Vernacular design in rural India encompasses a wide range of craft and utility elements in specific styles, requirements and cultural nuances of specific regions. It is also deeply rooted in history, tradition and religion. The Shora is a concave circular pottery that serves various utilitarian factors in the daily life of rural India. It also represents a mixed territory of craft and religious aspects of the belief system, which is deeply connected to human behaviour in social life. The particular communities of Kumbhakar paint pictures of Hindu deities on the Shora. The eastern side of India, especially united Bengal, including Dhaka, Barisal and Faridpur, currently in Bangladesh, had this ritualistic Shora popularity. The migration and modern influence have created significant changes in visual representation despite line, colour, composition and design motives. The drawing inspirations come from the natural surroundings that blend with cultural context and create a harmonious structure of circular composition. Industrial development and a new market have affected the demand and value of such art. The popular Shora, once considered customary to every east-Indian household, has now found its own tiny space in a few traditional worships. The study aims to analyse the visual characteristics of design, ornamentation, socio-political aspects and locality that have navigated the cultural pictorial shift and survived, specifically in the eastern side of India. The design component of these art forms changed and adapted multiple contemporary elements. The authors also discuss the various hindrances the tradition is facing of late and the possible way out of it.