Page 211 - Art and Crafts of Bangladesh

208 ART AND CRAFTS

commented on the book, ‘I had no idea that such good illustration printing … could
be done in Bengal.’ Upendrakishore Raychaudhuri himself wrote in the introduction
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of his book, ‘…none of these are copies of any English book.’ [Trans.] His work is
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spread out in several famous books like Tuntunir Boi (1910), Chheleder Mahabharat,
Chheleder Ramayan etc. Numerous examples of his talent in printing and drawing can
be found in Sandesh, an illustrated children’s magazine.
Sukumar Ray (1887-1923), the extraordinary son of Upendrakishore made several
wonderful things happen in the book illustration of Bengal. Every single rhyme and
poetry in Abol Tabol is accompanied by drawings showing wonderful imagination and
humor---for example, characters of Hasjaru (a combination of duck and porcupine),
Ramgorurer Chhana, Kakeshwar Kuchkuch or Pagla Dasu are some of his memorable
creations. This is not just a glorious achievement in the context of Bangladesh but for
the whole world as well. Bengali book illustration discovered its own distinct style
through the achievements of Upendrakishore Raychaudhuri and Sukumar Ray. It was
proven through their work that book cover or illustration is not only commercial in
aim but can also be a work of art enriched with creativity and imagination.
Rabindranath Tagore (1861-1941), Abanindranath Tagore (1871-1951) and
Gaganendranath Tagore (1867-1938) ---the three members of the Tagore family of
Jorasanko are luminous stars in the history of art in Bangladesh in their own respect.
They have added a special dimension in book design and illustration following their
own artistic style and technique. Khajanchir Khata (1921) or Buro Angla (1348
Bengali year) carries Aban Tagore’s unique style and patriotic spirit. Gaganendranath
Tagore did the cover of Raktakarabi (1927). Keeping pace with the new kind of drama
Rabindranath was writing, Gaganendranath did a Cubist (!) kind of cover which was
somewhat Indian in style in black and white, light and shade, and a density of
geometric shapes. Tasher desh or Chandalika can be taken as examples of unusually
sophisticated and aesthetic covers with Rabindranath’s own drawings (pl. 4.11). On
the cover of Parishesh, we find the title written in his own hand and the picture is
printed and pasted separately. Possibly this is an influence of the Japanese style. 43
Among other book covers designed by Rabindranath Tagore Khapchhara, She Dui
Bon are his significant works.
If an artist, who is brilliant and creative in the true sense, works on book illustration,
fig. 4.13 Nandalal
Bose, Nataraj it takes on a different dimension. Nandalal Bose can be regarded as an excellent
Riturangashala, example in favor of this statement. He has blurred the line separating painting and
illustration illustration. In the first edition of Bichitra, Nataraj Riturangashala (1927) was