The 'god producers': Bangladesh's committed symbol makers

The 'god producers': Bangladesh's committed symbol makers

October 10, 2024

 

The 'god producers': Bangladesh's committed symbol makers
The 'god Makers': Bangladesh's committed symbol makers(Image: Sahar Zand)

Durga Puja, perhaps of the greatest yearly Hindu celebration, begins on 9 October and icon creators across Bangladesh are working nonstop. This year, in the midst of a setting of late political disturbance and revealed assaults on Hindu minorities, this festival of good over detestable feels especially strong.


As the celebration of Durga Puja approaches, towns and towns across Bangladesh load up with expectation. While the occasion is commended by millions across India and Nepal, in Bangladesh, where Hindus make up around 8% of the 170 million populace, Durga Puja conveys an exceptional importance. It has turned into a social peculiarity, with individuals from different foundations, including the Muslim larger part, partaking in the stunning exhibitions, brilliant parades and merriments. However, for Bangladesh's Hindu people group, Durga Puja is substantially more than simply a festival - a profoundly otherworldly event unites them; an opportunity to reinforce mutual bonds.


This year, in any case, the celebration unfurls against an all the more politically charged scenery. The new removing of Sheik Hasina's administration, fuelled by understudy drove dissents and detailed assaults on Hindu minorities, have elevated strains. However, Durga Puja remains as an image of flexibility and solidarity in an undeniably enraptured society. In the midst of this political commotion, the celebration offers a snapshot of aggregate expectation and reflection. Throughout the previous few weeks, symbol producers in Bangladesh's capital, Dhaka, have been working enthusiastically to make the heavenly figures that will before long be the core of this festival and adored by millions, avowing their social and strict legacy in testing times.


As the celebration of Durga Puja approaches, towns and towns across Bangladesh load up with expectation. While the occasion is commended by millions across India and Nepal, in Bangladesh, where Hindus make up around 8% of the 170 million populace, Durga Puja conveys an exceptional importance. It has turned into a social peculiarity, with individuals from different foundations, including the Muslim larger part, partaking in the stunning exhibitions, brilliant parades and merriments. However, for Bangladesh's Hindu people group, Durga Puja is substantially more than simply a festival - a profoundly otherworldly event unites them; an opportunity to reinforce mutual bonds. This year, in any case, the celebration unfurls against an all the more politically charged scenery. The new removing of Sheik Hasina's administration, fuelled by understudy drove dissents and detailed assaults on Hindu minorities, have elevated strains. However, Durga Puja remains as an image of flexibility and solidarity in an undeniably enraptured society. In the midst of this political commotion, the celebration offers a snapshot of aggregate expectation and reflection. Throughout the previous few weeks, symbol producers in Bangladesh's capital, Dhaka, have been working enthusiastically to make the heavenly figures that will before long be the core of this festival and adored by millions, avowing their social and strict legacy in testing times.
Image: Sahar zand/BBC 

Dhaka's Hindu heart

Concealed in one of the endless tight rear entryways of Old Dhaka's noteworthy Shakhari Bazar is the studio of Balai Buddy, the city's most sought-after icon stone worker. The marketplace's twisted ways and plain entryways can befuddle even the most resolved voyager; tracking down this spot, encompassed by the sounding of carts and the enticing aroma of biryani, is almost unimaginable without direction.

Implanted in block structures - some going back 400 years - are little sanctuaries embellished with mind boggling god icons. These sanctuaries advise us that this is the core of the city's 1.5 million Hindu populace. Shakhari Marketplace is viewed as Dhaka's focal point for dynamic Hindu celebrations, with Durga Puja being the biggest and most significant strict occasion for Bangladesh's Hindu minority.


Implanted in block structures - some going back 400 years - are little sanctuaries embellished with mind boggling god icons. These sanctuaries advise us that this is the core of the city's 1.5 million Hindu populace. Shakhari Marketplace is viewed as Dhaka's focal point for dynamic Hindu celebrations, with Durga Puja being the biggest and most significant strict occasion for Bangladesh's Hindu minority.
Image Credit: Sahar Zand/bbc

Dhaka's top god-producer

Subsequent to going through a thin section and a little metal door into a yard, I show up at the Sri Pran Ballabh Jeu Mandir studio, which has remained generally unaltered for almost 130 years. In these unassuming limits, underneath an improvised tin rooftop, phenomenal masterfulness unfurls. A group of 16 men, drove by Buddy, enthusiastically work nonstop in movements to change humble materials into divine figures. These icons will before long be venerated by a huge number of the city's Hindus during the five-day celebration, which comes full circle on 13 October.



Creating godlikeness Venturing inside the studio right away vehicles you to another domain. The air contamination and blaring horns disappear, supplanted by cool shade, the musical strokes of brushes and the hearty aroma of feed and soggy soil. Aside from a periodic calm trade between craftsmans, the air is so quieted you can nearly hear their relaxing. Every expert is profoundly consumed, carefully forming heavenly figures with immovable concentration, their commitment obvious in each etched detail. The studio works all year, making icons of a few divine beings for different Hindu celebrations, including Kali Puja, Maha Shivaratri and Diwali. Notwithstanding, Durga Puja is by a wide margin their most active season, as the interest for icons of Goddess Durga and her youngsters tops during this festival.
Image Credit: Sahar Zand/bbc

I'm enamored by the sculptures of Goddess Durga, affectionately called "Durga Maa". The Durga Puja praises her drop to Earth and triumph over the devil Mahishasura, representing the victory of good over evil. It recounts the account of how the goddess leaves her profound domain for five days each pre-winter to visit her human fans, permitting them to be seen by her. During this time, her soul is accepted to possess the icons made in her picture, filling in as an extension between the heavenly and her natural admirers, who look for her favors for strength and security. These unpredictably planned symbols, made north of a while, portray Durga employing weapons and riding a lion or tiger. Lovers love these symbols in vivid pandals, sanctuaries and homes, offering supplications and gifts to the goddess' soul inside them.


