Born on 1 September 1935, Monwar was the son of the celebrated poet Golam Mostafa. After completing his formal art education at the Government College of Art and Craft in Kolkata, he adopted painting not merely as a profession, but as a medium to reflect his philosophy on life and society. His mastery over canvas, composition, and line work distinguished him amongst contemporary artists. However, his creative contributions extended far beyond fine arts, shaping the landscapes of puppetry, television broadcasting, stage production, and arts education.

Widely revered as the “Puppetman of Bangladesh,” Monwar pioneered the development and popularisation of puppetry across the country. By weaving local folklore and traditional fairy tales into puppet shows, he created an engaging artistic medium for younger audiences. Beloved puppet characters like Parul, Bagha, and Mini, alongside his popular television show ‘Moner Katha’, captured the imaginations of generations. His adaptation of folk tales such as ‘Sat Bhai Champa’ demonstrated how traditional roots could seamlessly merge with modern television formats.

Monwar’s contribution to the development of television broadcasting in Bangladesh remains fundamental. Joining Pakistan Television as a producer in 1964, he went on to play a pivotal role in the early development of Bangladesh Television (BTV), orchestrating innovative programming including the renowned youth talent hunt ‘Notun Kuri’. As a director, he adapted classic literary works for the screen, most notably Rabindranath Tagore’s ‘Raktakarabi’ and William Shakespeare’s ‘The Taming of the Shrew’.

During the 1971 Liberation War, Monwar used his artistic medium to support the national struggle. He organised puppet shows across refugee camps in West Bengal, performing anti-oppression plays such as ‘Agacha’, ‘Rakshash’, and ‘Ek Sahasi Krishak’. Footages of his wartime puppet performances were later preserved in Tareque Masud’s acclaimed documentary ‘Muktir Gaan’. Furthermore, his design achievements include creating ‘Mishuk’, the official mascot for the 2nd SAF Games, and designing the iconic rising sun backdrop behind the Central Shaheed Minar in Dhaka.

In recognition of his outstanding contributions to Bangladeshi art and culture, the Government of Bangladesh awarded him the Ekushey Padak in 2004, alongside numerous lifetime achievement accolades throughout his career. His passing marks the end of an era, but his legacy endures through his vast portfolio of work, his students, and the cultural memory of the nation.