The Influence of Japanese Art on New Trends in Bangladeshi Art Practices: A Study of the Asian Art Biennale

The Influence of Japanese Art on New Trends in Bangladeshi Art Practices: A Study of the Asian Art Biennale

Dipti Rani Datta

Assistant Professor, Department of Oriental Art Faculty of Fine Art, University of Dhaka

DOI: https://dx.doi.org/10.47772/IJRISS.2025.905000478

Received: 07 May 2025; Accepted: 13 May 2025; Published: 23 June 2025

ABSTRACT

In the home atmosphere, Bangladeshi native artists embrace the world art extravaganza by the Asian Art Biennale, which started in 1981. From the very beginning, Japan has been one of the committed and regular participants in the biennale.

Generally, contemporary Bangladeshi art practitioners pay attention to the Asian Biennale for its contribution, especially in the early two decades. In this article, I have examined the interaction between Bangladeshi and Japanese art translated into the form of a biennale. Bangladeshi contemporary art features new trends that started in the 1980s and 1990s. In those two decades, new ideas were introduced that differed from previous art practices. Young artists of those two decades in Bangladesh, sparking themselves with experiments, later received national or international recognition. I explored the temperament of art practices of those decades in the context of the Japanese art exhibited at the Asian Biennale. This article aims to contribute to rethinking global cultural politics within the creative sphere of Asia, particularly South Asia. This research will encourage a reassessment of the implementation strategies of the Asian Biennale and partially revitalize global partnerships in a broader context, contributing to sustainable development (SDG 17).

Keywords: Asian Biennale, Japanese Art, local artist, New Trend, Cultural Exchange.

INTRODUCTION

Asian Art Biennale Bangladesh is the first international month-long art platform for the local artists of Bangladesh. According to the website of Asia Art Archive and Biennial Foundation, the biennale started in 1981 with the title Asian Art Bangladesh 1981. (Karim, 2006; Biennial Foundation, n.d.; Asian Art Bangladesh 1981) In 1983, the exhibition was held with the title 2nd Asian Art Biennale Bangladesh 1983. (Azad Rahman, 1983). The website of the Asian Art Resource Room, operated by the Fukuoka Asian Art Museum, informs us that, after the second edition, the art fiesta has been named according to the serial number and year. (Fukuoka Asian Art Museum, n.d.) The 19th Asian Art Biennale Bangladesh 2022 is the last one realized in 2023. The 20th Asian Art Biennale Bangladesh 2024 is currently overshadowed by political turmoil.

For the sake of globalization and the free flow of information, in the present art scenario of Bangladesh, local artists have already realized the various national and international platforms through the local assistance of miscellaneous institutions. But in the 1980s, when the Asian art exhibition started, access to contemporary international art was very limited for the local artists. Even in 1997, Abul Monsur stated that for local artists, the Asian Biennale is the only platform where artists can exhibit their works in an international context, and at the same time, they can also experience the various artists’ works from Asia. (Monsur, 2020) This initiative not only creates an opportunity to experience global art phenomena but also to share thoughts and ideas through symposiums or seminars, as well as the physical gatherings of artists who come from across the regions. From the study of catalogs, it can be said that from the very beginning, Japan has been one of the committed and regular participants in the biennale.

Generally, contemporary Bangladeshi art practitioners pay attention to the Asian Biennale for its contribution, especially in the early two decades. (Selim, 1998; Monsur, 2016; Khabir, 2007) In this article, I examine the interaction between Bangladeshi and Japanese art shaped by the influence of biennales. I analyze how Japanese art contributed to the emergence of new trends in contemporary Bangladeshi art, particularly during the 1980s and 1990s. In a limited scope, this study identifies specific elements of Japanese artistic style, philosophy, and techniques reflected in the works of Bangladeshi artists exhibited at the Asian Art Biennale.

By analyzing prize lists, I explore how engagement with Japanese art inspired experimental approaches to young Bangladeshi artists, gaining both national and international recognition. Additionally, qualitative and observational studies provide contextual understanding of the transformation of Bangladeshi art practices within the broader framework of transnational artistic dialogues in Asia, and how these exchanges project the idea and tension of being a global artist. Finally, this article will contribute to rethinking the global-cultural-politics in the creative sphere. It will help to understand how South Asia’s global-political-culture shaped the idea of the progressive participants to see the local.

To explore the ideas mentioned above, this article has focused on the key terms as ‘new trends’,  ‘cultural exchange’, ‘Asian Biennale’, ‘Local Artists’, and ‘Japanese Art’. ‘New trends’ have emerged in Bangladeshi art practices, reflecting shifts in styles, themes, and techniques that diverge from academic traditional norms. In this article, these approaches, styles, techniques, and materials are considered a new trend that, until the 1990s, had not been academically or nationally recognized, practiced, or appreciated within Bangladeshi art practices—particularly through platforms such as the National Exhibition, the Young Artists’ Exhibition, and the Asian Art Biennale. But it took place in the Biennale only by foreigners.

Cultural exchange’ generally refers to the mutual interaction between two entities. In the context of the Biennale, such exchange occurred between Japanese and Bangladeshi artists through exhibitions, residencies, workshops, collaborations, and digital platforms. However, critical readings have explored how these exchanges encourage a fusion of styles and promote the adaptation of foreign aesthetics within local contexts. In this article, ‘exchange’ is examined through the lens of state relations between Bangladesh and Japan.

While folk artists, artists shaped by colonial institutional legacies, and political activists all contribute to the broader landscape of local art, this article adopts a narrower definition of ‘local artists’. Here, the term refers specifically to individuals who have had the privilege of participating in the Asian Art Biennale or National Exhibition as practitioners of Fine Art or comes from colonial institutional legacies. In the local context—particularly within these institutional platforms—artistic recognition is typically reserved for those who hold certificates from an educational system rooted in colonial art training.

Furthermore, this article examines ‘Japanese art’ as it was represented in the biennale through the works exhibited by Japanese artists.

