Bengal Motifs
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When Indian myths embrace the aboriginal culture of prosperity and wellness, it needs to spur in the embellishment with particular art form and here it happens to be such a folk art pattern which have been coming down through generations- we are talking about the form of Alpana painting. History reminds us of the pictographic representation whether it be on the cave wall or in the remnants of ancient Indus valley civilization of the then socio-cultural background. Even Buddhist scripture shows the culture of decorative art form by using of motifs and symbols. Still today in the villages of Bengal, people maintain the ethos of ornamentation of the decorative art form through customs and rituals. Alpana, a continuity of cultural beliefs, turns to be a tangible heritage by amalgamating the philosophy of Indian mythology with the history of socio-economic coercion in life. In some special occasions like Laxmi Puja, Paush Sankranti the premises of houses and the thresholds of the village huts are embellished with the painting of Alpana. The symbols of Laxmi feet, candle light, flowers, chariots and many more occupy the floor and nook and corner of every room and vouches for the fertility and prosperity of time. A particular way of precision by mixing broken rice with water and making painting with torn cloth always needs a magic touch of hands, which personifies the symbols with their distinctive characterisation. Today, in the time of transition when the rural Bengal regularizes a notion of rapid urbanisation, Alpana, a product of faith for religion and the emotions in human life, is losing the importance of existence. This historical folk art form no more attracts the time of changes. Yet, the essence of this ritualistic custom can not make its path away of us. The reviving of this art form has been started through making a synchronised archive. Through the documentary, named ‘Alpana- Reviving of a Ritualistic Art Form’ we are showing how this skilful method can be retrieved from its apprehensive condition and accordingly bridging a cultural connector with the generation of cityscape.
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Bengal Motifs
Transcript of Bengal Motifs
When Indian myths embrace the aboriginal culture of prosperity and wellness, it needs to spur in the embellishment with particular art form and here it happens to be such a folk art pattern which have been coming down through generations- we are talking about the form of Alpana painting. History reminds us of the pictographic representation whether it be on the cave wall or in the remnants of ancient Indus valley civilization of the then socio-cultural background. Even Buddhist scripture shows the culture of decorative art form by using of motifs and symbols. Still today in the villages of Bengal, people maintain the ethos of ornamentation of the decorative art form through customs and rituals. Alpana, a continuity of cultural beliefs, turns to be a tangible heritage by amalgamating the philosophy of Indian mythology with the history of socio-economic coercion in life.
In some special occasions like Laxmi Puja, Paush Sankranti the premises of houses and the thresholds of the village huts are embellished with the painting of Alpana. The symbols of Laxmi feet, candle light, flowers, chariots and many more occupy the floor and nook and corner of every room and vouches for the fertility and prosperity of time. A particular way of precision by mixing broken rice with water and making painting with torn cloth always needs a magic touch of hands, which personifies the symbols with their distinctive characterisation.
Today, in the time of transition when the rural Bengal regularizes a notion of rapid urbanisation, Alpana, a product of faith for religion and the emotions in human life, is losing the importance of existence. This historical folk art form no more attracts the time of changes. Yet, the essence of this ritualistic custom can not make its path away of us. The reviving of this art form has been started through making a synchronised archive. Through the documentary, named ‘Alpana- Reviving of a Ritualistic Art Form’ we are showing how this skilful method can be retrieved from its apprehensive condition and accordingly bridging a cultural connector with the generation of cityscape.
