CHITRAKATHI TRADITION : THE ART OF STORYTELLING
India known for its rich diversity and culture.Most of the Indian states have unique tradition of story telling. Among the many unique forms of narrative art, Chitrakathi stands out as a beautiful blend of painting and oral storytelling. This artform is practiced by the Thakar tribal community in Maharashtra, this art form includes handmade paintings with spoken tales, mainly from the epics like Ramayan and Mahabharata . It is not just an art but a living tradition that brings stories to life through colour and voice. Lets explore the history, process, tools, row material, motifs and everything else that make Chitrakathi what it is today.
ORIGIN OF THE ARTFORM
The word ‘Chitrakathi’ comes from ‘Chitra’ meaning picture, and ‘Katha’ meaning story. The art form traces its roots in the Deccan region, especially in Maharashtra and some parts of Karnataka. However, in Maharashtra, it is traditional Chitra Kathi paintings performed by the nomadic Thakar tribe of Konkan region.
In Maharashtra, the evidence of Chitra Kathi goes back approximately to the 17thto 19th century. ChitraKathi is broadly divided into two styles ‘Paithan style’ and ‘Pinguli style’. This paper is written keeping the ‘Pinguli style’ in perspective. Gudhipur in Pinguli village in Kudal taluka of Sindhudurg district is the home of the Thakar tribe. This tribe has 11 male-focused and 3 female-focused folk-art forms of which Chitra Kathi being one. The tradition dates back almost 400 years and was used to entertain and educate villagers. The Thakar community used to travel from one village to another, narrati
ng epic stories using a bundle of paintings called ‘Pothi’. These performances were held during festivals and religious events.The purpose of Chitrakathi was to entertain the people and praise the god.
HOW IT FLOURISHED
Chitrakathi flourished under the patronage of kings and temple authorities. Rulers like Raja Khem Sawant supported the Thakar artists by giving them temples to perform in during Dussehra and Navratri. The tradition was not only spiritual but also a source of entertainment and cultural bonding for the village community. Over time, families preserved these painting bundles and passed them down through generations to enrich the legacy.The performer would travel from village to
village for six months performing in temple and on occasions. In return they get mobdla grains.
TECHNIQUES OF PAINTING
The paintings are usually created on paper or canvas sheets, with brushes and natural, hand-made water colours. The use of brownish tones of stone colours gives an exceptional effect to the artwork. Figures in paintings are generally stylized portrayed using bold colours and expressive stroke. Traditionally, natural colours were used to paint on handmade paper.
The size of the paper was standardised, based on the usual size of what wassuitable for the village audiences. More than 50 paintings together form a bundle or pothi, which is used by the artist to narrate the story. Theperformances only feature three musical instruments: the taal (manjeera or clash cymbals), the huduk (a two-headed drum), and the Veena.
ORIGINAL STYLE:
- Collecting the dry leaves to paint on.
- Extracting natural dyes from bricks, flowers, turmeric, leaves, cow dung and so on.
- Extracting gum from Cashew tree.
- Mixing gum with colour dye extract to make paint.
- Making brushes and boru from Chichuka leaves, horse hairs, squirrel hair and bamboo.
- Laying blobs of colours in area to be outlined later.
- Making form using patches.
- Outlining character and other details using boru.
CONTEMPORARY STYLE:
- Source poster colour and other equipment.
- Take handmade paper of dimensions 12” x 15”.
- Make faint outline with light shade of colour to get basis shape.
- Fill colour in the decided area.
- Add detail to character and surrounding using thin synthetic brush and black poster pen.
MOTIF
One of the most common motifs in Chitrakathi is the use of natural elements like trees, animals, and birds. These elements often symbolize life, purity, and the environment. For example, deer, elephants, and peacocks appear frequently and are drawn in a stylized manner. These motifs add charm to the stories and connect the art to the natural surroundings of the artists.
MOTIF : TRADITIONAL CUSTOMS AND CHARACTERISTICS
Chitrakathi paintings is the depiction of traditional clothing and accessories which proves to significant motif.. Female figures wear sarees, bangles, and nose rings, while male characters wear dhotis and turbans. the clothing and attire vary according to status and role of character .These intricate details help us understand the culture and lifestyle of the time. The paintings do not follow proportion rules, which reflects unique blend of folk art.
Chitrakathi paintings often incorporate architectural elements such as it is characterized by intricate detailing with depictions of temples, palaces, and village huts. The architectural style in these paintings can vary, showcasing the diversity of structures in the region.
CURRENT STATUS
Today, only a few families continue to practice Chitrakathi, mainly in Pinguli village of Maharashtra. The Gangavane and Mhasage families are still active in this art form. Parshuram Gangavane, a Padma Shri awardee, has also started a museum called Thakar Adivasi kala angan by transfroming his cowshed to preserve this tradition. Further continuing the legacy by his sons Chetan and Eknath by holding workshops and exhibitions. Though natural dyes are now rarely used, the art continues in both traditional and modern forms.
Shri. Parshuram Gangavane founded TAKA museum & art gallery in the year 2006, which showcases Thakar Tribal folk Arts of Sindhudurg district. A
Pioneer institute for training in Chitrakathi style of Painting of Maharashtra, the art itself is more than 400 years old. With the purpose of preserving the Adivasi artistic heritage, Parashuram Gangavane and his family built a museum to showcase their traditional wealth. Without any help from government and people from their own community going against them, a family had to overcome a lot of difficulties to set up the ‘Thakar Adivasi Kala Angan’. Though the museum is immensely rich in its culture and tradition, and the setup is very basic. Due to lack of funds, they turned their cowshed into a museum and the walls are plasteredwith cow dung. The museum is well maintained by the women of the family.
EFFORTS FOR PRESERVATION
Source: pingulichitrakathiart
Even though Chitrakathi was a popular recreational source among the older tribal generations, very few performers of this art are present today in Maharashtra.
With the increasing urbanization and changing lifestyle of rural people, traditional art forms do not get a sufficient audience.
Government bodies and NGOs have begun supporting the Chitrakathi artists through scholarships and training programs. Educational institutions also invite these artists for seminars. This helps in spreading awareness and keeping the tradition alive. Though modernization brings challenges, such efforts give hope for the future of this art form.
CONCLUSION
Chitrakathi, born in the Deccan, is more than just scroll paintings — it’s a tradition where stories, colours, and voices have travelled through generations. From village gatherings to new-age adaptations, it has changed with time yet kept its heart intact. From the hands of tribal artists to modern museums and exhibitions, it has come a long way. Its story shows that heritage isn’t something to lock away, but something to keep alive — by involving people, spreading awareness, and using technology wisely. In keeping Chitrakathi alive, we keep alive the spirit of our culture.
REFERENCES
- Newspaper article – Hindustan Times by Kinjal Dagli
- https://en.wikipedia.org/wiki/Chitrakathi
- http://pingulichitrakathiart.com/
- https://www.artsofindia.in/arts-of-india-blog
- https://www.caleidoscope.in/art-culture/chitrakathi-painting