Home i»i Kala iMadhyam iStore i»i Paintings
 

PAINTING WITH THE COLOURS OF THE WIND
  Like all aspects of life, folk painting has also had to face the inevitable – change. From sacred walls they have been brought down to canvas and paper. Natural dyes and home made paintbrushes succumbed to the easy accessibility of modern materials. However, our artists have preserved the authenticity of their art forms by combining the innovative with the essentials of the traditional. They have invented fresh symbols and adapted old ones, to express new and personal feelings outside the realm of village painting.
  Chakshudaan Pata / Jadu Pata Painting Bihar » Gallery
The Chakshudaan Pata has the flavour of the archaic. It possesses an enchanting appeal with its minimalist images in muted shades of brown, black and grey on what appears a stained background. This is a painting made by a “Jadu Patua” (“magic painter”) for the Santal tribals, living in the Santal Pargana district of Bihar. Also, a gifted storyteller, the Patua, goes from village to village with painted scrolls of paper sheets sewn together.
Magic and mysticism shroud the Chakshudaan Pata, a painting made for a bereaving family. It is intended to save a soul from perdition through the gift of sight. When somebody dies in a village, the Jadu Patua visits the family with a small ready image. This represents the deceased in a simple way - according to age and sex. But, the pupil’s in the eyes of the image are missing. The Jadu Patua narrates a story evoking the suffering of the dead whose soul is trapped in hell. To help this person the relatives needed to send some gifts.
The family makes a gift offering (“daan”) to the Jadu Patua, to intervene on their behalf. The Patua then performs the “Chakshudaan” or “bestowal of sight”. This ritual involves the painting of the iris in the blank eyes of the portrait in order to free the dead person’s soul and send it to heaven. A chicken or a bowl or an umbrella at the bottom right of the Pata, indicates what the Patua expects as an offering. Through the whole ritual utmost secrecy is maintained.
 
Chittara Painting Karnataka » Gallery  
Nestled deep in the forests of the Western Ghats are the villages of Hasuvanthe and Manjina Kaanu in Shimoga District. These villages are cradles of the exquisite mural art "Chittara", practised by members of the Deewaru community. Their pictures reflect important aspects of life such as agriculture, marriage and festivals.
Bearing a close resemblance to Warli art, the Chittara can be distinguished by their elaborate geometric designs. They are generally painted in four naturally occurring colours: red, white, black or yellow. White is from rice paste, black is burnt rice powder, red is from laterite soil and yellow is the colour extracted from the Surgie flower, common to the region.
The "Theru Chittara" painting takes you to the temple chariot festival where devotees piously pull the chariot through the streets. The painting with the square shaped motif captures both the solemnity and festivity of marriage and the picture in triangular form symbolises a person seated cross-legged, deep in yogic meditation. The people’s reverence for "Mother Earth" is also established in paintings as they consider their lives inextricably woven with that of hers. Music is a constant companion of their art.
 
  Gond Painting Madhya Pradesh » Gallery
The Gond painting transports you to the seamless world of the imaginative and the surprising. Like most other tribal communities, the Gonds (hill people) are artistically gifted and possess astounding creative vision. Traditionally, their paintings on mud wall houses relied on shared symbols within a local community context. More recently they have taken to painting on canvas or paper using new colours and new themes.
One of the largest tribal communities in South Asia and perhaps the world, the Gonds, are mainly found in Madhya Pradesh and its surrounding States.
Gond paintings in their singular, “two-dimensional” style cover numerous themes – folk stories, religion, nature etc. They may be bursting with flamboyant hues or more controlled, in the simple sophistication of black and white. Though similar in style, they are individual in expression and interpretation.
The late Jangarh Singh Shyam is credited with having popularised the art form both in the community and globally. Recently, books published by renowned Gond artists Bhajju Shyam (“The London Jungle Book”) and Durga Bai (“One, Two, Three”) are examples where encounters with new art has pushed them to explore new meaning in their work.
It is interesting to observe that Gond paintings bear a remarkable likeness to Australian aboriginal art as both forms use dots or lines as fillers.
 
