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HSC English First Paper English For Today Unit 2 Lesson 3

 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 āφāĻšāĻŽেāĻĻ

āύāĻ­েāϰা āφāĻšāĻŽেāĻĻ āĻŦাংāϞাāĻĻেāĻļেāϰ āφāϧুāύিāĻ• āĻ­াāϏ্āĻ•āϰ্āϝেāϰ āĻ…āĻ—্āϰāĻĻূāϤ āĻ›িāϞেāύ। āϤিāύি āĻĻেāĻļেāϰ āĻ…āύ্āϝāϤāĻŽ āĻ…āĻŦāĻŽূāϞ্āϝাāϝ়িāϤ āĻ“ āĻ­ূāϞāĻ­াāĻŦে āωāĻĒāϏ্āĻĨাāĻĒিāϤ āĻļিāϞ্āĻĒীāĻĻেāϰ āĻāĻ•āϜāύ। āĻŦাংāϞাāĻĻেāĻļেāϰ āĻĒ্āϰāĻĨāĻŽ āφāϧুāύিāĻ• āĻ­াāϏ্āĻ•āϰ āύāĻ­েāϰা āφāĻšāĻŽেāĻĻেāϰ āĻ•াāϜ āϏāĻŽ্āĻĒāϰ্āĻ•ে āĻŦāϰ্āĻŖāύা āĻ•āϰāϤে āĻ—িāϝ়ে āĻļিāϞ্āĻĒাāϚাāϰ্āϝ āϜāϝ়āύুāϞ āφāĻŦেāĻĻিāύ āĻŦāϞেāĻ›িāϞেāύ, “āύāĻ­েāϰা āĻāĻ–āύ āϝা āĻ•āϰāĻ›েāύ āϤা āĻŦুāĻāϤে āφāĻŽাāĻĻেāϰ āĻ…āύেāĻ• āϏāĻŽāϝ় āϞাāĻ—āĻŦে - āϤিāύি āĻāĻŽāύāχ āĻāĻ•āϜāύ āĻļিāϞ্āĻĒী।" āĻāϟি āϤাঁāϰ āĻ­াāϏ্āĻ•āϰ্āϝ āĻļিāϞ্āĻĒেāϰ āĻĻূāϰāĻĻāϰ্āĻļী āĻ“ āĻĒ্āϰāĻ—āϤিāĻļীāϞ āϚিāύ্āϤাāϧাāϰাāϰ āϝāĻĨাāϝāĻĨ āĻŦāϰ্āĻŖāύা। āύāĻ­েāϰা āφāĻšāĻŽেāĻĻ āϚāϟ্āϟāĻ—্āϰাāĻŽে āĻāĻ•āϟি āϏাংāϏ্āĻ•ৃāϤিāĻ•āĻŽāύা āĻĒāϰিāĻŦাāϰে āϜāύ্āĻŽāĻ—্āϰāĻšāĻŖ āĻ•āϰেāύ, āϝেāĻ–াāύে āϤাঁāϰ āĻŽা āĻŽাāϟিāϰ āϤৈāϰি āĻĒুāϤুāϞেāϰ āĻŦাāĻĄ়ি āĻŦাāύাāϤে āĻĻāĻ•্āώ āĻ›িāϞেāύ। āĻāϟি āϤাঁāĻ•ে āϤ্āϰিāĻŽাāϤ্āϰিāĻ• āĻ…āĻŦāϝ়āĻŦ āύিāϝ়ে āĻ•াāϜ āĻ•āϰāϤে āφāĻ—্āϰāĻšী āĻ•āϰে āϤোāϞে। āφāĻšāĻŽেāĻĻ āϞāύ্āĻĄāύ āĻ“ āĻĢ্āϞোāϰেāύ্āϏে āĻĒāĻĄ়াāĻļোāύা āĻ•āϰাāϝ় āϤাঁāϰ āĻ­াāϏ্āĻ•āϰ্āϝ āĻļৈāϞীāϰ āĻŽāϧ্āϝে āĻĒāĻļ্āϚিāĻŽা āϧাāϰাāϰ āĻāĻŦং āϞোāĻ•āϜ āϐāϤিāĻš্āϝেāϰ āϏংāĻŽিāĻļ্āϰāĻŖ āĻĻেāĻ–া āϝাāϝ়। āϤাঁāϰ āĻ…āύেāĻ• āĻļিāϞ্āĻĒāĻ•āϰ্āĻŽ āĻ—্āϰাāĻŽীāĻŖ āϜীāĻŦāύ āĻ“ āϞোāĻ•āϜ āĻŽোāϟিāĻĢেāϰ āωāĻĒāϰ āĻ­িāϤ্āϤি āĻ•āϰে āϏৃāώ্āϟ, āϝেāĻ—ুāϞোāϰ āϤিāύি āĻ›িāϞেāύ āĻ—āĻ­ীāϰ āĻĒāϰ্āϝāĻŦেāĻ•্āώāĻ•। āĻāĻ›াāĻĄ়া āϤিāύি āϤাঁāϰ āĻ•াāϜে āĻŦৌāĻĻ্āϧ āϧāϰ্āĻŽীāϝ় āĻĨিāĻŽāĻ“ āĻ…āύ্āϤāϰ্āĻ­ুāĻ•্āϤ āĻ•āϰেāĻ›েāύ āĻāĻŦং āύাāϰীāϰ āĻ…āĻ­িāϜ্āĻžāϤাāĻ•ে āωāĻĒāϏ্āĻĨাāĻĒāύ āĻ•āϰে āĻāĻŽāύ āĻāĻ•āϟি āύিāϜāϏ্āĻŦ āĻļৈāϞী āĻ—āĻĄ়ে āϤুāϞেāĻ›েāύ। ⧧⧝ā§Ŧā§Ļ āϏাāϞেāϰ āφāĻ—āϏ্āϟে, āύāĻ­েāϰা āφāĻšāĻŽেāĻĻেāϰ āĻĒ্āϰāĻĨāĻŽ āĻāĻ•āĻ• āĻĒ্āϰāĻĻāϰ্āĻļāύী āĻ•েāύ্āĻĻ্āϰীāϝ় āĻ—āĻŖāĻ—্āϰāύ্āĻĨাāĻ—াāϰেāϰ (āĻŦāϰ্āϤāĻŽাāύ āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ় āĻ—্āϰāύ্āĻĨাāĻ—াāϰ) āύিāϚāϤāϞাāϝ় āĻ…āύুāώ্āĻ িāϤ āĻšāϝ়। āĻāϟি āĻ›িāϞ āĻŦাংāϞাāĻĻেāĻļে (āĻ¤ā§ŽāĻ•াāϞীāύ āĻĒূāϰ্āĻŦ āĻĒাāĻ•িāϏ্āϤাāύ) āĻ•োāύো āĻ­াāϏ্āĻ•āϰেāϰ āĻĒ্āϰāĻĨāĻŽ āĻāĻ•āĻ• āĻ­াāϏ্āĻ•āϰ্āϝ āĻĒ্āϰāĻĻāϰ্āĻļāύী। āĻāϟি āĻĒাāĻ•িāϏ্āϤাāύ āϏেāύাāĻŦাāĻšিāύীāϰ āϜেāύাāϰেāϞ āφāϜāĻŽ āĻ–াāύ āωāĻĻ্āĻŦোāϧāύ āĻ•āϰেāĻ›িāϞেāύ, āϝিāύি āϤাঁāϰ āĻ•াāϜ āĻĻেāĻ–ে āĻāϤāϟাāχ āĻŽুāĻ—্āϧ āĻšāϝ়েāĻ›িāϞেāύ āϝে āϤিāύি āĻ­াāϏ্āĻ•āϰ্āϝāĻ•ে āĻāĻ•āϟি āĻļিāϞ্āĻĒ āϰূāĻĒে āĻĒ্āϰোāĻŽোāϟ āĻ•āϰাāϰ āϜāύ্āϝ āϤাঁāĻ•ে ā§§ā§Ļ,ā§Ļā§Ļā§Ļ āϰুāĻĒি āĻ…āύুāĻĻাāύ āĻĻিāϝ়েāĻ›িāϞেāύ। āϤিāύি āϤাঁāϰ āĻ­াāϏ্āĻ•āϰ্āϝেāϰ āϜāύ্āϝ āϏিāĻŽেāύ্āϟ, āĻ•াāĻ , āĻĒ্āϞাāϏ্āϟাāϰ āĻāĻŦং