Lalakhal: A place where green hills and crystal-clear water river meet together

Lalakhal is one of the favorite tourist spots in Bangladesh. The location of this popular tourist destination is in Jaintiapur Upazila of Sylhet district. The scenic view of the Shari-Goyain River flowing beside Lalakhal attracts visitors from across the country. Numerous curves in this river, seen from a bird's eye, may look like a giant blue snake. There are hill forests, tea gardens, and various types of trees on both sides of the river. 

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Description:

Lalakhal is situated just below Cherrapunji, which is regarded as one of the most preferred tourist attractions in India. This river is born in the Cherrapunji Hills and then flows through Bangladesh. The color of the water of the Lalakhal River is blue. For this reason, it is known to the nearby residents as ‘Nilnod,’ which means blue water river. Basically, the color of the water in this river is like this because of the minerals mixed with the flowing water from the Jaintia Hills and the sandy surface of the river instead of mud. One can see a lot of curves in the Lalakhal River.

History:

The traveler Ibn Battuta came to Bangladesh through this river. Though the word ‘canal’ is attached to the name of the place, it is part of a river named Shari. It is because the water coming down from Cherrapunji Hills flows through Lalakhal. The reason for naming this place ‘Lalakhal’ is not yet known.

Environmental adversity:

Paying no attention to government regulations has put plant diversity under threat. Also, the lifting of stones without permission has threatened the lands of the river and river basin. Due to the cut down of a large number of trees by the intervention of influential people in the area, outbreaks of various diseases are often observed. Moreover, the navigability of the river has decreased due to the siltation of stones and sand coming down from upstream. As a result, the lives of the people in the nearby areas are being affected by the sudden downpour from upstream. 

How much suitable is Dhaka city for electric vehicles?

Dhaka is the capital of Bangladesh, but it is known to others as one of the most densely populated cities in the world. This city, with more than 21 million people, is continuously facing various obstacles. These include air pollution, traffic congestion, and the lack of reliability in the public transportation system. In recent years, electric vehicles (EVs) have been considered an implicit solution to these problems. These vehicles are considered a cleaner and more effective alternative to conventional gasoline-powered vehicles. 

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The usage of electric-powered vehicles in Dhaka is still in its initial phases. The number of electric vehicles on the street is still very low. There are a few privately owned Tesla cars, but until now, electric vehicles have not been included as a category to be registered under the Bangladesh Road Transport Authority (BRTA).

Still, Audi Bangladesh has launched its e-tron electric SUV and has become the first Bangladeshi automotive brand to officially unveil a Battery Electric Vehicles (BEV). At the same time, they have taken the official recognition of BRTA in the EV category as the first marketer.

It is an indication of a positive change in the attitude of the regulators towards EVs. However, is Dhaka ready to embrace this type of vehicle?

One of the biggest benefits of EVs is their low emissions. Electric motors in EVs do not produce any carbon emissions, which is an attractive option for a city like Dhaka that suffers from air pollution.

According to a study by the World Health Organization (WHO), air pollution in Dhaka city is the cause of death for 12,000 people every year. As a result, it has become a serious problem for public health. If we move towards EVs, air pollution in Dhaka city will decrease significantly, and the health of its dwellers will improve.

Effectiveness is another positive side of EVs. Electric motors are more effective than internal combustion engines, meaning that EVs can go farther using the same amount of energy. As a result, this type of car is suitable for Dhaka’s congested roads, where most of the time, vehicles move very slowly, and gasoline-powered vehicles at this time burn a lot of fuel.

Moreover, EVs will become fully charged overnight. That means they can start their journey to their destination without stopping at any gas stations in the morning.

However, to become a reliable vehicle for Dhaka dwellers, EVs will have to overcome several obstacles. In that regard, one of the biggest challenges is the lack of infrastructure with charging facilities.

At present, there is no public charging station in Dhaka city, which has made it difficult for EV owners to charge their vehicles. According to the information received in December 2020, there are only 14 EV charging stations with a joint capacity of 278 kW across the country.

Fast charging through direct current commercially is not yet readily available in Bangladesh. A very small number of vehicles that are currently in operation are being charged this way with the residential charging arrangements.

