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HSC English First Paper English For Today Unit 2 Lesson 3
Novera Ahmed
Novera Ahmed was the pioneer of modern sculpting in Bangladesh. She is also one of the most under and misrepresented artists In the country. When describing the works of the first modern Bangladeshi sculptor Novera Ahmed, Shilpacharja Zainul Abedin proclaimed “What Novera is doing now will take us a long time to understand - she is that kind of artist.“ This aptly describes her progressive thoughts in the field of sculpture. Novera Ahmed was born in a culturally inclined family in Chittagong, where she was inspired by her mother's skills in making dolls’ houses out of clay and became fascinated with working with three-dimensional forms. As Ahmed was educated in London and Florence, her sculptural vocabulary was based on a combination of western ideas and folk traditions. Many of her artefacts were based on village lives and folk motifs, of which she was a keen observer. She also incorporated Buddhist themes in her works, and developed an individual style that depicted the experiences of women, In August 1960, Novera Ahmed had her first solo exhibition organised on the ground floor of Central Public Library (now Dhaka University Library). It was the first-ever solo sculpture exhibition by any sculptor of Bangladesh (East Pakistan back then). It was inaugurated by General Azam Khan of the Pakistan Army, who was so impressed with her work that he gave her a grant of 10,000 tk to promote sculpture as an art form. She used cement, wood, plaster and stone for the material for her sculptures. In the early 1960s, upon the Pakistan Art Council's invitation, she moved to West Pakistan and produced many works there,
In 1962, she traveled to Bombay to learn Bharatanatyam, and a year later moved to Paris where she remained for the rest of her life. She lived in Thailand from 1968 to 1970 and had her second solo exhibition in Bangkok's Alliance Francaise in 1970. At that time she was using remains from plane crashes of American airplanes from the Vietnam War. Novera Ahmed was one of the original designers of the Shaheed Minar, in which she collaborated with Hamidur Rahman. She was awarded the Ekushey Padak in 1997 in absentia, and an exhibition was arranged from her works left behind in Dhaka in April - May, 1998.
Read the passage again and answer the questions:
(1) Who was Novera Ahmed?
Answer. Novera Ahmed was the first modern sculptor in Bangladesh. She is known for her unique sculptures and is an important figure in the art community.
(2) What inspired Novera Ahmed to become a sculptor?
Answer. Novera was inspired by her mother, who made dolls' houses out of clay. This made her interested in working with three-dimensional forms and sculpture.
(3) What materials did Novera Ahmed use for her sculptures?
Answer. Novera used materials like cement, wood, plaster, and stone. These materials helped her create her unique artworks.
(4) When and where did Novera Ahmed have her first solo exhibition?
Answer. Novera had her first solo exhibition in August 1960. It was held at the Central Public Library, now known as Dhaka University Library.
(5) What recognition did Novera Ahmed receive for her work?
Answer. Novera Ahmed was awarded the Ekushey Padak in 1997 for her contributions to art. She also helped design the Shaheed Minar, a memorial in Bangladesh.
(6) What did Shilpacharja Zainul Abedin say about Novera Ahmed's work?
Answer. Shilpacharja Zainul Abedin said that Novera's work would take a long time to understand, highlighting her innovative and progressive approach to sculpture.
(7) Where did Novera Ahmed receive her education and with what impact?
Answer. Novera Ahmed was educated in London and Florence. These experiences influenced her artistic style and vocabulary.
(8) What themes did Novera Ahmed often include in her sculptures?
Answer. Novera often included themes related to village life. folk traditions, and Buddhist motifs in her sculptures. She focused on depicting the experiences of women as well.
(9) What grant did Novera Ahmed receive after her first exhibition?
Answer. After her first exhibition, Novera Ahmed received a grant of 10,000 from General Azam Khan to promote sculpture as an art form in Bangladesh.
(10) Where and how did Novera Ahmed live from 1968 to 1970?
Answer. Novera Ahmed lived in Thailand from 1968 to 1970. During this time, she continued to create and showcase her artwork.
(11) What was Novera Ahmed's unique contribution to the Shaheed Minar design?
Answer. Novera Ahmed was one of the original designers of the Shaheed Minar. collaborating with Hamidur Rahman to create this important national monument in Bangladesh.
(12) Why did Novera Ahmed travel to Bombay in 1962, and how did it influence her work?
