A national hero and a suffering soldier: the Egyptian farmer in art and literature

Ever since the ancient Egyptians first left their mark on temple walls, the farmer has been the primary hero embodying the story of the land and the Nile. He was not merely a laborer who sowed and reaped, but rather a concentrated image of the spirit of Egypt, a symbol of fertility, generosity, and patience. In every historical era, the farmer reappeared, sometimes through the brush of an artist who translated his features into the hardness of the body and the depth of the gaze, and sometimes through the pen of a writer who made him a popular hero or a troubled man beset by pain.

In the visual arts, the farmer appeared as a living icon; the paintings of Mahmoud Saeed and Hussein Bikar carried the pride of the land. Meanwhile, the works of Engy Aflaaton revealed the human side, burdened with questions and fears. For them, the farmer is not just a drawn character, but an entity that stores the memory of the entire countryside, with its sweat and dignity. In literature, he appeared in the writings of Youssef Idris and Abdel Rahman al-Sharqawi, sometimes as a fighter against feudalism and occupation, sometimes as a simple man working to face his fate with courage. And thirdly, he is a symbol of prolonged suffering, alternating between the harshness of poverty and neglect.

Farmer and symbol of suffering

The transformation of the image of the farmer from a national hero who embodies resistance and dignity to a symbol of suffering that reflects the pains and crises of the countryside reveals the extent of the social and political transformations that Egypt has undergone. Nevertheless, the farmer remains the thread that connects the past and the present, between a land that never ceases to give and a homeland that is incomplete without its children. Egyptian Farmer’s Day reminds us that behind every grain of wheat, every note in a rural song, every painting, and every novel stands this person who created our heritage and carried the history of an entire nation on his shoulders.

The farmer in the visual arts

The presence of the farmer in Egyptian visual arts was not merely an aesthetic choice, but a reflection of the artist’s awareness of the value of the land and the people. Therefore, with the beginnings of the artistic renaissance in the early 20th century, visual artists took the Egyptian farmer as an icon bearing the features of national identity.

Farmers by Mahmoud Said and Mahmoud Mokhtar

In Mahmoud Said’s paintings, we see farmers with proud features and strong bodies, looking like living statues that embody the dignity of the land. His warm colors reflect the spirit and fertility of the countryside, making him the undisputed hero of the painting. In other paintings, he blends authenticity with modernity, taking us back to our roots, where he evokes the farmer as a worker in the shaduf, drawing water from the river. It is a scene that reflects sweat and determination.

The taut, naked body is closer to that of a warrior than a farmer. This is a reference to the fact that working the land is a battle for survival. On the other hand, a woman carrying a water jug appears standing next to a white donkey, balancing masculine effort and feminine values in life.

The statue of the farmer by sculptor Mahmoud Mokhtar is one of the most prominent works that immortalized the image of the Egyptian farmer. It is 42 cm high, and approximately 23 copies were made between 1931 and 1948. This work was an extension of Mokhtar’s creative spirit, inspired by his upbringing in a village near Mansoura. His childhood memories were filled with scenes of the countryside, the canal, and the silt of the Nile.

The farmer woman as a symbol of feminism

With her boldness and struggle, Inji Aflaaton was the voice of the poor and oppressed in a time of social and political darkness. In 1959, she was arrested for political reasons, but she did not give in. Instead, she transformed her suffering and prison experience into vibrant paintings. Before that, she presented a feminist and humanistic image of the Egyptian farmer, especially rural women, who became the focus of her paintings: mothers and fighters at the same time, carrying the land on their shoulders and storing the silence of suffering.

The countryside in everyday life

With a different brushstroke, Hussein Bikar depicted the countryside and farmers in the context of everyday life: scenes of harvesting, rural customs, and popular celebrations. His paintings were not limited to visual depictions, but also documented details of popular culture.

