A heritage of art at monobhumi
A group art exhibition titled “Kalamkari” is on at monobhumi art space, 218, Elephant Road, Dhaka. Dean of the Faculty of Fine Arts (FFA) Syed Abul Barq Alvi inaugurated the exhibition as chief guest on August 29. Noted theatre personality Mamunur Rashid was special guest at the event.
The participating artists -- Tarun Ghosh, Ishrat Zahan Kakon, Masudur Rahman and Aditya Sundar Roy -- are showcasing some of their artworks at the show.
Noted artist Tarun Ghosh conducted a month long workshop while Aditya Sundar Roy, alumnus of Visva Bharati University, supported the workshop. The exhibition is the outcome of the workshop and is the first of its kind in Bangladesh.
Kalamkari is an ancient Indian art tradition that originated approximately 3,000 years ago. Literally, it means pen-work (Persian words ghalam meaning pen and kari meaning craftsmanship). The Kalamkari artist uses a bamboo or date palm thorn pointed at one end with a bundle of fine hair attached to this pointed end to serve as the brush or pen. These paintings were earlier drawn on cotton fabric only, but now we can see these paintings on silk and other materials as well. Kalamkari art includes both printing and painting. The colours used in making these paintings are organic. Most of the colours are prepared using parts of plants' roots, leaves and fruits along with mineral salts of iron, tin, copper, alum etc. which are used as mordant. The process of producing these colours takes much time.
The kalamkari has its own art styles embedded in India which dates back to Ajanta art. It is predominantly line-based and decorative form of art.
Tarun Ghosh's artworks zoom in on Indian mythical nuances. His depiction of female visages coupled with bird-like forms symbolise monpakhi (soul). The work evokes philosophical and mythical tales. He has deftly portrayed nature and its elements. One of his intertwined figurative works has a hint of Ardhanarishwar. Tarun Ghosh's delineation of lines and forms reminds us of the thousand- year-old Indian art.
Masudur Rahman's work series “Story of Line” is evocative of antique Indian art. The ornamental drawings and experimental forms also are a blended taste of modernity and perspective. The artist's depiction of a lotus embodies artistic and devotional touches. He also portrayed a folk -themed work with the form of a bird.
Ishrat Zahan Kakon's works relate the saga of Ajanta work, though the artist has used a completely organic technique. She superbly showcases the lyrical image of a deity that may be regarded as the oriental version of “Birth of Venus” by Sandro Botticelli. Her others works -- “Hongshomithun” (swan duo) and a female figure are praiseworthy.
Aditya Sundar Roy's works suggest both Indian and Chinese oriental styles. The poetic lines, perfect giving out of space in several of his works deserve accolades. Nature and her elements, floral motifs and several semi-abstract forms are the themes of his paintings.
Bangladeshi pat art and Indian Kalamkari share some common traits. Pat artists display their works with pat gaan and the kalamkari artists showcase their works through playing traditional musical instruments.
The artists who worked on the Kalamkari painting scrolls were known as Jadupatuas or Duari Patuas (magical painters).
The process is very slow and yet meticulous. Kalamkari goes through a process of resist -- dyeing and hand printing. The colours change depending on the treatment of cloth and quality of the mordant. It has a flourishing market in and outside India.
Traders and merchants across the world used Kalamkari paintings as currency in the spice trade. The Southeast Asian and Indonesian traders demanded Indian textiles in the form of Kalamkari Paintings for ritual and ceremonial use. Kalamkari textiles took many forms depending on their intended market.
The exhibition, that is open from 3pm to 9pm, ends on September 20.
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