For charging EVs at houses, it is possible to increase the number of high-voltage electrical lines. However, after the launch of the line, the users are paying a high price. Moreover, EV users would have to pay the bill at the rate of commercial establishments, which is much higher than that of residential buildings.

Another impediment is the high price of EVs. At this time, EVs are more expensive than conventional fuel-powered vehicles, putting them out of reach for many people in Dhaka. This is partly because of the high price of batteries, which make up a large part of the cost of EVs. However, as battery technology advances and the economic target is met, the financial cost of EVS is expected to fall.

Despite these drawbacks, in Dhaka city, the authority is taking several steps that will serve as a promotion to increase the use of EVs. For example, in recent times, the Bangladesh government has formulated a new automobile policy that aims to include more eco-friendly vehicles in the transport system. The government has set a target of at least 15% of registered vehicles being electric by 2030.

In the draft of the Automobile Industry Development Policy-2020, it has been said that a tax holiday has been recommended for investments made in the production of energy-efficient vehicles (EEVs).

Walton, one of the country’s marketers, has recently unveiled its e-bike lineup and is likely working on introducing an electric city bus.

Apart from Walton, several other organizations in the country are preparing to introduce locally manufactured two-wheeler EVs to the Bangladeshi market.

Indian automaker Omega Seiki has recently announced an investment of one billion rupees for the convenience of marketing electric vehicles in Bangladesh. Local auto manufacturer BD Auto is planning to manufacture three-wheelers for the domestic and international markets. 

Palanquin: A mode of transport for elite people

A palanquin is one kind of luxurious transport in which generally rich people travel from one place to another. Being a wheelless vehicle, a few people carry a palanquin on their shoulders from one place to another. The person who carries the load of a palanquin is called the bearer. Initially, such vehicles are believed to have been created to carry the gods and goddesses or their idols. Many temples contain sculptures depicting scenes of deities being carried by palanquins. Later, the noblemen and ladies of the European upper class mainly used it to travel until the introduction of railways in the Indian subcontinent. In the modern age, there is no use for the palanquin. However, in the Indian subcontinent, it is used on a limited scale for weddings, pilgrimages, etc. 

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Other names of palanquin:

The palanquin has been known as Lectica in ancient Rome, Jiao in China, Kieu in Vietnam, Sedan chair in England, Litera in Spain, Palanquin in France, Liteira in Portugal, Wo in Thailand, Gama in Korea, Norimono in Japan, Tahtirevan in Turkey, etc.

Construction Style:

In Europe, palanquins were made either open or closed suitable for lying. With the help of two poles attached to the opposite sides of the palanquin, palanquin bearers or draught animals pulled the palanquin. The palanquin is thought to have evolved from the concept of a sledge-driven vehicle. It has been manifested in Egyptian paintings. Later, it was also used in the Persian Empire. These issues have been highlighted in books related to Isha. This vehicle is known as a palanquin in eastern countries.

Originally, palanquins were reserved for people of noble descent and high status, like empresses and wives of senators in ancient Rome, but for common people, the use of this vehicle was prohibited. In the seventeenth century, there was an adequate number of palanquins in Europe; both poles of the palanquin were covered in leather for better protection and to maintain privacy. Later, seriously ill patients and injured people were permitted to use palanquins.

Usage:

In London, a palanquin is called a sedan chair. This type of palanquin is designed to accommodate a person with a chair or a cabin with a window. It was carried by at least two people, in front and behind. The bearer came to be known as a porter chairman. It was much less visible in the 19th century, but it was used for centuries as a dignified form of transport in which confined women were passengers. At night, a link-boy with a flaming torch would guide the way from the front of the palanquin. In the 1970s, John Cunningham, an entrepreneur and a resident of Bathwick, briefly brought back the sedan chair.

In China, sedan chairs have some utility in the traditional style. Generally, these are hired and used in the marriage ceremony. The bride is brought wrapped in red silk. Once, sedan chairs were used in public in Hong Kong. Chairs used for public use had to be registered. Taxes had to be paid as well. The user of a private chair or palanquin was considered a person of high status. Government officials used to determine the number of bearers that might be required for this palanquin.

