Women Artists of Bengal: Alpona
The Journey of the folk art tradition of Bengal from the uthon (courtyard) to the canvas.
by the Akar Prakar Desk
Embedded within the cultural tapestry of Bengal is the revered and adored tradition of Broto Alpona, ‘Broto’ meaning the rituals practiced socially as a means of prayer or a wish to the divine and ‘Alpona’ is derived from the Sanskrit word ‘Alimpana’ which translates to ‘plastering’ or ‘coating’. Mostly done by the women of the house, the smear of white on the red floors was like painted prayers. Stephen P. Huyler, a historian and cultural anthropologist in his book "Painted Prayers, Women’s Art in Village India” remarked about the art form that "In a society predominantly dominated by men, it is the inheritance and artistic expression of women through their techniques and symbols—prayers painted or 'written' from the heart."
Fig1. Broto Alpona; Image Courtesy: Pinterest
Broto Alpona involves creating intricate patterns on floors or walls using rice paste. Women apply the paste freehand using fingers or a small cloth called ‘pitulli’. This technique allows for fluid, symmetrical designs featuring geometric shapes, floral motifs, and auspicious symbols. These Alponas were associated with an oral tradition of a charra or a rhyme hummed by women while painting it. The verses usually bonded together the ‘Broto’, as the rhyme for rain and a good harvest was depicted with golden rice plants or overflowing granaries, or a girl’s aspiration to be married found its way in the ‘Palki’ (Palanquin) of the Alpona designs.
Fig2. Broto Alpona; Image Courtesy: Samskriya
Abindranath Thakur in his book “Banglar Broto”, a book about the rituals practiced in Bengal socially as a means of prayer or a wish to the divine said “ ছড়ায় এবং আলপনায় একট। জাতির মনের, তাদের চিন্তার, তাদের চেষ্টার ছাপ পাই I “ (Translation: Through verses and Alpona one can trace a community’s mind, thought and endeavour).
He draws a fascinating comparison between the traditional Alpona art of Bengal and the Ancient Egyptian Hieroglyphics. He suggests that both serve as visual languages, conveying meanings and stories through symbols and patterns. Thakur implies that Alpona, much like hieroglyphics, is not just decorative but also carries deep cultural and spiritual significance.
One of the Broto Alpona (image below) called Tara Broto was usually performed during the month of Phalgun (Spring). Unmarried girls with aspirations of a fulfilling married life observed this broto.
Fig 3. Sholaghar(16 houses) ritual of the Tara Broto; Image Courtesy: Pinterest
Broto Alpona which was practiced mostly by Hindu women saw a blend of secular aesthetic with its inclusion in Kala Bhavan, Shantiniketan as a fine art.
Fig 4. Alpona design from Shantiniketan; Image Courtesy: GetBengal
The art of Alpona and Embroidery were often socially considered more suited to women, the art form remained confined in the uthon (courtyard) until when it was introduced to Kala Bhavan in the 1920s by Rabindranath Thakur through Sukumari Devi. She harbored a place for alpona alongside the other fine arts practiced during that time. This marked one of the first instances where Alpona and embroidery were recognized as art forms within the formal education structure. Eventually after that Nandalal Bose and Mukul Dey too passed down the knowledge of alpona-making to their students. Some of the notable alpona artists in Kala Bhavan were Chitranibha Chowdhury, Rani Chanda, her mother Purnashashi Devi. They were closely followed by the integration of Nandalal Bose’s daughters Gauri Bhanja and Jamuna Sen who apart from being a pioneering artist in alpona-making, also worked with wax and colors, embroidery like batik and kantha-stitch.
Fig5. Sumitra Narayan, a student of Gouri Bhanja, the daughter of Nandalal Bose and one of the founding members of Patha Bhavan school drawing an alpona design.; Image courtesy: Pinterest
Fig 6 Students of Shantiniketan drawing an Alpona; Image courtesy: Chantal Jumel: Alpona du Bengale, souvenirs photographiques de Santiniketan
Fig 7. Jamuna Sen, drawing an Alpona; Image courtesy: Wikimedia commons
The Intangible Cultural Heritage, handed down through generations, primarily by women, is the juxtaposition of art and ritual, initially deeply rooted in the rural landscapes of Bengal, has also spread its tentacles into the urban landscape.
Fig 8. Jamini Roy’s work inspired from the traditional art of Alpona; Image courtesy: Prinseps
However, towards the end of the 20th century, the art of Broto Alpona experienced a sharp decline, transitioning from its traditional roots to being regarded more as a decorative and fine art form.Throughout the journey from Alpona as a ‘broto’ to Alpona as a fine art, it has been kept alive quietly by several women in their houses till today. Even though the material probably has seen a significant change from rice flour mixture to paint, the spirit of the cultural tradition lives on through it being a decorative art during grihaprobesh (house-warming ceremoies), Durga Pujo, Poila Baishakh (Bengali New Year), Bhasha dibas (International Mother Language day) and many more.
Fig9. Students drawing Alpona ahead of Durga Pujo celebrations in Sanskrit college; Image courtesy: rooftopapp.com
In Pohila Boishakh, 2024 Bangaldesh’s Kishoreganj village has attempted to create a 14 km long Alpona on the road as a way to showcase and uphold the unique craftsmanship by an initiative of ‘Baishakh 1431 Alpana’ with the help of 700 skilled artists. It has been requested to be nominated for the Guinness World Record.
Fig 10. The 14 km long Alpona in the Haor road of Kishoreganj village, Bangladesh; Image courtesy: The Daily Star
Many contemporary artists today actively practice and promote this artform. Their work blends the traditional ideas against contemporary themes and weaves stories of artistic aspirations. Only way to keep a cultural heritage alive is to practice it, and through artists who have found their agency and creative expression through Alpona, it has brought the art into the canvas and has contributed to a new lease of life for the art form.
In a heartwarming display of tradition and community spirit, many residents of North Kolkata awoke to a delightful surprise: intricate alpona designs adorning their thresholds. This thoughtful gesture was the handiwork of Ratnabali Ghosh, a teacher of forty years, who quietly went about her mission along with Mudar Partheya, a communications consultant and social worker before Diwali 2023, leaving behind beautiful patterns that greeted the dawn.
Fig11. Image courtesy: SheThePeople
Ratnabali Ghosh, inspired by her deep-rooted passion for alpona, carries on a legacy passed down by her mother, Pratibha Sengupta. Pratibha, herself a student of the legendary Nandalal Bose at Kala Bhavan in Shantiniketan, instilled in her daughter both the technique and the profound cultural significance of this art form.
The magic lies not only in the skillful strokes of alpona but also in the anonymity of the artist. Ghosh's creations appear like whispers of heritage, each design a silent tribute to the community's unity and the timeless traditions of Kolkata.
In a fast-paced world, where traditions sometimes fade in the hustle and bustle of modern life, gestures like Ratnabali Ghosh's resonate deeply. They serve as gentle nudges to pause, appreciate, and cherish the beauty that surrounds us—the beauty found not only in the art itself but also in the stories and connections it carries forward.
As the city prepared for Diwali, Ratnabali Ghosh's alponas stand as luminous symbols of community, tradition, and the enduring spirit of giving.
