The Harmony between Nature and Humans

S M Sultan is renowned for his profound and expressive artistic portrayal of humans intertwined with the environment. His artwork goes beyond mere aesthetics; it serves as a powerful description of the relationship between people and the natural world. His art is characterized by its vibrant colors, dynamic forms, and intricate details, which collectively create a vivid representation of rural life and the landscapes of Bangladesh.

Eco-aesthetics is a new discourse that emphasizes the significance of creative expression in fostering environmental consciousness and highlights the urgent need for awareness regarding ecological issues. By merging creativity with critical thought, artists illuminate the gravity of our ecological predicament, presenting unique perspectives that inspire transformative change through their artworks. Art plays a significant role in enhancing our understanding of landscapes, working as a vital medium for interpreting and articulating the interconnectedness of humanity and nature. Furthermore, they stimulate critical reflections on themes of nature, identity, and the repercussions of human activities on the environment. By promoting a dialogue between art and ecology, eco-aesthetics advocates for a re-assessment of our values and behaviors, ultimately striving for a more harmonious coexistence with the natural world.

One of the central themes in Sultan's artwork is the importance of fostering an awareness of nature and its impact on communities which is often overlooked by the art critics. Through his robust depictions of figures of the working class, he focuses on the vulnerability of human beings in the face of nature's unpredictable forces. His art acts as a mirror reflecting the struggles and triumphs of those who live in harmony with the land, while also serving as a poignant reminder of the fragility of that relationship.

In contemporary art, eco aesthetics has gained significant relevance as artists increasingly engage with environmental issues by using their artwork to raise awareness about ecological damage and promote sustainability. By integrating ecological themes into their creativity, artists not only ignore traditional notions of beauty but also encourage viewers to rethink the relationship between man and nature. This approach stimulates a deeper understanding of the impact of human activities on the environment and makes eco-aesthetics a vital component of modern artistic discourse.

S M Sultan was introduced to the art lovers of Bangladesh long after independence in 1976 through a solo exhibition at the Dhaka Shilpakala Academy. The media went wild on him after this exhibition and everyone got to know the forgotten name of Sultan, the wonder of Bengal's painting world. However, it took another decade to arrange his second exhibition which finally occurred in 1987, organized by the Goethe Institute, Dhaka.

Sultan drew the attention of the art lovers of India, Pakistan, Europe, and America in just 6 years starting his aesthetic journey in the middle of the fourth decade of the last century. During the specified period, he successfully organized exhibitions in various places, including Shimla, Lahore, Karachi, several states of the USA, and London. However, following his return to his homeland in 1953, he experienced a significant and prolonged period of relative obscurity. This transition highlights the contrast between his earlier achievements in the art world and the subsequent lack of recognition he faced upon returning home.

Sultan’s experience in the Calcutta Art School was frustrating as the academic practices exhibited a repetitive and unvaried character which he did not like. Leaving the institution and through relentless practice, he ultimately discovered a unique style that allowed him to articulate his philosophical beliefs and idealistic vision effectively.

From 1953-1954, his artworks became a dedicated representation of Bangladesh, focusing on the peasant community and their agricultural activities intimately tied to the land and water. His expansive canvases vividly illustrate the lush green fields of rural areas, portraying various stages of farming such as plowing, harvesting and threshing paddy, and processing jute, alongside scenes of peasant women engaged in daily tasks like bathing, filling pitchers, washing clothes, gathering water lilies, milking, and fishing. The repetition of these themes is notable, with several works sharing the same title. Additionally, he occasionally explored unique subjects, including depictions of slum residents, life after floods, and the return of gypsies, as well as semi-abstract pieces like Genocide. While primarily utilizing oil and watercolor, he also produced numerous sketches in pencil and ink, imbuing nearly all his paintings with a rich literary quality related to humans and nature.

