Folk art of Bangladesh

Folk Art of Bangladesh

Submitted to,Ar. Sadia alam Co ordinator of Architecture dept.SMUCT

Submitted by, Tonmoy Barua132082001Dept. Of Architecture

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AbstractTraditionaly, within the world of visual art, the vague term "folk art" is of rapidly declining significance, for several reasons. First, no one can agree on what it means. This is partly because the concept of "folk" springs largely from criteria laid down by 19th century aesthetes and aestheticians, rather than from any objective characteristics. Second, the amount of authentic artand design produced by traditional folk artists nowadays is vastly exceeded by artificial "folk art". Third, all forms of traditionally-made arts and crafts are under threat from globalized culture.

On the face of it, the phrase should have a fairly simple meaning - something like: "art made by the common people, notably from rural areas." Except the phrase implies a degree of cultural insularity, which - thanks to the explosion of mass-market culture - has more or less disappeared. To complicate matters further, the general nostalgia for traditional artifacts has led to the emergence of a growing crafts industry, as any search of the Internet - for terms such as "folk art designs", "folk art decorations", "folk art paintings" or "folk crafts" - will reveal. These folk products are typically manufactured in local, decidedly unfolkish urban centres, or in Third World sweatshops - neither operation having an intimate connection with the sort of historical traditions that typically characterize authentic folk arts.During the 19th century, it was the Industrial Revolution that undermined "folk art"; in the 20th century it was mass-produced culture - everything from sodas and denin jeans, to TV programs; in the 21st century it is computers, the Internet and globalization. In general, therefore, "folk art" is a dying activity, and now survives only in isolated areas whose inhabitants have a proud tradition of handicrafts and making things for themselves.

Abstract1. Introduction2. Literature Review2.1 Definition of Folk Art2.2 Origins of Folk Art2.3 Characteristics2.4 Types of Folk Art2.4.1 Architecture2.4.2 Painting2.4.3 Sculpture2.4.4 Printmaking2.4.5 Applied Art2.4.6 Textiles2.5 Types of Folk Art In Bangladesh2.5.1 Nakshikantha2.5.2 Bengal Pot2.5.3 Dewal Chitra2.5.4 Bamboo Craft2.5.5 Puppet Theatre2.5.6 Patachitra2.5.7 Cane Craft2.5.8 ULKI/ BODY PAINTING2.5.9 ALPONA2.5.10 RICKSHAW PAINTING2.5.11 CONCH-SHELL CRAFT2.5.12 DARUCHITRA2.5.13 JUTE CRAFT

Content

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3. Folk Painting in Bangladesh4. The evolution of Bangladeshi folk art paintings5. Types of Folk Paintings in Bangladesh5.1 Santhal paintings5.2 Phad Painting5.3 Kalamkari Painting5.3.1 The Masulipatnam style of Kalamkari5.3.2 Technique of Kalamkari painting5.3. 3 History and evolution of Kalamkari painting5.4 Paatachitra Painting5.4.1 Chitrakars5.4.2 Technique of Paata painting5.4.3 Materials used in Paatachitra5.4.4 Themes used in Paatachitra5.5 Terracota6. Folk Art as profession in Bangladesh7. Present situation of heritage place7.1 Consciousness of UNESCO8. Recommendation9. Conclusion10. References

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Content

Folk art predominantly functional or utilitarian visual art created by hand (or with limited mechanical facilities) for use by the maker or a small circumscribed group and containing an element of retention—the prolonged survival of tradition. Folk art is the creative expression of the human struggle toward civilization within a particular environment through the production of useful but aesthetic buildings and objects. Folk art stems from daily experiences and traditions of common people. Usually made by “untrained” artists, there are not “do’s” and “don’ts” with folk art, so there is often more freedom of expression. The folk artists are resourceful and use objects they find, as well as the items around them, for their work. Often, folk art is created by people who are not affluent and live in rural areas.

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1. Introduction

2. Literature ReviewIn one way, folk art is a genre of art of unknown origin that reflects the traditional values of a society, but in another side, folk art is not usually in the form of paintings. So, folk art is a result of ordinary people expressing themselves through their creation and construction of utilitarian objects that convey meaning and value to themselves or others within their culture. Typically the patterns, motifs, techniques and materials have special significance and can reveal a great deal about a cultural society.

Because the construction and everything involved in folk art reveals much about the essential values or characteristics of a society. Many times folk art is found at archaeological sites in the form of bowls, jars, or other pottery that were made by ancient cultures like the Incas, Aztecs, etc. By carefully studying folk art and its little details, archaeologists can make speculations about when a culture might have lived, what their daily lives were like and why they are no longer exist.

