Art and Crafts of Bangladesh

398 ART AND CRAFTS


However, due to unfavorable circumstances, only after six
months he returned home at the end of 1958.
After coming back home from Europe Murtaja Baseer’s
lifestyle was bohemian and nomadic. This was when he
wandered about in different cities of the then Pakistan (Dhaka,
Karachi, Lahore, Rawalpindi, Sargoda etc.) in search of a
livelihood and got to know many renowned creative artists,
litterateurs and organizers. This is the phase of his life when
he revealed himself as a creative litterateur and film
scriptwriter. In fact, this restless nomadic period was one of
the most important chapters of Murtaja Baseer’s life. It was
when his work showed an individual expression, which
gained prominence over the factual depiction of visual reality
and manifested a quest for a language of art, reflecting the
agony of the age. The outline used on the canvas did not
remain confined to constructing the shape of the object but
gradually gained an expressive and independent entity. Village
Scene and Girl with Red Blouse painted in 1962 may be
mentioned in this context.
After getting married in 1962, Murtaja Baseer’s lifestyle
entered a new chapter and changes entered his art practice. It
is as though life and the world appeared anew in a glow of
colors - with a different meaning. Isolation, frustration and
fig. 9.31 Waiting for bohemian philosophy were replaced by a sense of togetherness. It is said that in the
Tomorrow (2), oil, 1955 four months after marriage he produced about thirty paintings. This is when he began
using golden and silver colors in his paintings along with other colors.
In 1962, the Art Council of Pakistan arranged a solo exhibition of Murtaja Baseer in
Lahore. This exhibition marked his gradual liberation from the direct influence of
prominent artists. His new works were created in the light of a new experience of life.
This exhibition projected a completely different character from his exhibition held in
the same city about two years ago, ‘Change was clearly evident in the majority of the
works exhibited. Following his recent experience in life, joyful bright red, golden and
silver colors replaced the gloomy grey, tired diminished green and pale blue in his
paintings. Even the blue and green that symbolized gloom in his earlier works are now
vibrantly expressive with a different radiance. The earlier thin line drawn with palette
knife or thin brush has yielded to thick bold lines, which are almost geometric.
However, the tendency of experimentation is present as in his earlier works, which
does not escape observation. But this quest is not out of confusion or delusion, rather
58
with considerable self-confidence and deep conviction.’ [Trans.]
After a few years’ gap there was held an exhibition of Murtaja Baseer’s famous Wall
series at Dhaka’s Press Club in March 1967 (fig. 9.32). In fact, this Wall series is an

SECOND GENERATION ARTISTS 399


important chapter of Murtaja Baseer’s art
where he perhaps wanted simultaneously
to address the concrete and abstract,
reality and the unreal, the objective and
the non-objective. Alternatively, perhaps
he wanted to transform the solid visual
experience into a symbolic expression
that takes us to the sensory perception of
invisible forms. ‘Here he has totally
detracted from the figure and is beholding
reality from a new vision. With this
artistic experimentation, however, was
linked his life and the philosophy of life
of the time which, after an interval was
again influenced by depression and
frustration. There is no existence of the form in the accepted sense of the word, in the fig. 9.32 The Wall-31,
works of this series but only what you may call the foetus of forms to be found in the oil on canvas, 1967
various scratches on the wall. The use of color is also quite regulated, in number and
expression; none of the red, green, yellow, black is agitated, being very unclear they
attain the character of expanding and spreading through which has appeared a kind of
reality which remains latent behind realism. Forms are created based on the idea that
is formed on viewing the walls thus painted, which in the amalgamation of line, plane
and line gives birth to new sensations. Depending on sensations, abstraction
continuously grows from a real scene. The dynamic identity of abstract realism is the
59
unique specialty of this series.’ [Trans.]
Two more exhibitions with works of this series were held in Lahore the same year and
in Karachi in January 1970. However, meanwhile in 1968 there was a retrospective
exhibition of the artist organized in Dhaka, where 57 paintings and 32 drawings of the
1954-1967 period were displayed.
During his stay in Paris from November 1971 to mid 1973, besides taking lessons
on etching and aquatint at Ecole National Superior de Beaux Arts and Academie
Goetz, Murtaja Baseer continued to paint. After returning home in 1973, the curtain
on his bohemian life was finally drawn through his joining the Department of Fine
Arts of the Chittagong University as Assistant Professor. Here he found as
colleagues the founder Chairman of the Department, Rashid Choudhury and friend
Debdas Chakraborty.
In 1974, Murtaja Baseer constructed a mural entitled Martyr’s Tree at Rajshahi
University in memory of the martyrs of the Liberation War. Constructed by cutting
over burnt bricks, this 13 x 32 feet mosaic is the most notable mural in Bangladesh
(fig. 9.33). Murtaja Baseer won the Shilpakala Academy Award in the first National
Arts Exhibition in 1975. In 1976 an exhibition of another notable series by him titled

400 ART AND CRAFTS


Epitaph for the Martyrs was arranged
at Shilpakala Academy. His works of
this period bears a kind of resemblance
to his Wall series, because here also the
source of creation is derived from
the real world (directly resembling
pebbles from his own collection).
However, in its pictorial language the
characteristic of the two dimensional
plane, the mood and emotions have
embarked on a journey towards
abstraction. ‘Murtaja Baseer’s last
notable work Epitaph for the Martyrs
is a series of paintings dedicated to the
anonymous martyrs of the War of
Liberation. Forms of various shapes
float on a white background, internal
shapes merging into each other in fine coats of various soft colors. Here the use of
60
shapes and colors is modest and graceful, texture is totally excluded.’ [Trans.]
The paintings of this series were executed during his stay in Paris in 1973 and after
he returned home. In 1979, Bangladesh Shilpakala Academy organized a
retrospective show of 221 selected artworks of thirty years of Murtaja Baseer’s
artistic endeavors (1949-1979).
At the end of the 70s Murtaja Baseer was inspired by the tabiz (amulet), solemani
designs, geometric shapes used on jainamaz etc. religious motifs which is evidenced
in his series of paintings entitled The Light (1979). More than two decades later in
2002, he painted quite a number of pictures based on Islamic calligraphy entitled
Kalima Tayeba (fig. 9.34).
In 2002 Bangladesh Shilpakala Academy organized an exhibition of paintings by
Murtaja Baseer entitled Pakha O Anyanya (fig. 1.26). The Wing series painted from
1998-2002 is inspired by direct reality like the Wall and Epitaph for the Martyrs






fig. 9.33 (top) Martyr's
Tree, brick, cement and
stone, 1974

fig. 9.34 (bottom) The
Kalima Tayeba-II, oil on
canvas, 2002

SECOND GENERATION ARTISTS 401


series. The variegated arrangement of colors and lines of the wings of butterflies is
the motif of this series. The artist himself has named his paintings done in this style
as ‘abstract realistic’.
When the Wind Blows (1983), The Wave (1984), Wreck (1985), Eruption (1998),
Canto (1999), Memory (2002) are also titles of serieses painted by Murtaja Baseer.
The Canto in acrylic is completely abstract, completely devoid of any relation to the
world of visible reality. In fact, in his tireless quest in art, the figurative and the
abstract have repeatedly returned in different phases of his painting. In some phases
pure geometric structure has played the major role in constructing his pictorial
surface; and then again in his very next phase he may have reverted to the
predominance of organic forms or figuration.
Murtaja Baseers strong drawings, his many self-portraits done at different stages of his
artistic life and works in the medium of collage demand special mention.
After teaching for a length of three decades, Murtaja Baseer retired from the
Department of Fine Arts of the University of Chittagong in 2003. At present, he
resides in Dhaka. In 2005, the Bengal Gallery of Fine Arts organized a retrospective
exhibition on the 55 years of research in art by Murtaja Baseer.
Murtaja Baseer has contributed significantly to literature, film and numismatics
besides his art practice. Some of his important books are Kancher Pakhir Gan
(fiction, 1969), Trasrenu (poetry, 1976), Ultramarine (novel, 1979), Murta O
Bimurta (compilation of essays, 2001), and Mudra O Shilalipir Alokey Banglar
Habshi Sultan O Tathkalin Samaj (research, 2004). He wrote the script and dialogue,
worked as the art director and also the chief assistant director of the film Nadi O Nari
based on Humayun Kabir’s novel. From 1964 to 1966, he remained more involved in
the film media.
Murtaja Baseer received various awards and honors including the ‘Ekushey Padak’
(1980) of the Bangladesh Government.
Murtaja Baseer avoided repetition and monotony in his long artistic life and has
always sought out new ways, which continues even now when he is above seventy
years of age.














Translated by Madan Shahu, Senior Assistant Editor, The Daily Star, Dhaka

402 ART AND CRAFTS



g. Abdur Razzaque
Nasima Haque Mitu


The main inspiration of artist Abdur Razzaque’s creations was the mystery of
nature, its variety, balance and discipline. Nature was his full-time teacher. He said
in a discussion that nature appeared before him as he embarked on each of his
works. 61 Therefore, his works display a mesmerized gaze, a sense of calmness,
balance and refinement.
In Bangladesh, the generation of people who got the opportunity for higher education
in the fifties and sixties made efforts to become completely modern human beings.
They tried to embrace spontaneous patriotism, secularism and a worldview within the
depth of their consciousness. Abdur Razzaque was an exemplary representative of this
generation. He was liberal, positive about life and was a believer in internationalism.
The people in the mainstream of society have changed to a large extent with the
passage of time, huge changes have transformed the beliefs and knowledge of the next
generation. However, Abdur Razzaque remained firm to his principles until the last
day of his life.
Abdur Razzaque was born on 5 November 1932 at the village of Digormohishkhali of
Bhedarganj police station under greater Faridpur district (presently under Shariatpur
district). His father was Sadar Ali Amin. He got his training as a surveyor from the
then Ahsanullah Surveying and Engineering School in Dhaka. His mother’s name was
Rizia Begum. Abdur Razzaque was the youngest of four brothers and two sisters.
He grew up in the village Digormohishkhali- his birthplace. He completed his
secondary and higher secondary education in 1947 and 1949 respectively from the
district town of Faridpur. He got his bachelors degree from the Institute of Fine Art,
Dhaka in 1954. He did his masters from Iowa State University in the USA in 1957.
fig. 9.35
Abdur Razzaque Abdur Razzaque was interested in painting from his childhood. During his school life,
he used to paint landscapes in watercolor. It is known that he filled up the pages of his
copies by drawing portraits of his physics and chemistry teachers. As his father was a
trained surveyor, they had mouja maps, surveying and drawing instruments in their
house. He had actually seen his father using these instruments in measuring land in the
village. These maps and drawing instruments created an interest in his young mind to
draw pictures.
Abdur Razzaque came to Dhaka to study engineering. But as he was more interested
in fine arts his elder brother took him to the Institute of Fine Art. Seeing the quality of
his drawing Shilpacharya Zainul Abedin admitted him to the Art Institute (1949).
Abdur Razzaque was a student of the second batch of Institute of Fine Art, Dhaka. He
got his bachelors degree in painting securing first position in the first class. After this,
he went to the United States winning the competitive Fulbright Scholarship. The

SECOND GENERATION ARTISTS 403


duration of this scholarship was one year. However, witnessing his skill, the university
provided him with an international scholarship and the position of research assistant.
Although he started his master’s course in oil painting, ultimately he got his degree in
printmaking. He took a course in sculpture in the final year.
It may be observed that Abdur Razzaque preferred to work in various media right from
when he began his art education. He says, ‘Only in this way may an artist achieve
completeness.’ 62 He tried to present the characteristics of each medium with the
highest level of dexterity from his student life. Along with this, his art works included
the visible and the invisible side by side. His visual language changed depending on
the medium. Sometimes critics have labeled him as an abstract artist and sometimes
he was called a romantic naturalist. One may try to understand his artworks by picking
up the clues presented by the visual character apparent in his works rather than putting
him in any particular category.
Abdur Razzaque worked in watercolor, oil color and printmaking. He did sculpture. A
major part of his works included drawings. He did not do drawing as primary drafts
of artworks. Drawing was a main medium for him. These drawings bear the testimony
of his perceptions on art. He was extremely spontaneous and comfortable in this fig. 9.36 James
medium. One can understand from his conversations that his drawing teacher, Leachey, Painter,
Professor James Leachey had influenced him greatly when he was doing his higher drawing pen and ink,
studies. In this period the common subject was drawing. After finishing the course, 1956
Abdur Razzaque got the opportunity to work in the drawing
laboratory. This is where he had James Leachey as his teacher.
Leachey had done drawings all his life. Drawing was his
obsession. He also collected drawings. His collection included
drawings by famous artists like Matisse, Cezanne, Picasso and
Braque. Abdur Razzaque recalled the names of other teachers
during his higher studies. His teacher of printmaking was
Mauricio Lasansky, teacher of aesthetics Lester D. Longman
and teacher of sculpture, Humbert Albrizio. However, it is likely
that James Leachey had the greatest influence on the artistic life
of Abdur Razzaque. He also became fond of collecting things
like Leachey. He collected works by other artists and kept notes
of theories and information that he got from time to time.
Above all these, there was the major influence of his teacher
Shilpacharya Zainul Abedin on the life of the artist Abdur
Razzaque. Talking about the works of Zainul Abedin, Abdur
Razzaque said, ‘Zainul Abedin wanted to work in many
different media and styles – drawing, watercolor, some works in
the contemporary style but his drawing surpasses all. Without
doubt, his works on the famine put him unquestionably in the
forefront. In these works his spontaneous emotions and power

404 ART AND CRAFTS


63
of observation found expression based mainly on drawing.’ He further said, ‘His
watercolors were very sensitive.’ 64 We observe with amazement that the prime
qualities that Abdur Razzaque identifies in the works of his teacher also became main
characteristics of his own works. For example, he worked in various media and
involved himself with modernity very closely. Nevertheless, the identities of his
exceptionally sensitive mind and a skillful artist have been revealed most successfully
through his drawings. On the other hand, his watercolors give us the testimony of his
close observation of nature and life.
One of the common areas of interest of Shilpacharya Zainul Abedin and Abdur
Razzaque was the everyday visual world. However, there are fundamental differences
in their observations. Before going into the details of this issue, let us focus on the
characteristics of presentation of the visible world in the works of Abdur Razzaque.
His interest in visual depiction has been revealed mainly through his drawings and
watercolors. The subjects of his drawings are mostly human figures while in
watercolor it is nature. Observation has been given greatest importance in drawing.
Abdur Razzaque was attracted to the minute change in sensation that is brought about
by the slight change in light or posture of the human figure. The qualities of his
drawings were built on his realistic, detailed observation and the sensitivity of his
lines. These characters are also revealed in his prints which are self-portraits based on
drawings. He used light, shade, and lines in many different ways to express different
dimensions of emotions. His drawings from the fifties bear the testimony of extreme
skill in the academic trend.
In the watercolors of Abdur Razzaque done in the fifties, sixties and seventies, the city
of Dhaka has been revealed in the wealth of its picturesque beauty. These landscapes
document the massive changes that transformed different places when Dhaka went
through the process of becoming a city. These works do not represent the memory of
Abdur Razzaque. He had drawn the landscapes of the fifties in the fifties and those of
the sixties in the sixties. He had documented the pictorial reality – he had tried to grasp
fig. 9.37 Boat the reality with the dimension of his own sensibilities. The ever changing appearance
Buriganga, watercolor, of Dhaka city, its nature, changes in pictorial positions of buildings, lanes and by-lanes
1953 in the process of new urbanization, the river at the edge of the city and the activities
centering around the river – all these
became the subjects of his landscapes
done in watercolor. He had chosen
nature bypassing the reality of conflicts
of city-centric life and the political
reality in those decades of this city. The
activities of life got importance in his
landscapes. Some of his watercolors are
based on the river. These include
Buriganga (1962), Boat Hotel in

