Calendar

1922:
He was born on the last phase of the day on 22nd June, i.e. on 23rd June at their house in Nandan, Bhabanipur, Kolkata. Father’s name: Sheikh Matinuddin (aka Matiuddin). Mother’s name is Bibi Jamila Khatun. Name of only sister older than four years: Nurjahan Begum (1918-2000). His grandfather Sheikh Aminuddin Ahmed (Bechu) was a doctor by profession. He came from his ancestral home 24 Parganas and settled on Nandan Road in Bhabanipur area of Kolkata. He gained such a reputation in his profession that the branch road next to his house on Nandan Road was named after him Bechu Doctor Lane. He built a mosque and a cemetery in the Bhabanipur area, a short distance from Nandan Road, and a waqf estate with some adjoining vacant lots. After the death of his grandfather, first his elder uncle and later his younger uncle took charge of the motalli of this waqf estate. Of Safiuddin Ahmed’s three uncles and four aunts, his father’s position was second among the brothers. His father was a sub-registrar of the land office. The uncles had an engineer, a doctor and a lawyer. After the marriage of his cousins, all of them were permanent residents of Calcutta. Safiuddin Ahmed’s grandfather’s house was also in the Park Circus area of Kolkata. There was no religious orthodoxy between his parents and uncles. Uncles used to hold singing sessions at home. His father used to play Ektara-Dotara. Her older sister sang. Safiuddin Ahmed also learned sitar playing from the teacher. He also had regular participation in neighborhood based sports. At that time there was a developed cultural environment in Bhabanipur region. It had an impact on their home and their own lives. His father’s name was Sheikh Safiuddin Ahmed. But the artist himself later omitted the first part of the name. His name is Safiuddin Ahmed in the art school certificate. Note that Safiuddin Ahmed was an older child of his father. This is because he was unmarried for a long time after his father’s first wife died. At the request of the family, he is in his forties. At the age he married Jamila Khatun. Nurjahan Begum and Safiuddin Ahmed were born in her womb. His father was very fancy in nature. Both parents had a penchant for cleanliness.

1924:
Father’s retirement from the job.

1928:
Father died on 28 February at the age of 59. Earlier, his father had been ill for some time. On the advice of a doctor, go out of Kolkata twice – for the first time to the beach of Puri. This is the first sea visit of the boy Safiuddin. After staying there for a month and a half, he returned to Calcutta and after a few months went to Purulia on the advice of a doctor. This time too he was his father’s companion. Twice the weather did not improve his health. Safiuddin, a six-year-old boy, was devastated by his father’s death. Like this: The ground under the feet seems to have tolled. He was a first class student in Padmapukur High School then. The pain of losing a father left her feeling empty. After the death of his father, he was mistreated by his uncles for sharing the house in Bhabanipur, which gave him a deep bitter feeling and a strong jealousy. There has been a tendency to draw since childhood. This tendency also increases with the rise of high class in school.

1936-42:
While studying in the ninth class of Padmapukur High School, he went to Calcutta Government Art School with a classmate. After passing the admission test, he was admitted there in July 1936. He first got Abdul Moin as a teacher (1913-39).He wanted to study draftsmanship, but it was Abdul Moin who attracted him to the fine arts. Among his classmates at school were Sujit Tagore (grandson of Abanindranath Tagore), Muralidhar Tali and others. He was the principal of the art school at that time. Mukul Dey (1895-1991). Besides, among the teachers were Basant Kumar Ganguly (1893-1968), Atul Basu (1898-1977), Manindrabhushan Gupta (1898-1968), Ramendranath Chakraborty (1902-55), Prahad Karmakar, Satyen Banerjee, Ushen Mitra and others. All of them are Safiuddin because their own drawing skills influenced Ahmed.

During the six-year course at the Art School, it was compulsory to submit sketches of externalities. He went with his teammates to the surrounding countryside, including Sealdah Station, Alipore or the suburbs of Kolkata, for the purpose of practicing the outdoors or nature. This formula has created in him an interest in understanding nature better. Every year he goes out of Kolkata with his teammates for the purpose of deeply enjoying the beauty of nature. During this period he visited Madhupur, Deoghar, JCD, Giridih, Chaibasa, Jhajha etc. areas of Bihar. In the fine arts department, he mastered the art of watercolor and oil painting as well as the wood-engraving medium as an optional subject. Watercolors painted in this period: Mach Dhara ‘(1938),’ Jarajiban ‘-1 and 2,’ Juta Anushilan ‘and’ Abayab Anushilan ‘(1939),’ Lal Sarak ‘and’ Nisarg Drishya-1 to 8 (1940-42).

