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Dhaka Day by Day

Through Young Eyes

by Fayza Haq
Young artists are being constantly encouraged by the local cultural centres. One of these la MeataAcur Rahman Rubel. whose solo exhibit was accommodated by the Goethe Inatltut recently.
Al the expose the young man had presented the different faces of Bangladesh — both tn live city and in the countryside The colours were often raw and the effect was sometimes lack Ing in suavity. Yet the final result was a fair por trayal of Dhaka city and the countryside in the '^The,melange of depictions Included varf .us subjects that varied from weddings and football playing to floods, tempest and the incessant rain In the Bangladesh of kite The artist ha I a
lot to learn as re-gards technique, style, composition, texture and even selection of themes, was not something to be scoffed or sniffed at. Rubel was presenting arhat he had seen, thought and understood and for an artist of his experience this was some recommendable feat.
Kis entree entitled "Contented pigeons" reminded you of the New Year's cards, or the T.V. screen report of the beginning of a sports or cultural extravaganza. The pristine white pigeons were seen flying in ecstasy in the sky. forming an oval pattern. The back-drop remained of subtle hues of various brushwork.
There was a depletion of a freedom fighter In “Victory" and It depicted the subject with the Bangladesh flag in hand. The flag was hoist ed and presented In such a bold fash Ion. with deep co lours, that the viewer’/ attention and concentration went to the flag with the map of Bangladesh tn gold, encircled in red, with the raw green backdrop.
The subject of the "Rakhal Cheky" was delineated with bullocks plodding before the farmer boy. and the patched boats nearby, on the sailing in the vicinity of the subject. The sky, which held the composition together, occupied half the space of the paper on the display. The 'skyscape", however, was an entertaining experiment in blues in water-colour.
In the "Village Market" was an interesting combination of figures, boats, palm trees, and the atmosphere of village activity In general. The palm and bnnyan-trees, in the background, •ompk'tcd the picture.
"After the Storm" was the effect of the flood or cyclone, pre sented aa beat as possible and probable for the painter. It was full of colours and done with careful strokes. “Flood' showed women and children taking shelter on planks. Men and children were seen on top of the roofs of the houses. Many families were depleted as fleeing In their makeshift boats — all of different sha|X's, sizes and colours.
Rubel's “Harvesting" depleted man at work in the villages Here the beautiful countryside of Bangladesh was neatly and clearly deUm-ated. The compostlion wns mostly In brown, yellow. and green. The blue of the river and the brightness of the sky had been included too.
"Pakhi" was an exotic piece In bold black strokes. It depicted three birds perched on branches, with a tiny fledgling soaring overhead. The hues In the back drop were soft and soothing — soft and soothing orange, yellow and light green.
The painter's "Football" had depleted children playing with great enthusiasm. Girls were seen playing near at hand. There may not have been a great mastery of strokes and (lie entire present a,llon remained more photographic than what one expected fr-om a painter. Yet realism has Its own Importance in Bangladesh and over-
"Haul" was a de piction of an important character in the life of people In our country. It is the "baul" who has entertained the poor and neglected, both In the countryside and even in the city of Dhaka. The singer was in a pink "punjabi", while the blue Tungi" completed his portrait. The "tccn-tara" was in his hands. There was the conventional tree to balance the composition and the background of the soft blue sky, used tor eye-relief. T/edding" was depicted with the bridegroom with his tin box and "hand!" of sweets.
The water-colour solo exhibit has proved that young artists, with limited skill and art materials, can create interesting cultural dls-plays.