SECOND GENERATION ARTISTS 405


Wiseghat (1953), Swarighat, Dhaka (1950) etc. He had worked on rivers and boats
until the nineties. The differences of nature in different places have been presented
with their unique characters in his watercolors through his view and composition.
Teknaf, Istanbul, Jaflong are examples of such works. Another aspect of his
watercolors that may be discussed is the social and cultural reality of different places.
Such works include Cock Fight, Thatari Bazar (1959), Boat Building – Sadarghat
(1951), Jatra – Rayer Bazaar (1972), Bamboo Market – Gopibagh (1953) and some
of his works on the construction works at Motijheel.
Seeing these works of Abdur Razzaque one may conclude that he dedicated himself to
visible nature rather than philosophical or psychological questions on the changes
brought about by time. Perhaps this was an effort at reconciliation with the change in
time. His compositions of watercolors encompass the entire surface. In his landscapes,
working class people have a major role. His use of color is realistic. He did not leave
any space in his composition; rather he has used visual perspective up to an extent. For
example, in both the works titled Fishing Boat (watercolor – 1974) by Zainul Abedin
and Boat, Buriganga (watercolor – 1953) by Abdur Razzaque our eyes tend to move
from left to right. Zainul had used suggestive lines and colors to fuse boats with the
riverbank and sky with water in the horizon, while Razzaque drew the details of the
riverside and drew the horizon in realistic perspective. The use of space by Zainul
depicted the vastness of nature while the space of Razzaque achieved completeness in
the details of life.
On the other hand, when he painted Buriganga in mixed media after a long time in
1991 we find the presence of some expressive lines and in 1992 in oil, it becomes
visible as a presentation of some colors without any sign of forms. He had
comprehended reality well and with this comprehension, he had entered the world of fig. 9.38 Self-Portrait 3,
abstraction. One of the tendencies of the practice of abstract art in Bangladesh is to engraving, 1956
comprehend reality and to reach abstraction through various
experimentations within the academic style. But in Abdur Razzaque’s
works one can ultimately find the conflict of the visible world and the
mental world. The conflict in the boundless attraction for visible nature
and the mental analysis of modern art surfaced as characters of his
works through his own language of art.
It can be said in gross terms that his works until 1957 may be included
in the academic trend and even his drawings and prints done when he
was studying for his master’s degree present visible reality. Whenever
he worked in a medium, he tried to use the character of the material of
the medium with extreme skill. It should be remembered that we may
make mistakes in understanding his works if we try to assess the
characteristics of his works by using time lines. Because, it cannot be
said that he had gone into abstraction from realistic works after a certain
time. He had done works like Self-portrait-3 (engraving) (fig. 9.38) and

406 ART AND CRAFTS


Inside (mixed media/print) at the same time in 1956. The light and shade in Inside had
gradually gone towards geometric form. Similarly, in 1972, he had done an open-air
sculpture titled Freedom Fighter and in 1973, he had done a lithograph titled
Composition-1 which is a non-representational print. Rather it can be said that the
language of art had changed in Abdur Razzaque’s works depending on the medium.
Line and tones became important when he worked in printmaking media like
etching, engraving or dry point. While doing lithographs he reduced emphasis on
forms and arranged the pictorial surface with light and shade and color. For example,
in the lithograph titled Composition-1 of 1973 black and white colors depict the
relation between two planes. His work in the acrylic medium titled Composition
follows the same mood. He did quite a number of works in the acrylic medium
during the later part of the seventies as again in the nineties. In the work titled
Composition – Red of 1976 the surface is covered with red color and beneath it one
can feel the presence of a color close to dark black. In some places, the black color
has reached the upper surface from within. On top of the red surface, there is a hint
of another rubbed surface using very little white color. Composition-6 of 1993 is
much simpler in composition. It is done by the flat use of blue, green, red, orange,
pink and white. Each color has its own style of brushwork and each one of them
gives the feeling of a separate plane. He used this pictorial language to its extreme
extent in his oil paintings.
It may be said that he had done abstract works in oil painting. During his higher
studies in America, he was in direct contact with abstract art of the west. Since the
Second World War Abstract Expressionism had become an influential trend in western
art and a new trend called Action Painting appeared. This movement was mainly
practiced in New York City of America. But Abdur Razzaque’s works were not
directly inspired by the philosophy of art of this period or by the works of artists of
this time. Rather, one can relate the abstraction of his works largely with the
abstraction of Cezanne. One can connect the abstraction of Razzaque with the abstract
trend that had commenced with the Post Impressionist efforts of Cezanne to reach the
substance of an object.
One can find the source of inspiration of the abstract work of Abdur Razzaque in the
titles of these works. The titles include names like Nature, Garden, Buriganga, River
View, Composition etc. His works started from nature and his interest in knowing life
through comprehending the ever-changing mystery of nature and giving them form
created his language of art. He said, ‘My works are constructed at a very slow pace. I
present the subject centering on color, form, line, shape and space. My works evolve
through various changes.’ 65 [Trans.] On this subject art critic Nazrul Islam says,
‘Razzaque’s paintings are created or rather they attain fulfillment through a process
which is like the balance of nature, the way the leaves and flowers of trees change their
66
colors and forms and attain fulfillment.’ [Trans.] It is known that it took months and
sometimes even years for Abdur Razzaque to complete some of his paintings. He

SECOND GENERATION ARTISTS 407


worked on them for some time and then left off for some time. He repeatedly sat in
front of the work, watched it, and then started to work on it again.
While talking about the abstraction in his works Abdur Razzaque said, when the visual
presentation of a flower is made - its size, color, difference in smoothness are
presented, then the flower is the object and the picture is object-based. However, along
with these there is also the fragrance of the flower, its surroundings, the beauty in the
totality of the flower and the presence of an unknown, great power behind the creation
of this flower. The fragrance, beauty and theory of creation are un-real, beyond the
senses and abstract. The picture that started with presenting the image of a flower
assumes an abstract form by trying to capture its hidden properties. He talked about
creating a total form of an object – the form that evolves through the synthesis of the
visible elements of an object and the invisible feelings about it. Along with this, he
tried to include the development of an object and its surroundings into a totality. 67
According to him, ‘I have tried to learn the laws of nature. I am interested to know life
68
fully and give form to it.’ [Trans.]
Some sort of similarity can be found between the process through which his paintings
were created and Cezanne’s theory of object-realization. Especially, the angular and
diagonal lines that Abdur Razzaque created using his brush to form the pictorial
surface of his oil paintings, which have similarities with the pictorial surface of
Cezanne. He created his picture surface by putting layers of color one on top of the fig. 9.39 Garden-1, oil,
other. There is a mixture of form and color. The layers have created the feelings of 1992
such unknown deep planes, which can be reached by
traveling from near to far away space. Eyes travel
between dark to light colors and vice versa. His use of
colors is based on nature and in many cases, there is
prominence of blue and green. Along with this, there is
a special role of red. These characteristics can be found
in almost all his oil paintings (fig. 9.39).
Abdur Razzaque came back home from America in
1957. He started to teach in the Government Institute of
Arts (name of that time) in 1958. Until 1963, he worked
mainly in oils. During this period, he also did some
prints. In 1963, a major change came in his artistic life.
The Government Institute of Art became East Pakistan
College of Arts and Crafts because of student
movements and the BFA bachelors program started. At
that time, some other departments were introduced to
give the Fine Arts College a complete form. The
Sculpture department was established and Abdur
Razzaque was given the responsibility of building up
this department. The institutional education of sculpture

408 ART AND CRAFTS


in Bangladesh was introduced through him. Until then, the sole example of modern
sculptural practice was the works done by Novera in the fifties. Novera had come back
home in 1956 after completing her studies in sculpture in Europe. She had done
sculpture here and did a solo sculpture exhibition at the Central Public Library in
1960. Novera had introduced the people of Bangladesh with western modern
sculpture. She had left for Europe within a short time.
In such a situation, Abdur Razzaque was given the responsibility of starting the
institutional education of sculpture. It has been said before that he had specialized in
printmaking and as he had interest in many media he had taken a course in sculpture
while doing his masters degree. This experience and his interest in various media gave
him the courage to establish this department. From this time onwards, he himself
became specially focused on the practice of sculpture.
Face of a woman-1 (Bronze) (pl. 2.13), Face of a woman-2 (white cement) and Sitting
(bronze) – are works of Abdur Razzaque done in 1964 which were all done studying
the model. Here in these works we can observe the qualities of his model drawing.
Sensitive contour and finding relationship among various planes are common
characteristics of these works. Naturally, these have been achieved in the western
method. Here we must mention that the practice of art, specially the practice of
sculpture in Bangladesh reflects the distance that the Muslims of Bengal felt with the
tradition and culture of their own land due to politics and religious belief since the
British period. As a result, the modern institutional practice of sculpture could not be
related with the rich tradition of sculpture of Bengal. It can be said that this trend
started with these early works of Abdur Razzaque done in the academic tradition. It
will also not be irrelevant to state that prior to these works, the works done by Novera
were also fully committed to western modernism.
Open-air sculpture is a special form of sculpture, which was made possible in the early
stage of sculptural practice in Bangladesh by the War of Liberation. In 1972, Abdur
Razzaque did a black and white sculpture titled Shaheen for the Air Force Head
Quarters through the patronization of the defense forces. In the same year Abdur
Razzaque did the first open air sculpture titled Freedom Fighter (white cement and
concrete/height 42 feet) through the initiative of Brigadier Amin Ahmed Chowdhury
Bir Pratik and some other freedom fighters (fig. 2.50). The work was installed at the
Jaydevpur cross road. The place is now known as Jagrata Chourangi. The work
presented the simplified form of reality.
Abdur Razzaque did his sculptures mainly in three media. He tried to grasp the
characteristics of each medium and the language of his work changed depending on
the medium. For example, 1. He used clay and did casting in cement or bronze. In
these works, his subjects were human figures. In presentation, he emphasized visual
observation. 2. Wood carving. In these works he mainly did abstract forms. These
works include Construction-2 (1975), Sculpture (1975), and Form (1976). In these
works, he used the original form of the wood piece to create the form of his sculpture.

SECOND GENERATION ARTISTS 409


These sculptures include the harmonizing of smooth planes and rough
planes. Along with this, there is the importance of contour lines and lines
merging in planes. 3. He made sculptures by joining metal or wood pieces.
This can be termed as ‘Found object composed.’ Names of such sculptures
include, Construction-3 (Steel, 1980), Standing Form-1 (metal, 1983) (fig.
9.40), Standing Form (wood, 1995), Cactus (metal, 1998). In the work
Standing Form-1, one can see the combination of perforated sheet with
solid sheet and presence of some horizontal lines with vertical lines. These
works include the light synthesis of texture and lines.
The foundation of modern sculptural practice was laid through the early
works of Abdur Razzaque. As a result, his thoughts on sculpture have a
special role in the world of sculpture in Bangladesh. His interest in various
media had inspired him to create sculptures and in the early days of the
sculpture department, it was important to have examples of works in
different media. On the other hand, he was devoted to the academic style
and he was a believer in internationalism. The effort at synthesis of the
academic style with modernity, which we witness in his works, is how the
practice of sculpture in Bangladesh began. Two things played important
roles in his works. 1. Building three-dimensional expressions by
comprehending and mastering the media. 2. Modern sculptural practice as
seen by him during his time.
Abdur Razzaque had to spend a lot of time to build up the sculpture
department. He was the first teacher of all major sculptors of Bangladesh.
He not only accepted the responsibility of a teacher, he considered teaching
as an important part of his artistic life and found pleasure in this
responsibility. One can find a sensitive, lively person in all his works, as if
he was engrossed in art in search of life and he found the taste of life in art.
Abdur Razzaque had written articles on art. Starting from the early sixties
until the mid-eighties, he had taught as a part-time teacher in the
Architecture department of the Engineering University. He was involved
with a number of art related organizations.
In 1989, he was awarded Ekushey Padak (highest civilian award in Bangladesh fig. 9.40 Upright Form-
awarded by the government) as recognition of his lifetime contribution to fine arts. 1, metal, 1983
He received the Bangladesh Charu Shilpi Sangsad (organization of artists) honor in
the same year.
Abdur Razzaque died among his students on 25th October 2005 while conducting a
drawing workshop at Jessore, Charupith (a fine arts institute).




Translated by Mahmudul Hossain, Editor, Drishyaroop, Dhaka

410 ART AND CRAFTS



h. Qayyum Chowdhury
Syed Azizul Haq


After the pioneering artists like Zainul Abedin, Quamrul Hassan and Safiuddin Ahmed
– Qayyum Chowdhury’s name is the most popular among the first generation artists
of Bangladesh. He is famous for his cover designs – but his significance as a painter
is immeasurable. Although Kazi Abul Kasem and Zainul Abedin led the way for
applied art in Bangladesh, Quamrul Hassan helped this field to flourish and it was
Qayyum Chowdhury’s unswerving creative efforts that brought maturity to this art.
During the last fifty years, he has adorned this field with abundance and diversity. His
world of painting, on the other hand, resonates with the ebullient nature and life in
Bangladesh. The landscape of Bengal becomes lively in the composition of color and
form in the canvas of his painting. His deep compassion for the motherland gave him
an inimitable artistic consciousness. Nourished by progressive ideals, his secular
philosophy of life also resounds with the desire for the unfettered mind. A passion for
literature, music and film made his quests of life optimistic, variety seeking and an
abundant source of good taste.
Life Story
Qayyum Chowdhury was born on March 9, 1934 in an educated and aristocratic
family of Feni, Noakhali. As his father, being a cooperative-bank official, was
transferred from one place to another, Qayyum Chowdhury’s boyhood was spent in
various districts and mahakuma towns – in Chittagong, Comilla, Narail, Sandweep,
Noakhali, Feni, Faridpur and Mymensingh. Because of his close affinity with the
fascinatingly diverse nature of Bangladesh, a deep passion grew in his mind for
nature. Particularly, his life in Narail on the Chitra river played a significant role in
his study of nature. His interests, inherited from his father, in reading newspapers
fig. 9.41
Qayyum Chowdhury and books, and his love for music from childhood, contributed to developing his
aesthetic sense and cultured mentality – which gave birth to his love for art. During
his fourth and fifth grade in school, he had a keen attraction for the detective book
series of Kanchanjangha published by Deb Shahitya Kutir. He says, ‘The writing
was definitely good, but the cover and the illustrations of those books were excellent.
An artist named Pratulchandra Bandapadhyay used to draw those pictures. There
used to be a green pattern on the cover of those books, which was also impressive.’ 69
Apart from Pratulchandra, his contemporary artists Fani Gupta’s pictures and Samar
Dey’s illustrations inspired the development of Qayyum Chowdhury’s artistic being.
The magazines that were brought to their house (Bangashree, Prabasi,
Bharatbarsha, Basumati etc.) because of his father’s interest, used to contain
Abanindranath and Gaganendranath’s illustrations, which fuelled his passion for art.

