In memory of Shawkatuzzaman

At one end of the gallery were sketches by Shawkatuzzaman. One was a black and white one in which a crow is seen bending over, looking at its feet with concentration. Then there was the one of a bird with its head turned in one direction. One of the works features some flowers while another shows branches of trees with scattered leaves. There was also a painting of a dog curling up in a backdrop of yellow. The sketches gave a sample of the artist's swift brush and his eye for details.

Shibananada Adhikary Biplob brought in childhood dreams and memories in his work. A torn kite was seen against a background of brown, blue and green cubes. He had some depiction of women with caged birds beside them, symbolising the fact that in eastern society women had many limitations. The women, whether in colour or in black and white, were shown in detail, as regards the facial details, clothes and jewellery. The style was cubistic, in bold lines and a few curves. The baul had buntings and paper boats of celebration at the back, as he reached out to eternity in his emotional songs.

Monirul Islam, in his paintings, brought subjects who appeared to be in a state of shock, as were all Shawkatuzzman's students and friends, when they heard the news of his death. Monir depicted flowers and dragonflies in blues, greens, yellow ochre. He had also done some hibiscus surrounded by the typical winged insects. A woman in a state of shock at the demise of the revered one was displayed in the next painting. Poetic images of lotus, fish and snail were seen surrounding the pensive figure. The artist had used stiff buckram as his canvas.

Nahid Mahsifarah featured embracing figures of a couple in swirls, curls and lines in blue and mauve. This was painting on ceramic. Her four country boats, done in black and white, on 12 glazed tiles was dramatic. She had done a number of paintings with delightful women all done in the Oriental style.

Ferdous Khan's paintings brought in details of women, with minute representations of their facial features, clothes, jewellery and their accompanying pets, invariably a bird. In the background were suggestions of clumps of trees. They were in ochre and green colours that were dear to Shawkatuzzaman. The delineation of the woman from the village with her quaint, heavy, mauve, cotton sari, and chunky silver jewellery was also a delightful detailed work.

Deepa Islam too brought in a dragonfly, the well-known hallmark of the master painter Shawkatuzzaman. Namira Islam's exotic butterflies were also testament to the appreciation of nature and the wealth it has to offer.