# data[].attributes.headline
Biography and Contextualization of the Work

# data[].attributes.subject
Biography and Contextualization of the Work

# data[].attributes.body
Zainul Abedin was born in Kishoreganj, Mymensingh District, in East Bengal (which became East Pakistan with India's Partition in 1947, and then became Bangladesh after the 1971 Bangladesh Liberation War) (Sunderason 245) in the December of 1914, and passed away on May 28th, 1976 in Dhaka, Bangladesh (Islam 2; Christie’s).

Historically East Bengal experienced a divide in the political power, economic power, and investment in art that West Bengal had, which was reaffirmed by the 1911 annulment of Bengal’s partition (Islam 1). One way East Bengal established itself as it rebuilt after the annulment was through education, which supported the rise of a Bengali Muslim middle class. This meant that many young men interested in art, including Abedin travelled to Calcutta (present day Kolkata), India to receive their arts education (Islam 1).

Abedin studied at the Government School of Art from 1933-1938 (Christie’s): “the school was a 19th century colonial art institution committed to Western academic realist training” (Sunderason 245). At that point Abedin practiced a “new realism” that despite being representational took on the artists’ nostalgia through depictions of charming rural scenes and warm/soft-looking female figures from his home’s landscapes in East Bengal (Islam 2). Abedin became widely known for his sketches of the progression of the Bengal famine of 1943-44 (Sunderason 245).

The Bengal famine was the product of Britain’s failure to supply food to their colony during World War Two, which led to the mass starvation of Bengal’s people (Dadi “Artistic Pedagogy in South Asia”). Abedin sketched rural villagers that poured into the streets of Calcutta where he lived at the time (Sunderason 242). He was praised by the Communist Party of India for these works of social realism that captured the failings of the colonial government (Hoek & Sunderason 16). Abedin was not a part of the Communist Party of India, but he was a part of the Anti-Fascist Writers’ and Artists’ Association in Calcutta (Sunderason 247). These sketches were in an exhibition album of art centering the subject of famine titled the Bengal Painter’s Testimony in 1944, alongside artists’ works from all across Bengal (Sunderason 247). In 1943 Abedin joined a group of artists called the Calcutta Group, founded by Prodosh Das Gupta (Trouilloud 108). These artists were interested in redefining Indian Modernism as “international and independent,” through selecting artistic advancements from Western Modernism to integrate and reshape in their practise (Trouilloud 108).

In the early 1940’s, Abedin, who was in his twenties, along with his colleagues Qamrul Hasan, Anwarul Haque, and Safiud-din Ahmed taught at the Government School of Art (Sunderason 245), but the 1947 partition caused the artists to relocate to East Pakistan where Abedin grew up (Shadow lines journal, 2017, p. 242). These artists were left jobless and without the artistic infrastructure that West Pakistan had to support them, which led them to seek jobs as school teachers (Hoek & Sunderason 12). They negotiated with the East Pakistani federal government in Karachi for funds to establish the Dhaka Art Institute, which became the basis for East Pakistan’s artistic infrastructure (Sunderason 242 & 248). Abedin relocated to Karachi to work for the Pakistani Federal government on their Information and Publication Division, and returned to Dhaka in 1949 to assume the role of Principal of the Dhaka Art Institute (Hoek & Sunderason 12).

In the mid-1950’s “Abedin was a highly mobile artist travelling across North America, Europe, the United Kingdom and Japan on various international fellowships from the Commonwealth, Rockefeller or Ford Foundations, as well as to the Soviet Union, Mexico and the Arab states”  (Sunderason 242). Abedin studied at London’s Slade School of Art on a Commonwealth fellowship from 1951-1952 (see figure 5) (Nasar & Turner 6). He reportedly was travelling to learn new techniques to expand the Dhaka Art Institute’s education to include “Oriental art, modelling, craft work, pottery, textile and stained glass,” and to show his works in London through two significant solo exhibitions (Hoek & Sunderason 14).

Following London, Abedin visited “Brussels, Paris, Ankara, and Istanbul” (Hoek & Sunderason 9). This travel and cultural exchange was seen as central for artists of the time, and made possible by “a network of transnational art funds” dedicated to artists’ from recently decolonized nation-states’ world travel (Hoek & Sunderason 9). This transcultural exchange “defined this post-war moment that was developing under the shadow of the Cold war” (Hoek & Sunderason 8).

