FOLK  ART, HERITAGE  AND  TRADITIONAL PROFESSIONS

If you visit slums of Dhaka, you'll find talented professionals such weavers, potters etc. who are now daily labourer or beggars. These people have provided thousands of years sustainable products for generations but now plastic and aluminium products have displaced them. Thirty percent of about 15 million population in Dhaka city are recent migrants from the rural areas of Bangladesh, but unlike many other Third World cities this influx was not accompanied by industrialisation.

  

1. INTRODUCTION

The production of pottery is one of the most ancient arts. The oldest known body of pottery dates from the Jomon period (from about 10,500 to 400 BC) in Japan; and even the earliest Jomon pottery exhibit a unique sophistication of technique and design. Excavations in the Near East have revealed that primitive fired-clay vessels were made there more than 8,000 years ago. Potters were working in Iran by about 5500 BC, and earthenware was probably being produced even earlier on the Iranian high plateau. Chinese potters had developed characteristic techniques by about 5000 BC. In the New World many pre-Columbian American cultures developed highly artistic pottery traditions. The Indian sub-continent including the area which includes Bangladesh was also famous for pottery

Regardless of time or place, basic pottery techniques have varied little except in ancient America, where the potter's wheel was unknown. Among the requisites of success are correct composition of the clay body by using balanced materials; skill in shaping the wet clay on the wheel or pressing it into molds; and, most important, firing at the correct temperature. The last operation depends vitally on the experience, judgment, and technical skill of the potter (Prodip Aich, The Independent, October 13, 2003).

From third century B. C. and twelfth century A. D. pottery, terra cotta figurines and plaques were most abundant in Bangladesh (Mahmud. F.,(1987). The earliest specimens of pottery are those of the Northern Black Polished Ware. This pottery spread into Bangladesh from the north later than fourth century B. C.

The most unfortunate present history is that the old wall of Mahastangarh (300 B.C.) is destroyed by constructing a new wall by the Archaeological Department. When we asked them, why they did it? The reply was that because there was some money and we tendered to construct walls on it!!!. Besides, the ruin is not protected properly. During dry season visitors from all over country use it as a picnic spot!

The discovery of specimens of pottery at Mahasangarh, north Bengal from third century B. C. to sixteenth century A. D. reflect the evolution of pottery in cultural setting. Pottery represents the largest single category of antiquities at Mainamati (SE of Dhaka). The subject matter portrayed in the Mainamati terra cotta plaques is overwhelming, it includes almost everything that can be found in the life and imagination of the Bengal countryside.
Varied specimens of pottery have been discovered at Pharpur, N. Bengal (ancient residential University of Bangladesh). There are above 2000 terra cotta plaques still embellishing the outer wall of the Pharpur temple.

Mahasthangarh turning into farmland Mahasthangarh, one of the country's oldest archaeological sites, is gradually becoming a farmland due to government apathy. Instead of protecting the 2,374 year-old site, which hosts an ancient capital city named Pundranagar, local people have been seen cultivating winter vegetables, onions, rice and other crops on more than one square kilometre of land there. The 15 sqkm site is surrounded by villages. Residents say precious artifacts, including gold coins, jewellery, utensils and inscriptions, were dug out and smuggled away from the site, which is located 18 kilometers away from the northern town of Bogra. "If the government does not take steps soon to establish authority over this land, we will no longer be able to protect the site," said Curator of Mahasthangarh Museum, Md Abdul Zabbar. While unwarranted farmers have taken over one sqkm of land, the government has only acquired less than 10 acres of land in the last several years. Such apathy has encouraged some to build houses and steal bricks thousands of years old to construct their houses. According to land records, farmers still own over 800 acres of land in the archaeological site, archaeological officials said. But since the government has not taken any steps to acquire the land, they still farm on the area and cause damage to the site by taking away bricks and other materials, local people claim. "We are doing everything within our means to save it. We have submitted many projects but the government could not do anything due to lack of funds," said Abdul Khaleque, regional director of Rajshahi Division. A Unesco official said the government has been preparing a proposal asking Unesco to announce Mahasthangarh as a world heritage nomination and provide financial and technical help. "After receiving the government proposal, the Unesco experts will decide whether this site should be marked as a world heritage site or not," notes Shahida Parvin from the cultural desk of Unesco. During a recent visit, this correspondent saw that many new houses have been built inside the site and people have been taking away the bricks of the archeological site to construct their own buildings. Aaliboddi Mia, a local who was seen carrying two baskets of ancient bricks, believes he has the right to take the bricks. "We have been living in that area for generations and we own these lands," Mia points out. He explains how he got the bricks, " I got it by digging the land. I will make a wall using mud and these bricks at my house." Some other people have been seen blissfully cultivating vegetables there. "This land is high and we were not affected by the floods. In this season we already sold radish, potato and pumpkin and made Tk 21,000 profit," said Tofazzal Hossain, while irrigating his vegetables with a shallow pump. Another local cultivator, Mokless Hossain, said they have been cultivating vegetables there for a couple of years. An excavation of the site has been underway since 1993, as part of an academic exchange scheme between Bangladesh and France. Shafiqul Alam, chief of the excavation team notes that Mahasthangarh is an open site and its land is public property. And he believes cultivation is not a problem for the site. "It would take a lot of money to acquire all those lands. But the government do not have that money and so we cannot do much," Shafiqul Alam points out adding, "if the farmers do not dig out the site very deep, it would not be a problem." Perched on the western bank of the Korotoa River, Mahasthangarh is one of the oldest settlements in Bangladesh. Discovered in the early 1930s, this one-time affluent city was buried under the soil and is said to hold scores of priceless artifacts (Pinaki Roy, November 28, 2004) .

