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Qayyum Chowdhury
Qayyum Chowdhury (March 9, 1932 – November 30, 2014)〔 was a Bangladeshi painter. After the pioneering artists like Zainul Abedin, Quamrul Hassan and Safiuddin Ahmed his name is the most popular among the first generation artists of Bangladesh. He is perhaps most well known for his cover designs - but his significance as a painter is vast..
Although Kazi Abdul Kasem and Zainul Abedin led the way for applied art in Bangladesh, Quamrul Hassan helped this field to flourish and it was Qyyum Chowdhury's unswerving creative efforts that bought maturity to this art. During the last fifty years, he has adorned this field with abundance and diversity.His world of painting on the other hand, resonates with the ebullient nature and life in Bangladesh.A passion for literature, music and film made his quests of life optimistic, variety seeking and an abundant source of good taste.
== Biography ==
Qayyum Chowdhury was born on March 9, 1932 in an educated and aristocratic family of Feni, Noakhali. As his father, being a cooperative-bank official,was transferred from one place to another, Qayyum Chowdhury's boyhood was spent in various districts and ''makhakuma towns'' -in Chittagong,Comilla, Narail, Sanwdeep, Noakhali, Feni, Faridpur and Mymensingh. Because of his close affinity with the fascinatingly diverse nature of Bangladesh, a deep passion grew in his mind for nature. Particularly, his life in Narail on the Chitra river played a significant role in his study of nature. His interests, inherited from his father, in reading newspapers and books, and his love for music from childhood, contributed and developing his aesthetic sense and cultured mentality- which gave birth to his love for art. During his fourth and fifth grade in school, he had a keen attraction for the detective book series of ''Kanchanjangha'' published by Deb Shahitya Kutir.He says, 'The writing was definitely good, but the cover and the illustrations of those books were excellent. An artist named Pratulchandra Bandapadhyay used to draw those books pictures. There used to be a green pattern on the cover of those books, which was also impressive'. Apart from Pratulchandra, his contemporary artists Fani Gupta,s pictures and Samar Dey's illustrations inspired the development of Qayyum Chowdhury's artistic being. The magazines that were bought to their house (Bangashree, Prabasi, Bharabarsha, Basumati etc.) because of his father's interest, used to contain Abanindranath and Gaganendranath's illustrations, which fuelled his passion for art. That is how he decided to study in art school when he was in ninth of tenth grade. Later, after passing Matriculation (1949) from Maymensing City Collegiate School, when he took the initiative to study in Dhaka Art Institute, he found a supportive attitude in his music-loving father.
Qayyum Chowdhury was student of the second batch of Dhaka Government Art Institute (established in 1948). His teachers Zainul Abedin, Quamrul Hassan, Saifuddin Ahmed and others hand a huge influence on him. Besides, his association with a group of talented classmates went a long way in flourishing the artist in him.Rasid Choudhury and Abdur Razzaque were prominent among them. He was also a close friend of Aminul Islam, a first batch student. At this time, his intimacy also grew with poets, authors and musicians. Among them, Shamsur Rahman, Syed Shamsul Haque, Hasan Hafizur Rahman, zahir Raihan, Syed Atikullah, Borhanuddin Khan Jahangir, Alauddin Al Azad, Samar Das are worth mentioning. After coming to Dhaka, passion for movies was added to his passion for books and music. The combined chemistry of all these factors made his study period in the Art institute (1949–54) into a significant preparatory stage of his becoming an artist.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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