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拍品專文
“Abedin has been one of the few painters who have, from the outset, recognised the necessary relationship of art to life. He revolted against the suppression of subject matter drawn from life, which Abanindranath [Tagore] and his followers were inclined to do, and unlike them he found much grandeur in the common man [...] The simplicity of execution and complete disregard of details, necessitated by an emotional urgency in the sketches, guide his later work, to explore aesthetic possibilities inherent in the subject. His predilection for linear harmonies has strong affinity with the Bengali folk artist; the corporal aspect of mass is never much developed. His stylization is not merely a manner taken from the village artist, it is based on a genuine desire to convey the essential poetry, rhythms and colours of nature” (I. ul Hassan, Painting in Pakistan, Lahore, 1991, pp. 54-56).
Zainul Abedin is recognized as Bangladesh’s most celebrated modernist. Born in Mymensingh, Bangladesh (then British India and later East Pakistan) in 1914, Abedin studied at the Government College of Art & Craft in Calcutta. His style was deeply influenced by folk traditions and rural life. It was his powerful Famine Series of 1943, depicting the Bengal Famine of the previous year, that first established his reputation. These social-realist works exposed the suffering of Bengal’s rural population with stark intensity. Although Abedin’s later work became less overtly activist in its politics, it always retained a strong social awareness, representing the marginalized and celebrating the cultural heritage of Bengal.
Untitled (Fishing Boats) was painted in 1969 in Abedin’s later, more gestural style. It depicts a serene, idyllic scene of small traditional fishing boats at anchor, their prows pushed up onto the shoreline. The expressive brushwork and rich color palette evoke the gentle lapping of the water against the shore and the sun beating down on the boats. Abedin excludes human figures from the scene, yet their presence is felt through this absence, suggesting the daily rhythms of fishermen at work and rest.
When he painted Untitled (Fishing Boats), Abedin was fully established as a mature artist at the peak of his powers. The late 1960s were a critical time in the lead-up to the Bangladesh Liberation War. The political climate was marked by intense Bengali nationalism, the airing of economic and political grievances, and a growing demand for autonomy from West Pakistan, which was ultimately achieved in 1971. Although not overtly political, this painting is quiet testament to the lives of marginalized populations like the fishermen, possibly alluding to their temporary withdrawal from their daily routines to join the struggle for liberation. At the same time, the painting’s tranquil beauty is a poignant reminder of the homeland and way of life they sought to protect.
Zainul Abedin is recognized as Bangladesh’s most celebrated modernist. Born in Mymensingh, Bangladesh (then British India and later East Pakistan) in 1914, Abedin studied at the Government College of Art & Craft in Calcutta. His style was deeply influenced by folk traditions and rural life. It was his powerful Famine Series of 1943, depicting the Bengal Famine of the previous year, that first established his reputation. These social-realist works exposed the suffering of Bengal’s rural population with stark intensity. Although Abedin’s later work became less overtly activist in its politics, it always retained a strong social awareness, representing the marginalized and celebrating the cultural heritage of Bengal.
Untitled (Fishing Boats) was painted in 1969 in Abedin’s later, more gestural style. It depicts a serene, idyllic scene of small traditional fishing boats at anchor, their prows pushed up onto the shoreline. The expressive brushwork and rich color palette evoke the gentle lapping of the water against the shore and the sun beating down on the boats. Abedin excludes human figures from the scene, yet their presence is felt through this absence, suggesting the daily rhythms of fishermen at work and rest.
When he painted Untitled (Fishing Boats), Abedin was fully established as a mature artist at the peak of his powers. The late 1960s were a critical time in the lead-up to the Bangladesh Liberation War. The political climate was marked by intense Bengali nationalism, the airing of economic and political grievances, and a growing demand for autonomy from West Pakistan, which was ultimately achieved in 1971. Although not overtly political, this painting is quiet testament to the lives of marginalized populations like the fishermen, possibly alluding to their temporary withdrawal from their daily routines to join the struggle for liberation. At the same time, the painting’s tranquil beauty is a poignant reminder of the homeland and way of life they sought to protect.