Quamrul's forsaking of the city was manifest equally in the work he did to revive rural artisanal practices and aesthetic traditions.He had always been fascinated by the clay dolls and clay animals the craftsmen made in the villages and sold in fairs.The elongated neck of these dolls, their stylized facial features and their feeling of mass and volume had found their reflection in his painting, and the myriads of designs (naksha) rural craftsmen and women made to decorate utensils, textiles, and household yards also found their place in his work.
