Page 345 - Art and Crafts of Bangladesh

342 ART AND CRAFTS

Probably, this is the origin from which the philosophical and theoretical foundation of
the artworks of his later life developed. Undoubtedly, he learnt a lot more from his
extensive experience in life. Thirdly, as Sultan himself admitted, his visit to many
museums and art galleries in Europe and America and his dialogues with artists gave
maturity to his thoughts on art. 135
Even his return to Narail when he was becoming a well known artist in the
international arena was not an impetuous or sudden decision. Sultan himself admitted,
‘I returned after giving it thought. I always thought that I would come back. I never
wanted to stay there. I never considered it to be my work-place.’ 136
Ignoring the enticement of wealth, fame and the attraction of good living, Sultan’s
return to Narail was an astounding event. Thus, he returned to his roots and refused
western modernism. He gathered materials from the every-day life-experience of
rural Bengal and created art works. In the history of fine arts in Bangladesh, in terms
of art and life style, we do not find a second example like this. The voice of the
common people and their lives were depicted in the canvas and paper of many other
artists. As examples, Quamrul Hassan and Zainul Abedin may be named. However,
Sultan is important because of the specialty and the distinction he has given to the
most ordinary working people of rural Bengal by painting them and that is
unprecedented. This is why perhaps National Professor Abdur Razzaque wrote, ‘The
art of Jasimuddin, Zainul Abedin, S. M. Sultan truly belong to Bangladesh; their art
works are nourished by the air and water of Bangladesh. It is doubtful, whether one
could give the same color or the same feelings to the crops by cultivating them on
any other soil ... those we see in Sultan’s paintings are the common people of
Bangladesh. The main characteristics of Sultan’s painting lies in expressing the
ordinary people as extraordinary. 137
Though Sultan selected the common people of traditional Bengal as the subject matter
of his paintings, in terms of style he cannot be said to be close to folk art. Rather his
paintings feel like an artist from the Renaissance period has portrayed the common
working people of rural Bengal. The male figures are vigorous in the style of western
art although Sultan’s well-built and beautiful women remind us of Ajanta-Ellora or the
pata paintings of Kalighat (fig. 8.25, pl. 8.22). Yet they are all Sultan’s ‘people’ who
are ever active, struggling and sometimes pensive. Sultan himself said, ‘One may find
the influence of Michelangelo or Vinci in my work but my intention is different. The
theme of my painting is different.’ 138
The theme of Sultan’s paintings are the ordinary working people of rural Bengal and
their lives. The philosophical thinking of Sultan in selecting subjects of his painting is
to be found in his own words:
‘The theme of my paintings is the symbol of energy. This muscle, it is used in battle, battle with the
soil. The strength of his arms drives the plough into the soil and produces crops. Labor is the basis. And
this region of ours has been dependent on the labor of the peasants for thousands of years. But these
peasants have been exploited for thousands of years... I have shown the thousand year old energy of
the peasants; I have exaggerated their inner strength. I tried to magnify the feeling of their labor.’ 139