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Artist Profile

Char Dakhal, or Battle over Shoal

“Battle over Shoal” is a 1990 oil on canvas by the master painter S M Sultan who had been living in his native village since the early 1950s till his death. Through his paintings he had developed a narrative of a coming society where the peasantry would own their own land. The contested idea of ownership has been a primary concern for the multitude who have been eking out a living from farming in the Bengal delta since time immemorial. Sultan has inserted into his landscape the idea of ownership to bring into view the fact that the peasantry in Bangladesh has been deprived of their rightful ownership though it is them who till the land to produce the staples. This late painting consists of the usual motifs of robust peasants who have waged a battle to take over the newly emerged sandbar. The artist always had the habit of representing a time that predated colonial rule, hence the spears carried by the muscled men. The organic life that Sultan was witness to, one which began to erode under modernism was also central to the artist’s vision. In this work, Sultan unveils the desire of the multitude whose life depends on the crop cycle.

Art Style

As one of the figurative exponents of the first generation, S M Sultan developed an oeuvre based on his vision of a community where everything is shared equally by the protagonists – the peasants. In his work the “rural” unfolds as the “primal location” where community members live as one with nature. To sum up his style, his philosophy to lend primacy to Bangladesh’s vast majority of people who live off the land and also produce the staple for the multitude as the main actors in the agricultural sector needs to be taken into account. At the centre of Sultan’s discourse of a coming society lay the idea of a pre-colonial egalitarian life lived in harmony with nature. To empower the peasantry he envisioned muscled men and women who have a shared vision to live and let others live bound by the ethos of collectivism. His figuration can thus be considered a way for him to capture the primal scene, where Adam and Hawa (Eve) and their sons and daughters are engaged in the making of an egalitarian community. The murals of Ajanta and Elora cave and those of the Sistine Chapel collide in most of his masterpieces where men and women are engaged in their day-to-day tasks.

Gallery