Art and Crafts of Bangladesh

448 ART AND CRAFTS


Dr. Noazesh Ahmed (1935- )
Noazesh Ahmed has created a completely
new and vari-colored world in the
photography of Bangladesh. Agricultural
scientist Noazesh Ahmed is a Ph.D. in
plant genetics. His work is diverse and
experimental. Nature, life of the people,
the work-profession-struggle of people,
culture-history-heritage, etc. are all the
subject of his photographs. However, these
express in their presentation his wisdom in
photography, individuality, creativity and
capacity to instill meaning. 83 He creates
‘beauty of reality’ 84 [trans.] through his
view point, composition, color, use of light
and shade, he sometimes displays inner
reality, and sometimes ‘goes close to the surreal.’ [Trans.] With the closely observant
85
vision of a scientist, he utilizes the form-size-shape and texture of the subject to
express his statement. He is very passionate about color as the environment and ‘life
is not colorless.’ [Trans.] He won the best award in the first national photography
86
fig. 10.22 (top) Ahata exhibition of the Bangladesh Shilpakala Academy in 1978. In 1958 his work was
Kokil (Wounded
Cuckoo), photograph included in the important exhibition entitled ‘Portrait of America.’In Washington D.C.
Noazesh Ahmed, and New York of the United States he had an important show titled ‘Bangladesher
© Noazesh Ahmed Pratikriti’ (Portrait of Bangladesh) in 1972 besides having many other exhibitions of
his work at home and abroad. A number of his photography albums have been
fig. 10.23 (bottom) published. Among these are Bangladesh (1975), Portrait of Bangladesh (1983),
Noazesh Ahmed, Bastaber Anyesha (1996) which depict the nature, history-heritage-culture and the
photograph Syed Badrul people of Bangladesh, Banglar Banaphul (1997) on the diverse array of wild flowers
Karim, of Bangladesh, Dhanshiri Naditir Pashey (2004) based on the poetry of Jibanananda
© Syed Badrul Karim
Das is experimental, Chhinnaptra (2004) based on Galpaguchchha of Rabindranath
Tagore, etc. are noteworthy. Furthermore, two books on his photographs have been
published abroad entitled Burma and Nepal. The nature, life, culture, religion,
activities and professions of these two countries are depicted in these books.
4.2 Photographers: Seventies
The seventies saw the advent of a few eminent photographers and their activities
extended further in later times. Anwar Hossain and Nasir Ali Mamun are foremost
among them.
Anwar Hossain (1948-), ARPS , AHPC 88
87
Anwar Hossain has received the greatest quantity of international awards and
recognition among the photographers of Bangladesh. Thes distinctive quality of his
89
photography is the unique power of imagination and artistic talent in representing his

PHOTOGRAPHY 449


subject aesthetically and temperately. He has the unique ability
of capturing artistically significant moments from the flow of
reality. His pictures succeed in creating a different meaning or
emotion in the viewer overpowering visual reality. Humans
exert their supremacy in his pictures in association with nature,
life and society, history-culture-heritage, etc. His pictures are
throbbing with the life of the common people surrounding us,
their expressions and experiences. His photographs sharply
attack insincerity and hypocrisy, ‘he is quick to expose
hypocrisy.’ He takes his stand against the politics and social
90
structure that exploits humankind and humans, he extends firm
conviction in humanism and optimism. The main technique he
employs in his pictures is to place two opposing subjects side by
side or in the foreground and background to make his statement
more effective. Anwar Hossain holds a university degree in
architecture and a diploma in cinematography from the Puna
Film Institute, he has extensive international experience and has
also experimented with modern concepts and philosophy in his
work. In 1978 Bangladesh Shilpakala Academy published a
booklet entitled Anwar Hossain featuring his photography. In
1980 his album The Bangladesh Image was published. In 1988
was published his much discussed colored album Journey
through Bangladesh, ‘a realistic novel about Bangladesh.’ 91 Besides, the albums
Dhaka Portrait (1992) depicts the heritage-richness-variety and gradual
transformation of his own city, Woman (1992) is a research into the multidimensional
identities of women in a global context (with photographs of women of 29 countries),
they are statements of reality and artistry. As a sequel to his earlier photographs of
Bangladesh (Journey through
Bangladesh) showing the changes in
economical-social-political conditions
and the resulting decadence and
deterioration that transformed life, culture
and nature in his ‘time-capsule voyage fig. 10.24 (top) The
volume’ A Voyage through Bangladesh Ferry, 1973, photograph
92
(2000) album was published. His album A Anwar Hossain,
Ballad of Bangladesh was published with © Anwar Hossain
his photographs taken between 1967 and
2004 (including various photographs fig. 10.25 (bottom) To
previously published) with messages on the Market, Jaypara,
1972, photograph
the way of life and experiences of the Anwar Hossain,
people of this country. © Anwar Hossain

450 ART AND CRAFTS


Nasir Ali Mamun (1953-)
Nasir Ali Mamun is exceptional in the field of photography of
Bangladesh as he has selected portrait photography and has
achieved artistic excellence in it. He introduced this trend in
photography in his own style in Bangladesh and has in the
meanwhile photographed the portraits of three thousand
celebrated people of different fields and at different times,
nationally and internationally. ‘If one imagines the map of a
nation within the portraits of its creative people then one must
pause, if even for a moment, in front of Mamun’s photographic
album.’ 93 These portraits photographed in natural light are
luminous in creativity (fig. 10.26). He is particularly able to
capture the expression that presents the personality of an
individual. He photographed the artist late S.M. Sultan for nine
years without break. He has books published on German Nobel
laureate author Gunter Grass’ trip to Dhaka entitled Gunter
fig. 10.26 Grasser Dhaka Abishkar, Kirtimaner Mukhochhabi (2001)
Bismillah Khan, featuring portraits of various famous personalities of the world and Ghar Nai (2001)
photograph Nasir Ali which, on a different note, presents photographs of rootless, floating children of
Mamun, Bangladesh.
© Nasir Ali Mamun
Maksudul Bari (1949), LBPS is an accomplished photographer of this decade. He won
94
first prize in the exhibition organized by ACCU entitled ‘Asian Women’ (pl. 10.11).
Other noteworthy photographers of this period are Shamsul Islam Alamajee, Shafiqul
Islam Swapan, Selim Nawaz Bhuiyan, Mohammad Ali Salim, Manzur Alam Chowdhury,
Kazi Mizanur Rahman, Iqbal Hossain, Sadat Hossain Monju and Altaf Hossain.
4.3 Photographers: the Eighties
The eighties is a glowing and important chapter in the photography of Bangladesh. On
one hand the predecessors have presented themselves in their entirety while on the
other hand many talented photographers have congregated in the field of photography,
‘Photography found its followers and avant-guardists in Bangladesh for decades
now,’ 95 ‘older helmsmen and new boatmen’ 96 [Trans.] have through their joint
advancement established the photography of Bangladesh in the international scene.
Noteworthy artists of this period are Brigadier General (Retd.) M. Atiq-ur-Rahman,
Dr. Shahidul Alam, Debabrata Chowdhury, Nafis Ahmed Nadvi, Hasan Saifuddin
Chandan, Dr. Rashid Un-Nabi, Shahab Sattar, Khalid Mahmud Mithu, Abul Malek
Babul, Swapan Saha, Kabirul Zulfiquer, BKS Inan, Chanchal Mahmood, Abu Taher,
Enamul Karim Nirjhar and Kashinath Nandi.
Brigadier General (Retd.) M. Atiq-ur-Rahman, Hon. FBPS, became involved in
photography at the end of his long career (1987). He was involved with BPS for a long
period of time including working as its advisor. He has worked extensively on the
nature and life of different countries of the world.

PHOTOGRAPHY 451


Debabrata Chowdhury (1952- ), LBPS is photographer of the Bangladesh Livestock
Research Institute in Savar and his photographs have been exhibited, published and
awarded at home and abroad (pl. 10.12, pl. 10.16). He has been associated with the
education wing of BPS ‘Bangladesh Photographic Institute’ in the photography
education program. In 1991 he visited various photography education institutions,
galleries, museums, societies and observed the overall education system in a tour
arranged by the British Council and submitted his report on a photography course
suitable for Bangladesh. Nafis Ahmed Nadvi (1958- ), LBPS, a graduate of fine art
evinces originality in his artistic language (fig. 10.27). He won the grand prize in the
second national photography competition organized by BPS. He was also involved in
the organizational aspect of the photography movement. In Enamul Karim Nirjhar’s
album Barnadhara, Enamul Karim Nirjharer Alokchitra Gatha (2001) he has
presented us with a picture of the hypocrisy and emptiness of our socio-political
economic life. Abdus Shahid (1949- ), LBPS has long been responsible as the training fig. 10.27 Photograph
assistant at the Begart Institute of Photography and Bangladesh Photographic Institute. Nafis Ahmed Nadvi,
He has also left his mark as an accomplished photographer (fig. 10.28). © Nafis Ahmed Nadvi
Rashid Un-Nabi (1965-), AFIAP
Dr. Rashid Un-Nabi Shubra is a leading photographer and organizer of Bangladesh.
This accomplished photographer artist has received almost fifty awards to date
including FIAP gold medal and PSA gold medal. He is the president of Aalok as well
as participating in various activities of BPS, CPS as an organizer. He creates a poetic
and aesthetic world in his photographs. Many everyday and ordinary subjects of the
surroundings become meaningful in his pictures (fig. 10.30).
Shahidul Alam (1955-), Hon. FBPS, Hon. FRPS 97
Shahidul Alam holds a Ph.D. degree in biochemistry from the Liverpool University of
the United Kingdom and is a self-taught photographer. He began as an amateur
photographer in 1981 and started to work as a professional in London in 1983. He
returned to Bangladesh in 1984 and became a member of BPS (he was the president
from 1989-1992) and became involved in the photographic movement. At present
Shahidul Alam is an international photographic organizer, specialist and speaker.
Shahidul Alam’s photographs and his various activities have stressed the socially
related aspects of awareness building on child labor, abuse of women, positive
consciousness towards AIDS victims. He has captivated the struggle for existence of
the common people, life endangered by natural calamities and the anti-autocracy
movement which continued throughout the eighties. He took great risks in 1990
during the mass movement and presented the stirring exhibition entitled ‘Struggle for
Democracy.’ He received the prestigious Mother Jones International Photography
Prize (1992) for his photographs of this mass uprisal. ‘The true picture of the country
is not being represented by the photographers of the west,’ [trans.] thus to present the
98
actual picture he has formed Drik, Pathshala, Out of Focus, Anya Chokhey Dekha etc.
organizations. He was member of the jury of the World Press Photo competition in

452 ART AND CRAFTS


1994, 1995 and 1998 as well as being responsible as president in 2003. Dr. Alam is a
specialist in modern information technology, digital photography and holography.
Hasan Saifuddin Chandan (1961-), AFIP
Hasan Saifuddin Chandan is a talented and promising photographer. He has tried to
combine the social responsibility of photography with aesthetic expression. He won
the FIAP gold medal in 1985 and grand prize in the 11th ACCU competition in 1986.
His album The People at Kamalapur Station published on the occasion of his first solo
exhibition (Switzerland 1994) was highly appreciated. The people living in the
bustling Kamalapur Station, their lives, work and leisure, the coming and going of
people etc. have become symbols and metaphors and expressive with his planning and
attention and the photographs have indicated the reality and truth of life (fig. 10.29).
4.4 Photographers: New Generation
Quite a few talented young persons entered the horizon of photography of Bangladesh
from the mid-eighties to the present. Their work has been much discussed, appreciated
fig. 10.28 (top) and has received many awards both at home and abroad. Their modern and original
Photograph Abdus perspective in observing and recording, the presentation and attention to the subject
Shahid, winning 2nd are novel to the photographic world of Bangladesh.
prize in the 1st National Mahmud (1961- )
Photography Exhibition Among the photographers of present day Bangladesh Mahmud is a very sincere and
organized by Alokchitra dedicated practitioner. He has documented the way of life, work - profession and
Shilpi Samsad,
Mymensingh, struggle of people in various remote areas of the country. A number of his photographic
© Abdus Shahid albums have been published. Dubla Dulabhanga, Forced Labour in Fishing Industry
(2002) portrays child labor in Dublar Char at the south of the Sundarbans, Monsoon
fig. 10.29 (bottom)
From the album The (2002) is on the theme of life and nature with its various accompaniments in the rainy
People at Kamalapur season, Noukar Pal, Machhdharar Jal (2004) features the boatmen and fishermen
Railway Station, associated with the river, Our World, Women in Bangladesh (2005) depicts the life of
photograph Hasan women in Bangladesh, their life and work with the accompaniments of everyday life are
Saifuddin Chandan, noteworthy among his albums. Besides, 20ta Gram: Kurigram is his album published
© Hasan Saifuddin Chandan on life in the northern settlements on the chars (sandbanks) of the Brahmaputra-
Dudhkumar-Dharla-Tista rivers. He
has also done diverse work on the
indigenous communities of the hill
areas of the country.
Shehzad Noorani has gained
particular fame for his sincere and
dedicated documentation of child
labor (pl. 10.15), sex workers and
other social issues. In his album
published by UNICEF We are
Children, We have Rights is featured
the involvement of children in labor,
risks at work and social deprivation.

PHOTOGRAPHY 453


The way of life of sex workers in various parts of
Bangladesh, their social deprivation and the
involvements and risks in their profession, that
is, their life circle has been the subject of his
work for a long time. In the year 2000 he won the
acclaimed Mother Jones International
Photography Prize. His photographs have been
included in various renowned publications.
Shafiqul Alam Kiron (1968- ) has photographed
acid burnt women, child marriage, life of the
elderly and other social issues. In the World
Press Photo competition of 1999 he won the first
prize in ‘People in the News’ department (figs.
10.38, 10.39) and second prize in ‘Spot News
Stories’ department in 2001. In the
‘Contemporary Issues’ department of the same competition of 2005, the accomplished fig. 10.29 Guide,
photographer of Chittagong, Shoeb Farooque won the second prize. Abeer Abdullah and runner-up in 'World and
GMB Akash have drawn attention with their photographs showing artistic knowledge I' photography
and a different perspective. Abeer Abdullah won the world famous Mother Jones competition, USA,
International Photography Prize in 2001 for his documentary photographs from a 1987, photograph
different perspective on the freedom fighters wounded in war (figs. 10.31a, 10.31b). Rashid Un-Nabi Shubra,
GMB Akash won many awards including the ‘Photographer of the Year’ award at the © Rashid Un-Nabi Shubra
Fine Art Photography exhibition held in the USA in 2005 for his photograph entitled fig. 10.31a (bottom)
‘Born to Work.’ In 2006 his album entitled First Light was published with some of his from War Veterans of
artistic and talented work. Shahadat Parvez won the gold medal (pl. 10.13) at the largest Bangladesh series
photography salon of Asia, the 66th International Photography Salon of Japan held in photograph Abeer
2006. Saiful Haq Omi has published the life story of the victims after being wounded in Abdullah,
various political terrorism crimes and atrocities entitled Heroes Never Die, Tales of © Abeer Abdullah
Political Violence in Bangladesh, 1989-2005 (2006). Recently Monem Wasif has
displayed his original talents with his distinctive works.