The ‘Asian Biennale’, organized by the Bangladesh Shilpakala Academy—a state-controlled institution since 1981—has played a crucial role as a hub for inter-Asian artistic exchange. It introduced international influences, particularly from Japan, into the Bangladeshi contemporary art scene. Emerging from a backdrop of poverty, political instability, and the label of a ‘third-world’ country, Bangladesh gained attention and projected a unified artistic vision through this platform. Did the Asian Biennale gain new cultural power, or did it reconstruct the neo-colonial era of art? This article keenly explores that very question, too.

BACKGROUND: THE ASIAN BIENNALE AND THE CONSEQUENCES

Initiated in 1981, the Asian Art Biennale is organized by the Bangladesh Shilpakala Academy in Dhaka. Beyond catalogue writing, which is mentioned by art critic Abul Monsur as ‘country report’ (Monsur, 2016) there is little literature on the Asian Biennale. The realization of the Asian Biennale in the 1980s was a surprising event in the Dhaka art scene. Surprisingly, when Abul Monsur wrote about the 12th Asian Biennale in a critical mood, he still didn’t forget to recognize the importance of the Biennale, especially the presence of Japan. Initially, local artists felt proud and pleased to see international artists participating on a local platform—the stage of Dhaka. However, over time, critical perspectives began to emerge. The 7th Asian Art Biennale, for example, was notably critiqued by Abul Monsur. He gradually addressed both the limitations and the potential of the biennale in a series of thoughtful evaluations (Monsur, 2016, pp. 190–208). Between the 7th and 12th editions of the Asian Art Biennale, Abul Monsur published four influential articles offering in-depth criticism. He highlighted both the important role played by Japan and the lackluster presentation of the Bangladeshi pavilion, raising concerns about the unequal representation of Bangladeshi art on the international stage. Monsur points out that Euro-American centrism still occupy a central place in the evolution of art. The art of marginalized people is not equally treated besides institutionalized art. (Monsur, 2016) Monsur’s criticism, rooted in the natural legacy of colonial influence, reflects on the global art scene, which remains significantly Eurocentric. However, he addressed all these issues only briefly, presenting them as opinions without providing a detailed investigation of the artistic features.

Lala Rukh Selim, as editor of the journal Art (Art Journal, January 1998), devoted considerable time to analyzing the biennale’s features. Selim, who works on the impact of globalization and is also a participant artist in the Asian Biennale, in the art scenario of Bangladesh she also addressed the importance of the Asian Biennale, and how local artists get tensed through the pressure of the global phenomenon to be global. (Selim, 2014) Selim edited Charu and Karu Kala-8, published Nasimul Khabir’s article, which focused on the new trends in Bangladeshi art practices. Here, Khabir focused on the history of Exploration of new trends in the Bangladeshi art scenario, where he very sincerely addressed the role of the Asian Biennale, which develops a sense to understand the significance of the role of Japan, too. (Khabir, 2007)

But all these issues he addressed very concisely as an opinion without conducting a detailed investigation on artistic features. Lastly, Diana Campbell Betancourt, Artistic Director of Samdani Art Foundation and Chief Curator of Dhaka Art Summit, interviewed Syed Jahangir, wrote an article. In this article, she focused solely on the role of Syed Jahangir and the experience that she gathered while conducting research in Japan at the Fukuoka Asian Art Museum on Bangladeshi modern art. She shared valuable information about the Asian Biennale, based on her experience at the Fukuoka Museum. (Betancourt, 2017) Art journal published an interview on Syed Jahangir in 1998 to explore the history and background of the Asian Biennale. (Syed Jahangir, 1998) But there was a lack of experience on the part of the Fukuoka Museum. Betancourt added this gap after visiting the museum. However, none of these writings have explored in detail how and why Japan contributes to the Biennale, or how it has influenced the Bangladeshi art scene from the perspective of political culture and cultural politics.

Their criticism operates on two levels: first, a comparison between Bangladeshi and international participants; second, a broader analysis of the Asian Biennale in relation to other international biennales. While the second level of critique is not executed in a strictly pragmatic manner, it reveals an underlying mindset that consistently measures the Asian Biennale against experiences from more established events like the Venice Biennale. It exposes the underlying aesthetic standards and highlights the complex interplay of cultural and political discourse within the Bangladeshi context.

On the other hand, Badruddin Umar is a Bangladeshi Marxist–Leninist theorist, political activist, and historian, addressing how market-centric imperial power patronized NGO’s and how NGO’s played a role in shaping the political-culture and cultural politics. He marked the way of navigation of NGO’s to the target, how NGO’s aligned with cultural organizations and other stakeholders. He outlined how NGOs navigated toward their goals and how they aligned with cultural organizations and other stakeholders. (Umar, 1997) This theoretical understanding has not been applied to explore the context of contemporary art practice in Bangladesh. Notably, no one has addressed or examined the specific impact and role of Japanese art and Japan in conceptualizing and shaping the Asian Biennale within the Bangladeshi context.

Theoretical Framework 

This research investigates how Bangladeshi artists, particularly in the 1980s and 1990s, engaged with Japanese art and how this interaction influenced the development of new artistic trends in Bangladesh. To explore this dynamic, the study draws upon several theoretical frameworks, primarily focusing on cultural exchange, postcolonial theory, and the globalization of art.

The idea of cultural exchange is central to understanding the flow of artistic ideas between Japan and Bangladesh. Cultural exchange refers to the process through which different societies interact, share, and adapt ideas, aesthetics, and techniques (Appadurai, 1996). In the context of the Asian Art Biennale, Japan’s participation and influence can be seen as a mediator between East and West, offering Bangladeshi artists a platform to engage with a form of art that was already shaped by the tensions between traditional Japanese aesthetics and the influences of Western art movements. Japan’s engagement with Western art, particularly during the Meiji period, transformed its artistic landscape by blending traditional Japanese methods with the Western artistic canon, such as Impressionism, Cubism, and Modernism (Encyclopedia Britannica, 2025). This hybridized Japanese art became a significant point of contact for Bangladeshi artists seeking to explore new visual languages in the postcolonial era.

