Page 315 - Art and Crafts of Bangladesh

312 ART AND CRAFTS

Joining Design Center allowed him ample opportunities to get acquainted with the
wide world of folk art and handicrafts. The esteem for folk art that grew in him during
his involvement in the Brotochari movement deepened during this period and he
utilized his own talent to help traditional arts flourish. He arranged for the sale of
saris showcasing traditional designs in a sari shop called ‘Rupayan’ and it helped
develop the taste of middle-class Bengalis.
He was active in the self-rule movement of Bengalis since 1968. During the days of
the mass uprisal in 1969, he participated in the movement as a member of the
Bikkshubdho Shilpi Shamaj. He used to be present along with artists from music and
film sectors in the dramas staged at the Shaheed Minar (Language Monument) area
and in programs of songs of the people sung on moving trucks. In February 1969 he
inaugurated the first Aksharbriksha (Alphabet-tree) in the Bat (Ficus Bengalis) tree
in Bangla Academy (fig. 8.11). In the years 1969 and 1970 he created many posters
in favor of Bengali nationalism. In this manner, Quamrul, a supporter of the Pakistan
movement during the 40s, became a warrior of Bengali nationalism and was
completely involved in the Liberation War of 1971.
Bangladesh period
He got involved in the non-cooperation movement of March, 1971 and was
nominated the chairman of the Resistance Committee of Hatirpul area. On March 23,
he put up at least ten posters portraying the monstrous face of Yahya Khan on the wall
of the central Shaheed Minar. Under his leadership, trenches were dug late in the
night in Hatirpul on March 25, 1971. In the first week of April he left Dhaka for
Kolkata and arrived there on April 12. There he was appointed the Director of the Art
and Design department under the Information and Radio Ministry of the Government
in exile and skillfully fulfilled his duties. During this time the poster based on his
cartoon portraying a monstrous visage of Yahya greatly inspired the freedom fighters
(fig. 4.9). He also arranged an art exhibition in Kolkata in favor of the Liberation War.
During the last half of December he returned to Dhaka to help develop the newly
liberated homeland. Designing the national flag of Bangladesh is the most important
work he did in this period. He also designed the monogram of the Bangladesh
Government. Other than that, he designed the monograms of Bangladesh Biman,
Bangladesh Parjatan Corporation (pl. 4.18) and Muktijoddha Kalyan Trust.
Quamrul’s reverence for Sheikh Mujibur Rahman was steadfast. However, he did
not support Bangladesh Krishak Shramik Awami League (BAKSHAL) or one-party
rule (1975). Nevertheless, after the grievous events on August 15, 1975, he again
boldly honored Sheikh Mujibur Rahman in an open meeting. When the forces
against the Liberation War rose after 1975, the situation was stifling for Quamrul
Hassan and he courageously continued his battle against these forces. His art,
writings and speeches were always against the enemies of liberation. As a result, his
studio was vandalized in the 80s.The cover design of the book Ekattarer Ghatok o
Dalalera Ke Kothay (1986) is designed by him. His rage and hatred for autocratic