During this period he did some commercial work with the help of Dilip Dasgupta and Anil Bhattacharya. It also saves money and buys books from Wellington Square. Through the book he learned about various trends in the West. Thus his interest in reading books became permanent.

During this period he was involved in various sports. He was involved in both neighborhood sports and art school sports competitions. He has been rewarded for his participation in low speed bicycle racing, pole vault, high jump etc. Chakraberia used to play volleyball in the club. He became a member of the Padmapukur Swimming Club and went swimming on Sundays, a weekly holiday.

1939:
He won two awards in the ‘C’ group of student artists at the annual fine arts exhibition organized by the Calcutta University Institute on 28 February. Through all means, he won the second prize for his film ‘Fashal kata’ and the third prize for his painting ‘Mach Dhara’ through watercolours. At this time he was a third year student.

1940:
In the annual exhibition of the Calcutta Art School held in December, his watercolor medium ‘Jarajiban’ paintings and “Noishargik Drishya” were praised for being very high. Painted the scene of Bihar through woodcutting. His oil paintings won acclaim at the Art School’s annual exhibition in December. Like the panicked city dwellers when the Japanese bombing of Calcutta took place as a result of World War II, he took his mother to his aunt’s house in Bankura in December.After staying there for a couple of months, he returned to Calcutta after hearing the news of the final examination.

1942:
After completing a six-year undergraduate equivalent course from the Department of Fine Arts in April, he enrolled in a two-year teaching course in July. At this stage he chose the print department instead of fine art. In this case, Ramendranath Chakraborty inspired him. Among his teammates were Satyen Ghoshal (later principal of Calcutta Art College), Adinath Mukherjee and others. In September, he went to Dumka, the capital of Santhal Pargana, for the first time during the Puja holiday. The companion was senior artist Anwarul Haque. He is the one who inspired her to go to Dumka. The historian said. Habibullah had a house, in which they stayed. In Dumka, he got a kind of clear vision of nature observation. Later he visited Dumka twice more (1944 and ’45) and drew a lot of pictures about Dumka’s natural environment and Santal people in different mediums.

Woodcut: Bakurar Drishya’ and ‘Santal Nari O Shishu’.

1943:
He was forced to take jobs due to famine; as a draftsman under a treacher. His place of work was in Howrah. As a result, the teaching course of art school has to be dropped. Teacher Ramen Chakraborty was seen at the annual exhibition of the art school held on 23rd December every year. He asked the reason for leaving the teaching course and after knowing everything he asked to be readmitted.

Woodworking: ‘Banapothe Dui Santal Nari’ and ‘Howrah’.

1944:
Inspired by Ramendranath Chakraborty, he was readmitted to the teaching course in July and began the practice of various mediums of imprinting in new ventures. Among his teammates were Haren Das and others. His curriculum in this course included woodworking, lithography and mural painting. There was no etching or drypoint in the curriculum. He practices these two mediums. Namendranath Chakraborty uses his machine in his personal studio with special interest. He got this opportunity till Ramendranath Chakraborty left for Delhi in early 1946.

He went to Dumka for the second time during the puja holiday in September. Dumkar draws a lot of pictures based on the cosmos and public life through different mediums. In December, Safiuddin Ahmed and four others edited ‘Bengal Painters Testimony’. Other editors are Anun Dasgupta, Kamrul Hasan and Adinath Mukherjee, all-India students. It was published on the occasion of the eighth annual conference of the Federation. Sarojini Naidu wrote the introduction. It reprinted thirty paintings of twenty-eight artists including Banindranath Tagore, Abanindranath Tagore, Nandalal Bose, Jamini Roy, Atul Bose, Zainul Abedin. In it, on the way to Safiuddin Ahmed’s house, a wooden short picture was printed. His “inanimate image” was praised at the art school’s annual exhibition in December.

Drypoint: ‘Art Schooler Srenikokkhe’, ‘Shalban O Mosh’, ‘Dumka’-1 and 2,’ Mayurakshi ‘.
Woodpeckers: ‘Barir Pathe’ or ‘Ghare Fera’.
Oil paintings: ‘Dumka Chitramala’ 11. Notable among these are: ‘Mayurakshi’, ‘Suryaloke Kutir’, ‘Dumkar Karmachanchal Jiban’ and ‘Dumkar Path-1’.

