Folk Paintings

Pattachitra is a traditional painting style of Odisha. The name derives from two Sanskrit words: "patta" (canvas or cloth) and "chitra" (picture/painting). It represents a synthesis of classical and folk elements, with a bias towards the latter. **Base and Materials:** The base is treated cloth, palm leaf, or paper. Cotton cloth is prepared by coating it with soft white stone powder and glue made from tamarind seeds. Colours come exclusively from natural sources: burnt coconut shells, Hingula (red mineral), Ramaraja (a blue pigment) and lamp black. Specific examples include black from lamp black, yellow from haritali, red from hingal stone, and white from powdered conch shells. No pencil or charcoal is used for outlines — instead, a brush is used to draw outlines in red or yellow, after which colours are filled in. The background is decorated with foliage and flowers, and the paintings have an intricately worked decorative frame. A final coat of lacquer is applied after holding the painting over charcoal fire, to make it water resistant and give it a glossy finish. **Themes:** The predominant themes are from the Jagannath and Vaishnava cult, with some paintings from Shakti and Shaiva cults. Specific themes include daily and festival `veshas` (attires) of Jagannath, Balabhadra, and Subhadra (e.g., Bada Shringar Vesha, Raghunath Vesha, Padma Vesha, Krishna–Balaram Vesha, Hariharan Vesha), Rasa paintings, `Ansara patti` (substitutes icons in the Garbhagriha during cleaning), `Jatri patti` (for pilgrims), Kanchi Kaveri Pata, and Thia-badhia pata (aerial and lateral views of the temple). The images are similar to old murals of Odisha, especially those in Puri and Konark. The main centre for Pattachitra is Raghurajpur village in Odisha, which is a heritage craft village dedicated to this art form, and Puri also holds significant recognition for these paintings. **Talapattachitra:** A variant of Pattachitra painted on palm leaves — specifically the Khar-taad palm variety. The hard dried leaves of palm trees are sewn together as a canvas. Images are not painted with a brush but are incised by a steel stylus, then filled in with ink, and sometimes tinted with paint. Multiple superimposed layers are glued together with some areas left open as small window-like openings revealing second images beneath the first layer — creating a layered visual experience. Text may also accompany these images. The imagery of Pattachitra is closely linked to the Jagannath tradition, and the art form is intricately woven with the religious life of coastal Odisha.

Madhubani painting — also called Mithila painting — is one of India's most celebrated folk art traditions, originating from the villages around Madhubani town in the Mithila region of Bihar. The art extends into the adjoining Terai region of Nepal, making it a cross-border cultural tradition. The name "Madhubani" refers to the town; "Mithila" refers to the broader cultural region associated with the ancient kingdom of Mithila (Janakpur area) — the birthplace of Sita. According to tradition, Madhubani painting originated during the Ramayana period when the king of Mithila (Janaka) ordered people to paint the walls and floors of their houses to mark the marriage of Sita and Rama, as a way to please the gods. **Practitioners:** The art has traditionally been done by women of the villages, passed down through generations. The paintings are intrinsically linked to auspicious occasions — birth, marriage and festivals. In 1970, the art received formal recognition when the President of India honoured Jagdamba Devi of Jitbarpur village with an award. Other famous painters: Bua Devi, Bhati Dayal, Ganga Devi and Sita Devi. **Themes:** Primarily religious motifs of Hindus — Krishna, Rama, Durga, Lakshmi and Shiva. Symbols are used purposefully: fish = good luck and fertility. Flowers, trees and animals fill any gaps in the composition. The paintings are often done in specific areas of the house: central or outer courtyards, the eastern part (dwelling of Kuladevi, usually Kali), and a room in the southern part for significant images. The inner verandah, which houses the family shrine (devasthana or gosain ghar), is where griha devatas and kula devatas are painted. The most elaborate and colourful paintings are created in the *kohbar ghar* or inner room, featuring the *kohbar* (a lotus with a stalk in full bloom) with metaphoric and tantric connotations, along with gods and goddesses. Themes also include episodes from the Bhagvata Purana, stories of Shiva-Parvati, Durga, Kali and Rasa-Lila of Radha and Krishna. Mithila artists typically fill entire spaces decoratively with elements from nature like birds, flowers, animals, fish, snakes, the Sun and the Moon, which carry symbolic intent such as love, passion, fertility, eternity, well-being and prosperity. **Technique and Style:** Traditionally painted on walls using rice paste and vegetable colours on a base of cow dung and mud. Over time, the base shifted to handmade paper, cloth and canvas, while natural colours were retained. In earlier days, colours were made from mineral stones and organic materials like phalsa and kusum flowers, bilwa leaves, kajal, and turmeric. Women paint using bamboo twigs to which a cotton swab, rice straw, or fibre is attached. The paintings are two-dimensional because there is no shading. Common features: double line border, bold use of colours, ornate floral patterns, exaggerated facial features. **GI Status:** Since the art has remained confined to a specific geographical area (Mithila region of Bihar), it has been awarded Geographical Indication (GI) status — a significant intellectual property recognition.

