Page 320 - Art and Crafts of Bangladesh

FIRST GENERATION ARTIST 317

actions such as, actively participating in various cultural
congresses and activities that took place in the country during
the 50s, showcasing Bengali identity by using the Bengali
alphabet as motifs in saris, joining the mass uprisal of 1969
under the banner of ‘Bikshubdho Shilpi Shamaj’, inaugurating
the Aksharbriksh (alphabet tree) in the Bangla Academy and
finally by participating in the non-cooperation movement in
March 1971, and leaving for Kolkata with the intention of
dedicating himself in various activities to aid the Liberation War
was the final expression of his political commitments. The
poster with the demonical portrait of Yahiya is an immemorable
creation by him (fig. 4.9). When the Mujibnagar Government
decided to disseminate more than one lakh copies of this cartoon
as posters, it fired the spirit of freedom fighters and supporters
of the Liberation War to such a great extent that, it became an
integral part of the history of the Liberation War. This cartoon is
significant not only in terms of thematic relevance, but also in
artistic merit. It is a result of a long period of study and
experimentation on the artist’s part. During the Liberation War,
another cartoon by Quamrul Hassan was printed in the People
newspaper, published from Mujibnagar. In this cartoon the monstrous figure of fig. 8.14 Fox, oil, 1976
bloodthirsty Yahya is seen sitting on the skull of a Bengali; this cartoon was also
politically motivated. Some of his other mentionable works based on the Liberation
War are Freedom Fighter (Sketch, 1971), Female Freedom Fighter (Black Ink,
1971)(fig 8.12), Ganahatyar Agey O Ganahatyar Porey (before and after the
genocide) (oils 1971), 1971-er Seisab Janowarder Jer Teney (speaking of the animals
during 1971) (sketch 1972) etc.
His series titled Image ’74 shows the crystallization of his political views. He
witnessed a tendency to sacrifice ethics and morals for selfish gains among the
bureaucracy, businessmen, political figures and rulers in the newly liberated country
and it greatly enraged and pained him. The series Image’74 is rich in terms of
symbolic representation of the new evil forces in the newly formed nation. Snakes,
lizards, foxes etc. are used as symbols. Bureaucratic sluggishness is portrayed
symbolically through the turtle. The visual language of these images, done in linocuts
and wood engravings is different from his previous works. A grim scenario is revealed
through the stark black and white images. The image titled Fox (Oils, 1976) also
embodies Quamrul’s political thoughts (fig 8.14). fox has entered the canvas as a
symbol of violent and complex anti-democratic forces that ruled the country after the
change in the political scene in 1975.
The last creation of the artist is also important as an example of his political
understanding and love for his country. In the cartoon titled Desh Aj Bishwabehayar