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1.The Oldest University in Asia, Terra Cotta Remains

The Pala Kings, who ruled Bengal in the 5th century were Buddhists Many Buddhists Vihara well as other subjects. Since the Buddhists wanted to live in peace and had respect for other religions convinced the Pala emperor Dharmapala to convert himself to Buddhism from Jaina fath. Intermingling of the Hindu, Jaina and Buddhist faiths are evident in the arts and sculptures recovered from the site of this Vihara.

HISTORY OF BENGAL

At Paharpur some terra-cotta seals bearing the name of the vice chancellor, Sri Somepure, a member of the second ruler of the Pala dynasty, of the oldest university in Asia named as "Somapura Buddha Vihara Viswabidyalaya" (Khatun, 1997). The University used to teach theology, grammar, logic, philosophy, fine arts and visited by famous scholars. The residential university enrolled students free of costs and their clothing and food were also free. About one hundred adjacent villages supplied food and clothing for about 2,000 students living in 177 rooms in a 21 acre fortified complex area. Students from south-east Asian countries like Korea, Mongolia, China and Tibet came here to receive the superior quality of education provided by this University. The books preserved in the library were made of parchment paper and palm leaves. But the library was looted and ravaged after the fall of the Pala dynasty (M. Khatun, 1997).

Paharpur Buddhist Monastery (Sompur Bihar) facing ruination

The ancient Paharpur Buddhist Monastery (Sompur Bihar) in Naogaon is in a sorry state. A huge number of terracotta plaques have been stolen from the walls of its temple before and after the declaration of the monastery and its adjacent areas as a World Heritage Site in 1984. A high official of the archeology department said, the famous monastery was facing ruination for lack of proper maintenance and supervision. He lamented that a good number of antiquities were earlier destroyed during excavation work at the site between 1923 and 1934. Though the department collected some antiquities, it is high time to resist their theft and destruction, he said. Another senior official of the department said that a significant number of antiquities and terracotta went 'missing' between 1990 and 1995. A gang of 'antique lifters' is active in the area, he said. Citing poor security, he said, just a few months ago some miscreants broke open a portion of the iron grills of the temple's boundary wall. "We could not even maintain the sanctity of the World Heritage Site," he said, pointing to the setting up of a cell phone tower in front of the monastery which blocked the natural beauty of the spot. "We reported the matter to the authorities, but to no effect." The excavated remains at Paharpur represent the largest known Buddhist monastery south of the Himalayas. The gradual deposition of wind-borne dust over the ruins for ages took the shape of a high mound or a hill. Hence the name of the place has probably became Paharpur. Excavations conducted there from 1923 to 1934 yielded a huge number of antiquities including one inscribed copper-plate of Gupta (479 AD), stone inscriptions, stone and bronze sculptures, terracotta plaques, inscribed clay sealings, ornamental bricks, metal objects, different earthen objects and silver coins. From the reading of a number of inscribed clay sealings, it is learnt that original name of this monastery was Somapura Mahavihara (great monastery) and it was built by Dharmapala (770-810 AD), the 2nd Pala emperor. In 1982 and later, deep digging was conducted in some cells of Paharpur monastery. During digging, one terracotta image head, one copper coin and some other antiquities were found at lower occupation levels. These antiquities, particularly the terracotta