SM Sultan's works transcend national boundaries

Sultan deeply engrossed in art works

Enam Ahmed Chowdhury, the lone speaker, dwelt on some interesting facets of the legendary Sultan, on the occasion of his 10th death anniversary on October 10, at the Shilpakala Academy. The programme was presided over by Ahmed Nazir, DG Shilpakala Academy.

Enam Ahmed Chowdhury recalled that he first met SM Sultan in 1954. Enam said, 'Sultan was a magnificent conversationalist. He could speak fluent English and his remarkable Urdu accent, in particular, attracted many people.' However, Enam was quite surprised by Sultan's rich intellectual capability despite his lack of formal education. The late artist had a quick reply: 'Who said that I don't have any formal education? Rather, I've had the privilege to learn in the subcontinent's most famous institution that is the Suhrawardy house in Karachi.'

Enam stated that, Sultan had a great kinship with the Suhrawardy family, especially with Shahed Suhrawardy which apparently opened new vistas in learning. However, his formal education began at Collegiate School, which he left in 1933.

On leaving the portals of the Calcutta Art School, Sultan embarked on his journey as a promising painter under the patronage of Maharaja of Kapurthala at Simla, Malik Feroze Khan Noon at Lahore and Miss Fatima Jinnah at Karachi. Going to Lahore in 1948, he enjoyed the close friendship of leading artists like Shaker Ali, Chughtai, Nagi and Sheikh Ahmad.

Apart from being a painter, Sultan played the flute with expertise. For many he was a Baul, a mystical artist or a very simple man with affection for all living beings.

'His yearning for truth and beauty crossed the narrow divides and thus his love for mankind as well as animals made him a great man, ' said Enam.

The artist remained single, but was always intrigued by women. As he once said to Enam, 'If I can't discover the beauty of women, how can I be inspired?'

Sultan lived an individualistic life. He cared little for the trappings of money, status or security. He kept no track of his paintings, sometimes leaving them unattended. He never attached price tags to his work, or organised exhibitions except when others persuaded him to.

He painted his land and his people from a unique perspective. In large canvases he depicted the villagers of Bengal as farmers and boatmen with bulging knotting muscles, since they had to survive centuries of poverty, oppression and natural calamities.

'He also drew many famous landscapes of Kashmir and rural Bengal in his early life. However, the mid- 1950s are treated as the pinnacle of the artist's life,' Enam added.

Sultan established the Fine Art Institute at Narail in 1969 and another institute Charupeet at Jessore in 1973. But he never preserved his art works or the words of praise that he received from the different artists and critics around the world. 'The voice of Asia as the British art magazine described Sultan; the artworks and the facts of his life should be immediately preserved,' said Enam. 'If the restoration of his art-works is not possible; at least we can dwell on his words-- Spread your love', concluded Enam.