SECOND GENERATION ARTISTS 411


That is how he decided to study in art school when he was in ninth or tenth grade.
Later, after passing Matriculation (1949) from Mymensingh City Collegiate School,
when he took the initiative to study in Dhaka Art Institute, he found a supportive
attitude in his music-loving father.
Qayyum Chowdhury was a student of the second batch of the Dhaka Government Art
Institute (established in 1948). His teachers Zainul Abedin, Quamrul Hassan,
Safiuddin Ahmed and others had a huge influence on him. Besides, his association
with a group of talented classmates went a long way in flourishing the artist in him.
Rashid Choudhury and Abdur Razzaque were prominent among them. He was also a
close friend of Aminul Islam, a first batch student. At this time, his intimacy also grew
with poets, authors and musicians. Among them, Shamsur Rahman, Syed Shamsul
Haque, Hasan Hafizur Rahman, Zahir Raihan, Syed Atikullah, Borhanuddin Khan
Jahangir, Alauddin Al Azad, Samar Das are worth mentioning. After coming to Dhaka,
passion for movies was added to his passion for books and music. The combined
chemistry of all these factors made his study period in the Art institute (1949-54) into
a significant preparatory stage of his becoming an artist.
Though his first solo Exhibition took place 23 years after finishing his studies from
the Institute (1977), he always participated in all major group and national exhibitions.
He participated in all the ‘All Pakistan Art Exhibitions’ (beginning in 1954), in each
‘National Art Exhibition’ (beginning in 1975) in Bangladesh and in all the Asian
Biennales (beginning in 1981) held in Dhaka. Major foreign exhibitions where he
participated are: Exhibition of Nine Artists of East Pakistan in Washington (1957), 5th
Teheran Biennale (1966), Art Exhibition of the 3rd International Trade Fair in Delhi
(1972), third and fourth Triennales in Delhi (1975 and 1978), Graphic Print Exhibition
in East Germany (1977), Sao Paolo International Biennale (1979), first Asian Graphic
Designing Exhibition in Teheran (1979), Contemporary Asian Painting Festival in
Fukuoka (1983), Graphic Design Biennale in Brono, Czechoslovakia (1982), Paris
International Poster Exhibition (1988), Contemporary Art Exhibition of Bangladesh
held in India, Japan, Beijing, Harare and Moscow (1973, 1988, 1989, 1990 and 1994
respectively) etc. His second solo exhibition was held just after his first exhibition in
1977 in Washington. His third solo exhibition took place 22 years after that, in
Dhaka’s Shilpangan (1999), and the fourth one was in Bengal Art Gallery (2004). He
created a mosaic mural (900 x 510 cm), based on the Liberation War, in the
Bangladesh Bank building in Rajshahi in the year 1988.
Within a few years after passing from the Art Institute, he received the national award
for his contribution to art (1961-62). In the same year, he received the first prize in the
All Pakistan Art Exhibition held in Lahore for his painting titled Bottom. Four years
later, he received the award of the Royal Court in Teheran Biennale (1966).
Shilpakala Academy Award (1977), Ekushey Award (1986) and many other awards
were added to the list.

412 ART AND CRAFTS


He got involved with different types of applied art from his student life. His interest
and keen attention in cover designing and illustration of books and magazines enabled
him to establish a unique identity. Along with his irregular involvement in book cover
and other designing, he got the opportunity to flourish his creativity by working with
newspapers, advertising firms and film magazines. During this period, fantastic book
covers by Satyajit Ray published by Signet Press and the illustrations by Makhan
Datta Gupta, greatly influenced the works of Qayyum Chowdhury. He confessed, ‘It
seems like a nightmare when I think about the world of books in that period (1950s).
I can hardly remember a book that looked attractive. I was fascinated to see the books
published by Signet Press in Kolkata. They proved how beautiful a book could be. At
that time, Satyajit Ray and Khaled Chowdhury used to create the book covers
published by Signet Press. Satyajit Ray’s cover designs made me realize what a good
70
book cover is.’ [Trans.]
He received recognition for his unremitting interest in this field. He twice received
(1959 and 1961) the best prize for designing the cover of the Railway Timetable. He
also received the award of the best cover designer by National Book Centre (Jatiyo
Grontho Kendro) seven times (1964, 1966, 1968, 1969, 1970, 1975 and 1976). He
received an award for illustration and book designing in the book fair held in Leipzig
in East Germany (1968). Jatiyo Grantha Kendra awarded him with Gold Medal in
1975. An exhibition of 1,500 book covers by him was also held on this occasion.
Shamsur Rahman’s evaluation of Qayyum Chowdhury as a cover designer is worth
mentioning: ‘In creating the cover designs, he made the use of the creative power of
an artist. He is presenting us wonderfully beautiful cover designs, one after another.
He transformed the once-ugly cover designing art into a beautiful one through his
concentration and toil. Qayyum Chowdhury has contributed substantially in the good
taste that can be observed in our publications. His supremacy as a cover-designer in
Bangladesh is unquestionable.’ 71 [Trans.]
He joined Dhaka Government Art Institute as a teacher in 1957. He got married in
1960 and in the same year, he left the teaching profession and joined Design Centre
as a designer. In 1961, he left Design Centre and joined the ‘Observer’ group of
publications as the chief artist. On 20 October 1965, he again joined Government Art
College of Dhaka (changed name of the Art Institute) as a lecturer in the commercial
art department. He was promoted to the position of assistant professor on 7 February
1970, to associate professor on 16 January 1986 and finally to professor on 13
February 1991. He retired from this organization (subsequently named the Institute
of Fine Art under the University of Dhaka) in 1994. However, he continued teaching
in the Institute until 2002 (first by extension of his service and later as a
supernumerary teacher).
Apart from these regular services, he was involved with different organizations as
editor or art director. For example, he was the joint editor of a film monthly
Chhayachhobi (1958), regular cover designer of Sandhani Publication (established in

SECOND GENERATION ARTISTS 413


1959) and Mowla Brothers (established in 1961), art adviser of weekly Sachitra
Sandhani (from 1963), art director of ‘Nabangkur’ art publicity (1964), and art adviser
in ‘Nikkon’Advertisers (1965). He also worked as assistant in Syed Shamsul Haque’s
Urdu film Phir Milenge Hum Dono (1965), joint editor of Antaranga magazine
(1967), art editor of English weekly Express and joint editor of a cinema magazine,
Sequence. He was a member of the designing committee of the postal department
(1973), designer of the publications of the Ministry of Foreign affairs (1974), advisor
in the design committee of second and sixth SAF games (1985 and 1993) and art
advisor of Bangla Academy (1995) and was a member of the currency design
committee of Bangladesh Bank (1996). He believed in progressive ideals from his
student life. Though he was never active in any political organization, he was always
united with all humanitarian and democratic movements for the rights of the people
and liberation of this country with his painting and his applied art. He was the joint
convener of the committee formed of artists and artisans during the non-cooperation
movement in 1971.
Artistic Consciousness
As a worthy predecessor of Zainul Abedin and Quamrul Hassan, Qayyum Chowdhury
also possesses patriotism, puts in endless efforts in his own work to express the beauty
and essence of the country and is committed to the folk tradition.
The new trend of good taste and beauty that he has introduced in cover design and
illustration has also influenced his art world, or one may say that the influence is
mutual and his efforts in applied art and his creative artworks complement each other.
In all types of works by Qayyum Chowdhury, the presence of rural Bangladesh is
particularly significant. His favorite subjects are river, sky and earth. When his mind is
distressed during different calamities of the country, he seeks relief in the images of
pastoral life of Bangladesh. Rural life engenders a kind of passion in his inner self that
inspires his creative being to paint the image of that life. This feeling is the source of his
patriotism. That is why his paintings on the Liberation War are also in rural settings.
Zainul Abedin’s deep passion for folk heritage inspired Qayyum Chowdhury’s interest
in folk art. Nandalal Bose’s Haripura Posters, Jamini Roy and Quamrul Hassan’s fig. 9.42 The Sail, oil on
paintings were also the source of his inspiration. In this way, to him folk art becomes canvas, 1963
the place where one can locate our
heritage. He creatively portrayed the
fascinating motifs, colors and language
of folk art in his works. He followed
traditional manuscript paintings,
Kalighat paintings, sakher handi, nakshi
kantha, pakha (hand fan) etc. and the
techniques of their creation. At the same
time, he brought some modern elements
to folk art by analyzing and minimizing

414 ART AND CRAFTS


its forms and using primary and mixed colors simultaneously and tried to use it in a
modern context. He was also deeply attracted towards the drawings of Kalighat
paintings for its minimization and lyrical properties (fig. 9.42).
Each painting by Qayyum Chowdhury is a kind of design. This design element is also
a major quality of folk art. This fact coupled with his perspective and trend of his work
made his dual image of a designer and a painter complementary. The techniques of
analyzing forms and overlapping colors that he used on the canvas were also used in
his cover design and illustrations. Consequently, it is not possible to separate his
identity as a designer and a painter as these two identities are not contradictory to each
other, rather they create a synergy. He also reached the zenith of success in applying
calligraphy in cover designing through continuous experimentations. His success
came because he valued not only the aesthetic aspects of a cover design but also its
relevance with the subject matter of the book.
Qayyum Chowdhury’s paintings do not portray harshness or crudeness; neither do
they portray the expression of the agony of contemporary life: intense sufferings of
human life, violence, murder, anguish etc. His paintings are always charming. The
beauty of structural formation is the main element of this romanticism. Not being
affected by the momentary is a feature of his painting (fig. 9.43).
He is always comfortable in creating representational art (fig. 9.44). Though he was
once attracted to abstract art, it never stimulated his creative being. The kind of
crisis and degeneration that occurred in the values of life in the west after the
Second World War gave rise to this stream of art; and the artist is conscious about
fig. 9.43 Martyr’71, oil the fact that Bangladesh did not have this context – which prevented him from
on canvas, 1972
continuing with this trend .
His favorite color is red. He also has special
weakness for ultramarine blue, cadmium
yellow and viridian green. One can notice the
dominance of these colors in all his paintings.
The attraction of pata (traditional scroll)
painters to primary colors influenced him.
Nevertheless, he is no less interested in
creating tones of new colors combining
primary colors. In this, the Impressionists of
the west have influenced him. He consciously
follows the radical attitude of the
Impressionists in the use of colors. It may be
mentioned here that, after Leonardo Da Vinci
and Michelangelo, his favorite artists are Van
Gogh, Paul Gauguin and Pablo Picasso.
There are some noticeable turning points in
Qayyum Chowdhury’s life. The 1950s and

SECOND GENERATION ARTISTS 415


1960s can be marked as his preparatory period.
Some of his noteworthy paintings of this era
are My Sister (Oil painting, 1954), Pawnbroker
(Oil painting, 1956), Boat in Moonlight
(watercolor, 1956) (fig. 9.45), Village Maiden
(lithograph, 1957), Self-portrait (oil painting,
1959) The Bridge and the Cow (oil painting,
1960), Bottom (oil painting, 1961), The Sail
(oil painting, 1963), Twilight-1 (oil painting,
1965), Sunlight Between Trees (watercolor,
1967) etc. In a hostile state environment, he
tried to express himself in versatile ways
through these paintings and was absorbed in
experimentation in different themes, media and
-isms. This episode of his life as an artist is
distinguished by his attraction towards folk
culture and heritage, prominence of nature,
rivers and boats as subjects and in hints of
Impressionism, Cubism and Abstract
Expressionism. Later the Liberation War of
1971 made a significant impact deep within his
being. In 1972, he got the opportunity to truly express himself and conveyed his hatred
for the enemies who had humiliated his motherland, and his grief, suffering and love
through his paintings (Protest, Bangladesh ’71(fig. 9.43), Independence, Martyr ’71,
Dead Fisherman, Burnt Village etc.). However, the dreamlike optimistic period of the
country did not last for long; and in another crisis (1976-77), the artist became
absorbed in his childhood nostalgia. In this phase, he produced ten oil paintings, titled
Childhood Memories, where he aspired to overcome the torments of contemporary life
by taking refuge in memories of village communities. Because of this nostalgia, the









fig. 9.44 (top) Gypsies,
oil on canvas, 1999
fig. 9.45 (bottom) Boat
in Moonlight,
watercolor, 1956

416 ART AND CRAFTS


village landscape is somewhat transformed into
abstraction. He has kept expanses of open space
on the pictorial surface of these paintings –
which is a quality of the paintings. The artist’s
first and second solo exhibitions (1977) were
held with these paintings created over the course
of three decades.
Then a long trip to Europe and America (1977)
enriched his store of experience, enhanced his
confidence and made his love for his own
tradition and country more intense. Thence he
produced the series of paintings titled My
Village and Village Underwater. From the
beginning of the 1990s, the prominence of
figures in his paintings is notable (fig. 9.46).
Therefore, in his third solo exhibition (1999),
the suggestion of figures was present in the
setting rural life, and colors were given
prominence over lines. This exhibition is
especially unique by the use of vibrant and
primary colors. These features are unchanged in
fig. 9.46 Nature, his fourth and last solo exhibition (2004). In the painting titled Abohoman of this
watercolor, 2003 exhibition, the diversity of life in the eternal image of Bengal is portrayed alongside
the ugliness of contemporary life. However, the artist desires to take his works beyond
the contemporary to a state of timeless appeal. This passion turns him into a devotee.
He immerses himself in the ocean of forms in search of formless treasure.




















Translated by Asifur Rahman, Senior Project Analyst
Local Enterprise Investment Center, IDLC Finance Limited, Dhaka

SECOND GENERATION ARTISTS 417



Notes and References
1. Hamidur Rahman, ‘Rahman on Rahman’, in Hamidur Rahman, Sayeed Ahmed (ed.), (Dhaka 1997), 21.
2. Alauddin Al Azad, Hamidur Rahman, (Dhaka 1992), 10 in Hamidur Rahman, Alauddin Al Azad (ed.)
3. Mohiuddin, ‘October 1956’, in Hamidur Rahman, Ibid. 15-16.
4. Syed Nazimuddin Hashim, “Shilpa Ebong Jogajog,” Morning News, Dhaka, February 1964.
5. Hamidur Rahman, ‘Art O Purbo Pakistan’, Agatya, Year 1, Issue 3, 1950, 39-40
Muhammad Malik Khasru, “Sakshkatkar”, Detective, 7 September 1984.
7. The authors discussion with Mohammad Kibria, (7 July 2005).
8. Ibid.
9. Ibid.
10. Ibid.
11. Ibid.
12. Ibid.
13. Ibid.
14. Interviews by Ziaul Karim, ‘Mohammad Kibria: A Leader of Mordernism’, Contemporary Art in
Bangladesh Special Volume: Arts & The Islamic World, No 34 (UK) Autumn 1999), 35.
15. Authors discussion, op.cit.
16. Ibid.
17. John Strand, “Do You Remember The Fifties?” Art International, No 4 (Autumn 1988). 6, (Source:
Internet Address: www.fodering.co.uk/art-and-existantialism.html).
18. Authors discussion, op.cit.
19. Frances Morris, Paris Post War, in, Art and Existentialism 1945-55. 1993, 79. (Source: Internet
Address: www.fodering.co.uk\art-and-existentialism.html)
20. Sudhindranath Dutt, ‘Bhagyaganana’, in Krandashi, Abdul Mannan Syed (ed.), Sudhindranath Dutter
Sunirbachita Kabita, ‘Introduction’, (1990).
21. Authors discussion, op.cit.
22. Aminul Islam, Bangladesher Shilpa Andoloner Panchash Bachhar, (Dhaka 2003), 10
23. Ibid., 11.
24. Ibid., 13.
25. Aminul Islam, ‘Drawing and Art Writings,’ Heritage, (Dhaka 2002), 114.
26. Aminul Islam, op.cit., 79.
27. Osman Jamal, Aminul Islam, Bangladesh Shilpakala Academy, Subir Chowdhury(ed.), (Dhaka 2004), 35
28. Aminul Islam, op.cit., 65.
29. Jalal Uddin Ahmed, Art in Pakistan, (Karachi 1962), 116; S.M. Ali, ‘Inner Gaze’, Inner Gaze
Sculptures of Novera Ahmed, (Dacca 1960).
30. Mehboob Ahmed, “Bhaskar Novera Ahmed,” Dainik Sangbad, 10 November, 1994
31. Ibid.
32. ‘The Artist at Work,’ Inner Gaze, Sculptures of Novera Ahmed, Op.cit.
33. M. Ahmed, op.cit.
34. Op.cit., Jalal Uddin Ahmed and S.M. Ali.
35. Op.cit., S.M. Ali
36. Ibid.
37. Ibid.
38. Ibid.
39. D.S. Watson, “The Years Work in Painting and Sculpture,” Contemporary Arts in Pakistan a Quarterly
Journal, Vol.III, Spring 1962, 10.
40. Zainul Abedin, ‘Postscript,’ Inner Gaze, Sculptures of Novera Ahmed, op.cit.
41. “Ei Labonyey Ei Nishchinta Chhandey/Shilpi Rashid Chowdhuryr Sangey Alapcharita,” Nirantar,
3rd Issue, Ashar 1394 (Bengali Year), ed. Nayeem Hasan, 147-148.