In September of 1952, Abedin was Pakistan’s government representative at The United Nations Educational, Scientific and Cultural Organization’s (UNESCO’s) International Conference of Artists held to encourage the international and intercultural exchange of artists (Hoek & Sunderason 9). He also helped establish a department of fine arts at West Pakistan’s (presently Pakistan’s) University of Peshawar (Sunderason 248) In 1958, Abedin won the Presidential Award for Pride of Performance for his cultural contributions to East Pakistan (“Zainul Abedin’s 105th Birthday”).

As an artist and a bureaucrat, Abedin primarily created work that was politically engaged and used rural subject matter as a way to communicate the labour and value he saw in the peoples’ struggle of East Pakistan (Sunderason 251). In 1969 Abedin released a series called the ‘Palestinian War Refugee’ (see figure 4), which was inspired by his accepted invitation by the Arab League to visit Palestinian refugees in the 1960’s (Sunderason 253).

Abedin created two museums late in his life: one was dedicated to folk arts, and another to his own works (Dadi “Artistic Pedagogy in South Asia”).

As a founder of the Dhaka Art Institute, Abedin was valued and respected as an artist, an administrator, and for his ability to “promote arts and crafts across both wings of" Pakistan (Dadi “A brief history of Pakistani art”). In 1971, after Bangladesh’s liberation, Abedin was regarded as the founder of modern Bangladeshi art (Dadi “A brief history of Pakistani art”).

# data[].attributes.body
Abedin was an artist and a bureaucrat that strove to cultivate an East Pakistani modernism that emphasized art as playing a vital role in society, to support “human welfare,” to cultivate beauty, and to capture peoples’ struggles (Sunderason 252). Throughout his career he returned to the Bengal famine sketches of 1943 that made him infamous early on for their social realism that accessibly communicates the atrocities he bore witness to (Dadi “Artistic Pedagogy in South Asia”). Abedin worked in a range of mediums including ink, watercolour, oil, drawing, and printmaking (Dadi “Artistic Pedagogy in South Asia”; Sunderason 247). Brushing ink on paper to generate his sketches of the Bengal famine allowed Abedin to create works quickly and with great control on surfaces he found directly around him (Hoek & Sunderason 16).

In Abedin’s sketches of the Bengal famine, he depicted small groups of individuals and families to highlight the quiet yet horrific impacts of the famine that gradually become a part of Calcutta’s landscape (Sunderason 245). Famine’s embeddedness in Calcutta's landscape during the Bengal famine made it central in subject for artists, and shifted their roles to both creator, and “activist” (Sunderason 245). When Abedin’s famine sketches were displayed in London during his studies at the Slade School of Art, British art critic Eric Newton was surprised by the “contradictory” nature he saw in Abedin’s works(Sunderason 249 & 250). He described them as emulating both “observation and contemplation,” which had both the technique of an “oriental” artist and the outlook of “a European eye” (Sunderason 249 & 250). Abedin came up against Western outlooks like these that were confused by the complexity of his works, yet correctly identified their balance of observation and contemplation (Sunderason 249 & 250).

Academic Iftikhar Dadi, describes Abedin’s depiction of rural life and Santhal people (a group of Indigenous people native to current day India and Bangladesh) as an early form of primitivism (Dadi “Artistic Pedagogy in South Asia”). Dadi has pointed out that art historian Partha Mitter, comments on primitivism at the time, for Indian artists, as a tool for anti-colonial freedom (Dadi “Artistic Pedagogy in South Asia”). Dadi does not completely “buy” Mitter’s take on primitivism in this context since it still involves the objectification of Santhal people, which I agree with (Dadi “Artistic Pedagogy in South Asia”). Abedin paints Santhal women in his work in the two “registers” which Dadi describes as: [1] realist and content focussed, and [2] modernist and formally focussed (Dadi “Artistic Pedagogy in South Asia”). These two modes of production show Abedin’s exploration of an East Pakistani modernism, where he resultingly leans towards representational works (Dadi “Artistic Pedagogy in South Asia”). In both methods of making Abedin’s works do not reference modernity in their indications of time: rural and timeless scenes are always depicted (Dadi “Artistic Pedagogy in South Asia”).