5.0 Women Photographers of Post-Independence Bangladesh
5.1 The Elder Generation
From before independence to the post-independence period until the
seventies the women of this country did not advance into the field of
photography or were not involved in the mainstream. From the end of the
seventies to the eighties the involvement of women increased in the
various fields of photography. Some names appear disconnectedly in this
period and mention is made of their winning prizes and of their work.
Irani Rahman, Mrs. Nasima Begum, S. A. Begum, Mrs. A. Jalil, Nasim
Altaf, Sitara Ferdous Rahman, Mita Roy, Belly Chowdhury, Nahar
Ahmed, Amena Shahin are notable among them. Accomplished actress
Dolly Anwar (1948-1991) has evidenced her artistic talent in the field of

454 ART AND CRAFTS


photography as well. She won the bronze medal
(fig. 10.34) in the 3rd International
Commonwealth Photography competition. After
her death a solo photography exhibition of her
work was held at the German Cultural Institute
in 1992. However, all things considered,
Sayeeda Khanum is the most brilliantly different
and dedicated practitioner of photography
among the women of Bangladesh.
Sayeeda Khanum (1937- ), Hon. FBPS
Sayeeda Khanum is the pioneer among the
women photographers of this country. In the
forties ‘when the women of our society could not
venture out of the household, this artist at that
and fig. 10.31b (top) time had taken photographs for years on end with her camera on her shoulder,
from War Veterans of wandered from city to port and village and even outside the country.’ She has
99
Bangladesh series, photographed various subjects (fig 10.33). She has documented the various activities
winner of the famed and expressions of the famous film director the late Satyajit Ray by intimately
Mother Jones
International associating with his family from 1966. She has a book entitled Amar Chokhey Satyajit
Photography Prize, Ray with a compilation of these photographs. Moreover, she has photographed many
photograph Abeer eminent personalities including Bangabandhu Sheikh Mujibur Rahman, Kazi Nazrul
Abdullah, Islam, and Mother Teresa. This accomplished artist won many awards and recognitions
© Abeer Abdullah at home and abroad including first prize in the ‘All Pakistan Photo Contest’ of 1960.
fig. 10.32 (bottom) 5.2 Training and Organization
Sayeeda Khanum In August 1986 the first institutional photography training workshop for women was
organized by ‘Dhaka University Alokchitra Academy.’ 100 At the initiative of the
president of the Academy and trainer Sheikh Yaar Ahmed Pearu, the first women’s
photography competition and exhibition was held at the Shilpakala Academy gallery
comprising of the photographs of those who had participated in the advanced course
after completing the basic one. Ismat Jahan came first in this competition. In 1992 a
101
group of women photographers named ‘Anya Chokhey Dekha’ was formed.
‘Anya Chokhey Dekha’
At the initiative of Dr. Shahidul Alam in 1992 ‘Autograph’ of Britain and ‘Drik’ of
Bangladesh jointly organized a workshop under the supervision of the British woman
photographer Poulomi Desai. At the end of the workshop a group was formed with the
eleven participants including Nargis Jahan Banu and Nurjahan Chaklader. The
primary goal of this workshop was communicating the importance of photography
among women and inspiring them to participate in this field. They have already
exhibited a number of times in the country and twice in the UK.

PHOTOGRAPHY 455


5.3 Women Photographers: New Generation
With the expansion of education in photography
and increase in various activities quite a number
of women photographers have entered the arena.
After completing the basic photography course
from the Dhaka University Photography
Academy in 1986 and upon graduating from
‘Pathshala’ in photography in 2000 Munira
Morshed Munni began to practice professional
photography from 1996 and including
photographing stills of art films she is now
working as a photographer enlisted by UNICEF.
Furthermore, notable among the new generation
women photographers are Masuma Pia, Farzana
Khan Godhuli, Syeda Farhana, Kakoli Pradhan,
Snigdha Zaman, Juthika Howladar, Sanjida
Shaheed, Sameera Haque, Laila Anwar Bindu. Besides the various trends in currency, fig. 10.33 (top) Prarthana
the women photographers have occasionally pictured their own situation from a (Worship), photograph
different perspective. On 8 March 2005 on the occasion of the International Women’s Sayeeda Khanum,
© Sayeeda Khanum
Day the senior and junior photographers of the country held a group exhibition in the
program of ‘Bikkhubdha Nari Morcha’ under the banner ‘Jwaley Uthi Sahoshi Nari.’ fig. 10.34 (bottom)
Recently on 8 March 2006 a competition and exhibition of women artists was held Photograph Dolly Anwar,
organized by Icon Photo. after the album Bangladesh
6.0 The Different Subjects and Trends of Photography in Bangladesh Land and People (published
by DFP), winning the
After 1971 the overall practice, exhibitions and publications of the photographers of bronze award in the 3rd
Bangladesh have clearly manifested some subjects and trends. However, almost all Commonwealth
artists have practiced in a variety of subjects or trends. Photography Exhibition of
6.1 Nature, Life and Culture 1986.
The beautiful natural scenery, the life of the people and culture has invariably
attracted all the photographers of the country, young or old. Through their
search uniquely beautiful Bangladesh has been uncovered in photography. The
beauty of rural Bengal has been reflected in the photographs of Azmal Haq.
Naib Uddin Ahmed ‘integrates man with nature.’ 102 The inherent aesthetic
expression of people in the midst of charming nature is captivated in his
photographs. Amanul Haq presents in his Amar Desh series of photographs a
rich and beautiful Bangladesh. M. A. Beg has taken realistic photographs of the
way of life of man and nature. Noazesh Ahmed has artistically expressed the
grace and drama of nature. The photographs of Anwar Hossain create a
spontaneous and beautiful world of nature and life of Bangladesh (fig. 10.35).
The simple and easy life of rural Bengal and a spontaneous expression of the
beauty of nature is found in the works of Monzurul Alam Chowdhury, Selim

456 ART AND CRAFTS


Nawaz Bhuiyan, Mohammad Ali Selim, Nafis
Ahmed Nadvi (fig. 10.36) and many others. Nasir
Ali Mamun has unfolded a green rural Bengal in
his exhibition titled ‘Folkloric Bangladesh.’ Bijon
Sarker’s works portray places of interest and the
unparalleled beauty of nature. In the pictures of
Khan Md. Ameer the natural beauty and grace of
the country has been presented. His album
published with pictures in this trend, Rain and
River (1991) was greatly appreciated. In Dr.
Golam Rabbani’s album From Mughal Outpost to
Metropolis (1997) the various historical and
important structures as well as the evolution of
life and culture of the city has been presented. The
unparalleled beauty, gifts of nature and the life of
the people of the only coral island of Bangladesh,
St. Martin, is unfurled in Abdul Malek Babul and Azizur Rahman’s album The
Revelation of Mystique St. Martin Island (2005). BKS Inan has expressed the silent
existence and appeal of the huge Sundarbans from a different perspective in his
exhibition Sounds of Silence in 2005. Mahmud has presented the diverse images of man
and nature in his album titled Monsoon (2002). Photographs of this trend has also
featured in Sudeep Sen, Tanveer and Kelly Linch’s album, Postcards from Bangladesh.
The album Festivals of Bangladesh (2005, ed. Professor Anisuzzaman and others) is
comprised of photographs by AKM Shihab Uddin, Syed Zakir Hossain and others
depicts the festivals of Bangladesh. Titas Chhabi O Kabitay (2006) featuring
photographs by Obaedullah Mamun includes the Titas river, life and nature centered
around the river. Bangladesh, Land and People (1985) and Bangladesh Life and Culture
(1986) edited by Anwar Hossain, were albums published by the Department of Films
and Publications of the Bangladesh Government and included works of various
photographers. They feature delightful black and white photographs based on the nature
and culture of Bangladesh. Moreover, the government also published Bangladesh
Mosaic in Green, This is Bangladesh with photographs in the same vein.
6.2 Work-Profession and Way of Life
Bangladesh is comprised of a variety of peoples with different professions, activities
fig. 10.35 (top) and cultures. Many photographers have worked with the diverse lifestyle of different
Photograph Anwar communities. The
Hossain, peasants, fishermen,
© Anwar Hossain weavers, bedes and
baidyas, kamars and
fig. 10.36 (bottom) kumars, boatmen etc.,
Photograph Nafis
Ahmed Nadvi, people of different
© Nafis Ahmed Nadvi professions have been

PHOTOGRAPHY 457


depicted showing the nature of their work and lifestyle. In his album Rural
Bangladesh (1993) M. A. Beg has portrayed the various classes of working people of
Bangladesh who are economically and socially deprived. 103 Noazesh Ahmed has
worked for a prolonged period on the Buddhist way of life. Mainul Alam’s album
Chhabite Bangladesher Jele Jiban O Jibika (2001) portrays the daily life and work of
the fishing community of Bangladesh, Photofeature (August 2002, photographs Mufti
Munir) published by Masline Media Center portrays the different elements of the life
of the bede community. Noukar Pal, Machh Dhara Jal (2004) published by MAP
Photo Agency represents the different professional communities based on the rivers.
The Jatra and Pala groups and people of the different religions, castes and
communities dependent on cultural activity are also important themes of our
photography. The lifestyle of the vaishnava and baul communities dispersed all over
Bangladesh with their songs of spiritualism and philosophy have also been
sporadically captured by a number of photographers. There is a definite need for
photographic documentation of the way of life of the people engaged in different
professions and activities.
6.3 Society and Humanism
Taking up the social responsibility of art, a trend of photography has developed in
Bangladesh which is nourished by humanism and desirous of social awareness and
social change. There are two clear trends in this field. One trend shows the artist driven
by personal awareness and in the other, the artist is involved in this field by being part
of the activities and projects of various social and voluntary development organizations.
A major theme of our photography is the life of the people endangered by flood,
drought, storms, etc., natural disasters, their hunger and poverty and the circle of
various social deprivations and wants.
Alongsides this, the struggle for existence and glorious story of life within this reality
is expressed in a variety of ways in our photography. In many intelligent photographs
social-economic and political causes behind the miseries and deprivations of people
have also been identified. Amanul Haq has expressed the struggle for existence of the
people of this country with a positive and humanitarian objective. 104 The landless,
rootless, under-privileged and suffering humanity has been sharply pictured in
Shamsul Islam Almajee’s camera. Dr. Shahidul Alam’s pictures have stressed the mass
movement of 1982-1990 as well as various social issues. Including the slum-dwellers
of the Dhaka metropolis, the daily life and struggle of the uprooted people in various
parts of the country and its many sub-human conditions have been intensely focused
in our photography. Numerous photographs of these social and humanitarian issues
have found a place in the publications of various voluntary NGOs.
6.4 Child Life and Child Rights
Many photographers have worked on the issues of child life, rights and labor on personal
initiative or for different NGOs. ‘Alokchitra Shilpi Samsad’ of Mymensingh has
organized a number of national competitions and exhibitions on child life from 1979. In

458 ART AND CRAFTS


the publications on these occasions some realistic and creative photographs were
included. In the important exhibition titled ‘The Voice of the Girl Child’ initiated by Drik
with the assistance of the Danish Save the Children in 1991 many creative photographs
were included. An album entitled Rights and Reality showing the actual situation and
reality of children, child labor, the multidimensional involvement of children in various
aspects of social life was published in 1992 with the assistance of the Bangladesh Child
Rights Forum and Drik Picture Library featuring photographs of various photographers.
In the album titled We are Children, We have Rights (1995) published by UNICEF, the
involvement of children in different professions and painful labor found expression
through the photographs of Shehzad Noorani. Photojournalist Azizur Rahim Peu has
documented child labor and children involved in risky labor. A research-oriented book on
photography on the rootless children of the country was published by the European
Union entitled Street Children (1999). Children collected from all over the country are
involved in fish industry centered labor in Dublar Char, in the southern most regions of
the Sundarbans. Dubla Dulabhanga, Forced Labour in Fishing Industry (2002) was
published depicting their labor in photographs by Mahmud. Enam Ul Haque has
presented the various associations of child life in Bangladesh, their joys, sorrows,
emotions, labor and surroundings from a different perspective in his colored album
Nishpap Bangladesh (2004). Besides, the child has been pictured in various publications
and exhibitions of different organizations including the Ministry of Women’s Affairs. In
the UNICEF publication of 1999, Adolescent Girls in Bangladesh, the health, education,
profession, marriage-reproduction etc. issues of girl children have been focused in
photography by Shehzad Noorani, Anwar Hossain, Shafiqul Alam Kiron, Naser
Siddique. In the album Britta (December 2003) published by MAP Agency of
Photography pictures of girl children have been featured.
6.5 Women’s Life
fig. 10.37 Mermaids,
winning Yacolt Prize in Many photographers have worked on women of Bangladesh, women’s labor, abuse,
ACCU competition, the deprivation and neglect of their health, education and social rights. The life and
1980, photograph realities of sex workers in the economic and social circle and its various aspects have
Anwar Hossain, been the subject of many including Shehzad Noorani, Dr. Shahidul Alam, GMB
© Anwar Hossain Akash, Abeer Abdullah. The album Karme Nari Sangrame Nari (2004) published on
the initiative of ‘Karmajibi Nari’
with color photographs of various
photographers of the country
featuring women’s notable
participation in the changed
economical and social context of
the country. Anwar Hossain’s
Women album features the glowing
presence of the common women in
the surroundings, in nature or close
to reality (fig. 10.37).

