Page 139 - Art and Crafts of Bangladesh

136 ART AND CRAFTS

Abdur Razzaque’s classmate Rashid Choudhury (1932-1986) went to France in
1960 to study sculpture and fresco at the Ecole de Beaux Arts. On his return to
Bangladesh in 1964 he executed some sculptures but it is now unknown where they
are and in what condition.
Anwar Jahan (1940-1993) was born in Narayanganj. He was the first student of
sculpture at the Institute of Fine Art in Dhaka. In 1965 he completed the five year
course on painting and then a one year course on sculpture under Abdur Razzaque's
supervision. His medium was primarily woodcarving but he also has worked in clay
and metal welding. Notable too is his use of mixed media. In wood, his work was
figurative. He has done large-scale wooden pieces. Some of his work in wood hint at
primitivism as the figure is carved out from the wooden block (pl.2.15). He also did a
fig. 2.43 Syed Abdullah number of relief sculptures. His figures are somewhat simplified, the basic form has
Khalid, Atmabishleshan, received more emphasis than details. We see him most active in the sixties.
terracotta, 2000 Syed Abdullah Khalid (1945- ) was born in Sylhet. He studied in the Painting
Department of the Institute of Fine Art in Dhaka. As a student, he worked at the
Ceramics Department. His main oeuvre is portraits in clay. He also has done some
compositions in clay. These are in terracotta. His most important work is Aparajeyo
Bangla commemorating the Liberation War of 1971 (pl. 2.35). It has become a symbol
of national inspiration. 100 It stands on the open space in front of the Arts Faculty
building of the University of Dhaka. Figurative sculptures in terracotta features most
importantly in his sculptural works (fig. 2.43). Moreover, he has executed some
cement castings by dissecting the figure.
The Language Movement, self-rule movement and War of Liberation has played an
enormous role in changing the spirit and consciousness of the people and the art world.
The progressive, secular perspective that grew in the artist community extended the
scope of sculpture in Bangladesh. This became particularly apparent after 1971. The
fig. 2.44
Hamiduzzaman Khan, freedom of thought of the intellectuals of the newly liberated country, the inclusion of
The Gate – secularism and socialism in its constitution etc. were the reasons which made people
Remembrance ’71, feel that it was possible to realize the pre-liberation ideals. Moreover, cultural
bronze, 1976 exchanges with many different countries began to grow. New ties were formed with
India. As a free country and with the improvement in international communication,
exchanges and contacts with many different countries of the world
increased. With government scholarships and other means artists from
Bangladesh were exposed to India, Japan, China and East European
countries. The traditional role of sculpture in civilization to
commemorate important events and express views inspired the artists of
Bangladesh, added to this was the aesthetics of Socialist Realism from
the socialist countries. The sixties and seventies were a time of strength
for Socialism. People were inspired anew by the example of the small
country of Vietnam defeating the imperialistic USA.
It became important for Bangladesh to immortalize the Liberation War
by creating monumental out-door sculptures. These expressed a