Aside from this kind of folk art, other functional objects like clothing, furniture, houses, kitchen utensils, etc. are often considered folk art because although they are everyday objects, their final form carries a certain beauty, expression and significance that elevates the objects above the daily mundane to the inspired artistic. Folk art is not only something that was made or created by generations long ago, either. Folk art is still being produced around the world and is actually even gaining in popularity. However, folk art is generally studied and learned in a different manner than that of more traditional art; it is often learned through serious apprenticeships or passed down among family members from generation to generation

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Art originating among the common people of a nation or region and usually reflecting their traditional culture, especially everyday or festive items produced or decorated by unschooled artists.In another way, folk art is artistic works, as paintings, sculpture basketry, and utensils, produced typically in cultural isolation by untrained often anonymous artists or by artisans of varying degrees of skill and marked by such attributes as highly decorative design, bright bold colors, flattened perspective, strong forms in simple arrangements and immediacy of meaning.

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Folk art encompasses art produced from an indigenous culture or by peasants or other laboring trades people. In contrast to fine art, folk art is primarily utilitarian and decorative rather than purely aesthetic. Folk Art is characterized by a naïve style, in which traditional rules of proportion and perspective are not employed.As a phenomenon that can chronicle a move towards civilization yet rapidly diminish with modernity, industrialization, or outside influence, the nature of folk art is specific to its particular culture. The varied geographical and temporal prevalence and diversity of folk art make it difficult to describe as a whole, though some patterns have been demonstrated.

2.1. Definition of Folk Art

In other words, "folk art" is a term invented by 19th century white Christian well-educated urbanites to describe the quaint arts and crafts of rustic societies. Because the concept was invented by people well-versed in cultural history, they excluded arts from the major civilizations (eg. Chinese, Japanese, Egyptian, Minoan, Persian, and so on), and from Classical Antiquity (Ancient Greece and Rome), and Islamic societies. These cultures were deemed too well-developed to give rise to "folk art".

The acceptance of "folk art" as a special category did not happen until the late 19th century, and was first confined to European peasant art - the "art of the land". The intellectual and cultural climate of the time attached an exaggerated Romanticism to the simple life lived by the common people. Their art, in particular, hand-crafted with traditional tools, had a great appeal for the post-Industrial Revolution urban mainstream.

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2.2 Origins of Folk Art

2.3 CharacteristicsCharacteristically folk art is not influenced by movements in academic or fine art circles, and, in many cases, folk art excludes works executed by professional artists and sold as "high art" or "fine art" to the society's art patrons.

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•Folk art are simple, direct, and mostly always colorful.•Folk art expresses cultural identity by conveying shared community values and aesthetics.•It encompasses a range of utilitarian and decorative media, including cloth, wood, paper, clay, metal and more. •Folk art reflects traditional art forms of diverse community groups — ethnic, tribal, religious, occupational, geographical, age- or gender-based — who identify with each other and society at large.• Folk artists traditionally learn skills and techniques through apprenticeships in informal community settings, though they may also be formally educated.

2.4.2 PAINTINGVotive paintings in oil, watercolor or pastel were not uncommon, but most painting was in the form of decorative embellishment of other objects or structures. Thus for example, painting on textiles, glass items, chests, often using stencils, was widespread. Illustration of texts was also seen. A major artist who was influenced by folk art, is Natalia Gonchacva (1881-1962), one of the most valuable Russian artists in history.

2.4 Types of Folk Art

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2.4.1 ARCHITECTUREThe focus here was on simple dwelling houses and religious buildings. Examples of "folk architecture" include the steep Alpine roof designed for snowy conditions; the cave dwellings of the Iberian peninsula; the American log cabin and the Mexican adobe hut.

2.4.3 SCULPTUREFigurative sculpture, as well as some sort of incised relief decoration, can be seen in almost every society. In "folk art" the most common type of sculpture was wood-carving, followed by sculptured stone monuments. Wood-carving was particularly popular, and involved everything from large totem poles to miniature ships in bottles. Other popular applications of plastic art included papier-mache, often used for large-scale objects/figures especially in carnivals

2.4.4 PRINTMAKINGThe natural medium for making "folk prints" was the woodblock, which was usually cut very simply and then crudely colored or stenciled. Block-printing was utilized to make games, simple forms and announcements, as well as signs.

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2.4.5 APPLIED ARTFor obvious practical reasons, the general category of applied arts was invariably the most important and most avidly practiced of all arts and crafts in folk communities. The range of activities varied according to the resources available, but included some or all of the following: basket weaving, doll-making, enameling, furniture-making, Wood-turning, lacquer ware, ceramics or pottery, leatherwork, metal work, knife-making, jewellery-making, stained glass.

2.4.6 TEXTILESIn addition to standard practices including crochet, embroidery, felt-making, knitting, lace-making, macrame, and quilting, folk artists also developed highly specialist skills, involving carpet-weaving, and tapestry.

