Page 346 - Art and Crafts of Bangladesh

FIRST GENERATION ARTIST 343

Here lies Sultan’s originality. The main heroes of Sultan’s paintings are the people
who have fought against nature for thousands of years and grown crops, who have
kept the production processes of this country active, productive people, struggling
people. They are the true architect of the economic structure of the country. Even
though these people are now sick and ailing, unfed and leading a miserable life Sultan
in all consciousness did not paint their distressed appearances on his canvas. Rather
he has glorified the life of struggle of the people who are still the majority and who
have kept the flow of life moving in this country (pl.8.24).
The subject matters of our two major artists, Zainul and Sultan, are the same—the
struggling Bengalis. Although these two great artists have common themes, we find
subtle difference not only in their styles but also in their presentation. Zainul’s people
are struggling, but Sultan’s people are not merely struggling they have already a large
measure of control over nature. Their presence over almost the entire canvas sends the
message of inexorable conquest. Here lies Sultan’s inner glory.
As an example, one may cite his painting entitled First Plantation (pl. 8.23), painted in
1975. This is considered to be one of the best works of Sultan. In this painting we see
the presence of an aged man (Adam?) almost taking up the entire canvas. The muscles
painted with the usual exaggeration radiate strength and capability. The wrinkles on the
face bear the sign of age but the two eyes are shrouded in dreaminess and
thoughtfulness. At the back the two naked divinities signify an unworldly atmosphere.
This event of the first plantation hints at the origin of civilization not only of
Bangladesh, but of the starting point of human civilization of the whole world.
The people of Sultan’s paintings are not only struggling with nature, but sometimes
they are vocal and struggling to establish their own rights. One may cite the examples
of his paintings entitled Char Dakhal (Grabbing of Rising Land), Krishaker Danga
(Peasants’ Rebellion)(1987), Sachal Sabak Itihas (Moving Speaking History) etc. It
should be noted here that Sultan has discarded all types of modern weapons from his
paintings. Thus, we see that the men of Sultan use the shield and spear. In Sultan’s
paintings we do not find anything which is produced by modern technology. To cite
Sultan’s own comments about modernism:
‘A village does not become modern even if all its houses are constructed with corrugated tin [iron
sheets] donated as relief. We did not produce the tin. The tin and the buildings do not belong to the
peasants. Our peasants have lived in thatched huts under coconut and dates trees, wearing the loin
cloth. The rest they have not earned, but it has been forced upon them. Thus, I never paint the rifle
or the gun. The sten gun and rifle was not manufacterd by myself, it was put into my hands. What
I did not achieve, is not mine. One cannot become modern with borrowed goods. Thus, I must paint
those date trees, thatched huts and peasants wearing loincloths. These truly represents our country,
and if it is primitive then be it so. 140
Thus, Sultan refused modernism, the glittering aristocracy of urban life, consumerism,
the rat-race for amassing wealth and the hypocrisy of the customary polish and values
of so called civilized, educated people. On the other hand, he relied on the toiling men
and women of the villages, on rural life unaffected by the curses of science and
civilization. He discovered all meaning in life in their way of life. As a result, he took