Midnapur Patachitra by Anterleena Maiti

acknowledgement I would like to express my special thanks of gratitude to my teacher Mr. Souvik Bose as well as my mentors Ms. Sreenanda Palit and Mr. Jit Ray, who gave me the golden opportunity to do this wonderful project on the topic

Midnapur Patachitra

which also helped me in doing a lot of research and I came to know about a lot of new things. I am really thankful to them. Secondly I would also like to thank my parents and friends who helped me a lot in finalizing this project within the limited time frame. I owe its successful completion to everybody involved with me to do it .

contents

1. Introduction......................................................................................................... 2. Patachitra.............................................................................................................. 3. Origin.................................................................................................................... 4. Demography......................................................................................................... 5. Themes.................................................................................................................. 6. Chitrakars.............................................................................................................. 7. Technique.............................................................................................................. 8. Style........................................................................................................................ 9. Market................................................................................................................... 10. Modification....................................................................................................... 11. Products.............................................................................................................. 12. Patuas................................................................................................................... 13. Conclusion.........................................................................................................

. . . . .

. . .

02 04 06 08 12 14 20 22 23 24 26 36 38

references http://pata-chitra.com/default-all-collection.html http://www.craftandartisans.com/patachitra-paintings.html http://undiscoveredindiantreasures.blogspot.in/gpatachitra-ancient-india.html https://www.kickstarter.com/projects/tabcreations/patachitra-paintings https://en.wikipedia.org/wiki/patachitra-paintings.html http://www.aventure.ac.in/patachitra-paintings http://www.youthkiawaaz.com/2012/03/patachitra-paintings-ancient-india

introduction 1

Crafts are an integral part in the life of an Indian, despite the rapid social and technological changes that are taking place. In the Western world, special artists create craft objects and they are considered as luxury items.But in India like many other developing countries it is the main source of employment for a vast majority of the population, next to agriculture. Crafts were an important commodity for world trade and they were a part of the economy in India, since ancient times. Trade links between India and the rest of the world existed from ancient periods. One such variant of craft is the Patachitra,this has been one of the major sources of revenue in ancient times. It also highlighted the fact that entertainment and politics had creeped into the lives of people. This craft has prevailed for a long time and in this project I have elaborated it in details.Right from the history to its origin amd culmination into various regions ; from its variants to the demographic areas; from process to finishing and its market competition in modern times - everything is witten in great depth and detail.

patachitra Patachitra has been an integral part of origin of Indian painting. The origin of painting is traced to moving legends in the Chitra lakshana, the earliest treatise of paintings. Patachitra is not just only a form of visual art but it is the most interesting example of visual art and performing art coming together under one roof.

This medium of mass communication dates back to 16th century AD and existed as an oral form. The narrative art form however, with the loss of legacy and royal patronage, declined from its high stature performance art to entertain the common man during the festival or rural mela. Thus, it is from the elaborated form of performance which

included several form of communication visuals, orals and music, Patachitra was legally forced to form an integrated part of the forming art and culture. Patachitra is thus a painting done on canvas, and is manifested by rich colourful application, creative motifs and designs, and portrayal of simple themes, mostly mythological in depiction.

origin

Patachitra means painting on cloth. The tradition of Patachitra painting is very old. It is dated back to the time of construction of Lord Jagannath Temple in 12th Century A.D. The link between Lord Jagannath and the painting has been proved during the famous bathing festival Debasnana Purnima of Jagannath Temple .

The most famous school of pat art is definitely the Kalighat School. In 1809, a Kali temple was built in Kolkata, which gave the place Kalighat its name. The temple grew to be so popular among pilgrims and tourists that it spawned its own genre of art and craft forms. And the Kalighat school of painting came into being. The pats were very popular among pilgrims who brought these as auspicious souvenirs. In the 18-19th century Kalighat became a thriving centre of trade and many patuas, the hereditary scroll painters of Bengal, migrated from their native abode to Kalighat in Kolkata in order to make their paintings and have a better business. Also we have shall how Murshidabad, Behrampore, Hooghly and Midnapur pats also make a mark by their own distinct style of painting.