For Bangladesh, a former British colony, the idea of engaging with Japanese art was particularly powerful. Postcolonial theory offers a critical lens through which we can understand how artists in Bangladesh, emerging from a history of colonial domination, sought to assert their own cultural identity and artistic autonomy. The postcolonial condition often involves a complex interplay of cultural resistance and adaptation. In this context, the concept of hybridity as developed by Bhabha (1994) is key. Hybridity refers to the blending of indigenous and foreign cultural elements, which, in the case of Bangladeshi art, manifested as a fusion of local Bangladeshi traditions with Japanese aesthetic values that were themselves influenced by Western practices. This dual influence—Japanese and Western—allowed Bangladeshi artists to form a new, hybridized artistic identity that transcended both colonial legacies and rigid artistic traditions, ultimately contributing to their cultural resurgence on the global stage.

The influence of Western art on Japanese art cannot be overlooked in this context. During the Momoyama period, Western influences first began to affect Japanese art. (Swann, 1979) Japanese artists of the early 20th century, such as those in the yōga and nihonga movements, developed work that reflected this duality—melding Western modernism with traditional Japanese motifs (Gombrich, 1995). For Bangladeshi artists, engaging with this hybridized Japanese art form presented an opportunity to innovate while still respecting traditional Asian aesthetics. The Japanese model thus served as a conduit for Bangladeshi artists to navigate the pressures of both their colonial past and the Western-dominated global art scene. This artistic model offered a route to explore new forms of expression.

Furthermore, the idea of artistic agency is crucial in understanding how Bangladeshi artists used the influence of Japanese art to assert their creative independence and forge an identity that was distinct from both their colonial past and the hegemonic dominance of Western art. Through the lens of Bourdieu’s (1993) concept of cultural capital, Bangladeshi artists who participated in international exhibitions like the Asian Art Biennale could gain recognition and legitimacy in the global art community. Japanese art, having been exposed to Western modernist ideas, presented an ideal model for innovation, providing Bangladeshi artists with a pathway to claim global relevance while maintaining a local context. By adapting and recontextualizing Japanese and Western influences, these artists participated in a broader cultural dialogue, crafting new visual expressions that both pretend to resist colonial legacies and engage with global modernity.

In addition, Bakhtin’s (1981) theory of dialogism adds depth to this discussion, as it explains how artists engage in a continuous dialogue with various cultural and artistic traditions. Here, Badruddin Umar helps to understand the dialogical context of the Bangladeshi artists. He creates a critical vision to shed light on how NGO constructed the thematic area and patronize the artists’ community. (Umar, 1997). Using the concept of glocalization—the blending of global influences with local culture—helps to frame how global art practices, particularly those from Japan, were localized in the Bangladeshi context (Robertson, 1995).

METHODOLOGY

This study will employ a qualitative research methodology, adopting a comparative and interpretive approach to explore the influence of Japanese art on the new trends in Bangladeshi art practices, particularly in the context of the Asian Art Biennale. The research will focus on primary and secondary sources to comprehensively understand the cultural exchange between Japanese and Bangladeshi artists.

Here I have been analyzing how Japanese art has shaped the artistic practices in Bangladesh over the decades, particularly during the 1980s and 1990s. By focusing on the Asian Art Biennale as a central platform, the study will investigate the nature of artistic interaction, its influences, and the development of new artistic trends in Bangladesh.

Data Collection Methods

Primary Data

Exhibition Analysis: A detailed analysis of artworks presented at the Asian Art Biennale during the 1980s and 1990s is conducted, including studying the visual styles, techniques, and thematic elements in the works of Bangladeshi artists who participated in these biennales.

Interviews: Unstructured interviews are conducted with Bangladeshi artists, curators, and art critics who have participated in or observed the Asian Art Biennale.

Secondary Data

Literature Review: A thorough review of existing literature on the Asian Art Biennale, Japanese art, and contemporary Bangladeshi art was conducted. This included books, journal articles, exhibition catalogues, and research papers that document the evolution of artistic practices in both Japan and Bangladesh.

Archival Research: Historical records of the Asian Art Biennale, including exhibition catalogues, reviews, and media coverage, were examined to trace the development of cultural exchange and its impact on Bangladeshi art.

Data Analysis

The collected data was analyzed using thematic analysis, focusing on identifying recurring themes related to:

• The influence of Japanese art phenomena in Bangladeshi artworks.
• The role of the Asian Art Biennale in facilitating cross-cultural interactions between Bangladeshi and Japanese artists.
• The evolution of new trends in Bangladeshi contemporary art, especially in terms of experimentation and innovation, is influenced by Japanese art.

This analysis revealed distinct cases in which Japanese art directly influenced the artistic practices of Bangladeshi artists, offering a nuanced perspective on cultural exchange within the context of the biennale.

Research Limitations

This study is limited to the Asian Art Biennale as the primary site of cultural exchange, excluding other international biennales or exhibitions. It focuses specifically on Japanese influences on Bangladeshi art, without addressing the broader scope of Japanese art. This article still has a great scope to identify specific elements of Japanese artistic style, philosophy, and techniques reflected in the works of Bangladeshi artists exhibited at the Asian Art Biennale.

There is also a lack of investigation into the realities of cultural exchange in the context of Japan. This study may help address the colonial inferiority complex that arises when the concept of cultural exchange is viewed solely from the perspective of Bangladeshi artists. Therefore, there remains a need to explore the creative forces from Japan that were involved in the Asian Art Biennale.

