The centenary exhibition of Attupurathu Mathew Abraham, known as “Abu,” at Delhi’s India International Centre offers a retrospective of his profound contributions to Indian political cartooning.
Curated by Abu Abraham’s daughters, an exhibition gathers 200 works of one of India’s greatest political cartoonists
The centenary exhibition of Attupurathu Mathew Abraham, known as “Abu,” at Delhi’s India International Centre offers a retrospective of his profound contributions to Indian political cartooning.
Born in 1924 in Kerala's Kollam region, Abu’s early life saw India’s transition from colonial rule to independence, shaping his eye for sociopolitical satire. His minimalistic yet incisive style transformed him into a critical voice of dissent, particularly during India's Emergency period, when he challenged authority with pointed humour.
Curated by Abu's daughters, Ayisha and Janaki Abraham, the exhibition, "Abu’s World," gathers over 200 works covering pivotal moments in Indian history, from the Congress split of 1969 to portraits of leaders like Mahatma Gandhi and Fidel Castro. Ayisha explains that 1969 was especially significant, with Congress undergoing ideological rifts that Abu documented with wry insight.
His “Private View” pocket cartoons capture the ordinary struggles of the time, offering commentary without overt sensationalism, while more daring illustrations during the Emergency underscore his resilience against censorship. Among these, a satirical drawing features a protestor with a “Smile!” placard, mocking restrictions on expression; another iconic cartoon captures President Fakhruddin Ali Ahmed signing ordinances from his bathtub, symbolising unchecked authority.
Abu's career spanned prestigious roles in the UK, including at The Guardian, before his return to The Indian Express, where he would define a generation of Indian satire. His nuanced style combined a lightness of touch with sharp critique, an approach that remains influential among contemporary Indian cartoonists who navigate similar political pressures. Chief Political Cartoonist E.P. Unny, who led a walkthrough of the exhibit, emphasised Abu’s impact, describing him as a “chronicler of the Indira era,” whose legacy persists in today’s politically sensitive media environment.
This exhibition is a testament to the power of satire. Through minimal, pointed illustrations, Abu wielded humour as a tool of defiance, offering a reminder that in times of constraint, the cartoonist’s pen remains a profound instrument of truth.