PHOTOGRAPHY 459


6.6 Environment
Bangladesh is a poverty stricken country of the
third world with a huge population. Its natural and
human environment is continually being polluted
or impaired. Industrialization, urbanization, lack of
public awareness, mismanagement, the use of
harmful chemicals and the forests endangered by
criminal rings, the environment with its natural life
is a large issue in our photography. Along with
various manmade issues, floods-droughts-land lost
to the rivers and other natural calamities that ravage
the environment of the land is also a big issue in our
photography. The influence of polluted or
imperiled environment on humans and wild
animals has also been considered. Various anti-
environmental activities have been identified in
photographs. Bangladesh, Paribeshchitra (2001) as fig. 10.38 (top left) and
well as the publications of ‘Bangladesh Environmental Journalists Forum’ have
represented destruction of plant life, arsenic pollution, river-grabbing, poisonous fig. 10.39 (top right)
waste, water-logging, ship-breaking, use of polythene, the filling of lakes and other Photograph Shafiqul
natural water-bodies and the environment endangered by these activities through the Alam Kiron/MAP, a
woman acid victim,
photographs of various photographers. This type of photography has been represented winning first prize in
in publications of Society for Environment and Human Development (SEHD) as well People in the News
as other NGOs involved in environmental issues. Phillip Gain has worked for a division of the World
prolonged period on the forests and various environmental issues of the country. Press Photo
SEHD has published Stolen Forest (2006), an album representing endangered forests, Competition of 1999
wild life and culture and various related issues with his photographs. © Shafiqul Alam Kiron/MAP
6.7 Architecture and Archaeological Evidences
Many photographers have tried to capture the images of architectural remains fig. 10.40 (bottom)
Culture of the forest:
scattered all over Bangladesh. The style of construction and aesthetics of these have worship for the dead,
also been identified in the photographs as well as their historicity. Many albums and photograph Phillip Gain
books have been published on this subject. Some photographs of this type have been © Phillip Gain
featured in the books Bangladesh
Archaeology (1997), and An Album of
Archaeological Relics in Bangladesh
(1984) published by the Department of
Archaeology. Lyrics in Terracotta,
Kantajeer Mandir (1992, photographs
by Mustafizur Rahman) was published
with various scenes of the beautifully
crafted terracotta decorated Kantajee

460 ART AND CRAFTS


temple of the mediaeval period situated in Dinajpur. The album Kantajee Temple
(2005) published by UNESCO, Dhaka, is a compilation of fifty five creative
photographs on details of the terracotta and architectural style of the temple by
Montasir Rahman (Gora). Another high quality publication of the UNESCO, Dhaka is
Selected Temples of Bangladesh (2005) presenting thirty five selected Hindu temples
built between the sixteenth and the nineteenth century. The information, composition
and photographs are by Babu Ahmed and Nazlee Chowdhury. Mughal Monuments of
Bangladesh is another album by them to be published recently. Historical Sonargaon
and ‘Panam Nagar’ in its vicinity are being destroyed by the lack of any effective
efforts to preserve them. Syed Zakir Hossain has photographed it for the album Our
Glorious Past Sonargaon (2002) from that perspective. The book Pundranagar to
Sherebanglanagar: Architecture in Bangladesh (1997) published by ‘Chetana
Sthapatya Unnayan Society’ has featured photographs on architecture of different
areas of Bangladesh. Bangladesh Splendour of the Past is an album with photographs
by Enayetullah Khan and is another such high quality publication.
Matiur Rahman, the former chief photographer of the Department of Archaeology has
photographed many ancient and historical remains of the country. Moreover, other
noteworthy photographers in the same trend are Sadat Hossain Manzu, Abdus Sadek,
Touhidun Nabi.
6.8 Travel and Adventure
Some photographers of Bangladesh have traveled to different countries of the world
and photographed the variety of natural beauty, places of interest, architectural works
and the life of the people. Dr. Noazesh Ahmed has traveled to Nepal, Burma, Vietnam,
Cambodia, Thailand, USA and other countries and photographed the nature, life and
culture of those places extensively. Dr. Golam Rabbani photographed the life and
nature of many countries of Europe and Africa as well as the UK. Brigadier (Retd.) M.
Atiq-Ur-Rahman photographed the life and nature of many countries including Nepal,
fig. 10.41 Morning
Cloud, Bandarban, Bhutan, UK, USA and Canada. Kafiluddin Ahmed photographed many places of
photograph Enam interest in Europe including Germany, Switzerland, Italy, France during his long life
Talukdar, as an expatriate. Furthermore, Inam Ul-Haque, ABM Salauddin, Swapan Saha, Shiben
© Enam Talukdar Chakrabarti, Shakur Mazid, photojournalist Kazi Rownak Hossain have taken many
photographs in the same trend. Only Inam Ul-Haque among Bangladeshis has
ventured to inaccessible Antarctica and
photographed its many aspects.
Moreover, with the intention of
climbing the Everest, the highest peak
of the world, he lead an expedition
from Bangladesh which climbed the
Himalayas, touching various base
camps as preparation. The team leader
Inam Ul-Haque along with M.A.

PHOTOGRAPHY 461


Mohit, Musa Ibrahim, Sadia Sultana, Kazi Samsuzzaman organized an exhibition of
the photographs taken during the expedition presenting their experience, natural
beauty and life (Dhaka, September 2004). Kashef held an exhibition with a difference
after touring nine countries of Europe entitled ‘Places, Spaces’ (2005).
6.9 Inhabitants of the Hills and Indigenous Communities
Many photographers have worked on the different indigenous communities, who
inhabit the hills and are scattered in various regions, and their diverse ways of life,
culture and habits. The unique natural beauty of their habitat has also been expressed
in their works. The young photographer late Selim Hasan dedicated prolonged time
and labor to present an exhibition entitled ‘Upajati: Ban Paharer Parshi’ on the
Chakma, Marma and Mro peoples. Jamal Uddin Chowdhury worked for a long time
on the indigenous communities. Brigadier (Retd.) M. Atiq-Ur-Rahman and M.A.
Taher (1962- ) worked for a prolonged period jointly on the landscape and various
indigenous communities and their ways of life. They have had a photographic book
published on this subject entitled Adibasi Sampraday, Parbatya Chattagram,
Bangladesh (2004). Mahmud has done research based photography on the lifestyle of
the indigenous communities. With the various aspects of the life of the Mro people, fig. 10.42 (top) Mro
and by adding contextual descriptions beside the photographs, very recently an album Girl, photograph Enam
of his has been published entitled Ang Ing Mru Rang, Life and Struggle of the Mro Talukdar,
People in Bangladesh (2007). Enam Talukdar (1971- ) is involved in doing © Enam Talukdar
documentary photography on eleven ethnic communities of the Bandarban district of
the Chittagong Hill Tracts featuring their lifestyle, culture and struggle. fig. 10.43 (bottom)
Many among the indigenous peoples practice photography and have photographed Photograph
their own way of life. In 1999 some young persons from the indigenous communities Mahmud/MAP,
© Mahmud/MAP
formed ‘Chittagong Hill Tracts Photographic Society.’ The Chakma King Barrister
Debashish Ray is an amateur photographer. Besides many others including Omio
Kanti Chakma, Suprio Chakma, Praveen Kheesa, Shimul Chakma, Krishnachanda
Chakma, Ching Shew Frau are now involved in photography. Omio Kanti Chakma has
received training from different countries and has had shows on various issues of the
identity of the hill communities.

462 ART AND CRAFTS


6.10 Bird and Animal Life
Many including photojournalist Monwar Ahmed, Inam Ul-Haque, Brigadier (Retd.)
M. Atiq Ur-Rahman, Sirajul Hossain, Dr. Mahbub Ali, Shihab Uddin, Ronald Halder,
Sadat Selim have worked on the variety of birds of Bangladesh. Monwar Ahmed is the
pioneer in photographing the birds of Bangladesh. Inam Ul-Haque is a completely
dedicated person in the field of bird photography and his aesthetic and artistic ideas
are also expressed through his bird photography. 105 Dr. Mahbub Ali has worked on the
insects and animal life and on birds. Kazi Hamidul Haque (1949- ) has also taken
many micro-photographs of the insect life surrounding us.
There has been some scattered photography of the fauna of the forests of Bangladesh
including the Sundarbans. Khasru Chowdhury was one of the first photographers to
work on the unique natural beauty and wild life of the mangrove forest. Dr. Monirul
Khan a faculty of the Zoology Department of Jahangirnagar University has
photographed as well as researched the wild life of the country, including Sundarbans.
He extensively photographed the life and nature of different animals including
mammals. Sirajul Hossain has photographed the wild life of different areas of the
country including the Sundarbans. The captivating natural beauty of the Sundarbans,
the life of the tigers, deer and other animals have featured in the diverse photographs
of Rubayet Monsur. Enam Talukdar has also photographed birds and wild animals. On
the initiative of ‘Prakriti Foundation’ this type of photographs are being printed in
fig. 10.44 Nobel laureate Nature and Wildlife magazine, in the ‘Prakriti Photo’ section.
Mother Teresa, 1973, 6.11 Portraits and Life Sketches
photograph Sayeeda Most photographic artists have done some portrait photography. Nasir Ali Mamun has
Khanum, left the mark of his originality in this field. He has photographed the portraits of many
© Sayeeda Khanum
eminent personalities at home and abroad. Many photographers have documented the
life and work of renowned persons. Amanul Haq and Sayeeda
Khanum have worked at length on the portrait, life and work of the
famous film director Satyajit Ray. Noteworthy examples of this
genre of work has been featured in Nazrul Album published by
Nazrul Institute (1994), Jatir Janak Bangabandhu Sheikh Mujibur
Rahman (1997), Muktijuddha Bangladesh Ziaur Rahman (2001),
album on Shamsur Rahman by M. A. Taher entitled Alekhya (1996),
Kabir Chowdhuryr Album (2002) and Kalim Sharafir Album (2004).
6.12 Model, Fashion and Glamour Photography
With the flourishing of advertisements, recreational magazines and
periodicals, model and fashion photography has also expanded. This
type of photography began in the pre-independence period, in the
mid-sixties. Mosharraf Hossain (Lal Bhai) and Monwar Ahmed are
the pioneers of glamour photography in Bangladesh. At present
Chanchal Mahmud, Iqbal Hossain, Kaiser Alam, David Barikdar,
Sohel Rana Ripon, Tuhin Hasan are creative artists in this field.
Quite some notable works in the field of still photography of films

PHOTOGRAPHY 463


are observable; in the eighties and nineties this trend achieved excellence.
Photographers of renowned studios of that period were involved in this field.
6.13 Medical Photography
Medical photography has not grown according to the needs and reality of
Bangladesh. ‘There is not a single trained medical photographer in the medical
college hospitals of our country.’ 106 [Trans.] Arif Ahmed of BIRDEM is noteworthy
among the photographers in this trend. Dr. Ansar Uddin Ahmed, Dr. Mahbub Ali,
Abul Khair have also done some clinical photography. Debabrata Chowdhury,
photographer of Bangladesh Livestock Research Institute of Savar, is involved in
veterinary photography.
6.14 Reprography
Alokchitracharya M.A. Beg was a pioneer and specialist in reprography. Reprography
of the country was enriched through him. Besides him Sarkar Salauddin, Jahangir
Selim, Kazi Mizanur Rahman, Monzurul Alam Chowdhury, Anisur Rahman,
Mohiuddin Ahmed, Samsul Haque, Mridul Saha, Mostafa Jahangir Alam, Azam Khan
are also associated with reprography.
6.15 Aerial Photography
Sharif Sharker, an aviator of the Bangladesh Air Force, has done some creative work
in this field. In 2004 he arranged the first exhibition of aerial photography in the
country entitled Bangladesh from Above with some beautiful photographs of the fig. 10.45 (top) Sand
nature of Bangladesh. His intelligent planning and creative composition gave the Boats, Dhaka 2003,
exhibits, and the photographs reproduced in the publication the aesthetic expression of Photograph Sharif
abstract paintings (fig. 10.45 and 10.46). Sharker,
6.16 Aviation Photography © Sharif Sharker
Sharif Sharker is also a specialist in aviation photography. Enam Talukdar, an aviator
of the Bangladesh Biman, is also an aviation photographer. They both do aviation fig. 10.46 (bottom)
photography related to the departmental work of their respective organizations. There Drying Chilli,
was a special exhibition of aviation photography by Sharif Sharker, Enam Talukdar Narsingdi, 2002,
Photograph Sharif
and Inam Ul-Haque in 2003 on the occasion of the hundredth anniversary of the Sharker,
introduction of flying by the Wright brothers. © Sharif Sharker
6.17 Under Water Photography
Kazi Hamidul Haque (1949- ) is the
pioneer in photographing the varied
natural and animal world under water.
He was educated in fine arts in Art
Institute of Boston in the USA with
photography as his major and later he
gained practical experience in this field
from a former US Marine at the ‘Padi
Diving Organization’and ‘Scuba School
Institute.’ He has photographed the

464 ART AND CRAFTS


under water environment of the only coral island of Bangladesh, St. Martin. Muntasir
Mamun (1982- ) is now practicing this branch of photography being trained by him.
Besides the above-discussed trends, product photography, advertising photography is
practiced to advertise and market various products and organizations; corporate
photography and industrial photography is also regularly practiced to introduce
various institutions.
7.0 The State of Post-Liberation Photography of Bangladesh
In the overall analysis a mixed picture is observable in the post-liberation photography
of Bangladesh. Artists have generally stayed connected to the people in most cases in
selecting subjects for photography. 107 It has expressed the joys and sorrows, the
struggles of the common people and is close to life. 108 In presenting the subject the
photographers of the country have mainly trod the two paths of the realistic/thematic
and the creative. 109 Many artists have also imparted creativity to reality and presented
it with their own interpretation in the language of modern art. There are only a small
number of such artists in the field of Bangladesh photography. From the mid-eighties
various NGOs have become strongly associated with photography and have given
directions and guided the taste in development support communication or
development photography. Though many social and humanitarian issues are focused
in this trend, it does not reflect actual reality. Many photographers have directly or
indirectly been associated with this task of representing a partial or fragmented reality
through the commissions and activities of NGOs. Therefore, photography truly
committed to social and humanitarian issues has decreased. We are not receiving an
effective total picture alive with the joys-sorrows, hopes-aspirations of the common
people of the country.
Almost from its birth (1839) photography has been the subject of various experiments
and group-based movements (Pictorialist, Purist, Photo Sessionist, Straight
Photography, New Objectivity, f-64) regarding its aesthetic expression all over the
world, especially in Europe and America. In the modern world the search for the
artistic depth of photography was extensively researched through style and subject.
This artistic research is comparatively less to be met in modern Bangladesh. Besides
representing directly the joys and sorrows or reality of life ‘if alternative photography
is completely excluded then there is a fear of the loss of creativity in the world of
photography.’ 110 [Trans.]
In spite of various problems, limitations, lackings and drawbacks in the almost four
decades after Liberation, the photography of Bangladesh has expanded its activities
greatly. Both amateur and professional photographers have grown in numbers.
Exhibitions, competitions and publications have also increased. However, the
development of photography is not limited to the quantity of competitions, publications
and exhibitions. Photography can flourish in its uniqueness with artistic talent, inner
vision, philosophy and commitment to ideology. However, in the photography of
Bangladesh this intense experimentation, sincerity and commitment is gradually
decreasing. 111 Ernst Haas’ famous quotation on photography, ‘photography is a

PHOTOGRAPHY 465


transformation not a reproduction’ is to be remembered in this regard. Photography is
power, is an art. Great photography can enlighten a person, society and nation.
8.0 Foreign Photographers and their Work
Many foreign photographers have come to Bangladesh at different times and
photographed different subjects. Their artistic wisdom, distinctive ways of presentation
and statements have added a different trend in the photography of Bangladesh.
German photographer Claus-Dieter Brauns did some research based photography on
the indigenous Mru community. The important book on photography Mru: Hill People
on the Border of Bangladesh (1986) was published as fruit of the research. Trygve
Bolstad, the Norwegian photographer, traveled through different parts of the country
from 1988 to 1991 and did documentary photography on boats and boat-centered life.
In 1992 a book entitled Sailing against the Wind was published with his photographs.
French photographer Frank Lincet worked on the bamboo rafts of Bangladesh for the
Geo magazine in 1993. The Japanese photographer Yasuhiro Takami (1967- )
portrayed the way of life, culture and the context of the growth of various
development activities that have transformed the lives of the Garo community of
Bangladesh from 1991. Manderangni Jagring, Images of the Garos in Bangladesh
(1999) is the book published on his photographs. Jon Warren did photographic
documentation on the weavers of Bangladesh scattered all over Bangladesh, their life
and work in the social and economical context. His book Tanti Handloom in
Bangladesh (1989) is a compilation of the way of life, weaving tradition and the
various activities of weavers in photography. The indigenous Garo, Manipuri,
Rakhaine people’s weaving centered activities have also featured in the book.
Photographer Dirk R. France photographed the nature, life and culture of Bangladesh
for a prolonged period. The exhibition and publication titled Bangladesh: Images and
Impression in 2001 featured a people vibrant in their way of life and a beautiful nature
in opposition to natural disasters, poverty, etc. Gilles Saussier (1965- ) has rendered
the marginalized people living on the coastal belt, haors or rising land of the rivers
(char) in a different perspective. In his album Living in the Fringe (1998) he has
created some close-up portraits of char dwellers with various associated elements of fig. 10.47 Karaboudjan,
chars and char living embracing the entirety of life. These portraits, the clothing or photograph Bruno Ruhf,
the lines and forms spread out around the persons gives an indication of the geo- © Bruno Ruhf
physical map of the vast char areas as
well as being of metaphorical and
symbolical significance (fig. 10.48). 112
Gilles Saussier has not represented a
people endangered by natural disasters
but a people resilient and existent in
the flow of life. Earlier in 1997 he had
an exhibition entitled ‘Dhakar Bhitare
Dhaka’ on the life of people of Old
Dhaka with artistic photographs with a
different dimension and expressive

466 ART AND CRAFTS


ability. Dr. Pierre Claquin has photographed the associated activities
of the circus troupes of the country. In the album Surviving Dreams,
the Struggling Circuses of Bangladesh (2003) the documentation
and photographs have been published. The young French
photographer Bruno Ruhf photographed the walls, bill-boards,
signboards as well as various surfaces which have been transformed,
decayed and distorted with time into a variety of abstract
expressions, and presented an exhibition with a difference like an
admixture of painting and photography in 2005 entitled ‘Dhakar
Deyal’ (fig. 10.47).
9.0 Photojournalism in Post-Liberation Bangladesh
Photojournalism began in the fifties in a very limited periphery in
post-liberation Bangladesh. With the modernization of printing
technology and increase in the number of magazines in the sixties,
the field expanded relatively. The photojournalists of the fifties and
sixties of this formative period mostly stayed involved in this
profession in the post-liberation period and contributed to it in
multiple ways.
9.1 Photographers of the Earlier Generation
Among the senior photojournalists Mosharraf Hossain (Lal Bhai)
fig. 10.48 Asiran, Char (1929- ) joined the Saptahik Chitrali in 1961 and worked in various other magazines
Gander Agla, Kurigram, and later joined the Press and Information Department (PID) in 1975 as senior
after the album Living photojournalist and retired in 1995. Mozammil Hossain (1933- ) joined the Observer
in the Fringe, newspaper in 1958 and retired in 1997, after a successful career. Saidur Rahman
photograph Gilles (1908-1998) was the chief photographer of PID. Moazzem Hossain Bulu began his
Saussier,
© Gilles Saussier professional career in the mid-60s by joining Observer. Manu Munshi worked in the
Dainik Purbadesh. Mohammad Alam began his professional life in 1960 and worked
as the war photographer of the Mujibnagar Government during the War of Liberation
and also participated actively in the war. After liberation he left his mark of success
and accomplishment in taking news photographs for the Daily Sangbad and Daily
Ittefaq. Monwar Ahmed began his professional life in 1963 working for the weekly
Purbadesh and Chitrali and gained fame for his photographs. Two of his books on
photography were published, Bhasha Andolaner Sachitra Dalil (1993) compiling
historical photographs of the Language Movement and Sthir Chitrer Rupali Mukh.
Khondakar Kamrul Huda joined the Daily Ittefaq in 1959 and after working at various
organizations he was appointed at the US news organization, Associated Press, as the
first Bangladeshi photojournalist there. Moreover, Akil Khan, Abdul Matin, Umesh
Barua, Zahirul Haque, Mokaddes Ali, Belayet Hossain, Muhammad Kamruzzaman
(awarded the national Ekushey Award for his contribution to photojournalism in
1995), Wase Ansari, Jalal Uddin Haider, Rafiqur Rahman, Kazi Rownak Hossain, Md.
Salauddin, Samsuddin Ahmed Charu, Khaled Haider, Swapan Sarker are the senior

PHOTOGRAPHY 467


photojournalists of Bangladesh. The senior photojournalists Golam Mowla,
Rashid Talukder and Aftab Ahmed deserve special mention for their extensive
work and contribution.
Golam Mowla (?-1983)
Golam Mowla was a most experienced and creative photojournalist. ‘He is
one of the pioneers who communicated the consciousness that photography is
an art.’ [Trans.] In the pre-liberation period he worked at the Daily Pakistan
113
and after liberation he was chief photographer of Dainik Bangla and was
acclaimed for his news and feature photographs.
Rashid Talukder (1939- )
The major and renowned photojournalist Rashid Talukder began his career as
a professional photojournalist in 1962 with the Dainik Sangbad and is working
for Daily Ittefaq since 1975. Rashid Talukder has photographed many
important events in our national and social life during his long working life fig. 10.49 (top) Photograph
including the mass uprisal of 1969, the destructive cyclone of 1970, the Liberation War Rashid Talukder, gold
of 1971, the anti-autocracy movement that raged throughout the 80s. Rashid Talukder medal winning photograph
is completely dedicated and courageous in his professional life and has been harassed in the National
at different times while he was photographing. He has received many important awards Photography Competition
including a gold medal (fig. 10.49) in BPS organized national competition in 1982, six organized by BPS, 1982,
individual awards in the competition entitled ‘Shelter for the Homeless’ organized by © Rashid Talukder
the United Nations in France. His photograph of Bangabandhu Sheikh Mujibur fig. 10.50 (middle)
Rahman’s historical speech of 7th March has been published in the Encyclopaedia on Rashid Talukder
South Asia from Cambridge University. Rashid Talukder has been in the leadership of fig. 10.51 (bottom)
the photography movement in an organizational capacity through many organizations Aftab Ahmed
such as BPS and ‘Bangladesh Photojournalists Association.’
Aftab Ahmed (1934- )
Senior photojournalist Aftab Ahmed has been working for the Daily Ittefaq from 1962.
Including some important photographs of our War of Liberation Aftab Ahmed
photographed many momentous events such as photographs following the killing of
Bangabandhu Sheikh Mujibur Rahman on 15 August 1975, the mutiny of the sepoys
and people on 7 November and the various movements for democracy in the country.
Compiling his own and the photographs of others on the independence movement of
1947 and various photographs of the War of Liberation he published the album
Swadhinata Sangramey Bangali (1993), with photographs of different historical
mementos and sculptures of our Liberation War the album Amra Tomader Bhulbo Na
(1994), and compiling various memorable photographs of the movement and various
incidents against the misrule of the British and the Pakistanis between 1757 and 1947
and 1948-1971 the album Banglar Muktisangram – Sirajuddowla Thekey Sheikh
Mujib (1996). He was awarded the state award ‘Ekushey Padak’ for his contribution
to photojournalism in 2006.

468 ART AND CRAFTS


9.2 Photojournalists: the Seventies
A number of talented photojournalists entered into their
professional lives in the seventies, after liberation. Pavel Rahman,
Samsul Islam Almajee, Monazat Uddin, Lutfur Rahman Binu,
Kazi Rownak Hossain, AKM Mohsin, Bulbul Ahmed are
noteworthy among the photojournalists of this period.
Samsul Islam Almajee (1945- )
Talented and socially conscious photographer Samsul Islam
Almajee worked with the Dainik Bangla and weekly Bichitra for
a prolonged period as a photojournalist. He also worked for the
French news agency AFP for some time. In his long expatriate life
in the USA from 1992-2003 he was involved in photography. His
intelligent and artistic treatment brought sharpness to the subject
and message of his photographs. Almajee ‘brilliantly captures the
agony and distress of hungry children and starved mothers, stark
reality of hungry dilated eyes and petrified life of rootless, landless
vagrants and destitutes is masterly [sic] frozen in many of his
work.’ 114 In 1979 he won the gold medal in the first national
photographic competition organized by BPS (pl. 10.3), in 1975 this successful artist
won the gold medal of the World Journalist Association for his photograph ‘Ebang
fig. 10.52 (top) Ebong Jehetu Manush Manush-i’ (And because humans are only humans) (fig.10.52).
Jehetu Manush Manush- Pavel Rahman (1956- )
i (and because humans Pavel Rahman is an accomplished and acclaimed photojournalist of post-liberation
are humans), 1975, Bangladesh. He has left the imprint of his merit as a photojournalist in various
Photograph Samsul weeklies and daily newspapers of the country since 1972 and has been working with
Islam Almajee, winning the international news agency ‘Associated Press’ (AP) since 1988. In the last two
the World Journalist decades during his service with AP many photographs of Bangladesh have been
Association gold medal greatly appreciated with his intelligent and creative presentation. In the second
© Samsul Islam Almajee
national photography exhibition organized by the Shilpakala Academy in 1986 his
fig. 10.53 (bottom) photograph ‘Mahamilan’ won the gold medal (fig. 10.53). He gained international
Mahamilon (the great fame for his striking photographs of the vulnerable survivors of the cyclone that hit
reunion), the meeting of the coastal areas of Chittagong in 1991. He was the first Bangladeshi photojournalist
husband and wife after to go abroad on an assignment (the
the devastating cyclone, funeral of Rajiv Gandhi) on behalf
photograph Pavel of a foreign organization. The
Rahman, winning the historical photograph of the
gold medal at the martyred Noor Hossain with
second National ‘Ganatantra Mukti Pak’ (Let
Photography Exhibition democracy be free) written on his
organized by the back on 10 November 1987 during
Bangladesh Shilpakala the anti-autocracy mass movement
Academy in 1986, (fig. 10.58) was taken by him.
© Pavel Rahman

PHOTOGRAPHY 469


Monazat Uddin (1945-1995)
Talented and devoted journalist Monazat Uddin has created an exceptional and
important chapter in photojournalism of Bangladesh by presenting the actual reality
of the remote rural habitations. ‘He decorated each feature published in daily
newspapers with photographs he himself had taken. Thus the prestige and importance
of the news multiplied manifold.’ 115 This gifted journalist breathed his last when he
fell of the roof of a moving ferry boat into the river while working on an assignment
on 29 December 1995.
Lutfur Rahman Binu (1955- ) became involved in photography in 1969 and took some
photographs of the Liberation War. He has published a book featuring various
photographs on the mass movement against the military government in the eighties
called Ganatantrer Sangram (1992).
9.3 Photojournalists: the New Generation
With the change in the socio-economical condition of the country the field of
photojournalism has expanded. Many meritorious young persons with higher
education and institutional training in photography entered the profession of
photojournalism.
The gifted photographer Mufti Munir (1957-2005) worked with the international news
agency, AFP, for quite a number of years. Many of his news photographs were
appreciated and acclaimed. The photojournalist Azizur Rahim Peu (1964- ) won the fig. 10.54 (top) Noor
gold medal in the national competition arranged by BPS (fig. 10.55). Many of his Hossain, Photograph
photographs were highly praised including the coastal habitations imperiled by the Pavel Rahman,
cyclone. Risky child labor, homeless children, environmental pollution etc. various © Pavel Rahman
themes have been photographically documented by him. Outside the country he
documented dwellers of Berlin entitled Life of Berliners. He has two books published fig. 10.55 (bottom)
on photography. Furthermore, a large number of young people are gaining fame Photograph Azizur
through their creative work. Rahim Peu,
© Azizur Rahim Peu
9.4 Women Photojournalists
Among the women journalists of Bangladesh Sayeeda Khanum
became involved in the field in 1961 by working with the
magazine Begum. Shirin Sultana (1962- ) began as an amateur
photographer and later worked with the Sachitra Sandhani and
the weekly Begum as a professional photojournalist. Among the
new generation Farzana Khan Godhuli (AFP), Momena Jalil
(New Age), Kakoli Pradhan (Sangbad) and Laila Anwar Bindu
(BD News) are involved in photojournalism. Besides feature-
based photojournalism, Farzana Khan Godhuli (1975- ) is a
pioneer in covering assignments on the spot. She had worked
for Dainik Janakantha, Dainik Sangbad newspapers from 1997
and is currently working for the French news agency AFP.