After the 1947 partition Abedin was criticized for his adherence to  representational and folk art for his perceived inability to go with the direction of modernist abstraction (Sunderason 250 & 251). In his role as an artist-bureaucrat Abedin’s adherence to realism and folk imagery functioned beyond serving his work, to the modernist visual language he was trying to cultivate for East Pakistan (Sunderason 251). This adherence to realism and his return to his famine sketches only strengthened later into the 1960’s as “political resistance” increased in East Pakistan up until the 1971 Bangladesh liberation War (Sunderason 251). Abedin used realism and folk art to construct an accessible visual language for the people of East Pakistan that highlighted leisure, labour, struggle and political resistance that viewers could see themselves and their surroundings in (Sunderason 240). Struggle was central to Abedin's work: he “heroically rendered” impoverished bodies which separated his work, as an East Pakistani artist, from West Pakistani paintings (Gupta 118). As part of his teaching, Abedin took students on trips to rural villages to learn crafts and folk arts of different areas (Dadi “Artistic Pedagogy in South Asia”).

After Abedin returned to East Bengal (then East Pakistan) as a consequence of India’s Partition in 1947, he was faced with the problem of having interest in folk arts while not being able to directly reference West Pakistani artists who had laid a ground work for their practise (Dadi “Artistic Pedagogy in South Asia”). In the 1920s and 1930s, West Pakistani artists from Santiniketan embodied a kind of primitivism in their works in their depictions of Santhal people and the freedom they felt Santhal people represented (Dadi “Artistic Pedagogy in South Asia”) (Dadi “Artistic Pedagogy in South Asia”). Abedin had to strategically explore appropriation of folk art and references to rural life and Santhal people ways so as to not directly reference West Pakistani artists, given the strict rules of creative production East Pakistani artists had to follow during this time (Dadi “Artistic Pedagogy in South Asia”). The language politics between West and East Pakistan and the power and artistic infrastructure that West Pakistan had allowed West Pakistan to impose rules of creative production on East Pakistan (Dadi “Artistic Pedagogy in South Asia”). This meant that Abedin had to explore ‘East Pakistani’ approaches to already established art making methods from West Pakistan (Dadi “Artistic Pedagogy in South Asia”).

In summary, Abedin used art as a tool to serve people by creating beautiful and/or striking images that largely documented the everyday of East Pakistani people in timeless rural settings in accounts of leisure, labour, and struggle (Sunderason 240).

# data[].attributes.body
Zainul Abedin’s Bengal Famine (see figure 3) and Untitled Famine (see figure 6) are both works that document the Bengal Famine of 1943-44 (Sunderason 246; Hoek & Sunderason 13).

Bengal Famine is a brushed ink drawing on brown paper (although its surface appears cream coloured as photographed). The lightly coloured paper gives a sense that this was a drawing Abedin had prepared for, where he carried a surface with him intending to document his surroundings, rather than a purely spontaneous sketch on a surface he found on the street (which many of Abedin's sketches of the famine were). Its light surface colour in tandem with Abedin’s decisive and bold mark making communicate his mastery of material, and clear intent to document the Bengal famine the day he created it (I imagine by this sketch he had produced many already). In the drawing, three figures are depicted that all move towards its left edge: a woman who is the tallest figure, a boy or teenager at its centre, and a baby or child whom the boy holds tightly against his body. The woman’s head touches the top edge of the drawing while her left arm wraps around the boy and child in a maternal grip (that is soft but propels them forward). The central boy is androgynous with long hair and smudged features, but is presumably a boy given the smudged ink around the figure’s mouth, which could reference facial hair, along with his bare chest. It is clear the boy and child are the woman’s children or family, based on their drastic height differences which communicate their ages (adult vs. children) and her maternal grip around them. The young child is naked and looking forward, which mirrors the woman’s gaze, despite the boy’s attempt to press the child’s face into his chest with his hand. The boy looks at the ground ahead with a blank face, which communicates a tired obedience (one where he carries based on an automatic survival instinct and the woman’s will). The woman is focussed on what is in front of them: Abedin tightens up the rendering of her face in her expression of tired determination, which is shown in her pressed lips, hollowed cheeks and open blackened eyes as depicted with smudging to darken these features. The woman holds a flat cylindrical object in her right hand, which is rendered with dark shading along its short outer edge. The object has four strokes in a ‘V’ shape on its upturned face: it is unclear what this object is, but could possibly hold a small water or food supply, or act as an object to trade, which could be where the three are headed to do. The woman wears fabric that extends to her knees, drapes over her left shoulder and ties loosely behind her back in a make-shift dress. The material leaves the outer part of her left breast and rib cage exposed, and the material is rendered through smooth lines that sensitively follow the curves of her body coupled with straight brashly drawn strokes that capture the materials’ folds in movement. The boy wears what could be pants or a sheet of material draped on and around his lower body as rendered through straight downward strokes. The boy’s legs are drawn with ink smudges, which imply dirty legs and the family’s lack of available hygiene. Each figure is shoeless and has messy hair formed through dense collections of short bold down/outward strokes: the lines’ representation formally contribute to the work’s sense of simultaneous movement and hopeless stagnancy.

