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Women Artists of Bangladesh
The wife or daughter of the Bengali kumar or potter creates all products which do not involve the use of the wheel. They also paint all the products that are painted in the potter's family workshop, the ghata, sara or pot cover, dolls etc. In the weavers household the women do almost all else except work on the loom. However, women have never been part of the artisan tradition of the country. They have never been part of a guild. There were never any female swarnakar(goldsmith), sutradhar(carpenter) or takshak(carver). The economic structure of producer and consumer relationship that is current in the country has always been male-centristic. Yet the first painter that finds mention in Sanskrit literature is Chitralekha, who had run of the inner chambers of the Bana king of Pragjyotishpura. The painting skills of the companions of Radha find repeated mention in Vaishnava literature."The touch of the Bengali woman's dexterous hands is to be found in all of Bengal's folk arts. About the culinary arts, Dineshchandra Sen says that the artistic skills woman shows in making sandesh(a sweetmeat) is such that they achieve the beauty of flowers and fruits. There are hundreds of moulds made of clay by Bengali women, their decoration are a pleasure to behold. The dexterity they show with the coconut kernel cannot be appreciated by any one who has not seen the coconut sweets made by the women of East Bengal.
==History==
Though there are many different materials used in the diverse fields that women artists of Bengal work in, there is a kind of similarity to be found in the designs. Nakshikantha (fig. 1.9), nakshipitha, pati, ghata, hari etc. are wares that are decorated and in their motifs we notice the reflection of the alpana designs. The alpana designs painted with rice paste on the ground seem to be painted also in the pithamade of rice powder with the thorn of the date palm, jute stick or thin slat of bamboo. This pitha is mainly made in Mymensingh, Comilla, Sylhet, Dhaka and Chittagong (fig.1.8). On analysis it is to be realized that the Bengali woman creates her varied world of art with the world she knows and the symbols she learns. The poet Jasimuddin saw the woman's art world in a wider form, The painting that we see in the lines of the alpana on the ground, we observe similar pictures in stone slabs, in the decorated wooden piece of the carpenter, in the tattoo on bodies, jewelry, in colorful kanthas and the fine cane knots of the house. Though the methods of creating pictures are different in different places there is a similarity in their tradition.
Woman's entrance into the world of mainstream art is largely against social conditions. The sort of art that women are prepared to create is completely different from high or mainstream art. This is due to the indisputable fact that women and men are different. They are different even though they belong to the same society, family and environment because in the patriarchal society where they grow up, there is great discrimination between them from the very beginning. This discrimination channelizes the aesthetic consciousness and view of life in different directions. Heide- Goetner Abendroth has written. As matriarchal art derives from the structure of matriarchal mythology which is a completely different value system and not merely a reversed or contradictory one from that of patriarchy, it too shares this different system of values. The erotic is the dominant force and not work, discipline, renunciation. The continuation of life as a cycle of rebirth is its primary principle, and not war or heroic death for abstract, inhuman ideals. Thus woman's primary aesthetic consciousness is used to hold patriarchal society together. This positive female force nurtures patriarchy with love because woman's consciousness and therefore her art is never self-centered. Woman always works at a level which is generally understandable and easily accessible. Her art and life is never separated. The separation of art and life in patriarchal society has divided mainstream or high art into many different branches. In fact, woman's matriarchal values are cooperative and universal at the core of which is the desire to awaken fertile energy. This value system works as an undercurrent in patriarchal society in the conscious and sub-conscious states of woman. This matriarchal value system has been recast by patriarchy for its own purpose. Thus, when woman enters the world of art created by the male, she enters it going against her training and instincts. The enormous and extraordinary maternal energy of woman becomes a separated, individual entity when a woman enters the unknown world of male created aesthetics; she enters the competition on unequal terms. Often we find women who show great promise in their art education but cannot later keep pace in the actual world of mainstream art. This world of art seems to be very difficult to harmonize with social pressure, family life and child rearing. This world of pure art separated from the flow of life seems to be at odds fora woman to manage while leading a normal family life. That is why we often observe women leaving art divorced from life and society and leaning towards applied art. Perhaps because the self- centeredness, self-consciousness and sense of self-esteem of women do not develop along the same lines as males that this situation is created. Women are forever busy trying to satisfy others. She finds fulfillment by being secondary herself and bringing happiness, peace and taking care of the family. It is impossible to find a place in the world of art with this attitude. Thus, if we study the lives of women who do find a place in the world of art we find a sudden break of a few years in their professional life. Perhaps they are busy rearing children as mothers or trying to adjust to a new role in a new family or keeping herself in the background to give preference to her husband's profession.
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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