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2.5 Types of Folk Art In Bangladesh2.5.1 NAKSHIKANTHANakshi kantha or embroidered quilt is made and used almost everywhere in Bangladesh. However, the nakshi kanthas of Rajshahi, Jessore, and Faridpur are most famous for stitchcraft and picturesque designs. Several layers of old cloth are put together to make these quilts. Apart from being used to make bedspreads and quilts, nakshi kantha work is also used to make pillow cases and covers, prayer mats, seats for puja, small bags for keeping mirrors and combs, gilaf (covers) for books, covers for foods, and dastarkhan or dining mats.

The designs were traditionally drawn free hand by women who worked leisurely in their spare time. At present much nakshi kantha work is done by ngo’s and handicraft organisations for commercial purposes. Common motifs are the lotus, the sun, the moon, stars, leaves, trees, flowering creepers, human figures, deities, horses, elephants, fish, birds, tazia’s and rath. Elaborately embroidered quilts depict scenes from mythology or contemporary life. Traditionally, threads drawn from sari borders were used. At present embroidery thread is used or skeins of yarn.

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2.5.2 BENGAL POTLike the Naksikatha, the indigenous art form that developed in Bengal came to be known as Bengal Pot. Paintings are made with dyes made from spices, earth, soot, etc. and reflect the life and times of the society and folklore. The traditional colors used in Bengal Pot are red, indigo, green, black and ochre. Bengal Pot has a very interesting angle to it. Some paintings depict spoofs on retrograde social practices, thus attempting to highlight them for change.This art form of Bengal developed hundreds of years back when roaming minstrels used to sing about incidents of the distant past and popular lore to villagers. Some of these artists started depicting these stories on cloth scrolls for preservation and beatification.

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2.5 Types of Folk Art In Bangladesh

2.5.3 DEWAL CHITRA

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Images of deities are painted on the walls of mud houses in northern Bengal in the belief that these images will protect the house and its inmates from evil. Flowers and leaves are painted to beautify the dwelling place. Apart from alpana designs, motifs include the swastika, the goddess Laksmi seated on a lotus, the heroes of the puranas, sheaves of paddy, creepers, peacocks and elephants. Scenes from the story of krishna or rama are painted as murals. For the past two decades, wall paintings have also become popular in Dhaka city.

Many of these paintings are broken up into panels painted in different styles of folk art. The boundary wall of the Institute of Fine Arts which faces Kazi Nazrul Islam Road, for example, has scenes drawn in nakshi kantha, gazir pat, and ghatachitra styles. In addition to traditional motifs and scenes, depictions of thewar of liberation are also common. During the observances of Ekushey, the walls facing the Shaheed Minar are painted with quotations in bangla script


In the late 1960s groups of women in the villages surrounding Dhaka started to make shikas for the local markets. Tourists visiting these markets would buy these beautifully-crafted items to take home as souvenirs and the market for these crafts grew, the crafters became more creative, finding more uses for the items they made.

2.5.4 BAMBOO CRAFT

Very often the new item is named after the village where it was produced, or even after the person who made it. Strands of jute were deftly woven, twisted, plaited and knotted into bags, table mats, plant holders (macramé), wall hangings, hammocks, floor coverings and more. Colors are woven into the design in different patterns. The creativity and skill of the women who make these crafts seems to be endless.

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Bamboo utensils such as kula (winnowing fan), jhudi (basket), chalani (sieve), dala (tray, specially used for drying pickles) are part of everyday life and are used in both rural and urban kitchens. Bamboo craft may be used as attractive ashtrays, flower vases, cosmetic boxes, picture frames, mirror frames, pens, etc.


It is not known when puppet theatre was introduced in Bangladesh. The earliest extant literary evidence of the existence of the form in Bangladesh is a couplet in Yusuf Zulekha (1391-1410). As signified there, these performances were given with the help of string puppets. It is possible that orally composed tales of gods and goddesses, such as those of Krishna, Rama, Manasa etc. were produced in these performances. Mukunda Chakravarti's Chandimangal (1555–56) and Krishnadasa Kaviraja's Chaitanya Charitamrita (c 1560-80) definitely point to the existence of puppet theatre during this period. Interestingly, no Islamic narrative ever seems to have been performed by puppets in Bangladesh. String puppets still exist in Bangladesh today.Putul Nach (puppet show) is a traditional art form of the Bangladesh and a very ancient form of

theatre. A putul or puppet, made of bamboo or wood, is jointed for easy manipulation with strings attached to various parts of its body.

2.5.5 PUPPET THEATRE

The nachiye (puppeteer) has a wooden cup attached to his or her waistband in which the rod supporting the puppet rests. The puppetry troupe includes a lead singer, who usually plays the harmonium, and also musicians on clarinet, dhol (drum) and kansi (bell). They narrate mythological stories with dance (nach) of the puppets playing different characters. 17


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2.5.6 PATACHITRAPatachitra or scroll paintings by professional artists, known as patuyas, are used to illustrate different narratives. These scroll paintings date back to the Buddhist period when Buddhist bhikkus known as 'maskari' used to spread the message of Buddhism by showing pictures to illustrate stories of the Buddha. Subsequently, during Hindu rule, these scroll paintings depicted stories from the Puranas. Many Hindus were converted to Islam after the Muslim conquest of Bengal in the 13th century. They did not abandon the trade they had learned, but added Muslim stories to their repertoire. Thus, they continued to paint stories of Krishnalila, Ramalila, and Manasalila, stories of Krishna, Rama and Manasa.

