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Artist Profile

Gazir Pat

Shambhu Acharya, the last successor of an age-old family tradition, painted “Gazir Pat” in line with the tradition, narrating the bravery of Shah Ismail Gazi, popularly known by his one-syllable name – Gazi. A saint from Mecca, he served Sultan Rukunuddin Barbak Shah in the 15th century first in the scope of an advisor who successfully mitigated an environmental crisis due to annual flooding. Then he was favoured by the Sultan and was asked to conduct warfare in different frontiers in Bengal, though later he also invited the animosity of the Sultan. However, due to his courage he became popular among the Muslims and the Bedey community who gave him the epithet of pir, a Muslim holy man. Sambhu Acharya portrayed the life of the legendary general turned pir as a tribute to this figure who is perceived as liberator. This is one of many paintings he has worked on over the years on the subject. A Gazi pat is usually 4.8ft long and 1.10ft wide and made of thick cotton fabric and uses red and blue as dominant colours. This work uses similar handmade fabric and natural colours and shows Pir Gazi sitting on a tiger, smoking from a hookah while defeating the opposition and celebrating life. This scroll painting is Shambhu’s attempt to capture a legend that has stayed in the collective memory of the people of the Bengal delta where history is often preserved in myriad forms of folklore.

Kesh Binnash - 2

“Kesh Binnash-2” is a patachitra, or scroll painting, by Shambhu Acharya where he veers away from tradition to portray everyday life. He painted the handmade scroll with natural orange and used it as a backdrop to create an eternal imagery of rural Bengal. Setting aside his preoccupation with history, myths, and religion, which are the staples for any traditional chitrakar or patuas, Shambhu painted something mundane. In this painting he painted two village women sitting at a courtyard while one is braiding the hair of another. Through this, he captures the bond and relationship of a lifetime. Being true to his craft, he used vivid colours made of natural ingredients.

Artist Art Style

As the artist of the ninth generation of patuas, Shanbhu Acharya’s art form now rests at the intersection of a personal trait and a long-held family tradition. Shambhu represents the last of a dying breed as across the Bangladesh patuas or chitrakars are few and far between. The first among his forebears was Ramlochan Acharya. As a tradition bearer of a tangible heritage, he has developed a taste for fine contour lines and vivid colours. The themes of his paintings are still bound up with myths and folklore, they include stories from Ramayana, Mahabharata, Manasa Mangal, Muharram, Ras leela, myths of Gazi, and also themes from the local folk culture. Being born into a family of patuas, he devoted his life to continue the age-old tradition. Yet, to do justice to what Shambhu has dedicated his life to accomplish, one needs to take into account the fact that he has also been able to give a new face to the tradition he belongs to.

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