts Teacher’ in ‘The Modern School’, New Delhi. Here he made ‘Saraswati,’ one of his remarkable works. At last in 1934, he returned to Shanti Niketan and joined the Kala Bhawan on a permanent basis. Henceforth started his myriad and colourful creations. He used water - colours and oil - colours with a dreamy grace and made exquisite sceneries, portraits etc. Many of his beautiful paintings were based on the everyday lives of the people around him. Simultaneously, he worked assiduously to carve a distinct niche for himself in the sphere of sculpture. He worked spectacularly on ‘Shyamali’ (Rabindranath Tagore’s house) with natural elements like cowdung, tar etc. Next he Made ‘Buddha’ an exquisite ‘relief’ work in the walls of ‘Kalo Bari’.
Soon, Ramkinkar the innate prodigy, started to work with cement and concrete as an innovative move, with his characteristic to do something different. In this regard, he followed his own style and device. Some of his remarkable works in this trend are ‘Santal Parivar’, ‘Dhan Jharai’, ‘Kaler Banshi’, ‘Buddha’, ‘Matsya Mahish’, ‘Gandhi’, ‘Timi’ etc. In front of the Maharshi Bhawan, near the temple, he made a spectacular sculpture entitled ‘Alor Jhar’ (1940). It was the first Indian work of sculpture in abstract art and is of immense significance. Ramkinkar had done this work when he was working as a professor in Biswa Bharati. He was then under the patronage of touring personalities like Rabindranath Tagore and Acharya Nandalal who were his mentors and guides. By then, his fame had even spread outside Bengal as an artist par excellence. His sculptural pursuits went higher everyday.
Besides these works, he was also adept in making statues. He went on making several statues which proved his class and versatility. He made two statues of Rabindranath which were simply outstanding. One of them was abstract art which revealed his genius like never before. Some other remarkable works were Ustad Alauddin, Ganguly Mashai, Abanindranath etc. He worked tenaciously with sand and lime. Some of his exquisite ‘relief’ works were ‘Natmallar’ and ‘Lalan Fakir’. Two of his magnificent works remain incomplete to this day. They are ‘The wirth of fire’ on top of the stage in the ‘Natghar’ and ‘Speed’. The latter was started in the courtyard of Sankha Chowdhury’s house who was his disciple. He had conceived of another spectacular work ‘Balidaan’ (sacrifice) for the new school building in Purva Palli. The pedestal made for holding the statue still casts a vacant and barren look.
Ramkinkar, the versatile artist, had also made some marvelous works in ‘graphics’ which means the production or use of diagrams etc. in calculation and design. He had also worked outside Bengal and earned universal fame and reverence as an artist. He was invited by the Govt. of Nepal to make the status for the ‘Nepal War Memorial’ in 1944. In 1966, he went to Delhi on the invitation of the Indian Govt. to sculpt ‘Yaksha Yakshi’ in stone. Again, he made a unique bronze statue of Mahatma Gandhi in 1969 in the premises of the Kala Bhawan for the Assam Government. Ramkinkar’s fame and achievement had crossed all geographical limits and borders. In far - off Hungary, beside the lake Balaton, he had made a bronze bust Rabindranath Tagore in 1956 which has mesmerized the connoisseurs of art.
Ramkinkar was very fond of listening to songs. He was a connoisseur of classical oriental music. He was particularly fond of Rabindra Sangeet which was his soul’s nourishment. He took resource to Rabindra Sangeet whenever he faced some mental crisis and even at times of ecstasy. He was fortunate to have heard Gurudev Rabindranath Tagore singing his divine compositions himself. He had also heard the songs of Dinendranath and very fond of listening to Suchitra and Mohar, the illustrious students of the Ashram. Ramkinkar had a mellifluous voice and was himself an authority in Rabindra Sangeet.
Since his childhood, Ramkinkar was keenly interested in theatres. While in Bankura, he used to delineate vivid and colourful background scenes for the local theatre. In Shanti Niketan, he showed his acting prowess in a number of plays which were directed by Rabindranath. Simultaneously, he did the work of art direction, set direction and make - up. Ramkinkar had even directed a few plays in which he performed as an actor at times. The legendary actor Balraj Sahani was then working as a professor in Biswa Bharati. Mr. Sahani was directing the unique play ‘Satranj Ki Khiladi’ in the Sangeet Bhavan (1946). He developed the task of art direction and costumes on Ramkinkar. On the following year, the prodigious artist performed the same roles for the play ‘Bhushandir Mathe.’ The venue, however, was the same. In 1948, he again performed as the art director in the play ‘Othello’ which was held at the ‘Dwarik Bhavan.’ In 1949, he performed the role of art director and costume designer in the humorous play ‘Ha-ja-ba-ra-la’ held in the New Empire Building. In 1951, ‘Arup Ratan’ was held in the Sangeet Bhavan. It was produced by Sahityikar. The art director and costume designer was none other than Ramkinkar. In 1953, Ramkinkar directed the play ‘Mukta Dhara.’ Besides performing the dual roles of art director and costume designer, the maestro also in the role of Dhananjay with finesse.