The traditional patachitra illustrates different episodes of a story on a scroll up to 30 feet long. As the scrolls are wrapped around sticks, these are also known as 'wrapped pictures'. There is another kind of scroll known as 'panchakalyani pat' which contains illustrations of different deities

The illustrations were first painted on silk cloth or linen and later on paper made of cotton-pulp. There are two kinds of patachitra in Bangladesh: single pictures on a square canvas and multiple pictures on a long roll. kalighat paintings belong to the first category. This style of painting developed during the 18th-19th centuries after the establishment of Kolkata. The Kalighat school disappeared after western style painting became popular.


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2.5.7 CANE CRAFTCane crafts have a rich historical past that is amalgamated with the preferences of the modern urban people. As South-Asia is affluent in the tradition of the powerful dynasties like Magadha Majanapadas, Mauryan Empire and Gupta Empire, the artisans had received encouragement from them. With the introduction of modern technologies cane craft has flourished. As the time precedes the tradition of the past and the style of the modern age have developed the cult of the cane crafts. This has also led to improvements of the products at a high grade with subtle changes.Cane crafts have unique features that carry intrinsic beauties and great creativeness offered by the local artisans. Initiated in the prehistoric age, cane crafts comprise utility items like baskets, household wares, woven mats, furniture and cane products like cane furniture and other decorative objects. The majority of Bangladeshi villagers who etch out the lifeless bamboos and canes with dexterity and turn them into exquisite art pieces that are of great value.The availability of raw materials, suitable weather, numerous artisans and land for cane

agriculture have fastened the growth of the cane crafts of Bangladesh. Chairs, stools, sofa sets, bookshelves, baskets, table lamps, partitions and hookah holders are attractive and affordable cane products in our country.Though less commonly used in urban areas, fancy mats called nakshi pati (pictorial mat) or shitalpati(cool mat), continue to be in demand both for their comfort and attractiveness


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Ulki or tattooing is a form of body art using permanent pigments. Men and women of some Hindu castes tattoo parts of their body for religious reasons, usually with motifs of the sun, birds, snakes or circles. Vaishnavas tattoo pictures of Radha and Krishna united in an embrace. Tattooing is done by pricking the skin of the arms with a needle and then applying the juice of kesutia (Eclipta prostata) leaves to obtain a bluish color. There are other forms of body painting that are temporary. Bengali brides, both Hindu and Muslim, have their faces dotted with sandalwood paste. Muslim brides use mehendi or henna to paint their palms with intricate designs.

2.5.8 ULKI/ BODY PAINTING2.5 Types of Folk Art In Bangladesh

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2.5 Types of Folk Art In Bangladesh2.5.9 ALPONA

Alpana a popular folk art associated with Hindu women's observance of religious vratas or vows such

as Laksmivrata, Senjutivrata, Maghmangalvrata, Haricharanvrata and Basudharavrata. It is also drawn on the occasion of Hindu weddings

and annaprashana. Common motifs drawn during weddings include the lotus and creepers. Alpana are also drawn at Muslim weddings, especially

on the occasion of the gaye halud. The alpana motifs drawn at Muslim functions are, however, quite different from those at vratas. On 21st

February as well alpanas using floral motifs and geometric patterns are painted on the roads leading to the shaheed minar.White paste made of pounded rice is the main raw material for alpana. Depending on the occasion, brick powder, ash, water mixed with cow dung, vermilion and turmeric paste are also

used. Alpanas for vratas are drawn with a finger or a piece of wood. In urban areas, alpanas are painted with enamel paints and

brushes. Alpana motifs do not show realistic details. The senjutivrata alpana, representing a woman with many children, is shown by abstract

lines. Similarly, the laksmivrata alpana, representing the goddess Laksmi's foot, is shown simply as a human footprint.

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2.5.10 RICKSHAW PAINTINGThe three wheeled pedalic cab, more commonly known as rickshaws of Bangladesh has been around since the 1940s. Initially, they were undecorated, but starting in the late 1940s, the faces of movie stars began appearing as decorative motifs on shields at the back of the rickshaws along with a variety of floral paintings. The unique trend of rickshaw art started from Rajshahi and Dhaka in Bangladesh and took its own style in each district. For instance, Chittagong being a more pious city then Dhaka mostly had floral or scenery in the rickshaws where as Comilla has plain rickshaws with beautiful dark blue or green hood on which is sewn an appliqué of a minaret or floral design enshrining the word "Allah".

