COPYRIGHT INFORMATION © Published in the year 2022 by Fashion Communication Department National INSTITUTE OF FASHION TECHNOLOGY, (Ministry of textiles, Government of India) Plot No. 24, Chandaka Industrial Estate, Bhubaneswar, Odisha 751024 www.nift.ac.in/bhubaneshwar This craft documentationhas been written, illustrated, edited and designed by student researchersAnkita Kumari, Anubhav Jain, Anushka Sharma, Avantika Sinha, Garvita Srivastava, Pallavi Malwa, Tanupriya Yadav © All rights are reserved. No part of this book may be reproduced in any form without the written permission of the author and publisher, except by a reviewer who wish to quote down the source.
NATIONAL INSTITUTE OF FASHION AND TECHNOLOGY BHUBANESHWAR CRAFT RESEARCH DOCUMENTATION PATTACHITRA PAINTING Department of Fashion Communication Batch 2020-2024 Ankita Kumari Anubhav Jain Anushka Sharma Avantika Sinha Garvita Srivastava Pallavi Malwa Tanupriya Yadav Under the guidance of Arnav Barik (Mentor)
2 DECLARATION CERTIFICATE We hereby declare that the information given in this document is authentic and the copyright to reproduce this document in amy form is reserved to National Institue of Fashion Technology Bhubaneshwar. The interaction with artisans was conducted between 25/07/2022 to 29/07/2022 on site. Mr. Arnav Barik (Centre Coordinator) NIFT Bhubaneshwar
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ACKNOWLEDGEMENT “Knowledge is in the end based on acknowledgement” Ludwig wittgenstein Through This document we take this opportunity to thank everyone involved in this process of learning. Firstly we would like to show our gratitude towards National Institute of Fashion and Technology Bhubaneshwar for incorporating such profound activities in our mainstream academia. These knowledge help us to develop an understanding and empathy towards the craft and the artisans who are practising these crafts. We are deeply grateful to our professors for their guidance and support without whom we would have not been able to conduct this survey and have proceeded further in this documentation. And lastly we would like to thank the artisans, as without their support this would have not been possible to write this documentation, they shared their insight and gave us their valuable input about the craft. This study has helped us to explore the knowledge about artisans and the craft Pattachitra and we are sure it will help us in future.
Keywords:- Artisans heritage village Jagannath pattachitra ABSTRACT The state with stunning natural scenery, temples and monuments, and a calm populace, the wild orchid species having incredible beauty, numerous skilled artisans call it home. “The land of God,” or more formally known as Odisha, is its modest name. Odisha is famous for it’s very rich folk art and crafts, one such craft known as pattachitra which is an ancient Odia art practiced in a small village named ‘Raghurajpur’ which has been declared as the heritage village, was initially made for ritual purposes and as a gift for pilgrims who visited puri and other temples. The phrases “Patta” and “Chitra,” which both imply “paintings on cloth,” are the roots of the word “Pattachitra.” Pattachitra is closely related to Lord Jagannath and is believed to have originated as early as 12th century. This painting is done on a canvas made up of cotton cloth which is prepared by artisans themselves and also the colors used for painting are all obtained through natural materials. The stories painted on the canvas are generally mythological stories of Lord Jagannath, the ten incarnations of Vishnu, Krishna leela, Ramayana, etc. With time there has been modification in designs and many more stories other than mythological ones are also being painted on a variety of objects other than the patta.