1945:
Earlier in the year, Ramen Chakraborty sent a letter to Nandalal Bose and Binod Bihari Mukherjee to visit Kala Bhavan in Santiniketan. His partner was Satyen Ghoshal. As soon as he entered Kalabhavan, he was amazed to see the sculpture of Ramkinkar and felt the modernity of the art there. The Academy won the President’s Gold Medal for its oil painting ‘Parabat’ at the ninth All India Annual Exhibition of the Academy of Fine Arts, Kolkata, held from 17 to 31 January. Four hundred and thirty five paintings from different parts of India were presented in this exhibition held at Calcutta Government Art School. The exhibition was inaugurated by the Governor of Bengal R.G. Casey. At that time Sir Abdul Halim Ghaznabi was the President of the Academy of Fine Arts. His ‘inanimate image’ in the exhibition also garnered critical acclaim.

Two of his paintings were sold for Rs 150 each at a provincial art exhibition in Patna in March. The second annual print exhibition of the Calcutta Government Art School, held in April-May, presents the scenery of Santiniketan through drypoint and ‘Parabat’ and ‘Mayurakshi’ in Aquatint.Go to Dumka for the third or last time during the puja holiday in September. This time too he drew a lot of pictures through different mediums. Dumkar returned to Calcutta on the basis of sketches and completed images of various mediums.

Diagram: ‘Santiniketaner Drishyapot’.
Drypoint: ‘Santiniketaner drishyapot’, ‘Aboyab Anishilan’ and ‘Mayurakshi Tire Dui Nari’.
Aquatint: ‘Parabat’, ‘Mayurakshi’ and ‘Dumkar Nisarg Drishya’.
Woodworking: ‘Art Schooler Pukur’.
Oil paintings: 6 Dumka paintings. Notable: ‘Dumkar Path’-2 and 3’, ‘Shalban Dumka’, ‘Dumka-1’ and ‘Dumka-2’, ‘Parabat’.

1946:
Winning the Bihar Herald Gold Medal for his painting titled ‘Santiniketaner Drishyapot’ at the annual exhibition organized by Patna Shilpakala Parishad in March; Passed the first class with distinction in the final examination of the teaching course held in April. In May, the All India Fine Arts and Crafts Society won the first prize in the Western-style black-and-white category for an aquatint-painted painting at the International Contemporary Art Exhibition in New Delhi; One hundred and seventy five rupees for the prize money. In that exhibition, a picture of him was sold for one hundred and twenty five rupees. Nominated as a Council Member of The All India Fine Arts and Crafts Society. In July, he was appointed a teacher (subject: lithography) at the Calcutta Government Art School. The post became vacant when print film teacher Sunil Sen left for Delhi. On the advice of Ramen Chakraborty, he bought an etching machine made in London for six hundred rupees.

The day of direct struggle called by the Muslim League on 16 August was a weekly holiday. He went to the house of Zainul’s 14th Circus Row. From there he left for the public meeting of Calcutta Park Circus with Zainul Abedin and Kamrul Hasan in the afternoon but could not reach the end. When the riots started, he reached his house on Nandan Road with great difficulty. Due to the riots, he had to change his father’s house with a Hindu family and make a new arrangement to live in a house in Park Circus.

Participated in an exhibition of Muslim artists held at Islamia College, Calcutta at the end of the year. ‘His watercolours, including the Red Road, are acclaimed. A wooden painting titled ‘Barir Pathe’ is also presented in the exhibition.

Participated in the Exposition Internationale Des Art Modern, Muze Des Mode, held in Paris in November-December at the initiative of UNESCO. The paintings of twenty Bengali artists from Rabindranath and Abanindranath Tagore to Safiuddin Ahmed are included in this exhibition. It shows four images of his Dumka episode.

Oil painting: Portrait: Dilip Dasgupta ‘.

1947:
Participated in the Contemporary Indian Art Exhibition held in London in February. His ‘Dumka’ and ‘Parabat’ in this exhibition were acclaimed by the critics.

In March, he won the Dwarbhanga Maharaja’s Gold Medal for his oil painting titled ‘Suryaloke Kutir’ at an art exhibition organized by Patna Shilpakala Parishad in Bihar. And she received the Shilpakala Parishad Gold Medal for her woodcut-painting titled ‘Santal Meye’ presented in the same exhibition. In April, the All India Fine Arts and Crafts Society won the first prize in the black and white category at the Inter-Asian Art Exhibition in New Delhi. Got one hundred rupees for the prize money. In that exhibition, two of his paintings were sold for one and a half hundred rupees.

Besides, her painting (Santal Meye) was featured in the India-Pakistan Art Exhibition (1947-48) from 2400 BC to 1947 AD held in London on the occasion of India’s independence.

