Page 39 - Art and Crafts of Bangladesh

36 ART AND CRAFTS

the urban environment of Kolkata, Safiuddin settled in Dhaka after the partition and
he was fascinated at the endlessly stretching nature, boundless mass of water and the
simple and lively way of life of the peasant people of East Bengal. From then on, the
main subjects of his paintings and prints became water, fish, and boat and the
symbolized eye. Gradually he became inclined towards semi-abstract geometric
representation of forms and at the same time, he became interested in integrating the
various motifs of folk art on his pictorial surface (fig 1.18).
In 1950, Khwaja Shafique Ahmed joined the Government Art Institute in Dhaka and
as the head of the applied art department he made significant contribution in
developing this branch of art. His repute in representing scenes of various festivals of
our society in the watercolor and gouache mediums is substantial. Brightness of colors
and his perceivable application of light and shade in Durga Bisarjan (fig 1.19), Eidul
Fitr and other paintings deserve to be mentioned. Along with Kazi Abul Kasem and
Quamrul Hassan, Khwaja Shafique Ahmed has made significant contribution to the
growth and development in quality of applied art. In the year 1965-66, he created a
few experimental paintings using sand, rope etc.
At a very early age, Quamrul Hassan joined the Bratachari movement founded by
Gurusaday Dutt. Though his direct association with the movement ended in 1948, its
substantial effect on him can be perceived throughout his life. The Bratachari
movement initiated in Quamrul love for the country, its people and its indigenous
rural culture which, in later periods, acted as a great realization and influence in his
painting. Through his study of Bengal’s jari-sari songs, baul songs, dhaly dance,
dance of the lathial, raibenshe dance etc., Quamrul became acquainted with the
grassroots of the cultural spirit of Bengali people. The same stimulus fuelled his
interest in indigenous paintings, dolls, sculptures, crafts etc. and his urge to use these
as inspiration in his art work. At the first stage, Quamrul Hassan worked under the
influence of the European academic style and the Bengal School, striving with
honesty to create an image of the visible reality. Pratibeshi, Peep are mentionable
examples of his work in this style. Nevertheless, this kind of mimesis gave him no
fig. 1.19 Khwaja satisfaction. Practice of pata painting during the Bratachari movement, the influence
Shafique Ahmed, of his teacher, Zainul’s work and his attraction to Jamini Roy’s painting attracted
Durga Bisarjan
Quamrul Hassan to folk art. The folk form of the craft of clay dolls influenced him
particularly. From the beginning of the fifties, the female
figures in his paintings have full forms like clay doll, long
neck, eyes and nose stylized in the folk style and throughout
the canvas, a two-dimensional design quality is established.
Three women (pl. 1.14), Guntana etc. are works of this style.
In this period, his subject was mainly the mother and child;
woman in many postures; single, double or triple faces of
woman; family; everyday household chores; man
accompanied by animals etc. A happy, content, ideal rural