The state of society is reflected in traditional practice. Floor designs are among the most pertinent art forms that depict civilisation in the most detailed manner across the Indian subcontinent. A unique personality is depicted through folk art, a type of floor art that involves line drawings and various natural components. Bengal depicts a lot of societal issues in its “Broto Folk Art” designs. Broto folk art has a unique history and has changed in reaction to modern influences. Married ladies practise the art form as a way to show off their creative skills and communicate their goals and wants to their deities. The process of developing folk art is believed to be an appeal to the goddess, asking for her graces to grant wealth and abundance to the home. Broto Folk Art involves the ancient practices of women, known as ‘Brotos’ in Bengali, which is similar to the Hindi word ‘Vrat’. It is thought that this ancient art style originated in West Bengal’s Nadia region.
(source: Get Bengal)
Alpana, also known as “Alpona” in Bengali, is derived from the term “Alipona” and is a type of folk art that is painted on walls and floors and consists of colourful patterns, motifs, and symbols. These are completed on a variety of floor surfaces and in a variety of hues. On religious occasions, rice flour is primarily used to make the paint. In rural Bengal, the floors of the homes or huts are made of clay or mud. Alpanas may include religious themes with symbolic patterns associated with festivals, particular deities, and religious austerity among Bengali households. Alpanas created by Santal tribal societies frequently include geometric or symbolic motifs derived from the natural world. Alpanas have been illustrated in the works of famous artists Abanindranath Tagore, Jamini Roy and Satyajit Ray. Alpanas have also been incorporated in religious festivals like Durga and mainly Saraswati and Lakshmi puja.
ORIGIN
The word Alpana has been derived from the Sanskrit word “Alimpana”, which means to plaster or to coat with. Other historians, however, suggest that the word “alpana” is most likely derived from “alipana”, which refers to the craft of developing embankments or ails. Rangavali is referenced in various old art publications; however, Alpana is not mentioned in any of them. Rangavali, which means “creepers painted in colours”, is also a type of art called alpana. Sanskrit texts such as Kadambari and Tilakamanjari provide a detailed account of the elegance and skill of these creations. Alpana paintings are described in detail in subsequent works such as Kajalrekha and others.
(source: Rooftop)
The origin of the art is still a controversial topic. Numerous scholars maintain that certain of the ancient vratas and pujas connected to alpanas date back to pre-Aryan times. The Austric people, who inhabited the land long before the arrival of the Aryans, may have passed it on to us. These scholars claim that Bengal’s ancient folk arts and rituals were first practised by the first agricultural people to ward off evil spirits and provide an abundance of food. Throughout the year, the residents of Bengali rural settlements would serve brotos. “Broto” describes prayers or promises made in order to grant certain desires. These villages’ women would make intricate alponas in observance of Broto.
The Bengali woman used alpona in her rituals. She would pray as part of the process. She would include verses pleading for and begging for rain in her prayers if there happened to be a drought. Current events shaped the designs; for example, a design that wished for a bountiful harvest might have images of granaries and mature wheat. Prior to the actual painting process, there were a number of ceremonies. Alponas also participated in the bhut yajna and carried out the day’s good deed. Because it is edible, ants, insects, and different wild creatures may consume rice flour. Therefore, the Alpona’s transient character also has religious significance.
MATERIALS USED
According to folklore, rural women used to apply alponas on mud house walls and door frames. They were both an offering for blessings and a sign to warn off evil. Additionally, the ladies painted alpona motifs on clay items, kitchenware, and earthenware. The tradition was later limited to floor art. Alponas were in three varieties: intricate designs used to depict panels; geometric patterns used to adorn walls, floors, and items; and circular designs used as bases for deities. The panels’ designs represented the Brontosaurus honouring the Hindu pantheon’s many gods. The 20th century saw the disappearance of broto alpona.
(source: India InCH)
An alpana is made on flooring, usually right on the floor. Traditionally, the alpona’s base is made of clay or mud combined with cow manure. Women mixed atop chal (refined rice) into a liquid and worked the material with their fingers to make patterns. The alpana is outlined on this using a wet white pigment consisting of rice flour and water or chalk powder and water in certain regions. The paint is applied with the tips of the artist’s fingers, a tiny twig, a piece of cotton thread soaked in the dye, or cloth. The white paint is blended with natural-derived substances to provide colour. The pigment turns white when it dries, standing out against the floor’s darker backdrop. Although white is the primary colour used, women can add red clay or turmeric to the liquid to produce vermilion and yellow hues. Alpona is made with wet materials, as opposed to other Indian floor art styles that employ dry powders. Alpona art is now done by women using pre-made stickers, zinc oxide, or poster colours.
EVOLUTION : FROM RELIGIOUS TO SECULAR
Human figures, birds, owls, household animals, deities, and other objects may be found in the common brata alpona that pre-Aryan women drew. One would not find these elements in the contemporary alpona, though. The themes we see now are more abstract, with the occasional floral pattern. The Indian subcontinent witnessed the Swaraj Movement, or independence from British domination, in the late 19th century, which marked the beginning of this transformation in the old art form. Scholars understood that the establishment of a state for people of all races, faiths, cultures, languages, and ethnicities was necessary if the Indian subcontinent was to become independent. Secularism was thus selected as their shared basis. The secularisation of society of the social aspects began at that time.
(source: Rooftop)
Rabindranath Tagore introduced Alpona as a study art as well as a religious component when he founded Shantiniketan as a school. Additionally, this beautiful, abstract secular art was accepted in every home. Abanindranath, his nephew, studied the art form scientifically and noted in “Banglar Broto” that some of the themes were symbolic and hieroglyphic. ‘L’Alpona ou les décorations rituelles au Bengale‘, a book about Alpona designs, was also written by him and published in French. Later, Sukumari Devi was asked by Rabindaranath Tagore to demonstrate Alpona art at Kala Bhavan. Even though Sukumari was skilled in conventional methods, she had her own distinct flair.