Starting Context of Asian Biennale

To understand the character of the Biennale, understanding its starting context is a must. Syed Jahangir was an initiator who took the challenge and gave birth to the Asian Biennale with the experience of the Triennale in India and the Fukuoka Art Show of the 1980s. (Art Journal, January 1998)

Fukuoka Art Museum organized the Asian Artists Exhibition II-Festival: Contemporary Asian Art Show, which continued from 1 to 30 November 1980. In this show-Jahangir was not only an exhibiting artist at the opening of the Asian Artists Exhibition II-Festival: Contemporary Asian Art Show but also a member of the exhibition’s planning meeting in the summer of 1980, alongside representatives from thirteen countries. (Betancourt, 2017)

Along with the experience, Jahangir gained the support of the Fukuoka Art Museum. It could be noticed as an advantage for Jahangir when the Fukuoka Art Museum considered their mission “to make Fukuoka the ‘center of Asia’ via art and culture-” (Betancourt, 2017) It is also well known that “the Fukuoka Asian Art Museum’s long-standing role in commissioning Japanese participation in the Asian Art Biennale.” (Betancourt, 2017)

The Biennale was supported by the Japanese Government and Fukuoka through a well-organized website and the large number and scale of works carried out in Bangladesh. Jahangir shared how they overcame the financial burden of the Biennale with the help of Japan-

“The Ministry became worried about the budget, as far as I remember it was Taka 12,00000.00. As the government was unable to give such a large sum we approached UNESCO as a foreign donor. It is the principle of UNESCO that to approve any project it needs the support of two countries. Japan took a leading role in supporting this project.” (Syed Jahangir, 1998)

He added that this support was not only to start the initiative but also to continue regularly-

“Some countries continued to support our exhibition, mainly China and Japan. It was basically moral support and Japan has always continued to extend financial support through UNESCO. The amount is very good. For instance, for the first exhibition among total of Tk. 1200000.00, Tk. 7000000.00 was provided by UNESCO.” (Syed Jahangir, 1998)

In addition to financial assistance, Japan’s long-standing support for the Biennale—reflected in the evaluation of work quality and scale—deserves special recognition, especially given its role in attracting international attention. Now, the question is why, at this time, the Bangladesh government allowed this type of international art show.

After independence, Bangladesh experienced a series of military coups and counter-coups. When the Asian Art Bangladesh-1981 was inaugurated on 4 January 1981(Asian Art Bangladesh 1981, Catalogue, 1981), Major General Ziaur Rahman (Zia) was reigning in state power. Zia was assassinated on 30 May 1981(Choudhury, 2009) just four months later of the Asian Art Bangladesh-1981. Bangladesh celebrated its eleventh anniversary of independence with a second military coup in 1982. Lt. General HM Ershad reigned in the state power and launched a military rule. (Helal Uddin Ahmed, Banglapedia, n.d.)

In that reality, Asian Art Bangladesh-1981 was initiated by Syed Jahangir with support from Japan. After independence, Bangladesh had already lost its democratic image. So, this artistic initiative can help preserve openness and cultural greatness to showcase the world, which would also help materialize the state power with international lobbying. History reveals that Japan had a very strong influence on the Indian sub-continent as a model started in the nineteenth century. From the wary of Western nations to Japanese success, even though there is the possibility of an Asian League. (Gooptu, 2018)

At the same time, Japan, which has been influenced by Western culture since the 16th century(Swann, 1979), is also struggling to preserve its heritage and cultural identity. For this reason, a united Asia was a great endeavor in the early 20th century. (Okakura, 1905)

Therefore, undivided Bengal to Bangladesh has a long tradition of accepting inspiration from Japan. (Tagore, 1992/1917; De, 2005; Kumar, 2008). Zainul, the pioneer of modern art in Bangladesh, was also impressed by Japanese art (Haque, 2015), and one of the eminent artists of the first generation, Mohammad Kibria, studied in Japan and was inspired by Japanese culture. (Syed Manzoorul Islam, 2004) He also makes a long-standing academic connection between the faculties of Fine Art of Dhaka and Japan. (Conversation with Mahmudul Haque and Mostafizul Haque on December 8, 2022) So, Biennale was not a sudden initiative to Dhaka from Fukuoka.

State power, seized through military coups, was subsequently sustained by a U.S. lobby. The Encyclopedia Britannica states that since the Second World War, Japan has continued to uphold the legacy of the West, particularly that of the United States. The twist was that, despite its political alignment with the U.S., Japan was struggling to preserve its cultural identity and maintain a sense of self-resistance or a distinctly Japanese idiom—against Western influence. When the Fukuoka Art Museum wished to turn them into a ‘center of Asia’ via art and culture, the Asian Biennale organizers declared their desire to merge to unite as Asians, too. The first biennale declared that-

“The purpose to which this festival addresses itself is to bring together the lively and popular art fully into the ambit of fruitful Asian collaboration. The exhibition will give a new sense of direction to our artists as they will be exposed to varied kinds of art forms with the evidence of interesting sensibilities.” (Syed Zillur Rahman, 1981)

In the next biennale, the then-director general of Bangladesh Shilpakala Academy stated that, “We hope the cultural ties between the participating Asian countries will strengthen further through this exhibition. Bangladesh wants to prove by hosting this exhibition that the desire to make friendship with all nations is the tradition of this country.” (Azad Rahman, 1983)

Later, the desire was conveyed vigorously through the catalogues of the Asian Biennale. And the prime organiser of the biennale said that-

“The Asian Biennale is organized through the government. Not all the artists of all the countries have good relations with their government. That is why many important artists do not participate. On the other hand, the government also does not call them.” (Syed Jahangir, 1998)

Jahangir also cited an example of how the problem challenges the biennale. When the governments of Indonesia and Malaysia refused to participate by saying that they were very sorry and they were unable to participate because of the short time and the lack of funds, etc.; self-motivated artists from the countries participated in the exhibition despite objections from their governments. Later, it created some difficulties and dictated the features or limitations of the Biennale, too.

So, the concept of becoming an ‘Asian Centre’ was not truly upheld by the existing structure; instead, it reinforced the limitations of the Biennale. This limitation stemmed from the aim of the autocratic government. While artists aimed to participate on a global stage, the government used this desire as a way to exert control. In this situation, Japan’s support helped artists explore contemporary visual language, empowering them to assert their presence and, in a limited way, contribute to shaping the idea of an ‘Asian Center’.

