pls visit http://sanhati.com
Pukuria village is in the Mandribazar police district of South 24 Parganas, West Bengal. Right next to the pitch road through which several bus routes run, there are some small brick buildings with tiled roofs. One of these is the workplace of the shola artist Kamal Bairagi (42). When I met him, he was working with the front door closed. The back door was open and looked over a rivulet that flowed behind the building. There was a small boat anchored in the water. He mentioned that he would need the boat to go the fields to answer nature’s call. Talking with him, I was able to learn some things about shola and the shola industry.
Mr. Bairagi had been a van rickshaw driver since the age of 15. Afterwards, he left that profession, and for the next 20-25 years was able to make a living by making artworks out of shola. His house, in the Bazarberia village, is a short distance away. That village lacks electricity, and has poorly maintained roads. This is why he has rented a PWD owned house in the Pukuria village. This house is on a bus route, and also electricity is available as power lines run by the road. This helps the artist to easily communicate with the buyers. However, it is PWD property, hence the government can make him move any day.
His wife Ratna (39), and two sons Deepak (25) and Dilip (18) all work in the Shola workshop with him. His two daughters Shikha (24) and Rekha(18), both of whom are married, continue the work in their married homes in Chitraganj and Bazarberia respectively. The daughters of the shola artists in this region enter their married homes with the tradition of the artwork. I asked Mr. Bairagi some questions about his profits and losses. The replies that came through reflected despair and dejection from the systematic deprivation that he has been subjected to in his career as an artist.
With an investment of Rs 500 for the raw materials, the resultant products can be sold for Rs 700 to Rs 900. This means there is a profit of Rs. 200-400 net profit with this investment. As a result, with all four people working, the profit is around Rs 3000 from a monthly investment of Rs 5000.
On the other hand, Shyamal Gayen and Bimal Gayen of the same village have become extremely wealthy by being able to invest heavily with their capital. Larger corporations based out of Dharmatolla, Kolkata, order artworks with specific designs meant for export to foreign countries like USA, France, England, Russia, Japan and Singapore, with resulting profits in tens of millions of Rupees. The artists themselves get very little of the profits, and are barely able to survive. The local businessmen buy their art works for 40-50 paise (100 paise = 1 Rupee) and sell it to firms based in Dharmatolla for a much larger profit who in turn export these products abroad at a higher rate.
If the government would invest 100,000-200,000 Rupees or would take direct responsibility of purchasing and marketing the artworks, then the middlemen who do not do any of the work would not be able to make these huge profit margins. On picking up one of the design catalogs that he was working off, I noticed the word “Espana”. This indicated to me that a Spanish firm had possibly ordered these goods.
Mr. Bairagi showed me the awards he had received over the years. These included the first prize in the district level and the second prize overall in the state level in a statewide cottage industries and craft competition in 2001-02. He had also received a similar award in 1999-2000 for his creations. The government (DIC) employed him as a trainer for shola artists. He gave extensive training to the apprentices in the Mandirabazar, Jayanagar and the Nimpith areas.
However, even in this field, he complained of being deprived. NGO’s often use people like him to train artists. The government allots Rs. 2000 per person for training 20 people. Rs. 4000 was stipulated for the expenses of raw materials, tools, and for the lunch meals of the trainers. The Sunderbans development center, which is base in Lakshmikantapur – Dayaranpur area was given money by the government, and they had previously employed Mr. Bairagi as a trainer. But this time, they are having the training completed by a person who is not an artist. Mr. Bairagi feels exploited.
On the invitation of different state run organizations, Mr. Bairagi has participated in different state fairs and continues to do so. He has been attending the cottage industry fair organized by the DRC for the past five years. This year (2009), he will be going to the fair in Kolkata which will be starting on 13th January and will continue for 22-23 days. He has already created shola flowers enough to which fill a sack for this event. He was also present in the “Milan Mela” cottage fair which began last March.
The future of the shola industry looks promising due to self-initiatives and rising demands. This cottage industry is gradually making inroads into many homes in many villages. According to Mr. Bairagi, one positive aspect of this promising low-capital industry is its pollution-free nature.
This is an agro-based industry. Thus, not only shola industry, but shola farming is also speading to some areas in the South 24 Parganas. The shola tree grows mainly in the wet regions. Shola produced in wet regions like Bonga, Habra, Boshirhat, Kalyani in Bangladesh or India-Bangadesh border is big, fat, soft and fresh and happens to be the best quality shola. Farming was done in this area while the market was in Howrah. Mr. Bairagi and others used to buy shola trees from Howrah before.
Nowadays, the shola art supplies are available for trading every Saturday from 5 a.m. to 8-9 p.m at the Pukuria market . Hindu and Muslim farmers from villages like Bankar Dar, Ishwaripur of the Joynagar and Magarhat police district bring shola trees for selling in the market.
Bundles of shola trees are referred to as ‘Tari’ in the regional language. One tari comprises of 8/10/15 shola trees. Thin shola tari may cost Rs 4 a piece while good quality shola tari may be upto Rs 20. As per Mr. Bairagi’s information, shola art accessories include white thread, Fevicol, glue, 8-10 chemical colors like yellow, red, green brown etc. Instruments needed are 1) kati- to cut two types of shola tree, 2) 6-7 types of designer knives, 3) batali (small)- three varieties. Apart from these, paper cutting scissors are required.
A bit of history
The first shola works started in this Mandirbajar police district of South 24 Parganas, in the village of Maheshpur, approximately 200 years ago. As per Mr. Bairagi’s knowledge, artists from Maheshpur probably learnt their craft from Howrah. Gradually, the shola works spread to the neighboring villages.
About 100 years ago, Mokimpur started shola art works, followed by Pukuria 40-50 years back. Currently, 100% of the population in Maheshpur and around 99% in Pukuria are involved in shola works. Apart from these place, villages like Hattalam Gokulnagar, Sundir Hat,Kalitala, Gopalnagar have also started shola works.
The shola artworks are packaged in containers and exported outside the country via ships from Tuticorin harbor in Madras (Chennai). The shola artists previously created topor (conical shola hat used for weddings), kalka ( decorations used in worship), deity ornaments, Kadam flower, chandmala (garlands for worship decorations) and others.