Fig.1 Women sitting on the doors of their house
In Indian history, Pattachitra played a crucial role. This document aims to inspire readers and explore the core of what our fortunate community of cultures has to offer. We exhort people to preserve their heritage and to be proud of it so that succeeding generations might take advantage of it and learn from their illustrious past. We carried out the cluster project offline in order to communicate with the artisans of Raghurajpur, a centre for Pattachitra paintings and the chitrakar community, which is located in the district Puri of the state of Odisha. We seek to portray the story of the artisans and their craft of painting Pattachitra while describing the difficult process and incredible craftsmanship of the art. We must all spread the word about Pattachita’s great artwork in order to make people aware of it. Preface
CONTENT
PATTACHITRA 1 2 3 4 5 6 Aadara-satkara About craft Process Product Research Artisians interview Market research •About Odisha •About Raghurajpur About craft •Pattachitra •Background & provenance •Raw materials •Tools •Process •Steps of the process •Design and motifs •Significance •Workspace Product range •Kitchen accessories •Home decor •Table accessories •Fashion accessories •Usage and packaging • About artist • Database of artisians • Role of women • Observation and Analysis • Issues and Challenges • SWOT analysis • Problems and Solutions • Our Experience • Conclusion Market analysis •Present market scenario & competition •Packging and transport •Display and merchandising •Customer behaviour •Scope and interventions •GI tag • Government policies- Database NGO
12 ADARA-SATKARA (ଆଦର-ସତ୍କାର ) •About odisha •Climate •Geographical importance •Demographics •Economy •Culture •Dance •Fairs and festivals •Cuisine •Handicraft industries •About Raghurajpur •History •Performing arts •Art and Craft •Legend •Community Lifestyle •Clothing and language 1
1 ଆଦର-ସତ୍କାର Adara-Satkara
2 About Odisha
3 pilgrimage sites in India, as well as hundreds of thousands of tiny, traditional villages, may all be found in Orissa. Climate Odisha is located in a tropical wet-dry climate zone (or tropical savanna). High temperatures in Cuttack normally rise into the mid-80s F (approximately 30 °C) in January, the coolest month, from lows in the mid-50s F. (low 10s C). Temperatures in May, the warmest month, typically reach the mid-90s F (mid30s C) from lows in the low 70s F. (low 20s C). The higher altitudes of the hills provide some relief from the summer heat, which is especially harsh in the central tract’s basins. The average annual rainfall in the state is roughly 60 inches (1,500 mm), with the most of it falling during the southwest monsoon season (June through September). The Eastern Ghats receive more precipitation, although the coastal area south of Chilka Lake, the state’s driest section, may receive less than 50 inches (1,300 mm) each year. illustration Odisha, formerly known as Orissa is an Indian state. It is located between 170- 48 and 220-34 North latitude and 810- 24 and 870-29 East longitude in the eastern part of the country, located in the northeastern part of the country, it is bounded by the states of Jharkhand and West Bengal to the north and northeast, by the Bay of Bengal to the east, and by the states of Andhra Pradesh and Telangana to the south and Chhattisgarh to the west. The region is also known as Utkala and is mentioned in the National anthem. also this contemporary state of Odisha, which is primarily made up of Odia speakers, was formed on 1 April 1936 in Kanika Palace in Cuttack, India. Consequently, April 1 is observed as Utkal Divas (Odisha Day). With its historical structures, archaeological sites, indigenous arts, sculpture, dance, and music, Odisha is a cultural treasure trove. In terms of area, it is the eighth-largest state, while in terms of population, it is the eleventh largest. The third-highest number of Scheduled Tribes in India reside in this state. In 2011 The state’s name was officially changed from Orissa to Odisha. Three powerful rivers, the largest fresh/salt water lake in Asia, dozens of the most revered Fig.2 Fig.2 Depicts the map of the Orrissa