418 ART AND CRAFTS


42. Sovon Som, ‘Zainul Abedin,’ Nirantar, 4th Issue, Sraban 1402 (Bengali Year), ed. Nayeem Hasan, 75.
43. Nirantar, 3rd Issue, op. cit., 136.
44. William Fifield, In Search of a Genius , (William Morrow & Company, 1982), 265.
45. Ibid., 262.
46. Nirantar, 3rd Issue, op. cit., 127.
47. Loc. cit.
48. Ibid. 129.
49. Borhanuddin Khan Jahangir, ‘Rashid Chowdhury,’ Chitrashilpa: Bangladesher, (Dhaka 1974), 85.
50. Discussion with artist Nisar Hossain, July 2005.
51. Mahmud Shah Qureshi, “Rashid Charit Katha,” Mijanur Rahmaner Troimasik Patrika, 3rd Year, 2-3
Issues, (ed.) Mizanur Rahman, 38.
52. Ibid.
53. Nirantar, 3rd Issue, op. cit., 139.
54. Abul Mansur, Art of Bangladesh Series-5, Rashid Choudhury, Subir Chowdhury (ed.), (Dhaka 2003), 33.
55. Murtaja Baseer, ‘Dr. Muhammad Shahidullah Ebong Ami,’ Murtaja Baseer: Murta O Bimurta,
(Chittagong 2001), 118-119.
56. Abul Mansur, “Mustaja Baseer”, Balaka, Chittagong, (December 2001), 29.
57. Loc. cit.
58. Hasnat Abdul Hai, Murtaja Baseer, Subir Chowdhury(ed.), (Dhaka 2004), 36.
59. Ibid., 37-38.
60. A. Mansur, Balaka, op.cit., 29-30
61. The author’s discussion with Abdur Razzaque, (September 2005).
62. Nazrul Islam, ‘Abdur Razzaque: Ek Bahumatrik Adhunik Shilpi,’ Art of Bangladesh Series-7, Abdur
Razzaque, Subir Chowdhury (ed.), (Dhaka 2003), 21.
63. “Conversation, Abdur Razzaque: Thoughts and Impressions on Drawing”, ART: A quarterly Journal,
Vol: 1, No: 4, April: 1996, Lala Rukh Selim(ed.), (Dhaka, January 1996), 22.
64. Loc. cit.
65. N. Islam, op.cit., (Dhaka 2003), 23.
66. Ibid.
67. Nazrul Islam, ‘Abdur Razzaque,’ Adhunik Oitijyer Noy Shilpi, Subir Chowdhury (ed.), (Dhaka 1993), 75.
68. N. Islam, op.cit., (Dhaka 2003), 23.
69. An interview of Qayyum Chowdhury taken by Hamid Kaisar, Daily Sangbad, (Dhaka 5 February
1998).
70. Special interview of Qayyum Chowdhury with, Weekly Bichitra, 3rd Year, 48th issue, (Dhaka, 2 May
1975), 20.
71. Shamsur Rahman, “Qayyum Chowdhuryr Prachchhad,’’ Weekly Bichitra, ibid., 22.

10




PHOTOGRAPHY

a. (1840-1970)
Anupam Hayat

1.0 Introduction
Photography, one of the most important and fascinating inventions of science, began
its journey in the Indian subcontinent in March 1840. Within four years, photography
1
was initiated in Kolkata, the most important city of undivided Bengal. In Dhaka,
photography took wings in the decade of the 1850s.
2.0 Photography in Undivided Bengal
2.1 Initiation, Practice and Development
The Daguerreotype camera was first exhibited in Paris, the capital of France, in
September 1839. Within seven months of this event, the Daguerreotype camera was
2
imported in the Indian subcontinent in Mumbai in March 1840. Thacker and Company
of Kolkata first advertised the import of such cameras in 1840. F.M. Montairo of
Kolkata is proven to be the first photographer of the Indian subcontinent. On July 6,
1844, he placed an advertisement in the Englishman newspaper offering his service to
go door-to-door to do photography. The first photograph in India was taken by
Inspector-General Jules Itier, of the tax department of France. It is recorded that he
photographed in Pondichery between December 1843 and November 1844. 3
An anonymous photographer is recorded to have practiced photography in calotype
and ‘photogenic drawing’ techniques in 1843. Paul Walter, the famous art collector of
New York collected the photographs and diaries of this anonymous photographer. Dr.
F.J. Mouat, mentioned Josaiah Rowe, the first President of Bengal Photographic
Society, as the father of Indian photography. He is also said to be the earliest
photographer of Kolkata. The existence of a professional photographer in Kolkata,
4
named Schranzhofer, is known through an advertisement on November 2, 1848 in the
newspaper Friends of India. Within 1851 another foreigner, named J.W. Newland, set
5
up a studio in Kolkata and acquired both success and fame. All of these photographers
6
were foreigners. Dr. Narayen Dajee of Bombay is recorded to be the first amateur
photographer of the Indian subcontinent. 7
East India Company took the initiative to start photography in India in 1855-57 for

420 ART AND CRAFTS


military and administrative purposes. When the Archeological Survey Office was set
up by the Government of India in 1861 several photographers were assigned
temporarily; among them were also Indian photographers Harichand Chintamon, P.C
Mukherjee, Shibshankar Narayen, Mukund Ramchandra and Lala Dindayal. 8
Only the rich and educated people practiced photography, as it is a very expensive and
elegant medium. Photography came within the grasp of common people during 1880-
90. The foreigners were not only the first practitioners of photography in the
subcontinent, they were also the first to conduct photographic experiments. Important
books in this regard are Photography in India During Nineteenth Century and
Victorian India in Focus by Ray Desmond and The Last Empire - Photography in
British India (1855-1911) by Clark Warswick and Ainsley Ambrey. G. Thomas, a
photographer from Bangalore, wrote History of Photography in India (1840-1980). 9
No credible information about the first Bengali photographer has been found.
However, the name of a Bengali artist was recorded in a calendar of Calcutta in 1856. 10
‘Photographic Society of Bengal’was set up on January 2, 1856. One-third of its hundred
members were Bengali. Rajendra Lala Mitra was the honorary secretary and treasurer of
this association. Pratapchandra Sinha, Shyamcharan Mallik, Madhabchandra Basak,
Gourchandra Basak, Haridas Dutt, Girishchandra Ghosh, Priyanath Sheth, Gourdas
Basak, Kanailal Dey, Govindracharan Das, Kumar Kalikumar Roy Mallik, Radha Kumar
Basak and Doyalchand Basak were involved in this organization. When the British
11
cancelled the membership of Rajendra Lala Mitra in 1857 due to political reasons, almost
all Indian members resigned from the association.
The first photography exhibition of Kolkata was held in March 1857. Seventeen out
of 38 photographers were Bengali and they displayed 295 photographs. In 1854
12
‘School of Industrial Arts’ (later Government Art College) was set up in Kolkata. In
around 1862-63 five pupils learned photography here as a supplementary subject.
Among the people who played an important role in the diffusion and development of
photography in undivided Bengal during the 19th and beginning of 20th century are
Maharaj Prodyot Coomar Tagore, Nawab Khwaza Ahsanullah, Nawab Khwaza
Salimullah, Hiralal Sen, Birchandra Deb Barman Manikya, Jagadish Chandra Bose,
Hemendranath Bose, Upendrakishore Raychaudhuri, Sukumar Ray, Saratchandra Ray,
Ramananda Chatterjee and others.
The first color photograph was taken in 1861 by James Clerk Maxwell. August
Lumiere and Louis Lumiere of France created autochrome plate, an easy way to take
color photographs, in their factory in 1907. A few years before this invention Father
Lafeaux and Prodyot Coomar Tagore already exhibited color photographs with the aid
of a ‘Chromoscope’ in Kolkata in the years 1898 and 1899 respectively. The first
Bengali who took color photographs with the aid of autochromes is Hemendra Mohon
Bose, in 1912. He also took photos of Rabindranath Tagore. Arya Kumar Chaudhuri
13
also held an exhibition of his own color photos in 1914. Color photography and its
use in newspapers began first in Dhaka in the decade of the 1960s.
Correct information about who took the first photograph in independent Bangladesh

PHOTOGRAPHY 421


is not available. However, it can be safely assumed that photography took off shortly
in Dhaka also after its initiation in Kolkata (the capital of undivided Bengal) in the
middle of the 19th century. It is derived from the available data and evidence that the
portrait of Khwaja Alimullah, who was a zamindar and businessman in Dhaka, is the
first photograph of Dhaka. Khwaja Alimullah died in May 1854. He had close
friendship with the Armenians and the British. Since the rich and elite were involved
in photography it can be assumed that Khwaja also availed himself of opportunities to
handle the camera. A reproduction of his portrait has been discovered in the house of
his heir Khwaja Latifullah in Mymensingh Road of Dhaka. It was probably
reproduced from an Urdu or Persian periodical or book. However, the date, the name
of either the photographer or the studio could not be found out.
Some information about photography practices in Dhaka is found in the accounts of
Tahur Ahmed. He has mentioned the shooting of a documentary in Dhaka in the year
1856. He wrote: ‘The first photograph of East Bengal (or East Pakistan) was taken in
1856. It was a documentary. Photographs were taken again in 1956 after a long gap of
a hundred years. It was called Mukh o Mukhosh’. [Trans.] It can be inferred that he
14
was talking about still photographs. Movie cameras were not yet fully developed at the
time Tahur Ahmed wrote about the documentary shoot in Dhaka. Photography was
reasonably established in Dhaka around the decade of 1860s. In the decade of 1890
Nawab Ahsanullah, Nawab Salimullah, Hiralal Sen and Raghunath Das practiced
photography. In 1895 (Bengali Year 1302) Anand Kishore of Keraniganj, Dhaka wrote
a book titled Provachitra ba Photography Shiksha. In 1910 a photography studio called
R.C. Das and Sons was set up in Dhaka. It is the first photography studio of Dhaka.
This studio sold photographic materials like cameras, films, plates and paper and it
also mounted photographs. 15
On the other hand, R. De and Subolchandra Saha of Mymensingh, Ashwiny Kumar
Bandoapadhaya, and Janokinath Sen of Noakhhali and Satischandra Sikder of
Faridpur played an important role in the development of photography during the
beginning of the 20th century. 16
‘Capfiz and Technical Art Studio’ was set up in Dhaka before 1920. Other than that there
was also the studio set up by Charuchandra Guha and Fritz Kapp. The camera was
previously in the possession of foreigners and later was recognized as a means of
profession, art and for preserving memories, due to the patronization and assistance of
the Nawabs, zaminders, businessmen and the educated class. However, music, dancing,
acting and painting were taboo in conservative Bengali Muslim society until 1920.
Photography was not exempt from these restrictions. Nonetheless, a Muslim has secured
his name in history by being involved in photography right when photography was
initiated in the subcontinent. This talented photographer is Lucknow’s Ali Ahmed Khan. 17
On the other hand, the Nawab family played a significant role in the development of
photography in Dhaka or Bangladesh. Nawab Khwaja Abdul Gani (1813-1901) was
interested in photography. His son Khwaja Ahsanullah (1846-1901) was involved in
Kolkata-centered ‘Photographic Society of India’. Like his father Nawab Khwaja
18
Ahsanullah, Nawab Khwaja Salimullah (1871-1915) adored photography. It is known

422 ART AND CRAFTS


that Nawab Khwaja Yusuf Jaan, a member of this family, also patronized
photography. Nawabzada Khwaja Afzal, Khwaja Solayman Kader, Khwaja Azmal,
Khwaja Zahir, Khwaja Latifullah and Khwaja Masukullah left their signature of
creativity as amateur photographers. 19
2.2 The Early Pioneers
Englishman Alexander Forbes was the editor of Dhaka News (1856), the first weekly
of Dhaka. He also did some photography in Dhaka as part of his job as a journalist.
Nawab Sir Khwaja Ahsanullah (1846-1901) of Dhaka played a vital role in furthering
photography in British India. He was born at a time when photography began in
Kolkata. Acquaintance with the British helped him and his family to come into contact
with cameras at the initial stage and he also mastered the techniques of photography.
However, no photograph taken by him is available anymore. Patronized by him, a
famous German photographer named Fritz Kapp living in Kolkata took many photos
of Dhaka city and the Nawab family. These photographs are of great historical value
today. The most important role Nawab Khwaja Ahsanullah played as a photographer
is in patronizing organizations. He was the active director and also a member of
Kolkata-centered ‘Photographic Society or India’, established in the 1980s.
Upendrakishore Raychaudhuri (1869-1915), a son of the Chaudhuri family of the
Masua village of Kishoreganj, Mymensingh, lived in Kolkata. He started photography
in his college years. He took up photography as a profession in the 1980s. His biggest
contributions in the history of photography are development of the half-tone technique
and reflections on the aesthetics of photography. He excelled in printing photographs
using red half-tone blocks. He discovered processes of creating different types of
diaphragms, invented the re-screen adjustment machine and diotype-reprint technique.
He set up a block-making company named U.K. Roy and Sons Company in Kolkata.
Articles written by him on matters of photography were appreciated both at home and
abroad. His brother Kuladaranjan Ray and son Sukumar Ray also made worthy
contributions in the history of photography in Bengal. Sukumar Ray (1887-1923),
20
son of Upendrakishore Ray was a poet, actor, singer and editor (Sandesh). He was also
renowned as a skilled photographer. His photographs were published in newspapers of
Britain when he was a teenager and he was also awarded for his photographs. He was
the second Indian member (1912) of London’s Royal Photographic Society. There are
many photographs of Rabindranath Tagore among the important photos he took. 21
Nilmadhab De was born in Kolkata in the first half of the 19th century. After working
as a photographer in Nepal, he set up a studio named ‘The Bengal Photographers’ in
Kolkata in 1862. According to some experts, it is the first photography studio by a
Bengali. Samarendra Chandra Deb Barman (1862-1935), son of Maharaja Birchandra
Manikya of Tripura was sincere, successful and unique in his photographic endeavors
in undivided British Bengal. He was also a theoretician in photographic matters.
Besides getting four medals in Britain in an exhibition for photographs printed on

