Art often is the amalgamation of the elements of the lands it originates in. In that, Sheikh Mohammed Sultan was more than just an artist; he was a mystic, a philosopher, and an ardent lover of his land.
Born on 10 August 1923 in the verdant embrace of the Padma River in Narail, his life was an inextricable intertwining of man and nature.
Yet, his circumstances could not confine the boundless creativity that simmered within him.
His art, a raw, visceral expression, was as much a product of the fertile plains as it was of his genius.
Poet with a brush
From an early age, Sultan exhibited an innate affinity for art, sketching and drawing with an intensity that belied his tender years.
His father, a mason by trade, nurtured this passion, despite the family's straitened circumstances, perhaps sensing that his son’s destiny was to transcend the limitations of his birth.
Sultan's journey to recognition was as unconventional as his art.
Forsaking formal education, he wandered through the streets, riversides, and forests, immersing himself in the natural world that would later become the cornerstone of his artistic expression.
His was a self-taught journey, a testament to the power of raw talent and unwavering passion. His art was as authentic as the soil he walked upon, untouched by the artifice of academia.
SM Sultan’s oeuvre was comprised of earthy hues and bold strokes - a visual poetry that resonated with the depths of the Bangladeshi soul.
His figures, often gaunt and weathered, bore the imprint of a life lived in harmony with, yet challenged by, nature.
They were not mere depictions; they were allegories of human existence, etched with the resilience that characterised the spirit of his people.
One from and for the river
The Padma, with its ceaseless flow and life-giving waters, was a recurring motif in his work.
It was more than just a river; it was a metaphor for life, for sustenance, and for the enduring spirit of Bangladesh. His landscapes, too, were not mere vistas; they were introspective journeys, where the artist and the earth seemed to merge into a single entity.
Sultan's art was a language in itself, a dialect of the heart that bypassed the intellect to connect directly with the soul as he painted not with colours, but with emotions. His canvases were not mere surfaces; they were portals into a world of raw, unfiltered human experience.
His figures, often solitary and contemplative, were mirrors reflecting the inner turmoil of a nation grappling with poverty, inequality, and natural disasters.
His early works were suffused with the vitality of the rural landscape, a theme that would dominate his oeuvre and distinguish him from his contemporaries.
The idiosyncrasies of Sultan’s life cannot be disentangled from his art.
The colours flow
In 1941, he set off to Calcutta, where his prodigious talent soon attracted the attention of the city's art connoisseurs.
However, the allure of the metropolis could not hold Sultan for long. The urban landscape, with its cacophony and chaos, was at odds with his rustic soul.
He returned to Narail, where he found solace and inspiration in the simplicity of village life.
Commentary through art
Sultan’s paintings are a visual symphony of exaggerated human forms, infused with a surreal vitality.
His figures, often robust peasants and labourers, are depicted with Herculean physiques, towering over the pastoral landscapes they inhabit.
This stylistic choice was not mere artistic license but a deliberate commentary on the resilience and strength of the rural proletariat.
In Sultan’s world, the agrarian community is not a passive victim of circumstance but a force of nature, brimming with an indomitable spirit.
Yet, Sultan’s relationship with the art world remained ambivalent.
Sage life of Sultan
Despite gaining international acclaim, he shunned commercial success, refusing to sell his works for profit. His disdain for material wealth and his ascetic lifestyle became legendary.
Sultan was known to live in a humble thatched hut, surrounded by his beloved pets and an ever-growing collection of found objects and curiosities.
His life was a performance of sorts, an embodiment of his philosophical belief in the purity of art divorced from the corrupting influence of commerce.
The cultural milieu of Bengal was profoundly impacted by Sultan's work, even as the artist himself remained on the periphery of mainstream recognition.
His refusal to conform to the expectations of the art establishment and his commitment to his ideals lent him a mythical status among his peers and admirers.
Sultan's legacy is not just in the canvases he left behind but in the way he lived his life – as an artist untainted by the pursuit of fame or fortune, wholly devoted to his craft.
In his later years, Sultan became something of a sage, a figure of reverence in Narail.
He established an art school for underprivileged children, hoping to pass on his knowledge and inspire a new generation of artists who would, like him, draw from the wellspring of rural life.
Yet, Sultan's influence extended far beyond the boundaries of his homeland. His works have been exhibited in prestigious galleries across the world, a testament to the universal appeal of his vision.
SM Sultan passed away in 1994, leaving behind a legacy that continues to inspire and provoke.
His life, much like his art, was a study in contrasts – at once grounded in the soil of Bengal and reaching for the transcendental.
Sultan’s art remains a poignant reminder of the enduring power of the human spirit, a celebration of the strength and beauty found in the most humble of settings.
In a world increasingly driven by the dictates of commerce and conformity, Sultan’s life and work stand as a beacon of artistic integrity and vision.
His paintings, with their vivid portrayal of rural Bengal, are not just artistic masterpieces but also a clarion call to recognise the beauty in the ordinary and the strength in the overlooked.