In 1957, he played the dynamic role of Bishu Pagla (Bishu, the lunatic) in the evergreen play ‘Rakta Karabi.’ He proved his singing prowess in this play as he sang the songs of Bishu and enchanted the audience. He was also in charge of art direction and make - up. In 1959, Tagore’s masterpiece ‘Kshudita Pashan’ was held in the Sangeet Bhavan. The concept of the stage and entire art direction was conceived and supervised by Ramkinkar. In 1966, he again performed as the art director, costume designer and make - up expert in the boisterous comedy play ‘Lamba Karna Pala.’ In his early years, Ramkinkar was actively involved with the nationalist movement and participated in the Non-cooperation Movement. At the down of youth, he dedicated himself to the cause of art. But he was never indifferent towards the other aspects of life. He was fully aware of all the nationalist movements and the minute happenings anent to the freedom struggle. He had deep reverence for Gandhiji and Netaji. The soft and sensitive soul of the maestro was tormented at the deplorable plight of the country culminating from natural calamities like drought, famine and floods. His heart bled profusely as he saw sons of the some soil killing each other to quench their fiendish blood - thirst in the worst communal riots. His humanitarian self simply could not tolerate the diabolic massacre of the world war. The sensitive artist was deeply sad at the sufferings of his motherland under British domination. However, he was all the more grieved at the irretrievable decline and break down of moral values, ethics and humanitarian principles after the country had attained independence. He gave an outlet to his pent up grief and despondency through his paintings and sculptures. But in the end, like a true artist, he has kept his peckers up and remained optimistic. In the heart of hearts, he has never lost faith in humanity.

Exhibitions: Since his early days as a student in Kala Bhavan, Ramkinkar’s spectacular specimens of artistry used to adorn the exhibitions. He won the silver medal in ‘Nikhil Bharat Shilpa Prodarshani’ in 1925. It was held in Lucknow. Gradually, his artistry started to be exhibited in all major centers like Masse Hall in Delhi. Havel Hall in Shanti Niketan, mobile exhibitions in Calcutta, Singha Sadan in Shanti Niketan, Birla Academy and Artistry Hall in Calcutta, Nandan and Rabindra Bhavan in Shanti Niketan and Lalit Kala Academy in Delhi. In 1946, his first international exhibition was held in Paris which had several renowned participants from all over the world. In 1950 and ’51 consecutively, his paintings were again exhibited in Paris. During the festive spring exhibition, Ramkinkar’s paintings were exhibited along with specimens of the legendary Picasso and Matiz. In 1979, one of his outstanding paintings along with a brilliant piece of sculpture was sent to the renowned exhibition held in Fukuoka, Japan.
Ramkinkar did not have a godfather or blind patron to promote him and bring him into the limelight. Neither did he need one. He was a dedicated artist and earned universal fame and recognition by dint of his perscucrance and devotion for his art. In these days, recognition, honour and appreciation of an artist’s work was not shown by means of pecuniary rewards as is the custom today. However, Ramkinkar finished his studies in 1929 and became a permanent teacher in 1934. Before this, he had acquired handy experience of teaching by rendering voluntary service as an assistant teacher in 1930. Later on he was considerably influenced and inspired by towering personalities like Gurudev Rabindranath Tagore and Shilpacharya Nandlal which made him inextricably linked with all activities the Ashram (hermitage) since 1935 till the verge of old age. No other artist among his contemporaries has such a unique record of serving the Ashram in all possible spheres in such a grand way.
In 1934, he joined the Biswa Bharati as an Assistant Lecturer. In 1951, he became the lecturer. In 1951, he became the lecturer. In 1968, he became a professor on protem basis. In the following year, Ramkinkar was made permanent. He became the Head of the Department of Sculpture. He retired from the University in 1971 at the age of 65 after completing his tenure of service. He was given a warm felicitation in the Kala Bhavan on the eve of his 67th birthday. In 1975, the Biswa Bharati conferred on him the status of Professor Emeritus. In 1977, Ramkinkar was conferred ‘Deshikottam,’ the highest honour of the Biswa Bharati.
But the life of this successful artist was not all milk and honey. He had to face the heavy odds even after reaching the pinnacle of fame and success. Some prejudiced, power mongers heckled him unnecessarily and prevented him from completing a few works. Due to these stumbling blocks, Ramkinkar had to abandon some unique specimens of sculpture which would otherwise have enriched the world of art and sculpture. The same reason prevented him from materializing some of his grand ideas which were either nipped in the bud or snipped before they could even bloom properly. These heinous efforts, though unfortunate, could not suppress the high spirits of the enlightened artist. These impediments could not harness the creative zeal and gifted talent of the artist. But these definitely handicapped the institution - the vast and colourful world of art and sculpture. However, great artists in all times, have always faced such crisis but emerged victorious at last, as is the essence of true art.
