উত্তররঙ্গ ১২,

মেদিনীপুরের শবরশিল্পী মধু নায়েকের সঙ্গে মেলাতেই কর্মশালা আয়োজন করলেন পাট শিল্পী নারায়ণ পৈত

Panch Pir

Panch Pir an important development in the concept of Pirism in Bengal. With the spread of Islam to distant lands Muslims came in contact with people of other religions. As a result Islam influenced other religions and likewise others also influenced Islam and the Muslims. The influence was mainly through the Pirs or saintly persons.
The adoration of Panch-Pir (five Pirs) was prevalent in some parts of Bengal, particularly in West Bengal in the districts of Burdwan and Midnapore. Panch-Pir, as family deities, represented by a small mound on a clay plinth erected in the northwest corner of one of the rooms of the house, was worshipped both by Muslims and Hindus, particularly of the lower strata of the society. On the mound was fixed a piece of iron, resembling a human head and five fingers resembling the five pirs.
It is difficult to trace the origin of the reverence to the Panch-Pir. The date of the Panch-Pir dargah of Sonargaon is not known. By the side of the dargah, there is a mosque, with no inscription attached to the mosque and it has been completely renovated so that the date of the construction of the mosque cannot be ascertained. Though the name of Parch-Pir is associated with Pir Badar in the ballads, Pir Badar also cannot be identified. There are several places where Pir Badar is remembered. But if Pir Badar of the ballads is identified with Pir Badar or Badar Shah associated with the Muslim conquest of Chittagong, it may be assumed that the Panch-Pir concept originated in the 14th century. Of course, the Panch-Pir could have been associated with the name of Pir Badar at a later date as well.
It is difficult to ascertain who the five pirs were. Lists of Panch-Pir found at different places differ, they include some local pirs, though one Ghazi Miyan is common, but who is this Ghazi Miyan is not known. Those who are killed in jihad (religious war) are called Shahid (martyr) and those who come out successful are called Ghazi. Ghazi stands for valour and heroism. The poor and lower class village folk, therefore, adored Panch-Pir as symbol of power and they sought asylum under their protection.

PatuyaSangit

It is a genre of folk song performed by PATUYAs (rural canvas painters) who paint stories on canvas based on myth and folklore. The illustrated canvas is unrolled as the patuya narrates the story through dance and song.
The stories of the pats (paintings) and their accompanying songs are very diverse in subject matter: tales about the world of the dead, Buddhist monks, Gazi Pir, RAMACHANDRA or KRISHNA. However, patuya sangit may also narrate recent social events as in the following example from Krishna's Avatara:
"The sins of the king visit the subjects; Laksmi or good luck leaves a household on account of the sins of the mistress of the house; Similarly, when there is drought, an emperor's subjects leave the land."
When a GAZIR PAT is shown, illustrating different incidents from the life of Gazi Pir, the patuya begins by duly saluting the holy man. He then goes on to sing about Gazi Pir and the miracles wrought by him capacities. During the display of a Yama pat, the focus is mainly on what happens after death in the world of Yama (the Hindu God of death), where, according to a song, the sinner is punished by being cooked in a pot by Lord Yama's mother: Yama rajer may baisa achhe tamar dekchi laiya/ ati papi manuser kalla dichhe se deke phelaiya.
Patuya songs are popular in many areas of WEST BENGAL: Birbhum, Burdwan and Murshidabad and Medinipur. Patuya Sangit, a book compiled by GURUSADAY DUTT, consists of stories of Krishna, Rama, etc. At one time Patuya songs, especially songs about Gazi Pir, were very popular in many areas of Bangladesh, among both Hindus and Muslims as they dealt with issues of religious reforms and social changes. Though the popularity of these folk songs has lessened in many areas, they still survive and are the main occupation of a particular sect or group of people.

StoneCarving

The main centre for traditional stone carving in West Bengal is Simulpur in Sildah areas of Paschim(West) Mednipur and the carvers here are known as Sildah. Phyllite, a semi-soft blackish-grey stone, is sculptured into a large variety of utensils with the help of indigenous hand operated lathes to make bowls, cups and plates of various shapes and sizes.
Bardhaman with Patun and Dainhata are the other important centers for stone carving in West Bengal and the stone carvers of this area are also known as Bhaskars or Sutradhars. Figures are carved here for temples and home. The use of brick-red stone is predominant here out of which the Sutradhar sculptors have carved panels and plaques for the temples in the region.
Apart from the utensils and temple architecture, the most common subject for stone carving in West Bengal are the intricately carved elephants and Goddess Durga.