He came to Dhaka from Kolkata on 14 August and joined the Collegiate School in Dhaka on 15 August as a drawing teacher. The headmaster of the school at that time was Enamul Haque (later a linguist and PhD graduate). Enamul Haque respected him enough as an artist. When he came to Dhaka, he first stayed for a while at the house of his business friend Mahimen in Kaltabazar. He later rented a house in Tikatuli.

Woodworking: ‘Melar Pathe’.
Oil painting: ‘Lily Fhul’.  

1948:
The twelfth exhibition of the Academy of Fine Arts in Kolkata started in the last week of last year and will continue till January 20 this year. He was rewarded for this. His Prohoribrindo ‘and’ Pathiparshe Tarubithi’ are also praised by critics.

At the beginning of the year, he rented a house at 61 Swamibagh from Tikatuli. He bought a plot of land in Tollygunge, Calcutta, with his own earnings. After acquiring ownership of the house in Swamibagh by exchanging that land, he brought his mother from Calcutta. He sold the ancestral home of Nandan Raed in Calcutta for cash.

Under the leadership of Zainul Abedin, he became active in the movement for the establishment of an art school in Dhaka more than once. Go to Chittagong with Zainul. As a result of this movement, the Government Institute of Arts was formed. As a close associate of Zainul, he was one of its founding members. The activities of this institute started in September. He was appointed Lecturer and Head of the Department of Printmaking. His basic salary was fixed at two hundred and forty five rupees. The new institute started its journey in two rooms on the ground floor of the National Medical Institute Hospital located at Nawabpur Road.

Participated in Bengal Drawing and Painting Exhibition (1900-48) held in Singapore.

Oil painting: ‘Mayurakshi Tire Dui Nari’.

1949:
As a result of the independence and partition of 1947, he came to Dhaka from his homeland and then moved to Dhaka in 1947 to get a job with permanent residency. From this year onwards he closely observes the different natural conditions of this new country, its sedimentary aim and its dark deep greenery. This new look in the green instead of the gray in which he grew up creates a different stimulus of colour in his mind. He has been concentrating on this green since last year. Mymensingh-travel may also have a link with this new vision. When he visited Mymensingh in mid-October on the occasion of an annual picnic of the students and teachers of the Art Institute, he got a new idea about the nature of East Bengal.

Oil painting: ‘Portrait’, ‘Hamidur Rahman’.

1950:
The ‘Dhaka Art Group’ was formed in December under the leadership of Zainul Abedin due to the anti-industrial stance of the masses in old Dhaka and the need to create an industrial movement against the backdrop of communal riots in Dhaka. Safiuddin Ahmed was elected vice president of this app.

In the same year, he was allotted a one-bigha government plot on Road No. 4 in Dhanmondi, Dhaka. The value of the land is fixed at five thousand rupees. Had the opportunity to pay the money in fifty instalments. He became the owner of the land by paying the instalment from his salary.

Diagram: ‘Guntana-1’, ‘Mashadhara-1’, ‘Dampati’, ‘Behalabadasasaha Chad-Petanae-1’.
Wooden: Chhatim Gach ‘,’ Basher Sako ‘.

1951:
The first exhibition of Dhaka Art Group was held at Liton Hall, the auditorium of Dhaka Hall (now Shahidullah Hall) of Dhaka University from 17 to 21 January. The exhibition features a total of fourteen paintings by him through watercolors, oils, drypoints and woodcuts. His oil paintings on display attract the audience. The films ‘Amar Studio’, ‘Santal Meye’, ‘Shayanner Bati’ and ‘Zatrar Sheshe’ were critically acclaimed. He took part in an exhibition of paintings organized on the occasion of East Bengal Cultural Conference on March 16-17 at Harikhola ground in Chittagong.

Diagram: ‘Guntana-2 and 3.
Wooden moment: Bahan ‘.
Oil paintings: ‘Gopibagh’, ‘Buriganga-1 and 2’, ‘Munshiganj’.

1952:
The second exhibition of Dhaka Art Group was scheduled to open on 22 February. But the exhibition was inaugurated on March 22 at the old museum in Dhaka (now Dhaka University’s teacher-residence ‘Anwarpasha Bhavan’) after the February 21 protests and shootings. It shows eight of his paintings. In it, the response of the audience is ‘Dhan Marano’, ‘Besto Jiban’, ‘Patikriti’; Oil paintings like ‘Wazir Ali’. U.S. President F.D. When Roosevelt’s wife arrived in Dhaka, she was presented with an oil painting entitled ‘Dhaner Bajar’. Married on 15 August to Anjuman Arar (born 29 May 1937), daughter of an educated aristocratic family in Rajshahi. Anjuman Ara ranks sixth among seven brothers and three sisters and second among sisters. His father was a police officer. Later, his two brothers became government secretaries and one brother became the principal of a medical college. Participated in the art exhibition organized on the occasion of the cultural conference organized by Comilla Pragati Majlis in Comilla town on 22-24 August. Woodworking: ‘Farmer’ (a few panel views).