PHOTOGRAPHY 423


paper he himself prepared, he received many awards for his photographs. Prodyot
Coomar Tagore (1873-1942), son of the zamindar of Pathuria Ghata of Kolkata
became the first member of London’s Royal Photographic Society in 1897. Before
that, he became a member of Photographic Society of India in 1893. Many of the
photographs taken by him later served as important historical evidence. 22
Gaganendranath Tagore (1867-1938), member of the Tagore family of Jorasanko,
Kolkata was not only a remarkable artist, actor and writer, but also a photographer. He
shot many rare photographs of members of the Tagore family at numerous family
23
gatherings. Arya Kumar Chaudhuri (1881-?) was the son of Prativa Sundari, a
woman of the Tagore family. He attained skill not only in architecture and art, but also
in photography. He was one of the pioneers in the sector of color photography. 24
The credit for writing the first instruction book on photography goes to Adishwar
Ghatak (1864-1926). It was published from Kolkata in the Bengali year 1331. He was
inspired by Kshiroda Prasad Chattopadhaya to practice and teach photography.
Besides teaching them photography, he also inspired Bengalis to construct cameras
and lenses. Famous artist and photographer Manmathonath Chakrabarty (1886-1932)
25
is another early writer on photography. Two books on photography written by him are
Alokchitrajnyana ba Photography Shiksha (Bengali year 1301) and Chhaya Bijnyan
(Bengali year 1332).
Nawab Khwaja Ahsanullah of Dhaka and his son Nawab Khwaja Salimullah (1871-
1915) were involved in India’s Kolkata-centered Photographic Society almost at the
same time. Khwaja Salimullah became a member of this association in 1890. This
event proves that he used to practice photography. However, no photograph taken by
him has been discovered. Many memorable events took place in Dhaka during the
26
era of Nawab Salimullah. These important social and political events were captured in
photographs taken by eminent photographer Fritz Kapp. He also took photographs of
many members of the Nawab family. He photographed many parts of Dhaka
(Shahbag, Chawkbazaar, Begunbari of Mirpur), and also Shilong and Kolkata. He had
a studio in Patuatuli of Islampur, Dhaka. 27
Photographs taken by him were published in newspapers of London, some of which
are still preserved in museums there. Bangladesh National Museum and Ahsan Manzil
have also collected his photographs.
The activities of Hiralal Sen (1866-1917) are a classic addition in the history of film and
photography of Bangladesh. Around 1890 he set up a studio called ‘Amaravati Fine Art
Association’ in his own village Bogjury of Manikganj district. Later he went to Kolkata
and along with his brothers Matilal and Devakilal set up a studio named ‘H. L. Sen
Brothers’. He received a gold medal in the Indian Art Exhibition in 1898. During the
28
end of the 19th century scientist Sir Jagadis Chandra Bose played a pioneering role in
enlargements of landscape photographs and taking X-ray images. The credit for first
29
publishing a book on photography in Bengali from Dhaka goes to Anandakishore Ghosh

424 ART AND CRAFTS


of village Purbadi of Keraniganj. The book was titled Prabhachitra Ba Photography
Shiksha (published: Bengali year 1302). 30
Charuchandra Guha (1884-1957) was trained as an artist and worked as one in the
beginning of his professional life. He received training in photography from a
foreigner in Darjiling. He practiced photography in Dhaka from 1910 to 1917.
Trained in photography by scientist Jagadis Chandra Bose, Hemendra Mohan Bose
(1866-1916) improved many photographic techniques. During the Bangabhanga in
1905 he took photographs of numerous processions and meetings of the Swadeshi
movement. (fig. 10.2) Jadunath Mukherji (1880-1950) worked as a photographer at
31
the office of Survey of India. In 1910 he set up a studio called ‘Mukherji Studio’ at
Boubazar of Kolkata. Parimal Goswami (1897-1976), who became famous for his
photographs of various artists and writers taken from 1920-1940, was born in Ratan
Dia of Faridpur. Among the photographs he took, those of Kazi Nazrul Islam and his
family are notable. Photographer Munshi Surat Ali (1870-1943) was born in Panch
32
Bhai Lane of Dhaka. Photography was his hobby. His two sons Khorshed Ali and
Wajid Ali were also photographers. Examples of photographs taken by Surat Ali are
preserved in his family albums.
Golam Kashem Dady (1893-1998) was born in the district of Jalpaiguri in undivided
Bengal. After retiring from his service as a district registrar in 1949, he began to live
in Dhaka permanently. Besides writing on photography and providing leadership in
development of photography in Bangladesh, his contributions in the photography of
Bangladesh are varied. The establishment of ‘Tropical Institute of Photography’ in
Dhaka in 1951 and ‘Camera Recreation Club’ in 1962 are two of his important
fig. 10.1 Kazi Nazrul contributions to the photography of Bangladesh. 33
Islam, photograph Writer and politician Habibullah Bahar Chowdhury (1906-1966) is memorable for the
Habibullah Bahar
Chowdhury rare photographs he took of Kazi Nazrul Islam. He took these photographs when Nazrul
went to Chittagong in 1926. A portrait of Nazrul playing the flute
(fig.10.1) in a striking pose bears the mark of his skill. Habibullah
Bahar Chowdhury became the Health minister of East Bengal
province in 1947. The East Bengal branch of ‘Pakistan
Photographic Society’ was founded in Dhaka in 1948. Habibullah
was one of the protagonists. 34
W.A. Khan was a tailor in Kolkata at the beginning of his
professional life. He later learned photography and became the
personal photographer of A.K. Fazlul Huq, the chief minister of
undivided Bengal. He photographed all the political gatherings of
Muslim League and numerous politicians of this organization. After
that he joined as a photographer in the information office (centrally
regulated) of post-partition north-east Bengal.
Other than these photographers, the names of Matilal Nag, Abinash
Dhar, Saratchandra Sen, Ambikacharan and Fanindranath Dutta can

PHOTOGRAPHY 425


be mentioned in a discussion of photography of this period. Famous poet Golam Mustafa
was also an amateur photographer. Politician Khan Bahadur Naziruddin Ahmed (1889-
1976) took photographs of many Indian and local political figures in undivided Bengal
and after partition.
Among Bengalis, Upendrakishore Ray was the first to contemplate and write on
aesthetics of photography. In 1312 (Bengali year) Upendrakishore Ray wrote in his
essay ‘Photographir Charcha’ (The Practice of Photography), ‘ As in painting, there is
scope for poetic expression and beauty in photography. However, it is a very difficult
task, a great deal of care and hard work might result in little success.’ [Trans.]
35
In the essay titled ‘Photography’ published in 1318, Sukumar Ray, son of
Upendrakishore Ray wrote, ‘“Photography” generally indicates “taking an image” of
a visible object. This is the main point of photography, and to many the ultimate goal
of photography.…but those who seek a higher ideal in it know that there is enough
scope for cultivating beauty in the practice of photography. Taking a proper
photograph of a ‘beautiful object’ does not automatically result in a ‘beautiful
photograph’. Because there is marked difference between the vision of our eyes and
photographic vision.…this is why special care and judgment is required in choosing
photographic subjects and knowledge of how the subject will look through the vision
of photography is also needed. …it takes much habituation and experience to gain the
ability to properly judge various issues.’ [Trans.]
36
2.3 Women Photographers
The first women who got involved in photography in Kolkata in undivided Bengal
were the wives of foreigners living there. Names of three women photographers have
been found in the Bengal Photographic Society of Kolkata in 1858. They are Mrs.
Mouat, Mrs. T. Thomson and Mrs. C.B. Young. The first studio opened by a woman
is that of Mrs. D. Garrick in Waterloo Street of Kolkata in 1877. In around 1885, Mrs.
Wins took the initiative to go door-to-door in Kolkata to take photographs of women.
Among the Indian women Maharani Manomohini, the third wife of Maharaja
Birchandra Manikya first proved photographic skills. She photographed in around
1890. Sarojini Ghosh was possibly the first among Bengali women photographers to
take photography as a profession and to open a studio, in the 19th century. In around
1897, her studio was situated at 32 Cornwallis Street, Kolkata. 37
Between 1930 and 1940, Annapurna Datta (1894-1976) of Kolkata became very
famous as a woman photographer. Many Muslim families graciously accepted her and
she went to their homes to take photographs. She took photographs in the households
of Hasan Suhrawardy, poet Jasimuddin, singer Abbasuddin, Begum Rokeya and others.
2.4 Photographic Studios and Institutes
Hiralal Sen and Matilal Sen set up a photographic studio called ‘Amaravati Fine Art
Association’ in their own village in around 1890. Later they set up a studio named
‘Hiralal Sen and Brothers’ at 151 Cornwallis Street of Masjid Bari, Kolkata. A studio
named ‘Bengal Studio’ is known to have existed in Dhaka during the beginning of the

426 ART AND CRAFTS


20th century. However, the address or establishment date of this studio has not been
found. The name has been discovered in two mounted photographs in an album
belonging to the Choudhury family of 30/5 Zindabahar Lane of Old Dhaka. The name
of another studio ‘Lab Dhaka’ has been found in another old photograph possessed by
this family. This studio existed in Dhaka in the beginning of the 20th century. In 1910,
a photographic studio named ‘R.C. Das and Sons’ was located at 16 Nawabpur Road,
Dhaka. An advertisement published on 3 March, 1934 in the weekly Chabuk claimed
this studio to be the first and only studio in Dhaka and that it was established in 1910.
Camera films, plates, paper etc. were sold here. A studio called ‘Dos and Company’
38
existed at 81, Nawabpur Raod, Old Dhaka. At present another photographic studio
named ‘Zoom Studio’ exists in its place. Rajeshwar Ray is known to have been the
proprietor of this studio set up in 1932. ‘Dos and Company’ ceased to exist in the
seventies. There is a shop named ‘Dhaka Musical Mart’ at the south of Victoria Park,
Dhaka. Photographs are taken in this shop even though the name is related to music.
Musical instruments were sold here during the 30s, at its inception. Later it was
converted into a photography store. Other than these, during 1910-1940 Capfiz, Fritz
Kapp’s studio, Khwaja Afzal’s studio (in Armanitola), Khwaja Solayman’s studio
(near Ahsan Manzil), Technical Art Studio, Star Studio etc. existed in Dhaka.
2.5 Photojournalism
‘A picture says a thousand words’, even though this old adage is not the last word in
photography, no better or more acceptable saying about photography has been coined.
Photography is the exact evidence of time and the news gives an account of
contemporary events. Technical achievements of modern science have created a
wonderful synthesis between the two. Hence, watching news, as well as knowing
news, has gained importance.
Besides printing, typesetting, half-tone block prints were utilized in The New York Daily
fig. 10.2 Photograph by Telegraph in 1880. For the first time news accompanied by photographs were published
H. Bose during in The Daily Mirror of London in 1904. Later The Illustrated Daily News began to be
movement against published in NewYork illustrated with photographs in 1919. In the Indian subcontinent
Bangabhanga The Illustrated Weekly of India of Bombay initiated photojournalism.
In 1882, an illustrated monthly was
published under the title Ramdhanu. Surya
Narayan Ghosh was the editor of this
illustrated magazine on art and science. He
was the lab-chemist of Dhaka College. A
39
monthly journal with pictures named
Sachitra Krishi Shiksha, edited by
Kalikumar Munshi, was published from
Dhaka in 1887. Sachitra Gan O Galpa, a
40
monthly journal with pictures, edited by
Banku Bihari Das, was published from
Sylhet in 1895. 41

PAINTING 427


Photographs began to be used in Bengali newspapers during the movement against
Bangabhanga (the first partition of Bengal) (fig. 10.2). The opportunity to publish
photographs in newspapers was available during those times and it was equally
possible to fall in disfavor of the authorities in this regard. Under these circumstances
an album titled Rakhi-samkranti was published containing eight photographs on the
movement against Bangabhanga. 42
Photographs began to be used in Bengali newspapers during the decade of the 20s in
the 20th century. The term ‘Sachitra’ (illustrated) was then written before the names
of some of the newspapers. The weekly Sachitra Sonar Bangla published from Dhaka
in 1932 can be stated as an example. During that period Chabuk, a paper from Dhaka
also started to use pictures.
3.0 Photography in Bangladesh before the Partition
The Indian subcontinent was divided after long British colonial rule lasting for more
than two hundred years, mainly on the two nations theory based on religion.
Photography continued and flourished in a separate trend, like other branches of
culture in this Bengali-inhabited region (the then East Pakistan) with a Muslim
majority. The photographic practices, achievements and experiences of photographers
before the partition in 1947 provided guidance. However, the autocracy and the
misrule of the imperialistic Pakistanis and the context of the time and space, the state
of upheaval and movements by the people of the country did not give stability to its
practice and endeavors.
Before the independence of Bangladesh, during 1947-1971, numerous renowned
photographers and photojournalists arrived in Bangladesh. In this period, a number of
organizations or institutes related to photography were set up. Scores of photographic
studios were set up not only in Dhaka, but also in the whole country. Photojournalism
developed and progressed institutionally. The main photographic themes of this era
were the Language Movement and the struggle of the common people of this country
against the almost two-decade-long reign and oppression by Pakistan; as well as the
incomparable natural beauty of this country.
3.1 Photographers
During 1947-1970 many photographers made important contributions to various
branches of photography and gave expression to their artistic talents, in spite of
limited facilities. Among them Golam Kashem Dady (1894-1998), Azmal Haq,
Amanul Haq (1926-), Naib Uddin Ahmed (1926-), Kafil Uddin Ahmed (1929-2001),
M. A. Beg (1931-1998), Ansar Uddin Ahmed (1913-), Bijon Sarker (1935-), Noazesh
Ahmed (1935-), Syed Anisul Hossain (1937-), Golam Mustafa (1941-) and others are
mentionable. Anwar Hossain (1948- ), an eminent photographer of present-day
Bangladesh, began photography during the end of the 60s and his unusual talent was
manifest right from the beginning (fig. 10.3).
The unparalleled beauty of the country and different aspects of people’s lifestyle were
the main photographic subjects of this period. Occassionally portrait photography was

428 ART AND CRAFTS


also practiced. However, the other
branches of photography did not
develop at this time. Photographer
Golam Kashem Dady took numerous
photographs of nature and the people’s
life before partition, during the 20s, 30s
and 40s. Brothers Azmal Haq and
Amanul Haq began photography in
their school years, during the 30s
through taking many photographs of the
variety and beauty of eternally green
rural Bengal. Azmal Haq became a
member of ‘The Royal Photographic
Society’ from Pabna in 1957. Amanul
Haq recorded rural culture and rural
traditions in his photographs, besides
documenting natural beauty. The eternal
beauty of rural Bengal was also glorified in the photographs of Naib Uddin Ahmed. He
started photography in the 40s. He took photographs of the famine of this country as
well. In 1956 he bagged first prize from Pakistan in the ‘World Photo Contest’ (fig.
10.4). His photographs were regularly published - and praised by readers - in numerous
national dailies from as early as the beginning of the 50s (fig. 10.4). Photographs by his
younger brother, photographer Dr Noazesh Ahmed was accepted in America, in an
important exhibition under the title ‘Portrait of America.’ He has worked extensively on
various aspects of nature, lifestyle and culture of this country. His photographs feature
reality and nature; beauty and imagination are expressed simultaneously.
Sayeeda Khanum of Faridpur is the first woman photographer among Bengali
Muslims. She embarked on photography in the 50s. She won the first prize in the all
fig. 10.3 (top) Nalgola,
1967, Photograph
Anwar Hossain,
© Anwar Hossain
fig. 10.4 (bottom left)
Fruit of Toil,
Photograph Naib Uddin
Ahmed,
© Naib Uddin Ahmed

fig. 10.5 (bottom right)
Photograph from
Bangladesh (1975)
album, Naib Uddin
Ahmed,
© Naib Uddin Ahmed

