Page 156 - Art and Crafts of Bangladesh

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87. K. Sarkar, op.cit., 52-53.
88. Ibid., 20.
89. Ibid., 116-17.
90. Ibid., 79-80.
91. J. J. Narzary, op.cit., 58-59.
92. Ibid., 58.
93. Jaya Appaswamy, op.cit., 12.
94. J.J. Narzary, “A history of environmental sculpture and Ramkinkar Baij”, Nandan, (Santiniketan
1980), 27-28.
95. Ibid., 27
96. J. Appaswamy, op.cit., 13.
97. Mrinal Ghose, op.cit., 121-122.
98. Nazrul Islam, Abdur Razzaque, (Dhaka 2003), 27.
99. Ibid., 23.
100. Nasimul Khabir, Garan O Upakaran, Oikya O Boichitra, (Dhaka 2006).
101. Nazrul Islam, ‘Hamiduzzaman Khan a Modern Sculptor’, in Akhter Jahan (lvy) (ed.), Hamiduzzaman
Khan a Modern Sculptor, (Dhaka 2005).
102. Loc.cit.
103. Loc.cit.
104. N. Khabir, op.cit.
105. Moinuddin Khaled, ‘The Contemplative Sculpting’Solo Sculpture Exhibition, Ivy Zaman, (Dhaka 2003)
106. N. Khabir, op.cit.
107. In assessing the global context of the War of Liberation of Bangladesh, it is to be noted that there was
a distinct polarization of power between the socialist and capitalist countries during that time. The then
Soviet Union and the East European countries gave their support to Bangladesh during the Liberation
War. Naturally after independence the civil and military officials, diplomats and cultural personalities
from Bangladesh visited those countries. They saw the sculptures on the theme of the socialist
revolution and this experience influenced their concept of sculpture. The reminiscences of Major
General Amin Ahmed Chowdhury in this context give us some idea about the situation. He narrated
that he had the opportunity to travel to the then East Germany and the East European socialist
countries after the War of Liberation. Observing the sculpture of those countries he was inspired and
encouraged and rendered all out cooperation to Abdur Razzaque to build a sculpture named,
Muktijoddha (Freedom fighter) at the Chourasta or crossroads in Jaydevpur. Major General Amin
Ahmed Chowdhury discussed this at a memorial discussion on Abdur Razzaque organised by Gallery
Dots on 3 February 2006. Reviewing the sculptures of the Liberation War, two trends are distinctly
visible. One of them upholds the ideal of Socialist Realism and wish to express the revolutionary ideas
of socialist sculptures. The other trend is very distant from reality and displays ideals of the
independence and a variety of information through symbols. Symbols used here include the hand,
rifle, water-lily, the sun, pillar, significant numbers and many other objects. --Editor
108. Rabiul Hussain, “Bangladesher Sampratik Bashkarja Shilpa”, The Daily Dainik Sangbad, 5
September 1991.
109. Shamsul Wares, “Bashkarja Shilpa O Khaleder Aparajeyo Bangla”, The Weekly Shandhani, 16
December 1979.
110. For details see Hamiduzzaman Khan, Contemporary Art Series of Bangladesh -41, Bangladesh
Shilpakala Academy.