Can occupy to it’s likely you’ll be somebody who usually enjoys visiting exhibitions in Dhaka—usually dominated by artwork and the occasional installation—going in the ‘Delft Blue Ceramics’ exhibition at Zainul Gallery might perchance get you off guard.
For a median artwork fanatic, the setup might perchance to birth with feel underwhelming. Handcrafted ceramics arranged on straightforward tabletops in a modest gallery home, without a accompanying context about the pieces, and the absence of a list for the first couple of days, can abolish the ride feel a miniature incomplete. It indubitably left me puzzled to birth with.
But as I leaned into my curiosity and sought to love the intent at the assist of the exhibition, I discovered myself rising a deeper appreciation. Can occupy to you take care of in tips the rich historical previous of Delft blue pottery, its Dutch roots, and the painstaking effort that goes into crafting even a single portion, you realise there is extra to ceramics than simply their ornamental appeal.
The finest artistry lies in the craft itself—the ability, time, and dedication poured into creating these intricate works. Or no longer it’s no longer with regards to how good-looking out they’d demand for your dining table; it is the custom and craftsmanship enthusiastic that makes them special.
All of it began with a week-long workshop in behind October, led by instructors from the Division of Ceramics, where college students received hands-on ride in applying Delft blue designs to ceramics.
The strategy of crafting and curating the final create took virtually a month, and in case you ingredient in bigger than 75 particular person pieces on show in the exhibition, it will more than likely be necessary to reward the hassle enthusiastic.
The exhibition was organised by The Embassy of the Kingdom of the Netherlands in partnership with Dhaka College’s School of Elegant Arts and Art Bangla Foundation. ‘The Delft Blue Ceramics’ exhibition entails the works of faculty students and professors from DU’s Division of Ceramics. It opened its doorways on 7 December and ends tomorrow.
Delft Blue, a trademark of Dutch ceramic artistry, traces its origins to the 17th-century Dutch Golden Age, impressed by the blue-and-white porcelain of China. In the city of Delft in South Holland, Dutch artisans experimented with clay and glazing tactics to repeat Chinese porcelain while incorporating uniquely Dutch parts.
This fusion of Jap impact and native creativity gave rise to Delft Blue pottery, which rapid became a cultural designate, reflecting both nationwide pride and inventive ingenuity that endures to for the time being.
In a dialog with Lekhnesa Khushi, one among the participants, she shared insights into the intricate route of of crafting the ceramic pieces.
“The principle step is acquiring the clay physique. While it could probably demand white, most clay in Bangladesh is no longer naturally white,” she explained.
Once the clay is ready, it is dried to steal away any moisture, guaranteeing it turns into airtight. The clay is then formed into the desired create sooner than it goes by strategy of ‘bisque firing,’ where it is heated to 750-800 degrees Celsius.
Following this, the ceramics are painted with glaze colors to fabricate their designs. In the final stage, a layer of transparent glaze is applied and the portion is fired again, this time at approximately 1,200 degrees Celsius to pause the carried out ceramic sculpture. This meticulous route of transforms raw clay into intricate works of artwork.
The exhibition parts a numerous array of pieces, from human head sculptures to vases and vessels adorned with intricate designs. What ties them all collectively is the consistent exercise of a inserting cobalt blue coloration.
“The hallmark of Delft ceramics is the cobalt blue patterns on a white clay physique,” explained Lekhnesa.
One standout portion—a inserting human head paired with a mind-like sculpture—straight captures attention. Intricate leaf patterns wind around their surfaces, evoking the organic interplay of understanding and nature, seamlessly fused at some stage in the ceramic medium.
Nearby, a chain of vessels, jars, and plates stands with restful elegance. Every portion parts intricate, hand-painted designs, ranging from serene windmill landscapes to stylised peacocks. One jug, with its twin-dealt with fabricate, embodies both functionality and fine appeal, while a rounded pot adorned with floral motifs exudes a timeless appeal.
A sequence of animal-formed ceramics adds a playful touch to the exhibition, placed on yet every other tabletop. Their minimalist yet expressive forms seem alive, as though ready to spring into fling. In distinction, an adjoining show of abstract shapes provides a most recent twist, showcasing the versatility and creativity of the medium.
Besides drawing inspiration from Dutch fabricate and custom, the college students had been encouraged to encompass parts distinctive to Bangladeshi custom.
Lekhnesa shared how some artists crafted tepa putuls and that a variety of the floral patterns extinct replicate motifs that are deeply rooted in our native traditions.