In South Asia, the word "palanquin" has come from the Sanskrit word "palayanka," which means a traveling bed. Around 250 BC, there is a mention of a palanquin in the Ramayana. Wheel-driven rickshaws came into use in the 1930s. As a result, Palanquin started to lose its importance.

The Java community of Indonesia continues the tradition of riding palanquins. The bearers carrying the generic palanquin (known as “Joli” in Javanese society) on their shoulders would transport the passenger, and any passenger could travel in exchange for money.

The song of the palanquin bearers:

Old palanquin bearers used to sing a song, “Master’s skin color is black; mistress is a jolly person. Heave ho! careful as we go.” While taking the master somewhere, the bearers would sing, “Heave ho! Steady as we go through the narrow road. Our master is a generous fellow and would pay us well.” 

Heiyo (হেঁইও), which means "heave ho" in English, is a call to exertion in heaving.

Bishad Sindhu and the beginning of Renaissance among the Bengali Muslims

Mir Mosharraf Hossain was the pioneer of the Renaissance that started among the Bengali Muslims (1847–1911). In the case of novels, Mir Mosharraf Hossain, the first Bengali Muslim novelist, is one of the greatest writers of Bengali prose literature. He began writing in the second half of the nineteenth century. He composed his timeless work, “Bishad Sindhu,” (Ocean of Sorrow) in the euphoric language of elegant prose. He wrote many books, of which “Bishad Sindhu” is the best for its subject’s vicissitudes. His best work, “Bishad Sindhu,” has a special identity. His critics express the excellence of his writing from their point of view. The majority of the critics consider “Bishad Sindhu” to be his best essay. 

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The making of Bishad Sindhu:

If we look at the story of “Bishad Sindhu,” then we will find that the writer metamorphosed a new Muslim tradition in this book. “Bishad Sindhu” is depicted in this very mournful story of the past. “Bishad Sindhu” is not a history but a novel written based on historical events. So, this book is not monotonous but a simple composition. Here readers would see life, violence, greed, hypocrisy, cruelty and the vaunting of arrogant people. Imam Hasan and Husayn are the symbols of sanctity; their counterpart is the cruel and arrogant son of Yazid Ibn Muawiya. Yazid is drunker and lascivious. His sinister look fell on the beautiful wife of Abdul Zabbar. Abdul Zabbar divorced his wife in the trap of cupidity.

Abdul Zabbar’s wife, Zainab, was shocked by this incident. She understood the conspiracy of Yazid. So, she selected Imam Hasan as her husband, refusing the proposal to marry Yazid. For this reason, Yazid was revengeful. The story begins here. Eventually, this story, spreading its diversity, turns into a mournful and fatal end. Imam Hasan was poisoned, and Husayn was murdered by setting a trap at Karbala. The brutal killing of Karbala is a historical incident. It occurred on the 10th of Muharram. Imam Hasan and Husayn sacrificed their lives in the fire of revenge. In the minds of Muslim people, that case has given them pain for ages.

The subject matter of “Bishad Sindhu” is very painful. The main topic of this book is the martyrdom of Imam’s family at the hands of the insolent Yazid. The book ends with the most severe consequences of sin. The author has resorted to the imagination in many places. To make the historical topic dynamic and attractive, the writer has created subtopics, which enhance the acceptance of this book. He never distorted the main topic of history. The consequence of Yazid shown in the book is not history-based. Here, the writer’s principled mind reacted. He tried to set a principle showing the defeat of sin.

Creation of character:

“Bishad Sindhu” is a large historical novel. It has more than a hundred characters. The main character of this book is Yazid. He is the son of Muawiya, Syria's ruler. He was a rogue, gave the evil eye to another's wife, was a drunker, and had a bad temper. He was devoid of conscience and principles, but he was a very courageous warrior. His soldiers brutally killed attendants and family members of Imam Husayn at Karbala field. Imam Husayn was killed by a heretic named Shamir. All these brutal activities were done at the instruction of Yazid. The writer does not attribute any virtue to the character of Yazid. The characters of “Bishad Sindhu” are divided into two parts. One is honest, and the other one is a dishonest character. Yazid was the mastermind of the dishonest character. Yazid was brutal, stubborn, and had a highly willing force. He did not care about any obstacles.

