“PAINTER OF GODS – AN INDIGENOUS TECHNIQUE OF PATTACHITRA WITH REFERENCE TO CONTEMPORIZATION OF LOCAL CULTURAL HERITAGE”
Dr. Shruti Tiwari
Head of Fashion, Renaissance University Ms. Hiya Shrivastava
B.Design Students of School of fashion, Renaissance University
Abstract:- Pattachitra is an ancient art form of Orissa and Bengal the paintings of pattachitra are based on Hindu mythology and inspired by Jagannath. The paintings of patachitrapatachitra are resemblance from the old murals from the religious centres of PuriKonark and Bhubaneswar region dating back to the 5th century. The art form is appreciated by art lovers all over the world for its effortless style of drawings and space line usage. The artists are called 'patuas'. These songs are known as "Pater gaan" the songs range from traditional mythological tales and tribal rituals to stories based on modern Indian history. This art form is mainly practiced by the painter community who emphasizes on the narration and ornamentation of figure drawings of god and goddesses in vegetable and mineral dyes. Primary colors are used in “Pattachitra”, whereas other shades are obtained by mixing primary colors. Themes and motifs of “Pattachitra” are based on Indian mythology, usually depicts the narrations inspired by rituals. Men & women both are engaged in the preparation of these scrolls.
The present study has been done to document the fading magnificent colorful painted Indian traditional textile in its original form. To understand the journey of this painted textile dated 300 years back to today‟s trend. The objective is to document this art form in detail and record colours, motif, tools, equipment‟s, and manufacturing process.
This study also aims to document the data of traditional practices of natural dyeing/painting. Apart from secondary data, the purposively data regarding the craft was collected from Raghurajpur village, based on observation and interview method. The data pertaining to craft documentation was collected from five craftsmen, who were practicing
"Pattachitra" painting in traditional method during the time of data collection. "Pattachitra"
popularly known as pata or pat, done on thinly woven cotton cloth, has undergone through few deviation in themes, colours and technique used.
Keywords: Orissa, Hindu Mythology, motifs, natural dyes, colors, tools, hand painting, painted traditional textile.
Objective
The main objective of studying this traditional art form is to learn about the art and the artist in today‟s time further the painters of the artist of patachitra were generally known as what was the profession which began around 10th to 11th century in Bengal.
The display of painting or the part would be referred to as pat khelano.
The colours used for paintings were extracted from nature for example trees, barks, lamp soot, gum etc. The path was followed a very strict routine like they had to be completely vegetarian during the time of paintings they had to sleep on the ground without mattress and should wear a dhoti while working the three original paintings of pattachitra I from PuruliaBankura coma and West Medinipur are Jadano pat, Arelatai pat.
The representation of characters good and bad in the pattachitra paintings is projected through hand and palm gestures and eye movements. The paintings in the patachitra are only based on the life of lord Jagannath; the motifs were taken from the religious tale.
1. INTRODUCTION
The craftsman is not an individual expressing individual whims, but a part of the universe, giving expression to ideals of eternal beauty and unchanging laws, even as do the trees and flowers whose natural and less ordered beauty is not less god given.
(A.K Coomaraswamy in GOI 1990a) The name pattachitra has evolved from the Sanskrit word Patha meaning Canvas and Chitra meaning picture.
Painting is done on Canvas and is completed by colourful application, creative motives, designs and portrayal of simple things mostly mythological. Pattu Chitra aur pattachitra is a general term for traditional cloth base scroll paintings based in the eastern Indian states of Odisha and West Bengal. Patachitra is known for its intricate details as well as depiction from mythology and folk tales. The art form has seen significant changes over the years the chitrakars used to paint on palm leaves and tussar silk. Wall hangings and show pieces have also been painted. The stringent methods of paintings have led to the preserves of its aesthetic.
The paintings of pattachitra are internationally known and its popularity and consistency can be seen all over Orissa. The best place to find pattachitra painting is raghurajpur. The paintings of Orissa can be divided into three categories painting on cloth or but Chitra paintings on wall or biti Chitra and palm leaves engraving or talapatra Chitra aur pothiChitra. The most popular themes of pata Chitra are the badia Krishna Leela, enactment of Jagannath as lord Krishna displaying his powers, dasabatarapatti and Panchmukhi.