470 ART AND CRAFTS


9.5 Organizations of Photojournalists
Bangladesh Photo Academy
In 1972 with the encouragement and patronage of the then Prime Minister
Bangabandhu Sheikh Mujibur Rahman, the photojournalists of Bangladesh were
united organizationally and the ‘Bangladesh Photo Academy’ was established for the
welfare of photojournalists. 116 The aim of the Academy was providing assistance to
photojournalists in necessity besides education, skill development, and various
development activities. However, this Academy did not last for very long.
Bangladesh Photojournalist Association (BPJA)
In 1985 all the senior and junior photojournalists of almost all newspapers combined
to form the Bangladesh Photojournalist Association with the intention of ridding
various obstacles, facing crises and thus, looking after their own interests. The
renowned photojournalist Rashid Talukder was its founding convener. This
organization has advanced amidst multiple successes and failures with the passage of
time. Branches have been formed under it in various divisional and district towns.
BPJA has organized training and workshops in various district towns including Dhaka
on basic photography and photojournalism to improve the standard of
photojournalists. In 1999 this association was successful in arranging a round table
meeting with all concerned on the subject of professional drawbacks and
development. A list of recommendations with the consent of all participants was
drawn up as a proposal from this meeting which was circulated to different offices. 117
Bangladesh Photojournalist Forum
In 1997 a group of young members left the organization due to a number of complaints
and formed ‘Bangladesh Photojournalist Forum’ as an alternative to BPJA. Pavel
Rahman was its founding president and Azizur Rahim Peu its founding general
secretary. This organization is largely inactive at present.
9.6 Photojournalism: Evolution of Technology
10.56 In the early fifties, at the initial stages of photojournalism pictures were printed in line
Photograph Farzana block in newspapers. In 1954 pictures were printed in half tone block through ‘Eastern
Khan Godhuli
© Farzana Khan Godhuli Type Foundry.’ Pictures printed in these processes were low in quality. In 1962 the
English daily Observer began to be printed
in rotary offset machine. Thus printing
became simple and quality of pictures
improved. In 1965 Observer printed the first
color picture and in the same year Saptahik
Chitrali began to be printed with colored
pictures on the first and last pages. From
1990 almost all leading newspapers started
to print colored pictures. The early
photographers used TLR cameras with 120

PHOTOGRAPHY 471


mm film format. At the end of the sixties
onwards photojournalists began to use 135
mm SLR cameras. Currently almost all the
newspapers and news agencies use digital
cameras of different qualities and types. From
the sixties till approximately the nineties,
almost all newspapers printed and processed
black and white photographs and
occasionally even color pictures also in their
own laboratories. From the eighties, with the
introduction of auto process system
laboratories and modern computerized quick
service systems, the newspapers began to
print and process their color photographs in
these laboratories. In the present age of
digital technology the newspapers print photographs directly through the computer. fig. 10.57 Chattagramey
9.7 The State of Photojournalism Pahari Dhashey Mrito
In the growing stages of photojournalism before liberation from 1962-1971, political Shishur Lash Uddhar,
incidents, particularly those of the mass uprising of 1969, were photographed by a (recovering dead bodies
handful of photojournalists who exhibited promise and excellence within very limited of children killed in
facilities. They successfully recorded the devastating cyclone and tidal bore that hit landslide, Chittagong),
the southern region of the country in 1970 and its destruction, the terrible sorrow, winning an award in
2007, photograph Pavel
misery and suffering of the people. In the face of various adversities our Rahman,
photojournalists have captured with professional commitment the various movements © Pavel Rahman
and political events that took place after liberation, particularly the movement against
military rule that raged through the eighties. Our photojournalists have also evidenced
their professional sense of responsibility during the various natural disasters,
particularly the flood and famine situation of 1974, the floods of 1988, 1998 and 2004
and the devastating cyclones of 1986 and 1991. The Bangladesh Press Institute
published a research work in 1997 entitled Bangladesher Sangbadpatrey Prakashita
Alokchitra: Ekti Mulyayan. It has presented a realistic picture of the publication,
importance and subject matter of photographs, their presentation and care, the quality
of news photos as well as various issues of photojournalists and photojournalism.
9.8 The Drawbacks and Limitations of Photojournalism
The photojournalists of Bangladesh are working within a variety of limitations,
insufficiencies, adversities and handicaps. They have to encounter diverse difficulties,
threats and harassment in executing their professional responsibilities. Moreover, as
118
most newspapers do not have the post of photo-editor, the selection and proper care of
photographs are lacking and photojournalism is not reaching its desired standard. 119
The newspapers do not follow any proper regulations in the appointment and
promotion of photojournalists. Moreover, there is a lack of necessary and standard

472 ART AND CRAFTS


equipment in the newspapers. 120 Besides, the point of view and composition of
photographs published on various issues in the newspapers evince a lack of creativity
and a repetitiousness which is recently observable. In the total evaluation of our
photojournalism the tendency of gross illustration of events or reality is in the
ascendant in comparison to investigation, intelligence and creativity. 121 Furthermore,
most photojournalists of the country do not take notes of the work executed by them
and in most cases do not write the captions of their photographs themselves. 122 ‘To be
a good photojournalist a certain standard of skill and knowledge has to be acquired
which is the fruit of intense training and study. However, reality shows that this
practice is not in existence in Bangladesh.’ 123 [Trans.]
10.1 Education in Photography
Education in photography has not developed according to the needs and reality of the
country. Though the use and necessity of photography has expanded drastically in
various areas of social and national life, there has not been established any
photography education institution at the initiative of the government or recognized by
the government. There has been no photography department, faculty or institute
established under any public university including the Dhaka University. But a number
of photography education institutions have been established on personal or private
initiative which has played an important role. In pre-liberation Bangladesh Tropical
Institute of Photography (1951) was established by Golam Kashem Dady in a small
scale. This institution lasted for about two years. Almost fifty persons received basic
photography training from this institution. Furthermore, in 1960 an initiative was
taken to open a department of photography in the Institute of Fine Art. 124
Begart Institute of Photography (BIP)
Alokchitracharya M. A. Beg comprehended the importance and necessity of the
institutional education of photography and with the intention to disperse knowledge
and awareness among people he built up the famed ‘Begart Institute of Photography.’
It began its journey on 21 December 1960 and has in the days past played the most
important role in teaching photography in the country. This institute is possessed of a
variety of materials and eguipments, different kinds of cameras and reading materials
and the methodical education of photography was dispersed through this school. After
liberation from 1972 Begart began regular courses on photography in batches and in
1983 it introduced a regular diploma course besides the basic course. BIP became
known in the international field for its activities.
Photographic Training Center
In 1964 the late photographer Golam Mowla founded the ‘Photographic Training
Center’ with a one-year photography training program at the Armanitola Social
Welfare Center under the Social Welfare Department of the government. He worked
for a long time as a voluntary trainer at the center. This program continued for some
years after liberation. Nurul Islam, Sheikh Abdur Razzaque, Ezaz Khan and others
worked as trainers here. In 1980 this center closed down.

PHOTOGRAPHY 473


University Photo Research Institute
This organization was established in 1982 with the initiative of Khan Akhter Hossain,
who was once a photojournalist. Almost 250 persons were trained here on various
certificate, basic, advanced, diploma courses in photography as well as video courses.
This organization lacked necessary materials and equipment and closed down after a
few years due to various adversities.
University Photography Academy
This organization was established by Sheikh Yaar Ahmed Pearu with the assistance of
‘Dhaka University Photography Society,’ ‘Dhaka University Studio,’ and ‘Teacher-
Student Centre’ in 1983. He was its course director and teacher. It began with a basic
course and from 1986 an advanced course was introduced. Many young men and
women, especially university students got the opportunity to learn photography
through the ‘University Photography Academy.’
Bangladesh Photographic Institute (BPI)
In 1990 BPI began its journey as the education wing of BPS and played an important
role in the dispersal of photographic education in the country. Since its establishment
(2006) BPI has completed 83 basic photography courses and 10 video courses besides
introducing a two-year diploma photographic course. In 1990 BPI received some
photographic and video equipments for their training program from the British
Council in Dhaka under a memorandum of understanding.
Ecole de Cinema
‘Ecole de Cinema’ started off in 1989 with the cooperation of Alliance Francaise, the
cultural center of France in Dhaka. Beginning its journey with a short course on
videography, this organization later went on to arrange various short, intermediate and
diploma training courses of different durations. The trainer and director is Mujib R.
Khan. Recently it has launched a diploma in photojournalism course.
Pathshala (South Asian Institute of Photography)
Pathshala, established in 1998, is the education wing of the Drik Picture Library Ltd.
It is a modern and international standard photography training institute in terms of the
equipments and materials, course curriculum, training method, etc. Besides a basic
course in photography and various diploma courses, it has introduced the first
graduate course in photography with the affiliation and recognition of the Sutherland
University of the UK. Twenty students in four batches have received graduation
certificates from this institute to date.
Prism (Training, Information and Publication on Photography)
Prism, established in 1998 is a notable photography training institution. Almost a hundred
pupils have completed the diploma course in fourteen batches till now (2005). The
founder and director of Prism, Rafiqul Islam is a distinguished writer on photography.
Besides the above mentioned establishments ‘Chanchal Mahmud School of
Photography,’ ‘Dhaka Photographic Institute,’ ‘Center for Asian Arts and Culture’

474 ART AND CRAFTS


conduct a variety of courses on photography. The late photojournalist Saidur
Rahman had also initiated a training program. 125 ‘Alokchitram,’ the education wing
of the ‘Chittagong Institute of Photography’ was initiated through the efforts of
Mrinal Sarker in 1992. ‘Portrait Photography Training Center’ (1993) and ‘Photo
Art Institute’ (established by the photojournalist Shoeb Faruque) and ‘Viewfinder
Photographic Institute’ were also established in Chittagong. These organizations
are basically around a particular oriented person and are mostly incomplete in
terms of equipment and infrastructure. However, the contribution of these
organizations to the dispersion of institutional education in the field of
photography is undeniable.
Among government institutions, Press Institute of Bangladesh has organized eight
workshops on different aspects of photojournalism since its inception in 1976 to date
(2005). 126 The ‘National Institute of Mass Communication’ launched a short term
training course for photographers working in various government and private
organizations entitled ‘Photojournalism Method and Technique’ from 2003 and has
completed three courses to date (2005). The Mass Communication and Journalism
Department of the Dhaka University has included an optional course on
photojournalism in their post-graduate curriculum. This course is conducted by
departmental teacher Mofizur Rhaman on a full-time and eminent photojournalist
Kazi Rownak Jahan on a part-time basis. Moreover, Stamford University Bangladesh
established privately, has recently introduced a course on photography.
11.0 Publications and Writings on Photography
11.1 Books
There has been relatively less written on photography in Bangladesh. In pre-
liberation Bangladesh a book named Camera published by Camera Recreation Club
and edited by Golam Kashem Dady was the first book on photography to be
published in the country. 127 Later two other books by him were published.
Alokchitracharya M.A. Beg wrote many original articles on photography, particularly
its technical aspects in different journals and newspapers of the country since the 50s.
He has eight published books on photography. His book, Adhunik Photography
(Kolkata, 1974) touches on various issues of the modern technology and aesthetics of
photography and was very well-received and popular. Photography Barshiki 1979
was edited by Jahangir Selim and published by BPS in 1979. It gives a general picture
of various aspects of photography of the country. Its editor Jahangir Selim compiled
a history-based book in 2002 entitled Alokchitracharya Manzur Alam Beg O
Samakalin Alokchitrer Bibartan. At the end of the nineties photographer Rafiul Islam
wrote a few noteworthy books on the subject. His book Photography Kalakaushal O
Manan was widely acclaimed. Moreover, there have been some more books
published on the subject. Overall, following is the chronological chart of books
published on photography in Bangladesh:

PHOTOGRAPHY 475


Chart
Name of the Book Author / Editor Year Publishers
Camera Editor: Golam Kashem Dady 1964 Camera Recreation Club
Photography Formula M. A. Beg 1974 Begart Institute of Photography
Photography Guide Book Shafiqul Islam Swapan 1975
Photography Barshiki Editor: Jahangir Selim 1979 Bangladesh Photographic Society
Photography Digest M. A. Beg 1981 Bangladesh Photographic Society
Development of Photography Brig. (Retd) M. Atiq-Ur Rahman 1983 Bangladesh Photographic Society
in Bangladesh
Samakalin Rangin Dr. Ansar Uddin Ahmed 1984 Bangladesh Photographic Society
Film Parichiti
Photography Shiksha Khan Akhter Hossain 1984 Dhaka University Book Society
Rangin Print Kara M. A. Beg 1985 Begart Institute of Photography
Begart Series-2
Ek Najarey Photography Golam Kashem Dady 1986
Model Photography Mostafizur Rahman Mintu 1989
Microflim Ki O Keno M. A. Beg 1990 Iftikhar Foundation
Sahaj Photography Shiksha Dev Proshad Das 1992 Bangladesh Photographic Society
Alokchitran Sada Kalo O RanginM. A. Beg 1993 Bangladesh Photographic Society
Photo Sampadana Layout Foujul Karim 1993 Press Institute of Bangladesh
O Design
Darkroom Solution M. A. Beg 1994 Begart Institute of Photography
Photographer Tukitaki Touhidun Nabi 1995
Photography Bidya Masud-Ur Rahman 1995
Sahaj Alokchittra Md. Kamal Uddin 1996
Ajker Photography Masudul Alam 1996
Bangladesher Sangbadpatre Shima Moslem, Kamrul Haque 1997 Press Institute of Bangladesh
Prokashita Alokchitra:
Ekti Mulyayon
Photography Kalakoushal Mohammad Rafiqul Islam 1998 Prism
O Manan
Photo Sangbadiker Dr. Sheikh Abdus Salam 1999 Bangladesh Press Institute
Prathamik Path Shudhangshu Shekhor Roy
Jebin Hamid
Sadakalo O Rangin Md. Rafiqul Islam 2000 Prism and Pathshala
Darkroom Technique
Alokchitracharya Manzoor Jahangir Selim 2002 Pathshala and Papyrus
Alam Beg O Samakalin
Alokchitrer Bibartan
Sahaj Alokchitran Golam Kashem Dady 2002 Pathshala and Drik
Photo: A Visual Language Azizur Rahim Peu 2002 Masline Media Centre
The Basics of Photography Md. Rafiqul Islam 2003 Prism
Chhabi: Alor Bhasha Azizur Rahim Peu 2006 Drik Publishing Dhaka

476 ART AND CRAFTS


11.2 Magazines and Periodicals
There have been some journals or periodicals published irregularly or regularly in the
country. These have also contributed importantly to our field of photography. The
first periodical on photography began to be published in 1973 from ‘Begart Institute
of Photography’ called Camera (editor, Shamsul Alam Panna). 128 BPS Newsletter
began to published from 1978 at the initiative of BPS. Its first editor was Jahangir
Selim. Later many, including M.A. Beg, Anwar Hossain, were the editors. In 1992 its
name was changed to Masik Photography. This magazine played an important role in
the history of photography of the country. It continues to be published regularly. In
1981 Ayna Newsletter began to published and edited by Anwar Hossain. In 1986
‘Bogra Alokchitra Samsad’ took the initiative to publish Alokchitra edited by
Altamasul Islam. 129 Portrait, a journal on photography, is being published from
Chittagong edited by Rupam Chakraborti on a quarterly basis, but not always
regularly. A periodical entitled Exposure is being published by CPS from 2001.
fig. 10.58 Cover of the ‘Prism’ has published a journal on photography entitled Camera edited by Rafiqul
first periodical on Islam from September 2001. So far, four issues of it have been published. A biannual
photography of the journal titled Viewfinder, edited by Syed Shafayet Hossain is being published by
country, courtesy Begart ‘Shahjalal University Photographic Association’ in Sylhet from July 2000. On
Institute of Photography December 2004 on the occasion of the third Chhabimela, Drik published the first
issue of the first year of Counter Photo edited by Saiful Haq Omi. This is a
comparatively more expansive journal.
Apart from the above-mentioned publications, many souvenirs, reports, catalogues,
etc. have been published by persons involved in photography, and on the occasion of
various activities of organizations and institutions or exhibitions.