Oil paintings: ‘Buriganga-3’, ‘Dhaner Hat’ and ‘Dhan-Marano’.

1953:
The first annual exhibition of the Art Institute was held in August. Venue: Segunbagicha, the new building of the Art Institute. Although it is mainly an exhibition of students’ paintings, it also displays his paintings with other teachers.

1954:
Mother died at her home in Dhaka’s Swamibagh on Wednesday, January 19 at 11am. After losing his father as a boy, his mother was his absolute companion. He has developed under the umbrella of his mother’s liberal thinking. His mother never interfered with his independent decision. That mother’s death plunged her into a deep void.

On 2 August the city of Dhaka was flooded. As a child in Calcutta, he had no experience with floods. So he faced a new experience. The water was only four inches below the floor of her Swamibagh house. We had to travel by boat. Living in the fear of security breach at any moment. He saw grasshoppers and butterflies playing on the water, he saw below. He saw the movement of fish, the sight of rain falling on the water and heard its sound. He rented a boat and saw the beauty and destruction of the flood floating on the water for hours. He also saw the silent downfall of the flood waters. All this has found a place in his later paintings. The etching machine he bought in Calcutta in 1947 could not be brought to Dhaka due to lack of government clearance. Proof of the fact that the machine was bought in British-Indian currency is to collect the clearance. But he could not find the receipt of the machine. This year, after receiving the receipt from the book, he collected the clearance and brought the machine. He left it at a relative’s house in Calcutta. In November, the Dhaka University Central Student Parliament (Daksu) and Salimullah Hall Student Parliament jointly organized an exhibition at the university’s Dhaka Hall Liton Hall, in which he participated.

Woodworking: Nadi O Nauka.
Oil paintings: sherbater Dokan-1 ‘,’ Murgir Khacha ‘and’ Mach Dhara-1 ‘.

1955:
In the last half of the year, one-third of Dhaka district was flooded again. The water of Buriganga crossed the maximum limit of 1954. He re-realized the plight of the flood-hit people with the experience of the victims. As a result, floods, nets, fish, boats, etc. found a permanent place in his image. Woodworking: ‘Guntana’. Aquatint: ‘Naukar Shunnya Kalash. Etching: ‘Bannyaplabito Dhaka’. In October, another of his paintings, entitled ‘Dumka’, was presented to Mrs. Roosevelt. He decided to pursue higher studies in printmaking in London at his own expense. According to this personal decision, he went to London via Calcutta at the end of November on paid leave. He stopped in Karachi in the middle. He arrived in London on 1 December and was admitted to Central School of Arts and Crafts in London. His teacher Ramen Chakraborty was once a student of this school. The principal of the school at the time was William Jonaton and the head of the printing department was Melvin Evans. If his government salary is available in London, there will be no financial barriers to his education.

Wooden: ‘Bonna’.
Oil painting: ‘Kathmistri’ and ‘Surjamukhi’.

1957:
Although the first hesitation in the minds of London Central School teachers about this student from an underdeveloped third world country, he quickly attracted teachers with his dedication, diligence and inquisitive mind. He also introduced Copper Engraving, a new subject with etching, in the textbook. He also studied oil painting, mural painting and sculpture. After teaching in the country for ten years, he became a full-fledged student. Instead of spending so much time on the other side, you just focus on learning. He even used the evening work opportunities as much as possible after regular school hours. Even on holidays, he does not spend his time lazily or chatting or begging, but he is busy visiting museums and practicing art there.

Diagram: ‘Nagnika Anushilan-1’.
Etching-Aquatint: Mach Dharar Shomay and Jarajiban (Sujamukhi).
Copper: Jeler Shopnya ‘and’ Halud Mach’.
Oil paintings: Nagnika’-1 and 2 and ‘Jarajivan-1’.

1958:
His concentration in London continues at the same pace as the previous year. As a result, out of forty-two students in the examination held in the middle of this year, he was the only one to get a diploma with distinction in both etching and engraving. He is the first artist in Bangladesh to acquire the skill of creating colourful images through these two mediums.

After obtaining his diploma, he applied to the DPI in Dhaka for one more year to study at the school for the purpose of acquiring the latest technical techniques of etching. Maria Castleman, head of the school’s painting and etching department, explained the rationale for her application and gave her strong recommendations. But he is on leave without pay. After that he worked hard for one more year in that school. He participated in the International Triennial of Original Coloured Graphic held in Switzerland. He also took part in a joint exhibition of five Pakistani artists held at the Woodstock Gallery in London from 10 to 13 November. Others are Ahmed Parvez, Anwar Jalal Shenja, Murtaza Bashir and Ali Imam. There were five of his paintings in the exhibition.