Mr. Bairagi said that the first flower decorations were started by Montu Gayen of Mokimpur and Bhishma Koyal of Maheshpur. Later, others joined in. The exquisite models of rose and chrysanthemum made from shola can be only found in a few villages in the Mandirbajar police district. Shirakol, Amtala, Baruipur and other areas in the South 24 Parganas have also started shola works.
The first shola works started here in the Mali neighborhood of Maheshpur village. Practically, this is a “Halder” neighborhood as all artisans here have “Halder” surnames. But since they create chandmala and other decorations for deities, they are refered as Malakar/Mali (regional name for people making garland), hence the neighborhood name, said 23 year old Radharani Halder. Veteran Sudhir Kumar Halder (69) , sitting on the area next to his stairs, told us that shola works started in the times of his great grandfather, Gorachand Halder. His grandfather, Motilal Halder, was the eldest of the four brothers and his father, Jyotish Halder, passed away in 1973 at the age of 65. Pradip Halder (45) is Sudhir’s son. Counting Sudhir’s grandson, 6 generations in his family are involved in the shola works spanning about 150-200 years. Sudhir has his own farmland of 1 acre. Sudhir told us that trading of shola art works is their profession. Kamal Bairagi has told that he does not posses any farmland.
Rising demands
Sudhir’s family makes shola crowns,topor and deity ornaments. Their garlands are sent to different regions like Barabazar, Kumartuli, Kakdwip, Diamond Harbor etc. Their shola works are sent to Delhi, Bombay from Kumartuli. Sudhir’s paternal uncle is the famed artist, Rabindranath Halder, whose creations are sent to even USA. Rabindranath is adept at creating various types of dolls. A few months back, he went to Delhi to create a wedding structure (pandal).
Pradip told us that the demand for this craft is on the rise. A lot more people are now involved in this trade. Local physiotherapist, Subrata Halder (31), informed us that many villages namely Banshberia, Moukhali, Hattala,Rangaberia, Chaitanyapur and Muldia have started shola works. Local resident, Sudhangshu Halder has employed people in Mirzapur, Rambati and Gopalpur. Kartik Halder told us that shola works are exported to USA, Hong Kong and Singapore through Madras.
Rathindranath (25), Rabindranath’s son, told us that almost 20 thousand people in the nearby 20-25 villages are involved in this trade and approximately Rs 15-20 lakhs worth goods are traded every month.
Shola works are in demand abroad for cinema decoration, interior and exterior decoration. Recently, the fake plastic flower industry has captured some of the market. Home decorations made from date leaves and palm leaves also have a market presence. These two have a market share of 5% in the Maheshpur village and in the overall Mandirabazar police district.
Showing posts with label Sunderbans. Show all posts
Showing posts with label Sunderbans. Show all posts
Thursday, April 1, 2010
archaeological find at Tilpi and Dhosa
The archaeological find at Tilpi and Dhosa, in South 24-Parganas, has prompted the authorities to excavate 20 other sites in the Sunderbans, starting at Deulpotha, where Pala-era pottery was recently unearthed at a brick kiln.
“The area has been declared ‘protected’ and work will start next week,” said superintendent of the state directorate of archaeology Amal Roy.
Excavation at the twin sites of Tilpi and Dhosa, 50 km from Calcutta, was suspended in June last year because of the rains. Work resumed in Tilpi two months ago, but the Dhosa site could not excavated, as it falls within a residential area.
A stupa from 2nd Century BC was found in Dhosa in March last year.
“Digging 5.30 metres down at Tilpi, we have come across interesting evidence suggesting that the site was devastated in a fire 10,000 years ago. Habitation appears to have begun there in 2nd Century BC, only to end abruptly in 3rd Century AD, when the land got submerged. The second phase of habitation might have started in 16th Century AD,” said Roy.
The recent digging in Tilpi — at Tentultala and Kancharipara — has yielded 356 items, “proving once again” that “a highly-developed civilisation” existed there from 2nd Century BC.
Goutam Sengupta, state director of archaeology and museums, said: “The Sunderbans ecosystem was not as inhabitable as we find it today... The land must have been less saline and the Piyali a source of fresh water, supporting a flourishing trade in forest products.”
Among the recent find — from 2nd Century BC to 2nd Century AD — are ivory products and precious stones.
Unlike other contemporary sites in lower Bengal, Tilpi has thrown up abundant evidence of industry in the form of near-intact hearths, smelting and casting tools and copper ingots. “Evidence of trade and aesthetic sensibilities, too, were found in the form of inscribed seals, coins, black ware, terracotta figurines and precious stones,” said an official.
There are carnelian and agate beads with delicate carvings and fine fragments of coins and seals. One of them bears a figure dressed in apparently foreign clothes.
That the civilisation predates Brahmanical Hinduism is borne out by the Yakshi figures and lotuses, which point to the existence of local cults.
Reference: http://www.telegraphindia.com/1070414/asp/calcutta/story_7643988.asp
“The area has been declared ‘protected’ and work will start next week,” said superintendent of the state directorate of archaeology Amal Roy.
Excavation at the twin sites of Tilpi and Dhosa, 50 km from Calcutta, was suspended in June last year because of the rains. Work resumed in Tilpi two months ago, but the Dhosa site could not excavated, as it falls within a residential area.
A stupa from 2nd Century BC was found in Dhosa in March last year.
“Digging 5.30 metres down at Tilpi, we have come across interesting evidence suggesting that the site was devastated in a fire 10,000 years ago. Habitation appears to have begun there in 2nd Century BC, only to end abruptly in 3rd Century AD, when the land got submerged. The second phase of habitation might have started in 16th Century AD,” said Roy.
The recent digging in Tilpi — at Tentultala and Kancharipara — has yielded 356 items, “proving once again” that “a highly-developed civilisation” existed there from 2nd Century BC.
Goutam Sengupta, state director of archaeology and museums, said: “The Sunderbans ecosystem was not as inhabitable as we find it today... The land must have been less saline and the Piyali a source of fresh water, supporting a flourishing trade in forest products.”
Among the recent find — from 2nd Century BC to 2nd Century AD — are ivory products and precious stones.
Unlike other contemporary sites in lower Bengal, Tilpi has thrown up abundant evidence of industry in the form of near-intact hearths, smelting and casting tools and copper ingots. “Evidence of trade and aesthetic sensibilities, too, were found in the form of inscribed seals, coins, black ware, terracotta figurines and precious stones,” said an official.
There are carnelian and agate beads with delicate carvings and fine fragments of coins and seals. One of them bears a figure dressed in apparently foreign clothes.
That the civilisation predates Brahmanical Hinduism is borne out by the Yakshi figures and lotuses, which point to the existence of local cults.
Reference: http://www.telegraphindia.com/1070414/asp/calcutta/story_7643988.asp
Tuesday, March 30, 2010
Lady of the legend - bonbibi
by Prashanto Banerji of Sunday Indian
Keshab Giri is a pious man. Every evening, the bearded priest of Kultuli village would go to a banyan tree by the river and pray at its feet, light a clay lamp, then walk back to his hut by the paddy fields. This evening wasn’t supposed to be any different.
But as Giri walked, the village seemed unusually quiet. Even the village curs had fallen silent. All Giri could hear tonight was the sound of his bare feet rustling the dry grass. At the foot of the great banyan, Giri began his prayers. The air around the tree was heavy with a pungent, unfamiliar odour. Maybe it’s from the bank, he thought. Dead cattle, rotting flowers and once even a dead man, swollen and yellow had drifted past these shores. But this smell was different – overpowering, but alive.
Giri tried to return to his prayers. He couldn’t. He opened his eyes to light the lamp… there, inches away from his forehead, hanging from the branches was a striped tail, its tip flicking. “I fell over backward, chanting Maa’s name. My eyes met the tiger’s. It glowered and snarled, but didn’t attack,” Giri said. “Quivering with fear, I screamed ‘bagh ayese... tiger’s here!’ Within minutes, the whole village had gathered, flaming torches in hand. We surrounded the tree and started chanting Maa’s name… the tiger seeing the crowd, climbed higher up, and then jumped off the tree, past the crowd and into the village.” Giri pointed at a hut behind a duck pond, “…ran straight into it, past an old woman lying by the courtyard, tore through the wall and into the paddy fields. Astonishingly, no one was hurt. Maayer kripa… grace of the Mother.”
As we spoke, a sea eagle called and a streak of bright orange lit up the horizon. Dawn was breaking over the Sunderbans. Word had spread that a tiger had swum across the river from an island forest and entered the village, and we’d given chase. But we’d reached a little too late. The tiger had been captured by the forest officials and taken away before we could reach. But the journey hadn’t been in vain, because I got to meet ‘Maa’.
In most parts of the country, ‘Maa’ would mean any of the many forms of Durga, but in the Sunderbans, it does not refer to a Hindu deity but a Muslim one – and one both pious Hindus and devoted Muslims pray to together – ‘Maa Bonbibi’. Legend has it that Bonbibi, born to poor Muslim parents, was abandoned, and then brought up by a deer in these forests. Blessed by Nature, she became the protector of these forests and all who enter it in good faith. Bonobibi shrines, with the idol of a goddess sitting on a tiger, dot the Sunderbans. And today Kultuli was going to thank Maa for keeping them safe.
The villagers had organised a jatra – a musical play celebrating Bonbibi. As the gaudily painted actors got into the act, on a makeshift stage, Giri Baba’s friend, a dark eyed man with a shock of white hair and a wispy beard, Muttalib Mollah, whispered, “Sunderban’s villages have both Hindus and Muslims, but in truth they are just children of the forest. The Musholmans pray five times in a mosque and the Hindus do their temple aarothi, but when it is time to go to the forest, we are together in our prayers to Maa Bonbibi. The Muslims tuck their beards and sit arm in arm in front of an idol with the Hindus who have no qualms about praying to a Muslim deity. Even when riots have spread across the Bengals, the Hindus and Muslims of the Sunderbans have lived as brothers… because the forest forces us to remain human, remain humane and stay in touch with what religion was meant to be… a source of strength, a divine bond, with our Khuda, our soul and our neighbour. A night in the forest is enough to teach you that. Theek bolchhi dada?” Muttalib turned to Giri. Though engrossed in the jatra, Giri turned, put an arm around Muttalib, nodded and smiled “theek… aekdom theek”. The play was long, the actors terrible and the music off-key, but the Kultuli crowd cheered, enraptured and entranced. The stage was empty now. The crowd was dispersing. Giri asked Muttalib to sing. “Aekhon kayno… why now?”. He was reluctant. “Gao na, aamra nachbo…sing, we’ll dance” Some people around him also insisted and a reluctant Muttalib went up on stage. Giri told me that Muttalib sang Hari kirtans really well.
Muttalib started, tentatively first, and then with gusto…The musicians returned, the dhols erupted, and the crowd stopped and turned. Muttalib was singing and ‘shaking’, and Kultuli, Hindus, Muslims alike, were ‘shaking with him…
This was my last day in these magical forests. It was a good day…
In the marshy swamps of the Sunderbans, faith has rock-solid underpinnings. Around the largest delta of the world, forest communities hail Bonbibi to protect them against the weather, and of course, the cat. Legends of the goddess, and more elaborately her nemesis, Dokkhin Rai, were first mentioned by Krishnaram Das in the 17th century. Later, the tales were retold in late 19th century in the Bonbibi Johurnamah by Abdur Rahim, who wrote them in Bangla, but in the way of the Arabic script – right to left.
This jungle goddess was born to a Muslim, Ibrahim, and his first wife, who was abandoned in the forest by the former when she was pregnant, at the behest of the second wife. The first wife gave birth to twins and left the girl child to the elements. Raised by a deer, Bonbibi, was chosen by Providence to fight the menace of the wicked Brahmin-turned-tiger, Dokkhin Rai.
Upon her divine mission, Bonbibi set out with her estranged brother Shah Jungoli for Mecca Medina to seek the blessings of Fatima and brought back some holy earth to mix in the Sunderbans’ soil. Her return and activities agitated Rai who challenged her to a duel. Dokkhin was vanquished and he pleaded forgiveness, addressing Bonbibi as ‘Mother’. Bonbibi, in her parting enjoinders, wished the forests be accessed only by the pobitro mone (pure hearted) and khali hatey (empty handed). To date, the Sunderban communities pay their obeisance to the goddess on Bonbibi Utsav, irrespective of caste, clan or religion…
Keshab Giri is a pious man. Every evening, the bearded priest of Kultuli village would go to a banyan tree by the river and pray at its feet, light a clay lamp, then walk back to his hut by the paddy fields. This evening wasn’t supposed to be any different.