The paintings of patachitra is a mix of both folk and classical elements the paid artists of patachitra used to make the paintings with 100% natural colours made using ancient methods. For example the white colour was made using conch shells on mineral colour red colour made using hingula yellow colour made using Harikala.
The paintings helped preserve means of social transformation, valuable information stories of migrations and details of social political and religious reflection.
2. LOCATION
The location of the work can be found in or around Puri, is in the village of Raghurajpur in Odisha &Naya village in Midnapur in West Bengal. Raghurajpur is where many artisans live in an area called “ChitrakarSahe”. This area of Puri District lies approx. 52 kms, from Bhubneshwar. The village of Naya is located in the Pingla Block of west Mindapore district.
3. TYPES OF PATACHITRA – ODISHA & BENGAL
The 3 original forms of pattachitra from Purulia, bankura,birbhum and west Medinipur are:
Rolling Pat/Jadano Pat: Also known as digital prlataipata is usually 10-40 feet long. It has sequences placed vertically, illuminated along the picture in one frame.
This type of pata takes one to ten months to complete depending upon its size/length. It is based on dramatic stories.
Arelataipat: Secured at both ends of the wooden frame so as to enable the patua easy unrolling this pata is laid horizontally to display work in front of the audience.
Choukoshpat: A card shaped pata with no rolling portions made on a single impression basis. The size of this pata is started from postcard size to bigger ones.
This form is used to eulogize a deity or an incident.
There are many types of patachitra paintings that have been identified and had been made up by the artists over the years. The patachitra of Bengal has motifs and aspects that control the culture of Bengal in different styles.
Chalchitra: is one of the forms it has a background of DurgaPratima the artists are called as pataleka, meaning writing of patachitra. The idols of nabadwipSatra were used as a part of Pratima the idols dated back to 300 to 400 years.
Durga Sara aur Durgapot: is one of the worshipped pattachitras. This type of patachitra is worshipped in Katwa region. This auspicious painting has Durga in the middle position and has a hemispherical pattern. God goddesses like Ram Sita Nandi Brahma Vishnu shumbhnishumbh are painted on this art form.
Gajipata: Formed on local history of hearsay this patachitra is originated and developed in Bangladesh and is a religious for muslim community. In this type of pata a patua artist described supernatural powers. Gajipatahas religious faith and spirit of folk people attached to it.
Sahebpata: Developed on the concept of western influence and historical facts of British India period this type of pattachitra is found mainly in west bengal and
Bangladesh. It covers topics like protests against the English rulers and their oppression.
Tribal Pata: Found in the tribal areas of west bengal and jharkhand this pata is based on spiritual customs of a dead person in the community andtalks about freeing the wandering souls of the dead by completing paintings.
Jama Pata: It‟s a religious type of patachitra found in Bengal, Bihar and Jharkhand. This pata deals with the concept of sin and virtue and talks about the god of death.
Jatripatti: This type of pata depicts the trinity in different poses and the architecture of Jagannath temple.
Ganjapa: Adopted by the royal families these circular paintings were made in a diameter of 1.2-2 cm and were used as playing cards. The motifs and Illustrations of this pata was never repeated.
● Jautukapedi: It was a type of dowry box painted with pattachitrapaintings was given to the bride after the marriage ceremony.
4. REVIEW OF LITERATURE
4.1 Indian Art in Context: Pattachitra by: Sayantani Bhattacharya and Mythili Narayanswami
It‟s a collective work of the writers regarding their course "Indian Art in Context". In this paper they‟ve explored the unique scroll painting art of West Bengal and Odissa:
Pattachitra. The analyzation of the different forms of Pattachitra, its origin and current form, aesthetics and functional value. They‟ve also discussed the life of the Patta painters, socio-economic structure grown around this folk art form, current market condition, and technology used in this art form. The data and image in this paper is sourced from the internet.
