Naya is a small village in Pingla, located in the Paschim Medinipur district in the state of West Bengal, India. The village is home to around 250 Patuas, a unique tribe of folk artists who are painters, lyricists, singers and performers-all in one. Artisans known as the Chitrakars (picture makers) specialize in the creation of painted narrative scrolls called “Pata”.The village is famous for the annual festival, POT Maya where the multitude of colours find their expression and is attended by people from all over the world.
What gives Patachitra an edge over other art forms is the fact that the colours used are 100% natural and are prepared by the chitrakars using ancient methods. The painters only use raw materials like leaves, fruits, vegetables & flowers and locally prepare the colours. These are then mixed with the gum of the Bengal quince flower (bael) to make paint. The process requires a lot of patience. However, it is this very process that gives brilliance and permanence to the hue.
The process of Patachitra involves a few steps which are carried out by the Patachitra artists with immense care and passion. Initially, the artists draw the outlines on paper directly with the brush on the paper. They are so expert that they don’t use pencil or charcoal for the preliminary drawings. Then the line drawings are filled in with colours and a layer of recycled soft fabric is pasted on the reverse side of the paper to make the scroll stronger and long-lasting. Then it is dried in sunlight.
Patachitra literally means cloth painting; **‘**pata’ (cloth), and ‘chitra’ (painting). Natural dyes and colours are used, all of which are derived from fruits and vegetables. Flower and leaf motifs are the common styling elements used to give a more aesthetic appeal to the artwork. The craftsman usually uses Cotton for this artwork, and apart from paint, no additional embellishments are used.
Swarna Chitrakar born in Naya village in Paschim Medinipur, Swarna Chitrakar learned painting from her father. She is one of the most experienced Patachitra painters who has received the State Award in 1994 and District Award in 1995 and numerous other accolades. Overseas she has participated in major festivals in France, Germany, Australia, USA, Sweden, China and England. Through her art, Swarna has given a voice to women’s issues – and has raised a voice against female infanticide, girls trafficking and rape.
The songs that the Patuas sing are referred to as Pater Gaan (Songs of Pata) or Pater Gaan. For centuries the singing scroll painters or the Patuas have walked from village to village singing moral and mythological stories, using as an illustrative aid, the paintings known as Patachitra. The traditional themes of the Pata songs were based on popular themes of Indian mythology or the lives of folk goddesses from the Mangal Kavya.
Patachitra art usually runs in the family and the younger generation is trained by the seniors practicing this art form. Those who are still continuing this family tradition of making Pata Chitra make their canvases and colours with natural elements to narrate the stories of the legends relevant to the contemporary audience. The chitrakars are only eager to keep the flame of this traditional art form alive for future generations to witness.
The village of Patachitra is a predominantly Muslim settlement, there are a number of Hindu artists as well. Living together in harmony, no one is recognised by their religion, but by their work and the suffix of “chitrakar” after their first name. It won’t be surprising to find a Muslim chitrakar painting a depiction of Hindu lore or vice versa.
Approximated to be dating back to the 13th century, this art form has reflected topics far and wide, from myths to current social issues. In times of change, with various initiatives, the practitioners of this pictorial narrative art have also diversified themselves to sustain. Over the years, the themes and topics of Patachitra paintings for the folk artists began to expand as they continued the effort to make money from their artform–subjects ranging from rural and urban events, social issues, religion and at times even natural disasters and significant political events, like the Pulwama attack.
The Folk Art Centre or Community Museum is run by the artists and depicts details of this ancient folk art form. One can visit the centre to learn about the different kinds of scrolls, the stories and marvel at the wide range of diversified products like t-shirts, hand fans, lamps, bags, umbrellas etc. The museum plays an important role in preserving and presenting this unique tradition.
This particular painting depicts the importance of tree-planting.
© Text: Adrija Nair
Photo: Kishor Mandal