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Artist Profile

Killing Field

The work memorializes the Pakistani army’s excesses during the Liberation War. When  Bangladesh’s birth seemed imminent, the Pakistani authorities implemented the most heinous plan to kill the Bengali intellectuals. By 11th December of 1971, they along with their collaborators started abducting university teachers, journalists, writers – intellectuals who had the courage to stay in Dhaka during the nine-month-long war – with the hope of draining the nation of its intellectual potential. The “Baddhabhumi” or the killing field is where their bodies were dumped. It is a place that Rafiqun Nabi has revisited in this painting where a pall of darkness covers the entire expanse of the canvas. The cruelty of the massacre is thus transformed into an image of catharsis in which the dead are lying at the foreground while our gaze simply rests on the blackness that dominates the composition. It is Rafiqun Nabi’s tribute to the souls we have lost, the price we have paid to attain freedom.

Fishermen at Rest

This panoramic picture is composed of a group of figural motifs set against a seascape where a sampan, an indigenous sea-faring boat, is plying. The fishermen are resting after the day’s work while the landscape is bathed in the afternoon glow of the sun. Sitting in the shadow of a couple of boats on the sea shore, the members of fishing communities are seen whiling away their time. Some are seen gossiping, some are in a leaning position while one is seen smoking hookah and another playing the flute. The fluteplayer seems to occupy the centre of the composition – he is the one who is in tune with the collective spirit of the community where nature still presides over their lives. The sea, the boats and the humans are all rendered in Rafiqun Nabi’s own style in which line and chiaroscuro play an important role.  

Art Style

Rafiqun Nabi’s primary references include people or animals and he always, as a rule, depicts them against natural settings. The mediums he has explored throughout his life – ranging from printmaking to watercolour to oil, or acrylic on canvas – have been instrumentalised to cultivate a signature style where bold lines accompany forms developed in negotiation of human and animal contours. In most of his forays there appears a tendency to capture the rural landscape or the lives of the toiling masses. When his concern veers towards urban life, the work takes the city skyline or a tokai (urchin) or two as his point of departure. The overarching rhythm that one can hear throbbing beneath his works have to do with Nabi’s ability to translate a real scene into his own composition. He does that by using a formal schema where bold lines and shapes make the images stand out against the backdrop. Ra Nabi, the pen name he used to use as a cartoonist, which got stuck to the collective psyche, is used while referring to his cartoons. Rafiqul Nabi is the name that the audiences still continue to associate with the printmaker-painter who still has the ability to churn out images of popular appeal.

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