Bengal alpona, "At Sumitra’s home"— part 3

The path leading to the house is covered with footprints to show Goddess Lakshmi the way to their home. Rabi’s grandmother Sumitra draws on the beaten earth with a confident hand guiding the milky substance between her fingers.

Bengal alpona, "At Sumitra’s home"— part 3

It’s the 14th of January, the day rural Bengal celebrates the abundant harvest and Goddess Lakshmi. We finally arrive in the artist’s village and it’s Rabi himself who receives our small group. After our initial greetings and a few words of welcome for me in English, he takes us to his grandmother’s house.

Mrs Sumitra Mondal

The path leading to the home is covered with footprints painted in white to show Goddess Lakshmi the way to their home so that she may bless its occupants. Rabi’s grandmother Sumitra is in the middle of the courtyard. Wrapped in a white shawl, she draws on the beaten earth with a confident hand, guiding the milky substance between her fingers.

Rice is the essential ingredient for the drawing of alpona. The sun-dried grains of rice are soaked for hours before being finely ground into a liquid paste.

On this morning, the countryside wakes up to a different dimension under her able fingers, the silky whiteness tracing the outlines of daily objects, or of those which are desired. It’s an austere white, somewhat similar to the mystical white that prefigures the transmutation of the profane to the sacred in many initiation rites. Rabi the chitrakar (2) describes the objects appearing around the large circular alpona. We see a bucket, a pot, ladles, a basket, and a few essential farming tools like a hoe, a wooden rake, sickles and a ladder. We also make out a winnowing basket used to separate straw, husk, and dirt from the grain. There is also a tool called dheki used to de-husk rice, and a bonti, which is a curved blade attached to a wooden block used to cut fish as well as vegetables. Offerings of a pair of earrings and bracelets for the goddess complete the circle.

Farming tools
A basket

On the perimeter, two cats seem to be coveting a pair of fish attached to a line, or it may be the nearby heron that intends to snatch them. In another corner of the courtyard, images of a crocodile (kumir) and a turtle (kachin) catch my eye. They are the vehicles of two River Goddesses, Ganga and Yamuna. Ganga is riding a crocodile, while Yamuna stands on a turtle. A garland representing an ear of rice bending under the weight of its grains encircles the entire courtyard and adjacent paths. Meanwhile, imaginary flowers have created an earthly paradise: a lotus flower traced with alternating straight and undulating lines, flowers with swirling centres, and others resembling stars.

Two cats seem to be coveting a pair of fish attached to a line
A crocodile (kumir) and a tortoise (kachin); the vehicles of Ganga and Yamuna. For Goddess Ganga, it is either an Indian gavial (Gavialis Gangeticus) or a mythical creature called Makara.
The decorated courtyard

(1) The Patua community of West Bengal narrating and singing from village to village, epic and mythological stories painted on paper scrolls.


Previous articles:

Alpona: Images and Symbols of Bengali Women

Bengal alpona, "The River by Jean Renoir"— part 1

Bengal alpona, "Meeting with Kolkata" — part 2

Bengal alpona, "Books, photographs and references"