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Young artistic expressions

FAYZA HAQ
THE recent exhibition of the Ankan Art School at the National Museum presented aims and aspirations of young art enthusiasts from an early stage to teenage and beyond. Mahabubul Islam (Babu), the director of the school said, 'The students here range from school to university level. They do sketches, pastels, watercolours, poster and oil colours. I teach twice a week at the Malibagh and uttara sections. There are about 300 students in all. We have an annual exhibition at a public gallery every year, in which the best work of the year is presented. Here there are 313 exhibits of 87 students. Sumiya, who has now been learning for 17 years, is easily the best in the group, despite her handicap of not being able to speak. She usually brings in the Bangladeshi countryside in her work. In the exhibition you find an abundance of Oriental Art too. I myself faced a lot of opposition from my family and friends in taking up a career as an artist. Today, I want to help others become painters like myself.'
Sumaiya's Village girl, an oil on
canvas, presented a young water carrier from the village in a bright striped sari. She was surrounded by flowers, leaves, tendrils and blossoms, each of which had been worked upon in detail. Behind the girl was another dark female figure. Ridita's Old city, an oil painting, depicted Old Dhaka in a semi abstract way. Thus, we faced masses of rectangles in pinks, grays, black and beige, each tone merging into another. Windows and doors were visible as more precise rectangles. The sky at the back was midnight blue and black. The ground in front was gray and beige. Antara's Bath time, an oil painting, presented a girl with long hair, with her clothes trailing away from her, including a blue orna with gold dots. Behind her were images of a floating fish, a mermaid and flowers. The background was in green, yellow and red.
Shumanta's Village, an oil painting, presented buffaloes with golden haystacks at the back and tall date palms at the side. Included were men threshing rice. The creation was in gold, greens and grays. Lucky's landscape, also in oil, had a peaceful rivulet with a gray-blue sky at the back, above the gray-green hills.
Olive coloured leaves, emanating from tree branches filled the canvas. The emerald grass on the two sides of the water added to the cozy, holiday effect. Lia's Dream showed the faces of three women which appeared like masks with hollows for the eyes. The faces were in orange, green and yellow simplified geometrical shapes of semicircles, curves and lines. Nabil's still life, in oil, brought in a jug with grapes and apples spread out on the table in front, presented in an impressionistic manner. The backdrop was in pink and blue, while the front had a lot of gray and white.
An intriguing creation was Shumanta's Landscape, in which the canvas was divided into many sections of rectangles and circles, which fitted into one another. Out of the simple shapes grew trees, leaves, clouds and other elements of nature in swirls of green, brown, yellow and red. The backdrop was mostly blue while the forefront was an expanse of red.
Prof. Mahmudul Haque, Director General of the National Museum, commenting on the exhibition, said, 'Such displays are healthy outlets of expressing and dealing with our
problems and they help us share our joys. Providing children with an opportunity to develop their creativity and to value art and culture ensures that a new generation will be able to see beyond the surface of everyday life.'