4 regions of the northeast, where Bengali is commonly spoken, the majority of Odisha’s nontribal population speaks Odia, the state’s official language. The people of Odisha live primarily in rural areas. The coastal plains’ area of irrigated rice production is densely inhabited. The majority of indigenous peoples reside in the hilly regions, however others have made the plains their home. Bhubaneshwar, Cuttack, Brahmapur, Raurkela, Sambalpur, and Puri are the important cities. With the exception of Raurkela and Sambalpur, which are located in the state’s northwest, all are in the Geography Odisha is situated between longitudes 81.37E and 87.53E and latitudes 17.780N and 22.730N. The state is 155,707 km square in size, or 4.87% of the total area of India, and has a coastline that extends for 450 km. The eastern part of the state is where you’ll find the coastal plain. It extends from the Subarnarekha River within the north to the Rushikulya River within the south. Lake Chilika is a part of the coastal plains. Demographics Of Odisha’s overall population, the Scheduled Cast and Scheduled Tribes compose up to two-fifths. The tribal peoples are classified into three linguistic groups: the Munda language speakers, ; the Dravidian language speakers; and the Odia speakers, who belong to the Indo-Aryan language family. The Santhal, Savara, and Juang peoples have historically been among the most notable Munda speakers, whilst the Khond, Gond, and Oraon peoples have historically been the main Dravidian language speakers. The Bhuiyan dialect is Odia. Many of the indigenous peoples had made Odia their predominant language by the beginning of the twenty-first century. Except for some
5 coastline region. Economy Agriculture Three-fifths of the working population is employed in agriculture, which contributes to around one-sixth of the state’s gross domestic product even though most of the land is either unproductive or unfit for more than one yearly crop. About one-third of the state’s total area is made up of arable land, and about three-fourths of that land is planted with rice. Pulses, oilseeds, vegetables, cereals (including wheat, corn, sorghum, and pearl millet), jute, sugarcane, coconuts, and spices are some other significant crops. Low sunlight availability, poor soil quality, sparse fertilizer application, and erratic monsoon rain volume and timing all contribute to the state’s farmers’ typically low yields. Resource and Power plant The state of Odisha has abundant mineral resources. In terms of producing chromite, bauxite, manganese ore, graphite, and nickel ore, the state is a national leader. Additionally, it is among the top producers of premium iron ore. A number of the state’s major enterprises rely on coal from the Talcher field, which is close to the east-central city of Dhenkanal. Apart from captive power plant Odisha also has powerful Hydro electric stations. Manufacturing The majority of the state’s manufacturing operations are related to its natural resources. Steel, ferromanganese, cement, aluminium, and fertiliser manufacture, as well as nonferrous smelting, are large-scale mineral-based industries. Other prominent sectors include the production of chemicals, ceramics, and aeronautics equipment. In general, heavy and large-scale industries are concentrated in the state’s interior. In contrast, the majority of foundries (particularly for aluminium and brass), glassworks, and paper mills, as well as smallscale businesses such as cotton textile mills, sugar mills, and rice mills, are concentrated in the coastal plains. There is also a tiny but substantial handicraft sector, which includes a well renowned sericulture (silk production) industry. Service The service sector became the largest proportion of Odisha’s economy in terms of value in the early 21st century, and it continued to grow rapidly. Major components include banking and finance, insurance, trade, and hotel and other hospitality activities. Tourism has played a relatively small role overall, although that sector has grown in significance.