Translated by Lala Rukh Selim, Associate Professor, Institute of Fine Art, University of Dhaka
[English names of photographers provided by the writer]

PHOTOGRAPHY 477


Note and References
1. Bilkis Alauddin, ‘A Walk Down the Days of History’, Sawgat, magazine of Indian Airlines, (New
Delhi, October 1986), 25.
2. Jagannath Chattyopadyay, Chalachitrer Abirbhab, (Calcutta 1984), 1-15.
3. Shiddhartha Ghosh, Chhobi Tola, Bangalir Photography Charcha, (Calcutta 1988), 19.
4. Ibid., 19-20.
5. Ibid., 20.
6. Loc.cit.
7. Loc.cit.
8. Ibid., 12.
9. Ibid., 10.
10. Ibid., 21.
11. Ibid., 42.
12. Ibid., 50.
13. Ibid., 161-163.
14. Tahur Ahmed, ‘Pakistaner Studio Sangbad’, Saptahik Ghoroa, (Calcutta, April 1964), 41.
15. Advertisement, Saptahik Chabuk, (6 March, Dhaka 1934).
16. S. Ghosh, op.cit., 320.
17. Ibid., 11.
18. Mohammad Nasir Uddin (ed.), the monthly Sawgat, 58th year, Nr.1 (Calcutta 1382 Bengali year), 136.
19. Ibid., 145.
20. Ibid., 132-134 and 140-141.
21. Ibid., 140-141.
22. Ibid., 139-140.
23. Ibid.,130-132.
24. Ibid.,141-145 and 163.
25. Ibid.,73-74.
26. Ibid., 58-59 and 326.
27. Khwaja Moudud, Aprakashita Diary, (Dhaka 1915).
28. S. Ghosh, op.cit., 136-138.
29. Ibid., 161.
30. Ibid., 76.
31. Ibid., 134-136.
32. Ibid., 146-149.
33. Ashrafuzzaman Tuhin, ‘Golam Kashem Dady, Tar Katha’, News Letter, Bangladesh Photographic
Society, (November 1986, Dhaka) 21-22.
34. A.U.M Fakhruddin Ahmed, ‘Photography in Bangladesh’, Bangladesh Times Magazine, (3 July, 1987,
Dhaka), 5.
35. S.Ghosh, op.cit., 77-78 and 277-278.
36. Ibid., 78-79.
37. Ibid., 93-100.
38. Advertisement, Saptahik Chabuk, (Dhaka 1934).
39. M. Mamun, 97 and 179.
40. Ibid., 104.
41. Ibid., 112.
42. S. Ghosh, op.cit., 168-179.
43. Jahangir Selim, Alokchitracharya Manjur Alam Beg O Smakalin Alokchitrer Bibartan, (Dhaka,
November 2002), 150.
44. Bulbul Ahmed (ed.), “Bangladesh Photographic Society at a Glance,” Monthly Photography, (July,
2005), 2.

478 ART AND CRAFTS


45. Jahangir Selim, Photographic Master Manzoor Alam Beg and Evolution of Photography in
Bangladesh, (Dhaka 2002), 174.
46. Harun Habib, “Du’ti Camera Ekti Album,” Anwar Faridee (ed), Atandra Ekattar, (Dhaka 1997), 60.
47. Daniela Mrazkova, Masters of Photography, (Prague 1987), 162.
48. Kazi Insan, “1971 seen through the eyes of Japanese Journalist Naoki Usui,” Weekly 2000, Year 6
Issue 31, (22 December, 2003), 52-57.
49. Saiful Islam, “Allen Stephen: Ekattarer Smritiguli Jar Hridayey Ekhana Amlan,” The Daily Protham
Alo, (09.02.2005), 3.
50. ‘In the year 1973 including Anwar Hossain, Golam Mustafa, his friend Mr. Ameer and about ten more
photographers had a few meetings, at hotel Purbarag to form a new photographic club-society and a
working-committee was formed.’ Bijon Sarker, “Phirey Dekha, Deshey Photographir Bibartan”
Photography Special Issue on Silver Jubilee, Year 10, (April-May, 2001), 241.
51. Advertising through newspapers, renowned photography personality Mr. M. A. Beg invited all classes
of amateur, professional photographers to take part in a discussion to form a photography society.
Accordingly, in the meeting of the photographers on 21st December 1975, on the occasion of the 15th
anniversary of ‘Begart Institute of Photography’, BPS was formed unanimously based on a proposal
raised by photographer Maksudul Bari. Its constitution was approved on 30th May 1976. Mr. Abdullah
Harun Pasha and Mr. M.A. Beg was selected the president and general secretary respectively in the
first executive committee of BPS.
52. “At his (Golam Kashem Dady’s) residence some photographers including Golam Mustafa, Bijon
Sarker, Mahbub Hossain, Sayeda Begum and I myself proposed to him to form a photography club.
Accordingly on 12 August 1962, a meeting was held and the Camera Recreation Club was formed.”
M.A. Beg, “Bangladesher Photography Itihas.” Photography, Year: 1st, 2nd Issue, (1992), 4.
53. Ibid., 5.
54. ‘BPS was formally declared the national Federation of Photography in a meeting at the society office
preside over by M.A. Beg,’ M.A. Beg. (ed.), “Bangladesh Photography Society Jatiya Federationey
Unnita,” BPS News Letter, (January, 1985), 5-6.
55. FIAP: Federation International de l’Art Photography. FIAP is the UNESCO-recognized Belgium-based
International Photography Federation. BPS is the 58th member of FIAP, in recognition of its successful
organizational activities.
56. Bulbul Ahmed (ed.), “Bangladesh Photographic Society at a Glance,” Monthly Photography, (July,
2005), 2.
57. Jahangir Selim (ed.), “Deshey Photography Club O Society Samuha,” Photography, Annual issue
1979, (Dhaka 1979), 8.
58. In February 1978, for the first time BPS exhibited the works of its members at the National Press Club.
In 1979 BPS arranged the first photography competition on ‘working people.’ In the same year with
massive interest and enthusiasm BPS arranged the first National Photography Competition and
Exhibition with the help of Bangladesh Shilpakala Academy. Thence forth BPS has arranged 16
yearly, 6 national and 2 international photography competitions and exhibitions.
59. From December 1977, BPS has been conferring ‘corporate membership’ (Licentiate, Associate,
Fellow) to its members, according to their application and qualifications. Moreover, BPS awards
the honorable membership (Hon MBPS) and Fellowship for the contribution to the development of
photography. Benu Sen, Peter Frayer, Derek Holderson, Willard E. Gillete, Steve Conlan, Isami
Maruia, Cheryl-Yin-Lo, Andre Renouard and some other foreign personalities have been awarded
the ‘Hon. MBPS’ for their contributions.
60. BPS had arranged workshops and seminars on photography at different times which were conducted
by British photographer Waltar Holt, Derek Holderson, Peter Frayer, Steve Conlan, Papeta Sheth,
German photographer Thomas Lutgay, Joachim Brohm, French photographer Jean Pierre Fabru and
many others foreign photographers.

PHOTOGRAPHY 479


61. Dr. Rashid Un-Nabi Shuvro, “Kichhu Prashna, Kichhu Uttar,” Monthly photography, Year 3, Issue 9,
(September 1994), 6.
62. Anwar Hossain (ed.), “Swadesh BFP Sambad,” BPS News letter, Year: 9th, (September-October,
1987), 5.
63. Anwar Hossain (ed.), “Bangladesh Federation of Photography,” Ibid., 6.
64. Dr. Rashid Un-Nabi Shuvro, op.cit., 6.
65 ABPS – Associate of BPS (Bangladesh Photographic Society).
66. ICDDRB – International Centre for Diarrhoeal Diseases Research of Bangladesh.
67. Hon. FBS – Honorary Fellow of BPS (Bangladesh Photographic Society).
68. ACCU – Asia-Pacific Cultural Centre for UNESCO. ACCU has been arranging a yearly international
photography exhibition since 1976.
69. PSA – Photographic Society of America.
70. Rokonuzzaman Khan, “Azizur Rahman,” Azad Rahman (ed.), Azizur Rahman, (Dhaka 1983), 6.
71. Hon. FIIPC – Honorary Fellow of Indian International Photographic Council.
72. ‘As he had no child I addressed him as ‘Dady.’Afterwards he was honored and addressed as Dady by
the photographers of Bangladesh.’ M.A. Beg, “Bangladesher Photoraphy Itihas,” Photography, 1st
Year: 2nd Issue, (1992), 5.
73. Golam Kashem, “Amar Sankhipta Atmakahini,” BPS News Letter, Year-8 (December, 1986), 9.
74. ‘His dramatic composition and superb light-shade effects accentrate the thematic horizon,’ Dr.
Noazesh Ahmed, “Photography in Bangladesh,” BPS News Letter, (June 1987), 30.
75. ‘I was present at the inception of modern Bengali film being related with Satyajt Ray. My camera has
recorded many of these memorable stories.’Amanul Haq, “Amar Lensey Satyajit Ray”, Protham Alo,
Eid Issue, (November 2003), 304.
76. Amanul Haq, Ekusher Tamasuk, (Dhaka 2003), 10.
77. FBPS – Fellow of BPS.
78. Dr. Noazesh Ahmed, “Photography in Bangladesh,” BPS News Letter, (June, 1987), 31.
79. ESFIAP – Excellence FIAP pour Services Rendus (for services rendered). He got this honor in January
1987 in Germany at the 19th congress of FIAP.
80. FSIPC – Fellowship of India International Photographic Council. In 1997 he was awarded this
fellowship.
81. ‘Bangladesh Photographic Society – BPS the national federation of photographers conferred him the
title Alokchitracharya for his excellent services rendered worldwide in photography on July 09, 1998’
Alokchitracharya M.A. Beg, a booklet exclusively produced for the reception of M.A. Beg by BPS.
82. PANSDOC – Pakistan National Scientific and Technical Documentation Centre.
83. ‘Noazesh Ahmed, a creative photographer inserts in his works personal statement, charges them with
meaning.’ B.K. Jahangir, ‘Photography in Bangladesh’, in M. Asafuddowlah (ed.), Photography In
Bangladesh, (Dhaka 1977), 2.
84. Syed Manzoorul Islam, “Noazesh Ahmeder Panch Dashaker Chhabi”, Subir Chowdhury (ed.), Quest
for Reality, (Dhaka 1996), 9.
85. Ibid., 10.
86. Dr. Noazesh Ahmed, “Sakshatkar: Dr. Noazesh Ahmed,” Monthly Photography (February, 1994) 11.
87. ARPS – Associate of RPS (Royal Photographic Society).
88. AIIPC – Associate of Indian International Photographic Council.
89. Anwar Hossain was awarded sixty international prizes and recognitions till now. In 1978 he alone got
six medals (2 Gold, 3 Silver, 1 Bronze) from Commonwealth Photography Competition and attracted
international attention.
90. Patricia Godsell, “Anwar Hossain,” in Syed Zillur Rahman (ed), Anwar Hossain, (Dhaka 1978), 11.
91. Dolly Anwar, “Introduction,” in Anwar Hossain, A Journey Through Bangladesh, (Dhaka 1988), 11.
92. Anwar Hossain, A Voyage Through Bangladesh, (Dhaka 2000), 148.

480 ART AND CRAFTS


93. Al Mahmud, “Mukhaboyaber Alokchitri, Nasir Ali Mamun,” Sonarang Camerar Kabi Nasir Ali
Mamun, Byaktitva Sankhya-1, (July 2005), 10.
94. Licentiate of BPS.
95. Hemayet Uddin Ahmed, “Foreword,” in Anwar Hossain (ed.), Bangladesh life & Culture, (Dhaka
1986), 2.
96. Anwar Hossain (ed.), “Editorial” BPS News Letter, (September 1987), 3.
97. Hon. FRPS – Honorary Fellow of Royal Photographic Society.
98. Dr. Shahidul Alam, “Mukhomukhi,” Portrait Alokchitra Bishayak Patrika, Year-3: Issue-4, Year-4,
Issue-1 (January-March, April-June, 2001), 19.
99. Shamsur Rahman in the speech, delivered on the occasion of the second solo photography exhibition
of Sayeeda Khanum, Fazlur Rahman Jhinu (ed.), Photography, Year 6: Issue 6, (June 1987) 11,
100. Anwar Hossain (ed.), “Bishwabidyalay Alokchitra Academy,” BPS News Letter, Year 8, (November,
1986), 7.
101. Anwar Hossain (ed.), “Mahilader Prothom Alokchitra Pradarshani,” BPS News Letter, Year 8,
(December, 1986), 22.
102. B.K. Jahangir, “Photography in Bangladesh,” op.cit., 3.
103. ‘They work hard but they do not get their share. Most of their incomes are eaten up by the half-educated
middle man and the full educated politicians,’ M. A. Beg, Rural Bangladesh, (Dhaka 1993), 2.
104. ‘His farmers want to speak of their struggle, their happiness and sorrows, their hopes and despair. His
labourers and mill workers out-cry, we want to live and build our country,’ Dr. Noazesh Ahmed,
“Photography In Bangladesh,” BPS News Letter, (June, 1987), 30.
105. Mahabub Haider, “Art on wings,” Star Weekend Magazine, Volume 3: Issue 107, (July 10, 1998), 20.
106. M.A. Beg, “Photography Bishaya Uchcha Shikshar Byabasta Chai,” Monthly Photography published
by BPS, Year 5: Issue 12, (December, 1996), 2.
107. ‘Our photographers have been photographers of the masses not that of our avant-garde intellectual elite
that live for itself. Dr. Shahidul Alam’, “Looking over the Horizon,” BPS News Letter, (January, 1986), 3.
108. Dr. Siddique-E-Rabbani, “Bangladesher Samkalin Alokchitran,” BPS News Letter, July, 1987), 11.
109. ‘Bangladesh Photography contains both the traditions, though the thematic tradition is the dominant
one,’ B.K. Jahangir ‘Photography In Bangladesh’ op.cit., 3.
110. Dr. Siddique E-Rabbani, op.cit., 11.
111. ‘Bold experimentation on thematic horizon, subtlety of color, form, perspective and graphical quality
is still limited, Bulk of the present day photography is influenced by commercialization blurred by the
lack of adequate intellectual insights and philosophical visions,’ Dr. Noazesh Ahmed, “Photography
In Bangladesh,” BPS News Letter, (June, 1987),34.
112. ‘The photographs in this book draw a symbolic parallel between the constantly shifting landscapes of
the fringes of the Bangladesh delta and the lines life has furrowed on the faces of same of its oldest
inhabitants.’ Sylvain Maresca, “Postface,” in Gilles Saussier, Living in the Fringes, (Netherlands
1998), 130.
113. Shamsur Rahman, op.cit., BPS News Letter, (March 1984),11.
114. Dr. Noazesh Ahmed, “Photography In Bangladesh” BPS News Letter, (June, 1987), 33.
115. Touhidun Nabi, “Chhabir Srasta-19,” Photography, Monthly Bulletin of BPS, (February, 1996), 3.
116. A.B.M. Rafiqur Rahman, “Smritir Pata Thekey,” Focus Special Souvenir-2001, Bangladesh
Photojournalist Association, (2001), 37.
117. “Bangladesh Photojournalist Association Ayojito Round Table Baithaker Sar Sankalan O
Suparishmala” Focus, ibid., (Dhaka 2001), 5-6.
118. ‘Most photojournalists are threatened and harrassed during work. Most of them are wounded by the
law and order enforcing agencies and threatened by the political sector’. Shima Moslem, Kamrul
Haque, Bangladesher Sambadpatrey Prakashita Alokchitra Ekti Mulyayan, (Dhaka 1999), 10.
119. Ibid., 9.
120. Ibid., 10.

