Hamidur Rahman was the man who gave shape to the concept [ধারণা] and design of
the Shaheed Minar, by combining [সমন্বয় করা] all the aspirations [উচ্চাকাঙ্ক্ষা] of Bengali identity and nationalism [জাতীয়তাবাদ]. When he was assigned to make the design, he was full of enthusiasm [উৎসাহ] focussing on the language movement as the central concept. He
experimented with basic horizontal [অনুভূমিক] and vertical
[উল্লম্ব] forms to bring out the concept of Bengali solidarity
[একাত্মতা] and unity [ঐক্য] for their national identity [পরিচয়]. The vertical lines of his design provided the manifestations [রূপ] of inner [ভেতরের] strength. The four columns on both sides
of the central structure reflect [প্রতিফলিত করা] the balance and harmony [ঐকতান] of a united stand. The original design had included stained glass, with
hundreds of eyes, through which the sunlight could pass. The marble floor was
to reflect the moving shadows of the column in an unending process of revolt
from dawn to dusk. In the basement of the Minar he had designed a grand [অসাধারণ] fresco [দেয়াল চিত্র] work of 1500 square feet, depicting [চিত্র বর্ণনা করা] the language movement. This was to be his masterpiece, again reflecting
the theme of geometric horizontal and vertical motifs [শিল্পের সাহিত্যের বিশেষত সংগীতের মূল উপাদান বা প্রধান প্রসঙ্গ] of unity and strength. Rahman was fully conscious
[সচেতন] of the tropical [মৌসুমি] damp [স্যাঁতসেঁতে] climate of
Bangladesh and therefore worked out such materials for the Minar that would withstand
[প্রতিরোধ] the climate. He ensured [নিশ্চিত] that the columns be made of such mixture
of iron rods and cement as to stand for centuries. Today the Shaheed Minar is a
symbol [প্রতীক] of freedom, strength and unity. He is no
more with us but we remember him with great admiration and pride for his
remarkable design of the Central Shaheed Minar.
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