Nazir Hossain's Pattachitra exhibition: Baishakh in the land of the tigers

As a child, every year on the occasion of the Bangla New Year, more commonly known as 'Pahela Baishakh' in Bangladesh, my father used to take me to the 'Mangal Shobhajatra'.

The parade lit up our city, etching unforgettable moments in our minds. With its lively colours, patterns, and symbols, it was a perfect picture of our heritage, tradition, joy, and our people. One such artistry that speaks volumes about Bangladesh—its language, its people, its rivers, lush landscapes, and wildlife, is 'Pattachitra.'

Visiting the 'Baishakh in the Land of the Tigers' Pattachitra exhibition felt like a journey back to my childhood. The colours, sounds, and true spirit of 'Baishakh' came flooding back.

Well, I was not the only kid in the gallery. Meet 'Potua' Nazir Hossain, an artist bonding his roots to the country with his brush, colours and canvas. 

"I am a child by heart. You never really fully understand your surroundings as an artist if you do not keep your inner child alive," Nazir exclaims as he shows us around the gallery at his solo exhibition that is currently ongoing at Alliance Française de Dhaka. 
The exhibition, consisting of 55 of his exclusive works of 'Pattachitra', will run till 2 April from 3 PM to 8 PM except on Sundays.

Pattachitra refers to a type of traditional scroll painting done on cloth. It originated from the eastern Indian states of Odisha and West Bengal, as well as parts of Bangladesh. It is believed that in Bengal, these paintings were once used as visual aids during musical performances, by 'bedenis' (gypsy women) who  would borrow these scrolls from the craftsmen called 'Potuas' to  use during their performance in exchange for ration, like rice, lentils and sometimes fresh vegetables. 
 
If one walked into the La Galerie on a working day, the 55 artworks would stand idle. Even though the gallery was empty, the presence of the colours, depicting the rural canvas of Bangladesh through the eyes of Nazir, were somehow exciting by themselves. 
 
"I was born and brought up in Parbatipur in Dinajpur district. As I grew up, I learnt all the different sorts of traditional hand-painted designs on 'Nakshi Kanthas', 'Pakhas' (hand fan), and ones on the wall that my mother used to make," said Nazir, who later went on to participating in the local social gatherings and events, exhibiting his then, slowly developing interest in displaying the 'work of his roots'.

However, a looming question beckoned as to why Nazir chose to depict Bangladesh through tigers.

"I used the tiger as a symbol to show the victorious people of our nation," he said. 
 
"Without the tiger, our mangroves would not be the way they are. The tiger is king and essentially keeps the food chain in the ecosystem alive," he added. 

Through his work, Nazir tells stories filled with folklore, mythology, and his own vivid imagination. From wild forests and lively villages to the festive celebrations of Baishakh, his paintings draw you into a world of beauty and tradition.

Closely observed, one would notice many elements in each of the frames – farmers, fishermen, day-labourers, children, mothers, fathers, fairies, mermaids and what not. Each one of the frames told a different story, and each story depicted the views of his country through acrylic colours.
 
Throughout the other paintings in the gallery, the evident patterns, motifs and the vibrant colours brought together some of the most discussed issues of today's time. 

Whether you love art, culture, or just want to discover Pattachitra and the various kinds of artistry of our country, this exhibition guarantees to bring joy and inspiration to people of all ages.
 
TBS Picks: (Artist)
 
Banglar Pattachitra 19 
Medium:Acrylic on Canvas

This is essentially a village fair. I compared the slowly disappearing river Tilai, to my mother, who is the source of the good things in our lives, our culture in this case that we are letting fade away with time. 
On one side, a village fair that took place on the land painted over the face of the mother, consisted of farmers who have brought home their newly grown crops, and are celebrating the occasion at the village fair. 
 
Banglar Pattachitra 23
Medium: Acrylic on Canvas

This one has examples of Rickshaw art. The language movement of 1952 is depicted by the Shahid Minar, and of course the many aspects of our culture, including our native festivals and so on. Everything I have presented here is slowly losing importance in our society. Even after receiving recognition from UNESCO world heritage, rickshaw artists are still not given enough respect. Their art and efforts are not recognised enough. 
 
Banglar Pattachitra 33
Medium:Acrylic on Canvas cloth

This represents the 'Baisakhi' carnival in my village. From boat races to mermaid dances, to the tiger dancing to the tunes of an 'ektara,' this has everything and it's as if it's crying out,  "Baishakh has come, to the land of the tiger, Bangladesh. Baishakh has come."