The lines in the top right corner of the work, below Abedin’s signature, reference architecture: one line follows the beginning of a contour of stairs next to a collection of straight downward strokes that could be textures on the corner of a building. This loose implication of architecture situates the family outside (and likely on the street knowing the location of the Bengal Famine was seen by Abedin there), which in tandem with their poorly constructed clothing, bare feet, sunken faces, and messy hair all work to communicate struggle and poverty. Each of the figures are sickly thin as particularly highlighted in the boy and child’s stick straight and thin arms and legs. I believe the child’s thin limbs and bulbous belly are characteristic of children experiencing hunger.

Abedin writes his signature and the year 1943 in the top right corner of the work which indicates his intent for the image to serve as documentation of this event with his witness. Abedin documented rural families who came into Calcutta’s city centre in hopes of finding food to sustain them during this crisis. Abedin focusses on providing visual information on the family and only provides small suggestions of environment with minimal ink strokes. This drawing is an example of his interest in creating art that serves and documents the struggles and resilience of East Bengali people (Gupta 118). His centring of the family in the composition, the frame’s tight crop around the figures, and the drawing’s strong downward lines give a sense of the family’s entrapment and stagnancy, despite their movement forward (to the left edge of the composition). This sense of stagnancy with the boy’s mass of dark strokes as hair, darkly shaded facial features, and downward glance give a feeling of hopelessness.

Bengal Famine shows Abedin’s ability to sift out what emotions and scenery are relevant to document his intent, and his mastery of ink drawings given the speed he would have needed to generate this work in motion on the street. The drawing captures the energy of his larger Bengal famine series from 1943-44, and Abedin’s use of the social realist style as a way to document events related to people’s struggle and resilience in the midst of tragedy.

# data[].attributes.body
1. Zainul Abedin, details of the first three panels from Nabanna, wax, black ink and watercolour, 1970.

# data[].attributes.body
2. Zainul Abedin, details of the last four panels from Nabanna, wax, black ink and watercolour, 1970. Accessed 27 Oct 2020. Image taken from Sanjukta Sunderason, “Shadow-Lines,” Third Text,  Vol. 31, Nos. 2-3 (2017): 243

# data[].attributes.body
3. Zainul Abedin, Bengal Famine, ink and brush on brown paper 1943

# data[].attributes.body
4. Zainul Abedin, Palestinian War, pen, ink, and wash on paper, 1960.

# data[].attributes.body
5. Zainul Abedin observes ‘Men’s life classes’ on his visit to the Slade School of Arts in London, and watches R. Nuttall-Smith, assistant to instructor John Bockland-Wright, teach Scottish artist Elizabeth Balneaves, 1952

# data[].attributes.body
6. Zainul Abedin, Untitled Famine, drawing on brown paper, 1943

# data[].attributes.body
8. Zainul Abedin, Details from Monpura’70, black ink and water colour, 1970

# data[].attributes.body
9. Zainul Abedin, Santhal Maidens, 1950s

# data[].attributes.body
Figure 1. Zainul Abedin, details of the first three panels from Nabanna, wax, black ink and watercolour, 1970. Image taken from Bangladesh National Museum, Dhaka. Image taken from Sanjukta Sunderason, “Shadow-Lines,” Third Text,  Vol. 31, Nos. 2-3 (2017): 241.

Figure 2. Zainul Abedin, details of the last four panels from Nabanna, wax, black ink and watercolour, 1970. Image taken from Bangladesh National Museum, Dhaka. Image taken from Sanjukta Sunderason, “Shadow-Lines,” Third Text,  Vol. 31, Nos. 2-3 (2017): 243.