Rickshaw art covers whole rickshaw decoration, from painted backboards and rear side panels to cut-outs appliquéd on to hoods and brass vases replete with plastic or paper flowers. The painted rectangular metal board at the backside, between the two wheels, leaves a trail of passion that the Rickshaw artist puts in his creations.

The art on moving wheels were done using very bold, bright and raw colors, like fluorescent green, dark red and so on. The blaze of colors also help to make them long lasting


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The conch and shell of Bangladesh are framed throughout South Asia. During the last Five Centuries, Dhaka, situated on the banks of river Buriganga, has been renowned as the centre of highly shell carvas, commonly known as Shankharis or Shankhabaniks. A distinctly community, their products are in demand not in within Bangladesh but abroad as well. The master craftsmen of shankhari Patti produce high quality products Known as shankha. These ornaments are richly decorated with carvings, colored with lacquer or inlaid with bands of gold.

Conchshell craft basically refers to the art of engraving beautiful images on natural shells, obtained from the ocean bed. Each artisan has his own unique pattern of carving the shell. While some craftsmen draw the image of Lord Shiva over the shell, others create entire episodes from the Mahabharata on it. Then, the stories of Lord Krishna also serve as popular themes for engraving the conch shells. It is very difficult to carve a conch shell, taking a minimum of two to three months to design a single shell item

The products crafted from the conch-shell include exquisite hair bands, bracelets, rings, lockets, pendants, and amulets, ear ring and necklaces. Delicate bangles sre also crafted from conch-shell and are essential part of a Hindu woman’s trousseau. These are embellished with notched edges or diamond shapes along the centre.

2.5.11 CONCH-SHELL CRAFT2.5 Types of Folk Art In Bangladesh

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Daruchitra The art of wood engraving is an ancient craft, used for decorating door frames, pillars, windows, palanquins, boat prows, toys and dolls. The designs are carved out and the plain surfaces are then painted. Door frames and pillars are painted with creepers, palanquins with flowers, creepers and geometric patterns, and boats with the swastika, the moon, stars, birds and fish.

2.5.12 DARUCHITRA

Ghatachitra Paintings on earthen pitchers or ghat. There are various types of ghatachitra such

asmangalghat, manasaghat, nagaghat, laksmighat,kartiker bhand and daksinrayer bara, the names being derived from the deity painted on the pitcher. Thus,

manasaghats depict manasa, the snake goddess, while nagaghats depict hooded snakes.

2.5.13 GATHACHITRA

A pitcher with the image of an eight-headed snake is called 'astanaga

ghat'. Similarly, a pitcher depicting Laksmi, the goddess of wealth, is called 'laksmir ghat', while a ghat with the image of Daksin Ray, the

tiger god, is known as 'daksin rayer bara'.


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Jute craft Apart from being the raw material for hessian and carpets, jute is also used to make mats, bags, and hanging string bags or sika, used in homes to hang foodstuff out of the reach of animals.To make sikas, jute twine is braided and then tied in various patterns such as taraful, puntiful andtakaful. The sikas are given different names such as muthashika, chakshika, kadishika andnengtashika on the basis of their size, shape and designs. Kadisika, for example, is threaded with cowries.

One of Bangladesh’s finest range of products today is made of jute, the country’s major natural fibre. Jute has been a thriving industry since thje 19th century though it has faced many ups and downs in its long history, with a declining trend in the past resulting from rest of investment and product diversification. However it’s robust strength, its many advantage including its ecological strengths have brought it back into popular national and international use. In the world of fashion and design jute is a popular item for upholstery and other household items.

2.5.13 JUTE CRAFT2.5 Types of Folk Art In Bangladesh

The subject of Bangladeshi folk paintings is as diverse as the Bangladeshi cultural milieu itself. Indian folk art painting includes a brilliant battery of calendar and wall paintings, oil, canvas and cloth paintings, miniatures and so on. The most famous types of folk art paintings hence include various ancient Bangladeshi art forms such as Madhubani, Phad, Kalamkari, Warli paintings and so on.

Bangladeshi folk art paintings usually deal with pictorial depictions of popular Hindu and Buddhistdeities such as Rama, Krishna, Shiva, Durga, Buddha. Additionally, we can also find Madhubani paintings of the sun, the moon and even some plants and flowers used in daily rituals, such as tulsi (basil) and so on. Many paintings also depict daily village life, common customs and rituals, birds, animals and the elements of nature. Folk paintings are very fetching and a visual treat, as they employ vibrant and natural colors and papers, clothes, leaves, earthen pots, mud walls and so on, as their canvas to paint on.