image head resembles the features of Gupta sculptures. Besides these antiquities, the ruins of a vast building having larger rooms (each 16'x13'-6? ) were brought to light. This building was known as the Jaina Vihara as mentioned in Paharpur copper plate. However, to ascertain the feature, further deep digging, investigation and study are necessary. Paharpur monastery measures 922 feet north-south by 919 feet east-west having its elaborate gateway in the middle of the northern wing. It has 177 cells in its four wings around an inner courtyard. The lofty temple in the middle of the courtyard; numerous votive stupas, miniature models of the central temple; chapels; small temples, kitchen and ancillary buildings are very beautiful. The imposing central temple is cruciform in shape and built high in terraces. The outer faces of the walls of the temple are decorated by terracotta plaques. From the last quarter of 9th century onward the Pala Empire was repeatedly attacked by some foreign kings and one native Kaivarta chief named Divya. Because of repeated attacks Somapura Mahavihara suffered greatly. About the same time Paharpur monastery and temples were burnt by Bangla Army. In 12th century, Bengal was ruled by the Sena kings, who were blind supporters of Brahamanism. From that time on the Paharpur monastery and its temples were gradually abandoned for lack of Royal patronage. The monks and worshippers deserted Paharpur and went to other places (Hasibur Rahman Bilu, 2005) .

The customs and practices of rural life have inspired artisans to create and recreate objects of play, of worship, and of utility. To suit the immediacy of their needs they have used materials which are cheap and redilly available such as clay, wood, brass, bamboo etc.

Puthia Rajbari, once fascinating, is a large complex home to several old Hindu temples and is a testimony to a unified architectural pattern. At the entry to Puthia, formerly a large estate, is a large white stucco temple dedicated to Shiva, modelled on a typical north Indian design and dating back to 1823.
To the left of the main façade of the palace is the Govinda Temple, dedicated to Lord Krishna, which follows a typical Hindu temple shape prevalent in Bengal at the time. It is decorated with delicate terra-cotta panels depicting scenes from the Radha Krishna and other Hindu epics.

The antique treasure now stands in isolation across an overgrown playground that bears the hallmarks of neglect. A short evening stay in front of the lonely palace is being close to dark shadows that thicken into night or taking a solemn pause for one fleeting moment when past and present overlap. It's just gazing through time's windows on rediscovering dormant splendour.

The walls of the palace are now covered in aggressive graffiti -- its plaster peeling, windows falling apart and metal laceworks rusting. It wears a defaced look as the college authorities reconstructed the building beyond archaeological norms.

Occupation of the palace goes against the Antiquities Act, 1968 that says any person who destroys, breaks, damages, alters, injures, defaces, mutilates, scribes or writes or engraves any inscription or sign on antiquities is punishable with imprisonment up to one year or with fine or both.

But who is going to "bell the cat"?

The Unesco yesterday (29. 09. 04) called for raising mass awareness about the rich cultural heritage sites in the country. "Bangladesh is a resourceful country because of its rich cultural heritage and has got a bright future... but it needs to preserve those heritage sites," Unesco Representative Wolfgang Vollmann told a press briefing in the city. He said identification of 355 national cultural heritage sites is only a tip of the iceberg; thousands of similar others need proper attention (Daily Star, September 30, 2004).