But as Giri walked, the village seemed unusually quiet. Even the village curs had fallen silent. All Giri could hear tonight was the sound of his bare feet rustling the dry grass. At the foot of the great banyan, Giri began his prayers. The air around the tree was heavy with a pungent, unfamiliar odour. Maybe it’s from the bank, he thought. Dead cattle, rotting flowers and once even a dead man, swollen and yellow had drifted past these shores. But this smell was different – overpowering, but alive.
Giri tried to return to his prayers. He couldn’t. He opened his eyes to light the lamp… there, inches away from his forehead, hanging from the branches was a striped tail, its tip flicking. “I fell over backward, chanting Maa’s name. My eyes met the tiger’s. It glowered and snarled, but didn’t attack,” Giri said. “Quivering with fear, I screamed ‘bagh ayese... tiger’s here!’ Within minutes, the whole village had gathered, flaming torches in hand. We surrounded the tree and started chanting Maa’s name… the tiger seeing the crowd, climbed higher up, and then jumped off the tree, past the crowd and into the village.” Giri pointed at a hut behind a duck pond, “…ran straight into it, past an old woman lying by the courtyard, tore through the wall and into the paddy fields. Astonishingly, no one was hurt. Maayer kripa… grace of the Mother.”
As we spoke, a sea eagle called and a streak of bright orange lit up the horizon. Dawn was breaking over the Sunderbans. Word had spread that a tiger had swum across the river from an island forest and entered the village, and we’d given chase. But we’d reached a little too late. The tiger had been captured by the forest officials and taken away before we could reach. But the journey hadn’t been in vain, because I got to meet ‘Maa’.
In most parts of the country, ‘Maa’ would mean any of the many forms of Durga, but in the Sunderbans, it does not refer to a Hindu deity but a Muslim one – and one both pious Hindus and devoted Muslims pray to together – ‘Maa Bonbibi’. Legend has it that Bonbibi, born to poor Muslim parents, was abandoned, and then brought up by a deer in these forests. Blessed by Nature, she became the protector of these forests and all who enter it in good faith. Bonobibi shrines, with the idol of a goddess sitting on a tiger, dot the Sunderbans. And today Kultuli was going to thank Maa for keeping them safe.
The villagers had organised a jatra – a musical play celebrating Bonbibi. As the gaudily painted actors got into the act, on a makeshift stage, Giri Baba’s friend, a dark eyed man with a shock of white hair and a wispy beard, Muttalib Mollah, whispered, “Sunderban’s villages have both Hindus and Muslims, but in truth they are just children of the forest. The Musholmans pray five times in a mosque and the Hindus do their temple aarothi, but when it is time to go to the forest, we are together in our prayers to Maa Bonbibi. The Muslims tuck their beards and sit arm in arm in front of an idol with the Hindus who have no qualms about praying to a Muslim deity. Even when riots have spread across the Bengals, the Hindus and Muslims of the Sunderbans have lived as brothers… because the forest forces us to remain human, remain humane and stay in touch with what religion was meant to be… a source of strength, a divine bond, with our Khuda, our soul and our neighbour. A night in the forest is enough to teach you that. Theek bolchhi dada?” Muttalib turned to Giri. Though engrossed in the jatra, Giri turned, put an arm around Muttalib, nodded and smiled “theek… aekdom theek”. The play was long, the actors terrible and the music off-key, but the Kultuli crowd cheered, enraptured and entranced. The stage was empty now. The crowd was dispersing. Giri asked Muttalib to sing. “Aekhon kayno… why now?”. He was reluctant. “Gao na, aamra nachbo…sing, we’ll dance” Some people around him also insisted and a reluctant Muttalib went up on stage. Giri told me that Muttalib sang Hari kirtans really well.
Muttalib started, tentatively first, and then with gusto…The musicians returned, the dhols erupted, and the crowd stopped and turned. Muttalib was singing and ‘shaking’, and Kultuli, Hindus, Muslims alike, were ‘shaking with him…
This was my last day in these magical forests. It was a good day…
In the marshy swamps of the Sunderbans, faith has rock-solid underpinnings. Around the largest delta of the world, forest communities hail Bonbibi to protect them against the weather, and of course, the cat. Legends of the goddess, and more elaborately her nemesis, Dokkhin Rai, were first mentioned by Krishnaram Das in the 17th century. Later, the tales were retold in late 19th century in the Bonbibi Johurnamah by Abdur Rahim, who wrote them in Bangla, but in the way of the Arabic script – right to left.
This jungle goddess was born to a Muslim, Ibrahim, and his first wife, who was abandoned in the forest by the former when she was pregnant, at the behest of the second wife. The first wife gave birth to twins and left the girl child to the elements. Raised by a deer, Bonbibi, was chosen by Providence to fight the menace of the wicked Brahmin-turned-tiger, Dokkhin Rai.
Upon her divine mission, Bonbibi set out with her estranged brother Shah Jungoli for Mecca Medina to seek the blessings of Fatima and brought back some holy earth to mix in the Sunderbans’ soil. Her return and activities agitated Rai who challenged her to a duel. Dokkhin was vanquished and he pleaded forgiveness, addressing Bonbibi as ‘Mother’. Bonbibi, in her parting enjoinders, wished the forests be accessed only by the pobitro mone (pure hearted) and khali hatey (empty handed). To date, the Sunderban communities pay their obeisance to the goddess on Bonbibi Utsav, irrespective of caste, clan or religion…
Sunday, March 21, 2010
Ghazi Pat
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.
Gazir Pat a form of scroll painting; an important genre of folk art, practised by patuyas (painters) in rural areas and depicting various incidents in the life of Gazi Pir.
