A slice of Dacca in Akhir’s Shoto Borsher Dhaka

It's not every day that one gets the chance to visit busy art galleries, like the shared space of Shilpangan and Bhumi Gallery, during a rare moment when no exhibition is on display. Instead, I found myself witnessing somewhat of a behind-the-scenes activity—staff members and the artist himself carefully hanging pieces on the walls, the artist wearing a proud but understated smile.

As Al-Akhir Sarker prepared for his second solo exhibition, which opens at the gallery tomorrow, I walked in completely unaware of what the context was. What caught my attention wasn't an introduction or explanation, but rather what I noticed in my peripheral vision—paintings scattered on the floor, waiting to be hung. They felt oddly familiar yet carried a different perspective.

The familiarity stemmed from the subject matter— almost all of Akhir's 113 paintings being showcased in 'Shoto Borsher Dhaka' depict none other than the city of Dhaka itself.

The title of the exhibition is, admittedly, a bit of a giveaway if you were hoping for something more ambiguous or abstract. However, Akhir's showcase primarily highlights architectural landscapes from an era when Dhaka was more stylishly—and officially—referred to as Dacca. 

But that's not all the exhibition has to offer, more on that later.

"As an avid reader of novels, I often found myself imagining being a character in different storylines while strolling through the streets of Dhaka," Akhir shared. 

Particularly in places like Sadarghat and the narrow lanes of Old Dhaka, the architecture would captivate Akhir, transporting him into an imaginary, mysterious world. "The centuries-old buildings and remnants of Dhaka kindled various emotions in me. This exhibition is just an extension of that experience."

His paintings vividly capture the architectural essence of Old Dhaka, reflecting its rich history and cultural fusion. Notably, the painting titled Shoto Borsher Manzil depicts Ahsan Manzil with its iconic pink façade surrounded by lush greenery and the Buriganga River, symbolising Dhaka's colonial heritage and its connection to waterways. The artist's use of soft hues and textured strokes brings out nostalgia while showcasing the grandeur of this historic landmark. 

Akhir also reflected on how the fusion of various cultures in and around Dhaka has created something truly distinctive—a civilisation all its own. "It's not purely Mughal; the architecture here in Old Dhaka from those times has its character, blending influences from Persian, Armenian, and other civilisations. That's why our structures are unique compared to the predominantly Mughal designs you see in Delhi or Lahore," Akhir explained.

Some of the paintings on display portray weathered buildings adorned with Mughal-inspired domes and arches, often overrun by dense vegetation. The vital interplay of greens and earthy reds signifies nature reclaiming these structures, underscoring the passage of time. These paintings celebrate the eccentric craftsmanship and blend of Persian, Mughal, and local architectural influences.

Another key element that ties the exhibition to Akhir's perception of Dhaka is the artist's deep connection with rivers and aquatic themes. "The core concept of my art revolves around aquatic elements—it's closely linked to our identity as a riverine nation," Akhir explained. 

Having grown up in Sirajganj and Pabna, he spent much of his childhood and teenage years immersed in the sights and subtleties of rivers and waterways. From observing fishermen and their way of life to exploring riverbanks and understanding how waterways have historically shaped civilisations, these experiences have deeply influenced his work. This profound connection with rivers is vividly reflected throughout the exhibition as well.

The painting 'Praan er Nodi' captures a tranquil river scene with traditional wooden boats gliding on the Buriganga River. The reflective water and nearby urban structures depict the harmony between Dhaka's aquatic heritage and its transforming cityscape. Muted tones and textures awaken nostalgia, symbolising the enduring bond between rivers and life in Dhaka. 

Meanwhile, another painting titled 'Kaal er Shakkho' portrays boatmen navigating the river, with intense boat colours contrasting against the misty, aged backdrop of Old Dhaka's architecture. This dynamic composition highlights the symbiotic relationship between human life and the aquatic environment, underscoring the roles rivers play in commerce and culture.

'Shoto Borsher Dhaka' ends on 31 January.