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‘MATIR MANUSH’: RASEL RANA BRINGS BENGAL’S ICONIC TEPA DOLLS TO CANVAS

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* October 13, 2024
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One of my earliest memories in Kushtia is of the colourful, locally-made clay
dolls from the Rath Yatra fair, the annual Hindu chariot festival held in July.
As a child, I was fascinated by these charming figurines. In fact, my mother
grew up in a household where buying these dolls from the fair was synonymous
with buying happiness—not just for her family, but also for the artisans who
made them. The dolls varied in size, but one kind stood out due to its unique
shape and intricate details— the tepa putul (clay dolls). Though they are
traditionally associated with the Rath Yatra, these dolls are crafted and sold
year-round, remaining a beloved toy for children across Bengal.
‘Tepa’ refers to the act of molding clay with one’s fingers, while ‘putul’ means
dolls. According to researchers, the history of these dolls traces back to the
terracotta sculptures of the Indus Valley Civilisation, with clear similarities
in form. As such, the tepa putul carries with it the cultural heritage of the
entire Indian subcontinent. However, with changing times and a dwindling
population of artisans, this art form is on the brink of extinction.
“Matir Manush,” Rasel Rana’s first solo exhibition, is a heartfelt call to
preserve and appreciate the art of tepa putul. Organised by Shilpangan and
Bhumi, the exhibition was inaugurated on October 12 at Bhumi Gallery, with
prominent architect and artist Mustapha Khalid Palash in attendance as the
special guest. Artist Professor Rashid Amin praised Rana’s work, while the chief
guest, renowned artist Mohammad Yunus, officially opened the exhibition.
Rasel Rana, an emerging artist and graduate of the Department of Graphic Design
at the University of Dhaka, has immersed himself in the art of tepa putul
painting. The delicate yet precise craftsmanship of potters, who shape these
dolls from clay, finds new life in Rana’s two-dimensional canvases. Though tepa
putul is a rural tradition, it has long reflected the spirit of the Bengali
people, as evidenced by its inclusion in the works of Shilpacharya Zainul
Abedin. Following in his footsteps, Rana captures the beauty and significance of
this art form in his own work.
The exhibition title, “Matir Manush” (which means “people of the soil”), is a
term used to describe humble, down-to-earth individuals. Fittingly, the tepa
dolls often depict our people, birds, and animals. Inspired by this concept,
Rana has created captivating paintings that portray the simple lives of rural
Bengal. His works depict women draped in sharees, engaged in everyday
activities—working, conversing, tending to children, or fetching water by the
river—accompanied by birds, flowers, traditional hand fans, and more. In one
notable piece, tepa children are shown watching Shilpacharya Zainul Abedin as he
paints.
Rana’s art also features elements of Nakshi Kantha (a traditional Bengali craft)
and the Liberation War of 1971. Scenes of floods, thatched-roof houses, clay
water pots, banana trees, and mud houses appear throughout his work. The
expressive facial features of the figures add a unique charm to his 38
paintings, which use acrylic and mixed media. Among these, my personal favorites
are a bride with an owl and the ornamental rendering of the word ‘Maa.’
“Matir Manush” offers a glimpse into the past, connecting viewers to their
childhood and introducing a vital cultural tradition to the younger generation.
The brushstrokes, colour palettes, shading, and facial expressions all speak to
Rana’s artistic mastery.
The exhibition is open to all and will run at Bhumi Gallery until October 22.

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www.styleblog.club Open in urlscan Pro 172.67.165.233 Public Scan

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www.styleblog.club Open in urlscan Pro
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