Those who took part in the performance were members of the bedey(snake charmers) community and Muslim by faith. Besides Gazir pat, there were other scrolls depicting well-known stories such as Manasa Pat (based on the goddess manasa), Ramayana Pat (based on ramachandra), Krishna Pat (based on Lord krishna) etc. The asutosh museum of indian art (Kolkata, India), Gurusaday Dutt Museum (Kolkata, India) and the Museum
Gazir pat is usually 4'8" long and 1'10" wide and made of thick cotton fabric. The entire scroll is divided into 25 panels. Of these, the central panel is about12" high and 20.25" wide. There are four rows of panels above and three rows below the central panel. The bottom row contains three panels, each of which is5.25" high and 6.25" wide. The central panel depicts Gazi Pir seated on a tiger, flanked by Manik Pir and Kalu. The central panel of the second row shows Pir Gazi's son, Fakir, playing a nakara. The central panel of the third row shows Gazi's sister, Laksmi, with her carrier owl. The right panel of the second row shows the goddess Ganga riding a crocodile. In the bottom row, Yamadut and Kaladut, the messengers of Yama, are shown in the left and right panels. The central panel shows Yama's mother punishing the transgressor by cooking his head in a pot. As Gazi Pir is believed to have the power to control animals, a Gazir pat also depicts a number of tigers.
Red and blue are the two pigments mainly used. There are slight variations of colour, with crimson and pink from red, and grey and sky-blue from blue. Every figure is flat and two-dimensional. In order to bring in variety, various abstract designs (such as diagonal, vertical and horizontal lines, and small circles) are often used. The figures lack grace and softness. Some of the forms (such as trees, the Gazi's mace, the tasbih, (the Muslim rosary), birds, deer, hookahs etc, are extremely stylised. The figures of Gazi, Kalu, Manik Pir, Yama's messengers, etc appear rigid and lifeless. There is no attempt at realism. The traditional method of painting Gazir pat begins with the preparation of size from tamarind seeds and wood-apple. The tamarind seeds are first roasted and left to soak overnight in water. In the morning the seeds are peeled, and the white kernels are ground and boiled with water into a paste. The paste is then sieved through a gamchha (indigenous towel). The tamarind size thus obtained is then mixed with fine brick powder. In order to prepare wood-apple size, a few green wood-apples are cut up and left to soak overnight in water. The resultant liquid is strained in the morning, and the size is ready to use.
A Gazir pat is generally painted on coarse cotton cloth. The piece on which the painting is to be executed is spread on a mat in the sun. A single coat of the mixture of tamarind size and brick powder is then applied on the side to be painted, either by hand or with a brush made of jute fibre. After it has dried, two coats of size are applied on the other side of the cloth, which is then left to dry. On the side to be painted, another coat of a mixture of tamarind size and chalk powder is applied. When the cloth is dry, it is divided into panels with the help of a mixture prepared with wood-apple size and chalk powder. When the prepared cloth is dry, the patuya starts painting the figures.
The pigments were originally obtained from various natural sources: black was obtained by holding an earthen plate over a burning torch, white from conch shells, red from sindur (vermilion powder), yellow from turmeric, dull yellow from gopimati (a type of yellowish clay), blue from indigo. The patuya would make the brush himself with sheep or goat hair. Some of these techniques are still used today. However, the patuya usually buys paints and brushes from the market.
The tradition of Gazir pat can be traced back to the 7th century, if not earlier. The panels on Yama's messengers and his mother appear to be linked to the ancient Yama-pat (performance with scroll painting of Yama). It is also possible that the scroll paintings of Bangladesh are linked to the traditional pictorial art of continental India of the pre-Buddhist and pre-Ajanta epochs, and of Tibet, Nepal, China and Japan of later times.
The scroll paintings of Gazir pat (pat meaning cloth), present the valour of legendary figure Gazi Pir, who was respected and worshiped as a warrior-saint, writes Robab Rosan Although worshipping the images of Gazir Pir is not mentioned in history, according to some scholars, the Muslim saint Gazi, might have appeared around the 15th century and seemed to be related to the rise of Sufism in Bengal. Islam Gazi, a Muslim general, served Sultan Barbak (1459-74) in Delhi and conquered Orissa and Kamrup (now Assam). Towards the end of the 16th century, Shaikh Faizullah praised the valour and spiritual qualities of this general in his verse Gazi Bijoy, the victory of Gazi.
There are some influences of Khijir Pir or Khawaj Khijir, a Muslim holly man considered as the protector of water, found in the story of Gazi Pir. To the worshipers of Gazi, this warrior-saint protected his devotees from attacks of wild animals and demons in the forests. Particularly, in the regions of the Sundarban, the story and images of Gazi Pir had earned much popularity among the forest dwellers, like woodcutters, beekeepers and others. These communities still believe in the supernatural powers of the Pir and utter his name when they venture in to the forest.
In the plains, Gazi is worshiped as the protector against demons and harmful deities and saves them from all sorts of dangers. The villagers usually call the gayens or folksingers, who know the story of Gazi Pir to sing the saint’s praise. The travelling storytellers, mostly belonging to the bede (gypsy) community, use a Gazir pat and pointing at the images on the pat, they narrate the power and prowess of the Pir in their singing verses. The devotees also hang the scroll paintings of Gazi in their houses to protect them from the influences of evil power.
The singers’ preaching created a demand for the pats among the devotees, irrespective of caste, creed and community and the pats had gained a huge popularity in the rural areas across the country, in the early years. Traditionally, the singers were Muslims while the patuas belonged to the Hindu religion. Sadly, at present, this combined form of art, paintings on pats and rendering of Gazir praise, has lost its purpose as a savoir from evil.
Gazir pat has specific images painted on a single canvas which have remained unchanged through the centuries. These images have been honoured as sacred symbols of good omen. There are twenty seven panels in a traditional Gazir pat, which measures 60 inches X 22 inches. The ankaiya (painter) follows the traditional styles in depicting the images. In the twenty-seven panels, the ankiya draws the images of a shimul tree; a cow; drum to depict triumph of Kalu Gazi; sawdagar or merchant; a deer being slaughtered; Asha or hope, the symbol of Gazi; Kahelia; Andura and Khandura; tiger; umbrella in the hand of Gazi’s disciple; Suk and Sari birds sitting on the umbrella; Lakhmi; charka, the spinning wheel; two witches; goala or milkman; mother of the goala; a cow and a tiger; an old woman beautifying herself; Baksila; Ganga; Jamdut; Kaldut; mother of Jam raja; and in the centre Gazi riding on a tiger. The singer or singers narrate sometimes the night long story, pointing at the characters, which appear in the twenty seven panels of the pat.