Artistic Trends of Bangladesh before the Biennale

‘In 1981 the Asian Art Biennale was organized in Dhaka, connecting it to the international art world. Japanese artists introduced trends that transformed the art world of the seventies.’ (Selim, 2014)

At the time when the Asian Biennale was inaugurated in Dhaka in 1981-about 30 years after the establishment of the Government Institute of Art (present Faculty of Fine Art, University of Dhaka), the Bangladeshi art premises were still dominated by easel painters. The pathfinders of Bangladeshi modern art are all recognized as painters, regardless of their disciplinary background as students and as well as teachers. Zainul Abedin was not the first (Bhuyan, 2021) one but the founder of the second (Roy, 2022) and more successful art institution, which was established in Dhaka, was a student of the Fine Art Department ( Nazrul Islam, 2007) of Calcutta Government Art College during the 30s decade. (Haque, 2015) Among his major companions, like artist Quamrul Hassan, who contributed to the establishment of the Government Art College, were also recognized as painters, except Safiuddin Ahmed. Though Safiuddin gained recognition as a printmaker, he was also praised as a painter. (Mustafa Zaman) He is the first of the first-generation artists in the modern art history of Bangladesh who explored his creative genre beyond the confines of the painting field as a versatile artist. (Mahmud Al Zaman, 2002) Recognized artists by all major publications in Bangladeshi modern art are mostly painters. (Selim, 2007; Burhanuddin Khan Jahangir, 1974) among the first (four artists) and second generation (8 artists) of Bangladeshi modern artists list published in the Charu O Karu Kala-8, we found one printmaker and two sculptors. Among the sculptors, Abdur Razzak, who is considered the founder of the Department of Sculpture established in 1964, is also recognized as a painter. (Nazrul Islam, 2003) And the artist Rashid Choudhury, who has experience in multimedia art forms and finally gained recognition as a tapestry artist and painter, too. (Abul Monsur, 2003) Interestingly, all artists played a multi-disciplinary role in the context of social conditions, shaping their art practices and exploring various possibilities. However, artists are not often recognized for their lived experiences in this regard. The first generation of artists from the art institution established by Zainul had a combined approach to education rather than specializing in a specific medium. This was due to the two-year foundation course they underwent. Later, in contrast, the academy developed the departmentalized nature of art education in the academy. Until then, despite an interdisciplinary approach to education and artistic practices, contemporary art in Bangladesh—prior to the Asian Biennale—was largely influenced by modern European art. (Khabir, 2007)

Gradually, interdisciplinary practices take their place in the name of the department. (Khabir, 1998) It could be said that the concept of the department and its characters controlled the awarding process of the art scenario of Bangladesh. Colonial hangover and the departmental art education, both processes, developed a local art phenomenon which had a great impact on the way of judging Bangladeshi art in the Biennale. During the initial year of the biennale, Bangladeshi art institutions, although, had various disciplines such as ceramics, craft, oriental, sculpture, and printmaking, the conventional schooling of painting was still dominating. Lala Rukh states that the first generation and founders of the artists were all painters; maybe that’s the reason for taking time to establish the sculpture department. (Selim, 2007) Nevertheless, a few sculptures, including the ‘Aparajeyo Bangla’ and ‘Jagrata Chowrungi’ had earned state support after the emergence of Bangladesh. (Datta, 2017) But still, in the question of religion, sculpture is struggling to expand its possibilities. (Selim, 2007) Alongside cultural and political struggles, the concept of fine art (Som, 1998) may have also motivated printmakers and others to engage in painting as a means of expressing and developing their artistic identity.

Biennale and Artistic Trends

Contemporary Bangladeshi art showcases new trends that emerged in the 1980s and 1990s. (Karim, 2006) A renowned art critic of Bangladesh stated that-

“Naturally, artists and art connoisseurs of Bangladesh have been awaiting this arrangement with keen eagerness and wish. During this time in Dhaka, Chottogram (Chittagong) and other art centers created an emphatic activity and curiosity. Which countries are participating, who are coming as famous and expensive artists, who have the potential to win the prizes, etc., creates a great deal of interest, especially among the younger generation.” (Monsur, 2016).

Following this consequence of the Biennale, I’ve tried to find out the new trends and their significance, especially by considering the prizes of the Biennale from 1981-1999. Because of the late of the 90s-decade, globalization has gradually taken its place in the art scenario. Artists get the chance to explore them in various ways. The focus on the prizes will be discussed in two phases: Artistic Trends of Japan in the Biennale and Artistic Trends of Bangladesh in the Biennale. In addition to the prizes, a thorough review of the Biennales has been conducted through the catalogues to understand the comparative context.

Artistic Trends of Japan in Biennale: In two categorical ways, the trends of Japan in the Biennale are studied:

i) To review all the exhibits.

ii) It is not only the prizes that are receiving attention and serving as a stimulus for future endeavors, but also the overall presence of Japanese artistry in the Biennale.

1981-1999, during this time, 9 Asian biennales were organized and Japan participated as a very regular participant 9 times. And achieved 6 times best awards and 6 artists achieved honorable mention prizes 5 times. Following the chart will clarify in detail-

Table 1: Honorable Mention Prize winners (Japan) in the Asian Art Biennale (Bangladesh), 1981–1999

Source: Bangladesh Shilpakala Academy (1981–1999)

Table 2: Grand Prize Winners in the Asian Art Biennale (Bangladesh), 1981–1999

Source: Bangladesh Shilpakala Academy (1981–1999)

Tables showed that Japan gained international recognition through printmaking such as woodblock, lithography, copper-plate, and newly developed techniques of the screen. In the 1st edition of the Asian biennale, 1981, they showed they had already set an internationally recognized and media-based Japanese idiom in the artistry. (Beckh, 1959)

Bangladeshi artists earned great motivation and experience from the large-scale and graphical quality of Japanese art and tried these new trends on their own. In 1983, Lots of Installations were exhibited by Japan.  (2^nd Asian Art Biennale Bangladesh 1983) In 1986, Japanese installations won the grand prize and two honorable prizes, including canvas work.  (3^rd Asian Art Biennale Bangladesh 1986) In 1989, their installation and graphical quality-based artworks won prizes. (4^th Asian Art Biennale Bangladesh 1989) In 1991, only two Japanese artists participated in the large-scale installations, and one achieved the prize. (5^th Asian Art Biennale Bangladesh 1991) In 1993, there were research-based photography and installations. And again, installation gained the prize. In this event, representational machinery techniques like photography had added a new dimension to define machine production as art. (6^th Asian Art Biennale Bangladesh 1993) In 1995, for the first time, video installation and performance art were exhibited in the biennale as a large-scale exhibit. The installation won the prize. In this edition of the biennale, Japanese artworks were curated by Curator Raiji Kuroda. He proposed through his text titled `Anybody Anywhere’ that the exhibits should be displayed according to subject and style, not as a representation of the country, in the gallery. (Kuroda, 1995) So, Japan was not only showing their large-scale speculative art to the Bangladeshi audience but also they started talks about what is a curation and how the gallery should be organized. In 1997, the Japanese idiom with new trends melted in this edition. A minimal approach was expressed through large-scale works, conceived as actions in space in the form of installations. Curator wrote that-“The selection has been made in terms of the `works’ themselves, not for their loquacity but rather for their reticence.”  (Curator, 8th Asian Art Biennale Bangladesh 1997)