3. Folk Painting in Bangladesh

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4. The evolution of Bangladeshi folk art paintings

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It was only during the 20th century that South Asian folk art slowly emerged as a subject of study and appreciation. Before this era, only Mughal painting was appreciated in India. In the year 1916, Ananda Coomaraswamy established Rajasthani and Pahari paintings as a form of art. Of course, they lacked the refinement of Mughal Art. Yet, their charm was undeniably there and that marked the beginning of the emergence of Indian folk art at a global level.

Western India mostly used angular lines, bright and bold colors and full profiles. Paintings from the Santhal tribe and Around in Chittagong and Sylhet border tribe, used more individualistic styles, the composition being simple, though more direct. Likewise, each region presented its own unique folk art in its own unique way, thereby creating a brilliant kaleidoscope of colors and designs in its paintings. Let us now delve deeper in detail into the study of some of the most major types of Bangladeshi Folk Art.

Initially, the study of folk painting was restricted to Bengal. But, some areas around the Bengal realized the value of their own art and came out with their collections. Each region used the materials readily available to them and this resulted in tremendous diversity and variety in this form of art, while also being clubbed as one, “Bangladeshi" folk art.

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5. Types of Folk Paintings in Bangladesh

5.1 Santhal paintings

The Santhal tribe, one of the eminent tribes belonging to the state of Bihar (India), has a distinctive technique of painting, which is well-known as Santhal paintings. The themes for these paintings are chosen from the natural surroundings or from the activities of everyday lives, such as a happy family, fields, dance, quarrel, beating wife, gods and goddess, wine party etc. These paintings reflect the simplicity of artists. All paintings are courtesy of Art of Bangladesh.

5.2 Phad Painting

Phad paintings are characterized by their own unique styles and patterns. They are especially appreciated as they use vibrant colors and quaint historical themes, the life and times of valorous heroes and so on. The unique style and use of themes of Phad paintings are responsible for making them the most sought after paintings in the world of art and culture.

http://www.dollsofindia.com/library/folk_paintings/


5. Types of Folk Paintings in Bangladesh5.3 Kalamkari PaintingKalamkari is yet another ancient and ethnic folk art, made on painted and printed fabrics. The term, "Kalamkari", comes from the Persian language and literally means "pen craftsmanship". Kalamkari evolved and flourished during the Mughal rule and was patronized by the Golconda Sultanate. This art form is hand painted and block printed by means of using natural vegetable dyes. 5.3.1 The Masulipatnam style of KalamkariThis style comes with a clear Persian influence and is done with intricate and delicate forms and motifs. The most commonly featuring designs here are flowers, trees, creepers, colorful leaf designs and so on. Thanks to the Dutch influence, Kalamkari art later evolved and is now undertaken on bed covers, curtains and garments as well.

5.3.2 Technique of Kalamkari painting

Kalamkari work goes through a long-winding process of treatment on the fabric, including resist-dyeing and hand printing. Here, the fabric is treated extensively both before and after the dyeing process. The colors change depending on the treatment of cloth and quality of the mordant used. Each and every step of this process is painstakingly done and the artisan has to strictly adhere to perfection. Seventeen long stages later, the fabric is ready for use.

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5.3.3 History and evolution of Kalamkari painting


In the middle ages, groups of singers, musicians and painters, called chitrakattis, would travel from village to village, narrating great stories from Hindu mythology. With time, they started illustrating their accounts on large bolts of canvas painted on the spot, using rudimentary means and dyes extracted from plants. This marked the birth of Kalamkari art. By and by, Kalamkari started featuring in the large panels of temples too.

Then there was a sudden and steep decline in Kalamkari for a while, after which it was revived during the British Raj in Bangladesh. At the present time, there is a clear upsurge in interest in the art form by designers, NGOs and entrepreneurs living and working in nearby cities. A range of products are now created using Kalamkari cloth and are available for sale at craft exhibitions, small boutiques and even from the artists themselves. Kalamkari paintings now enjoy flourishing trade on a global scale.

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5. Types of Folk Paintings in Bangladesh5.4 Paatachitra Painting

Bangladesh is a country that is steeped in culture and in various arts, including dance, music, architecture,

and painting. Among the painting traditions, the devotional art of the

Paata paintings or patachitra on cloth, is a very popular style that

centers around the worship of Lord Jagannath, a manifestation

of Sri Krishna.

This type of folk art painting includes wall paintings, palm-leaf etching, manuscript painting and painting on cloth, both cotton and silk. Chitrakar painters in and around very village have been practising this living art form for ages. The art of Pata painting on cloth can be traced right back to the very development of the shrine of Lord Jagannath.

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5. Types of Folk Paintings in Bangladesh5.4.1 Chitrakars

The artists who paint patachitras are known as chitrakaras. Often, it is one whole family that is engaged in this craft, headed by the master chitrakar of the family. Sometimes, this master also operates a studio which trains other junior artists working under him. The chitrakaras usually live in the vicinities of temples, such as the Jagannath temple in Puri and also in the village of Raghurajpur, just outside Puri.

