Evolution and current context of the Sara Painting in the southern region in Bangladesh

Folk Art reflects beliefs and identities of cultural values and their activities help to learn about the different communities that make up our world. The history of Sara Painting is important because it connect us to specific time, place and events that were significant milestones in our traditional collective past. One of the parts of the folk art of ancient Bengal is Sara Painting. In the past, Sara were used as a lid for pottery, but later Sara were painted with various types of folk paintings and imaginary images of gods and goddesses. Of special note is the image of Goddess Lakshmi Sara Chitra. Over time, Sara Chitra began to fade away due to Government sponsorship and use of huge plastic products. This research is my small effort to not lose this image to the younger generation.

The present work will deal with the differences observed in Sara Painting due to the geographical orientation In Bangladesh, the role of Sara Painting in developing the non-sectarian sentiment, socio-economic condition of Sara Painters and Sara paintings, use of motifs from the viewpoint of socio-religious perspective, steps need to be taken for conserving the Sara Paintings. Qualitative research will be carried out to complete the work followed by fieldwork. Primary and secondary data will be used and the data collection method will be survey-based. Data will be collected from the literature review, fieldwork done in the southern part of Bangladesh.

• Supervision