Ramkinkar was a thinking person who was obsessed with his art. Work was worship for him and he was least bothered about the petty affairs of the material world outside. He never hankered for any pecuniary reward or honour to be conferred on him. He was very indifferent to all those honours that he had received in his lifetime. But it is a fact that this dedicated artist got his due recognition and honour from the connoisseurs of art. In 1953, he was cordially invited by the Baroda University for delivering his valuable discourses on sculpture. In 1954, he was selected as a member of the Lalit Kala Academy by the Government of India. In 1958, the Indian Government developed on him the prestigious task of designing the Bijynan Mancha on Pragati in New Delhi. In 1968, he delivered a lecture in the Nandan Hall of the Kala Bhavan as a special guest of the UNESCO. There he spoke with volubility about Shanti Niketan, the latest trends in art and the contemporary movements which influenced the world of art. In 1970, the Padma Bhusan was conferred on him. In 1975, he was honoured by the Paschim Banga Rajya Sangeet, Nrityanatya O Charukala Academy. In 1979, he was conferred the D.Lit. by the Rabindra Bharati University.
Joys and woes were finely intertwined in his life. But the noble artist remained unaffected by either success or failure. Many of his exquisite works were rejected at times on flimsy grounds. He had sent one of his marvelous creations for an international exhibition held in London. But that was rejected outright by the Mumbai Committee and sent back to Ramkinkar for some bizarre reason. He had taken great care and sculpted Netaji to perfection for being placed at the five-point crossing in Shyambazaar. The work was rejected. Again, he sculpted ‘Bagdevi’ for the ‘Jnanpeeth Puraskar Committee.’ But this wonderful creation was also turned down. On another instance, the impeccable statue of Rabindranath which Ramkinkar had sculpted on the bank of the Lake Balaton in Hungary, was about to be removed on account of a conspiracy hatched by a mean-minded and prejudiced minister. However, the artists and all connoisseurs of art protested violently against such sordid conspiracy and it was foiled.
Ramkinkar the generous artist was never deeply affected by these ignominious dealings and humiliations thumped on him for no fault of his own. Like a true artist, he accepted all the blows with a nonchalant spirit. But he bled profusely in the care of his heart for not being able to work in pease, a state of mind essential for all creative works. He had several frustrations, intense sorrows and pangs of failure and deception which he buried in his mind. He was not used in making any ostentatious show of grief or sufferings and never shared his sorrows.
Such an august personality and an ebullient spirit is indeed rare to find out. This profile artist fell miserably sick at the fag end of his life. In 1978, Ramkinkar went to the verge of senility and was ridden with several diseases. The minister of education and cultural affairs, Pratap Chandra Chandra sanctioned an excreta payment of Rs.3000 to met his medical expenses. For the time being Ramkinkar’s health was restored to a great extent. But in 1980, rampant diseases knocked him down severely. His limbs were inflammated with acute pain all over his body. He lost his power of movement. He was gingerly on the way of being dumb. His affectionate student Prabhas Sen found it difficult to allow the maestro die a helpless and tragic death. He held discussions with different art and cultural organizations as well as several connoisseurs of art in Calcutta for coming in succour of the quintessential artist. The Painters’ Forum came forward with this noble desire. The ‘Lokchitrakala’ magazine joined soon. Satyajit Ray, the illustrious student of Ramkinkar, put his earnest endeavour at this stage to revivify the sinking artist. Buddhadev Bhattacharya, the then minister for information and cultural affairs, declared that all expenses of Ramkinkar will be born by the State Government. Generous donations came from many corners including the private fund of the Vice-Chanceller of Biswa Bharati.
As his condition deteriorated sharply, his disciples and admires spearheaded by Prabhat Sen and two renowned physicians brought him to Calcutta from Shanti Niketan for treatment. He was admitted in the Woodburn Ward of Seth Karnani Hospital as a neuropathic patient. A panel of ace physicians suggested brain surgery as the last resort left. ‘The Democratic Association of Writers & Artists’ payed their last homage to the legendary artist in the hospital bed. Just a week before leaving for his Elysian abode, Ramkinkar sculpted the image of Devi Durga, the mother Goddess.
The surgery was conducted on Ramkinkar on 26th July. After the operation, he started showing signs of recovery. But the situation took a drastic turn overnight as he fell victim to cerebral haemorrhage and started sinking rapidly. On 2nd August, 1980, Ramkinkar passed away at 12.30 a.m. It was raining torrentially on that night as his defunct body was brought to Shanti Niketan. He was cremated in the funeral ground adjacent to the Ashram.
In 1949, he performed the role of art director and costume designer in the humorous ply ‘Ha-ja-ba-ra-la’ held in the New Empire Building. In 1951, ‘Arup Ratan’ was held in the Sangeet Bhavan. It was produced by Sahityikar