PAINTING 481


121. Jahangir Selim, Alokchitracharya Manjur Alam Beg O Samakalin Alokchitrer Bibartan, (Dhaka
2002), 192.
122. Ibid., 187.
123. Azizur Rahim Peu, “Alokchitra? Adrishya Alor Khojey,” Monthly Photography, Year 14: Issue-04,
(April, 2005), 16.
124. ‘In response to my request he came to Dhaka and met Shilpacharya Zainul Abedin. In their meeting,
it was discussed that a photography department will be opened in the Art Institute or a separate
photography institute will be establisit at the government level. Kurt Blum submitted a proposal on it
to the government but if was not finally implemented. M.A. Beg, op.cit., Photography, Year 1: Iissue
2, (December 1992), 4.
125. ‘Saidur Rahman also initiated a training course for young photographers’, Dr. Noazesh Ahmed,
“Photography in Bangladesh”, BPS News Letter, (June, 1987), 33.
126. “Prashikshan Course/Karmashala/Seminar/Sanglap 1974-2003,” Niriksha Press Instituter
Ganamadhyam Samayiki, Issue 113, (August 2003), 26-64.
127. M.A. Beg, op.cit.,” Photography, Year 1: Issue 2, 5.
128. M. A. Beg, (ed.), “Bangladesher Photography Sangathan O Prakashanar Bibaran,” BPS News Letter,
Year 10: Issue 5, (August, 1988), 14.
129. Ibid., 15.

482 ART AND CRAFTS





















































pl. 10.1 (top) Ahsan
Manzil

pl. 10.2 (bottom)
Sangram (struggle),
1947, photograph
Noazesh Ahmed,
© Noazesh Ahmed

PHOTOGRAPHY 483

































pl. 10.3 (top)
Photograph Samsul
Islam Almajee, winning
the gold medal in the
st
1 national
photography
competition and
exhibition organized by
BPS,
© Samsul Islam Almajee
pl. 10.4 (bottom left)
Nadir Ghatey (at the
landing of the river
bank), 1973, photograph
Azizur Rahman, after
the album published by
DFP titled Bangladesh:
Land & People
pl. 10.5 (bottom right)
Romantic Road,
photograph Rashid Un-
Nabi Shubra,
© Rashid Un-Nabi Shubra

484 ART AND CRAFTS











































pl. 10.6 (top) Sonali
Swapna (golden dream),
photograph Noazesh
Ahmed,
© Noazesh Ahmed
pl. 10.7 (bottom) Life-
Cycle, photograph
Anwar Hossain,
winning the gold medal
in the 3rd
Commonwealth
photography
competition and
exhibition, 1983
© Anwar Hossain

PHOTOGRAPHY 485
















































pl. 10.8 (top) After the
album Journey through
Bangladesh, photograph
Anwar Hossain,
© Anwar Hossain

pl. 10.9 (bottom) After
the album Journey
through Bangladesh,
photograph Anwar
Hossain,
©Anwar Hossain

486 ART AND CRAFTS



























pl. 10.10 (top left)
Women's Lib, photograph
Rashid Un-Nabi Shubra,
winning bronze at the
Bantan international
photo contest Croatia,
© Rashid Un-Nabi
pl. 10.11 (top right)
Fisher Woman,
Photograph Maksudul
Bari, winning first prize
in the photography
competition organized by
ACCU entitled ‘Asian
Women,’ 1979
© Maksudul Bari
pl. 10.12 (bottom)
Photograph Debabrata
Chowdhury, winning first
prize in the photography
competition entitled
‘Woman at Work’
organized by the United
Nations Information
Center, Dhaka 1984,
© Debabrata Chowdhury

PHOTOGRAPHY 487













































pl. 10.13 (top)
Jalabalika (water girl),
photograph Shahadat
Parvez, winning gold
medal in the 66th
International
Photography Salon,
Japan 2006,
© Shahadat Parvez
pl. 10.14 (bottom)
Photograph Mujib R.
Khan,
© Mujib R. Khan

488 ART AND CRAFTS


pl. 10.15 (top left)
Photograph Shehzad
Noorani,
© Shehzad Noorani
pl. 10.16 (top right)
Photograph Debabrata
Chowdhury, winning
first prize in the 2nd
photography competition
organized by ‘Alokchitra
Shilpi Samsad’
Mymensingh, 1982
© Debabrata Chowdhury

pl. 10.17 (bottom)
Photograph Munira
Morshed Munni,
© Munira Morshed Munni

11




THE CINEMA BANNER PAINTING OF
BANGLADESH AND RELATED CONTEXTS
Shawon Akand


1
The history of cinema banner painting is closely related to the rise, development and
evolution of the film industry, especially with the rise of commercial film screening
and the construction of the movie theatre.
The first public film show was held in a Parisian café in 1895 on 28th December by
the Lumiere Brothers. After seven months, the first film screening took place in India
on 7th July, 1896 in Mumbai in a hotel, once more by the Lumiere Brothers. But there
1
is dispute over the question of when and where it was first screened in Kolkata and it
is not certain who showed it. Different writers have given different information at
different times although most of them have not mentioned the source of their
information. But there is reliable evidence of the fact that film was probably screened
in January 1897 in Kolkata. 2
The people of Dhaka were introduced with film or cinema the very next year. In 1898
the Bedford Cinema Company of Kolkata had the first film show in the Crown Theatre
of Dhaka on 17th of April. This information was published in the 17th April, 1898
edition of weekly Dhaka Prakash. The increasing interest in film among mass people
3
led to the need for a permanent cinema hall for the purpose of screening film
commercially. Thenceforth, began the tradition of the exhibition hall for the sole
purpose of film screening. ‘Picture House’is supposedly the first cinema hall in Dhaka
of its kind which is now known as ‘Shabistan’ located in Armenian Street. By 1930,
4
at least three more cinema halls were established in Dhaka. It is reported that in the
20s, 30s and 40s more and more cinema halls were built all over the country including
Dhaka as the popularity of films was gradually increasing. There were 120 cinema
5
halls altogether in Bangladesh at the time of the partition. 6
According to a survey conducted by the film magazine Sequence edited by Alamgir
Kabir, the total number of cinema halls in Bangladesh was 208 in the year 1974. The
7
number increased to 747 in 1990. The exact number of cinema halls in Bangladesh at
8
present (2005) could not be figured out. However it has been reported from several

490 ART AND CRAFTS


published articles and other sources, that in the past decade the number of cinema halls
has decreased in Dhaka as well as in other districts of Bangladesh. 9
The publicity of films became inevitable as soon as commercial film screening and
establishment of permanent cinema halls began. Cinema banner painting was one of
the ways of publicity to attract people towards the cinema halls. But its inception in
Bangladesh is still unknown. However, senior artists related to the profession of
cinema banner painting, in their interviews, stated that cinema banners as we know
them now featuring exaggerated portraits or figures of actors and actresses painted
with bright colors on fabric along with the title and other information regarding the
film written in large fonts, started after partition (fig. 11.1). 10
Before the partition, even though there was no tradition of cinema banner painting of
this kind, there used to be a practice of painting portraits of movie stars and writing
names of films in large fonts on a specific wall of the cinema hall for advertising films.
These can be identified as the early form of cinema banner painting. Before partition,
in the 30s and 40s, Pitalram Sur of Shankharibazar was involved in this kind of painting
on walls of cinema halls in Dhaka. He did not have any formal education. His family
business was in conch-shell industry. But he was an expert in drawing portraits. He had
a shop called ‘Art House’ (?) near Maya (Star) cinema hall in the Wiseghat area of
11
Dhaka. Apart from cinema banner paintings, signboards, backgrounds for photo studios
and portrait paintings were also done here. It is notable in this context that, he could
draw the exact portrait of a person he had seen only once without seeing the person a
second time. Besides, he had extraordinary skill in Vidyasagar lettering. 13
12
After the partition, a huge number of non-Bengali Muslims migrated from Kolkata and
other parts of India to Bangladesh (former East Pakistan). Many of them were engaged
in cinema banner painting in Kolkata, Mumbai and Chennai. They were the pioneers
of cinema banner painting in Bangladesh. As examples Mohammad Selim and Abdul
fig. 11.1 Cinema banner Wahab (80) may be named. Some of the local self-taught artists like Pital Sur, A.Z.
in front of cinema hall, Pasha (student of Art College?), Subhash Dutta (1930- ), but he learnt painting in
14
photograph Athahar Mumbai) Sutan Sarker (Dinajpur), and others joined them. In the 50s, even many
Hossain Surjo artists having formal education in Dhaka engaged themselves in cinema banner
painting. We can name, for example,
famous artist and sculptor Nitun Kundu
(1936-2006) and Azizur Rahim, (1939- )
now a film director. 15
It is significant that there was no
remarkable initiative taken for film-
making in Bangladesh before the
partition although the film industry in
Kolkata, Lahore, Mumbai, Chennai
and Karachi was much developed by
that time. Presumably the film industry
of Bangladesh started its journey with

CINMA BANNER PAINTING 491


the first full-length feature film, Mukh O Mukhosh (1956) directed by Abdul Jabbar
Khan. After that in 1957, East Pakistan Film Development Corporation (now known
as Bangladesh Film Development Corporation or BFDC) was established. The
establishment of BFDC has played an important role in building the foundation and
development of the film industry in Bangladesh.
Even though cinema banner painting in Bangladesh developed after the partition in the
50s, similar work had been going on for a long time in Kolkata, Mumbai, Chennai,
Lahore and Karachi. But we hardly have any information about the characteristics,
nature, source, inspiration or the ideal of their work. Other than a few reports and a
16
research publication there is no reliable source of information. The book, mainly
17
discusses different topics related to Hindi films based on the Mumbai film industry. In
the third chapter of the book a few comments are made which provides a guideline
regarding the aesthetic and artistic interpretation of film advertisement which will
assist the understanding of the source of cinema banner painting in Bangladesh. In this
book, three influences have been mentioned pointing towards the aesthetic and artistic
source of Hindi film advertisement industry before partition. They are: 1. The oil
paintings and popular prints of Raja Ravi Varma, 2. European naturalistic style of art
18
practiced by Bombay School of Art and 3. Art Deco, relatively later during the latter
19
half of the third decade of twentieth century, as usual imported from Europe. 20
According to researchers, Indian paintings influenced by the European academic style,
especially in the narrative themes based on religion and myth, gave rise to a new form
of aesthetics, which had a direct impact on early Indian movies. It is notable that quite
a number of religious and mythical stories were chosen as themes for most of these
first generation films at that time and directors followed the style invented by Ravi
Varma to visualize these type of stories. Naturally this very style had an impact on
21
the different elements used for the publicity of films (i.e. poster, booklet, banner etc.) 22
The printed pictures of Kolkata Art Studio (and other studios as well) became quite
popular like Ravi Varma’s oleographs. The continuation of this style to the present in
the popular trend of posters and calendars clearly indicates its close relationship with
cinema banner painting. Madhusree Dutta said, ‘The by-product of this cinema culture
was the banner art. … their origin can be traced back to oleograph, but with the
challenge of big scale, public space matching the movie narratives, the banner art soon
developed into a distinct school of its own’. 23
The writers of the book Cinema India have shown the impact of the mimetic trend that
was practiced in the Bombay School of Art in the advertisement of Hindi movies. 24
This mimetic form was not only in practice in Mumbai but also in other parts of India
including Kolkata. These artists definitely contributed to film advertising and may
have contributed to cinema banner painting, as well.
Abdul Wahab of the famous ‘Dada Art’ of Syedpur disclosed that his ancestors used
to live in Bara Katra of Chennai. Cinema banner painting was his family business for
ganerations. He learnt this trade from his father Abdus Sobhan who migrated to
Syedpur after partition taking a job in the railways. As a result, Abdul Wahab also