He is joined by the visual artist Hamed Nada, a pioneer of mural painting in Egypt, who completed his famous painting “The Countryside” in 1974 using acrylic and oil paints on canvas. He expressed the image of the Egyptian countryside through multiple symbols such as children playing together and raising sheep and poultry. He also relied on blue, white, and yellow colors to reflect the tranquility and safety of the countryside, as well as its authenticity and Egyptian character.

The Farmer in Egyptian Literature

In Egyptian literature, the farmer was not limited to being a worker on the land, but was portrayed in many ways depending on the circumstances and location. From ancient Egyptian literature to modern and contemporary novels, the farmer may appear as a soldier carrying his weapon in defense of his homeland, or as a farmer who moves from the countryside to the city to face new challenges. He preserves his authenticity and his relationship with the land. Through these contrasting images, literature has reflected the farmer’s ability to adapt, persevere, and carry his rural identity in every location or role. He maintains his values and customs no matter how circumstances change.

In the beginning was the eloquent farmer

It began with the eloquent farmer, whose story revolves around a farmer who was wronged by an employee who stole his property. He was forced to file nine complaints to the chief administrator, who in turn referred them to King Nebkao Ra. The king was impressed by the eloquence and fluency with which the farmer wrote his complaints, so he ordered that the farmer not be responded to immediately, so that he would continue to write his complaints in a style that pleased the king. In the end, the farmer regained his stolen property and received compensation for the damages he had suffered. Thus, the triumph of truth and eloquence became a timeless lesson in ancient Egyptian literature.

This story reflects the image of the Egyptian farmer with his human and moral qualities: he is patient, intelligent, and committed to justice. It shows how wise words can be a tool to confront injustice. This makes the eloquent farmer a symbol of intelligence and truth in Egyptian literary heritage.

The Seven Days of Man and The East of the Palm Trees

In modern literature, the farmer takes center stage: Abd al-Hakim Qasim presents him in his novel The Seven Days of Man as a religious figure, through the life of the dervishes in the countryside, where simple farmers live among the fields, toil during the day, and return in the evening to perform dhikr and chanting. The novel shows how they find refuge from the pressures of daily life in their spiritual practices, highlighting their collective spirit and popular religiosity. It provides a window into rural life from a human and spiritual perspective, far from stereotypes.

As for Sharq al-Nakhil by Bahaa Taher, it presents a more complex picture of the farmers in Upper Egypt, highlighting the struggle against social and economic injustice. It shows how farmers strive to preserve their dignity and identity in the face of challenges, by shedding light on the social and economic tensions in rural Egypt.

Farmer Abdel Rahman al-Sharqawi and Tawfiq al-Hakim

In his novel Al-Ard (The Land), Abdel Rahman al-Sharqawi depicts the suffering of farmers under feudalism and occupation through the character of Muhammad Abu Suweilm, who leads a revolution against injustice, embodying the farmer as a symbol of struggle and resilience. The novel highlights the farmers’ struggle for their rights and illustrates how the land represents life and identity for them.

In contrast, Tawfiq al-Hakim presents a satirical view of the reality of farmers through the eyes of a deputy from the city. The novel reveals the contradiction between official laws and social reality, highlighting the suffering of farmers in the face of ignorance and corruption. It explains that the judicial system in rural areas is often ineffective, which exacerbates the injustice they face.

Farmers of War

In his novel War in the Land of Egypt, Youssef Al-Qaid presents a complex portrait of Egyptian farmers during wartime. The story revolves around an Egyptian man, the academically gifted son of a guard, who is forced to claim to be the mayor’s son in order to join the army instead of the mayor’s real son. The novel shows how farmers are exploited in class conflict, sacrificed to serve the interests of the upper classes. Through this story, the tension between national duty and social injustice is highlighted, as are the farmers’ use as pawns in the game of power.

On the subject of defeat and war, Ali Halima addresses the farmer character through Ismail Imam, the protagonist of his novel A Place Under the Sun. Imam is a young man from a village in Dakahlia who joined the State Lawsuits Authority and was recruited as a reserve officer after the defeat. He remained a conscript until the end of the war, during which he lost his leg. The novel expresses emotional and national defeat.