In 1999, “Art’ and body, turned into information and symbols, all of which were subjects of consumption.’ (9th Asian Art Biennale Bangladesh 1999) In that year, happenings or processes, rather than polished artworks, were curated, and sound installations emerged as a new phenomenon in the Bangladeshi art scene. No doubt, all works dominated the space by their magnitude.

The following is a brief overview of the catalogues, primary materials from the biennale, and the artistic trends of Japan featured in the event:

1. Curation focused on a minimal number of artists acting as contemporary or new trend artists in Japan.
2. Largeness is almost a common art phenomenon of Japan in the biennale.
3. Works or materials create their own space like autonomous art; space becomes contemplative.
4. Real objects and space become the subjects. So, objects narrate themselves.
5. Space transforms into a new sort of space, by which nature is almost ignored and dominated by machine-produced objects.
6. The happening or process of artwork becomes art instead of the final product.
7. Japan demonstrates the courage to showcase contemporary work on emerging art stages like Bangladesh, inspiring other countries to participate in the biennale.

Artistic Trends of Bangladesh in Biennale: The trends of Bangladesh in the Biennale are studied in two categorical ways, too:

i) To review all the exhibits.

ii) The prizes that are receiving attention and serving as a stimulus for future endeavors warrant consideration.

By reviewing the exhibits, it could be said that the Asian Biennale is dominated by conventional medium, easel painting, mixed media-based easel painting, and occidental modern art, especially abstract. As a new trend of art, the Asian Biennale presented collage and sculpture, which were narratively installed with a low altar. But this narration didn’t include the real space as part of the artwork; rather, it played a self-absorbed role like autonomous painting. Collage painting and sculpture are struggling to break the academic disciplinary boundary. Now, the following chart will clarify the artistic trends of Bangladesh in the biennale, which earned the attention of the jury.

Table 3: Honorable Mention Prize winners (Bangladesh) in the Asian Art Biennale (Bangladesh), 1981–1999

Source: Bangladesh Shilpakala Academy (1981–1999).

Table 4: Grand Prize winners (Bangladesh) in the Asian Art Biennale (Bangladesh), 1981–1999

Source: Bangladesh Shilpakala Academy (1981–1999)

The 1981 edition of the biennale was a traditional and conventional medium-based, except few new works by Aminul Islam (1931-2011) and Alak Roy (b.1950). A very large-scale woodcut of Abdus Sattar achieved the Grand Prize in the first edition of the Biennale. Japan also participated in this biennale to keep the focus on print media and received the honorable prize. (Asian Art Bangladesh 1981) Alak Roy started to exhibit the artifacts of ceramics in the form of an installation, but ceramics were still struggling to earn the status of elite art like a sculpture. And Aminul Islam used pieces of mirrors for his collage painting. Both artists explored traditional media like murals and ceramics in search of a new way. In 1983, easel painting and sculpture with low altars dominated the biennale. (2^nd Asian Art Biennale Bangladesh 1983) In 1986, exhibits of collage and sculpture with low pediment in a narrative way increased. But still, they were struggling to go beyond the academic boundary. Basically, in this edition, Bangladesh showcased a painting-based exhibition. (3^rd Asian Art Biennale Bangladesh 1986) The episodes in 1989 and 1991 were also painting-dominated exhibitions. But those years also saw a tendency towards experimental sculpture with low pediment in a narrative way. The names of Sultanul Islam and Md Anwar Jahan should be mentioned here, especially for their new approaches in sculpture. (4^th Asian Art Biennale Bangladesh 1989; 5^th Asian Art Biennale Bangladesh 1991)

In 1993, the biennale showcased a large number of installation-type works. Few artists created 3D objects rather than academic sculptures following the concept. (6^th Asian Art Biennale Bangladesh 1993) Following 1993, the 7th Asian Biennale of 1995 was also enriched by the tendency of installation art. (7^th Asian Art Biennale Bangladesh 1995) This exhibition makes sense of the influence of the biennale upon a new generation. By considering the tendency of participants, it could be said that sculptors primarily emphasized the installation quality. Causes of sculptors are familiar with 3d objects. So, after the end of the military law, the 90s decade was also more suitable for exploring 3D objects. As an example of such tendencies, some artists could be mentioned like Lala Rukh Selim and Sultan-ul-Islam. At the same time, young artists like Mahbubur Rahman and Rashedul Huda, who studied in the Painting and Ceramics Departments, respectively, were exemplary in exploring a three-dimensional approach.

In 1997, trends were similar to the previous year. (8^th Asian Art Biennale Bangladesh 1997) In 1999, Installation (submitted as sculpture, artist Mahbubur Rahman) won the grand prize for the first time in the biennale. Titled ‘Ceramic Material of Well Bing-1’ by Sayed Talukder, was an experimental work exhibiting the consumption during the production process. Besides these works, here could also be mentioned the experimental sculptures as well as the examples of the tendency of concept-based works by Md Hasanur Rahaman Reaz (Reclining figure-2, 1999), and Sajal Basak (Folk Festival, 1999). (9^th Asian Art Biennale Bangladesh 1999)

But all of the mentioned years had no theme-based presentation or curation. And catalogue writing was always carried out as the pre-suppositions about Bangladeshi art. The text became prejudiced, which was based on history that, by critics several times mentioned as a `country report’.