Red and blue are the two pigments mainly used in the pats. There are slight variations of colour, with crimson and pink from red, and grey and sky-blue from blue. Every figure is flat and two-dimensional. In order to bring in variety, various abstract designs (such as diagonal, vertical and horizontal lines and small circles) are often used. Trees, Gazi’s mace, the tasbih or prayer beads, birds, deer, hookahs etc, are extremely stylised. The figures of Gazi, his disciples Kalu and Manik Pir, Jama’s (the Hindu god of death) messengers, etc appear rigid and lifeless. Though there is no attempt at realism in the images of Gazir pats, the sort of painting has a time value as primitive work.
Among the adi patchitras or ancient paintings besides the Gazir pat, we also come across in history the Mahabharata pat, Ramayana pat, Muharram pat, Jam pat, Chaitanya pat, Manasa pat, Laxmi pat and others. Among the modern pats, one can see saheb pats, cinema pats and grameen pats.
Tuesday, May 19, 2009
Manasa
Before getting on with this very interesting tale of religion and romance it is necessary to say a few words about Manasa, the Hindu goddess who plays a major role in it.
In most ancient Hindu religious texts Manasa is said to be the daughter of Kasyapa, a famous sage, and Kadru, the sister of the serpent-king Sesha. Unlike her uncle Manasa is still actively worshipped as a goddess who protects and saves humans from snake-bites. Her cult is most prevalent in Bengal where she is ceremoniously worshipped in temples. She is also attributed with the powers of curing infectious diseases like small-pox and of bringing wealth and prosperity. At the onset of the rainy season, when the snakes are most active, she is ritually invoked with sacrifices and offerings. She is probably a pre-Aryan goddess but this tale is of more recent vintage and comes from Bengal where she is most revered and tells how she gained recognition for herself as a potent member of the Hindu pantheon.
Not too long ago, in the fair and lovely land of Bengal, there lived a rich merchant named Chand. He was blessed with six sons but was, unfortunately a widower. Nevertheless he was always attentive to his sons' needs and they never felt the absence of a mother in their lives. They all lived in a beautiful mansion surrounded by colorful gardens nestling by the curvaceous banks of the Ganges. Chand was a devout worshipper of Shiva. He was so ardent in his devotions that he refused to acknowledge any other god or goddess. Manasa heard of this. At that time she had no devotees on earth and she became determined to force Chand to offer worship to her and become her first follower. Since Chand was well-known and widely respected she was sure that if she could get him to worship her other people would follow and she would soon have a large number of devotees. So Manasa approached Chand and ordered him to offer worship to her. Chand was not impressed with the goddess's demand. He ignored her and insulted her, calling her an ugly, black, one-eyed witch who ate frogs. He absolutely refused to give up worship of such a sweet lord as Shiva for a miserable creature like her.
Manasa was furious and, in retribution, dsestroyed Chand's beautiful gardens but Chand had been granted magical powers by Shiva and, with these, rebuilt his gardens instantly. So Manasa devised a new plan to ensnare Chand. She transformed herself into a beautiful maiden and appeared before Chand. Chand was a widower and was enchanted by the beauty of the maiden. He resolved to make her his bride and, without delay, approached her with his marriage proposal. The disguised Manasa was overjoyed with her success and very shrewdly told Chand that she would agree to become his wife if only he conceded his magical powers to her. Chand was so charmed by Manasa's outward appearance that he readily agreed and they were married with great pomp and glory. As soon as this was done, on their wedding night, when Chand approached his new bride, Manasa revealed her true self. She demanded, as before, that Chand forsake Shiva and take up worshipping her. Though greatly shocked Chand was adamant and absolutely refused to worship someone he thought of as the ugly snake woman. This angered Manasa even further and she destroyed Chand's gardens again. This time, as Chand had bequeathed his magical powers to Manasa, he could not rebuild them again. Yet he would not give in to the goddess's demand.
The infuriated goddess now resolved to torment Chand till he would agree to succumb to her wishes. First she had each of Chand's sons, one by one, to get bitten by poisonous snakes. They all died. When Chand still did not submit to her she had his cargo-laden ships capsized. He himself was cast away on a solitary island and he had to overcome a great number of hardships before he could get back home. Still he refused to become his devotee. He started his life all over again. Of all his near and dear ones there was no-one left. This caused him great sorrow but, with great perseverance and industry, Chand rebuild his fortunes and regained his former eminence in the community. He remarried and, soon, a son was born to him. With immense love and affection Chand named him Lakhinder.
The years passed gently and Lakhinder grew up to be a handsome young lad. Everyone loved him for his sweet nature. Chand began to look around for a suitable bride for him. Ultimately he chose Beulah, a lovely girl who he thought would make the perfect match for his son. The couple was betrothed and the wedding date was fixed. Manasa, who had not yet given up her resolve to subdue Chand, heard of this and approached him and again demanded that he give up worship of Shiva and become her follower. As usual Chand refused and Manasa grew furious at his insolence. She threatened him that if he did not do she wanted she would have his son Lakhinder bitten by a poisonous snake on his wedding night but Chand was not one to be easily intimidated. He began building a room made entirely of metal in which he resolved that Lakhinder would spend his wedding night with his bride Beulah.
No snake would ever be able to get into the thoroughly sealed metal cabin. Manasa heard of his plan and appeared before the architect who was to build the metal bridal chamber. She was terrible to look at and was known to be vengeful and bad-tempered. The architect was easily intimidated by her reputation and when she told him that she wanted him to leave a small hole in the door of the metal chamber he fearfully agreed. So Lakhinder's bridal chamber was built. From the outside it look invulnerable but the architect had, in mortal fear of Manasa, left a small hole at the bottom of the only door.
The wedding of Lakhinder and Beulah took place as scheduled with appropriate ceremony. Chand did not spare any effort or money to make the wedding of his only son and heir a memorable event in that part of the country. After the ceremonies and celebrations were over and it was night the bridegroom and bride were led into the metal chamber and Chand himself locked the door from outside. Night fell and the couple, thinking that they were safely ensconced in that impregnable room, observed their first rites of love. Soon after, Lakhinder fell asleep but Beulah lay awake for some time. She was nervous and alert despite the reported security of the room and her fears soon proved to be true. A snake came slithering into the room through the hole in the door. She offered it a dish of milk and it was so grateful for this favor that it left the room without harming her husband.