Historian Ibne Khaldun also gave this same opinion. The character of Yazid is properly depicted by the writer in his novel. The writer has exactly followed history in delineating the characters of Imam Hasan and Husayn. They are honest and pious, and there is no lack in their character. Ja'da is the bright character of “Bishad Sindhu.” The writer demonstrated his skill in portraying this character.

In the character of Ja'da, it has been outlined how an honest and loving woman became notorious after falling into rapacity. Like a competent artist, Mir Mosharraf Hossain revealed the narrowness, indigence, bloodthirstiness, cupidity, grudge and covetousness of a woman’s mind. Mir Mosharraf, in his everlasting write-up, unveiled the cover of the weird mind, where reptiles of desire crawl slowly into the mind getting the signal of death. Shamir and Maimuna are two atheistic characters. They can commit any heinous crime for money. Maimuna tempted Ja'da into killing Hasan. On the other hand, Shamir brutally killed the exhausted Husayn. Hanif was a brave man as well as a brave warrior. His prudence and bravery in the rescue phase impress the reader. This character becomes lively with the magical touch of the writer. Other supporting characters are also well-written in their own realm.

Bankim Chandra Chatterjee, the king of literature, compared Mir Mosharraf Hossain with Madhusudan Dutta. He said there is a similarity in creating the characters of this novel with the characters of Meghnadvadh poetry. Ravana, the hero of the Meghnadvadh poetry, has immense power, but so was his pain. Yazid is also strong like Ravana. Sita of Meghnadvadh is like Zainab of Bishad Sindhu. The soliloquy of Zainab reminds us of the story of Sita.

Language:

The language of “Bishad Sindhu” is an elegant Bengali language that heavily borrows words from Sanskrit. Here, the influence of Bankim Chandra Chatterjee’s language is observed. Mir Mosharraf Hossain composed the dialogue in euphoric language. The art of language is very beautiful. His language is spirited as well as artistic. The writer's narration has become lively because of the use of language. Though Sanskrit words are used in language, there is no sluggishness in it. Everywhere, a smooth flow of language is seen. “Bishad Sindhu” is the best essay of Mir Mosharraf Hossain. This cannot be said about any other book of this writer.

Though Mir Mosharraf Hossain did not avoid ethics in his writing, he keenly observed the problems of human life. Like a true novelist, he has been able to consider the problems of human beings, such as their insignificance, lowliness, kindness, and greatness.

Curd Seller Ziaul Haque establishes a village library

Ziaul Haque was born into a very poor family at Chama Mushribhuja village in Bholahat upazila of Chapainawabganj in 1938. A curd seller by profession, Ziaul Haque grew up seeing poverty and illiteracy. A small businessman, Ziaul Haque and his family led a very humble life, but this could not break their spirit. Every day, he purchased one or two books and built this huge library. He could study until class five because of the extreme poverty and unfavorable environment of the village. He helped the poor and meritorious students of the area by purchasing them different educational equipment even when he was in the midst of extreme poverty. In 1959, he handed over five sets of books to five students of class six in Chama Mushribhuja and the neighboring village, and from there, his great work basically did a good start. Not only books, but he also started giving educational equipment like notebooks, pens, pencils, chalk, bags etc. When he had many books in his collection after independence, he established the "Ziaul Haque Family Library" in 1980. 

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People all over Bangladesh came to know his name when local newspapers like Chapainawabganj’s The Daily Nawab, Rajshahi’s The Daily Dinkal and The Daily Sonali Sangbad published reports about his library. Later, Ziaul Haque changed the name of his library to ‘Ziaul Haque Islami Library’. Apart from the mentioned daily newspapers, articles about his established library were published in some national newspapers, including Prothom Alo at various times. In 2002, the greatness and praise of Ziaul Haque spread everywhere after a detailed report about the ‘Ziaul Haque Islami Library’ was telecast on Ekushey Television (ETV). From April 12 to May 15, Uniliver Bangladesh Ltd., in collaboration with Adcom, an advertising agency, published an advertisement where it sought help from the people to look for “White Hearted Humans.” It created a wide response and exuberance among people when the advertisement was aired on all television channels, including Bangladesh Television and major national dailies.