Kalighat Painting Calcutta, West Bengal » Gallery  
With no definite account of its origins, it can be surmised that the expressive Kalighat paintings were “born in the bazaars” of nineteenth century Calcutta. They served as sacred keepsakes for pilgrims who flocked to pay their tributes to the goddess Kali at the famous Kalighat temple. Hindu gods and goddesses were the early themes of these paintings.
The arrival of the British in India transformed the face of society and a new class of “nouveau riche” emerged. These Bengalis were quick to ape the westerners but soon became the butt of social criticism. It was inevitable then, that a satirical gaze at altered lifestyles found expression in Kalighat paintings. The “promiscuous Bengali babu” and “coquettish prostitutes” symbolised eroding traditional Indian values.
To achieve the quiet elegance characteristic of this art, the artist first draws the composition in light pencil lines over which were laid transparent washes of color. Next the picture was selectively shaded, facial features added in and details judiciously accentuated.
Kalighat paintings usually feature one or two figures against a minimally described background. The pictures are with very few exceptions in vertical format on unprimed, mill-made paper.
It was the Kalighat style of painting that immensely inspired the creations of the late eminent artist Jamini Roy.
 
  Kerala Mural Painting Kerala » Gallery
It is only natural that this art form, deeply inspired by the Hindu scriptures should belong to Kerala, a land whose very geographic formation has its roots in mythology. Evidence indicates that this art form flourished between the 17th and 19th century and adorned the temple walls, including, the famous Guruvayur Temple in Trichur.
It is a rich, vibrant, bold yet delicate style. The realistic portrayal of Hindu gods and goddesses with acute clarity in form, costume and expression displays an artistic brilliance.
The five colours: yellow, red, green, black and white used in the art, are even today sourced from naturally occurring mineral and vegetable pigments. Similar to the Pattachitra, the Kerala mural is also process driven with at least 6 steps involved in completing one painting. It is interesting to note that characters are given colours based on their virtues. Green is for divinity, red for those inclined towards power and wealth, white (unlike its normally ascribed attribute) indicates lowly, mean characters, and demons, as is always, are in black.
Dressed in these riveting colours every character from the gods to the devouring demons exudes an alluring charm.
 
 
Madhubani or Mithila Painting & Tattoo or Godhana Painting Bihar » Gallery  
Each painting is a prayer when the Madhubani artist takes out her palette of home made dyes. Created from the depths of their devotion to God, their paintings were confined to the inner walls of houses. This art form first gained public recognition in the thirties when a British official stumbled on these paintings. In the 60s, the town of Madhubani or Mithila, was hit by a prolonged drought resulting in a severe economic crisis. To alleviate the situation the Government of India encouraged the women to commercialise their art as a non-agricultural source of income. Ever since, the Madhubani has moved out of the ambit of a closed society to captivate audiences across the globe.
There are three distinguished styles corresponding to three different casts:
• The Brahmins indulged in colour and drew their inspiration from the sacred texts with stories of Krishna, Ram, Shiva and Durga.
• The Kayastha (a little below the Brahmins in caste hierarchy) also painted similar subjects but only in black and red colours. The Brahmin’s and the Kayastha's pictorial styles are generally known as “Madhubani or Mithila painting".
  Noted among their art are the “kohbar ghar” paintings, made on the nuptial chamber and carry symbols of sexual pleasure and procreation. Studies indicate that their style dates back to the period of the Aryan invaders.
• The third style is the Dusadh’s variation. A “low caste group” they were not allowed to represent divinities. They could only base their work on the vegetal or animal world, or, of Dusadh culture hero Lord Salhesh. Their style is commonly known as “Tattoo or Godhana” painting.
  The Godhana art appears repetitive and simple in design, marked by line drawings in several horizontal margins. It possesses an inherent charm and sophistication with its intricate patterns in just black or with few basic colours. The Dusadh’s motifs were directly inspired by their own tattoos, a skill which has its origins in the primitive arts.
Over the last 30 years with increased exposure and market demands these styles have witnessed an expansion in subject matter. While all 3 forms are immediately recognisable as Madhubani, there has been a cross over of basic elements and ideas.
 
  Palm Leaf or Talpatra Orissa » Gallery
This delicate and subtly stylish art form comprises fine line drawings etched with a steel stylus on rectangular strips of palm leaves that are delicately strung together. The art evolved from the early 19th century palm leaf manuscripts (also Talpatra). These manuscripts served as standard books before the use of paper gained predominance.
The artists of Raghurajpur, Orissa, first burnish the dried palm leaf and then cut it into long strips. These are stitched together to form a flat vertically oriented rectangular surface. After etching the images, lampblack is rubbed into the surface and then wiped or washed away, leaving the etched areas colored black.
The themes of these engravings are largely based on Hindu religious epics – stories of the young Krishna, his ardent love for Radha and scenes from the Ramayana. One may also find “amusing”, palm leaf designs that “tickle your fancy”, with little circular windows under which are “clandestinely displayed” amorous images from the Kama Sutra. Palm leaf etchings are most common in areas near Vaishnava pilgrimage sites, such as the famous Jagannath temple in Puri.
 