Diagram: Nagnika Anushilan-2 ‘.
Etching-Aquatint: ‘Flood-1’, ‘Bannaplabito Gram’ and ‘Jhar’ or ‘Expose the Storm’.
Copper: Composition and ‘Guntana’.
Oil paintings: ‘Jarajibon-2’ and ‘Mach Dhara-2’.

1959:
Participated in the 77th Annual Exhibition organized by the Royal Society of Painters, etchers and Engravers in London at the St. George Gallery in London earlier this year and the 191st Exhibition of the Royal Academy of Art. His first solo exhibition was held at the New Vision Center Gallery in London from 20 April to 9 May. It displays a total of sixteen paintings in his oil painting etching medium. Notable among these paintings are: ‘Mrito Patra’, ‘Alo, Jal O Jiban’, ‘Nistabdho Shakal’, ‘Banna’, ‘Setu Parapar’, ‘Bannakranto Gram’, ‘Sabuj Ebang Kalo Gach’, ‘Neme Jawa Baan’, ‘ Mach Dharar Shamay ‘,’ Jal, Nauka Ebang Surja ‘,’ Surjamukhi’etc. During his stay in London, he regularly visited the museums there. Saw the art exhibition. At this time I had the opportunity to visit and talk to Stanley Hetter, the father of modern printmaking in London. After graduating from London, he visited museums and art exhibitions in various European countries. Go to France, Italy, Germany, Belgium, Holland and Switzerland for this purpose. During this trip he got a chance to see the famous Venice Biennale. He returned to Dhaka in December.

Diagrams: Nagnika Anushilan’-3, 4, 5, 6 and 7, and Anushilan’ -1 and 2.
Etching-aquatint: ‘Neme Zawa Ban’, ‘Bonya-2’ and ‘Setu Parapar’.

1960:
Sketches: ‘Atto-potikriti’, ‘Badam-bikreta-1’, ‘Behalafadak Soho Chad Petanna-2’ and ‘Sharboter Dokan’.
Oil painting: ‘Bookstore in Paris’.

1961:
His five etching medium paintings were presented in the exhibition titled ‘Contemporary Painting’ organized by Bangla Academy, Dhaka.

1962:
Although he was nominated for a UNESCO Fellowship by the Pakistan Arts Council in April, he was unable to leave the country this year. The first child Saeed Ahmed (Swapan) was born on May 2. He participated in the International Biennial Exhibition of Prints held at the National Museum of Modern Art in Tokyo, Japan from October 6 to November 11.

Etching-Aquatint: Mach Dharar Shamay’-1 and 2.

1963:
The President of Pakistan won the Gold Medal for his contribution to the arts. He participated in the Commonwealth Art Today exhibition held in London. 1964: Participates in the International Biennial Exhibition of Prints in Tokyo, Japan. For his second child, Nazir Ahmed, on 23 October, his youngest son is known as Ahmed Nazir.

Etching-aquatint: ‘Nil Jhol’ and ‘Bikkhubdho Mach’.

1965:
An exhibition of sixteen artists at the East Pakistan College of Arts and Crafts presented five of his paintings (Bikkhubdho Mach ‘,’ Nil Jol’,’ Setu Parapar ‘, etc.).

1966:
He participated in the International Biennial Exhibition of Prints held in Tokyo, Japan. He participated in the 5th Tehran Biennial Exhibition in Iran.

Diagram: ‘Nauka O Mach’.
Etching-aquatint: ‘Jal O Mach’-1 and 2 and Vashoman Jal’.

1967:
Diagram: Kapor Bikreta’-1 and 2.
Etching-Aquatint: ‘Jal O Mach-3’.

1968:
Diagrams: ‘Chapa Khana’, ‘Ghani-Tana-1’ and ‘Balloon Bikreta’.
Etching-Aquatint: Jalashrote Brikkhopatra.

1969:
On September 14, the third child, the only daughter Selina Ahmed (Ratna) was born.

1971:
During the nine-month war of liberation, he lived in a state of panic and uncertainty at his residence in Swamibagh in Dhaka, which was besieged by the Pakistani army. Never went out to market without knowing the curfew. At one point during the curfew siege, Pakistani forces searched a neighbour’s house with a crack in the window of his house.

1973:
He participated in the exhibition titled ‘Contemporary Art of Bangladesh’ held in Kolkata, New Delhi and Bombay, India and travelled to India on this occasion.

