Page 325 - Art and Crafts of Bangladesh

322 ART AND CRAFTS

size. The paper is used differently for different writings; sometimes the paper is
used vertically, sometimes horizontally. Sometimes the lines are all equal in size
and sometimes the size varies. His use of multiple colors, variety in size and area,
sometimes arranged like lines of verse and employing drawings or designs to fill
in the empty space – have all combined to create unparalleled beauty.
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In a discussion related to the development of his art, the works done during his student
years are to be considered first. Among the works done in the period between 1938
and 1947 the following deserve special mention; Zoo Study (watercolor, 1938), Eider
Chand Dekha (sighting the Eid moon) (Watercolor, 1930’s), Jharer Pakhi (after the
storm) (pencil, 1942), the portrait of Sirajuddowla (gouache, 1943) and two famine
sketches (Pen and ink, 1943). These works clearly reflect the effort to follow the
academic method. The influence of Mughal miniature paintings is evident along with
academic method in the three works done in watercolor and gouache. It should be
remembered that as a student of the first year he received guidance from Abdul Moin
(1913-39), who was the first Muslim teacher of Calcutta Art School and highly skilled
in Indian miniature paintings. Although this teacher died within the first year of
Quamrul Hassan’s arrival in the art school, he remembered him until his death. This
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artist was motivated by the Bengal School of art, established by Abanindranath Tagore
(1871-1951) and the first phase of Quamrul’s art is a testimonial that Abdul Moin’s art
had a constructive influence on his artistic perception.
Quamrul painted in the method of pata paintings for the first time for the exhibition
of Muslim artists held in the Islamia College, Kolkata; but this attempt was a little
isolated. It was mainly during the 50s that he felt at one with folk heritage, stirred by
Zainul Abedin’s opinions. The art of Jamini Roy and Nandalal Bose also influenced
Quamrul. Simultaneously, he was enthused by Picasso’s Cubist style and Matisse’s
use of color. However, Quamrul’s achievement lies in a successful integration of the
stylistic qualities of eastern and western art. He was dedicated to form an original
method of art combining the spontaneous lines used in folk art and pure geometric
lines of Cubism.
The artworks done in the 60s express romanticism. In this decade, portraying females
integrated in nature became a major aspect of his art. Although both these trends were
present in his art as early as in the 50s, they became obvious only in the 60s. Also, as
it was in this decade that he had ample opportunities to be involved in folk art, its
influence on his art became stronger.
During the seventies his art was swept away by a new dream for a free country. His
works portrayed nature in close association with the simple lifestyle of rural men and
women; birds and animals that are a part of daily life also crowded his canvas. Folk
tradition continued to be incorporated in his work. However, his dream did not last
long. He was distressed by unfulfilled dreams and an all-encompassing annihilation