Page 217 - Art and Crafts of Bangladesh

214 ART AND CRAFTS

in the hands of Hashem Khan. The prominent feature of his work is the use of bright,
primary colors. The use of typography to make it more accessible to children is
another feature of his work. We can name Asad Chowdhury’s Ekka Dokka or Lutfar
Rahman Riton’s Hijibiji as examples.
Hashem Khan’s illustration is very unique. His drawing is easily recognizable. He has
illustrated hundreds of books in his unique drawing style. A few examples of his
numerous works of 35 years are Agdum Bagdum, Chhoray Chhoray Chhanda, Ek je
Chhilo Nengti, Hattima Tim Tim, Bhije Beral, Talpatar Sepai, Shishu Barshiki,
Rajakarer Chhara etc. He made his country, people, environment, nature and history
easy and accessible to children through his cover and illustration.
He showed his excellence not only in children’s books but also in illustrating books
for adults. Sojon Bandiyar Ghat or Nakshi Kanthar Math can be referred to in this
regard. Apart from this, the covers of stories, novels or essays published from Bangla
Academy or Muktodhara feature his originality. The use of screen, simple drawing and
lively lettering in spontaneous brush strokes make the covers captivating. From the era
of block up until the era of computer technology of today, he continues to work on
innovative book illustration.
Rafiqun Nabi is another prolific cover and illustration artist (pl. 4.13). He is famous
for his cartoons and satire, especially for the character Tokai. The cover and
illustrations he has done with powerful drawings and skilled application of
transparent watercolor is easily appreciated. He did cover designs and illustrations of
books for adults as well as children. The significant feature of his work is the
prominence he gave in the expression of the figures, especially for books of stories
and rhymes for children. For example, we find in an illustration of Ahsan Habib’s
Chhutir Din Dupure a young boy and a girl running, the nut vendor’s nuts falling,
squirrel sitting on a tree and looking around. The movement of the running children
and the expression of the nut vendor display Rafiqun Nabi’s strength in drawing. He
did illustration in his own unique style, sometimes in brush, sometimes in nibs, at
other times with a mixture of both and also in watercolor wash. A few names among
his numerous works are mentioned here: Ahsan Habib’s Brishti Pore Tapur Tupur,
Belal Chowdhury’s Shaptoratner Kandokarkhana, Shamsur Rahman’s Golap Phote
Khukir Hate, Rafiqul Huq’s Panta Bhate Ghee, Bulbon Osman’s Kanamama,
Ekhlasuddin Ahmed’s Hotath Rajar Khamkheyali, etc. Among essays, satire or
illustrated books for adults we find Rafiqun Nabi’s covers in books like Satyababu
Mara Gechhen, Modhyarater Ashyarohi, Hyenar Khanchay Odommyo Jibon, China
Kabita, Alef Miyar Dhaka Darshan etc.
We can mention Pranesh Mandal, Mohammad Idris, Samarjit Roy Choudhury, Kalam
Mahmud, Syed Enayet Hossain, Ashish Chowdhury, Golam Sarwar, and Abul Barq
Alvi as book illustrators of the 60s. Many names can be added to this list. All of them
have done a number of very good covers and illustrations in their unique styles.