A discussion on a research manuscript titled ‘Sultaner Krishi Jiggasa’ was held on Friday, shedding light on the artistic vision of eminent Bangladeshi painter Sheikh Mohammad Sultan, popularly known as SM Sultan.
The event, focusing on the agricultural themes and symbolism in Sultan’s artwork, took place at the University Press Limited store at Green Road in Dhaka’s Farmgate area. It was jointly organised by the UPL and Duniyadari Archive.
Writer, activist and researcher Pavel Partha presented the findings of his research on Sultan’s art. Sharing insights from numerous interviews and analyses, Pavel said that Sultan’s portrayal of muscular figures was not merely about physical strength but symbolised a robust and empowered society of earlier times.
‘Sultan depicted farmers as powerful men because they were the heart of the nation, producing food for everyone. However, he did not only portray men—his female figures and even animals also appeared muscular,’ Pavel explained.
He added that his study explored the social context of Sultan’s era, when wealthy people also engaged in cultivation and ridge-less farming practices.
Among others, BRAC University teacher Firdous Azim, artist and teacher Dhali Al Mamun, artist and critic Mostafa Zaman Mithu and Jahangirnagar University Associate Professor Syed Nizar spoke at the event.
Appreciating Pavel Partha’s work, Nizar said, ‘There has been a lack of recognition and appreciation for Sultan as an artist in Bangladesh over the past decade.’
He emphasised the importance of such research, suggesting further studies on Sultan’s representation of the peasantry, including aspects like the absence of night-time imagery and the political awareness in his paintings.
Artist Dhali Al Mamun discussed the influence of modernism on Sultan’s work, pointing out a subtle modernist legacy in the spatial and physical dimensions of his paintings.
He urged for more nuanced and critical interpretations of artworks, saying, ‘Even the language used in interpretation is part of a larger knowledge structure.’
Art critic Mostafa Zaman cautioned against misinterpreting Sultan’s muscular figures through the lens of modern gym culture or unrelated art movements. ‘Sultan’s figures are deeply rooted in the ecology and reality of his own people and surroundings.’
Art historian and environmental activist Amirul Rajib moderated the discussion.
