"Patachitra" of Odisha

 "Patachitra" is a folk art form of Odisha, practised mainly in villages near and around the temple city of Puri. A prime centre is the village of Raghurajpur that is about 20 kms from Puri on the way to Bhubaneswar and it can be easily approached from Puri by bus or vehicle or even train. 

The word "patachitra" is derived from "pata" or plate or canvas, and was traditionally painted with oil-based colours on thin boards of wood, or on palmyra leaves, or on cloth. Patachitra as a folk art form seems to have started about a couple of centuries ago and has for motifs mainly themes based on Lord Jagannatha and Lord Krishna. Earlier it was done with a stylus on palm leaf but progressive it has come to be done with oil paints, mainly with  primary colours  of yellow, blue, red, green, with outlines finely etched with black, on cloth or wood. 

 

This picture is of a patachitra item collected from Raghurajpur, sometime in 1990-91. It was done the famous patachitra artist, Jagannath Panigrahi, a national award-winner at that time. 

West Bengal - Terracotta temples

Terracotta,  or unglazed fired clay products, is an ancient art form in India. It seems to have developed as an extension of pottery-making, which is possibly the oldest craft practised by mankind after the making of stone tools. 

It was of course much later, possibly around 700 or 800 CE, when temples began to be built in India that ways had be found to decorate the temples with sculptures, and it was mostly in stone in those days. Sophistication in temple architecture progressed with time and finer and more elaborate carvings began to be made by the 15/16^th centuries. 

Yet finer designs and in less time and less effort came with the development of terracotta tiles to decorate temples with. Necessarily, terracotta generally flourished where stone for temple building was scare and clays were abundant, as found in the numerous river basins, such as the Kangsabati, the Damodar, Ajoy, Rupnarain rivers and of course the Ganga (Hooghly) in West Bengal. It was of course to some extent deliberate because of the ease and the sophistication of designs that could be made in clay relative to that in stone.  This found a great flowering in the late 17^th, through the 18^th and into early 19^th century. A good part of this now has become part of Bangladesh but a great deal remains in West Bengal to be enjoyed in towns such as Bishnupur, Kalna, Ilambazar, Guptipara and elsewhere in the Bankura and Midnapur districts of the state. These sites are quite easily accessible from Kolkata by journeys of just three to five hours by bus, vehicle or train.

The "Jor-Bangla" temple in Bishnupur

"Raghunath" temple in Ilambazar

A hunting scene on Jor Bangla

A detail with Shri Krishna in Shyam Rai temple, Bishnupur

  

As the above illustrations indicate, the motifs for the sculptures in the terracotta are diverse, ranging from the secular, such as wars and royal hunts, to the common devotional theme of Shri Krishna with the gopinis in Vrindavan. Tile after terracotta tile is placed on the basic superstructure of the temple, made here mostly of laterite blocks, to create a wonderful piece of art. 

Folk Art - Madhubani

Folk art is a fascinating subject: how people of different cultures see themselves and their world in different ways - and yet with a good deal of similarity.
The folk art of Madhubani in North Bihar has been practised for generations by the womenfolk in painting the walls of their humble dwellings at times of seasonal festivities. But it is only in the last fifty or sixty years that Madhubani art has broken out of its regional limits and has come to be accepted all over India and the world as a most interesting art form.
Even today, it is the women  who mostly do the paintings - now done on handmade paper for easy access by all - poring over their work for days, first with the rough outline and then filling in all the imagined images of gods and goddesses that populate their belief systems.

Vibrant primary colours of blue, red, yellow mark out the Madhubani paintings as do the detailed ornamentation of their favourite, Lord Krishna, in his many moods,  at times playing his flute, at times herding cows, with Radha, his consort, waiting in a bower of flowering plants or on a swing. In the midst of the stylization, there are different visualizations, different moods, that makes Madhubani paintings so interesting.