For these craftsmans, making icons is a type of puja (love), a demonstration of commitment to the divinities that they trust will win them favor. "The force of Durga empowers me to work such countless hours thus hard," says Neelandri, one of the longest-serving craftsmans here. "Durga Maa guides us and moves our appendages to make her picture from natural materials." The craftsmans accept their work is hallowed and cease from eating meat or drinking liquor while making the Durga symbols.


Buddy, one of the most regarded icon craftsmans in the nation, is the proprietor of this studio. He gladly lets me know it is the greatest of its sort in Dhaka - a case affirmed by local people I ask - and that his family have been making symbols in this studio for three ages. Presently 55, Buddy began making icons close by his dad when he was only 10. "It was the ruler that picked me for this job," Buddy tells me, as he unbelievably draws an eye. "It's a gift for us to have been decided to serve our [gods]."



Craftsmans normally work around eight to nine hours every day, taking Fridays off, to consummate their manifestations. In any case, during Durga Puja, the most active season, they frequently stretch out their hours to more than 12 or 13 hours consistently. They even eat and rest in the studio during the weeks paving the way to the celebration. In spite of the actual depletion, the craftsmans let me know that the soul of Durga energizes their commitment, rousing them to proceed. They comprehend that the opportune finishing of the icons gives pleasure and dedication to admirers. As the cutoff time draws near, the air hums with a blend of energy and tension, exemplifying the close to home load of their art.


Craftsmans utilize exceptionally old procedures to make the symbols, with the cycle starting four to five weeks before Durga Puja. No molds are utilized; all things considered, they develop outlines from bamboo, wood, yarn and straw prior to applying thick layers of soil and earth manually. After a white base is painted onto the symbols, Buddy fastidiously paints multifaceted subtleties, particularly the eyes and face, while directing different skilled workers. The whole cycle, requiring long stretches of fragile brushwork. guarantees each piece encapsulates the magnificence of Goddess Durga.


Buddy says that well before his granddad began working in this calling, the icons were much more moderate. Notwithstanding, over the long haul, they have become progressively complicated and bright. With the approach of web-based entertainment, admirers and icon producers the same currently take motivation from contemporary styles and plans - especially the most recent patterns wore by Bollywood entertainers, which have advanced onto Durga's outfits and gems.


Buddy's clients are primarily Puja panels - gatherings of around 50 local area older folks who oversee sanctuaries and supervise strict occasions like Durga Puja and guarantee that symbol obtainment mirrors the local area's creative, strict and social qualities. Buddy procures 800,000-900,000 Bangladeshi taka (£5,000-£5,800) during Durga Puja, making it his most productive season. This is altogether higher than the typical Bangladeshi compensation of around £2,500 each year. Regardless of this, Buddy demands that his inspiration is commitment, not cash.


Craftsmans normally work around eight to nine hours every day, taking Fridays off, to consummate their manifestations. In any case, during Durga Puja, the most active season, they frequently stretch out their hours to more than 12 or 13 hours consistently. They even eat and rest in the studio during the weeks paving the way to the celebration. In spite of the actual depletion, the craftsmans let me know that the soul of Durga energizes their commitment, rousing them to proceed. They comprehend that the opportune finishing of the icons gives pleasure and dedication to admirers. As the cutoff time draws near, the air hums with a blend of energy and tension, exemplifying the close to home load of their art. Craftsmans utilize exceptionally old procedures to make the symbols, with the cycle starting four to five weeks before Durga Puja. No molds are utilized; all things considered, they develop outlines from bamboo, wood, yarn and straw prior to applying thick layers of soil and earth manually. After a white base is painted onto the symbols, Buddy fastidiously paints multifaceted subtleties, particularly the eyes and face, while directing different skilled workers. The whole cycle, requiring long stretches of fragile brushwork. guarantees each piece encapsulates the magnificence of Goddess Durga. Buddy says that well before his granddad began working in this calling, the icons were much more moderate. Notwithstanding, over the long haul, they have become progressively complicated and bright. With the approach of web-based entertainment, admirers and icon producers the same currently take motivation from contemporary styles and plans - especially the most recent patterns wore by Bollywood entertainers, which have advanced onto Durga's outfits and gems. Buddy's clients are primarily Puja panels - gatherings of around 50 local area older folks who oversee sanctuaries and supervise strict occasions like Durga Puja and guarantee that symbol obtainment mirrors the local area's creative, strict and social qualities. Buddy procures 800,000-900,000 Bangladeshi taka (£5,000-£5,800) during Durga Puja, making it his most productive season. This is altogether higher than the typical Bangladeshi compensation of around £2,500 each year. Regardless of this, Buddy demands that his inspiration is commitment, not cash.
Image Credit: Sahar Zand/bbc


The last day of Durga Puja, Bijoya Dashami, connotes Goddess Durga's re-visitation of her divine home. Enthusiasts structure exuberant parades around Shakhari Market, reciting, singing and moving as they convey the icons to Dhaka's Buriganga Waterway. There, they delicately drench the icons in the water, saying goodbye as the sacred figures gradually disintegrate - an image of the goddess' takeoff to her better half, Master Shiva. The environment is a piercing blend of delight and distress, commending the goddess' presence while feeling the close to home load of her splitting. With this custom, the fall Durga Puja finishes up, and, as ages before them, Buddy and his group can rest, knowing their commitment and specialty have been enough for one more year.


-Source: BBC News.







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