Page 38 - Art and Crafts of Bangladesh

PAINTING 35

Bengali life avoiding direct political commentary in the style of traditional pata or
scroll painting that brought to life the desire for freedom of the Bengali people. The
indifference shown by the authorities then in power towards people whose lives were
shattered by the terrible cyclone of 1970 affected him tremendously and the 3o feet
long scroll drawing Manpura 70 was created. Memories from the line drawings of the
famine seem to be aroused here. Zainul seems to be almost razor sharp when nature
and humankind take conflicting stances. His paintings were mainly done in
watercolor. The numerous landscapes drawn in dark lines of the reed pen along with
watercolors have become a style that is unique to Zainul Abedin. His other well known
paintings include The Struggle, Apeksha and many others. 34
Following Zainul Abedin, seniormost among the artists of the forties was Anwarul
Huq. Though in his early stages he became known for his proficiency in painting
landscapes in watercolor in the western academic style, later he began painting in oil
color and still life and portraits became included in his repertoire along with nature
(pl.1.13). At a later stage, his paintings display an attempt to go beyond observable
reality, sometimes through a surreal expression, sometimes by arriving at a completely
abstract level. Here the artist has attempted to integrate organic and inorganic forms
on the pictorial surface mainly through lines and textures. He seems to be looking for
answers to the many questions and doubts about the universe, nature and mankind that
rose in his mind in these paintings.
One of the leading artists of the forties is Safiuddin Ahmed. In terms of creativity and
excellence, he holds a distinguished position both as a painter and a printmaker. In
fact, he played the role of pioneer in the practice of printmaking in the former East
Pakistan. In the Kolkata centric artworks executed prior to forty-seven, Safiuddin was
influenced by western naturalism followed by the art schools and the Bengal School.
In this period he became recognized throughout India as a distinguished artist in the fig. 1.18 Safiuddin
wood cut medium (especially wood engraving). Baner Pathey, Santal Bala, Ahmed, Fishing Net, oil
Homeward are important illustrations of his work in this period. Being brought up in on canvas, 1976