4.2 Pattachitra of Odisha and Jagannath Culture by: Anita Bose
The writer is a devotee of lord jagannath, has wrote this book while working on her thesis paper “Appreciation of Indian art” at Ramkrishna Mission Institute of Culture in Calcutta.
The book, Patachitra of Odisha and Jagannath Culture, is a detailed study on the historic art form. The book throws light on the immergence of the art form from the ancient period to its contemporary form in the modern days.
4.3 Research Paper on Pattachitra by: AkankshaPareek& Prof. Suman Pant
The present study attempts to document the magnificent colourful artistic hand painted natural dyed "Pattachitra" in its pure form. The objective is to document the art of
"pattachitra" in detail and record colours, motif, tools, equipments, and manufacturing process. This study also aims to document the data of traditional practises of natural dyeing/painting. Apart from secondary data, the purposively data regarding the craft was collected from Raghurajpur village, based on observation and interview method. The data pertaining to craft documentation was collected from five craftsmen, who were practising
"Pattachitra" painting in traditional method during the time of data collection. "Pattachitra"
popularly known as pata or pat, done on thinly woven cotton cloth, has undergone through few deviation in themes, colours and technique used.
4.4 A Policy Framework for the Creative Pattachitraartisans at the Crossroads of Financial Scarcity and Changing Trends by: PallaviKanungo, Narayan Sethi & Pritam Bisawal
The study aims to examine the artisan‟s financial accessibility and the problems of financial scarcity confronted by them and to understand various approaches made by them to sustain their painting under changing trends. The study is a mixed method approach that includes a personal interview, observations, and rapid rural appraisal.
4.5 Pattachitra - It's Past and Present by: Prafulla Kumar Samantaray
The work is based on the pattachitra‟s history, it‟s techniques uses and techniques as well as the present day scenario adapted by the socirty and the artisans.
4.6 Pattachitra Painting-Orissa The Art of making Picture on Cloth by: Prof.
BibhuduttaBaral and Mr. Antony William
The study is the work done by the writers in form of research which contains information about the artists, tools and techniques about the art form and its details.
4.7 Patachitra-A Micro Scale Industry: Overview and Challenges by: SubhamoyBanik and UtpalKundu
In India folk-art is being generally formed by the illiterate or semi-illiterate people living in rural areas and semi-urban areas, their economic condition is very poor and do not have any modern technological concept of art. They generally follow the traditional concept of art which they had inherited from their forefathers. Particularly in the case of Patachitra we may be observed that this type of folk-art is ethnic in nature and in a form, it is very colourful, and also it bears a traditional and cultural element of country's rich heritage. The Patua community of West Bengal both of Paschim Midnapore and Kaligath has practiced the ancient craft of patachitra since the 10th Century. These patuas or chitrakaars would unfold each hand-painted scroll and sing pater gaan or narrative songs frame by frame, that they had composed themselves. The paper attempts to discuss in details about Patachitra, the lifestyle and work of patuas or chitrakaars, and the problems faced by them in earning their livelihood.
A review study based on the creative journey of culture and heritage art Kalighat and Patachitra
Dr. Ankita Singh Rao
A review study based on the creative journey of culture and heritage art Kalighat and Patachitra
Dr. Ankita Singh Rao
A review study based on the creative journey of culture and heritage art Kalighat and Patachitra
Dr. Ankita Singh Rao
A review study based on the creative journey of culture and heritage art Kalighat and Patachitra
A review study based on the creative journey of culture and heritage art Kalighat and Patachitra
A review study based on the creative journey of culture and heritage art Kalighat and Patachitra
A review study based on the creative journey of culture and heritage art Kalighat and Patachitra
4.8. A review Study Based on Creative Journey of Culture and Heritage art Kalighat and Pattachitra by: Dr. Ankita Singh Rao
Kalighat and Patachitra are the heritage of Indian art, they are refers to the class of paintings on handmade which reflects focus point of religious, cultural and mythological characters, showing on paper and cloth with natural colors. They are showing the cultural essence, in the paintings of Orrisa and Bengal. Orissa is also renowned for its own indigenous art tradition. Orissa is rich both in its traditions and in the quality of its craft production. Pata is basically a form of folk art; it is shaped by the group of artisans-village people. These people accede to their skills from their ancestors and remain within their own caste, which is called the “Chitrakara caste”. Pata creation is an important section of creative folk items in parts of Bengal and the neighboring regions.
