A Shola pith artisan from Dhubri named Dulal Malakar, he's craftsmanship has been nominated recently for the National Handicraft Award 2023, which is going to be held in Delhi, which depicts the story of Behula and Lakhindar from a mediaeval Bengali narrative poem called "Manasamangal Kavya."
Speaking with India Today NE, Malakar (41), a resident of village Debottar Hasdaha, Dhubri, said that his creation of devotion, faith, and the power of the divine, which reflects the complex relationship between humans and the divine, required nearly 60 days of meticulous work and 25 sticks of a specific size (4 to 5 feet long and 2 inches in girth). He emphasised that his practice of creating intricate works is a regular part of his life, showcasing his commitment and passion for his art.
The official of the office of DC Handicraft Gauripur said that Shola pith art and its usage in creating objects of religious significance suggest its role in maintaining cultural traditions used for centuries in Hindu rituals and are mentioned in various scriptures and traditional practices like the Puranas and Epics (Mahabharata and Ramayana).
The story of Malakar's creating art commences with Manasa seeking recognition and worship from Chand Sadagar, a staunch devotee of Shiva who refuses to worship Manasa, invoking her wrath. To punish Chand Sadagar, Manasa inflicts various calamities upon him, and as a final act of vengeance, she causes the death of Lakhindar on his wedding night by sending a snake to bite him.
Also Read: Assam: Himanta Biswa Sarma reviews Dibrugarh's flooded areas, says situation improved
Behula, determined to revive her husband, undertakes an arduous journey on a raft, carrying Lakhindar’s lifeless body. She endures numerous trials and tribulations, demonstrating her unwavering faith and devotion. Behula’s perseverance and piety eventually move the gods. She confronts Manasa and pleads for her husband’s life.
Manasa agrees to revive Lakhindar on the condition that Chand Sadagar finally worships her. Chand Sadagar, seeing his son brought back to life and recognizing Behula’s devotion, reluctantly agrees to worship Manasa, thus bringing peace and resolving the divine conflict.
Encapsulating the region’s rich tradition of storytelling and its deep connection with local deities and folklore, the enduring legacy of Behula and Lakhindar’s story continues to captivate audiences. Malakar expressed surprise and gratitude for the recognition of his hard work received, at a prestigious level in India.
Prabir Coomar Barua, the ancestor of Gauripur Zamindar, said that the soft, pure white nature of Shola pith is often symbolic of purity and divinity, aligning with the aesthetic and spiritual ideals in Hindu iconography and temple art, particularly those involving elaborate deity worship.
The grounded nature of Malakar, the Shola pith artist, plays a crucial role in keeping this heritage alive, using natural materials to create traditional crafts. Barua also said artisans like Malakar often work in challenging conditions with limited resources and recognition.