Prospects of eco-tourism and Buddhist heritage tourism in Bangladesh

357 archaeological sites are under any porotection Three hundred and fifty-seven archaeological sites, including the world heritage sites such as the Paharur monastery and Bagerhat Shat Gambuz Mosque, having potential of becoming tourist spots, are either vulnerable or unexplored. The sites are under the scheme of preservation, conservation and presentation of the Department of Archaeology. But there are neither any physical protections nor any measures to make the places attractive to visitors. Archaeological sites such as Paharpur, the largest Buddhist monastery in Bangladesh, Mahastangarh, the oldest, Mainamati, the seat of the lost Buddhist dynasties, mosques, monuments, temples, shrines, and zamindars' palaces like unprotected. The Department of Archaeology assistant director, Md Khalequzzaman, told New Age they had engaged people in maintaining the sites, but most sites such as temples and mosques are still used by the local residents. He said most of the sites are in remote areas where no physical communication and transport are available; besides, such sites are occupied by the local influential people. Lack of funds, manpower and lack of awareness among the public of archaeological values were some major problems they face. A survey of the department says there are more than a thousand of archaeology sites, other than the 357, in Bangladesh. A number of Buddhist monasteries were built in this region between the seventh and the twelfth centuries. There is an account of the famous Pandita Vihara of Chittagong in the Tibetan Chronicle, which remains unidentified as yet. Vikrampuri Vihara at Rampal in Dhaka, Agrapuri Vihara at Agradigun in Rajshahi, Jagaddal Vihara at Jagaddal in Rajshahi, Kanka Stupa Vihara of Pattikera at Maynamati in Comilla, Po-Shi-Po Vihara in Bogra have been marked as tourist spots by the Parjatan Corporation. The Bangladesh Tour Operators' Association president, Faridul Haque, said, 'Our archaeological sites have huge potential in tourism sector.' He said not only proper conservation, but also proper records of history and its publication also necessary. (New Age March 26, 2005)

Shiva Temples in Tarash upazila of Sirajganj is facing the risk of destruction

The invaluable treasure of ancient terracotta artworks on the walls of the twin Kapileswar Shiva Temples in Tarash upazila of Sirajganj is facing the risk of destruction as the temples have long been in a dilapidated condition.
Although a large number of terracotta decoration pieces have been stolen or misplaced over the years, the brick-built temples built in 1630-35AD still showcase an ample amount of such terracotta plaques. But the authorities have not yet declared them as a protected site.

A few senior officials of the Archaeology Department said several proposals in this regard have been sent to the ministry concerned since the country's independence, but to no avail. Nor have the ancient temples been renovated for the last 300 years. According to two Sanskrit inscriptions, Zamindar Prabir Balaram Roy renovated the temples in 1714 using bricks and other building materials.

An official of the Archaeology Department said there is no plan to declare the site protected or start any conservation work soon. Debendranath Ghosh, a septuagenarian resident of Tarash upazila, said he saw over 100 stone statues in the temples in his youth.

Another Tarash-resident, Tapan Goswami, said, "I have seen a large number of statues in the two Shiva temples and other temples in the area in my boyhood, but they have been stolen after the Liberation War." A survey conducted by the Archaeology Department 10 years ago revealed that at least 200 pieces of terracotta plaques were stolen or misplaced.

Tarash Police Station Officer-in-Charge Afzal Hossain said there are police records that a huge number of statues, terracotta plaques and other relics have been stolen from different temples in the area. "The police have so far recovered six stone statues from different areas and handed them over to the Archaeology Department," he said (Daily Star, January 12, 2008).

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3. Pat and Patua important audio-visual mediums in educating the masses since immortal

There is a very deep cultural link the Indo-Gangetic civilisation, such as that of terra-cotta, cloth and natural fibre like jute, "shola" and beetle nut bark fibre, which are on the verge of extinction. These items go back to as much as 12 centuries. The Moenjodaro link which is visible in our terracotta dolls and toys go back to 3,000 years. Not only has that history been forgotten but the realisation that they are diminishing is that within two decades they'll be there no more. "One craft in particular which has suffered as recently as in 15 years is the type of painted scroll called 'Ghazir pott'. Ghazi is a 'pir' recognised both by the Hindus and Muslims, by the woodcutters, honey gatherers, fishermen and boatmen in the Sundarbans. They invoke the Ghazi pir, the tiger personality who protects the people who enter the jungle."

The 'Ghazir pott' is a series of folk stories told by the village men of the bravery of this man who protected them from tigers. Ghazi, she said, is sacred to the Hindus too as they have a similar personality whom they called 'Shatta pir' but he rides a leopard while Ghazi rides a tiger and both carry symbols in their hands."

One important reason for the diminishing of crafts is that the metropolis dwellers are not paying according to the demand of the producers. When the villagers are putting the products into the market the price is cut to half and bargaining goes on. The elite are least bothered while the middle class like the items and wish to use them at home but unless one is a connoisseur of art the people of the upper echelons of society have forgotten village crafts altogether

"People are ready to pay a high price for painting but they are not ready to pay for a craft that has taken six months whereas the painting may have been done in three days. When a woman has worked on her handicraft on an authentic design for half a year she has the right to ask for more". "Karika" products are art crafts and not just handicrafts, she stressed. For this reason the theme of the exhibit had been "Know Bengali cultural roots."

