Introduction
India has long been a melting pot of traditional arts and crafts. Diverse communities have their own cultural and traditional values. The thirty-six states and union territories have different characteristics for each conventional art form, which are reflected in the art that each community produces. The term ‘folk art’ refers to the distinctive artistic styles and patterns that each area of India has developed. In India, folk and tribal art are extremely simplistic and ethnic. They are colourful, lively, and reflect the rich tradition of the country. Due to their inherent aesthetic sensibility and authenticity, Indian folk art has great potential in the worldwide market. Folk art communicates the identities of these communities and also brings across the values of the group, and sometimes also depicts the norms of a particular era of history. It contains various ordinary mediums through which it is expressed or showcased. The medium used for these art forms, such as textiles, wood, paper, and tree leaves, also depicts the values within the communities. Although nowadays, the medium has crossed onto metal, glass, and other objects. One such art form is found in the eastern regions of West Bengal and Orissa, called ‘Patachitra.’
Etymology and Origin of Pattachitra Paintings
Pattachitra comes from two separate words, ‘Pata/Patta,’ which means a cloth (or leaf surface or any surface) on which the narration is drawn, and ‘Chitra,’ which means ‘painting’; hence, ‘Patachitra,’ or as locals call it, ‘Pattachitra.’ It originated mainly in the eastern Indian states of West Bengal and Odisha and in parts of Bangladesh. It is a combination of visual art and performance art. The Patuas sing traditional songs called pater gan while displaying the painted panels of the scroll to the audience.
Subject of Patachitra in Bengal and its variations.
Bengal Pattachitra refers to the paintings of West Bengal and Bangladesh. These narrative paintings in West Bengal are divided into Chalchitra, Durga Pat, Tribal Patachitra, and Mednipur Patachitra. These are practised by different Patua Chitrakar (painter) communities. Kolkata in West Bengal has a history of Kalighat patachitra, which originated near Kalighat in Kolkata. Apart from the Kalighat Patachitra, other Patachitra of West Bengal differ from region to region. For example, ‘Chalchitra’ is drawn on the ‘U’-shaped ‘debi chal’ or ‘durga chala,’ the background of the Durga Maa’s idol. ‘Durga Pat’ is painted by Patuas on the scroll depicting the Life of Durga Maa. They sing songs (Pater Gaan) of Mahishasurmardini (Durga slaying the demons) and the life of Durga Maa, as the scroll is opened and unfurled to the audience. Usually, Patachitra tells stories of mythology; however, the 19th-century Kalighat Patachitras depicted social scandals and life events of Zamindars and the Babu culture of colonial India. Tribal and Mednipur Patachitra originated in Pashchim (West) Mednipur. The Patuas here belong to the Muslim community, yet the pata paintings that they produce depict Hindu mythology and religious themes in addition to scenes from daily lives. The painting scrolls are made from cloth and recycled paper. They use natural colours, which are performed by the patuas who sing “pater gan,” or the songs of the scrolls, similar to “Durga Pat.” This combination of visual art performance has evolved into a cultural tourism attraction, particularly in the village of Naya.
Method of Pata Paintings and preservation of stories
‘Pattachitra.’ Patachitra are narrative paintings, which means each painting tells a story. Patachitra on different surfaces are also stitched together to convey a bigger story, as each painting, when put together, depicts a macrocosmic story. Pata art can be divided into two categories: eye art on a short piece of fabric and art on a large sheet of folded cloth. The foundation for Patachitra is the fabric or the surface. Clay, cow dung, and a few other sticky materials are expertly cultivated on the fabric. After drying, the fabric becomes firm yet soft enough to support the artist’s brushstrokes. They are renowned for their intricate designs, vivid colours, and meticulous attention to detail. They use charcoal or a pencil to draw the design. The Patuas employ natural colours derived from flowers, fruits, and minerals to fill in the design, with a black outline for emphasis. Mythology and religious themes like gods and goddesses, Puranic tales, slokas, etc., are incorporated into Patachitra. The paintings depict the spiritual and religious symbols that the Patua community finds appealing. The pata paintings typically featured Kailas, Brindaban, Oudh, and other Hindu holy sites. In Bengal, this art form was especially popular during the Buddhist era. Life sketches of the Buddha, along with his sayings and teachings, were preserved in the Pata paintings. Hence, the Buddhist monks were very active traders in pata paintings. The Patachitra tradition was adopted by the Hindus at the beginning of the eighth century. Themes in Hindu pata art included Yadu, Yama, Chandi, the Ten Incarnations, the actions of Rama, Krishna’s loves, the story of Gazi, and more.
Why is Patachitra a dying art?
With digitisation and modernism knocking on our doorsteps, Patachitra is becoming a dying art. Traditional art forms like these are losing their popularity. Many Pattachitra artists from West Bengal say the techniques and skills required for Pattachitra take time, patience, and expertise; this has caused the younger generation to lose interest in the art form. As our country does not have the means to preserve these art forms or create avenues to generate financial stability through these traditional arts, Patachitra is dying as the younger generation is moving away from the villages to the city for economic stability. A single patachitra can take months to complete. The craftsmanship includes women and men who pass it on from generation to generation. As the younger generation is moving from their hometown to the cities, they prioritise financial stability rather than harboring the generational craftsmanship and taking it forward. Along with the world’s priorities, the priorities of the younger generation have shifted, which has led to the neglect of the art form itself.
Conclusion
From ancient times to the present, Patua societies have preserved their family structure, which gives them a valuable cultural significance and an advanced sociological pattern. They support living together in harmony. In their society, discrimination based on gender does not exist. Additionally, they considered themselves to be the Children of Viswakarma. In their family tradition, they adhered to both Islamic and Hindu customs. As artists, however, they reject the concepts of race and caste. They believe in human religion. They don’t have a limited perspective on culture and life. Through their artistic nature and inventiveness, they have been defending humanity worldwide. Therefore, their painting of Patachitra has made a significant contribution to our culture.
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