The 10th Oriental painting exhibition, "Seeking Peace and Harmony", at Abinta Gallery in the capital's Uttar Badda area has officially been organised by Abinta Gallery of Fine Arts, in collaboration with Oriental Painting Study Group (OPSG). The opening and award ceremony took place today in the presence of distinguished guests, including Monirul Islam, an internationally renowned artist; Anis A Khan, a member of the Board of Governors, Society for Promotion of Bangladesh Art; Samar Majumder, an eminent artist; Prof Dr Azharul Islam Sheikh, dean of the Faculty of Fine Art, University of Dhaka; Zareen Mahmud Hosein, founder of HerStory Foundation; Mikhail Idris Islam, chief adviser of the Oriental Painting Study Group; and Nilu Rowshon Murshed, chairperson of the Abinta Gallery of Fine Arts.

HerStory Founder Zareen Mahmud Hosein said during her speech, "I pay my heartfelt thanks to the organisers — Abinta Gallery of Fine Arts and Oriental Painting Study Group for presenting such a rich exhibition, especially inviting the folk, the prominent and the promising artists from all across Bangladesh in it."

Artist Monirul Islam remarked, "It is our very own gender, and we should promote it for our own sake. The artworks on display feature feminine grace, folk heritage, institutional paintings, and the modern aspects of Oriental art. Art connoisseurs and enthusiasts must visit the exhibition for at least two days to see it all."

The exhibition showcases the rich diversity of Bangladesh's folk heritage, courtly nobility, and modern Oriental technique in 54 vibrant paintings by selected artists. As the exhibition title suggests, the artists have conveyed the message of humanity, harmony, and unity on their canvases. They created oriental-style paintings using various media, such as watercolour, gouache, tempera, batik, patachitra, nakshikantha, acrylic, and print, incorporating traditional techniques. The curated pieces, while maintaining the subtlety of tradition and courtly painting, centre around a message of peace and harmony amidst the division, inequality, and conflict in society, with a touch of modernity.

Renowned artist Abdus Satter's acrylic paintings depict the gentle form of the great man Gautam Buddha and the illusion of the eyes, spreading a deep sense of tranquility. Artist Amit Nandi has captured the depth of rural life in Bangladesh through a combination of colours and lines. His wash-style artworks reflect the fascinating unity between nature and humans. The use of fine lines and soft colours in Malay Bala's work brings out the famous mythological story of Shakuntala and her friends. The skillful depiction of Bangladesh is revealed in the watercolour of renowned artist Hamiduzzaman Khan. 

The woman in the artwork of legendary artist Murtaja Baseer seems to speak a lot with her deep gaze. The Meghobaran Festival in Nikhil Chandra Das' painting is like a chapter of rich cultural education for the new generation. The main attraction of the work of renowned artist Abdus Shakoor Shah is the stories and anecdotes of Bengali folk literature. The structure and elements of Bangladeshi folk literature are strongly present in his paintings. In Samar Majumder's work, the scene of the beloved writing a letter to her lover reveals deep emotional expression.

The enchanting nature in the painting of Sumon Kumar Baidya, the magical lines in the artwork of Sushanta Kumar Adhikary, and the lyrical lines of Trivedi Gopal Chandra are beautifully expressed. The story of Chand Sadagar on canvas painted with traditional colours by the eminent patachitra artist Shumbhu Acherje reminds us of the affluence of ancient Bengal. The eminent artist Afrozaa Jamil Konka has glorified motherhood. The mother's lap, mother's embrace, or mother's company or proximity has given a haven of peace and a message of peace to every child. The nakshikantha work of renowned embroidery artist Md Aminul Islam combines the contemporary Bengali style with the subtlety of the East. 

The classical architectural style of Bangladesh has found a place in the work of Agnes Shreya Gomes. The artist has depicted the architectural icons of Dhaka's Ahsan Manzil, Lalbagh Fort, Dhakeshwari Temple, and Curzon Hall through the framework of Mughal miniatures. The work of Atifa Asrafi Anonna is deeply influenced by local folk art. The relationship between humans and nature has been deeply analysed in her paintings. The scenes of idol-making by the traditional Bengali Paals in the work of artist Pragati Chakma and the "Sankirtan" painting of Prama Karmaker are conventional and important cultural relics. 

The nature of Bengal, especially the tune of the national anthem composed by Rabindranath Tagore under the banyan tree by the river, seems to float in the painting of Raheli Rubaiyat. Artist Ratan Pal's "Nababondhu", Samina Zaman's palm leaf work, Shakila Khan Chayan's artwork, Shubhajit Paul's watercolour of goldsmiths at work, or Sudipta Basak Arnob's "Kumor Para" in tempera paint express the face of contemporary Bengal. Artist Tamjida Mushfiq Prova has depicted the story of women's strength, sensitivity, and struggle through colour and line. Tariqul Islam Herok's paintings modelled on Mughal miniature contain various fantasies and stories. The strength, determination, and beauty of women are revealed in the work of artist Taslima Akter Badhon. Patua Tiger Nazir's painting and Tushar Talukder's journey of mother power to slay the demon are the eternal forms of Bengal.

The Chinese style is striking in the work of award-winning artist Md Nazmul Haque Bappy. Showrab Gosh has symbolically presented Buddha, the messenger of peace, in the magical web of lines. Shahanoor Mamun's watercolor painting, infused with the fragrance of Kamini flowers, depicts a female lover's sleepless night as she waits for her beloved. Hasura Akther Rumky has painted a meditative Buddha with an adoring desire for world peace. When one sees Badsha Harun-Nur-Rashid's artwork titled "Rajanandini", one is reminded of the master artist of oriental art, Abdur Rahman Chughtai.

The artists have thus combined contemporary trends, by moving towards modernity, with various traditional methods of oriental art. Moreover, this exhibition has opened a new chapter in oriental painting by mixing folk art, the subtlety of court painting, and a modern perspective. Bright colours and strong lines have been utilised in most of the paintings in the exhibition, which are very effective in conveying a message of peace and harmony. The paintings of several artists have shown an excellent representation of women's struggle, self-power, and role, making it one of the stronger aspects of the exhibition.

Then again, some artworks could have gone into greater depth or complex subjects. The attempt to go beyond the conventional genre in many paintings seemed limited. Hopefully, the artists' skills, perspectives, and respect for the culture of Bangladesh are reflected in the works of the exhibition.  

I firmly believe that this exhibition will encourage artists and art lovers across the country to explore their own existence and roots while sparking new interest in Oriental painting. Furthermore, the unique identity of Bangladeshi paintings practiced in this genre will gain recognition in the international art scene.

This biennial grand exhibition, opening from 10am to 8pm daily, will run until January 30. 

Read more

‘Satoborsher Dhaka’: A tribute to the evolution of our city