Although Odisha Patachitra was the pioneer in this stream, West Bengal was not far behind. Kalighat Patachitra was thus an outcome. After that several other places in West Bengal started practising this artform as a source of income as well as a form of expresion throughthe themes.

demography 7

The Patua are found mainly in the districts of Midnapore, Bhirbhum, Bankura, 24 Parganas, Howrah, Hooghly and Purulia. They are a Bengali speaking community. The village is Naya in Pingla, Midnapur (West). This entire village consists of 45 families and total number of people living there is almost 250. Children start doing this painting from the age of 5. Like other Muslim artisan groups in India, they have seen a decline in their traditional occupation. The majority are now employed as daily wage labourers. The Patua are Sunni Muslims, but incorporate many folks beliefs. Those involved in idol making are generally less orthodox then other Patuas. Muslim rituals mark all their important ceremonies but they paint Hindu stories in their scrolls and also observe a number of Hindu festivals. This village is extremely well organised. As my topic of concern is Midnapore Patachitra, adjacent is the map of West Midnapore, showing the approximate area where the craft is practised.

PINGLA

themes 9

The theme of painting centrescentres round The theme of painting the Jagannath and the Vaishnava round the Jagannath and the sect. Since beginning of Pattachitra Vaishnava sect. Since culture, Lord Jagannath who was beginning an incarnationofofPattachitra Lord Krishna has culture, been Lordthe Jagannath who major source of inspiration. The subject was an incarnation ofmatter Lord of Patta Chitra is mostly mythological, Krishna has been the major religious stories and folk source of inspiration. Thelore. Themes are chiefly on Lord

subject matter of Patta Chitra is mostly mythological, religious stories and folk lore. Themes are chiefly on Lord

Jagannath and Radha-Krishna, different “Vesas” of Shri Jagannath, Balabhadra and Subhadra, temple activities, the ten incarnations of Vishnu basing on the ‘Gita Govinda’ of Jayadev, KamaKujara Navagunjara, Ramayana, Mahabharata.The individual paintings of gods and goddesses are also being painted. The Pattachitra style are mix of both folk and classical elements but leanings more towards folk forms. The dress style has

Mughal influences. All of the poses have been confined to a few well-defined postures. These are not free from monotonous repetitions, though at times this is necessary to accentuate the narrative character of the style. The lines are bold and clean and angular and sharp. Generally there are no landscapes, perspectives and

distant views. All the incidents are seen in close juxtaposition. The background on which the figures are represented, is delineated with decorations of flowers and foliages and is mostly painted in red colour. All the paintings are given decorative borders. The whole painting is conceived in the form of a design on a given canvas. Patachitra is thus manifested by rich colourful application, creative motifs and designs, and portrayal of simple themes, mostly mythological.

All the paintings are given decorative borders. The whole painting is conceived in the form of a design on a given canvas. Jagannath paintings Vaishnav Paintings:Bhagabat paintings, Ramayana paintings, Saiva paintings, Shakta paintings, Paintings as legends, Ragachitras, Bandhachitra, Yamapati and yatripatas (sketches of puri temple) Ganjapa playing card paintings and other socials themes on paintings.

chitrakars 13

Chitrakars or Patuas were traditional painter-singers provided with inherent skill, artistic sensibility and practical knowledge of colour preparation and colour mixture practising the art of their ancestors for over thousand years. Their art was a legacy which was inherited by each successive generation. They have been influenced by the classical tales emanating from Indian history and the stories of its enchanting folklores of ancient days transmitted orally across hundreds of centuries. They can be regarded as a folkloric community. They successfully defined themselves with a sense of identification and self-worth through their art that fostered a common cultural consociation. Such folkloric community accommodates several folkloric imaginations within their artistic expression. The Patuas are an artisan community found in the state of West Bengal in India. Some Patuas are Hindus, while others are Muslims. Hindu Patuas are active in the Kalighat and Kumartuli regions of Calcutta, along with some other parts of West Bengal, where they are reduced in number. It is believed that most Patuas are actually converts from Hinduism to Islam. Scholars argue that the Patuas, originally Hindus, were cast out of the Hindu society for not following canonical proceedings in pursuing their trade. Patuas are also known Chitrakar.

There are a number of theories as to the origin of this community, one which relates to the fact that they were cast out when they fell out with their priests. They seem to be one of a number of tribal groupings found in the Midnapore Region that were over time Islamized. They are mentioned both in Hindu, Buddhist or Islamic classic or historical literature, as they moved back and forth from Hinduism and Buddhism to Islam. The Patuas paid little attention to faith, while looking for patronage.