PHOTOGRAPHY 429


Pakistan photography contest in 1960. She is also the first woman photojournalist of
Bangladesh. She started photojournalism by taking a photograph of Queen Elizabeth
in 1961, who was then visiting Bangladesh. Sayeeda Khanum was involved with
Begum for a long time.
3.2 Photography Organizations and Institutes
After partition, several Dhaka-centered photography oriented institutes were
established in Bangladesh (the then East Pakistan). These institutes played an
important role in advancing photography in this area.
East Pakistan Photographic Society
After the inception of Pakistan in 1947, a central photography club named Pakistan
Photographic Society was set up in West Pakistan. The East Pakistan branch of this
club was set up in the secretariat in Dhaka, in the room of the then provincial Health
Minister Habibullah Bahar Chowdhury. Others who played a leading role are Nawab
G.A. Faruki, KG.M Faruki, Himangshu Dutt, E.M. Patel, Azmal Haq, Amanul Haq and
others. This club did not partake in any mentionable activity and did not continue for
43
long.
East Pakistan Photographers’Association
During the middle of the 1950s ‘East Pakistan Photographers’Association’ was set up
mainly by the initiative of students of different colleges and universities of that time.
Eminent physician Dr Mohammad Ibrahim and Golam Kashem Dady played the role
of president and vice president of this club respectively. Among other members Shuja
Haidar (a student of the then Art College), Moudud Ahmed (a politician at present),
Mahbub-uz-Zaman, Chowdhury Lutfar Rahman, Rahim Newaz, photojournalist
Mosharraf Hossain (Lal Bhai) and others are mentionable.
Camera Recreation Club
‘Camera Recreation Club’ was set up in 1962 with the combined effort of several
photographers and photography enthusiasts. This club was born in a meeting of
photographers, with the purpose of setting up a photographic club, in the house of
senior photographer Golam Kashem Dady (1894-1998) on 12 August 1962. E.M.
Patel, an employee of the then Burmah Shell and Golam Kashem Dady were
nominated the president and general secretary respectively, of this club. Among other
initiators-cum-members were M.A. Beg, Golam Mustafa, Haji Abu Taleb, Bijon
Sarker, Mahbub Hossain, Sajeda Khanam, Aminul Islam and others. After two years
of its establishment its chairman E.M. Patel died and M.A. Beg conducted affairs as
chairman for several years. Golam Kashem Dady remains memorable because of the
way he patronized and directed the club since the moment of its inception until the day
of his death. In the 60s contests, exhibitions, photography-related discussions and
outings inspired the club’s photography enthusiasts. In 1964, the first book related to
photography, edited by Dady, was published under the title Camera from this club.
However, from approximately around the middle of the 1960s, complexities arose

430 ART AND CRAFTS


about donating space for the club or moving it to another place and resulted in
detachment and alienation between Dady and other members. As a result gradually the
club lost the involvement of other members.
Tropical Institute of Photography
The first educational institute of this country, devoted to teaching photography,
‘Tropical Institute of Photography’ was established in 1951 with the initiative of
Golam Kashem Dady. Principally, Dady himself was the teacher there. The school
somehow managed to continue its activities within an extremely limited periphery for
approximately two years.
Begart Institute of Photography
M.A. Beg, one of the pioneers of photography in this country and also a
knowledgeable man in this field, set up ‘Begart Institute of Photography’ on 21
December, 1960 with the aim of disseminating photographic technologies, technical
and artistic know-how among the common people. With his able direction this unique
institute played the most important role in teaching photography in this country both
before and after the independence. After beginning its activities primarily at Topkhana
Road the institute moved after a short period first to 63, Northbrook Hall Road and
later after liberation, in 1974, to Science Laboratory Road as ‘Begart Institute.’
3.3 Photographic Studios
A small number of studios existed countrywide from 1947-1971. According to various
sources, no studios existed outside the district and sub-divisional towns of that period.
Only a few studios were located even in Dhaka. However, these studios played an
important role in the diffusion and progress of photography in this country. During the
50s and 60s when photojournalism was progressing in our country, most of the
professionals in the field of photojournalism were also involved in studio-centered
photography. A significant number of photographic studios set up before the partition
continued to function after the partition. Among these ‘Dos and Company’ by
Rajeshwar Das, ‘Dhaka musical Mart’, Makhon Babu’s ‘Orient Studio’ and Mohan
Babu’s studio are mentionable.
During and immediately after the partition of 1947, many Hindu studio owners left the
country. Most of the studio owners of the then East Pakistan were Hindus. As a result,
scores of studios closed down. Numerous new studios were also set up from scratch.
Among these ‘Pakistan Photographic Emporium’, the famous ‘Zayedi’s
Photographers’ of Mozaffar Hussain Zahedi, ‘Aks Photographers’ located in Dhaka
New Market are worth mentioning. M. A. Beg established a studio named ‘Roxy
Photographers’ in 1960. Photographer Kafil Uddin Ahmed set up ‘Kafela
Photographers’ in Dhaka New Market in 1959 and Nurul Azfar Tota Mia set up ‘Vista
Art Studio’. These studios were short-lived. Among such studios outside Dhaka,
Motahar Hossain’s ‘Star Studio’ in Rajshahi, Hasan Abdul Monaem’s ‘View Finder
Studio’ etc. are noteworthy.

PHOTOGRAPHY 431


3.4 Photojournalism
Pakistan gained freedom from the British in 1947. Dhaka became the capital of the new
province, Purba Banga (East Pakistan) of the new state. Newspapers began to be
published from Dhaka and other regions, with governmental and non-governmental
initiatives. In the Information and Public Communication Department of the
Government, measures were taken for photography to be used in publicising services
provided by government employees and organizations. Only the photographs of
governmental conventions were published in the newspapers Mahenao, Pak Samachar,
Pakistani Khabar and Pak Jamahuriat. In the beginning of the 50s various privately
owned newspapers such as Azad, Sangbad, Pakistan Observer, Chitrali etc- published
photographs along with political, social and cultural news, events, accidents, floods and
storms. The photographs of the Language Movement in 1952 were published in several
newspapers including Azad. The photographs of the election in 1954 and the floods of
1954, 1955 and 1956 were published in numerous newspapers. Obaidur Rahman Firoz
joined Pakistan Observer as staff photographer in 1955. This is the first employment
of a staff photographer in a newspaper in this country.
Before that, as early as the beginning of the 50s, Mahbub Ali Moti (Orient Studio),
Md. Yakub (P.I.D.), S.R. Nabi and others supplied various newspapers with
photographs as freelance photographers. Since 1962, when Pakistan Observer began
to be printed in offset, photographs began to be published attractively and with
importance. Newspapers like Azad, Sangbad, Ittefaq, Morning News etc. began to
publish photographs with importance as well. In 1965, Observer published color
photographs for the first time in the history of this country.
Publication of photographs of political gatherings and student agitation in 1962; of
havoc caused by floods and storms; mass movements during 1968 to 1971; tidal bore
in 1970 and movement for self-rule added a new dimension to newspapers. The
military Government exerted strict regulations before the beginning of the Liberation
War in 1971. Even amidst this hostile situation, the newspapers maintained a steady
flow of photographs of events of those times; such as the ongoing mass uprisal, non-
cooperation movement, Bangabandhu’s (Sheikh Mujibur Rahman) speech on 7
March, the military brutality and resistance of the people.
Photographers like Yakub Ahmed, Mizanur Rahman, Obaidur Rahman Firoz,
Mozammil Hossain, Shamsul Huda, Mosharraf Hossain, Golam Mowla, Aftab
Ahmed, Muhammad Kamruzzaman, Rashid Talukder, Manzur Alam Choudhury,
Moazzem Hossain Bulu, Monwar Ahmed, Umesh Barua, Manu Munshi, Mohammad
Alam, Zahirul Haque and others deserve special mention for taking news photos
during 1950 to 1970.
3.5 Mainstream Photography before Partition
The Language Movement and Mass Movement
The seeds of the Language Movement were sown in 1948 and it reached the final stage
on 21 February 1952, through the sacrifice of lives of students and general people
under police firing. All the events, information and evidence related to the movement

432 ART AND CRAFTS


concerning the Bengali language, during 1948-1952, constitute
a chapter of both grief and glory in our national history. Several
conscious professional and amateur photographers have
captured this chapter through their cameras. Photographers
Amanul Haq, Muhammad Taqiullah, the then university
student Rafiqul Islam (later a professor and doctorate) played a
historically significant role in this regard.
Muhammad Taqiullah, son of Dr. Muhamad Shahidullah has
immortalized the flow of events of the primary stage of the
Language Movement in his frames. The students and general
people in front of Ain Parishad (law council) of East Bengal,
Dhaka on 11 March, 1948, processions towards the secretariat
on the same day, resistance by police to the procession of
students and general people and the barricade in front of the
High Court, arrests of protestors etc. remain among the
photographs he took. Dr. Rafiqul Islam was a student of
Bengali language and literature at the Dhaka University. He
was also an amateur photographer. He has immortalized many
moments of the frenzied and lamentable events of 1952 with
his camera. Among the photographs he took are the historical
student gathering at Amtala before defying section 144 on 21
February of 1952, preparations to break section 144, the dead
fig. 10.6 The bullet hit body of martyr Rafiq Uddin Ahmed, police preparation to resist the student
head of the language processions, protests against police shootings on students held on 22 February of 1952,
martyr Rafiq Uddin shot raising a black flag on top of the old Arts building, the first construction of the Shaheed
and killed by the police Minar on 23 February, procession of female students on 21 February of 1953, barefoot
on 21 February 1952, procession at dawn (probhatferry), procession on Nawabpur Road (with politician
the only documentary Khan Ataur Rahman and others in the forefront), gathering commemorating the
photograph of the martyrs in front of the Arts faculty of Dhaka University (Zahir Raihan seated in the
language martyrs, front row) etc. Photographer Amanul Haq also took photographs of the bloodstained
photograph Amanul Haq
dead body of martyred Rafiq Uddin (fig. 10.6). Many political and cultural, movements
by the people and students took place at various times from 1954 and 1970 after the
Language Movement and till the War of Liberation took place in 1971. These
movements and the Liberation War also found their place in photography (fig. 10.7).
Natural Calamities and other Themes in Photography
Floods, epidemics, droughts, storms, cyclones, tornadoes etc. are common occurrences
in Bangladesh. Photographing natural calamities began during this period.
Photography related to these issues not only has news value, but also a humane appeal.
However, it is unfortunate yet true that the photographs of various natural calamities
before 1970 were not preserved. The photographs of the famine of 1943 are rare today.
After 1947, several floods and storms took place successively in this country. Some
photographs were published in newspapers in those times. Photographs of the deadly

PHOTOGRAPHY 433


cyclone and tidal bore that blew over the southern region of Bangladesh in November
1970 created worldwide appeal. Photographs of the damage wreaked by the tornado
at Demra in the same year were also heart-rending.
3.6 Publications, Write-ups and Albums on Photography
The number of write-ups and publications related to photography during the period
1947-1971 is very little. There were only a very few books on photography written in
Bengali. M. A. Beg played an important and leading role in writing on photography in
this country. In 1956, a time when he held a position at PANSDOC, his writings on
photography began to be published in the paper Diganta, of Karachi. Later Morning
News, Dainik Ittefaq, Dainik Bangla of Dhaka; Photography Charcha published from
Kolkata, B. P. S News Letter and Masik Photography magazines published
approximately three hundred articles written by him, on various topics such as, history
of photography and matters of technical and artistic interests. In around 1960, the
articles on photography written by M. Atikur Rahman were also published in various
periodicals. In 1964, the first book of Bangladesh on photography, edited by Golam fig. 10.7 Dhaka 1969:
Kashem Dady, was published under the title Camera. In 1968 M. A. Beg went on a this inspired child at the
front of a procession
British Government scholarship to Britain’s famous Hartfield College of Technology, was shot by the police a
for higher studies on reprography. A write-up by him titled Report on Reprography, short while after the
based on his training, was published from London in 1968. photograph was taken,
Among the albums published in Bangladesh, the album Rare Photographs of Eastern photograph Rashid
Bengal (1880-1940), collected and edited by Waqar Khan contains the most important Talukder,
and rarest photographs. This rare album was published from Dhaka in 2003, at the © Rashid Talukder
initiative of Standard Chartered Bank to celebrate the 150th
anniversary of world photography. This 120-page album
contains various photographs from the then East Bengal from
1880 to 1940. The album contains the names of photographs
and the dates of when they were taken. It includes
photographs taken by German photographer Fritz Kapp,
Johnston and Hoffman of Kolkata, Westfield and Coy; and,
Bourne and Shepherd. Alokchitrey Shekaler Dhaka is another
important album of rare photographs. This 132-page album
contains 119 photographs. This album includes photographs
starting from the portrait of Khwaja Alimullah taken in 1850
to palaces associated with the Nawab family of Dhaka,
buildings, monuments, Shahbag, Dilkhusha, the residence of
the Nawabs, the banks of the river Buriganga, the outskirts of
Dhaka, sports and entertainment, vehicles, the army, the
bridge over Dulai Khal and other photographs. In 1988,
Bangla Academy published Dhaka 1971, a collection of
photographs on the War of Liberation. This collection
includes photos starting from the cyclone on November 12,

434 ART AND CRAFTS


1970 to the brutality of the Pakistani army, the resistance by freedom fighters and
victory in 1971.
In 1997 a 244-page photography album titled Jatir Janak was published by ‘Dhakar
Jatir Janak Bangabandhu Sheikh Mujibur Rahman Memorial Trust’. It was edited by
Sheikh Hasina, Sheikh Rehana, A.K. Azad Chowdhury, Gaziul Haque, Arefin
Siddique, Baby Moudud, Rezaul Karim Khan Reza and Hashem Khan. This album
contains rare photographs of the period between 1940 and 1975 and of the young
Bangabandhu Sheikh Mujibur Rahman.
An album under the title Nazrul Album, consisting of rare photographs related to
various sides of the life and work of the national poet Kazi Nazrul Islam was
published under the initiative of Nazrul Institute of Dhaka in 1994. This 124-page
album contains more than a hundred black-and-white and color photographs related
to Nazrul.








































Translated by Sanjida Shaheed, Student, MFA, Institute of Fine Art, University of Dhaka