In 1919, Nandalal Bose was appointed Principal of Shantiniketan’s Kala Bhavan. He became interested in the art style after observing it. Bose noted that the indigenous alponas had flat designs and were simple shapes. Folk women’s creations lacked a unified style or structure since they employed figurative nature-inspired themes and depicted them as accurate representations of reality. At Shantiniketan, Nandalal Bose developed a brand-new alpona painting technique that lacked the traditional alpona art’s symmetry and repeating features. Bose desired it to exhibit depth, light, and shadow while flowing fluidly. With intricate motifs that resembled paintings, he sketched alpona like fine art.
DESIGNS AND MOTIFS
Individuals, places, and occasions all have different alpana designs. Different designs are used for the same ritual in various villages, and multiple patterns are utilised for a single ceremony. The artist appears to have a lot of flexibility, even though they must depict specific symbols in each Alpanas. A fair amount of convention has been included into alpana representations. These patterns’ homogeneity and separation of motifs lend the alpana a subtle personality and a practical quality. A popular theme is the lotus, which is connected to Brahma, Vishnu, and Lakshmi. The global life force is also represented by the lotus. The goddess of prosperity’s entry is symbolised by Lakshmi’s footprint, which always points inside the home.
The circular alpana serves as a sacred pedestal during the worship of a god. Alpana uses motifs such as the sun, rice stem, owl, ladder, plough, fish, betel leaves, lotus, shankhalata, container of sindur kauta, etc. To generate geometric and stylised patterns, folk-style alponas employ panels, kalkas (kairi motif), wavy lines, semi-circles, and circles. Women also utilise nature-based themes such as birds, creepers, kadam phool, or bur flowers, and raat rani, or night-blooming jasmine. Moreover, classic Alpona patterns incorporate the emblems of prosperity and riches.
The ladies of the Bengali community have painted a variety of themes and designs over the years. The following are these themes.
- Lotus: This flower represents beauty and a force that transcends all. It is a component of pictures of Saraswati, Vishnu, Bramha, and Lakshmi.
- Fish: Represents the family’s wealth and well-being.
- Conch shells:One of Vishnu’s characteristics is the conch shell. represents a favourable omen.
- Peacock: This bird, which dances to the sound of rains, represents beauty, passion, rebirth, and rhythm.
- Lakshmi’s Footsteps: The goddess of riches and luck. The footsteps represent Lakshmi’s arrival at the residence.
- Owl: Since it represents Lakshmi’s chariot, it symbolises her presence.
- Rice Stick: The design consists of two parallel lines that are hung on either side by tiny diagonal lines. It is an emblem of wealth.
- Leaves: Artists utilise the leaves’ diverse forms to create ornamental designs. In addition, it represents youth.
- Birds: In addition to their aesthetic value, birds represent freedom.
- Sun: The source of all energy and a symbol of life.
ALPANA IN MODERN ART
Traditional Alpona themes were incorporated in the artwork of Abanindranath Tagore and Nandalal Bose. Among them are painters from the period of independence. Artistic elements were incorporated into commercials, book covers, and artwork by filmmaker Satyajit Ray. He also explored the ‘The River’ filming locations for Jean Renoir. Women were shown sketching alpona in the movie’s opening scene and on the poster. Contemporary artist Jamini Roy was influenced by this art style and was also in charge of taking the photographs that chronicled the growth of Alpona in Shantiniketan. Devi Prasad was an artist and photographer who used its ornamental elements in his ceramics and paintings. Folk art was brought to the textile medium by Gauri Devi, the daughter of Nandalal Bose, who is a well-known and respected artist. Following that, the women painters of Shantiniketan frequently used its motifs in their batik pieces.
(source: Rooftop)
CURRENT STATUS
A number of non-profit organisations, including the Daricha Foundation and the Indian National Trust for Art and Cultural Heritage, a non-profit organisation dedicated to art conservation, have started training artists through lectures and demonstrations in an attempt to revive the art form, which is less prevalent nowadays. These days, there are public gatherings when volunteers make alpanas that span many streets and alpana contests, which are frequently organised around the Hindu holiday of Durga pujas. Notable painters including Sukumari Devi, Kiranbala Devi, and Jamuna Sen have taught the craft of alpana fabrication at Kala Bhavana, Visva Bharati University’s fine arts department. In 2016, it was included in the foundation course for undergraduates at Kala Bhavan. The artist Rabi Biswas, who currently teaches alpana art in West Bengal, has sought to document and preserve the traditional alpanas that were taught to him by his family members.
Alpanas continue to play a significant role in religious festivals and ceremonies like Durga Puja in modern-day Bengal. There are also a number of alpona art contests around this season. They are attracted to the local ladies in both public and private settings. As part of the unique Makar Sankranti celebrations, volunteers construct enormous and intricate alponas on the avenues of Lankamura. The custom of hand-drawn alpona has declined as mass-produced stickers have become more and more popular. The continued development of the art form’s methods is also negatively impacted by this. Nonetheless, the folk art form’s religious and cultural relevance keeps it popular.
REFERENCES
- https://www.getbengal.com/details/how-did-the-folk-art-of-alpona-come-to-bengal
- https://en.banglapedia.org/index.php/Alpana
- https://nios.ac.in/media/documents/244_Folk_art/Folk_Art_Practical_L-6.pdf
- https://rooftopapp.com/blogs/alpona-the-artistic-evolution-of-a-folk-art-form
- https://en.wikipedia.org/wiki/Alpana#:~:text=It%20is%20likely%20to%20have,with%20ideas%20of%20religious%20purity.