1974:
Visiting the Soviet Union and visiting various art galleries and museums there.

1975:
He participated as an invited artist in the first National Art Exhibition organized by Bangladesh Shilpakala Academy and in each of its 14th Exhibition (2002).

Oil painting: ‘Mach Dharar Jal’.

1976:
Diagrams: ‘Mach Dhara-2’, ‘Pal Tola Nouka’ and ‘Ghani-Tana-2’.

1977-78:
He participated in exhibitions titled Contemporary Graphic Arts of Bangladesh held in Poland, Yugoslavia (September) and Bulgaria (March 1978). He participated in the annual exhibitions of Saju Art Gallery in Dhaka held from 1977 to 2002.

1978:
Receiving Ekushey Padak as the highest honor of the Government of the People’s Republic of Bangladesh.

Diagram: ‘Anushilan-3’ and ‘Badam Bikreta-2’.

1979:
He participated in the exhibition titled ‘Arts of Bengal – The Heritage of Bangladesh and Eastern India’ held at White Chapel Art Gallery London.

Retirement from the job.

1980:
He participated in the Contemporary Art Show organized by Fukuoka Art Museum in Japan and in the exhibition titled ‘Contemporary Bangladesh Art’ on the occasion of the 6th Asian Art Festival in Hong Kong.

Diagrams: Surzamukhi’ 1 and 2.
Copper: ‘Kanna.
Oil painting: ‘Kathal Gach’.

1981:
He participated as an invited artist in the first Asian Biennial Exhibition held in Dhaka and its eighth exhibition (2001).

1982:
Etching-Aquatint: ‘Bissrito Rupokolpo’.

1983:
He participated in a graphic print exhibition organized by Shilpakala Academy, Dhaka.

1984:
In recognition of his contribution to painting, he was honoured by the Bangladesh Charushilpi Sangsad. Participated in the New Year Fine Art Exhibition organized by Bangladesh Charushilpi Sangsad at Shilpakala Academy Gallery, Dhaka.

Oil painting: ‘Gach’ O ‘Kalo Mach’.

1985:
Bangla Academy’s honorary ‘Fela’ is a designated etching and mixed medium. “Jaler Ninad” -1 and 2.

1986:
On the occasion of the third biennial Asian Fine Art Exhibition, a commemorative stamp was issued by the Postal Department of the Government of Bangladesh based on his painting titled ‘Mach.

1987:
Graphs: ‘Ekushey Smarane’-1 and 2.
Copper: ‘Ekushe Smarane’.
Oil painting: ‘Jarajiban-3’.

1988:
Contributed as an Excessive Teacher in the Printing Department of the Institute of Fine Arts. Engaged in this charge till 1993.

Diagram: Banna-1 ‘.
Copper: ‘Ekattorer smrity’.
Oil paintings: ‘Jarjivan-4’ and ‘Bonya-1’.

1989:
Participated in the exhibition titled ‘Contemporary Paintings of Bangladesh’ held in Calcutta.

Diagram: Murgir Kacha ‘.
Oil painting: ‘Surza, Brikkho ebong Nari’.

1990:
Participated in the exhibition titled ‘Contemporary Paintings of Bangladesh’ held in Harare, Zimbabwe.

1991:
Oil painting: ‘Mach O Jal-1’.

1992:
Diagrams: ‘Banna’-2 and 3,‘Krishak O Goru’,‘Fhal Bikreta’and‘ Kalae Chitramala’-1, 2 and 3.

1993:
In the exhibition titled ‘Contemporary Graphic Art of Bangladesh’ held in Kolkata and La in Dhaka. Participated in the art exhibition on the liberation war held at the gallery.

Diagrams: ‘Kalo Chitramala’-4, 5, 6 and 7.
Oil painting: ‘Apple O Gari.

1994:
He is employed as a part-time teacher in the Department of Printmaking, Institute of Fine Arts, Dhaka University.

Diagrams: ‘Kalae Chitramala’-6 to 18,‘ Jal O Mach ’,‘ Bagan ’, Nishongo Nari’, ‘Banna-4 and 5, and Banna: Sukh Dukkher Bangladesh’.
Oil painting: Banna-2 ‘and’ Lal Ebang Sobuj ‘.

1995:
Participated in the exhibition titled ‘The Pioneer Artists of Bangladesh’ held in Kuala Lumpur, Malaysia.

Diagram: Kalae Chitramala’-19 and 20.

1996:
Independence Day Award of the Government of the People’s Republic of Bangladesh. Dhaka University Alumni Association honored on the occasion of the 65th founding year of Dhaka University.