PHOTOGRAPHY 435



b. 1971 to 2005
Rafiul Islam


1.0 Foreword
Photography is a universal medium of art and a very effective mass media. It is
gradually growing in influence in various aspects of social and national life in
Bangladesh and also achieving artistic excellence. The photographers of Bangladesh
have already received more than nine hundred awards and recognitions including gold
medals in various international exhibitions and competitions without any noteworthy
patronage from the government or the private sector. 44
Beginning in 1971 to the present the photography of Bangladesh has shown multi-
dimensional transformations. Basically, it is observable that personal efforts
introduced institutional education in photography with the establishment of various
educational centers, the birth of various photographic organizations and their diverse
activities, the involvement of the younger generation along with the elder in the
practice of photography, international communication as well as exhibitions and
workshops, recognition and awards, the increasing use of modern technology etc.
There are also many limitations and adversities in this field. However, the journey of
photography of independent Bangladesh began with a tremendous impact. This impact
saw the victory through an all out War of Liberation of a people united in its yearning
for freedom. Our photography on the War of Liberation has captured that history to a
large extent.
2.0 Photographs on the War of Liberation
2.1 The Nature of Photographs on the Liberation War
The photographs taken by local and foreign photographers on the War of Liberation
are reminders and also the most reliable documents of the diverse incidents and history
of that period. The oppression, cruelty and barbarity of the occupying Pakistani forces
during the War created a black chapter in history. Alongside that, the fight for freedom
and mass movement of the people of this country craving for liberty is a glorious one.
Both of these chapters have been documented in the photographs of the War of
Liberation. Our photojournalists have successfully captured the intoxicating events
following the election of 1970, the beginning of 1971 leading upto the beginning of
the War. Notable among these events are the different activities of the student
movement centered around the University of Dhaka, various processions, meetings
and congregations with the huge presence of people from all walks of life clamorous
in resistance, the many activities of political leaders including Bangabandhu Sheikh
Mujibur Rahman and Bhasani, non-cooperation movement and so forth. The
photographers of the country took photographs of the brutal attack of the Pakistani
forces on the innocent and unarmed Bengali people, the mass killing and destruction
on the black night of 25th March amidst great adversities. However, from 25 March

436 ART AND CRAFTS


to 15 December no photographer had the
courage to take photographs whilst staying
in the country. Noteworthy photographs of
the nine months of war and bloodshed is
not seen in the works of the amateur,
professional photographers or
photojournalists who resided in the country
at that time.’ The reasons behind these
45
may be that photographers did not possess
the technical facilities on the one hand, also
on the other it was not easy to risk ones life
by taking photographs. Nevertheless, a
number of photojournalists entered the
country in various ways during war for
different international media and took some
photographs. Particularly well documented
is the pitiable condition of the people in
Indian refugee camps. In 1971 the
photographs of the war were published in
different periodicals and newspapers of the
world and built up worldwide public opinion in our favor. Some photographs of the
formation of the Mujibnagar Government and some of its activities, some scattered
camps of freedom fighters, their trainings, their attacks, the people’s resistance etc. are
also to be found. Photographs of the decomposed bodies of the brutally massacred
intellectuals on the very brink of victory and the rows of skeletons discovered in the
mass-graves remind us of that chapter of horror.
2.2 Photographers of the War of Liberation (Photojournalists)
Everybody involved with photojournalism endeavored to photograph the War of
Liberation amidst many adversities. Mohammad Alam, the staff photographer of the
fig. 10.8 (top) Historical Radio and Information Department of the Mujibnagar Government took many
speech of Bangabandhu
Sheikh Mujibur Rahman
at the Race Course
ground on 7 March
1971, photograph
Rashid Talukder,
© Rashid Talukder
fig. 10.9 (bottom)
Advancing guerilla
freedom fighters,
photograph Mohammad
Alam,
© Mohammad Alam

PHOTOGRAPHY 437


important photographs of the war as well as
being an active freedom fighter (fig. 10.9,
10.15). Rashid Talukder took many significant
photographs beginning from the mass uprisal of
1969 (fig. 10.8) to various political occurrences
of 1971, the resistance movement of the students
and people, the black night of 25th March
including documentary photographs of the
Rayer Bazaar mass killing field. Aftab Ahmed
photographed the surrender of the Pakistani
forces on 16 December in the Race Course field
and the historical signing of the document of
surrender as well as other events of the War of
Liberation. S. M. Safi (1934-1997), a
photographer and journalist of Jessore was a guerilla freedom fighter. He took many
rare photographs of Jessore during the Liberation War. His camera captured the
procession of women protesters, the devouring of dead bodies by foxes and dogs,
raped young women. Moreover, Mosharraf Hossain (Lal Bhai), Mozammil Hossain,
Mohammad Musa, Jalal Uddin Haider, Umesh Barua, Monwar Ahmed and others
were among the photojournalists who photographed the War of Liberation.
2.3 Photographers of the Liberation War (Photographic Artists and Others)
Besides photojournalists, renowned photographer Naib Uddin Ahmed photographed
the non-cooperation movement of Mymensingh during the War; also the advancement
and training of freedom fighters, various activities of the Indian forces, abused and fig. 10.10 (top)
helpless women (fig. 10.11, 10.12), the eating of corpses by vultures (fig. 10.14) and Photograph Anwar
other touching pictures were recorded by him. Famous photographer Amanul Haq Hossain,
took some photographs of the genocide of 1971. Distinguished photographer M. A. © Anwar Hossain
Beg photographed the raising of the flag in Bangabandhu Bhaban on 23rd March and
the air attacks by the Indian Air Force in December 1971. His brother, Captain Mahfuz fig. 10.11 (bottom)
Alam Beg, took active part in the War in sector number 9 as well as taking many Abused young woman
documentary photographs of the war. Active freedom fighter Shafiqul Islam Swapan’s captive in Pakistani
camp, photograph Naib
camera recorded the camps of freedom fighters, training, various activities, advances Uddin Ahmed,
to battle, operations, the air raids on Dhaka as well as the faces of dead fellow fighters. © Naib Uddin Ahmed
Eminent photographer Anwar Hossain also took many photographs
of the War of Liberation (fig. 10.10). The camera of freedom
fighter journalist Harun Habib recorded ‘Faces smashed by mortar
shells, chest spattered by the innumerable bullets of automatic
rifles, people shredded by the storm of mines.’ [Trans.] Monsurur
46
Rahman took some rare photographs of the night of 25th March,
1971 in Dhaka. Furthermore, M.A. Rahim, Abdul Hamid Raihan,
Belal Beg, Neetish Ray, Dr. M.M. Hasan and others photographed
the War of Liberation.

438 ART AND CRAFTS


2.4 Photographers of the Liberation War (Foreign Photographers and
Photojournalists)
During the War of Liberation of Bangladesh many photojournalists of the international
public media were able to take rare photographs in the face of many difficulties. Kishor
Parekh (1930-1982) who was once the chief photographer of the Hindustan Times
recorded the struggle for freedom, and thus for life, of the people of Bangladesh in
1971 which is therefore a unique documentary. He witnessed some horrifying scenes
during the War and photographed them. After the war he compiled a photographic
47
album entitled Bangladesh: a Brutal Birth (1972) with these photographs. Don
McCullin (1935- ) the world famous photographer working in the Sunday Times
recorded in his camera the picture of misery of the people in the refugee camps and
along the border. Iranian born photographer Abbas (1943- ) well known for having
worked with Magnum, came to Bangladesh during the War of Liberation driven by his
humanistic views. The famous Japanese journalist, Naoki Usui (1941-2007) arrived in
Bangladesh for news on the war in November 1971. In his reports titled Kono me de
mita Bangladesh (the Bangladesh that I saw with my eyes) his photographs featured the
fig. 10.12 (top) 1971,
raped and abused young refugee camps, camps of freedom fighters, the battle field, victory processions and so
48
woman in Mymensingh, forth. ‘To aid and assist Bangladeshis during the War of Liberation working through an
49
photograph Naib Uddin NGO many intolerable memories were captured by camera’ [Trans.] by the British
Ahmed, citizen Allen Stephen. Young Japanese photographer Echinuch Taiyo (1947-1973) came
© Naib Uddin Ahmed to the newly liberated Bangladesh in 1971 and recorded the pathetic condition of the
country destroyed by war as well as the passionate joy of victory. Amiya Tarafdar a
fig. 10.13 (bottom) photojournalist of West Bengal entered Bangladesh through the Hilly border in 1971
Abused and killed
young woman: 1971, and took many photographs of the War of Liberation. Robin Sengupta (1930- ) a
photograph winning first photographer of Tripura, India photographed many rare views of the training camps, the
prize in the exhibition expeditions of the freedom fighters, victory etc. from the very beginning of the war with
titled 'Violence against deep involvement. His album entitled Chitra Sambadiker Cameray Muktijuddha (The
Women in South-East Liberation War in the Camera of a Photojournalist) (2000) was published from Dhaka.
Asia' organized by Moreover, Tony McGrath, P. J. Killen, Jill Durrance and some others photographed the
UNESCO on its 50 th War of Liberation. In ‘Chhabimela’ of 2000 organized by Drik – a photographic
anniversary, photograph exhibition entitled Je Juddha Bhule Gechhi (The war we have forgotten) featured many
Rashid Talukder, photographs by famed foreign photographers. Many heart-rending scenes of the war
© Rashid Talukder
were exhibited in the show by Mark Riboud and
David Burnett. Many photographs by Penny Tweedie
and Mary Ellen Mark of the hatred and vengeance of
the freedom fighters against the Razakar and Al-
Badar (collaborators) forces in the newly liberated
country were exhibited for the first time entitled
‘Pratishodh’ (Revenge). Moreover, photographs of
the Liberation War by Raghu Rai, Raymond
Depardon, Bruno Barbey, Michel Laurent, Christian
Simonpietri, Marilyn Silverstone, Mark Godfrey,
Henri Bureau, Bal Krishnan were exhibited at the

PHOTOGRAPHY 439


same time. W.A.S. Oderland (1917-?) Bir Pratik (Award for Bravery) who worked at
the Bata Shoe Company at that time took many photographs of the Liberation War. In
December 2004 quite a number of photographs depicting the War of Liberation and
particularly the role of the Indian Forces was exhibited from the Indian Archive at the
Indian Cultural Center of Dhaka.
2.5 Publications of Photographs on the War of Liberation (Album, Book)
Quite a number of books have been published on the War of Liberation of
Bangladesh. In some books numerous pictures have been used with text. In the book
Bangladesh Genocide and World Press, Fazlul Quader Quaderi compiled some
writings published in world-renowned magazines and newspapers during the War of
Liberation of 1971 as well as some important and hair-raising photographs. Though
on a very small scale, Shafiqul Islam Swapan edited and published (26 March 1972)
the first album with some pictures of the Liberation War entitled Chitralipi. Besides, fig. 10.14 (top)
he also published a photographic book titled Ek Muktijoddhar Jiban Japon (1997) Photograph Naib Uddin
compiling the photographs he took during the war. In the first anniversary of victory Ahmed,
day a memorial book was published by the government presenting many photographs © Naib Uddin Ahmed
of the War of Liberation on 16 December 1972. In 1973 the external communication
department of the Foreign Ministry, Government of Bangladesh published the album fig. 10.15 (bottom) The
Road to Freedom comprising of photographs by photojournalist Mohammad Alam, indiscriminate genocide
photographer Amanul Haq and K. M. Ameer. This album features 56 photographs of of the Pakistani forces,
the succession of events leading to our victory. The album Muktijuddher Alokchitra 1971, photograph
Mohammad Alam,
(1988) published by the Information Ministry of the Government of Bangladesh has © Mohammad Alam
collected photographs from different persons and sources. Bangla Academy has
published a compilation of photographs in the collection of the Dhaka City Museum
Dhaka 1971 (1988) on the War of Liberation. Photojournalist Aftab Ahmed has
compiled a documentary book entitled Shadhinata Sangramey Bangali comprising of
photographs taken by himself and other sources featuring the events in sequence from
1947 to 1971. Recently Alokchitrey Ekattar (2006) has been published presenting

440 ART AND CRAFTS


photographs of various incidents in the greater Jessore area during the War taken by
the brave freedom fighter and photojournalist S. M. Safi. Outside of Bangladesh,
especially in India some other publications similar to this are 1971 War in Pictures,
Bleeding Bangladesh, Bangla Namey Desh etc.
3.0 Post-Independence Photographic Organizations
After 1971 the enthusiasm and encouragement born of liberation also flowed into the
field of photography and photographers who endeavored to organize themselves.
Quite a number of organizations including ‘Bangladesh Photographic Society’ (BPS)
played a primary role in the growth, development and thus the total success of
photography in post-independence Bangladesh. The art of photography achieved
nationwide diffusion and enrichment through the activities of these organizations.
After liberation there were many attempts made to found a central photography
society. In this context BPS was formed on 21 December 1975 with the active effort
50
of the soul of the photographic movement, M.A. Beg. An organization named
51
Camera Recreation Club had already been formed before liberation.
Camera Recreation Club (CRC)
‘Camera Recreation Club’ founded in 1962 stayed active even after liberation with
52
the efforts and inspiration of its ‘unannounced general secretary for life,’ [Trans.]
53
Golam Kashem Dady. The activities, discussions, general meetings as well as fairly
regular thematic competitions and exhibitions were held annually and in spring at his
residence. This club contributed considerably in the dissemination of photography in
the country as well as in amateur photography. The activities of the club slowed down
after the death of Dady.
Bangladesh Photographic Society (BPS)
Bangladesh Photographic Society is the federation of photographic societies of the
country and member of FIAP. Currently it has sixteen member organizations and
54
55
almost five thousand general members. In the context of the times, it was ‘the
56
intention of founding the Society to unite the persons involved in photography and
work together for the healthy development of the underdeveloped and neglected field
of photography.’ [Trans.] BPS created an accessible forum for photographers of the
57
country. Immense enthusiasm and interest in photography was created throughout the
country due to its many activities which led to the overall development of
photography. In the last three decades BPS has advanced through publishing journals
on photography, organizing national and international exhibitions, 58 awarding
corporate and honorary memberships, 59 disseminating education on photography
through Bangladesh Photographic Institute, organizing workshops and seminars by
internationally distinguished photographers and other multifarious activities. BPS
60
has had noteworthy success in various fields. Along with the personal successes of
members in the international field, BPS won a gold medal along with the second
position as a group in the 3rd Commonwealth Photography Competition held in Hong
Kong in 1983. Moreover, BPS stood 7th in the prestigious 5th FIAP Nature Biennial
held in Turkey in 1990.