Figure 3. Zainul Abedin, Bengal Famine, ink and brush on brown paper 1943. Bangladesh National Museum, Dhaka. Image taken from Sanjukta Sunderason, “Shadow-Lines,” Third Text,  Vol. 31, Nos. 2-3 (2017): 246.

Figure 4. Zainul Abedin, Palestinian War, pen, ink, and wash on paper, 1960. Image taken from Bangladesh National Museum, Dhaka. Image taken from Sanjukta Sunderason, “Shadow-Lines,” Third Text,  Vol. 31, Nos. 2-3 (2017): 254.

Figure 5. Zainul Abedin observes ‘Men’s life classes’ on his visit to the Slade School of Arts in London, and watches R. Nuttall-Smith, assistant to instructor John Bockland-Wright, teach Scottish artist Elizabeth Balneaves, 1952. Image taken from Lotte Hoek and and Sanjukta Sunderason. “Journeying through Modernism: Travels and Transits of East Pakistani Artists in Post-Imperial London.” British Art Studies, no. 13 (2019): 9.

Figure 6. Zainul Abedin, Untitled Famine, drawing on brown paper, 1943. Digital image courtesy of Mainul Abedin, taken from Lotte Hoek and and Sanjukta Sunderason. “Journeying through Modernism: Travels and Transits of East Pakistani Artists in Post-Imperial London.” British Art Studies, no. 13 (2019):13.

Figure 7. Zainul Abedin, Retreat, sketch, 1952. Digital image courtesy of Mainul Abedin, taken from Lotte Hoek and Sanjukta Sunderason. “Journeying through Modernism: Travels and Transits of East Pakistani Artists in Post-Imperial London.” British Art Studies, no. 13 (2019): 14.

Figure 8 Zainul Abedin, Details from Monpura’70, black ink and water colour, 1970. Image taken from Bangladesh National Museum, Dhaka. Image taken from Sanjukta Sunderason, “Shadow-Lines,” Third Text,  Vol. 31, Nos. 2-3 (2017): 255.

Figure 9 Zainul Abedin, Santhal Maidens, 1950s. Image courtesy of Iftikhar Dadi from the Asia Art Archive, “Iftikhar Dadi: Artistic Pedagogy in South Asia.” Asia Art Archive, https://aaa.org.hk/en/programmes/programmes/iftikhar-dadi-artistic-pedagogy-in-south-asia/search/keywords:zainul-abedin/period/past. Accessed 27 October 2020.

# data[].attributes.body
“Birthday felicitations to Shilpacharya Zainul Abedin.” The Daily Star, https://www.thedailystar.net/arts-entertainment/event/news/birthday-felicitations-shilpacharya-zainul-abedin-1680067. Accessed 24 November 2020.

Dadi, Iftikhar. “A brief history of Pakistani art and the people who shaped it.” Scroll.in. https://scroll.in/magazine/850531/a-brief-history-of-pakistani-art-and-the-people-who-shaped-it. Accessed 3 November 2020.

Dadi, Iftikhar. “Iftikhar Dadi: Artistic Pedagogy in South Asia.” Asia Art Archive, https://aaa.org.hk/en/programmes/programmes/iftikhar-dadi-artistic-pedagogy-in-south-asia/search/keywords:zainul-abedin/period/past. Accessed 27 October 2020.

“Death anniversary of Shilpacharya.” The Daily Star, https://www.thedailystar.net/arts-entertainment/arts/death-anniversary-shilpacharya-1582375. Accessed 24 November 2020.

Eaton, Natasha. Colour, Art and Empire: Visual Culture and the Nomadism of Representation. International Centre for Bengal Studies, 1993, pp. 393. https://books.google.ca/books?id=qeeKDwAAQBAJ&pg=PT402&dq=%22zainul+abedin%22+and+%22artist+of+the+people%27s+struggle%22&hl=en&sa=X&ved=2ahUKEwitrPXE-_3sAhUXFlkFHTxTD48QuwUwAHoECAAQBw#v=onepage&q=%22zainul%20abedin%22%20and%20%22artist%20of%20the%20people's%20struggle%22&f=false. Accessed 12 November 2020.

Ginwala, Natasha. “So Many Hungers.” documenta 14, https://www.documenta14.de/en/south/888_so_many_hungers. Accessed 10 November 2020.