492 ART AND CRAFTS


started working here. When asked from whom his father and grandfather (Mohammad
Sarwar) learnt this trade, he said that his ancestors learnt it from the Telengas in
Chennai. 25 Thus we may presume that cinema banner painting might have a
connection with South Indian painting.
On the other hand, S. Moyeen (1936- ), master: Md. Yusuf) said that there were at
26
least 8-10 studios of cinema banner painting in Kolkata in the 50s. Among these the
Mannan Studio of Abdul Mannan and P.G. Sheel’s workshop had been active since the
’40s. Most of them who migrated to Dhaka from Kolkata, either after the partition or
27
the communal riot of 1964, worked in these studios.
Another pioneer of the cinema banner painting of Dhaka is Mohammad Selim, the
owner of ‘Moonlight’ cinema hall. He came from Kolkata but his ancestral home was
in Mumbai (the question arises whether there was any connection between Mumbai
and Dhaka regarding this banner painting). He started working on cinema banner
painting from his Rankin Street residence since 1948. No further information could be
found about Mohammad Selim but there were many people who worked as his
apprentices and later became famous. Gulfam was one of the most prominent among
them. (Both Gulfam and Mohammad Selim moved to Pakistan after the Liberation
War of Bangladesh.) 28
We get interesting information about the rise and evolution of Kolkata’s cinema
banner painting from senior artist S. Moyeen. He thinks that it started no later than the
30s. In the beginning those who wrote signboards started cinema banner painting. At
that stage the quality of work was not very satisfactory. However, when some artists
trained at Calcutta Art School engaged in banner painting considering it to be a
profitable occupation, the quality of this form improved. Others who had no formal
education also started imitating their work. The exact date when cinema banner
painting in Kolkata commenced cannot be known, but there is similarity between the
second part of S. Moyeen’s statement with that of the authors of Cinema India. 29
S. Moyeen could recall a few names from his memory of artists who were formally
trained and engaged with cinema banner painting in Kolkata. Susheel Bannerjee,
30
fig. 11.2 Cinema banner Prasad and Shashthee were famous among them. Artist Subhash Chakrabarty of
being painted, Dhaka (1939- ) had stayed in Kolkata for a while right after the communal riots of
photograph Athahar 1964. During his stay there, he and Girin Das used to paint banners of films at a Haji
Hossain Surjo Sahib’s workshop. He had also seen Susheel Bannerjee working. From Partha Mitter
31
we know the name of Jatindrakumar Sen (1882-1966)
who was a formally educated artist and had engaged in
painting the cinema banners. 32
It does not seem that cinema banner painting had any
connection with the traditional patachitra of Kalighat
or to any other folk form of art in Kolkata which were
in practice till the thirties. Rather it seems that it started
through those who were engaged in painting
signboards, backdrops of theatres or photo studios and

CINMA BANNER PAINTING 493


later banner painting improved when
professional artists took over. In
cinema banner painting, whoever the
painter was, tried to adopt the European
naturalistic style of painting which
gradually developed into a unique
genre of painting. Cinema banner
painting in Bangladesh started
primarily with the non-Bengali Muslim
artists who came to East Bengal from
India after partition. Local artists
joined them later (fig. 11.2).
In Bangladesh, basically two different
trends of banner painting developed in
two towns. The first one was in
Syedpur (presently under Nilphamari
district) and the second one in Dhaka. 33
Occasionally connection was
established between these two areas. Some have tried their hands in cinema banner fig. 11.3 Cinema banner
painting in various parts of the country. Some have worked in other cities after painting, photograph
learning it from either Dhaka or Syedpur. It is reported that some of these artists Athahar Hossain Surjo
worked in Chittagong, Khulna and Rangpur. 34
It is notable that Abdul Wahab, Abdul Hafiz and S.M Shahabuddin who originally
came from Chennai created a special style at Syedpur in the district of Nilphamari,
which had not been affected by foreign influence after the partition. But in Dhaka, the
evolution of cinema banner painting was influenced by institutionally trained artists,
although none of them continued in this profession for long. Thus, the responsibility
35
to carry on this tradition fell on the artists who were not institutionally trained. They
have, in the meanwhile, been able to create a style of their own. Despite their work
bearing the imprint of institutional art, due to the use of bright colors, diverse
compositions, unique use of lettering etc., cinema banner painting has become a
distinct and unique trend which is easily identifiable (fig. 11.3).
2
A special kind of paste or mixture is used to paint cinema banners instead of the
regular watercolor or oil paint. It is made of ordinary powder colors available in the
market mixed with linseed oil. Enamel paint is mixed when necessary. It is customary
to mix turpentine oil with the paint as a thinner. This particular kind of color was used
in Dhaka in the 50s and it is still in use in Syedpur. But in Dhaka in the 60s press ink
was introduced along with this mixed color. The prime reason for using press ink was
cutting cost, press ink also made the paintings more vibrant and attractive. There are
at the same time different opinions about the use of fluorescent colors in cinema
banner painting. S. Moyeen says that in Kolkata it was in practice in the 60s. and his

494 ART AND CRAFTS


co-workers came to Dhaka in 1964 and they pioneered the use of fluorescent colors in
Dhaka. Subhash Chakrabarty, on the other hand, holds that in the first half of the 70s
(1974?), he along with his co-workers the first to use these colors.
In order to paint banners, the canvas needs to be prepared exactly like canvas for oil
painting. In the past, hessian was used as canvas. Later thick marking fabric came into
use. However, in our current survey we saw that a synthetic tetron-type fabric is used
nowadays in the Dhaka-based workshops (however, marking fabric is still used as
canvas in Syedpur). To prepare the canvas the fabric has to be fixed to the frame and
several coatings applied. Epicon, binder, zinc oxide and water is mixed together to
make the solution for the coating. Drawing starts after the canvas is ready.
Usually cinema banner painters get contracts from distributors of films or
occasionally, directly from the proprietors of cinema halls. They provide the painters
with several posters of the film for which the banner will be prepared to be used as
source material. The painters choose some characters from the posters according to
their own will and work using their distinctive method of composition. Sometimes
they use the lettering used in the posters and sometimes they apply their own lettering.
They use the graph system when painting a big banner from a small poster. The graph
is drawn on the posters with a pen and powder color/oxide and thread are used to draw
the graph on the canvas.
When the graph is complete someone does the drawing in pencil. Usually apprentices
do the drawing under the supervision of their master. After the drawing is done, the
master starts to work with colors. After the painting is finished it is followed by
lettering. But often lettering is done right after drawing and the rest of the painting is
done later. According to senior cinema banner painters, previously they got 3-4 days to
finish a job but nowadays they have to submit their work within one to two days. Thus,
the quality of the work is not as good as it used to be, according to those involved. It
is noteworthy that there is information that in the 60s and later, huge cinema banners
fig. 11.4 Cinema banner, were made by spraying and using paper collage (the banner of Jharer Pakhi directed
36
Syedpur, photograph by Khan Ataur Rahman was executed in the paper collage medium). A variety of
Athahar Hossain Surjo materials like sequins, buttons and cotton are also known to have been used.
The golden age of cinema banner painting
was primarily from the 50s to the first half
of the 80s. It started declining from the end
of the 80s. The main reason for this decline
is the general deterioration of the film
industry as a whole and secondly, the
increasing importance of other media of
publicity, like posters and television. At
present the digital prints used as cinema
banners have become a major threat to the
cinema banner painters. Thirdly, earning
enough for a livelihood is becoming more

CINMA BANNER PAINTING 495


uncertain in this profession. Therefore, the artists are not concentrating very much on
each piece of work. Owners of a number of painting workshops told us that they do
not get the pledged amount of money from the producers/distributors for painting the
banners, if the film for which the banner was painted does not make good business. It
may be mentioned in this context that the painters along with their entire family pray
while painting the banner that the film is a commercial success.
It is notable that the painters of cinema banner get paid at per square feet rate. In the
50s the payment was Tk.1 to Tk.1.25 per square foot. Now it has become Tk. 8 -10
per square foot. The artists have to bear the necessary expenditure of the work but in
some cases the owner of the workshops bears it.
The condition of the painters of Syedpur is now worse. They get the contract directly
from the owner of cinema halls. Tunu Miah (40) confided that the owner of the hall
gives him some money for the paint and the other necessities although he is not sure
of the remuneration he is going to get from him for the finished banner. But in Syedpur
even 10 years back the artists used to get Tk.1,000 for a 7x12 square foot. banner and
Tk.1,600 for a 7x18 square foot banner (fig. 11.4). Besides banners, cinema painter
Tunu Miah now does rickshaw painting as well for the sake of survival.

3
Cinema banner painting has added a new dimension to the history of painting of
Bangladesh with its unique qualities and individual characteristics. Firstly, we may
consider the size and number of the banners. The length and breadth of banners may
normally be 7ft. to 40 ft. They can be even larger if necessary. No one can tell what is
the exact number of these huge and innumerable paintings executed by the cinema
banner painters so far.
Secondly, the reason for which cinema banner painting deserves importance is its use
of color. The painters primarily use bright colors to attract the general people.
Especially the use of pink, yellow, bright blue and green (different fluorescent colors
are also being used recently) gives cinema banner painting a different dimension.
Apart from this, the painters use yellow or white outline to highlight or separate a
figure from the background which is another extraordinary characteristic of cinema
banners. It may be mentioned that, an influence of cinema banner paintings in the use
of colors of some of our contemporary mainstream artists’ work is noticeable.
Thirdly, these banners are displayed in places where large numbers of people
assemble. Even though the aim of its display is totally commercial, cinema banners
reach common people quite effortlessly. As it reaches mass people it can be identified
as ‘Public Art’. For more than fifty years cinema banner painting is being exhibited in
different places throughout Bangladesh. Despite the downward trend of the film
industry, it is still surviving. This very information gives strength to the assertion that
cinema banner painting has wide acceptability by the people of Bangladesh (both in
urban and rural areas). Thus, can we perhaps state that it reflects the taste and artistic
sense of the mass people of Bangladesh?

496 ART AND CRAFTS


It has already been said that cinema banner painting was influenced to a certain extent
by painters who were educated institutionally. However, they did not stick to this
profession for long, at least in Dhaka. Hence, those who carried on this trend were
mainly self-taught or learnt it through apprenticeship or through the generations in a
family. We also cannot overlook the fact that most of these people belong to the lower
class, marginal community. The cinema banner painting represents a stunning
example of the artistic thought, the variety of use and composition of colors, the
beauty of strong drawing and above all the artistic skill of these marginal communities
(which the majority of the people of Bangladesh are).
Besides, it is important to note the fact that the artists who paint the cinema banners
are also experts in painting the ‘backdrops’ of photo studios, backgrounds of puppet
shows or circuses, even backgrounds of dramas and theatres. They even participate in
designing sets of films if necessary. On occasions of visiting foreign head of states or
other important officials, we see their portraits displayed on both sides of the roads to
welcome them. Most of these are done by artists associated with cinema banner
painting. Many of them are skilled in copy work. In addition to banner painting many
of them can draw and paint beautiful landscapes, animals or birds and paintings based
on popular folk stories (fig. 11.5). Some of them can also do glass-painting. I have
seen this kind of work done by Noushad Ali (he learnt his work from his master
fig. 11.5 Painting of Mohammad Azad of Kolkata) from Syedpur. But among cinema painters who paint to
fight between snake express themselves, S. Moyeen is the most important.
mongoose by banner The modern art history of Bangladesh started with the naissance of ‘Government
painter Noushad Ali, Institute of Art’ founded under the leadership of Shilpacharya Zainul Abedin(1914-
photograph Athahar 1976) in Dhaka in 1948 . It is now affiliated with the Dhaka University as the Institute
Hossain Surjo of Fine Art. Zainul and his co-artists were educated from Calcutta Government Art
School. A different era of art history of
Bangladesh began when they came to
Bangladesh. But the history of art in
Bangladesh has always ignored those
non-institutionalized artists who
migrated from Kolkata or other places
to Dhaka after partition and kept
working in their own distinctive style.
According to the statements of
concerned artists, cinema banner
painting was enriched through the
work of a large number of non-Bengali
artists who migrated here after
partition. Likewise, this trend was
affected when many of them left
Bangladesh for India or Pakistan after
the Liberation War. At present, most of

CINMA BANNER PAINTING 497


the cinema banner painters are students of those migrant artists. The new generation
is not quite interested to continue this work anymore because of financial insecurity.
Some of the artists have either shifted to other professions already or are thinking of
shifting for the same reason. Those who are still following this trade are more or less
bound to carry on. They say, ‘We do not have any option other than doing this as we
haven’t learnt anything else. How will we survive if we don’t do it?’ In spite of the
financial insecurity and scarcity of work, these impoverished artists depict the
portraits of alluring heroines, mighty action heroes and vicious villains of the silver
screen on their canvases with bright, vibrant colors. These attract the audience. The
producers/distributors profit if the film hits the box office. But who cares about the
artists behind the scene, of these colossal, brightly colored paintings?




Notes and References
1. Ajaykumar Dey, ‘Chalachchitrer Shatabarsha o Bangla Chalachchitra’, Nirmalya Acharya and
Dibbendu Palit (ed.), Shatabarsher Chalachchitra, (Kolkata 1998), 419.
2. Ibid. 438. It was informed in the editorial footnote-1 that Nityoprio Ghosh indicated the date as 18
January, 1897. The source of this information was The Englishman, 18 January 1897.
3. Anupam Hayat, Purano Dhakar Sanskritik Prosango, (Dhaka 2001), 69.
4. Bangladesher Chalachchitrer Itihas, Anupam Hayat, (1987), p.4.
5. Ibid., (1987), 6-8. ‘Cinema Palace’ and ‘Rangam’ were established in Chittagong in the ’20s of this
century. ‘Banee Cinema’ (the name was later changed to ‘Diamond’ cinema) was established in
Narayanganj in 1929-1930. In the ’30s more cinema halls were built in and outside Dhaka. Early in this
decade there was a hall at Sadarghat in Dhaka named ‘Chitraloy’. Almost at the same time there were
other halls established in Bogra and Dinajpur named ‘Minar’ and ‘Lily’. At the end of this decade there
was another new hall established in Faridpur named ‘Mayalok’. In the late 30’s ‘Manasi’ (Nishat) was
built in the Bangshal area of Dhaka. In the early 40’s ‘Nagormahal’(Chitramahal) and in the late 40’s
‘Maya’(Star) were established in Dhaka. Two more cinema halls of that time are extinct now. They
were ‘New Paradise’ and ‘Brittania’.
6. Mirza Tarekul Kader, Bangladesher Chalachchitra Shilpa, (Dhaka 1993), 395.
7. Ibid, 396.
8. Loc.cit.
9. The Dainik Prothom Alo, 18 August, 2005. Weekly 2000, vol.3 no.30, 1 December 2000. The
information of the closure of more than 300 cinema halls is gathered from the article written by Ruhul
Taposh in the Saptahik 2000.
10. Interviews by the author of- S.Moyeen (Dhaka, 15 June, 2005), Azizur Rahman (Dhaka, 16 June,
2005), Abdul Wahab (Syedpur, 9 July, 2005).
11. Some people mentioned this institution of Pitalram Sur as ‘Art Hall’ or ‘Art Company’. However, artist
Bideshkumar Dhar(1949- ), who worked there as an apprentice, supported the opinion that it was
named ‘Art House’.
12. An interview by the author of S.Moyeen (Dhaka,15 June, 2005).
13. An interview by the author of Bideshkumar Dhar (Dhaka, 31 December, 2005).
14. Subhash Dutta, Tomar Jonyo Bhalobasha, (Dhaka 2005), 12-14.
15. Interviews with the author of Nitun Kundu (Dhaka, 17 June, 2005) and Azizur Rahman (Dhaka, 16
June, 2005).