CANVAS OF LIFE : A JOURNEY THROUGH THE KALIGHAT PATACHITRA TRADITION

I am a student of history pursuing my master's degree from Jadavpur University, Kolkata. Passionate about heritage preservation, I want to contribute to the sector for playing my part in making sure that India's astoundingly rich and timeless cultural and historical traditions along with their fascinating stories are conserved for the future.

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Introduction

A representation of the idol installed in the Kalighat Temple, around which the Kalighat School of painting developed. Source – Wikipedia

Kalighat Patachitra, commonly known as Kalighat painting, is a distinctive form of Indian art that emerged in the 19th century in the vicinity of the Kalighat temple in Calcutta (now Kolkata), West Bengal. This art form is renowned for its bold lines, vibrant colors, and satirical themes that reflect the socio-cultural milieu, and the changes therein, of the time.

Historical Context and Evolution

The inception of Kalighat painting is closely linked to the establishment of the Kalighat temple in its present form in 1809. The temple attracted a multitude of pilgrims, creating a demand for religious souvenirs. Traditional artisans, known as patuas, especially from the Midnapur and 24 Paraganas areas, migrated to the area to cater to this demand by producing paintings on religious and mythological themes. Initially, these artworks were created on cloth scrolls accompanied by oral narratives. However, with the advent of urbanization and the availability of affordable materials, transitioned to using paper as their canvas, making the art form more accessible to the masses. The devotees that thronged the temple were looking for small, inexpensive paintings that were done quickly and could be carried back as souvenirs. Thus, to meet consumer demands, handmade papers were replaced with cheap, locally available mill papers; paintings were made affordable; and churned out in large numbers. The patuas however, continued with their tradition of using natural dyes, made from different vegetables and plant extracts that were mixed with natural binding agents, such as those made from bael fruits and tamarind seeds. The brushes used were also natural, made from easily available materials like squirrels’ fur, calf’s hair, and goat’s tail. After the coming in of water colours from England, the painters slowly adopted these synthetic paints, as they were easily available and proved to be more cost effective.

Goddess Kali
Source – Google Arts & Culture

Lakshmi and Saraswati
Source – ArtPal

The Elokeshi Murder
Source – Moni Gatha

As Calcutta evolved into a bustling urban center, the themes of Kalighat paintings expanded beyond religious motifs. Artists began to depict contemporary social issues, satirizing the lifestyles of the nouveau riche and critiquing societal hypocrisies. This shift mirrored the influence of Company Paintings, which portrayed Indian subjects through a European lens. The satirical dimension of Kalighat art is exemplified in series like the Elokeshi trial, which commented on contemporary scandals and moralities.

Artistic Characteristics

Kalighat paintings are characterized by their fluid and rhythmic brushwork, bold outlines, and the use of flat colors. The simplicity of form is juxtaposed with the complexity of expression, capturing intricate emotions and narratives with minimalistic techniques. The color palette is typically vibrant, utilizing natural dyes and pigments to achieve striking visual effects. The backgrounds are often left plain, directing focus to the central figures and themes.

Babu and Bibi
Source – Virasat-e-Hind Foundation

The subjects of these paintings range from deities and mythological scenes to everyday life and social commentary. The portrayal of figures is stylized yet expressive, often imbued with a sense of movement and dynamism. This unique aesthetic has contributed to the enduring appeal of Kalighat art.

The Motifs

Religious Motifs :

– Hindu deities like Kali, Durga, Lakshmi, Krishna, and Ganesha.

– Scenes from epics like the Ramayana and Mahabharata.

– Bold outlines and expressive gestures emphasizing divine power. Victorian crowns adorn the goddesses’ heads, and they sit in the posture of English noblewomen, violins substitute for veenas sometimes, while heavy curtains like those of English playhouses formed the backgrounds.

– Although growing around the site of a Hindu temple, the Kalighat patuas also depicted subjects and icons from Islam, including prophets, angels and taziyas, and even Christianity. A very popular piece is the image of the “Duldul Horse” from Battle of Karbala. A.N. Sarkar and C. Mackay noted that the presence of strong images from Islam and Christianity in the Kalighat repertoire. The patuas sought to capture all slices of the truly cosmopolitan market.

Shiva and Parvati with Ganesha
Source – ArtPal

Maa Yashoda with Krishna
Source – ArtPal

The Duldul Horse
Source – Virasat-e-Hind Foundation

Secular and Social Themes :

– Satirical depictions of contemporary society, including British officials and nouveau riche Bengalis, called Babus.

