Page 316 - Art and Crafts of Bangladesh

FIRST GENERATION ARTIST 313

military rule was also intensely reflected in this period. He was exposed to the ideal
of communism in the 40s; his involvement continued in the decades of the 50s and
60s and grew in the period after the liberation. During the 80s he was active in
several communist organizations.
His creativity progressed uninhibitedly along with his constant struggle in favor of
humanity. His creative activities continued, regardless of circumstances. No matter
where he was, at home or in the office, in meetings or fairs, in the middle of a journey
or at a station – everywhere – he created drawings on any available material, such as
a scrap of paper or a box of cigarettes. This trait was innate in him and his drawings
were executed in great speed. In this manner, he left behind countless creations. He
gladly gave away his creations to his close acquaintances, and was not at all business-
minded concerning the sale of his art. He believed in disseminating his work among
a large number of people.
Artistic Consciousness
1.
The inspiration for incorporating folk traditions in his art is not superficial at all. This
love for tradition was implanted in the core of his ideal of life. As a result, the
attributes of folk art profoundly influenced his artworks. A scrutiny of his drawings,
techniques of delineating figures, use of colors and lines point to this fact. Historical
studies of his devotion towards folk traditions reveal several sources.
First of all, one year after his enrolment in Calcutta Art School (July 1938), he
participated in a monthlong Brotochari camp (December 1939). This movement was
established by Gurusaday Dutt with a view to establish the richness of Bengali
heritage to stand against colonialism. Quamrul was hugely inspired by this movement
and believed in its ideals until his death. It was in this camp that he got acquainted
with patuas (folk painters) and learned about the significance of pata paintings as the
oldest art form of Bengalis. He was mainly attracted to their use of primary colors,
drawing of figures in profile, two-dimensional quality, spontaneous use of lines etc.
and incorporated these visual elements in his own artworks. Due to his deep
reverence and love for this traditional art form of Bangladesh he felt proud to
introduce himself as a ‘Patua’. It was in this camp that he learned the Raybenshe
dance of Birbhum and he was determined to demonstrate the energy of Bengali
people through this dance. His work Raibenshe Nritya (Linocut, 1974) is a proof of
this statement (fig. 8.12). The speed and boldness displayed through the excellent
composition in this work also speaks volumes for the artist’s skill.
Secondly, the ideals of art practiced by Jamini Roy (1889-1972) and in some cases
Nandalal Bose (1882-1966) have influenced Quamrul Hassan. When he again turned
to look at folk art as a result of Zainul’s suggestion in the 50s, Jamini Roy’s art along
with pata paintings presented themselves as his ideal. It is evident in an evaluation of
Jamini Roy by Quamrul Hassan. 109 However, the capacity he showed in synthesizing
qualities of modern art with folk art invoked a realization in him that he had long