The reason why our standard has fallen is because the rural artisans have difficulty in marketing their products. I have sometimes gone to a source, following a 15 year-old documentation, and then discovered that in Rajshahi where 'Shokh hari' was being done village-wise is now confined to a few solitary houses. Similarly the makers of blanket from lamb's wool cease to function as before and take up other means of income generating sources. I found only an old widow still pursuing that craft." Chandan said that the entire Bangladeshi scenario is the same. He said that the folk art craftsmen have abandoned their old skilled work due to lack of demand in the market and plastic for instance has replaced clay. The only exception, he pointed out, was Naogaon where nine instead of four families are following a 'sholar' craft making birds and other items since the last 15 years. Even there is a problem as the craftsmen got the material for nothing but now the landlord are charging them a fee for the raw material, Chandan said (Daily Star, October10, 2004).

Kumar or potter family are found all over Bangladesh. The elaborate terra cotta tile works display enormous sweep and dedicated Kumars.
In some communities of kumars make clay pots, vessel for cooking, storing water etc. Other sub-castes fashion figures in the shape of animals, birds, humans and children toys. The "Sakher Hari", an earthen pot, painted with images of fish, combs, birds and floral creepers to denote fertility is used to carry sweets for a marriage ceremony.

Ghazir Pott - Oldest Audio-Visual Medium

Pats (Sanskrit Patta) means picture is an ancient folk tradition. Dr. D. P. Ghosh (1980) describes , " Two thousand and five hundred years ago, scroll-painting or panel painting was widely used in many parts of India as mass media for enjoyment, general education and religious practices." Ram pats or Ghazi pats (picture) used by Hindu and Muslims. Pats are held very vertically and painted from top to bottom were shown scene after scene from the epilical stories.pats were produced for educative and religious purposes. They are used as accessories of balled singer.. Patua is a composer, artist and singer. Evidences of this has been cited through the last two thousand and five hundreds years that Pat and Patua were important audio-visual mediums in educating the masses almost corresponding to the gallery lectures of modern museums.

Gazi Pats Ballad:
Jamdud kaludt at
The right and left
The friend of the Jam raja (king)
Sits in the midst
Gazi says: Chase them away
With Gazi's name.

HISTORY OF BENGAL

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4.Gazir Gan, Pat, puthi Pat

Today, many of us are ignorant of Gazir Gaan, Gazir Yatra, Gazir Pat, Puthi Pat, Kiccha-Kahini jari and so on and on. Saymon Zakaria has been travelling to different parts of Bangladesh to find out and let others know of what remains of the indigenous cultural performances, which still survive like the flickering light of a burnt away candle.

