Page 292 - Art and Crafts of Bangladesh

WOMEN ARTISTS 289

With women artists entering into the fig. 7.30 Nasima Haque
mainstream art world, the Mitu, Mass and
representation of women in art has Balance, wood, 2006
been transformed. Women often
represent themselves as the subject.
Thus, the objectification of women or
role as ‘other’ in the eyes of men in a
male-centric art world has naturally
not featured in the works of women
artists. Women have portrayed their
experiences and emotions with their
own existence and from their own
perspective. The unity between the art
of the women of the most distant past
and the women of today is that women
still want to represent communal life
and change it with their art.

Notes and References:
1. Robert Skelton, ‘Folk Art Other than Paintings and Textiles’ in Robert Skelton and Mark Francis (eds.)
Arts of Bengal: The Heritage of Bengal and Eastern India, (London 1979), 57.
2. Sila Basak, Banglar Brataparban, (Calcutta 1998), 2.
3. Niharranjan Roy, Bangalir Itihas: Adiparba, (Calcutta 1990), 483.
4. Ibid., 484.
5. Pupul Jayakar, The Earth Mother, (Calcutta 1990), 117.
6. Stella Kramrisch, ‘Foreword,’ ibid., 21.
7. Sudhansu Kumar Ray, The Ritual Art of the Bratas of Bengal, (Calcutta 1961), 42.
8. S. Basak, op. cit., 35.
9. Ibid., 29.
10. P. Jayakar, op. cit., 42-43.
11. Dineshchandra Sen, Brihatbanga, Vol. 1, (Calcutta 1993), 425.
12. Ibid., 426.
13. Jasimuddin, ‘Pallishilpa’ in Mihir Bhattarchaya and Dipankar Ghose (eds.), Bangia Shilpya Parichoy,
(Kolkata 2004), 50-58.
14. Mohammad Sayeedur Rahman, ‘Decorative Arts,’ in An Anthology of Crafts of Bangladesh, Dr.
Enamul Haque (ed.), (Dhaka 1987), 28.
15. Jasimuddin, op. cit., 50.