Zainul's 'Sangram'

The history of human civilization is essentially a history of struggle. As this struggle unfolds the dialectical aspects of the individual's daily life, it simultaneously becomes a narrative of the struggle for collective consciousness in a larger context. A single human being constantly struggles to survive against various natural and social obstacles. Again, in the struggle for the collective rights of the society, some individuals transcend their personal interests and play an active role. Observing the artworks of Shilpacharya Zainul Abedin, the pioneer of modern art practices in the country, various aspects of this struggle in human history are revealed.
An exhibition titled 'Sangram' is going on at Dhanmondi Gallery Chitra in the capital with various materials and 125 paintings of artist Zainul Abedin collected and preserved for seven decades. The exhibition was inaugurated on 13 December. Will continue till 31 December. It will show films from Famine, Life Struggle, Palestinian Liberation Struggle, Manpura '70 and Freedom Struggle series. Pictures painted in more than three decades from 1939 to 1976 have been placed in this exhibition. The exhibition will be open for visitors daily from 11 am to 8 pm.
Exhibition curator Suman Wahid said, 'I have been working with Abedin sir's paintings for a long time. Through the work, it seems that the man has painted a picture of struggle throughout his life. I thought, an exhibition can be made from this concept. Many such works have not been exhibited before. The various struggles of people have emerged in Abedin Sir's work. These works of different periods can be viewed side by side. I thought of organizing this exhibition from this idea. Then comes the progress in this matter - what kind of works can be taken, what else can be in the exhibition. Again we have passed 50 years of independence. Sir (Zainul Abedin) has some work on this, which has never been displayed before. They are also history of struggle. Apart from this, several unseen paintings of Zainul Abedin have been brought forward. There are practical works of the artist; Which indicates that the artist reaches the desired destination by painting the same picture multiple times. All in all, this exhibition will comment on Zainul's artistic struggle. This exhibition is of special significance for the audience or the art lovers.'
Shilpacharya Zainul Abedin's paintings depict the struggle for survival against the man-made famine of 1943. Again 'Manpura 70' people lost everything in natural disaster but became a symbol of hope. He has also glorified the struggle of marginal people for daily survival in his works. In particular, he celebrates and highlights the life and struggle of working people in the light of unique talent. Zainul was one of the main figures in the cultural struggle to become Bangladesh from East Pakistan. He was equally dedicated to establishing industrial institutions, preserving and promoting folk arts. He also prepared the layout of various movement banners with great enthusiasm. Not only in this country, but the Palestinian refugee camps in the Middle East were alive in his heart and soul.
In 'Guntana', 'Niden', 'Khuntibandha Guru', 'Mud-stuck bullock-cart' in the joint efforts of the driver and the animals, etc., a constant struggle of mind power against the current is seen. Two people are pulling guna and in that violent tug-of-war, their bodies are tilted like bows. That strange tension is transmitted in their body. A cow tied to a pole lowers its head and concentrates all the energy of its body to break the ties of the pole and try to free itself. These are the images of struggle. Again, he has shown the form of struggle in women's films.
Suman Wahid said, "The main aim of this exhibition is to reveal the diversity of people's personal and social life in the light of Zainul Abedin's creation. By exhibiting 'Sangram' on the Golden Jubilee of Independence, we want to bring that struggle back to the audience."
Shilpacharya Zainul Abedin came back after partition and many artists were created. He was not only an artist himself, he was an artist making artists. His paintings are human alongside the political and struggle stories of an artist's practice. These words came out in the speech of the guests at the opening ceremony of 'Sangram' exhibition.
Of the 125 paintings in the exhibition, 122 were taken from the artist's family. And three paintings were collected from a collector. A kherokhata and the artist's drawing materials also came up in the exhibition. Engineer Moinul Abedin, son of Zainul Abedin, said that many rare pictures were found in various trunks of the house, in Shilpacharya's kherokatha. During the war of liberation, he also bought notebooks and painted pictures. These pictures have been placed in this exhibition. He also said, 'This achievement is entirely my mother's. We can see them now because he had collected many works and all the papers of his father with great care.' Professor Syed Azizul Haque of Dhaka University said that Zainul Abedin has highlighted three types of struggle in his films - people, politics and artist's practice.
In the thirties of the 20th century, Zainul Abedin's courage to journey from a lower middle class Bengali Muslim family to the path of industry is revealed in his struggle mentality. As the struggle was against the limitations of one's own poverty, it was also about breaking the cycle of confusing religious interpretations about art and engaging in art. Just as there was a sense of insecurity in the determination to move from the prosperous city of Mymensingh to the friendless environment of metropolitan Calcutta, there was also a sense of profound uncertainty about future livelihoods. The struggle to establish himself in the Art School of Calcutta, overcoming these real and imaginary obstacles, had no less friends for him.
In view of the state-political changes of 1947, his arrival in Dhaka created another field of struggle. The nature of this struggle was no longer limited to the individual level. Added to this was the important question of associating a nation with art. The form of this struggle is more difficult, wider and broader. In this struggle, the question of self-sacrifice as an artist and national interest comes to the fore. He elevated modern art to a new level by connecting and harmonizing folk art with modern artistic sensibilities. He was equally dedicated to establishing industrial institutions, preserving and promoting folk art, he also prepared the layout of banners for various movements.
He had to go through a difficult path to become an artist. The struggle of his life touched the artistry. That is why his films show a constant struggle - sometimes for survival, sometimes for daily life, sometimes for collective rights.