Volume II,Issue IV, March 2026
Volume-II, Issue-IV, March, 2026 |
Received: 22.03.2026 | Accepted: 26.03.2026 | ||
Published Online: 31.03.2026 | Page No: | ||
DOI: 10.69655/atmadeep.vol.2.issue.04W. | |||
শোলাশিল্প: একটি ঐতিহ্যবাহী আঙ্গিক
আশিস হালদার, গবেষক,
কল্যাণী বিশ্ববিদ্যালয়, পশ্চিমবঙ্গ, ভারত
সুজয়কুমার মণ্ডল, প্রফেসর
ও বিভাগীয় প্রধান, লোকসংস্কৃতি বিভাগ, কল্যাণী বিশ্ববিদ্যালয়, পশ্চিমবঙ্গ,
ভারত |
Ashis Halder, Research Scholar, University of Kalyani, West Bengal, India Sujay Kumar Mondal, Professor and Head of the Department, Department of Folklore, University of Kalyani, West Bengal, India | ||
ABSTRACT | ||
Shola-pith craft is an important form of folk Craft. Shola pith is a type of aquatic plant. In India, two varieties of shola are found: (1) Kath Shola and (2) Bhat Shola or Phul Shola. Most shola-based folkcrafts are made from Bhat Shola or Phul Shola. Shola art is widely practiced across West Bengal, especially in districts such as Birbhum, Bardhaman, Murshidabad, Kolkata, Nadia, and Bishnupur. The major forms of this folk Craft include topor (traditional wedding headgear), sithimor, palanquin decorations, chandmala, kadam flowers, dolongi, flower vases, Durga idols, Bishahari figures, idol decorations, and various other sculptures. Common motifs used in shola craft include peacock, kalka (paisley), leaves, rolls, betel shapes, beads, pea-like forms, half chakki, and full chakki patterns. The tools used in this craft include kat or kait (cutting tools), pencil, sarna, chairi, rolling pin, pais, scale, and scissors. In the process of making shola crafts, the brown outer layer of the shoal-pith is first removed using a cutting tool. Then, designs are drawn on the soft white inner part to create various artistic items. The Malakar Community has traditionally been the main tradition bearer of this craft. However, people from other communities are now also involved. Both men and women participate in this work. Shola-pith craft products are marketed in different ways—through home-based sales, fairs and exhibitions, middlemen, and various government and non-government organizations. This craft has been practiced for generations across different parts of West Bengal. Field studies show that artisans generally follow similar methods of production. However, some changes and modern influences are now visible in the materials used. New types of cutting tools, zigzag scissors, decorative paper, zari, sequins, poplin cloth, and tracing paper are increasingly being used. Despite its richness, the craft faces several challenges, such as shortage of raw materials, financial constraints, low rainfall, lack of skilled artisans, disinterest among the younger generation, high cost of raw materials, and insufficient government support. If these challenges can be addressed, shola craft can regain its former glory. Therefore, it is essential for us to take active steps to preserve and promote this traditional folk Craft. | ||
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