After this snake after snake slipped into the room through the small aperture the architect had left but Beulah offered each a dish of milk and each went away without harming Lakhinder. At last, however, Beulah could stay awake no more. She was too tired after the day's festivities. Soon after she fell asleep another snake slipped into the room and bit Lakhinder and went away. His cries of pain wakened the entire house but no-one could help. He died, as Manasa had threatened he would if Chand did not obey her command.
It was the custom in the Bengal of that time to set afloat on the river the bodies of persons who had died from snake-bites. Though the custom may seem strange there was logic in it. It was the general belief that a person who had died from snake-bite still had life within his or her body and it needed only an expert snake-charmer to bring such a person back to life.
Thus the dead body was not cremated. It was set afloat on the river in the hope that a snake-charmer may see it and help bring it back to life. So a raft was built and the grief-stricken father arranged for his son's last rites. When the body was ready to be placed on the raft and set afloat Beulah expressed the wish that she too would accompany her husband's dead body on its last voyage. She said that she had come to love him too much to be separated from him even by death. So she too was placed on the raft with Lakhinder's dead body and the raft was set afloat on the surging waters of the broad Ganges.
The raft, with Beulah and the dead body of Lakhinder, drifted down the river for many days and many miles till it reached the estuary where the river met with the sea. This place, The Sunderbans (Beautiful Forests), was a network of distributaries that spread like an intricate cobweb through dense mangrove forests. Very few people lived here as fresh water was scarce. Here, at a bathing place, Beulah saw a washerwoman washing clothes. Her little child was there on the bank and he was crying bitterly, probably demanding something or other. He kept crying till, at length, she became incensed with his tantrums gave him such a hard slap that he died on the spot. Beulah was amazed at this but said nothing. The raft had got struck in a maze of mangrove roots and Beulah could do nothing but sit and watch the woman perform her daily chore. When the woman had finished washing all the clothes she got onto the bank and spread them on the grass to dry. Then she went over to the dead body of her son and sprinkled some water on his face. Beulah was amazed to see that the boy got up and, smiling, took his mother's hand and they both started to walk away.
Beulah realized that the woman was no ordinary mortal and had magical powers and she saw an opportunity in this of reviving her dead husband and called after the washerwoman. She got out of the raft and went up to the woman and told her what had happened to her husband. She pleaded with her asking her to revive her husband as she had done her own child. Actually, the woman had been sent by Manasa to work her miracle with the child before Beulah so that she would be induced to seek her help. Manasa's plan worked and when Beulah asked the woman to help her she immediately led her to the goddess.
When Beulah reached Manasa's abode and asked for her blessing in bringing back her husband to life the goddess told her what she had done. She told Beulah that she was willing to bring Lakhinder back to life only on one condition. That was, that Beulah went back and converted Chand, her father-in-law, to her worship. Beulah readily agreed and, accordingly, Manasa revived Lakhinder. Beulah was overjoyed and, together, husband and wife asked for Manasa's blessings and set off for their home on the same raft that had been used for the terrible journey with Lakhinder's lifeless body.
When they reached home Beulah told her father-in-law about Manasa's condition and that the goddess had threatened to have Lakhinder bitten by a snake if Chand did not obey her. Faced by the pleading eyes of his beautiful daughter-in-law Chand's resolve broke at last. He agreed to offer worship to Manasa but he compromised and, during the rites of worship, used only his left hand to perform the ceremonies.
Nevertheless Manasa was pleased and she blessed Chand and his family with peace and prosperity. Her fame on earth was also established after this story spread and many devotees thronged to her altar. Manasa became a goddess to be feared and revered.
In most ancient Hindu religious texts Manasa is said to be the daughter of Kasyapa, a famous sage, and Kadru, the sister of the serpent-king Sesha. Unlike her uncle Manasa is still actively worshipped as a goddess who protects and saves humans from snake-bites. Her cult is most prevalent in Bengal where she is ceremoniously worshipped in temples. She is also attributed with the powers of curing infectious diseases like small-pox and of bringing wealth and prosperity. At the onset of the rainy season, when the snakes are most active, she is ritually invoked with sacrifices and offerings. She is probably a pre-Aryan goddess but this tale is of more recent vintage and comes from Bengal where she is most revered and tells how she gained recognition for herself as a potent member of the Hindu pantheon.
Not too long ago, in the fair and lovely land of Bengal, there lived a rich merchant named Chand. He was blessed with six sons but was, unfortunately a widower. Nevertheless he was always attentive to his sons' needs and they never felt the absence of a mother in their lives. They all lived in a beautiful mansion surrounded by colorful gardens nestling by the curvaceous banks of the Ganges. Chand was a devout worshipper of Shiva. He was so ardent in his devotions that he refused to acknowledge any other god or goddess. Manasa heard of this. At that time she had no devotees on earth and she became determined to force Chand to offer worship to her and become her first follower. Since Chand was well-known and widely respected she was sure that if she could get him to worship her other people would follow and she would soon have a large number of devotees. So Manasa approached Chand and ordered him to offer worship to her. Chand was not impressed with the goddess's demand. He ignored her and insulted her, calling her an ugly, black, one-eyed witch who ate frogs. He absolutely refused to give up worship of such a sweet lord as Shiva for a miserable creature like her.
Manasa was furious and, in retribution, dsestroyed Chand's beautiful gardens but Chand had been granted magical powers by Shiva and, with these, rebuilt his gardens instantly. So Manasa devised a new plan to ensnare Chand. She transformed herself into a beautiful maiden and appeared before Chand. Chand was a widower and was enchanted by the beauty of the maiden. He resolved to make her his bride and, without delay, approached her with his marriage proposal. The disguised Manasa was overjoyed with her success and very shrewdly told Chand that she would agree to become his wife if only he conceded his magical powers to her. Chand was so charmed by Manasa's outward appearance that he readily agreed and they were married with great pomp and glory. As soon as this was done, on their wedding night, when Chand approached his new bride, Manasa revealed her true self. She demanded, as before, that Chand forsake Shiva and take up worshipping her. Though greatly shocked Chand was adamant and absolutely refused to worship someone he thought of as the ugly snake woman. This angered Manasa even further and she destroyed Chand's gardens again. This time, as Chand had bequeathed his magical powers to Manasa, he could not rebuild them again. Yet he would not give in to the goddess's demand.