Three thousand nominations were submitted. A team of journalists from daily newspapers made the initial selection. The journalist team made a list of 50 people in the second stage. At the end of the on-site observation by a local reporter of the NTV channel, Adcom and Uniliver Bangladesh Limited prepared a short list of 20 people. In the final round, with the presence of national personalities like journalist Matiur Rahman, Rokia Afzal Rahman and Dr. Debapriya Bhattacharya as selectors, the top 10 ‘White Hearted Humans’ were selected. Among them, Ziaul Haque from a remote village in Bholahat upazilla made it into the list.

On February 2, 2007, ten people who were selected as ‘White Hearted Humans’ were officially honored at Hotel Sheraton in Dhaka with the presence of distinguished guests, military, high-ranking government officials, writers, artists, intellectuals, journalists and advisors of the then caretaker government. At that ceremony, each was awarded a gold medal, a certificate, and two lakh taka. National dailies published detailed reports, television channels telecast documentaries while NTV broadcast the ‘White Hearted Humans’ award ceremony live on February 10, 2007, where these people were honored.

2007 was an eventful year for Ziaul Haque. After receiving grants from HSBC, many charitable Bangladeshis provided Tk 2 lakh from Italy and Canada and Tk 1 lakh from Norway. Dr. Fazlur Rahman, a London-based Bangladeshi expatriate, donated 200 pounds, and the Dhaka Freedom Foundation donated books worth Tk 2 lakh and a bookshelf worth Tk 25,000, which further enriched Ziaul Haque’s library. In addition, he also received financial assistance from local organizations. With this money, Ziaul Haque bought a piece of land where he built a room for his library and an extra room for himself and started living there. He donated a large portion of his grant money to charitable causes. 

Apart from buying books, he also purchased a few cupboards with the grant money. At present, the number of books in this library is around 20,000. His library is spreading the light of knowledge among local inhabitants. Ziaul Haque’s library also contains almost 600 sets of school and college-level textbooks, which he distributes among meritorious students from poor families free of cost. Then they return the books after completing their studies. In this way, the ‘Curd Seller Ziaul Haque’ is doing a social service by allowing the students to become educated, thus giving them new opportunities. Aside from Bholahat upazila, students from the villages of Gomostapur, Shibganj, Nachol and Nawabganj upazila are benefiting from his library. 

Aside from winning the NTV ‘White Hearted Humans’ award in 2007, this education enthusiast and social change maker received numerous awards from the Chapainawabganj District Administration in 1999, Rohanpur Yusuf Ali College in 1993, Bholahat Student Welfare Association in 2003, and Dhaka-based Chapainawabganj Zila Samity in 2010. Alongside selling curd, looking after the library and doing other public welfare work, Ziaul Haque at present is playing the role of a director as one of the founding members of Jamia Arabia Islamia Madrasha in Bholahat. Ziaul Haque of Chapainawabganj has already become a living legend and gained national and international fame.  

A man is known by the company he keeps

There is a gathering of different types of people- wise and foolish, good and evil, honest and dishonest- in a society depending on which people lead their lives. The only thing to consider while choosing a companion is the quality of a person, which would make his life even better and brighter. Any immoral or vicious person has no chance to come between the two. There is no chance for a vicious or immoral person to enter. So, we have to keep ourselves away from bad company for the rest of our lives.

The greatest quality of a man is his character. There is a saying in English, “The crown and glory of life is character.” A man achieves the highest respect for his character. It is necessary to develop other characteristic traits while maintaining this one. So, we will have to develop ourselves through an honest company, not a bad one. A bad company turns a man into an inhuman being. It destroys all his virtues and makes him as vile as an animal.

People are the worshippers of truth and the followers of beauty. The main reason for stepping foot in the wrong direction is bad company. Human character is stigmatized by bad company. For example, iron is heavier in weight, and it sinks in water. However, if this heavy iron is tied with a plank of wood or any unsubstantial element, iron floats rather than sinks. In this way, bad company influences a person’s life. People change in harmony. Bad company is one of the main reasons behind a poor character. But the glory of life is declared through character. Only one’s character reveals the glorious quality of life. Nothing else can do that. Hence, the immense prestige of character is recognized by all. Good character is the root of which life enriches and makes a person respectable to other people in society.