Besides painting these patachitras, the chitrakaras have other duties as well, such as painting anasara patis. This are paintings, which temporarily replace the main images of the three deities - Jagannath, Balaram and Subhadra, at the time when those deities are considered "inauspicious" and "unfit" for viewing by the faithful.

The chitrakaras also have to paint on the cars, or chariots, on which Jagannath, Balabhadra, and Subhadra ride during the annual ratha yatra (car) festival each summer. During this particular festival, the main deity. The artisans paint pedi, or dowry boxes, that are given to the bride at the time of marriage.

5.4.2 Technique of Paata painting


Patachitra painting, when done on cloth, follows a traditional process of preparation of the canvas. Firstly, the base is prepared by coating the cloth with soft, white, stone powder made of chalk. A glue is then

made from tamarind seeds. This mixture, while coated on the cloth, gives the fabric tensile strength and a smooth, semi-absorbent

surface, which lets it easily absorb the paint.

Patachitra paintings were traditionally undertaken only by the mahapatras or maharanas. These paintings constituted a vital art form, which was actually

used for the ornamentation of Lord Jagannath in the innermost sanctum. Here, paintings on especially treated cloth or Paata of the deities were done exclusively by the temple painter. The painter used tribal and folk themes.

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The main aspect about this art is that the artisan does not use a pencil or charcoal for the preliminary drawings. He first completes drawing the borders of the painting. Only then does he start making a rough sketch, directly with the brush, using light red and yellow colors. The main flat colors come next. Here, the colors used are white, red, yellow, and black. Once that is done, the artist proceeds to finish the painting with fine stokes of black brush lines, giving the effect of pen work.

5.4.2 Technique of Paata Chitra painting


When the painting is completed, the fabric is held over a charcoal fire and lacquer is applied to the surface. This is done so as to make it water resistant and durable, besides giving it that wonderful shimmering finish

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5.4.3 Materials used in Paatachitra5. Types of Folk Paintings in Bangladesh

The materials used by the chitrakars in patachitra are obtained from natural sources, such as from vegetables, earth, and minerals. Black is gotten from lampblack, yellow from haritali stone, and red from hingal stone. The color white is prepared from crushed, boiled, and filtered shells.

Patachitra usually deals with religious, mythological, and folk themes. Needless to say, most of the motifs revolve around tales from the Krishna Leela and Lord Jagannath. The artists have also traditionally painted playing cards or Ganjifa. Chitra-pothies, a collection of painted palm leaves stacked on top of each other and held together between painted wood covers by means of a string, illustrate mythological themes.

The patachitra artists have now started experimenting with this art on other surfaces too, such as wooden boxes, ceramic bowls, tassar silk, outer shells of the coconut, wooden doors and so on. Now, they are even working planning to create painted wooden toys, using animals and birds in their motifs. The English alphabet is cut in the wood and painted in the patachitra style for sale. This is now gaining immense popularity with tourists all round the world

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5.4.4 Themes used in Paatachitra5. Types of Folk Paintings in Bangladesh

Patachitra uses many themes, but mainly, the following are the themes depicted by the artists:

•Mythological episodes taken from the Hindu epics

• Various tales and legends related to the worship of various gods and goddesses

• Quaint folklore themes

• Sometimes, even erotic themes

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5.5 Terracota5. Types of Folk Paintings in BangladeshThe term terracotta is used to refer to items made out of this material and to its natural, brownish orange color, which varies considerably. In archaeology and art history, "terracotta" is often used of objects not made on a potter's wheel, such as figurines, where objects made on the wheel from the same material, possibly even by the same person, are called pottery; the choice of term depending on the type of object rather than the material. The terra cotta art used in the Kantajee temple of Dinajpur is remarkable in terms of texture and quality. The ―Neelpadma‖ found in the Lalmai of Comilla is unparalleled. Some of these artifacts have been kept in the site museums at various locations. The folk arts of these categories are now being used most tastefully in modern design.

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6. Folk Art as profession in BangladeshIf you visit slums of Dhaka, you'll find talented professionals such weavers, potters etc. who are now daily labourer or beggars. These people have provided thousands of years sustainable products for generations but now plastic and aluminium products have displaced them. Thirty percent of about 15 million population in Dhaka city are recent migrants from the rural areas of Bangladesh, but unlike many other Third World cities this influx was not accompanied by industrialization.The production of pottery is one of the most ancient arts. The oldest known body of pottery dates from the Jomon period (from about 10,500 to 400 BC) in Japan; and even the earliest Jomon pottery exhibit a unique sophistication of technique and design. Excavations in the Near East have revealed that primitive fired-clay vessels were made there more than 8,000 years ago. Potters were working in Iran by about 5500 BC, and earthenware was probably being produced even earlier on the Iranian high plateau. Chinese potters had developed characteristic techniques by about 5000 BC. In the New World many pre-Columbian American cultures developed highly artistic pottery traditions. The Indian sub-continent including the area which includes Bangladesh was also famous for pottery.Regardless of time or place, basic pottery techniques have varied little except in ancient America, where the potter's wheel was unknown. Among the requisites of success are correct composition of the clay body by using balanced materials; skill in shaping the wet clay on the wheel or pressing it into molds; and, most important, firing at the correct temperature. The last operation depends vitally on the experience, judgment, and technical skill of the potter (Prodip Aich, The Independent, October 13, 2003).From third century B. C. and twelfth century A. D. pottery, terra cotta figurines and plaques were most abundant in Bangladesh (Mahmud. F.,(1987). The earliest specimens of pottery are those of the Northern Black Polished Ware. This pottery spread into Bangladesh from the north later than fourth century B. C. 38

