Naya village in West Bengal showcases vibrant Patachitra artworks, gaining global attention and adapting to modern times while preserving its traditional art that serves as a vessel for addressing various issues.
Patachitra, an amalgam of the Sanskrit words “pata” for canvas and “chitra” for picture, resonates through time. This ancient form of cloth-based scroll painting, celebrated for its intricate details and the mythological tapestry it weaves, has come a long way, travelling far and wide. One such painting from Odisha even adorns a wall in Danish Prime Minister Mette Frederiksen’s home.
This folk art form, once a tool of religious devotion, has evolved into a multifaceted medium in rural India. Patachitra now serves as a vessel for community awareness, collective opinion formation, historical documentation and a cherished means of leisure.
Patuas, the artisans behind Patachitra, form a dispersed community across West Bengal, Jharkhand, Bihar, Odisha and Bangladesh. In the past, Patuas served as itinerant storytellers, wandering from village to village, and narrating events painted on their scrolls. This tradition is known as pater gaan (song of the Patachitra). These visual and oral storytelling traditions became the carriers of community history and knowledge. Over time, however, the Patuas began facing marginalisation within the caste system.
“About 25 years ago, our fathers and grandfathers would take their paintings and roam the villages in search of sustenance, a necessity driven by hunger,” artist Bapi Chitrakar said. “Otherwise, what would they eat? How would they provide for their families?”
Naya village in Pingla subdivision of West Bengal’s Paschim Medinipur district houses around 100 Patua families, whose artistry has recently gained global attention. As you venture into this village, vibrant images and stories unfold, transforming the locale into a living gallery of murals and painted scrolls.
The narratives painted in Patachitra from Naya transcend religious boundaries, addressing issues like the exploitation and abuse of women, the country’s successful Chandrayaan lunar expedition, environmental campaigns, ditties from Bengal’s struggle against Partition, and tales of religious harmony.
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Swarno Chitrakar, a celebrated artist from Naya, has received awards for artworks addressing gender issues such as trafficking of women, female infanticide and dowry. Her art speaks volumes about the community’s development, especially from a woman’s perspective. She draws inspiration from Gouri Chitrakar, an artist who faced ridicule for her choices, like not having a husband, but became a trailblazer for the younger generation.
Swarno Chitrakar narrated an event that had inspired one of her artworks. A man in their village had killed his infant daughter, the news of which reached her. Swarno composed a new Patachitra against foeticide, which she displayed, accompanied by a song, in the village where it happened.
Bahar Chitrakar, a 72-year-old poet using Patachitra as his medium, shares stories of political unrest, religious harmony and the lore of Banabibi, believed to be the guardian spirit of the forests in the Sundarbans delta. These narratives, codified in Patachitras, serve as powerful expressions of dissent, coexistence and indigenous knowledge.
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In his compelling narrative, Bahar delves into the tumultuous political history of the Indian subcontinent, focusing on Bangladesh’s independence hero Sheikh Mujibur Rahman and the tumultuous 1970s. He amplifies the voices of the common people, shedding light on their suffering amidst political turmoil.
His creative scope extends beyond political critique. His exploration of the Sundarbans unveils a vivid picture of the gradual encroachment of humans into the jungles and the consequences of disrupting the delicate balance between humans and wildlife. The Sundarbans Patachitra is a reminder that sustainable practices can avert conflicts and protect both the natural world and human lives in this intricate ecosystem.
Naya has gained recognition, with artists like Swarno receiving awards, and the state investing in the handicrafts industry. Unesco’s community centre offers training to children, ensuring the tradition thrives amidst socio-economic challenges.
Patachitra, once a storytelling tradition, has adapted to modern times, becoming a language of self-expression, resilience and aesthetic appeal. This tradition, rooted in placing sequential image panels to form narratives, laid the foundation for Indian cinema, particularly in Bengal. The cinematic wave brought about changes in rural practices, and the art form adapted accordingly. Stories from the Ramayana and Mahabharata, available on television, influenced the paintings to become shorter, eliminating panels from longer narratives.
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Today’s Patachitra is not constrained to storytelling. Single-panel paintings are created, sold and framed as standalone pieces. In this metamorphosis, various objects like coasters, kettles and clothes serve as canvases, echoing the vibrant spirit of a community and its timeless art.
“A chitrakar (artist) is the one who breathes life into objects,” said Bahar.
Naya transforms into a decorative haven every day, featuring an array of merchandise for tourists. While the adaptability of this art form benefits some more than others, it remains alive, evolving with changing circumstances.
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As the sun sets over Naya, both men and women gather outside, creating new Patachitras that capture the hues of the evening sky. In this village, songs are composed, narratives are woven into images, and children grow amidst this vibrant cultural mosaic.
The lead image at the top shows a mural adorning a house in Naya village of West Bengal. (Photo by Mitali Banerjee Joyee)
Mitali Banerjee Joyee is a Village Square Fellow ’23 who loves learning about different cultures through books and art.