The artistic trends of Bangladesh showcased in the biennale are briefly outlined below:

1. Easel painting dominates the exhibition.
2. Three-dimensional objects are exhibited following the disciplinary manner of sculpture.
3. The number of sculptures has gradually increased, whereas it was a little in comparison with easel painting.
4. Sculpture and ceramics in the form of installation are struggling to break the disciplinary manner.
5. Consumption of subjects and concepts dominated a few works were also introduced later in the biennale.
6. Through the analysis of all sorts of prizes, it could be said that new trends are not more accepted or praised in the biennale for Bangladeshi local artists.

Significance of New Trends in Bangladeshi Art Practices In the 1980s And 1990s

“Japanese artists introduced the trends that transformed the art world of the seventies. With the growth of information technology, the expansion of public media, and international trade, artists began to express themselves in a variety of media. The visual influence of conceptual art such as installations, performances, videos, and photography, was evident.” (Selim, 2014)

Besides the acknowledgement of the Japanese artists to the new features of the biennale of the 1980s and 1990s, Lala Rukh Selim (2014) writes–”Scattered efforts are seen in the nineties but in the 21st century they become more concreted.’ (Selim 2014:14) Cause of after nineties ‘Globalization and the rapid exchange made possible by the internet made the flow of information instantaneous.’

So, from these situations of the art realm, here some efforts would be applied to identify the informative and speculative importance of the intentional presence of Japan with contemporary art at the Biennale, which was later appreciated as a new trend and placed in the BD art history as early initiatives.

Mahbubur Rahman was awarded by Honorable Mention Prize from the 5th Asian Art Biennale Bangladesh 1991. (5^th Asian Art Biennale Bangladesh 1991) In 1999, Mahbubur won the grand prize from the 9^th Asian Biennale.⁶⁴ (9^th Asian Art Biennale Bangladesh 1999) In the meantime, before earning the grand prize, Mahbubur participated in the 4^th Asian Art Exhibition organized by the Fukuoka Art Museum of Japan in 1994. (Khabir, 2007) After experiencing this event in Japan, Mahbubur Rahman, Tayeba Begum Lipi, and Nasimul Khabir organized an art camp titled `Towards Nature: In Search of Art and Life’ in the hilly district Bandarban. (Khabir, 2007) In the same year, a site-specific installation (which artists mentioned in the pamphlet as a ‘live installation’) was exhibited at the Zainul Fair, which encouraged other young artists like Saleh Mahmud and Moniruzzaman Shipu. (Moishan, 2020)

The aforementioned ‘live installation’ was held in 1995, 1st of Boishakh, where Green Man in Self-jail of Moniruzzaman Shipu and Surokkhito Bondishala (The Protected Incarceration) of Saleh Mahmud presented at the premises of the Institute of Fine Arts, Dhaka University. However, they called their acts Human Sculpture. Later, artists specifically identified them as performances. (Conversation with Saleh Mahmud on September 28, 2020)

Artist Saleh Mahmud shared that contemporary artists were not well aware of the performance, very specifically. His elder sister was involved with theatre. In that way, he had a good relationship with the Prachyanat (a Dhaka-based theatre) group. Street drama was also very popular at that time. (John, 2021) However, artists strongly oppose any influence of theatre on their `live installation’ or performances. So here we see artists trying to popularize a new way or trend to define actions in visual art, contrary to the conventional medium or trend. Those trends were very similar to the new ones by Japan at the Biennale. Before the biennale, artists had many diverse activities against any kind of state oppression from 1984, but the artists never recognized those activities as ‘art’, The Biennale allowed them to be less political and more artistic, which phenomenon still dominates the art scenario of Bangladesh.

On 21 February 1995, a student, Avijit Chowdhury, held an exhibition titled Sound Light Colour. He installed various components, including a slide show which was related to his childhood. Talking about this show, he mentioned: “Then I thought I would do a little performance. Complete madness. There was also a ticket counter. The duration of each show was 12 to 13 minutes.” (Conversation with Avijit Chowdhury on December 7,  2019)

In 1996, Avijit, Nazim, and Bahar jointly organized a show at Lichutola, at the Faculty of Fine Arts (Former Institute of Fine Arts), Dhaka University, and termed it a puzzle show. The three were students at that time. Nazim used to do mime art.

These types of initiatives in the 1980s and 1990s were not very odd or new from a political perspective. Amid the military rule and the undemocratic social-political situation, such activities were accepted by the audience as cultural and political activism instead of pure art demonstrations. However, most artists discontinued the experiments that were staged in 1994 and 1995. (Khabir, 2007) Khabir himself provides the information in his article, which ensures us that this flow never stopped but slowed down from time to time. This understanding reminds us that the 80s decade were full of political events against the autocratic government, which fell in the 1990s.

From the 1990s to 2000, besides Saleh Mahmud and Moniruzzaman Shipu, Muhammad Imran and Muhammad Zakir Emon, several performances in and around the Institute campus. (Moishan, 2020) In that way, the nineties became very vibrant and invested in a great endeavor to be like global contemporary artists. In 1997, through the initiative of a cultural activist group led by Professor Abul Monsur (Moishan, 2020), called Shilpo Shamonnoy, Britto was featured in 2002 by 6 artists. (About Britto, website of the Britto Arts Trust) In such a way, Chottogram (Chittagong) also got involved with the contemporary art arena by Abu Naser Robii. (Porapara Space for Artists, n.d.)

From the very beginning of his artistic journey, Mahbubur Rahman—an engaged artist with the Asian Biennale—has explored multiple approaches beyond traditional academic disciplines. Analyzing the impacts of the biennale on Bangladesh’s art scenario requires recognition of other catalysts. In 1995, Japan presented a video installation and performance art during the biennale. Though in 1992, German artist Rothman held an art workshop in Chittagong where he acknowledged performance as part of artistic expression, and artist Sanjeeb Dutta demonstrated a performance-art attitude through his activity. (Moishan, 2020)

Here we find courage rather than literal influence. Of course, this courage comes from various ways, where the anti-authoritarian movements in the 1980s appeared as a fundamental catalyst. However, the decades (1980s and 1990s) observed different approaches to choosing specific genres like art in an unprecedented trend. Asian Biennale helped the activists understand the vibes.