Kalighat and pattachitra are the heritage of Indian art, they refer to class of Indian paintings on handmade which reflects focus point of religious, cultural and mythological characters, showing on paper and cloth with natural colours. They are showing the cultural essence, in the painting of orrisa and Bengal. Orissa is also renowned for its own indigenous art tradition. Orissa is rich both in its traditions and in the quality of its craft production. Pata is basically a form of folk art; it is shaped by the group of artisans-village people. These people accede to their skills from their ancestors and remain within their own caste, which is called the „chitrakara caste‟. Pata creation is an important section of creative folk items in parts of Bengal and neighbouring regions.
5. METHODOLOGY
Present study was conducted at Raghurajpur village. The main objectiveof the study was to document the traditional craft heritage of Odisha, lifestyle of artisans, color, motifs, painting methods and product development. A field study with descriptive design process and research methodology was conducted to attain the complete and authentic data. Data collection was done by conducting interview with artisans. The questions were based on demographic details, history & origin of craft, process of painting, product development and contemporisation of the craft by providing it a futuristic dimension.
Observation method was also used in addition to it. Selection of artisans was purposely selective and based on their practicing manner of traditional craft. For this research five families of artisans were selected, which include two national awardees.
6. CONTEMPORISATION
The past as depicted in the pattachitra‟s history has been limited to canvas painting and wall art whereas the art form being an historic work can be incorporated in various other forms as well. Paintings are made on wooden and bamboo boxes and on the mask and the pots, Ganjapa, a typical playing cards is also painted in this style. Now-a-days, the patta painting has been recognized as one of the popular art form of Orissa. With the advancement of time, a lot of changes have been noticed in the preparation, colour, theme, and approach to the subject and in, the market-ability scenario of patta paintings. It has not been confined to art for art sake alone. It is now accepted as a craft. Their place has been taken over by various other souvenir like laminated pictures of the Triad, Finger-ring, locket etc. As designer‟s the art form can be manipulated in contemporary form so as to make it suitable according to the trends with touch of the historic art form which can lead in upliftment of the artisans and create an awareness in the society about the richness and adaptability of Pattachitra in today‟s time too. Accessories like headgears, necklaces, handbags etc. can be also made using the motifs. It can also be adapted in the field of interior designs by using the motifs and patterns to create wall patterns, furniture‟s, various antiques with pattachitra paintings to enhance the overall look of the place.
Hand painted fabric with pattachitra motif.
7. PRODUCTS
Conventionally, these paintings were only used as scrolls to offer to the lord Jaganath Temple, though now a days this art form has been adopted in developing various products like sarees, dress material, stoles, dupattas, cushion covers, lampshades, dining mats for commercial use.
8. CONCLUSION
The conventional manufacturing process has not been changed over the decades. Use of natural ingredients is still done in various stages of painting. Traditionally the base fabric taken for canvas was cotton for preparing the pattachitra, as it was offered to Jaganath temple. Earlier only five colours – white, black, red, blue and yellow were used but now as per the consumers demand and the fashion trend all the shades and colours have been introduced to full fill the growing demand and fashion trends. The craft is still brilliant as ever and competing in the modern market yet maintaining the essence of Indian Heritage.
BIBILOGRAPHY
1. Martand S, Rta Kapoor C & Rahul J, Hand Crafted Indian Textile, 16-17,19 2. Saraf D.N., Indian Craft Development & Potential, 19
3. Kamaladevi C, Handicrafts of India, 42-43
4. Notes collected from Raghurajpur clusters annual activity report, Shri Biswanath Swain, Secretary, Raghurajpur Village
5. State Museum of Bhubaneswar, Pattachitra painting section, Collection of the paintings Fig. 24 to 43 6. https://www.researchgate.net/publication/337210924_kalighat_and_pattachitra
7. http://magazines.odisha.gov.in/Orissareview/dec2005/engpdf/patta_chitra_its_past_and_present.pdf)
