Art
Artistic Tryst in Tokyo
This was not the first time that artists like Rafiqun Nabi went to Japan—he had been there twice before about 10 years ago. This time however, it was an official visit and a large number of the most renowned artists of Bangladesh were represented.
“We took 35 paintings to Takamasu, a particular island near Tokyo" says Rafiqun Nabi about the international triennial that showcased works of Bangladeshi weavers, rickshaw painters, shora painters and Gazir Pot artisans. The Chakma , Murong gave thrilling performances as did Shibli and Nipa and their troupe, delighting the audience with invigorating kathak.
Qayyum Chowdhury, acrylic on paper, 2013.
Senior artists Chandana Mojumdar and Shahadat Hussain gave sarodh performances. The grand mela had handicrafts of all kinds from Bangladesh and entertaining shows by the band 'Lalon'.
The importance of this flamboyant event was evident from the fact that two ministers Finance Minister Abul Muhit and Abul Kalam Azad the Minister of Culture also graced the occasion.
Art, being the most rich and representative of Bangladeshi culture, it was not surprising that so many senior painters also participated in this remarkable international fair.
“In the several galleries, the artists experimented with architecture. The installation by the Taiwanese artist was a fruit that was shown enlarged on a beach. It was made of wood. Another, he says, was a combination landscape architecture and glass architecture. The exhibition was highly appreciated by the Japanese art buffs. However this was not the first time that Bangladeshi artists are presenting their skill and knowledge. Osaka Triennial has seen Bangladeshi paintings before.
So what was the purpose of the Tokyo trip? Kanak Chanpa Chakma opines that through this the Japanese people became more familiar with a wide variety of Bangladeshi art work. In the triennial and biennale, which had taken place earlier, they did expose some of the work of some of our Bangladeshi artists, says Kanak. “This time thirteen of our artists were invited. I felt that although I had seen much easel painting and installation work, this was a rare treat which taught me immensely” she says. Kanak mentions the enormous installations near the sea by Japanese artists which were quite stunning. Some presented “Living Art”, where the artists were staying and the art work was being presented.
When crafts were presented by the artisans in the form of shola and metal work, the wood and cane work, they were highly appreciated by the Japanese – who were used to machine-made items. This was certainly a positive aspect for Bangladesh that people came from far and wide in Japan to see the artisans
Qayyum Chowdhury says , that in Satuchi, a remote place in Japan , the Bangladeshi art was presented. This was an understanding between two governments, he says. "Basically, the ambassador of Japan in Bangladesh took the initiative to show the Bangladeshi culture in Japan" explains Chowdhury. "Mr Sadoshima, the ambassador, is fond of Bangladeshi culture—and even wears a kurta all the time" says the nonpareil artist. The programmes in Setushi had three different programmers, says Chowdhury, a giant among artists; and of local and international fame. "They treated Bangaldesh as the theme subject", says the snowy haired master or fine arts.
"Apart from visual artists, there were musicians and craftsmen.Thus a well-rounded idea of Bangladesh was given to the people of Japan and other foreign visitors." There is no other opportunity for the Japanese to be aware of our handicrafts says Chowdhury.
Mohammad Eunus, acrylic on paper, 2013.
"If we had more posters this would add to tourism – there would be better understanding with the Japanese people, and this would usher in more revenues. Seeing the work of the thirteen artists and widened the horizons of the Japanese perspective regarding our country—that we do not just sit with begging bowls for foreign aid.”
The exhibition of Bangladeshi paintings was titled 'Southern Breeze' and was organised in Akabane Bivio Hall in Tokyo. Qayyum' s acrylic on paper (2013) presented his characteristic female face in burnt sienna - her royal blue sari with red border perfectly compliments the grey clouds and indigo water that give the impression of a rain-drenched countryside.
Mustafa Manwar's acrylic on paper is a dreamy depiction of purple and grey skies with pearly grey clouds, miniscule green tree-tops in the background and the brown bits of land in front – with yellowish green water in between - a pure joy of a landscape.
Mahmudul Haque's acrylic on paper is an abstract study of nature –with yellow , purple and blue bits flying in all directions.
Farida Zaman's acrylic on paper has her signature lady with a black cat. There are swirls of vermilion and flamingo pink at the back. The fisher woman with her large eyes and long black hair is in shades of pink and orange. Farida's preoccupation with water and gender issues are remarkable. Another woman artist known for her unique depiction of women is Kanakchampa Chakma with her beauteous Hill-Tracts woman wearing traditional navy-blue pignon (skirt or lungi), layers of necklaces and flowers in her hair.
Farida Zaman, acrylic on paper, 2013.
Mohammad Eunus's Acylic on paper(2013) has the face of a male at the back and a walking-flying bird –like creature in front. The backdrop is a mixture of gray-green and white. There are four squiggles of blue suggesting a male face at the back. This piece is a continuation of Mahammad Eunice's experimentation with surrealism.
Nazlee Laila Mansur (Acrylic on paper-2013) brings in depth and the height of experimentation of the minds based in Chittagong. Her blue young woman, is holding on to what appears like a rickshaw hood –the young woman's hair is henna red, and frizzy, while she wear bangles and a navy-blue sari with an orange border. She excels many painters with eye for only physical charm.
Bishawjit Goswami (Aacrylic on paper 2013)has nature and environment in mind . He has a drooping sunflower and drying, curling leaves and shrinking petals. The rays of sun are felt in the bars of orange, yellow white and grey.
Abul Mansoor's mixed media in grey and black shows a robot or a sawed off man with bulging eyes and broken teeth and his bones contained in his sawn off body. He is good for a Pop art festival. This parody or burlesque catches the eye, despite the few colours used. Khalid Mohammed Mithus's acrylic on paper shows his usual landscape with minuscule multi-storied buildings at the back, and rickshaws , apparently colliding into one another , or just parked , head on. The background has a strong cross of white, as if it were a cement path or a symbol of peace – with emerald green and cobalt blue to set it off.
Abul Monsur, mixed media on paper, 2013.
Hashem Khan has his usual array of birds. There are some black ones and some blue near the vermilion disk on the top, a flock of tiny pale blue one sat the right. There is a yellow- orange long beaked bird and a black one on cliffs of vermilion and deep ocean green and jet black. Thus the colours of the flag of Bangladesh are used—apparently unknowingly.
Rafiqun Nabi's buffalo and herdsman with gamchha and lungi in red checks --with a boy looking happy, on the pile of stones in the background. The cowherd bears a cane to lead the animal on to drink from the blue -green water of the waterside.
Kanak Champa says that the best part of the trip was that the artists from Bangladesh were able to exchange views and ideas with the Japanese artists as well as those from other countries. Kanak Champa thinks this was a big step as it has greatly inspired the visiting artists like herself to go ahead and think new dreams and aspirations.
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