Page 318 - Art and Crafts of Bangladesh

FIRST GENERATION ARTIST 315

The same analysis is valid for his drawings also. When drawing human figures, folk
artists prefer to draw heads in profile. Quamrul has used this technique in such a way
that the two-dimensionality of the image is intact, but a three-dimensional volume is
created. To achieve this effect he borrowed from Cubism. Pablo Picasso (1881-1973)
was clearly the major influence on him in this case. Like Picasso, Quamrul also
succeeded in the combined representation of a face seen simultaneously from the side
and front. Besides, it seems as if he was following Picasso’s footsteps when he placed
an eye outside the face in some instances (pl. 1.14). 111
Like Cubists, Quamrul consciously avoided showing the full figure and endeavored
to build figures by composing different parts. An effort to break the planes of forms
and to overlap different parts and to create multiple dimensions in an image is
apparent in his art. This trait is common in his works done during the 70s and 80s.
This synthesis between folk art and modern art was a part of his relentless
experimentation. As a result, conscious geometric lines along with spontaneous lines
in the manner of pata paintings can be easily discovered in his art.
Quamrul Hassan’s quote concerning Jamini Roy should be considered here:
‘Quamrul Hassan begins where Jamini Roy ends.’ Jamini Roy avoided the grandeur
and complexity of European techniques and strived to maintain the two-
dimensionality of folk art along with techniques, method of color application and the
narrative style of pata painting. The achievement of wholeness in images based
solely on two-dimensionality is the strongest characteristic of his style. He has taken
lessons by following the patas from Kalighat and the balance inherent in the
compositions on the terracotta plaques of the temples of Bengal. Decorativeness
along with taking recourse to the religous narratives in the manner of folk art also
became a part of his visual vocabulary. But Quamrul was interested in adding
complexities of modern European art. He picked up elements from folk art only to
help viewers understand that his art is rooted in the heritage of Bengal. Perhaps such
an attempt can be sporadically found in Jamini Roy’s art also. However, these
attempts to integrate modern art with folk art are not as successful and mature in
Jamini’s works, as they are in Quamrul’s. Quamrul avoided decorativeness and chose
to portray contemporary life instead.
The patriotism in Quamrul Hassan’s art was born as a result of his involvement in
folk art. The love for his own country is manifest in his search for worthy subject
matters. The subject matters that dominate his canvas clearly represent Bangladesh.
These are all signs that the search for the true identity of his country was active in his
spirit. His artistic spirit was not blinded by the artificial trappings of urban life.
Contrarily, he was passionate about the life of lower class people. Some of the
important works that bear testimony to this fact are Goon Tana (oils, 50’s), The
Happy Return (oils, 1960 – painted as Naiyor in 1975), Baul (watercolor, 1967-
Linocut, 1974 – oils, 1977), Jele (fisherman) (watercolor, 1967 – oils, 1982), Gorur
Snan (bath of the cow) (watercolor, 1967), Fish Dream (linocut, 1974), Meen o Biral/
(fish and cat) (gouache, 1974), Nabanna (watercolor, 1977) etc.