Traditionally the painters are known as Chitrakars. A pata painterâ&#x20AC;&#x2122;s home with all the members of family is his studio. Woman members prepare the glue, the canvas and apply colours what we call the fill-in, and give the final lacquer coating. The master hand, mostly the male member, draws the initial line and gives the final finishing.

technique

Pata paintings are done on small strips of cotton cloth. The canvas is prepared by coating the cloth with a mixture of chalk and gum made from tamarind seeds. Then it is rubbed by taking the help of two different stones and then the cloth is dried. The mixture of gum and chalk gives the clothâ&#x20AC;&#x2122;s surface a leathery finish on which the artists paint with vegetable, earth and stone colours. The painters do not use pencil or charcoal for the preliminary drawings. The painters do not use pencil or charcoal for the preliminary drawings. They are so expert in the line that they simply draw directly with the brush either in light red or yellow. Then the colours are filled in. The final lines are drawn and the pata is given a lacquer coating to protect it from weather, thus making the painting glossy.

The process of glazing or varnishing is quite interesting. The painting is held over a fireplace so that the back of the painting is exposed to heat. On the surface of the painting fine lacquer is applied. The patachitra when painted on cloth follows a traditional process of preparation of the canvas. First the base is prepared by coating the cloth with the soft, white, stone powder of chalk and a glue made from tamarind seeds. This gives the cloth tensile strength and a smooth, semi-absorbent surface, allowing it to accept the paint.squirrel hair brushes suitable to the Ganjifa painting technique.

The painters use vegetable and mineral colours without going for factory made poster colours. They prepare their own colours. White colour is made from the conch-shells by powdering, boiling and filtering in a very hazardous process. It requires a lot of patience. But this process gives brilliance and premanence to the hue.

‘Hingula’, a mineral colour, is used for red. ‘Haritala’, king of stone ingredients for yellow, ‘Ramaraja’ a sort of indigo for blue are being used. Pure lamp-black or black prepared from the burning of coconut shells are used. There was no blue either cobalt or ultramarine in the earlier colour schemes. The brushes that are used by these ‘Chitrakaras’ are also indigenous and are made of hair of domestic animals. A bunch of hair tied to the end of a bamboo stick make the brush. It is really a matter of wonder as to how these painters bring out lines of such precision and finish with the help of these crude brushes.

style 21

This continuous flux requires them to constantly upgrade their style and keep learning how to design new items. The fast growing competitiveness among the patuas also with other artists has brought about radical changes. With their ceaseless effort Patachitra goes beyond tradition, dogma and static conditions in an ever-shifting society. It has also attracted foreign consumers creating a market abroad. For its brilliant use of colours, creative motifs and original style it has outpaced other forms of art and crafts. Patachitra is no longer just a spectacular display of colours but also utilitarian in its purpose. This transition of Patachitra has uplifted the economic and social status of its artists and has given this dying art a dynamic existence. It has discovered a range of possibilities unrestricted by a limited form bewildering its lovers. This is a successful synthesis indeed, a fruitful fusion of a traditional style of painting with contemporary elements.

market 23

In the ever-shifting world scenario the rising generation has not only to be conveyed the techniques and experiences of the older generations but has to make necessary changes in these activities to meet new situations and demands. They must amalgamate the past with the present assimilating all sorts of experiences cultural, domestic, political, social and regional. Patachitra these days has reached from the local to the global; the art of women patois reflect this trajectory explicitly. It mirrors our times in all its rich changes, flux and fluidity. Patua artists are using chemical colours rather than natural colours for its increased stability, bright hues and convenience. Women Patuas are also experimenting their art over various other items to bring forth wide array of products. The percentage of their imagination has also grown to a large extent. Contemporary pats are not only about dĂŠcor but also about utility.

products Women Patuas are always trying to create something unique and exceptional in the market that may be appreciated by customers worldwide. They are now painting pats over shirts, costumes, dresses, accessories, key-rings, cards, vases, show-pieces, bags and caps. In order to meet the demands of consumers they are increasingly painting on diverse articles. Presently pats on vases and pen-stands have become commonplace. So they are designing Patachitra over mobile covers, lampshades, umbrellas, folders and bookmarks. Patachitra has traversed beyond pats. The patachitra artists also paint their themes on wooden boxes, on bowls, on tassar silk, on outer shells of the coconut, and on wooden doors. They are also working on producing painted wooden toys based on animals and birds portrayed in the paintings. The English alphabet is cut in the wood and painted in the patachitra style for sale. Chitra-pothies - a collection of painted palm leaves stacked on top of each other and held together between painted wood covers by means of a string illustrate mythological themes.

patuas 29

The Patuas both educated and entertained the rural audiences singing episodes from mythology and displaying pats side by side as they moved from one village to the other. Their pats were props for their performance made out of painting a series of pictures demonstrating a religious or mythological episode with vegetable or organic dye on handmade paper.