India's folk painting traditions extend far beyond the best-known schools, with each region producing distinct styles reflecting local religious life, tribal cultures and artistic communities. The following are key folk and regional painting traditions frequently tested in UPSC. **Kalamkari Paintings (Andhra Pradesh):** The name comes from "kalam" (pen) — a sharp-pointed bamboo pen that regulates colour flow. Base: cotton fabric. Colours: vegetable dyes. The pen is soaked in fermented jaggery and water before use. Two main centres: Srikalahasti (free-hand wall hangings inspired by Hindu mythology) and Machilipatnam (block prints with designs like cartwheel, lotus, animals, interlacing flowers and leaves). This is both a handicraft technique and a distinct folk painting tradition. GI status has been awarded. **Thangka Paintings (Sikkim, Himachal Pradesh, Ladakh, Arunachal Pradesh):** Originally a medium of Buddhist reverence, Thangka paintings were made by Buddhist monks and certain ethnic groups, passing skill from generation to generation. Base: white cotton canvas. Paints: natural vegetable or mineral dyes. Colour symbolism: red = intensity of passion (love or hatred); golden = life or birth; white = serenity; black = anger; green = consciousness; yellow = compassion. Once complete, the painting is framed in colourful silk brocade. Three types by depiction: (1) Life of Buddha from birth to enlightenment; (2) Abstract Buddhist beliefs including "Wheel of Life"; (3) Offerings to deities or meditation aid. **Manjusha Painting (Bihar):** From Bhagalpur region of Bihar. Also called Angika art ("ang" refers to the ancient Mahajan Pada region). Always features snake motifs — also called "snake painting." Executed on boxes made of jute and paper. **Phad Painting (Rajasthan):** Scroll-type religious painting from Rajasthan. Depicts local deities — Pabuji and Devnarayan. Painted with vegetable colours on long cloth called phad (15 or 30 feet long). Subjects have large eyes and round faces. Scenes of procession are common. Pompous and joyful narrative. **Cheriyal Scroll Paintings (Telangana):** Indigenous to Telangana; a type of Nakashi art. Scrolls function as continuous stories (like comics or ballads) narrated by the Balladeer community. Common themes: Hindu Epics and Puranic stories. Storytellers use scrolls while moving from place to place with music. Can be up to 45 feet in height. Awarded GI status in 2007. **Pithora Paintings (Gujarat and Madhya Pradesh):** Made by tribal communities. Serve religious and spiritual purposes — painted on walls of houses to bring peace and prosperity. Drawn on special family occasions as ritual. Depictions of animals are common, especially horses. **Saura Paintings (Odisha):** Made by the Saura tribe of Odisha. Similar to Warli paintings. Wall mural painting, ritualistic in nature. Called "italons" or "ikons"; dedicated to Idital (main deity of the Sauras). Predominantly white painting on red or yellow backdrop. Colours from minerals and plants. Human shapes are geometrical and stick-like. **Kalighat Painting (West Bengal):** Product of changing urban society of 19th-century Calcutta. Made by rural migrants who settled near Kalighat temple. Medium: watercolours on mill paper, using brushes of calf and squirrel hair. Originally depicted Hindu Gods and Goddesses; later used to express social sentiments — considered the first Indian painting tradition to address subaltern themes and changing gender roles. Painted figures have a plaque-like effect on neutral background. **Patua Art (West Bengal):** Village tradition approximately 1,000 years old. Scroll paintings (pats) by painters called patuas or chitrakars. Originally told Mangal Kavyas (auspicious stories of gods). Patuas travelled village to village singing their stories. Now painted with poster paints on paper, often commenting on political and social issues. Patuas mainly from Midnapur; chitrakars from 24 Parganas and Birbhum. **Paitkar Painting (Jharkhand):** Practiced by tribal people of Jharkhand; one of the ancient schools of scroll painting. Culturally associated with goddess Ma Mansa. Themes: social and religious customs including yajna. Main theme: "What happens to human life post death." On the verge of extinction.