Gazir Gaan The Fokre Paala of the Gazir Gaan (The Ascetical Drama of the Gazi Song) Dudhshar, a village in Shailkupa thana in Jhenaidaha district. There resides Rowshan Ali Jowardar, one of the lead singers or narrators (Gayen) of the Gazir Gaan (Gazi's song). The all time involvement with his performance keeps this man away from his home most of the time. In his absence, I get the address of Bhola, the leader of the troupe who resided in Bhatoi Bazar and succeed to meet him. The Gazir Gaan singers and the instrumentalists took their seats facing north on the square shaped mat. Then commenced the starting ritual. As the lead singer implanted the symbolic icon, Gazir Asha (Hope of Gazi) north of the audience, music played on. Among the musical instruments were flutes, harmonium, juri or Mandira (a small hollow pair of cymbals) and the dhol (instrument of percussion which is not so much in width as a drum but longer in size). After the group instrumental, the lead singer presented a devotional song with his troupe accompanying him in stages. If you come, Oh Merciful to rescue the destitute / (Merciful) Please take and make me cross (I) do not offer my prayers, nor do I fast / Please have mercy and make me cross (I) coming into this world / about you I have forgotten/ under the spell of infatuation . . . Each individual has the knowledge of good or bad and for the singers and the spectators or the audience of Gazir Gaan, the performance is as recreational as it is of devotion. Some show their devotion by praying, some by worshiping (Puja), some by offering a particular sacrifice to the deity on fulfillment of a prayer (Manot) and some may look for some other way to express their devotion. Gazir Gaan, whatsoever includes humour or even obscenity, ultimately it is something of sheer devotion. There are altogether 7 Paalas (episodes) in the Gazir Gaan performance: 1. Marriage 2. Didar Badshah 3. Dharma Badshah 4. Erong Badshah 5. Taijel Badshah 6. Tara Dakait 7. Jamal Badshah But the performance commences with the “Fokre Paala" depicting the story behind Gazi and Kalu's becoming ascetics after which continues seven episodes. Gazi is very serious and sincere in his work, while the character of his brother Kalu is more comical and he is the one who creates the humour through his role. Through his jeers and meaningless dialogue and activities he very skillfully takes the audience into the embedded sorrow and depth of the story. Here are some quotes from the "Fokre Paala". After the dance performed by the "Chukris", the lead singer stands up and delivers some introducing words in his local accent. After the introductory words of the narrator, starts the instrumental and then the Dhua or starting chorus of the narrative passes from the lead singer to his members of the chorus. Singer starts the main narration of the Fokre Paala of Gazi and Kalu and at the beginning he requests Kalu earnestly to become Gazi's companion in his quest of becoming an ascetic leaving behind the earthly pleasures and luxury. As this song ends Kalu comes up and takes part in dialogue (in verse and prose)based drama with the lead singer. The statements and their replies are rather nonsense, comic in nature and sometimes with the use of indecent words. Gazi's knowledge and asks questions related to Sufi mysticism. Gazi answers satisfactorily and at one stage Kalu points out the asha of the Gazi. [The asha is one of the most holy ritual accessories that play an important role in the performance of the miracles of the saints (Pirs). It indicates the symbolic representation of a saint's supernatural power. During the Gazir Gaan performance, the asha is implanted in the ground and is not used in the performance. Other ritual accessories are used in Gazir Gaan and the offerings made to the saints in the performance are usually taken by the lead-narrator or singer himself on behalf of the saint. At the end of the performance of each episode of the Gazir Gaan, the narrator asks the crowd which episode would they like to watch. The troupe performs accordingly because it is the mood of the crowd that matters to really feel the beat of the performance. (Saymon Zakaria, August 30, 2004) .

Among the indigenous Bangalee art forms, pata-chitra or scroll paintings stand apart in their choice of subjects, vibrant colours, unique lines and style of presentation. Painters of this form are called patua. An exhibition of traditional pata-chitra by three patuas, Dukhushyam (Osman) Chitrakar, Rabbani Chitrakar and Rahim Chitrakar, is being held at DOTS Contemporary Arts Centre on Tejgaon-Gulshan Link Road. (Daily Star, April 9, 2006).

The term Pata is derived from the Sanskrit word Patto, meaning cloth. In ancient times, before paper was introduced, artistes used to paint on thick cotton fabric. Usually mythical or religious stories were the themes. However, in time contemporary issues, animals and more found their place on these painting. "Pata-chitra is perhaps the oldest art form in the Indian subcontinent and the tradition continues to this date. In fact, the art form can be traced all the way back to sixth BCE."

Besides being visual delights, the scroll paintings are also used in pat gaan or patua gaan. Through the medium of scroll painting, a choir narrates a story. Most of the paintings in the exhibition illustrate myths, episodes from the Purana, Ramayana; some feature animals and imaginary monsters. The paintings have several sections so as to maintain a sequence. In the first segment the main characters, usually Gods and Goddesses, are portrayed boldly. A painting featuring Raashleela of Radha-Krishna is stunning. Snake-like creatures with three heads on another one are interesting. Another painting shows three gruesome rakhkhoshi (females monsters) in their "full glory" -- teeth shaped like carrots sticking out, talons sharper than an eagle's -- staring back at the viewer as if to warn them to keep a safe distance.

Goddess Durga is the subject of several scrolls. One of the paintings show the Goddess smiting the beast Mahishashur. Vibrant colours -- yellow, indigo, bottle green, khaki, crimson and dark brown -- create a dazzling effect. Four Gods and Goddessess -- Ganesh, Karthik, Lakshmi and Saraswati -- ornate the corners of the painting. The story of Goddess Kali stamping on God Shiva is the subject on a scroll. The Goddess is bare, as she is portrayed traditionally and painted in deep purple. In episodes from the Ramayana, Rama and Sita are seen getting married in the first segment. Other scenes featured are Lakshman cutting the nose of the monster, Suparnekha and Sita abducted and imprisoned by Ravana. An interesting scroll shows fish carrying other fish in paalkis.