However, with the growing intensity of forces of globalization alteration entered the life of the rural people through advanced technology, consumer products, commercial entertainment, and capital. The city-dwellers devalued them who found it quite difficult to gain a safe, respectable space for them within urban boundaries.

The traditional village audiences of the Patuas turned their face away from them in this state of fluctuation. The Patuas faced enormous problems and failed to compete. Illiteracy made them even more vulnerable exhausting their artistic spirit. From then onwards the Patuas have lived a life of poverty, negligence and deprivation for decades after independence.

DUKHUSHYAM CHITRAKAR An aged patua of Naya, Pingla, of West Midnapore took initiative for the harmonious and progressive development of innate abilities of women patuas and for stimulating a creativeness of their mind which can explore new horizons. He instructed some basic fundamentals but encouraged originality and inventiveness to perceive new bearings and connections. By the conscious endeavor of few such enthusiastic artists women of Patua community emerged as new pat artists, socially efficient and vocationally self-sufficient.

KARUNA CHITRAKAR She says that she has to come to the city every now and then to attend fairs, exhibitions, workshops and seminars. She paint traditional pats which deal with the grand subjects of the ancient times. Also she compose new songs on contemporary themes. Thus she is found keen to integrate the old with the new. Earlier they concentrated on traditionalpats that deal with religious stories and folklores. Their songs were composed by male patuas and were highly structured. They narrated those tales faithfully without alteration.

SABERA CHITRAKAR Her pat on deforestation shows how the loud din of trade, glare of industries and increase of population have enhanced deforestation even more. It reflects her feminine ecological consciousness and ethics as also the existential symbiosis between community and nature. At present women patuasare extensively utilized in governmental projects to campaign about environmental consciousness, female literacy, gender discrimination, womenâ&#x20AC;&#x2122;s health and social evils. Not only these traditional pats, they have contemporary pats where female patuas transcend the narrow space of the private to acquire the power of an explicit feminist overtone subverting the patriarchal ethos. Turning away from religious tales and romantic legends patua women took up the social problems that beset their own time.

MANI CHITRAKAR She says that chemical colours give intense uniform colour and blend easily to give variety of colours. Thus the better- flowing, easily workable chemical colours have surpassed natural colours. They are also easy to carry, much lustrous, available readily and are less expensive than natural colours. A comparative observation of traditional pats painted with vegetable dyes and pats painted on decorative articles using chemical colours will reveal the difference between the two.

BINA CHITRAKAR A girl in her teens tells as she paints on a fat round bangle, says that the pat-bangles are very fashionable and popular among girls. She loves to surprise her mother by designing exquisitely new pat-accessories for women. She gains concepts from television shows, magazines and newspapers. She goes to school and has won several prizes for her talent at the district and state level. She blushes to utter those new ideas regarding patsthat she has in her mind. Thus the coming generation of women patuas is well-informed about the changing tastes and latest fashions.

HAJRA CHITRAKAR He said that they have to bring changes as customers love variety. They want newer things and we design accordingly keeping in pace with time. They are ready to be ahead of their competitors by celebrating and promoting creativity and innovation.

conclusion There is no denying that the art form has undergone transformation, from its inherent form of roots. Patachitra as a traditional form of folk art has suffered noticeable decline until organizations decided to hold hands and uplift them. While technology up gradation helped them to diverse into new products and sell their products under one roof. Recently only a handful of patras practice the traditional format of this painting, It is definitely alive as a form of performing art but also growing and have scope to grow at its best as a visual art in different product and diversities. The major part is to held the organic part of the art and use it the diversification of art as a new dimension. Therefore for fix the root and come up with more medium of survival of the artisans there is an immense requirement of more globalization of the old form of painting from Bengal.Therefore for its survival, instead of adopting extreme products diversifications, as is being practiced now the attempt should be towards a different yet approximate prototype that suits its original for multi-communication method of visual art in fashion sector, storytelling & songs.