7. Present situation of heritage placeThe discovery of specimens of pottery at Mahasangarh, north Bengal from third century B. C. to sixteenth century A. D. reflect the evolution of pottery in cultural setting. Pottery represents the largest single category of antiquities at Mainamati (SE of Dhaka). The subject matter portrayed in the Mainamati terra cotta plaques is overwhelming, it includes almost everything that can be found in the life and imagination of the Bengal countryside.Varied specimens of pottery have been discovered at Pharpur, N. Bengal (ancient residential University of Bangladesh). There are above 2000 terra cotta plaques still embellishing the outer wall of the Pharpur temple

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7.1 Consciousness of UNESCOThe Unesco yesterday (29. 09. 04) called for raising mass awareness about the rich cultural heritage sites in the country. "Bangladesh is a resourceful country because of its rich cultural heritage and has got a bright future... but it needs to preserve those heritage sites," Unesco Representative Wolfgang Vollmann told a press briefing in the city. He said identification of 355 national cultural heritage sites is only a tip of the iceberg; thousands of similar others need proper attention (Daily Star, September 30, 2004).

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The Condition of Folk culture of Bangladesh is not good. So Government /concern authority should take necessary steps to save and protect folk culture as early as. Possible .

Government should take policy culture in men / women in folk culture in Bangladesh.

Build up public awareness through. Education for our national heritage.

Govt. should take necessary steps for list publicity

The elements of the folk culture should be concerned from any sort of distortion destruction.

Government should form a committee to rescued folk elements from various races of Bangladesh.

Steps should be taken at Govt. level to conserve the endangered elements of folk culture.

The qualitative value of the folk elements should be enhanced.

It should be freed from urban culture.

It should be freed from the influence of our culture

8. Recommendation

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9. ConclusionThe above discussion is an attempt to look at the art of Bangladesh within the larger context of its history of transformation and fragmentation. It follows historical events, which have created traditions, brought changes to imagined ones, or denied them as well as re-evaluating what they signify. The notion of tradition has played an important role in art; sometimes it has been the catalyst that has brought about a reversal of ideas of identity. Traditions, their making, unmaking, and re-making, have been constantly debated throughout the history of the region/nation. The fundamental principles of state policy of Bangladesh have also been revised to a point where they almost seem to backtrack. The fragmentation of identities at different junctures of history has led to the formulation and assumption of new identities and the intelligentsia, of which artists are a part, have played a significant role in this activity. Art has reflected major political changes: the quest for a ‘lost’ past by the Bengal School; the assumption of Muslim identity after the birth of Pakistan; the reclamation of Bengali heritage in the face of Pakistani hegemony engendered by the Language Movement, with the parallel introduction and assimilation of ‘modern’ art with its ‘universal’ values and the encounter with the ‘West’; the War of Liberation and the time of optimism when the nation renewed its faith in ‘Bengali heritage’ and the confusion and disappointments that followed which led to newer engagements with heritage. The developing characteristics of the Bangladeshi art world are studied as it expands towards the global, and signifiers of ‘tradition’ are hybridized to give Bangladeshi art a distinctive identity in a plural world.This paper explores how and why ‘traditions’ continue to play an active role in Bangladeshi art, rejuvenating and nourishing the practice of contemporary ‘fine’ artists trying to make a mark in a globalized worldThe introduction or picture of a nation is found in her culture. If the culture collapses, the nation will be identify less. So every nation should protect or preserve her culture for her existence.The folklore culture of Bangles is now on the way of ruin. So it is the duty of every citizen nurture it and to prepare it. If we can protect our folk one culture, the nation will find her existence very early If is impossible to reflect all the folk one culture of within this very short line. I hope, it will be fulfill at the hand of extraordinary expert in the course of him

Tofail Ahmad, Loka-Aitihyer Dash Diganta, Dhaka, 1999; Ajit Mookherjee, Folk Toys of India, Calcutta, 1956; Abanindranath Tagore, Banglar Vrata, Calcutta, 1947; Dinesh Chandra Sen,Brihat Vanga, 1st Part, Calcutta, 1934.

10. References

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Folk art of Bangladesh

Education

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