PHOTOGRAPHY 441


Thus, since its inception BPS has played a major role in the advancement and
dissemination of photography with its multidimensional activities despite many
drawbacks and limitations. Branches of BPS were established in Rajshahi and Dinajpur
only some time later. In its wake many member organizations, sister organizations and
independent photography clubs developed in various parts of the country.
Alokchitra Shilpi Samsad (ASS)
‘Alokchitra Shilpi Samsad’was founded in Mymensingh with the inspiration and efforts
of eminent photographers Naib Uddin Ahmed, Nawab Ali and others in December 1977
and played an active and effective role in the development of photography. In 1979 this
Samsad with the assistance of UNICEF organized the first nationwide photography
exhibition and competition on the occasion of the international children’s year. Next, in
1983, this institution organized the second (Mother and Child in Bangladesh) and in
1990 the third (Pathakali, the helpless and neglected children of Bangladesh, childcare)
national photography contest and exhibition. Moreover, the Samsad organized various
seminars and workshops as well as different training activities at different times.
Chittagong Photographic Society (CPS)
Among organizations situated outside of Dhaka the Chittagong Photographic Society is
the most active and enthusiastic. With its establishment on 11 March 1983 it has directed
multifarious activities for the development of photography in the country. Mrinal
Sarker, Mortoza Towfiqul Islam, Moududul Alam and many others played an important
role in this regard. In 1990 CPS organized the second international (first approved by
FIAP) photography competition and exhibition in Bangladesh. 61 Moreover, it has
organized five national contests and shows. Since 2001 CPS has been publishing a
journal on photography named Exposure.
Bangladesh Alokchitra Federation (BAF)
At the end of the eighties the effort to establish a federation incorporating all the
photographic organizations of Bangladesh was undertaken. 62 In August 1987 its
constitution was approved by representatives of different bodies and the executive
committee formed with Mrinal Sarker as President and Anwar Hossain as the General
Secretary. However, with the strong stand of BPS as the pre-announced FIAP approved
63
and working federation of photographic organizations BAF was faced with a
contradictory and adverse situation. It did not last for long but successfully arranged a
number of exhibitions and competitions.
Alongsides the above-mentioned major organizations there were many photographic
organizations or societies established all over the country. Basically with the effort of
some young students including Obaedullah Al Mamun ‘Brahmanbaria Photographic
Society’ was established in 1984, which played a very active role in the development of
photography. Besides, ‘Joypurhat Photographic Society’ (1984), ‘Kamalganj
Photographic Society’ (1985), two in Bogra; ‘Bogra Alokchitra Samsad’ (1985) and
‘Bogra Photographic Society’ (1985), including ‘Faridpur Inner Eye Photographic
Society’ similar organizations developed contemporaneously in Pabna, Rajshahi,
Sylhet, Barisal, Rajbari, Comilla, Bhairab, Moulvibazar, Narayanganj. At the initiative

442 ART AND CRAFTS


of the indigenous communities of the Chittagong Hill Tracts ‘Chittagong Hill Tract
Photographic Society’ (1999) was founded. With the effort of expatriate Bangladeshi
photographers ‘Lens-View Photographic Society’ was formed in the United States.
Similar societies developed in the various universities of Bangladesh. The ‘Dhaka
University Photographic Society,’ ‘Architecture Department Photographic Society’ of
the Bangladesh University of Engineering and Technology and ‘Jahangirnagar
University Photographic Society’, played an active role in this context. Moreover, there
are photographic societies in Rajshahi University, Shahjalal University of Science and
Technology in Sylhet, Islamic University of Kushtia as well as private universities such
as, BRAC, North South etc.
Besides the regional and educational institution based organization, various
photography related organizations were born on the basis of different ideals or activities.
‘Creative Photographers’ was founded in 1986 with the special commitment to promote
and practice creative photography. Besides the founding president Mrinal Sarker, the
other initiators included AFMA Gani, BKS Inan, Kaisar Alam and others. The particular
success of ‘Creative Photographers’ was organizing the first international salon on
64
fig. 10.16 Photograph photography in 1988. The president of ‘Cine-seek Audio Visual Club’ established in
winning first prize at the 1983 was Dr. Siddique E. Rabbani. Many photographers of the younger generation
2 nd Asian photography including Khalid Mahmood Mithu was associated with it. This organization awarded
competition organized ‘Cine-seek Alokchitra Padak’ and other multi-dimensional activities for the
by ACCU, photograph advancement of photography. Besides this, ‘Bangladesh Association for Development
Bijon Sarker, Photography’ (1978), ‘Camera Club, (1986), ‘Manshot Society of Photography’ etc.
© Bijon Sarker may be mentioned. Most of these clubs were short-lived and are currently non-existent.

PHOTOGRAPHY 443


Among similar clubs outside of Dhaka the noteworthy ones are ‘Third Eye’ and ‘View
Finder Photographic Club’ (2000) of Chittagong. A new dimension was observable in
this kind of organizations from the nineties. Many organizations were established which
included the commercial and marketing possibilities of photography.
Drik Picture Library Limited
‘Drik,’ established in 1989, is an organization of a new type in the perspective of
Bangladesh. It has multi-dimensional activities as well as library, agency, studio,
laboratory, gallery, training workshop and publication. Drik has developed a huge
collection of photographs of photographers of different classes with the intention of
preserving and marketing them at home and abroad. Under Drik’s management
international exhibitions entitled ‘World Press Photo’from 1993 and ‘Chhabimela’from
1999 is being held. Great awareness regarding marketing and copyright has been created
in the country through Drik. ‘Anya Chokhey Dekha,’‘Focuser Bairey,’‘Muktochokhey’
are specific project based member organizations of Drik. Under the overall planning of
the founder of Drik, Dr. Shahidul Alam, a photographic organization named ‘Focuser
Bairey’ was founded in 1994 based on one of its projects with ten child laborers after
they were given the necessary training. The members have already gained acclaim in
various fields.
MAP Agency of Photography (MAP)
MAP (1993) grew with the collaboration of a number of promising young persons
who evidenced their success in various fields. MAP became well known for the
buying and selling of photographs, advertising photography, documentary and
development photography on various subjects for different organizations as well as

444 ART AND CRAFTS


high quality printing and processing of black and white photographs. The members of
MAP are presently involved in ‘development photography’ for different voluntary
organizations on specific themes (health, child labor, abuse of women, acid terror,
education). MAP has a number of photographic publications. Hasan Saifuddin
Chandan, Shafiqul Alam Kiron, Mahmud, Khaled, Bitu, Sujan, Masuma Pia are
currently involved in MAP.
Aalok Group of Photographers
Aalok was established by 17 contemporary photographers of the new generation
on a completely non-profit basis with their commitment and promise to
photography. Aalok has been able to build up an international network through
group exhibitions outside the country in Romania, Japan, Singapore as well as in
Bangladesh. In 1996 Aalok successfully organized the first international
‘Swachchha Alokchitra’ exhibition. Dr. Rashid Un-Nabi is now the chairman of
Aalok. Currently it is largely inactive.
Recently in 2004 six young photographers founded ‘Icon’ photo. Other than executing
photo assignments for persons and organizations, Icon also regularly arranges various
subject-based workshops. Moreover, the studio-centered photographers of the country
have established the ‘Bangladesh Photographic Council,’ ‘Bangladesh Photographic
Association,’ etc. for working together on various issues.
Bangladesh Photographic Council (BPC)
In post-independence Bangladesh in 1972 to address the issues of the unavailability
and high price of photographic materials ‘Bangladesh Photographic Council’ was
formed by the commercial studios and dealers in photographic materials. After the
situation normalized the organization became inactive.
Bangladesh Photographic Association (BPA)
In 1984 the photographers and businessmen of the studios of Dhaka formed
‘Bangladesh Studio Malik Samiti.’ In 1998 this association was amended to a certain
extent and it was renamed ‘Bangladesh Photographic Association.’Almost a thousand
studios all over the country are now its members as well as various photography
related commercial organizations. BPA is involved in the advancement of photography
of the country as well as movements related to upholding their own interests and the
organization of a number of seminars and workshops for the development of education
in photography. This association has also taken the initiative of publishing a journal
on photography, Photobarta. Many photographers were and are associated with this
organization including the founding president late Idris Mia, M. A. Rahim, Monwar
Hossain Manik, Monzurul Alam Chowdhury and Hamidul Huq Kochi. In 1991 a
similar ‘Studio Malik Samiti’ was established in the port city, Chittagong. The
founding president was Mortoza Towfiqul Islam and Mihir Kanti Chakrabarti was the
general secretary.
Bangladesh Photographers Welfare Association

PAINTING 445


The existence of an organization ‘Bangladesh Photographers Welfare Association’
is known to have been founded in 1990 to do away with the discrimination in the
workplace of photographers working in various government and semi-
government organizations.
4.0 Photographers of Post-Independence Bangladesh
Since the liberation of Bangladesh in 1971 the socio-economic, political, cultural,
educational and technical aspects of photography have gradually been transformed.
This process of transformation is distinctive in terms of chronology, theme and
genre, besides which various individual characteristics of various photographers also
became stronger.
4.1 Pioneering Photographers
The pioneering photographers whose hard work and dedication led to the gradual
growth of photography during the decade of the fifties and sixties, further enriched the
milieu of Bangladesh photography with their multi-faceted activities after 1971.
Senior photographer Azmal Haq was the official photographer of the Dhaka
University from 1962 to 1985. The main subject of his photographs is the landscape
of Bangladesh. Dr. Ansar Uddin Ahmed (1931- ), APBS, was a researcher and
65
doctor of ICDDRB. He also did photography for the research activities of the
66
organization. Kafil Uddin Ahmed (1929-2001) founded a studio called ‘Kafela
Photographer’ in the New Market in Dhaka in 1961. He worked as a photographer in
the Design Center headed by Quamrul Hassan for some time. From 1997 onwards in
his long residence abroad he was associated with photography in many countries of
Europe including Germany. Amateur photographer Syed Anisul Hossain (1937- ) was
involved with BPS, CRC and the photography movement in various ways. Bijon
Sarker (1935- ), Hon.FBPS is one of the pioneers and organizers of the movement
67
of photography in Bangladesh. He was founding member of Camera Recreation Club
and Bangladesh Photographic Society. For most of his working life he worked as
photographer of the Bangladesh Parjatan Corporation. In 1977 he won first prize (fig.
10.16) in the photographic competition organized by ‘ACCU.’ Golam Mustafa
68
(1941- ), Hon. FBPS worked at Bangladesh Television for most of his working life
(1964-1996). He was founding member of CRC and BPS as well as being involved
in many ways with the photographic movement. Mrinal Sarker (1928-2000) was one
of the greatest organizers and cultural activists of Bangladesh. He was the founding
president of CPS, BFP and Creative Photographers. In his professional life he was the
photographer of the Chittagong Forest Research Institute. Sudutta Sebak Barua
(1936-1997) won many awards for his photographs as well as being member of the
jury panel for the 6th, 7th and 11th photographic competition arranged by ACCU. He
was the first person from this country to become member of PSA. Sujit Kumar Ray
69
(1943-1990) was photographer in the inter-forces public relations office. He worked
as the photographer of the Defense Ministry of the Mujibnagar Government. Azizur
Rahman (1940-1977) was a photojournalist in his professional life as well as being
involved with artistic photography. In the first Asian photography competition held

446 ART AND CRAFTS


in Tokyo in 1976 Azizur Rahman alone won five prizes. In 1983 Bangladesh
70
Shilpakala Academy published a booklet entitled Azizur Rahman with his
photographs (pl. 10.4). The proprietor of the first organization introducing modern
technology to printing and processing color photography, ‘Padma Printers and Color
Ltd.,’ Khan Md. Ameer (1943- ) is himself a talented photographer. Alhaz Abu Taleb
was an amateur photographer. Moreover, among commercial studio based
photographers Nurul Azfar Tota Mia (Vista Art Studio), M. A. Rahim (Continental
Studio), Mortoza Towfiqul Islam of Chittagong, Hasan Abdul Monaem of Rangpur,
Motahar Hossain of Rajshahi (Star Studio), Mohammad Ali (Bengal Color Lab),
Ashraf Ali Malo of Bogra and many others made important contributions to various
aspects of photography. Most noteworthy for the overall practice and diffusion of
photography among this generation are Golam Kashem Dady, Alokchitracharya M.
A. Beg, Naib Uddin Ahmed, Amanul Haq and Noazesh Ahmed.
Golam Kashem Dady (1894-1998), Hon. FBPS, Hon. FIIPC 71
Golam Kashem Dady was the senior most photographer of Bangladesh and one of
72
the foremost pioneers of photographic practice of this region. In 1912 he first began
photography with the box camera of a friend in Kolkata. 73 Since then he was
passionate about the medium and was dedicated to its practice and growth till his
death. He began to reside in Dhaka permanently in 1949 and in 1951 he formed
‘Tropical Institute of Photography’ with the aim of teaching photography. He played
an active role in the founding of the ‘Camera Recreation Club’ and patronized it to the
fig. 10.17 (top) Golam end. He wrote prolifically on photography. For the 150th anniversary of photography
Kashem Dady, an exhibition of his photographs taken from 1918 to 1935 depicting natural scenery,
photograph Nafis life of the people, professions, fauna, children and spontaneous portraits of that period
Ahmed Nadvi, was held in Dhaka.
© Nafis Ahmed Nadvi
Amanul Haq (1926-)
fig. 10.18 (bottom) Amanul Haq is the most major and renowned photographer of Bangladesh. The life,
Amanul Haq, culture, lifestyle and nature of Bangladesh is colorfully portrayed in his work. 74
photograph Nafis
Ahmed Nadvi Alongsides, many photographs on society and humanism, his Amar Desh series of
© Nafis Ahmed Nadvi photographs attracted everyone’s attention as they continued to be printed for many
years after the independence in the Saptahik Bichitra presenting the eternal image of
Bangladesh. He was in contact with world famous film-maker Satyajit Ray for a
number of years and photographed his personal life and work as well as doing still
photography of Bengali films of those days. The most memorable event in Amanul
75
Haq’s life is doubtless photographing the bullet hit head of martyred Rafiq Uddin
Ahmed, shot and killed by the police on 21st February 1952. This is ‘the only
historical photograph of the language martyrs.’ Amanul Haq compiled a book
76
entitled Ekusher Tamasuk (2003) on the photographs he took spanning a period of
over half a century from the Language Movement of 1952 and the various Shaheed
Minars (martyrs memorial monuments), people observing martyrs day, the Central
Shaheed Minar demolished by the Pakistan army in 1971, etc.

PHOTOGRAPHY 447


Naib Uddin Ahmed (1927-), FBPS 77
Naib Uddin Ahmed is the foremost amongst senior and dedicated photographic artists
and organizers of Bangladesh. His photographs show the nature of rural Bengal, the
way of life and struggle of the people close to its nature and culture is expressed with
great beauty. In his photographs the people are glowing and distinguished as they
uphold the eternal culture and heritage of rural Bengal (figs. 10.4, 10.5). Nature loving
Naib Uddin has created a ‘romantic world’ of eternal nature and beauty in his
78
photographs entitled Banglar Mukh, Amar Bangla, Manush O Nadi, etc. He took some
documentary photographs of the War of Liberation of 1971. In 1977 a joint publication
entitled Bangladesh with the photographs of himself and his younger brother Noazesh
Ahmed was the first photographic album of Bangladesh. In his professional life he
was the photographer of Mymensingh Agriculture University from its very inception
and is now retired. He played a role in the development of photography in Bangladesh fig. 10.19 (top) Naib
over a prolonged period of time by establishing the ‘Alokchitra Shilpi Samsad’ of Uddin Ahmed,
Mymensingh and its various activities. Photograph Nafis
Ahmed Nadvi,
M. A. Beg (1931-1998), Hon. FBPS, ESFIAP, FSIPC 80
79
© Nafis Ahmed Nadvi
Alokchitracharya M. A. Beg was simultaneously a famed photographer, specialist
81
reprographer, dedicated teacher and also a distinguished writer on photography. He fig. 10.20 (right bottom)
joined the then Pakistan Air Force in 1949 and was trained in photography in the M.A. Beg, photograph
technical training center of the Air Force in Karachi. In 1955 while he was working at Imtiaz Alam Beg,
PANSDOC in Karachi he received training on microfilm from Kurt Blum, the © Begart Institute of Photography
82
specialist of the UNESCO. In 1968 he took training in world famous Hartfield College fig. 10.21 (left bottom)
of Technology of the United Kingdom in reprography and in the Kodak Photographic Sram (labor),
School in color photography. The institutional education in photography was photograph M.A. Beg,
introduced by him through the honorary award winning
Bengal Institute of Photography photograph at the 1st
(1960). With the establishment of Commonwealth
BPS and through its total activities photography
he played a major role in the competition,
photographic movement of the © Begart Institute of Photography
country. He received many
international prizes and recognitions
(fig. 10.21) including the first prize
in the ‘Photokina’ international
competition of Germany. In 1982
‘Photographic Association of
Dumdum’ (PAD) recognized him as
one of the 11 best photographers of
the world in that year. In 2007 he was
awarded the Ekushey Padak
(posthumous), the national award for
his contribution to photography.