Answer. Novera Ahmed traveled to Bombay in 1962 to learn Bharatanatyam, a classical dance form. It added a new dimension to her understanding of movement and form in her sculptural works.
(13) Where did Novera Ahmed exhibit her work in 1970, and what material did she use?
Answer. In 1970, Novera Ahmed exhibited her work at the Alliance Française in Bangkok. She used remains from plane crashes of American airplanes from the Vietnam War as part of her material.
(14) Why was Novera Ahmed considered ahead of her time in the field of sculpture?
Answer. Novera Ahmed was considered ahead of her time because of her innovative and progressive approach to sculpture. Her works were so advanced that even Shilpacharja Zainul Abedin remarked it would take a long time for people to fully understand them.
(15) How is Novera Ahmed's work reflective of both Western ideas and folk traditions?
Answer. Novera Ahmed's work reflects a blend of Western sculptural ideas and Bangladeshi folk traditions. Her education in London and Florence exposed her to Western techniques, while her deep observation of village life and folk motifs added a cultural richness to her sculptures.
āύāĻেāϰা āĻāĻšāĻŽেāĻĻ
āύāĻেāϰা āĻāĻšāĻŽেāĻĻ āĻŦাংāϞাāĻĻেāĻļেāϰ āĻāϧুāύিāĻ āĻাāϏ্āĻāϰ্āϝেāϰ āĻ āĻ্āϰāĻĻূāϤ āĻিāϞেāύ। āϤিāύি āĻĻেāĻļেāϰ āĻ āύ্āϝāϤāĻŽ āĻ āĻŦāĻŽূāϞ্āϝাāϝ়িāϤ āĻ āĻূāϞāĻাāĻŦে āĻāĻĒāϏ্āĻĨাāĻĒিāϤ āĻļিāϞ্āĻĒীāĻĻেāϰ āĻāĻāĻāύ। āĻŦাংāϞাāĻĻেāĻļেāϰ āĻĒ্āϰāĻĨāĻŽ āĻāϧুāύিāĻ āĻাāϏ্āĻāϰ āύāĻেāϰা āĻāĻšāĻŽেāĻĻেāϰ āĻাāĻ āϏāĻŽ্āĻĒāϰ্āĻে āĻŦāϰ্āĻŖāύা āĻāϰāϤে āĻিāϝ়ে āĻļিāϞ্āĻĒাāĻাāϰ্āϝ āĻāϝ়āύুāϞ āĻāĻŦেāĻĻিāύ āĻŦāϞেāĻিāϞেāύ, “āύāĻেāϰা āĻāĻāύ āϝা āĻāϰāĻেāύ āϤা āĻŦুāĻāϤে āĻāĻŽাāĻĻেāϰ āĻ āύেāĻ āϏāĻŽāϝ় āϞাāĻāĻŦে - āϤিāύি āĻāĻŽāύāĻ āĻāĻāĻāύ āĻļিāϞ্āĻĒী।" āĻāĻি āϤাঁāϰ āĻাāϏ্āĻāϰ্āϝ āĻļিāϞ্āĻĒেāϰ āĻĻূāϰāĻĻāϰ্āĻļী āĻ āĻĒ্āϰāĻāϤিāĻļীāϞ āĻিāύ্āϤাāϧাāϰাāϰ āϝāĻĨাāϝāĻĨ āĻŦāϰ্āĻŖāύা। āύāĻেāϰা āĻāĻšāĻŽেāĻĻ āĻāĻ্āĻāĻ্āϰাāĻŽে āĻāĻāĻি āϏাংāϏ্āĻৃāϤিāĻāĻŽāύা āĻĒāϰিāĻŦাāϰে āĻāύ্āĻŽāĻ্āϰāĻšāĻŖ āĻāϰেāύ, āϝেāĻাāύে āϤাঁāϰ āĻŽা āĻŽাāĻিāϰ āϤৈāϰি āĻĒুāϤুāϞেāϰ āĻŦাāĻĄ়ি āĻŦাāύাāϤে āĻĻāĻ্āώ āĻিāϞেāύ। āĻāĻি āϤাঁāĻে āϤ্āϰিāĻŽাāϤ্āϰিāĻ āĻ āĻŦāϝ়āĻŦ āύিāϝ়ে āĻাāĻ āĻāϰāϤে āĻāĻ্āϰāĻšী āĻāϰে āϤোāϞে। āĻāĻšāĻŽেāĻĻ āϞāύ্āĻĄāύ āĻ āĻĢ্āϞোāϰেāύ্āϏে āĻĒāĻĄ়াāĻļোāύা āĻāϰাāϝ় āϤাঁāϰ āĻাāϏ্āĻāϰ্āϝ āĻļৈāϞীāϰ āĻŽāϧ্āϝে āĻĒāĻļ্āĻিāĻŽা āϧাāϰাāϰ āĻāĻŦং āϞোāĻāĻ āĻāϤিāĻš্āϝেāϰ āϏংāĻŽিāĻļ্āϰāĻŖ āĻĻেāĻা āϝাāϝ়। āϤাঁāϰ āĻ āύেāĻ āĻļিāϞ্āĻĒāĻāϰ্āĻŽ āĻ্āϰাāĻŽীāĻŖ āĻীāĻŦāύ āĻ āϞোāĻāĻ āĻŽোāĻিāĻĢেāϰ āĻāĻĒāϰ āĻিāϤ্āϤি āĻāϰে āϏৃāώ্āĻ, āϝেāĻুāϞোāϰ āϤিāύি āĻিāϞেāύ āĻāĻীāϰ āĻĒāϰ্āϝāĻŦেāĻ্āώāĻ। āĻāĻাāĻĄ়া āϤিāύি āϤাঁāϰ āĻাāĻে āĻŦৌāĻĻ্āϧ āϧāϰ্āĻŽীāϝ় āĻĨিāĻŽāĻ āĻ āύ্āϤāϰ্āĻুāĻ্āϤ āĻāϰেāĻেāύ āĻāĻŦং āύাāϰীāϰ āĻ āĻিāĻ্āĻāϤাāĻে āĻāĻĒāϏ্āĻĨাāĻĒāύ āĻāϰে āĻāĻŽāύ āĻāĻāĻি āύিāĻāϏ্āĻŦ āĻļৈāϞী āĻāĻĄ়ে āϤুāϞেāĻেāύ। ⧧⧝ā§Ŧā§Ļ āϏাāϞেāϰ āĻāĻāϏ্āĻে, āύāĻেāϰা āĻāĻšāĻŽেāĻĻেāϰ āĻĒ্āϰāĻĨāĻŽ āĻāĻāĻ āĻĒ্āϰāĻĻāϰ্āĻļāύী āĻেāύ্āĻĻ্āϰীāϝ় āĻāĻŖāĻ্āϰāύ্āĻĨাāĻাāϰেāϰ (āĻŦāϰ্āϤāĻŽাāύ āĻĸাāĻা āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ় āĻ্āϰāύ্āĻĨাāĻাāϰ) āύিāĻāϤāϞাāϝ় āĻ āύুāώ্āĻ িāϤ āĻšāϝ়। āĻāĻি āĻিāϞ āĻŦাংāϞাāĻĻেāĻļে (āϤā§āĻাāϞীāύ āĻĒূāϰ্āĻŦ āĻĒাāĻিāϏ্āϤাāύ) āĻোāύো āĻাāϏ্āĻāϰেāϰ āĻĒ্āϰāĻĨāĻŽ āĻāĻāĻ āĻাāϏ্āĻāϰ্āϝ āĻĒ্āϰāĻĻāϰ্āĻļāύী। āĻāĻি āĻĒাāĻিāϏ্āϤাāύ āϏেāύাāĻŦাāĻšিāύীāϰ āĻেāύাāϰেāϞ āĻāĻāĻŽ āĻাāύ āĻāĻĻ্āĻŦোāϧāύ āĻāϰেāĻিāϞেāύ, āϝিāύি āϤাঁāϰ āĻাāĻ āĻĻেāĻে āĻāϤāĻাāĻ āĻŽুāĻ্āϧ āĻšāϝ়েāĻিāϞেāύ āϝে āϤিāύি āĻাāϏ্āĻāϰ্āϝāĻে āĻāĻāĻি āĻļিāϞ্āĻĒ āϰূāĻĒে āĻĒ্āϰোāĻŽোāĻ āĻāϰাāϰ āĻāύ্āϝ āϤাঁāĻে ā§§ā§Ļ,ā§Ļā§Ļā§Ļ āϰুāĻĒি āĻ āύুāĻĻাāύ āĻĻিāϝ়েāĻিāϞেāύ। āϤিāύি āϤাঁāϰ āĻাāϏ্āĻāϰ্āϝেāϰ āĻāύ্āϝ āϏিāĻŽেāύ্āĻ, āĻাāĻ , āĻĒ্āϞাāϏ্āĻাāϰ āĻāĻŦং āĻĒাāĻĨāϰ āĻŦ্āϝāĻŦāĻšাāϰ āĻāϰāϤেāύ। ⧧⧝ā§Ŧā§Ļ-āĻāϰ āĻĻāĻļāĻেāϰ āĻļুāϰুāϰ āĻĻিāĻে āĻĒাāĻিāϏ্āϤাāύ āĻāϰ্āĻ āĻাāĻāύ্āϏিāϞেāϰ āĻāĻŽāύ্āϤ্āϰāĻŖে, āϤিāύি āĻĒāĻļ্āĻিāĻŽ āĻĒাāĻিāϏ্āϤাāύে āϝাāύ āĻāĻŦং āϏেāĻাāύে āĻ āύেāĻ āĻাāĻ āĻāϰেāύ।⧧⧝ā§Ŧ⧍ āϏাāϞে, āϤিāύি āĻāϰāϤāύাāĻ্āϝāĻŽ āĻļিāĻāϤে āĻŦোāĻŽ্āĻŦে āĻ্āϰāĻŽāĻŖ āĻāϰেāύ āĻāĻŦং āĻāĻ āĻŦāĻāϰ āĻĒāϰ āĻĒ্āϝাāϰিāϏে āϝাāύ, āϝেāĻাāύে āϤিāύি āϤাঁāϰ āĻŦাāĻি āĻীāĻŦāύ āĻাāĻাāύ। ⧧⧝ā§Ŧā§Ž āĻĨেāĻে ⧧⧝ā§ā§Ļ āϏাāϞ āĻĒāϰ্āϝāύ্āϤ āϤিāύি āĻĨাāĻāϞ্āϝাāύ্āĻĄে āĻŦāϏāĻŦাāϏ āĻāϰেāύ āĻāĻŦং ⧧⧝ā§ā§Ļ āϏাāϞে āĻŦ্āϝাংāĻāĻেāϰ āĻ ্āϝাāϞাāϝ়েāύ্āϏ āĻĢ্āϰঁāϏেāĻ-āĻ āϤাঁāϰ āĻĻ্āĻŦিāϤীāϝ় āĻāĻāĻ āĻĒ্āϰāĻĻāϰ্āĻļāύী āĻ āύুāώ্āĻ িāϤ āĻšāϝ়। āϏে āϏāĻŽāϝ় āϤিāύি āĻিāϝ়েāϤāύাāĻŽ āϝুāĻĻ্āϧে āϧ্āĻŦংāϏāĻĒ্āϰাāĻĒ্āϤ āĻāĻŽেāϰিāĻাāύ āĻŦিāĻŽাāύেāϰ āϧ্āĻŦংāϏাāĻŦāĻļেāώ āĻĨেāĻে āĻāĻĒাāĻĻাāύ āϏংāĻ্āϰāĻš āĻāϰে āĻাāĻ āĻāϰāϤেāύ। āύāĻেāϰা āĻāĻšāĻŽেāĻĻ āĻļāĻšীāĻĻ āĻŽিāύাāϰেāϰ āĻŽূāϞ āύāĻāĻļাāĻাāϰāĻĻেāϰ āĻāĻāĻāύ āĻিāϞেāύ, āϝেāĻাāύে āϤিāύি āĻšাāĻŽিāĻĻুāϰ āϰāĻšāĻŽাāύেāϰ āϏাāĻĨে āĻাāĻ āĻāϰেāĻিāϞেāύ। āϤিāύি ⧧⧝⧝⧠āϏাāϞে āϤাāϰ āĻ āύুāĻĒāϏ্āĻĨিāϤিāϤে āĻāĻুāĻļে āĻĒāĻĻāĻ āĻĒাāύ āĻāĻŦং ā§§ā§¯ā§¯ā§Ž āϏাāϞেāϰ āĻāĻĒ্āϰিāϞ-āĻŽে āĻŽাāϏে āĻĸাāĻাāϝ় āϤাঁāϰ āϰেāĻে āϝাāĻāϝ়া āĻাāĻেāϰ āĻāĻāĻি āĻĒ্āϰāĻĻāϰ্āĻļāύী āĻāϝ়োāĻāύ āĻāϰা āĻšāϝ়।