Oil paintings: ‘Nari’, ‘Ekattarer smrity’, ‘Mach O Jal-2’ and ‘Jiban’.

1997:
Participated in Bangladesh Painting Exhibition held in Oman. Publication of a folio titled ‘Safiuddin Ahmed’s Imprint’ from Bangladesh Shilpakala Academy.

1998:
On the occasion of the fiftieth anniversary of the fine arts of Bangladesh, he was honoured by the Shilpakala Academy.

Diagram: ‘Protiki Mach’.
Oil painting: ‘Rekha O Ruper Chanda-1.

1999:
Diagram: ‘Dui Mukh’.

2000:
Participated in the inaugural exhibition of gallery painters in Dhaka, the exhibition titled ‘Dighal’ by six eminent artists of Bangladesh held at Bengal Shilpalay and the first biennial art exhibition jointly organized by Bangladesh National Museum and Charushilpi Sangsad. Rishi Shilpi Gesthi Padak. Diagram: ‘Mukh Anushilan’.

2001:
Participation in the exhibition of sketches titled ‘Rekhar Chanda’ by fourteen artists held at Gallery Chitra in Dhaka.

Diagram: Dhan Marai O Banna-6.
Oil painting: ‘Rekha O Ruper Chanda-2’ and Prokitir Gaan-2 ’.

2002:
Participated in the exhibition of six prints of Bangladesh held at Alliance Francaise in Dhaka. Publication of a book titled Safiuddin Ahmed by Mahmud Al Zaman from Bangladesh Shilpakala Academy.

Copper: ‘ Ekattarer Smrarane’.
Oil painting: Mach O Jal-3 ‘and’ Niler Ninad-2 ‘.

2003:
Participated in the exhibition of four pioneering prints of Bangladesh held at Gallery Chitra in Dhaka.

Line drawing: ‘Rekhar Chanda’ and ‘Banna-6’.

2004:
Diagrams: Brikkho-1 and 2, ‘Kumor’, ‘Patrahin Brikkho’, ‘Kalor Binnas’ and ‘Banna-6’.
Oil painting: ‘Mach’.

2005:
Diagrams: ‘Jal Ebong Mach’, ‘Brikkho-3’ and ‘Jharo Hawa’.
Oil painting: ‘Dui Abayab’ and ‘Rekha O Ruper Chanda-3’.

2006:
In the event of an accident in November or a broken leg. He is unable to walk even after undergoing foot surgery at Bangladesh Medical Hospital in Dhaka. As a result, he has been bedridden ever since.

Diagram: Brikkho-4 ‘.

2007:
On June 22, he started living in a new flat on Dhanmondi Road No. 4. After living in a house in Swamibagh for about 59 years (1948-2007), his permanent residence was changed to bedridden. Participation in the exhibition titled ‘Jarajiban’ of six eminent artists of Bangladesh held at Gallery Chitra in Dhaka

Diagram: Brikkho-5 ‘.

2008:
Earlier this year, the Fukuoka Art Museum in Japan collected his oil painting (1988) entitled Jarajiban-4. From 23rd to 13th July, his first solo exhibition titled ‘Rekhar Ashesh Alo’ was held at the Bengal Gallery in Dhaka. This is his second solo exhibition. Publication of a folio titled ‘Sketches of Safiuddin Ahmed’ from Bengal Foundation.

Diagram: Murgishunnya Khacha ‘.

2009:
From March 23 to April 4, his solo exhibition titled ‘Rekhar Ashesh Alo’ was held. At the Rabindranath Tagore Center in Kolkata. The exhibition was jointly organized by the Bengal Gallery in Dhaka and the Indian Council for Cultural Relations.

2010:
In the first (April 16-30) of the ten exhibitions titled ‘Sajane and Shekare’ organized on the occasion of the tenth anniversary of the Bengal Shilpalaya in Dhaka, four of his paintings were presented as one of the ten artists. A representative exhibition of his life-long paintings, divided into two phases, was held at the Bengal Shilpalaya from 26 November.

2011:
Safiuddin Ahmed, the first book in the Great Masters of Bangladesh series, was published in Italy with a collection of Safiuddin Ahmed’s works by SKIRA, a well-known Italian publishing house, and the Bengal Foundation in Dhaka.

2012:
Safiuddin Ahmed passed away at Square Hospital in Dhaka on the morning of May 20, after midnight on May 19.

Art historian and Art critic Professor Syed Azizul Huq, Chairman, Bangla Department, University of Dhaka
Translated by: Noshin Shamma and Priyanka Chowdhury
Edited by: Priyanka Chowdhury