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Each and every picture possesses its own story. The concise nature of the artwork can be attributed to the artist's limited ability to capture the expansive nature of the painting fully.
The national poet Kazi Nazrul Islam drew inspiration from a particular artwork, which in turn served as the catalyst for his renowned literary work titled 'The Stream of Khayyam.'
The artwork was crafted by Nawab Meherbanu Khanam, who hailed from the esteemed Nawab dynasty of Dhaka.
Based on scholarly analysis, it is assumed that Meherbanu Khanam's birth likely occurred during 1885-1890. She is widely regarded as the pioneering female artist in Dhaka, presently known as Bangladesh.
The present-day Ahsan Manzil in Dhaka was designated in honour of Nawabzadi Meherbanu Khanam, the esteemed artist and daughter of Sir Nawab Ahsanullah. Khaja Mohammad Azam entered into matrimony with Meherbanu Khanam during the month of Poush in 1902.
Unsurprisingly, the family of Meherbanu Khanam possessed a high level of education and enjoyed a significant degree of cultural affluence. Khaja Ajam, an esteemed artist, supported and encouraged Meherbanu Khanam in her artistic pursuits.
The precise number of paintings produced by the artist throughout her lifetime and the commencement of her ongoing painting practice remain undetermined.
Nevertheless, it is widely acknowledged that two of her painted artworks were included in the esteemed publication, Muslim India Daily.
However, historical records indicate a photograph dating back to either 1913 or 1914, wherein Meherbanu may be observed painting with her offspring.
Muzaffar Ahmad, an associate of Nazrul, arrived in Dhaka to publish the journal 'Muslim Bharat' and procure two photographs of Nawabzadi Meherbanu Khanum for his personal welfare. The individual gathered and organised the aforementioned materials about a well-known composition by Kazi Nazrul Islam.
One of the two paintings portrayed a river vessel. Her painting inspired the famed poem 'Kheya Parer Toroni' by Nazrul Islam.
In the year 1327 of the Islamic calendar, Nawabzadi Meherbanu Khanum contributed two illustrations to the publication titled 'Muslim Bharat' in 1920.
Nawabzadi Meherbanu Khanum probably holds the distinction of being the foremost female artist in the context of Muslim Bengal. Simultaneously with disseminating her artistic creations, scholarly discourse about this association was also made available to the public for the first time.
Sayed Emadad Ali documented Meherabanu's initial artwork in 'Muslim Bharat.' Furthermore, Ali has also included a description of Khanum's subsequent artwork. The second photograph depicts a tranquil rural landscape, showcasing village dwellings alongside a dock on the riverbed in Bikrampur. The visual representation depicts the serene river and its impact on the local populace.
Meharbanu Khanam exemplified benevolence, kindness, a passion for education, and a commitment to philanthropy. She assumed a prominent position in establishing educational institutions catering specifically to the female population in the Bangla Bazar region.
Her name is also linked to the care and nurturing of children deprived of parental support.
Meharbanu Khanam, a skilled artist from Dhaka's Nawab dynasty, fell away on October 3, 1925. According to the journal of Khaja Shamsul Haque, it was seen that every individual belonging to the Nawab family exhibited signs of sadness and shed tears on the mentioned day.
Her interment took place at the burial ground situated within the vicinity of Dilkhusha Mosque.
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