Gupta, Atreyee. “Cosmopolitan Modernism and a Politics of the Self in Muslim South Asia.” Art Journal, vol. 71, no. 3, 2012, pp. 117–119. JSTOR, www.jstor.org/stable/43188558. Accessed 25 Nov. 2020.

Hastrup, Inger. “Bangladeshi Literature in English.” The Journal of Commonwealth Literature, vol. 15, no. 2, 1980, pp. 172–175, doi:10.1177/002198948001500215.

Hoek, Lotte & Sunderason, and Sanjukta. “Journeying through Modernism: Travels and Transits of East Pakistani Artists in Post-Imperial London.” British Art Studies, no. 13, 2019, pp. 1-35. Retrieved from https://doi.org/10.17658/issn.2058-5462/issue-13/hoek-sunderason/001 Accessed 23 November 2020.

Islam, Syed Manzoorul. “From Bengal School to Bangladeshi Art.” Art and the Islamic World, No. 34, 1999, pp. 7-22. Retrieved from http://web.b.ebscohost.com.proxy.lib.uwaterloo.ca/ehost/delivery?sid=71d16c8e-33c7-4243-be08-c2f408e20c67%40pdc-v-sessmgr03&vid=7&ReturnUrl=http%3a%2f%2f Accessed 30 October 2020.

Khan Jahangir, Burhanuddin. The Quest of Zainul Abedin. International Centre for Bengal Studies, 1993, pp. 74. https://books.google.ca/books?id=nIwYAAAAYAAJ&dq=inauthor%3A%22Burhanuddin+Khan+Jahangir%22&focus=searchwithinvolume&q=born. Accessed 23 October 2020.

Kumari, Kritta. “Artist’s Group and Collectives: Calcutta Group 1943.” Critical Collective, https://criticalcollective.in/ArtistGInner2.aspx?Aid=0&Eid=293. Accessed 24 November 2020.

Lookman, Maria. “Shahid Sajjad, Zainul Abedin and a Turn to Nature in Pakistan 1965-71.” University of Oxford, https://podcasts.apple.com/us/podcast/asian-studies-centre/id858440869?i=1000415976739

. Accessed 3 November 2020.

“Partition, 1947: How ‘United Bengal’ Almost Became A New Country | The Quint” YouTube, uploaded by The Quint, 14 August 2020, https://www.youtube.com/watch?v=J8MNNN2o3Mc.

Sanjukta Sunderason (2017) “Shadow-Lines.” Third Text, Vol 31, No. 2-3, pp. 239-259, DOI: 10.1080/09528822.2017.1381426

Accessed 20 October 2020.

Selim, Lala Rukh. “Art of Bangladesh: the Changing Role of Tradition, Search for Identity and Globalization.” South Asia Multidisciplinary Academic Journal, 2014, pp. 1-10, https://doi.org/10.4000/samaj.3725. Accessed 25 November 2020.

Trouilloud, Julia Madeleine. " “Reception of Modern European Art in Calcutta: A Complex Negotiation (1910s-1940s)." Artl@s, vol. 6, no. 2, 2017. Retrieved from https://docs.lib.purdue.edu/artlas/vol6/iss2/7/. Accessed 25 November 2020.

Whiles, Virginia. “Iftikhar Dadi Imran Qureshi Aisha Khalid.” Modernism and the Art of Muslim South Asia, by Iftihkhar Dadi. Art Monthly, pp. 37-38. Retrieved from http://web.b.ebscohost.com.proxy.lib.uwaterloo.ca/ehost/pdfviewer/pdfviewer?vid=1&sid=af84f54d-6937-4f28-96b1-195f03e2638b%40pdc-v-sessmgr01. Accessed 22 October 2020.

“ZAINUL ABEDIN.” Christie’s, http://artist.christies.com/Zainul-Abedin-8989-bio.aspx#loadProfileContent. Accessed 23 October 2020.

“Zainul Abedin 1914-1976.” documenta 14, https://www.documenta14.de/en/artists/21944/zainul-abedin. Accessed 10 November 2020.

“Zainul Abedin 1914-1976.” documenta 14, https://www.documenta14.de/en/notes-and-works/24940/zainul-abedin-1914-1976-. Accessed 10 November 2020.

“Zainul Abedin’s 105th Birthday.” Google, https://www.google.com/doodles/zainul-abedins-105th-birthday. Accessed 10 November 2020.