Bangladesh is home to long and rich folk tradition. Dr. D. P. Ghosh (1980) says, "two thousand and five hundred years ago, scroll painting or panel painting was widely used in this country." The art of Bangladesh influenced the art of the Far-East, especially the art of Java. In Bangladesh, folk painting is a part of vast folk culture, developed from time immemorial (Prof. R. Alam,2001).

The patuas are artisans, who are now principally engaged in decorating pottery which is also a dying craft. Now a days we do not find any Patua in one time famous Patua colonies of Bengal.

In Bengali Chal Chitra (inverted shaped roof like design) are employed on the clay images. Chal Chitra are done by the village folk artists. This has become a dying art.
Ghat means water pitcher in Bangla. Manasa is the snake goddess. These ghats are made from clay on the potter's whell and then dried and burnt. All the Ghatsare absolutely folk in nature and primary colours are bold draughtsmanship are employed. The style of painting has affinity with ancient Egyptian and Minoan painting, especially in the depiction of eyes.
Vratras or fasts are innumerable folk expression by women.In Bangladesh a number of Vartas undertaken by Hindu women necessitate the making of clay images as well as Alpana (Folk art - a spontaneous expression of the people, retains the past experience of the community and yet also a vital existence in the present... Flowering of the women's creativity marks each changing cycle of the year. Alpana designs were originally used to be drawn by spreading white powdered rice or by drawing lines on a layer of this powder, A. Mookerjee, 1939)). some scholars hold that Alpanas have come down to us from Austric people (such as Mundas).

The rural Bangladesh has a thriving tradition of making dolls and toys from different indigenous materials. Two specimen collected by BSIC, Dhaka - head of a tiger and head of an elephant. The form was made from clay which is covered with the pulp of paper and then painted. One interesting relict has been discovered at Commila. It is a design done over a terra cotta . This unique piece has a design which is folk in character (R. Alam,2001).

Sara or cover is an earthen plate made of clay which is burnt. Generally Laksmi the goddess of wealth is depicted on the Sara. Sometimes Durga, sarasswati, mansa and other deities are also painted. These Saras are generally painted by the men of the potter cast assisted by women folk.

WOMEN'S CULTURE

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5. Glorious Heritage is going to Perish

Our glorious heritage is going to perish. But with the loss of traditional culture, we are going to lose the values of our life that our ancestors preserved.

Recently in an editorial the daily Independent writes:

"Reports coming from different parts of the country narrate the decline of pottery as an industry and plight of potters who have for generations subsisted on their trade. An agency report from Sherpur published in the Country Page of The Independent yesterday says referring to a study that the pottery of that place which was famous throughout undivided Bengal is now becoming extinct. The traditional potters are switching to other professions."

Pottery Gasping For Breath

Faridpur, Feb. 18: Pottery in the district is grasping for breath throwing a large number of potters into total uncertainty. It is learnt that the demand for pottery has decreased due to availability of silver and plastic materials at reasonable prices. People in general prefer plastic or silver articles to earthen pot considering their durability and decency. A potter told this correspondent that a day labourer can earn Tk 70 to Tk 80 (Tk. 50 = one US Dollar) but it is difficult to earn Tk 80 a day by selling earthen materials.

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Use of plastic bottles can cause cancer

A research on repeated use of plastic bottles conducted by Australia based Queensland Department of Natural Resources and Mines Staff said many users are unaware of poisoning caused by reuse of plastic bottles.

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Our project advises villagers to use traditional clay pots to escape health hazards and to keep the money in the villages.

From the very beginning of our Banglee culture, pottery has represented our identity and lifestyle. The artisans' works include making clay-pots, earthen ware, toys of clay and different idols of gods and goddesses have been the tradition of our culture. But it is now regrettable that in recent times, especially in the last decade potters have been in distress. Because of these unavoidable factors like clay, lack of capital, unsatisfactory selling of clay pots, lack of fuel wood for burning raw pots, their plight is in peril.

Potters' wheels keep spinning in Bamunkushia