 
 
Par/Phad Painting Rajasthan » Gallery  
Even at a distance, the Par (also Phad) is unmistakable. Its immodest hues of yellow, red, orange, grey and green – harmoniously blend to create a regal masterpiece. The Pars are often dedicated to the valiant exploits of folk hero-gods - Pabuji or Devnarayan. Mythological deities and riders on caparisoned horses and elephants share the space with birds, animals, trees and flowers; articulating the splendour of the times their stories were set in.
The Par, is a painting on a long rectangular cloth scroll used as a visual aid by bards (“bhopas”). A bhopa commissions the Par when a villager requests for a performance of an epic. This is often in gratitude to a deity for a prayer answered. At night, in the flicker of the oil lamp, the Par comes to life as the bhopa sings the story in warm, raspy tones.
The painting of a Par was a religious procedure. An auspicious date was chosen to begin painting and an offering made to Sarasvati, goddess of learning and the arts. A virgin girl from the artist’s family or that of a high caste family would make the first brush stroke. Colors are then painted one at a time. That is, the artist will paint all the areas that require orange first, then yellow, and so forth. Finally, the artist completes the picture by outlining the images in black. A ceremonial Par may measure up to 35 ft in length.
Par painters were always men belonging to the Chhippa caste from Bhilwara and Chittor districts. The skill of painting Pars, typically handed down from father to son was a closely guarded secret. These paintings have a long history with the earliest known Par’s dating back to the early 19th century.
 
  Pata Painting Midnapur, West Bengal » Gallery
Its bold images and colours, makes the Pata sparkle with distinctive energy. Pata (or Pot) means "cloth" and the painters, commonly called "Patuas". This art form native to West Bengal consists of a sequence of paintings, like a storyboard or comic strip with no text.
The Patua, an accomplished balladeer, passionately sang the painted story as the scroll was unfurled. This Pata came to serve as a significant means of entertainment and education, with society and religion being its fundamental themes.
The artist employs the exuberance of bright colours to arrest the interest of the spectator. These were developed from materials in the environment like plant and vegetable extracts. Traditionally, the cloth was first smeared with cow dung to smoothen the surface, white washed and then used for painting.
Today, themes painted by the Patua’s are extremely varied. They maybe inspired by the sacred texts of Hindu, Muslim, Christian or other religions. Secular topics like the Indian freedom struggle to the more recent 9/11 disaster, have been effectively illustrated. Local authorities have also recognised their relevance and commission the Patua’s to create awareness on socio-political issues like family planning.
 
Pattachitra Painting Orissa » Gallery  
The Pattachitra, a popular folk art of Orissa breathes a sensual artistry with close attention to definition and detail. Dating as far back as the 8th century, “Patta” in Sanskrit means “cloth” and “Chitra” is “picture”.
The painters or Chittrakars, are largely found in the district of Puri, more specifically the crafts village of Raghurajpur. Though the tradition of Pattachitra is closely linked with the worship of Lord Jagannath, stories from the Mahabharatha, Ramayan and of Radha and Krishna are also delicately woven into their artwork. The symbology for gods in Pattachitra’s appear more realistic – in terms of form, shape, accessories.
The patta’s, from silk or cotton, were prepared by an arduous process that took the women at least 5 days to complete. It involved several applications of a paste of tamarind seeds and powdered clay on the patta, drying it and then polishing with stone.
The painting itself follows an elaborate method. Borders are integral and is first drawn on all four sides. Next, figures are outlined with very thin white lines. Body colours are added, and the characters clothed with fine brush strokes. White and yellow are used to adorn the images. More distinctive forms are created by thickly outlining them with black. Small and fine white decorative motifs are sprinkled across the painting. Interestingly, the chitrakar begins and ends his painting with the colour white. Although most Pattachitra’s are painted with myriad colours, exquisite paintings are found in black and white.
The artist’s palette comprises white, black, red, yellow, green and blue, derived from natural sources. Conch shells are used for white, black is from lamp soot, red from ‘Hingulal’ stone, yellow from ‘Hartala’ stone, green from plants and blue from indigo. When these extracts are cooked with gum from the ‘kaintha’ fruit tree, the colours are easy to work with.
Originally a male bastion, today, women artists have also carved a niche for themselves creating new traditions while preserving the old.
 