The infuriated goddess now resolved to torment Chand till he would agree to succumb to her wishes. First she had each of Chand's sons, one by one, to get bitten by poisonous snakes. They all died. When Chand still did not submit to her she had his cargo-laden ships capsized. He himself was cast away on a solitary island and he had to overcome a great number of hardships before he could get back home. Still he refused to become his devotee. He started his life all over again. Of all his near and dear ones there was no-one left. This caused him great sorrow but, with great perseverance and industry, Chand rebuild his fortunes and regained his former eminence in the community. He remarried and, soon, a son was born to him. With immense love and affection Chand named him Lakhinder.
The years passed gently and Lakhinder grew up to be a handsome young lad. Everyone loved him for his sweet nature. Chand began to look around for a suitable bride for him. Ultimately he chose Beulah, a lovely girl who he thought would make the perfect match for his son. The couple was betrothed and the wedding date was fixed. Manasa, who had not yet given up her resolve to subdue Chand, heard of this and approached him and again demanded that he give up worship of Shiva and become her follower. As usual Chand refused and Manasa grew furious at his insolence. She threatened him that if he did not do she wanted she would have his son Lakhinder bitten by a poisonous snake on his wedding night but Chand was not one to be easily intimidated. He began building a room made entirely of metal in which he resolved that Lakhinder would spend his wedding night with his bride Beulah.
No snake would ever be able to get into the thoroughly sealed metal cabin. Manasa heard of his plan and appeared before the architect who was to build the metal bridal chamber. She was terrible to look at and was known to be vengeful and bad-tempered. The architect was easily intimidated by her reputation and when she told him that she wanted him to leave a small hole in the door of the metal chamber he fearfully agreed. So Lakhinder's bridal chamber was built. From the outside it look invulnerable but the architect had, in mortal fear of Manasa, left a small hole at the bottom of the only door.
The wedding of Lakhinder and Beulah took place as scheduled with appropriate ceremony. Chand did not spare any effort or money to make the wedding of his only son and heir a memorable event in that part of the country. After the ceremonies and celebrations were over and it was night the bridegroom and bride were led into the metal chamber and Chand himself locked the door from outside. Night fell and the couple, thinking that they were safely ensconced in that impregnable room, observed their first rites of love. Soon after, Lakhinder fell asleep but Beulah lay awake for some time. She was nervous and alert despite the reported security of the room and her fears soon proved to be true. A snake came slithering into the room through the hole in the door. She offered it a dish of milk and it was so grateful for this favor that it left the room without harming her husband.
After this snake after snake slipped into the room through the small aperture the architect had left but Beulah offered each a dish of milk and each went away without harming Lakhinder. At last, however, Beulah could stay awake no more. She was too tired after the day's festivities. Soon after she fell asleep another snake slipped into the room and bit Lakhinder and went away. His cries of pain wakened the entire house but no-one could help. He died, as Manasa had threatened he would if Chand did not obey her command.
It was the custom in the Bengal of that time to set afloat on the river the bodies of persons who had died from snake-bites. Though the custom may seem strange there was logic in it. It was the general belief that a person who had died from snake-bite still had life within his or her body and it needed only an expert snake-charmer to bring such a person back to life.
Thus the dead body was not cremated. It was set afloat on the river in the hope that a snake-charmer may see it and help bring it back to life. So a raft was built and the grief-stricken father arranged for his son's last rites. When the body was ready to be placed on the raft and set afloat Beulah expressed the wish that she too would accompany her husband's dead body on its last voyage. She said that she had come to love him too much to be separated from him even by death. So she too was placed on the raft with Lakhinder's dead body and the raft was set afloat on the surging waters of the broad Ganges.
The raft, with Beulah and the dead body of Lakhinder, drifted down the river for many days and many miles till it reached the estuary where the river met with the sea. This place, The Sunderbans (Beautiful Forests), was a network of distributaries that spread like an intricate cobweb through dense mangrove forests. Very few people lived here as fresh water was scarce. Here, at a bathing place, Beulah saw a washerwoman washing clothes. Her little child was there on the bank and he was crying bitterly, probably demanding something or other. He kept crying till, at length, she became incensed with his tantrums gave him such a hard slap that he died on the spot. Beulah was amazed at this but said nothing. The raft had got struck in a maze of mangrove roots and Beulah could do nothing but sit and watch the woman perform her daily chore. When the woman had finished washing all the clothes she got onto the bank and spread them on the grass to dry. Then she went over to the dead body of her son and sprinkled some water on his face. Beulah was amazed to see that the boy got up and, smiling, took his mother's hand and they both started to walk away.
Beulah realized that the woman was no ordinary mortal and had magical powers and she saw an opportunity in this of reviving her dead husband and called after the washerwoman. She got out of the raft and went up to the woman and told her what had happened to her husband. She pleaded with her asking her to revive her husband as she had done her own child. Actually, the woman had been sent by Manasa to work her miracle with the child before Beulah so that she would be induced to seek her help. Manasa's plan worked and when Beulah asked the woman to help her she immediately led her to the goddess.
When Beulah reached Manasa's abode and asked for her blessing in bringing back her husband to life the goddess told her what she had done. She told Beulah that she was willing to bring Lakhinder back to life only on one condition. That was, that Beulah went back and converted Chand, her father-in-law, to her worship. Beulah readily agreed and, accordingly, Manasa revived Lakhinder. Beulah was overjoyed and, together, husband and wife asked for Manasa's blessings and set off for their home on the same raft that had been used for the terrible journey with Lakhinder's lifeless body.
When they reached home Beulah told her father-in-law about Manasa's condition and that the goddess had threatened to have Lakhinder bitten by a snake if Chand did not obey her. Faced by the pleading eyes of his beautiful daughter-in-law Chand's resolve broke at last. He agreed to offer worship to Manasa but he compromised and, during the rites of worship, used only his left hand to perform the ceremonies.
Nevertheless Manasa was pleased and she blessed Chand and his family with peace and prosperity. Her fame on earth was also established after this story spread and many devotees thronged to her altar. Manasa became a goddess to be feared and revered.
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