Every region of the world has its own distinct form of expression in language, in fine arts or whatsoever it is.
Paintings that come out of a Japanese painter are reasonably different from those of a German painter, as they are located in
different realities, different sensibilities.
One common difference used in the parlance of fine arts is between the occidental and the oriental modes. It is abundantly clear, even to naïve visitors, that fine art in the occident and the orient has conspicuous differences.
Oriental art, which comprises vast and diverse fine art practices from present-day India to Japan/China, from the historic Ajanta style to Persian calligraphy, captures the sense and sensibilities of the oriental people.
It is noticeable that oriental painting is not in vogue nowadays, but the serene beauty and diversity of it is still capable of producing great works.
To revive interest in oriental art, a platform called Oriental Painting Study Group, comprising artists, teachers and students, have been working since 2009.
The study group has organised its fourth group exhibition of oriental painting which is going on at Zainul Gallery at the faculty of fine arts of Dhaka University.
The exhibition showcases artworks of 22 artists, most of whom are grounded academically in oriental art studies.
The works are varied in themes, mediums and modes. To take example randomly, senior artist Tajul Islam has displayed a tapestry work where the words Allahu Akbar in Arabic have been woven beautifully.
Veteran artist and professor of oriental art Abdus Satter’s watercolour painting Stone of Korea is a soothing piece. The artist has exploited an oriental theme, not ours but Korean. Two stones (suseok, in Korean, which is an object of reverence) are lying on leaves in the painting.
Folk motives of our country have also been arrestingly depicted in many works such as Rofique Ahmed’s Fisherman, GC Trivedi’s Illusion of Line, Debashis Pal’s Story of Bengal, Amit Nandi’s Band Party.
Other contemporary and artistic issues have also enticingly been presented in oriental styles in works like Sushanta Kumar Adhikary’s Reaction and Reflection of Ganajagaran Mancha, Anamika Shabnam’s Romantic Embrace, Zahangir Alom’s Mystique Romance of the Woods, Iskandar Mirza’s Horse of Old Dhaka and others.
‘We, by born, inherit the aesthetic sense and thoughts revolving around the oriental way of life. The artworks, displayed at the exhibition, are reflective of that sense and thoughts,’ said Dr Malay Bala, convener and curator of the study group.
Inaugurated on April 30, the exhibition, dedicated to the birth centenary of Shilpacharya Zainul Abedin, is open to all from 11:00am to 8:00pm till April 6.
-With New Age input