The first performance in the contemporary art context occurred in 1977 in Paris when Kalidas Karmakar collaborated with mime artist Parthopratim Majumdar. (Moishan, 2020) Kalidas Karmakar continued his artistic activities in his homeland during the 1990s. (Khabir, 2007) During this time, young artist Mahbubur Rahman closely observed his performances. Later, Abu Naser Rabi and Mahbubur Rahaman became influential exponents of the new trends and motivated the next generation in an organized manner. (Porapara Space for Artists, n.d.; Documenta Fifteen, n.d.)

Interviews with young artists active during the 1980s and 1990s reveal a strong connection to the Biennale, as many could no longer ignore its significance and impact. Notably, later generations have gone on to become multidisciplinary artists or discerning connoisseurs.

In the long run, these tendencies influenced contemporary art in Bangladesh, as practitioners from the 1980s and 1990s have since become the first generation of multidisciplinary artists and pioneers of new artistic trends in the country.

Biennale, New Trends, and Anxiety

Although there were many trends in the 1990s, the new trends have not been recognized properly in the biennale of Bangladeshi artists. Rather, we find a tension between artworks and the artists’ continuation process. Behind this tension, there are some issues like financial crises, mismatches among the rights to freedom of speech, religious thoughts, military doctrine, and dilemmas in global cultural politics. Even in the 12th episode of the Asian Biennale, the question was raised in that way-

“Why does this sense of inferiority persist when it comes to Bangladeshi art? While foreign artists are often given the freedom to present their work in any medium, Bangladeshi artists face countless limitations—ranging from format to medium. Why is that? Is it yet another remnant of colonial influence—a kind of lingering colonial hangover?” (Monsur, 2016)

Although Monsur’s question remains relevant when introducing any new genre for Bangladeshi artists within the Biennale and academic practice, and despite Japan’s continued efforts to patronize the Asian Biennale as a regional powerhouse, according to Thornton—”although the global art space of the contemporary world is perhaps more polycentric than ever before, it is still dominated by the art clusters in London, New York, Los Angeles, and Berlin.” (Selim, 2014)

In addition to Japan, several other countries showcased installations and video installations at the 9th Asian Art Biennale Bangladesh in 1999. Notable participants included Singapore (Chua Chye Teck, My Ah Kong’s Big House), Australia (Bonita Ely, Juggernaut), and Indonesia—each contributing to the broader trend of experimental media. These works highlighted the interconnected nature of the Asian and global art contexts, which stood in contrast to the curatorial focus and display strategies of Bangladeshi art in the biennale. These contrast features never get any attention to minimize and highlight the local possibilities. The influence of large-scale Japanese artworks on the selection of Bangladeshi artists for awards is evident, particularly through the observations of art critic Abul Monsur. He notes a growing trend of favoring large works at biennales and urges greater recognition of the quality found in smaller-scale pieces. (Abul Monsur, 2016)

This is not only about the scale of the artworks, I think it’s also a stand against the pressure of the open market economy, and to be a global artist beyond self. This pressure creates a lot of anxiety for artists, like a poor, hungry woman who stands outside of an elite food-wasting party. So, Monsur’s dictated colonial hangover and Thornton’s recognized Eurocentric art clusters, both triggering the local art practices of Bangladesh, which featured in the Biennale.

Thus, it becomes difficult to judge the art scene in strictly binary terms. But the fact is that a deeper tension exists between the desire for creative freedom and the repression brought about by self-censorship, driven by socio-political surveillance. This tension fosters a climate of anxiety for Bangladeshi artists, often leading to an “imposed self”—a psychological construct that consciously or unconsciously shapes and constrains artistic expression of Bangladesh.

CONCLUSION

According to Borhanuddin Khan Jahangir (1936-2020), Zainul and his associates emphasized building Bengali nationalism, driven by an anti-colonial position where folk was the theme. Their students, especially the graduates from Western and European universities, started their art practice in Dhaka. However, they did not consider the conflicts among folk life, Bengali nationalism, and Pakistani nationalism as the major problem in creative art.

Under these conditions, local artists “…fought to introduce modern art sensibilities honed by Western Europe…” (Borhanuddin Khan Jahangir, 1999) Within that framework, the biennale began to take root in Bangladesh and played a great role for the local artists by giving them the chance to experience the contemporary art world, where `Japan is the main attraction of this exhibition.’ (Monsur, 2016)

We have already learnt that Japan was also struggling to save the Japanese idioms against Western culture. But for the Bangladeshi art scenario, it is said that-`If Japan withdraws its favor to this exhibition now, we can all guess, even if we do not say loud, where the value and attraction of the biennale of Bangladesh will go.’ (Monsur, 2016)

From a critical perspective, we can observe Japan’s dual role in the biennale. Young artists were drawn to Western art, which had entered the local art scene—often introduced by Japan itself, carrying both its ethnic identity and a global sensibility.

This duality is the reality of Asian countries and a part of global politics. That is why we see Bangladeshi artists attracted by new trends of Western and influential Asian countries like Japan at the same time. Unfortunately, the new trend of artworks by Bangladeshi native artists is not appreciated, and the new trends are not addressed in the biennale. Ironically, we appreciate the new trends if the artists practice those outside the biennale. The present situation closely resembles those earlier decades still being discussed.

Why are the new trends, either in artworks or text, unaddressed in the biennale? Leading art critic Borhanuddin Khan Jahangir identified the colonial crisis and presented Zainul Abedin’s anti-colonial art practices as a positive indicator for Bengali nationalism. Bengali nationalism was struggling against martial law in Bangladesh from the very beginning of Independence. In this consequence, Jahangir observed that Zainul’s students were becoming unquestioning victims of neo-colonial forms and knowledge. As a result, this generation goes forward leaving behind the Zainul’s ideas. And they approached further. Borhan’s generation also did not celebrate the new trends. Arguably, it is also the transition from anti-colonialism to a new colonial era. In this context, Japan played a significant mediating role in fostering a blended artistic tradition that bridged the West and Bangladesh, helping to open the door to contemporary art for the Bangladeshi art scene—particularly during the 1980s and 1990s, before the broader impact of globalization.

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