A British company master in a duet with supposedly a native.
Source – Wikipedia

– Critiques of moral corruption in the , such as the Elokeshi trial scandal.

Moments before the fatal blow, a scene from the Tarakeshwar affair.
Source – Wikipedia

– Scenes of domestic life, romantic couples, and common people.

Babu and Bibi in an intimate embrace
Source – Wikipedia

–

Babu and Bibi
Source – www.indiaart.com

– Bengal in the 19th century saw the status of women being questioned, as women’s education occupied the space of public discussion and elite women managed to access education, changing their status from mahila to bhadramahila. The painters responded to these changes, and through his pat brought out the several contradictions of this project of an elite nationalism. Anuja Mukherjee explains how the patua created “marked differences” in their representations of prostitutes and wives. The Babu and Bibi figures became recurring tropes in these paintings.

– Contemporary political figures, such as, Rani Lakshmibai.

Rani Lakshmibai of Jhansi
Source – Wikipedia

Animal Motifs :

– The famous “cat with a fish” motif—symbolizing hypocrisy, particularly of religious leaders.

– Depictions of horses, elephants, and birds, often used to add dynamism to the composition. Domestic pets, fishes such as rui, shol, etc., and even birds, prawns and lobsters were represented by the Kalighat artists, probably influenced by the Mughal and contemporary British painters.

Cat and Fish
Source – Dastkriti Haat Samiti

Symbolism and Style :

– Fluid, rhythmic brushwork with minimal background details.

– Flat yet vibrant colors, enhancing the storytelling aspect.

– Use of bold black outlines to define forms and create a sense of movement.

These motifs collectively make Kalighat Patachitra a rich, expressive, and culturally significant art form.

A courtesan/actress with her admirer portrayed as a sheep.
Source – Wikipedia

Decline and Legacy

The popularity of Kalighat paintings peaked in the mid-19th century, bolstered by the expansion of the railway network, which facilitated the influx of tourists and pilgrims to Calcutta. However, by the early 20th century, the art form began to wane due to the advent of printed images, which were cheaper to produce and distribute. Despite this decline, Kalighat paintings have had a profound influence on modern Indian art. Artists like Jamini Roy drew inspiration from the simplistic forms and themes of Kalighat art, integrating its elements into their works to develop a distinct indigenous modernist language.

A Jamini Roy Painting
Source – Swayamkatha

Today, Kalighat paintings are celebrated for their artistic merit and historical significance. Esteemed institutions such as the Victoria and Albert Museum in London house extensive collections of these artworks, preserving them for future generations. The legacy of Kalighat Patachitra continues to inspire contemporary artists and art enthusiasts worldwide, serving as a testament to the rich cultural tapestry of India.

A woman feeding her pets. Perhaps a commentary on the changing roles of women during the period.
Source – Wikipedia

Contemporary Relevance

The process of collecting Kalighat paintings for museums began in the early 20th century when these Kalighat pats were elevated to the status of “art” validated by a certain Modernist perspective, attracted by the school’s economy of representation, bold lines and their brevity of style. Interestingly, this upgrade in its status occurred as the living traditions of these paintings declined during the 1930s. In recent years, there has been a resurgence of interest in Kalighat art, with efforts to revive and sustain this traditional form. Modern artists and artisans are reinterpreting classic themes, blending traditional techniques with contemporary subjects to appeal to a broader audience. This revival not only honors the historical significance of Kalighat paintings but also ensures their relevance in today’s artistic landscape.

A Modern Day Homage to the Kalighat Art (A recent creation)
Source – Babu & Bibi

The European scholars who eventually became the early curators of South Asian art saw Kalighat paintings as having the potential to be included in museum collections such as those in British Museum, and elsewhere. Stella Kramrisch defended the inclusion of these paintings in the Philadelphia Museum’s collection, in her exhibition Unknown India, by drawing successful parallels between Kalighat and major modernist painters. Collectors and art connoisseurs continue to seek out original Kalighat artworks, and reproductions are popular among those looking to incorporate a piece of Indian heritage into their spaces. The enduring charm of Kalighat Patachitra lies in its ability to convey profound narratives through simple yet powerful visual language, making it a timeless art form that resonates across generations.

Kalighat Patachitra depicting Shiva and Parvati
Source – Catterfly Art and Culture

Conclusion

Kalighat Patachitra stands as a significant chapter in the annals of Indian art history. Its evolution from religious souvenirs to vehicles of social commentary reflects the dynamic interplay between tradition and modernity. As efforts to preserve and rejuvenate this art form continue, Kalighat paintings remain a vibrant symbol of cultural identity and artistic innovation.