Sultan's portrayal of rural figures is significantly influenced by the forms and styles employed by the Renaissance masters. The anatomical exaggerations present in his work are not meant to ‘add strangeness to beauty' or to serve as mere distortions. Even if he alters the anatomy of his figures to achieve an idealized form, this does not detract from the aesthetic value of his art, nor does it diminish its compelling nature. Many viewers may mistakenly believe that effective painting must adhere strictly to realistic geometric representations. Critics who fail to recognize Sultan's understanding of anatomy should reconsider the notion of 'Artistic Anatomy' as articulated by Abanindranath Tagore.

The representation of medical anatomy is not necessarily the goal of artistic expression; rather, the artist must forge a unique interpretation of anatomy. The historical and artistic framework that Sultan provides for the human figures in his works is ultimately secondary to his main objective of crafting a utopia that communicates a message advocating for the preservation of both nature and humanity.

Sultan favored an organized society, reflected in the presence of multiple figures in his artworks. He held a strong aversion to the modernization of agriculture, expressing discontent with the introduction of machinery such as tractors and rice threshers. His perspective on this matter is notably conservative, rooted in a desire to preserve ecological balance. Sultan's opposition to urbanization stems from his admiration for traditional peasant communities, which he views as environmentally sustainable. He perceives modernization as an unwelcome disruption to this ideal. His profound connection to peasant life acts as a form of artistic protest, with his paintings transcending mere aesthetics to foster awareness about the importance of a healthy environment.

His world appears both familiar and foreign to us, as it is imbued with a distinct 'vision.' This vision compels him to transcend the tangible representation of objects, opting instead to convey the abstract essence of his emotions. Consequently, the artist forges a unique identity through the expression of his vision, which becomes readily identifiable in his creations.

Sultan is determined to preserve the traditional agrarian system, which is deteriorating as a result of deceit, capitalist intrusion, and modernization. He envisions an idealized world where farmers cultivate the fields using plows and oxen, harvest crops with sickles, and women manage domestic responsibilities. The portrayal he creates of this agrarian community is somewhat idealized. Interwoven within this vision is a call to action for farmers to become aware of their circumstances. Throughout his life, he has been in pursuit of this utopia, which ultimately reflects his deep ecological awareness.

Sultan's repetition of traditional folk motifs is often considered by many to be idiosyncrasy. This perspective similarly applies to the works of two other pioneers of our folk genre, Zainul Abedin and Kamrul Hasan. Jamini Ray is also included in this discussion. A noteworthy observation by esteemed art critic Syed Manjurul Islam sheds light on this matter: 'The images in folk art often express an idealistic thought. In fact, the mannerism of folk style that we may find repetitive is related to that ideal thought.'

Primary colors predominate in folk-style paintings, however, the majority of Sultan's works exhibit a dominance of hues such as brown, black, and green. During an interview, he expressed that brown prevails on his canvas, symbolizing the color of the earth. He remarked, "My people are the sons of the soil," highlighting their deep connection to the land. The arrangement of his figures is well-structured, characterized by precise lines, and the overall composition is expansive and vertical.

By capturing the essence of rural settings, Sultan invites viewers to connect more intimately with the natural world. His landscapes are not just backdrops; they are living entities that interact with the people who inhabit them. The lush fields, flowing rivers, and expansive skies in his paintings evoke a sense of place that resonates deeply with the viewers, encouraging a greater appreciation for the environment and the challenges it presents.

Moreover, Sultan's work often prompts reflection on the consequences of environmental neglect and the urgent need for sustainable practices. In an era where climate change and natural disasters are increasingly prevalent, his art serves as a call to action, urging society to recognize the interconnectedness of humanity and nature. Through his compelling visual narratives, Sultan not only celebrates the beauty of the natural world but also advocates for a deeper understanding of our responsibility to protect it. His ability to weave together the human experience with the natural landscape invites viewers to engage with the world around them, fostering a sense of empathy and responsibility that is crucial in today's rapidly changing environment.