A marvellous melange of lyrical lines

Hamidduzaman Khan

Appointment", a collection of superb works by artists ranging from Hamiduzzaman Khan, Ivy Zaman, Abdus Shakoor, Ranjit Das to Javed Jalil and Anukul were seen recently at "Shilpangan". The cohesive whole was the product of a workshop at the "Shilpangan" premises, including a series of "addas" or what you will. It brought in water colour, acrylic, ink brush work, mixed-media paintings and sculpture in bronze. The final product of the quick span of time, was an amazing conglomeration of amazing pieces of art work that one wanted "to stand and stare" at .

Hamiduzzaman Khan, Bangladesh's leading sculptor, had water colour portraits of Hill Tracts women in red and black. In these paintings he had also brought in impressions of faces of Korean women whom he had seen in the recent past. The Bandarban women too were reminiscences of his working holiday, some time back, to the hilly areas, as Hamiduzzaman explained. The details of the jewellery at the neck and ears, the formation of the faces, with their fine proportions, were brought in with swift, deft strokes giving the collection a dramatic impressionistic effect. Details of the cascading chunky silver jewel -- chokers and pendant -- along with "jhumkas" dazzling down from the ears and the hair pulled tightly back in the typical top knot or lyrical swirls of hair were included with dexterity. Geometrical motifs of scallops, dots, loops and semicircles along with barred lines formed the details of the embellishments. At times there was a variation in the hair hue but then too the eastern aesthetics had been preserved with undeniable subtlety. The saris or upper garments were brought in with details such as polka dots. Despite the quick work the final effect was elegant, vibrant and truly artistic. "I have done the works with a few lines and within a short period of time," commented Hamiduzzaman, "The results within the short time gives one special joy and sense of achievement."

Speaking about his remarkable collection of landscapes, Hamiduzzman said, " I go to many scenic spots and carry away their memories in my mind and these are such products of my recent trip to the Hill Tracts." Asked how he felt about doing his water colours as compared to the metal sculpture for which he is only too well known, the Head of the Sculptor Dept., Fine Arts Institute, DU, says, "It is totally different and this was far more relaxed an effort: they were simpler and easier to execute being products of more or less leisure hours. I simply played with the brush and colours on the paper and got the desired effect within a short spell of time. I used flat brushes so that I finished my work very quickly. Some details were added later with smaller and finer brushes to get superimposed close-ups of boats and human beings included in the landscapes, to add variation in the composition."

Asked about his new work in the Asian Biennale scheduled next month, Hamiduzzaman said that he was working with six-feet-tall metal and glass combinations, bringing in new aspect to his sculptural presentations; they will be his typically geometrical and simplified post-modern creations. Dwelling on if sculptor was being valued as it should be today in Bangladesh, Hamiduzzaman said, "Of late it is being: it isn't as if we didn't have it in our heritage as terracotta work in Paharpur, Mainamati and in the clay dolls of the villages which date back to centuries. Yes, we are short of stones but other mediums like wood, steel and concrete maybe used. At times, in outdoor work, stone and marble are being currently used. Here prefabrication with steel sheets come in for quick compositions."

Ranjit Das, who created waves in national exhibitions with his enigmatic creations years back, and who has come up with nouveau visions every year, had sweeps of ink-brush work with minimal strokes and choice of colours in his works. Talking about the new elements in his latest paintings, Ranjit said, "I've simplified my work and left a lot of empty spaces. In the delineation of a man smoking a "hukkah" had brought in the rural life with which he has lately been enamoured of, going back to his childhood days and his trips to his village home. In another, he had brought in two women friends, one doing the other's hair, this too being a conventional well-loved theme by our local artists for decades, for those wishing to hark back to our heritage. The hair was done in simple cascading curls while the backdrop was formed by splashes of jet black. Gliding, simple strokes brought in the hands and the face. Flowers too had been brought in with blown-out dramatic squiggles. Another portrait brought in a village maiden going home from the river after having done her washing: this too demonstrated powerful strokes. Splashes of red added details of the blouse.

A horse had been done in Ranjit's collection and this was complete with a swishing tail: the head and tail were jet-black while sketches of swirling black brought in a few necessary details and the romantic backdrop of enveloping clouds. "I've used black ink and in the horse I symbolize man's incessant drive for work and his fate of constant struggle. In my landscapes I've stressed on simplicity once more by completing them with splashes, leaving the water and skies white and working on turquoise and variations of russets and lines to add the details lent by texture to the work -- in the forms of lines and blobs to bring in the boats."