Alpana

Brata and Alpana (Traditional votive rites and linear drawing) Numerous votive rites i.e. bratas are prevalent in the minds of the cnnrnon people as ancient traditional practice in Bengal. No better practice could be mastered by them to give vent to the joy and sorrow of their neglected lives. This practice was picked only to give expression to the desires beyond the obscure and rigid customs or ingredients of worship dictated by the age old scriptures. All Bengali ethnic groups practice one or other votive rites or bratas. These bratas have, in a way, became their identities.

Different festive bratas used to take place round the year. Nowadays most of these have become extinct or very formal. Female members of a family perform the bratas. From early to the grey years of their lives bratas are practiced through different different rituals. Actually, this is an ancient local way of female education. At the beginning of girlhood she becomes 'brati' or 'bratani' ('barti' in colloquial) by doing brata. Her duty is to perform brats for the first five years. Eachyear a new brata is added to her duty. After five years she becomes ten. That year she performs 'maghamandal' brata and sits for her marriage. It is that era when 'gouridan' or the child marriage was prevalent in our state. In the first five years through the practice of brata the girl learns from the elders of her family (literally the ioeality or the group) nuances of the life in the family, the society and beyond which helps her to prepare for the life at her husband's house. She prays to the god for the well being of her new family for the five long years. 'Brata' is not confined to some exercises.For its fullest presentation and its part she draws some specific diagrams or 'alpanas' at the brat site. Thesediagrams or alpanasreflect the subject of her brata.

Without alpana a brata becomes a meaningless exercise. For example putting a flower motif in the alpana or bratani prays 1. Ami dilarn pitulir ranna ghar I aamar hok pakka ranna ghar. - I offer a pituli painted kitchen / hope I will have a big kitchen.

2. Moyna rnoyna satin jeno hoyna - moyna moyna let there be no co-wife.

3. Aami dilam pitulir baalaa I aamar jeno hoy sonar baala - I offer pituli painted bangles/ hope I get gold bangles.

Brata related alpana makes the brata complete. That means performing 'bratas' with typical diagrammatic expression of the intention. Eachbrata has its own separate alpana or votive design. All possible designswill be a huge collection. From the very inception bengoli women folk took the onus on themselves to give this art forms its reputation. Only they, who lived their lives in the shadows and who are treated as economically and ethnically marginal to the socially superiors; can create such splendid works. But directly husking paddy, the main agricultural crop, 'atap chal' or sunned rice is produced.

This rice is first soaked in water. A paste is made of these soaked rice by grinding. Finally adding water to the paste in a bowl 'pituli', the white paint, for 'alpana' is made. Now, a piece of cloth is dipped in this pituli. This pituii soaked cloth is squeezed gently and the paint is allowed to flow down a finger which draws the alpana on the ground. A diagrammatic design of white lines takes shape on the muddy background as a!pana.The 'bratanis' call it an offering and not a mare painting of alpana. This way it is

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an art of dedication. In the 'alpana' we find land, space, usables, furniture, nature, herbs, flora and fauna, atmosphere etc. in diagrammatic presentation. The presence of god is created through symbols.

Here god is 'dhata' or almighty, 'thakur' and 'thakurani' or deities. Eachethnic group with ancient origin shows its ancestral father or mother through symbols.

'Alpana', though is subjective, its decorative importance cannot be underestimated. Thus exquisite votive diagrams with immense decorative value have come into existence. A ~a result in the later years in Shantiniketan separate decorative 'alpana's come in vogue which took its own place as non-religious decorative art. Besidesother festivals 'alpana's on the occasions 'Kozagari Purnima' (full-moon in the Bengali month of Ashwin), 'Nabanna' (new harvest), 'Poush Parban' (festival in the Bengali month of Poush)and 'Maghamandal Brata' (rites through the Bengali month of Magha) are still highly prevalent.

'Alpana' for 'Sejuti Brata' (evening rites) is still found which is equally important. Barring the seat of goddess Lakshmi, 'brata alpanas' are done on the courtyard. A" the courtyard is decorated with 'alpana's. Beyond 'brata' rituals the 'alpana's on the occasions of 'Nababarsha' (Bengali new year), Nabanna(new harvest) and matrimony are of social message.Here specific symbols are used for specific occasions. Alpanas in the 'Chhayamandop' (Chhadnatala) or matrimonial canopy and on the 'Piri' or wooden seats of the couple are vivid and beautiful. Two seats have different motifs. Lately, many social functions and even political ones get decorations with alpanas.There are decorative patterns mostly of flowers, leavesand creepers.

As it is a common practice or tradition to offer alpanasevery month as ingredients for the bratas, in some placesit is done on specific 'tithis' (lunar days)or on Thursdaysfor the well being of the family and ail. In the Bengali philosophy white lines are holy. Therefore in their auspiciousceremonies alpanashave taken a place of special relevance and it still practiced with proper reverence.

Besides,it can be asserted that this decorative qualities of alpana have put its unmistakab~estamp on 'gahanabari' (ornamental bari), 'nakshikantha' (decorated quilt), sitting mrt, shoal work (Indian cork) etc. This wayan ancient art of Bengalspread itself everywhere.

Bidhan Biswas

Visual art started with simple line drawing and the Bengali art of Alpana has been carrying on that ancient tradition. In case of Brata - Alpana specific subjects or objects are drawn as diagrammatic symbols to formally observe all kinds of Bratas or religious vows in the traditional and ceremonial way. This is Bengal's ancient traditional art of painting called Alpana and this art form is done on the floor at the Brata area to glorify the ritual.

To imitate this floor art on other background and hang those on the walls for viewing. The subject of Bengali Alpana is vast in nature. This can make a permanent place in the world of traditional or folk art.

A long observation after and numerous experiments it has been possible to master a proper method.

It will definitely add a new dimension to the existing field of visual art which is nothing but "Revitalisation of Indian absolute Naksha art form".

ALPANA THE ANCIENT ART OF BENGAL To formally observe all kinds of Bratas or religious vows in traditional subjects or objects are drawn as diagrammatic of painting

ceremonial way, specific

symbols. This is Bengal's ancient traditional

called Alpana. The Brata verses are the verbal expressions

art

of things and the

symbolic diagrams are the visual ones. A Brata ceremony is made up of these two. When a Brata verse is long the diagrams becomes more crowded. Beside this, due to the decorative feature the Brata. Alpanas,it become attractive.

Proper steps should be taken to free this art

from glorifying the Brata area and exhibit those elsewhere appreciate and be fascinated.

for the other

exoponents

to

PREPERATIONOF PAINTING After a long observation

and numerous experiment

it has been possible to master a proper

method to imitate this floor art on other background and hang those on the walls for viewing. A thin paste made of water and cow-dung is applied with brush in layers on a hand made paper to create necessary coating. Then the surface is flattend Paint is made by mixing rice-powder

by rubbing a smooth piece of stone.

or lime stone and gum acacia with water. It has been

possible to draw the Alpana with the help of a brush or finger. But finger is the customary instrument.

In this method the Alapana looks the same as it does on the mud floor. The Alpana

done on a cow-dung smeared floor is called 'goborey alpana'. Hence this method has been imitated on paper.

The subject of Bengali Alapana are hugely diverse and for now 35 of those can be prepared. Of .,.tl

those four are in the form of 'dighal pat' or scroll painting l.e, in 60 Xffr" space. Other can be 1

made in 34 X24" space. If this procedure is properly depicted this can make a permanent place 1

in this world of traditional of visual art.

c.c. annexure I, II .

or folk art. It will definitely add a new dimension to the exciting field

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