6 The regional language Odia, which has Sanskritic roots and is one of the oldest languages in the nation, is the primary tongue used here. For official purposes people here widely use English. The majority of people in Odisha speak Odia, which makes up about 84 percent of the total population. Odia is closely linked to Assamese and Bengali and is a member of the Indo-Aryan branch of the IndoEuropean language family. Different Adivasis of this state speak a few more tribal languages that are related to the Munda and Dravidian language groups. The people of Odisha are fervent followers of Lord Jagannath and Lord Shiva. Odisha is proud of its cultural past, which was shaped by the coexistence of the three main religions—Hinduism, Buddhism, and Jainism. Odisha has a diverse and rich culture which includes a wide range of festivals, people, languages, customs, cuisines, and living standards. Dance: Culture: native drum) and the flute is typical of the countryside. Odisha’s classical dance, known as Odissi, has been practiced for over 700 years. It began as a temple dance performed for the gods. The dance’s moves, gestures, and attitudes are rendered in relief on the walls of the great temples. Chhau, a sort of masked dance connected with the Mayurbhanj district and surrounding northern districts, is typical of Odia culture. The Kala Vikash Kendra center in Cuttack was founded in 1952 to promote dancing and music, and it has remained a notable arts performance and training site in Odisha. Festivals and fairs bring joy to the people of Odisha. Although festivals are associated with religious acts, the joyful atmosphere frequently overshadows the ceremonies. Most festivals are common to all areas, however, certain places have their own specific celebrations that occur seasonally. Puri celebrates Chandan Yatra, Snana Yatra, and Ratha Yatra with exceptional zeal, while the Festivals: Odisha’s tribal areas have a diverse range of dances. The music of the madal (a type of
7 Odisha is a significant culinary tourism destination in east India because of its straightforward yet distinctive cooking technique. As a result of the state’s predominantly fertile plains and humid climate, it produces a lot of rice, which is used extensively in Odisha cuisine. When compared to the cuisines of other Indian states, Odiya cuisine uses a blend of locally obtained vegetables, grains, pulses, dairy products, and seafood in addition to using fewer spices and oils. Despite this, the food is full of flavor, scent, and wonderful tasting recipes. Khichdi: Khichdi, a rice and lentil dish from the Indian subcontinent, is one of the most popular meals in Odisha. This dish, which is offered in numerous variations, is Cuisine: the preferred option for offerings in Odisha temples. Dalma: Dalma is a traditional lentil dish from Odisha. The veggies and spices in this tantalizing meal from Odisha give it a savory flavor similar to Sambhar. Pakhala: The main component of pakhala is rice, which is fermented with water overnight and eaten with fried vegetables and fish as a side dish. An Odia’s staple diet is pakhala, particularly in the summer. According to certain researchers, the food is the only one that contains vitamins for the nerve cells and is known to be a preventative for heat stroke, which is rather common in the area during the summer. Chungdi Malai: The state’s Chungdi Malai seafood plate is arguably the best there is. This meat-based meal is a thick and creamy curry made with prawns. The main components that give this meal its sour and creamy flavour are spices and coconut milk. Pithas: Pitha, a sort of rice cake composed of wheat or rice flour and loaded with various savory and sweet components, is a necessary dish that completes the Oriya cuisine. This delicious dish from Odisha, which has over 10 variations, is a need for celebrations and special occasions. latter is also celebrated in Baripada, Athagarh, Dhenkanal, Koraput, and other places even beyond the state. Durga Puja is celebrated throughout the state, but especially in Cuttack. Diwali or Kali Puja is celebrated in several places in Odisha. Cuttack’s Bali Yatra, held on the full moon day of Kartika, recalls the splendor of Odishan traders in the past. Chaitra Parva, a Chhou dance festival, is held in Baripada. Makar, Holi, Mohurram, Id, and Christmas are also observed in the state.