The influence of an honest character on one’s life can be compared to a touchstone converting an ordinary iron into gold. The influence of good character supplants animal instincts with the aspiration of an honest and virtuous life. Bad company is one of the reasons behind people’s ruin in this world. Even after being careful, they unconsciously fall into bad company and are led to sin. So, we have to be careful in choosing the company.

Company is the main determiner in developing a person's character. So, we all should carefully avoid the bad company. 

Nakshi Kantha: An inseparable part of history, culture and tradition of Bangladesh

It has been drizzling, accompanied by a frigid wind outside. At this moment, what Bengalis expect the most before going to sleep is a rag with an elegant design, also known as Nakshi Kantha. Maybe it has an artistic design or not. A rag with a decorative design has occupied a great place in Bengali folk culture as well as village cottage industries.

The tradition of making a nakshi kantha at the time of childbirth continues today. In some villages of Bengal, the tradition of welcoming new guests with a new rag on the occasion of marriage or any festival like a social function is observed. A rag with an elegant design is also listed as a gift while sending the daughter to her father-in-law's house. 

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In Bengal, the rainy season continues for a long time. At this time, fields are inundated with rain water, and outside work remains limited. This time, village women get some relief from work. In their leisure time, Bengali women gather around and gossip, while chewing betel leaf and betel nut, and sewing a nakshi kantha with a decorative design has been an age-old tradition in Bengali households. With the rapid change in village society, this type of socialization is going to be changed. Still now, village women do decorative designs on rags from afternoon to evening while chatting. With unparalleled efficiency, pictures of trees, birds, and leaves are depicted on rags. Sometimes the story of happiness and sorrow comes to light on a rag with an artistic design. Sometimes women portray the stories of ancient manuscripts they heard under a dim lantern.

Though two Bengals are divided by barbed wire, similarities in the pattern of sewing and ornamental design are found in two Bengals on rags because this art originated long before the division. So, the decorative rag has become immortal in Bengali proverbs, stories, songs, and poems. In the Bengali language, there is the popular adage "Dreaming to become rich lying on a torn quilt" (equivalent to the English adage "Building a castle in the air"). At the same time, there is the famous dramatized Bengali verse narrative "Nakshi Kanthar Math" written by folk poet Jasimuddin. The narrative verse shows the creation of love and grief created with every stitch made on an embroidered quilt. This verse is the everlasting story of Rupai and Saju's love.

The name of an enduring chronicle is "Nakshi Kanthar Math." After marriage, the love story of Rupai and Saju did not last long. Rupai became a fugitive. While eagerly waiting for her husband, Saju started sewing a rag with an artistic design for the rest of her life. Days, months, and years pass in this manner. Saju continued to stitch on the rag with an elegant design. She portrayed so many stories on the rag with an artistic design, but Rupai did not come back. Saju spent her whole life in this way. When Saju’s sewing on a rag with an ornamental design was finished, she requested her mother to strew it on her grave after death. After long days, the dead body of a foreign flute player was found beside the rag with an artistic design, covering the grave of Saju. 

    At midnight, somebody noticed in the field

    In the space, someone is hoisting a rag with an artistic design

    That person is playing a sad tune with his flute

    From village to village, they commiserate with that profound anguish.”

    (Nakshi Kanthar Math by Jasimuddin) 

In this way, the women of Bengal have stitched rags with elegant designs in the estrangement of their husbands or beloveds. Reminiscences of relatives or family members living abroad have become vivacious on the texture of rag with artistic design. Someone could be able to present a new rag with an ornamental design to their near and dear ones, while other people like Rupai and Saju would not be able to do it.

Inside and outside of a rag:

A rag with a decorative design has usage in both Bengal. The culture of quilt sewing is scattered in all the villages of Bangladesh, comprising Mymensingh, Faridpur, Jashore, and Khulna. In West Bengal, Assam, and Bihar in India, verities of rags with artistic designs are found. Suzani rag with an elegant design from Bihar has geographical recognition in the international arena though in the same name and almost the same type of rag with an elegant design is found in the Rajshahi area of Bangladesh.