āĻĒাāĻĨāϰ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰāϤেāύ। ⧧⧝ā§Ŧā§Ļ-āĻāϰ āĻĻāĻļāĻ•েāϰ āĻļুāϰুāϰ āĻĻিāĻ•ে āĻĒাāĻ•িāϏ্āϤাāύ āφāϰ্āϟ āĻ•াāωāύ্āϏিāϞেāϰ āφāĻŽāύ্āϤ্āϰāĻŖে, āϤিāύি āĻĒāĻļ্āϚিāĻŽ āĻĒাāĻ•িāϏ্āϤাāύে āϝাāύ āĻāĻŦং āϏেāĻ–াāύে āĻ…āύেāĻ• āĻ•াāϜ āĻ•āϰেāύ।⧧⧝ā§Ŧ⧍ āϏাāϞে, āϤিāύি āĻ­āϰāϤāύাāϟ্āϝāĻŽ āĻļিāĻ–āϤে āĻŦোāĻŽ্āĻŦে āĻ­্āϰāĻŽāĻŖ āĻ•āϰেāύ āĻāĻŦং āĻāĻ• āĻŦāĻ›āϰ āĻĒāϰ āĻĒ্āϝাāϰিāϏে āϝাāύ, āϝেāĻ–াāύে āϤিāύি āϤাঁāϰ āĻŦাāĻ•ি āϜীāĻŦāύ āĻ•াāϟাāύ। ⧧⧝ā§Ŧā§Ž āĻĨেāĻ•ে ⧧⧝⧭ā§Ļ āϏাāϞ āĻĒāϰ্āϝāύ্āϤ āϤিāύি āĻĨাāχāϞ্āϝাāύ্āĻĄে āĻŦāϏāĻŦাāϏ āĻ•āϰেāύ āĻāĻŦং ⧧⧝⧭ā§Ļ āϏাāϞে āĻŦ্āϝাংāĻ•āĻ•েāϰ āĻ…্āϝাāϞাāϝ়েāύ্āϏ āĻĢ্āϰঁāϏেāϜ-āĻ āϤাঁāϰ āĻĻ্āĻŦিāϤীāϝ় āĻāĻ•āĻ• āĻĒ্āϰāĻĻāϰ্āĻļāύী āĻ…āύুāώ্āĻ িāϤ āĻšāϝ়। āϏে āϏāĻŽāϝ় āϤিāύি āĻ­িāϝ়েāϤāύাāĻŽ āϝুāĻĻ্āϧে āϧ্āĻŦংāϏāĻĒ্āϰাāĻĒ্āϤ āφāĻŽেāϰিāĻ•াāύ āĻŦিāĻŽাāύেāϰ āϧ্āĻŦংāϏাāĻŦāĻļেāώ āĻĨেāĻ•ে āωāĻĒাāĻĻাāύ āϏংāĻ—্āϰāĻš āĻ•āϰে āĻ•াāϜ āĻ•āϰāϤেāύ। āύāĻ­েāϰা āφāĻšāĻŽেāĻĻ āĻļāĻšীāĻĻ āĻŽিāύাāϰেāϰ āĻŽূāϞ āύāĻ•āĻļাāĻ•াāϰāĻĻেāϰ āĻāĻ•āϜāύ āĻ›িāϞেāύ, āϝেāĻ–াāύে āϤিāύি āĻšাāĻŽিāĻĻুāϰ āϰāĻšāĻŽাāύেāϰ āϏাāĻĨে āĻ•াāϜ āĻ•āϰেāĻ›িāϞেāύ। āϤিāύি ⧧⧝⧝⧭ āϏাāϞে āϤাāϰ āĻ…āύুāĻĒāϏ্āĻĨিāϤিāϤে āĻāĻ•ুāĻļে āĻĒāĻĻāĻ• āĻĒাāύ āĻāĻŦং ā§§ā§¯ā§¯ā§Ž āϏাāϞেāϰ āĻāĻĒ্āϰিāϞ-āĻŽে āĻŽাāϏে āĻĸাāĻ•াāϝ় āϤাঁāϰ āϰেāĻ–ে āϝাāĻ“āϝ়া āĻ•াāϜেāϰ āĻāĻ•āϟি āĻĒ্āϰāĻĻāϰ্āĻļāύী āφāϝ়োāϜāύ āĻ•āϰা āĻšāϝ়।

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