Page 138 - Art and Crafts of Bangladesh

SCULPTURE 135

semesters and a summer course though printmaking was his major subject. Abdur
Razzaque was almost equally attracted to the different media of art. He worked in
painting, printmaking and sculpture. In sculpture he worked in the media of wood-
carving and metal welding. He also worked in the modeling technique. He was very
conscious about the finishing of his work. He believed in purity and completeness.
This is perhaps why he did not have a large oeuvre.
It is perhaps contextual to mention that he began to work on sculpture after the
sculpture department was set up. The established trend of sculpture in Bangladesh is
largely the contribution of Abdur Razzaque. He had not learnt sculpture in the
academic process, thus we do not note the same struggle to break from the bonds of the
academic method that is seen in India. On the contrary, the academic or Neoclassical
style seems to be an ideal which pervades the world of sculpture of this country to this
very day. The absence of the academic trend seems to be a gaping wound. It continues
to be a dream of many sculptors to master the western academic method. In this aspect
the Dhaka centered art world is completely different from the west.
If we observe the work of Abdur Razzaque we note that he himself has worked on
experimental pieces and a variety of media. On analysis we can trace three different
trends in this work. One is related to the Neoclassical style, in his carving we perceive
the feel for the organic, other than these are his assemblages which retain the
individuality of the found object.
His figurative sculptures may generally be related to the neoclassical style. These
show the simplified presentation of the natural or real. His Face of a Woman of 1964
(pl. 2.14) or Seated Figure represents this trend. In addition, his large-scale Freedom fig. 2.42 Abdur
Fighter of 1972 at the crossroads of Jaydevpur, 12.8 meters in height, is an example Razzaque,
of this trend (fig. 2.50). These works are mainly done in the modeling process. His Construction-2, wood,
woodcarving displays the contrast of smooth and rough surfaces, the balance of the 1995
convex and concave or creates drama through light and shade. These seem to
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represent nature through the organic. Abdur Razzaque’s childhood was spent in the
village which is perhaps why he thought of nature as his greatest inspiration. 99
Important examples of this trend are Construction-2 (1975) (fig. 2.42) and Form
(1976). These seem to represent different organic elements in nature. His assemblages
are done in wood or metal. His works in the metal welding process exemplifies Abdur
Razzaque’s sense of amazement in the individuality of the material, its uniqueness and
beauty. His sculpture has been composed by keeping intact the individual quality of
the material. In his wooden pieces he has tried to transform the material with his ideas.
Abdur Razzaque’s greatest contribution was nurturing the study of sculpture among
his students. His inquiring spirit, his absorption in the multi-dimensionality of nature
and art, his curiosity about the international and local trends in sculpture, his
enthusiasm and wonder about the varied world of art has lent him distinction. His
work depicts experimentation in style and technique. He has not directed himself to
any particular point but has experimented from different directions.