Somewhat rag and old sarees, lungi, dhoti, or bed covers are used for making rags with decorative designs, but sarees have a special loftiness for making them. Old clothes need to be washed first, then use starch. Sometimes, depending on choice or order and based on depth, three to seven sarees are used in a single rag with an artistic design.

Apart from rags with artistic designs, normal rags without artistic designs are seen in the villages. Where artistic design’s vanity is absent, there necessity is the main thing. Rags with artistic designs are made after sewing by accumulating old clothes. Around the rag, a strong stitch is done as it would not rend easily. Sewing rags with elegant designs are made somewhat coarse and thick in order to protect from cold. Rags with the ornamental design of northern areas like Rajshahi and Chapai Nawabganj are thick. Parallel to our local quilt, comforter or Blanket rag with ornamental design has extra grandeur of protecting from cold.

Designs of decorative rag:

Frequently, artistic designs of flowers, birds, and leaves are drawn on the rag with artistic designs by the artists in their own interests. Many people follow the artistic design on the rag of their mother or grandmother. Characters from history, folklore, and village ancient manuscripts, as well as religious characters and much advice, add variety to rags with artistic design. On the artistic design of Jainamaz for offering prayer or Gilaf of the Quran, images of mosques or tombs, lines of religious books, stars, and the moon can be seen.

But there are many artistic designs, which are found hither and tither in many houses of Bengal for thousands of years. Philosophic resources of artistic design are found in the Muslim, Hindu, and Buddhist religions. In all cases, it is not evident that artistic designs are portrayed on the basis of that philosophic theory or symbol. In many cases, it is spread out family-wise for its beautiful design. Sometimes artistic design is preserved by stitching it on a small handkerchief. Eventually noticing that design, the next generation can reinstate that. Sometimes some innovation from the next generation enriched that artistic design.

One such famous artistic design is a lotus or wheel surrounding a circle. This type of artistic design can be found not only on rags or handkerchiefs, but it is also a very important architectural design in India. Often lotus encircling a circle on a rag with an artistic design is found. Besides that, the artistic design of the wheel is found on a rag.

Trees and leaves:

The artistic design of trees and leaves has occupied a remarkable place in the Indian cottage and handicraft industries. Parallel to human beings, horses, peacocks, and the picture of other animals are depicted on rags with an elegant designs. In some rags, along with artistic design, the first letters of the name of a near or dear one are seen.

It is difficult to find out the philosophical source or confine it to a checkerboard of rags with artistic design for its diversification. Every day, new dimensions are added to this traditional industry. Artistic design is not limited to rags only. Artistic designs like trees, leaves, flowers, and birds, which are found in rags, the same design is also found on table cloths, handkerchiefs, caps, pillows, and bed covers.

How long does it take?

A rag with an artistic design cannot be sewn in a single day. Gradually, its artwork has to be enhanced. It is mentioned before that once it was the leisure accompany of a Bengali woman. There is a precedent for presenting it at any adoration festival or any other function. It takes 7 to 15 days to make a medium-sized rag with an elegant design. A large or complicated design can be made in more than one month.

Economic and cultural value:

Everyone, from the poor to the middle class, valued it because it could be transformed into a new one by combining old clothes and artwork on its texture. But in modern society, its economic value to the upper class is newly illustrated. For a long period, in the eyes of the upper class, rags with artistic designs were a form of cold protection. There was a practice of the Bengal upper class of making requisitioned rags with elegant designs in times of need. Over time, a cultural appeal is created for flawless artwork on rags with artistic design texture. Eventually, its economic value has increased. As a result, there is ample opportunity to establish a small industry producing ornamental rags. Professional handicraftsmen were once rare because this industry grew out of amusement or necessity. So, due to the changing in socio-economic conditions, rags with the artistic design were about to be annihilated. For centuries, the existence of a valuable rag with an artistic design was unknown. Attempts have been made to turn rag weaving into a small industry. Elegant design on rag is not only a distinct needle stitch on rag texture, but also on each rag texture, a story of love and a story of sorrow is hidden. Each rag with an ornamental design is the symbol of a lost story in the pathway of Bengal.