Page 67 - Eye of the beholder

According to Sanjukta Sunderason, “This visceral presence of sights of emaciation and death as part of the everyday cityscape made famine imagery a staple of artists, writers and performers. As cultural production strove to visualize hunger and displacement, art was re-imagined as testimony, and the artist as activist. Realism was born in the streets of Calcutta, noted Burhanuddin Khan Jahangir, biographer of Abedin. In the early-1940s, Zainul Abedin was the youngest teacher at the Government School of Art in Calcutta, his finesse in drawing already establishing him as one of the most promising academic realists in the city. The famine thrust Abedin into a new form of realist visualization, as he encountered along his daily route, those who were destitute, competing with dogs and crows for morsels from garbage bins. Abedin drew these subjects, in haste, on cheap brown paper using common ink. Such sketches ran to the hundreds, the pressure of these events and situations, as he recalls, forcing him to change his style from impressionistic watercolour and naturalist drawing into a stark expressionistic idiom – in ‘very easy yet strong lines, in somewhat geometrical patterns’.”
He was originally from Mymensingh in East Bengal and Abedin had come to Calcutta in the 1930s, to train at the Government School of Art, a nineteenth-century colonial art institution committed to Western academic realist training. Since the 1930s, along with his fellow academic artists, Gobardhan Ash and Abani Sen, Abedin had begun sketching the city’s underbelly, industrial stretches, also retreating to rural outskirts, to portraying activities related to harvest and leisure, as well as tribal life and livelihood around Dumka in the Santhal Pargana division. Through the predominantly urban repertoire in his work through the 1930s, realism graduated from rigid naturalism to a social realistic aesthetic. Alongside the works of Chittaprosad, Sunil Janah the photographer, and others, they recount a common struggle of the avant-garde under colonial rule. Abedin remained a cultural organizer, pedagogue-activist working across the region, establishing art education as part of the public school system in Bangladesh (then East Pakistan), and he became engaged in the Bangladesh Liberation War movement.
SELECT REFERENCE
Sanjukta Sunderason, “Shadow-Lines: Zainul Abedin and the Afterlives of the Bengal Famine of 1943”, Third Text, Routledge Taylor and Francis Group, 2017
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