  Pithora Painting Gujarat » Gallery
Pithora art is highly ritualistic, painted on the walls of tribes like Rathwas and Bhils from Gujarat. Offered in gratitude or to bring peace, prosperity and happiness, the paintings hold great significance. The presence of their god – Pithora baba is extremely important and the Rathwa’s spend generously on paintings portraying him.
Legends and myths of gods and man find expression in their individualistic style. The marriage of Pithora is the most important legend. Long necked horses, kings, farmers, cows, bulls and creatures of the forest resonate with the vibrant colours of yellow, indigo, orange, green, red, black and silver. The painting finds its sacred place at the threshold or the front room of the house on walls prepared with cow dung and chalk paste.
As the artists or Lakharas paint, the priest or Badwa accompanies them with singing and chanting. The painting culminates with a sacrifice performed at night and the celebration continues into the wee hours with singing, dancing and feasting as all gathered rejoice.
Only males from the tribe are allowed to learn the art, women have not yet been welcomed into this secure fold.
 
Rajasthan Miniature Painting Rajasthan » Gallery  
Steeped in romance, poetry and the opulence of royalty, the Rajasthan miniature owes its origins to the Mughals who arrived in India in the 16th century and introduced this style of painting. The artists breathe life into their characters by their painstaking precision in depicting beauty, emotions, physical features and costume details. The background is not short of definition, with imposing gardens, forts, towns and palaces.
The town of Kishangarh is credited with having revived this art form, which saw a decline in the rest of Rajasthan in the 18th century. Its Ruler Raja Sawant, a poet and devotee of Krishna, enthused his artists to make paintings as a tribute to Lord Krishna. The story goes that Sawant Singh fell in love with a beautiful slave girl – a singer and a poetess, with refined taste and appropriate social graces. She was called ”Bani Thani” meaning “well dressed”. Ever since, the artists inspired by their love, portrayed Bani Thani as Radha and Sawant Singh as Krishna. Popular images of a demure Bani Thani are presented in profile, with down cast eyes, a transparent veil and lotus flowers in her hand.
 
  Saora Painting Orissa » Gallery
The Saora people are one of the oldest known tribal community’s in India, living mainly in the hills of Rayagada district of Orissa.
The Saora are famous for a rich variety of paintings made on the inner walls of their houses. The paintings were created for religious and superstitious reasons such as to enable an easy delivery, preserve a good harvest, find a good bride etc. Noted in Saora art are the sacred “idikon” paintings, always painted in the darkest rooms of the house. They were used to contact and appease the dead ancestors of the clan. Their art also reflects everyday life - household, agrarian and hunting activities and the celebration of festivals with music and dance.
Like the Warli paintings, stick figures make their presence felt in this art form. But, while the Warli is fluid in style the Saora art appears to exert more restraint.
Naturally inclined towards the land, these people depend on subsistence farming. Cocooned by the hills and with limited public access to their settlements, the Saora’s have been little exposed to urban culture and lifestyle.
 
Warli Painting Maharashtra » Gallery  
It is hard to believe that only 150 km north of the pulsating metro of Mumbai, in Thane district, reside nearly 300,000 Warli tribals. ‘Warli’ comes from ‘warla’, which means ‘a piece of land or a field’.
On walls reddened with earth and cow dung, white stick figures throb with an exciting energy when Warli artists get to work. These monochrome compositions in fluid, rhythmic patterns instantly charm the viewer with their innate simplicity.
The Warli style is reminiscent of pre-historic cave paintings and has been traced back to the 10th century. These paintings were the preserve of the womenfolk until the late 1970s when Jivya Soma Mashe began to paint and caught the attention of the urban world.
Warli art uses a very basic “graphic vocabulary”: a circle, a triangle and a square. Human and animal bodies are represented by two triangles joined at the tip. Their precarious equilibrium symbolises the balance of the universe, and has the practical and amusing advantage of animating the bodies.
The relaxed lives of the Warli’s are captured in village scenes with people chatting, cooking food, milking cows, harvesting, hunting etc. The “tree of life” and the compelling whorl of the “Tarpa dance” are significant images that often feature in Warli art.
The Warlis also use paintings to impart life experiences by dexterously crafting images into a storyboard style. It educates people on lessons life has taught them, driving home the harsh reality of self-interest, greed and capitalism; far removed from the non-competitive, non-appropriative culture of the Warli’s.