8 Chenapoda: The classic dessert dish from Odisha. The sweet delicacy chennapoda, a favourite in Odisha, is made by combining cottage cheese and sugar before being placed in a bowl to give it a circular shape. After that, it is baked in a sal leaf-covered earthen oven. Its taste is enhanced by the charred upper layer, which gives it its distinctive smoky flavour. Malpua: One of India’s oldest desserts, malpua is a little deep-fried pancake that is served hot after being covered in sweet syrup. Lord Jagannath of Puri is given one of the region’s most well-known delicacies. Chena Jalebi: Chhena Jalebis differ from conventional ones in that they are larger, thicker, and contain the distinctive ingredient Chhena, a fresh curd cheese. Rasagulla: The sweet which melts the gods. Known in ancient Odisha as Kheera Mohana, it is one of Lord Jagannath’s favourite sweets. During the ritual Niladri Bije – When the Lord returns to the temple after the Chariot Festival, he woos his consort, Goddess Lakshmi with a bowl of Rasagulla. The dish is made from Cottage Cheese which is rolled into a round shape by hand and boiled in sugar syrup. Art and Crafts: Odisha is famous for its various artforms and handicrafts Arts and crafts in Odisha saw numerous modifications due to the rule of different kings in the past, resulting in the aesthetic diversity found today in the forms of traditional handicrafts, painting, carving, dance, music, apparel, etc. Silver filigree Particularly exceptional instances of artistic excellence that are uncommon to find in any other region of India are the silver and filigree work from Odisha. Silver wires, which are incredibly delicate, are formed into complex patterns. Silver wires are also used to create animal and bird shapes as well as everyday objects like vermilion receptacles. Filigree jewellery, particularly brooches and earrings, is immensely popular among Indian women. World-renowned for its filigree craftsmanship is Cuttack. These products are made with high-quality silver that is up to 90% pure and of a high level. A beautiful mesh-like piece is made by drawing silver wires through tiny holes and then soldering them together. Silver Filigree work can be categorized under many items. Ornamental items like bangles, earrings, necklaces, brooches, and pendants are a hot favorite amongst the ladies. Fig.3
9 work and supported by pikes) are utilized. Marriage ceremonies are not complete without large applique canopies. Canopies are hung above the gods in temples to shield them from flying dirt. Decorative items like temple mold, the cast of snakes and horses, animals, and chariots are apt for drawing-room. The utilitarian items mainly consist of bowls, ashtrays, cups, vermillion containers, etc. Devotional items of silver are also used in the many temples of Odisha. Applique art: The most sought-after appliqué works are completed by tailors at Pipli. The production of enormous applique-worked umbrellas for use during celebratory occasions. They provide elegance and colour to any event and are also utilized as garden umbrellas in expansive lawns. The applique technique is also used to create wall hangings, large and small canopies, and heart-shaped fans. The figures of animals, birds, flowers, and geometric forms are cut out of vividly coloured cloth by the tailors, who then arrange them symmetrically on another piece of cloth and stitch them in place to create an attractive pattern. The vibrant splashes of yellow, white, green, blue, red, and black dazzle observers’ eyes and create a festive atmosphere. Additionally, applique motifs are used to create bags of all shapes and sizes. To add colour to religious processions, appliqué chhatris (umbrellas) and tarasas (heart-shaped wooden constructions covered in applique Fig.4 Fig.3 Silver Filigree Fig. 4 Applique artwork (Google refrence)
10 Golden grass and cane work: Baskets, hand fans, and table mats are examples of golden grass handicrafts in Odisha. Floor mats are also made from golden grass, a local commodity. The rising demand for these goods attests to their beauty, utility, and long-lasting quality. Cane is used to weave baskets and various pieces of furniture. Horn Work: The mystical Odisha Horn Work exhibits remarkable fashion design. The horn items compete with the genuine things of nature in terms of their lively appearance, energy, and dynamism. Many of the horn crafts in Paralakhemundi boast tiny touches of silver filigree that give these things a distinctive appearance. The horn products of Paralakhemundi, which is in the Gajapati district of Odisha, highlight the region’s rich cultural legacy. In Cuttack, beautiful jewellery and bangles are made by combining horn and filigree techniques. Using bull horns, a number of skilled artists in Odisha also create everyday items like combs, pen stands, and flower vases. There is clearly a wide range of horn work Fig.5 available in Odisha. Fig.6
11 Fig.5 Golden grass products (Google reference) Fig.6 Home decor made up of horn (Google reference)
12 Fig.7
13 About Raghurajpur to nearby smaller villages in the late 16th and early 17th century, beginning the history of this village. In the past, the communities were employed to decorate the Raths during the Rath Yatra and paint the wooden idols of the Jagannath temple. traditionally, the painting work was considered to be Seva to the Lord Jagannath and was performed by a small number of families only and was not used for Commercial purposes. However, with time, more people took this work and there was not enough work for everyone. The Chitrakaras were forced to leave and their first choice was the cluster of villages in the vicinity of Puri, namely Dandasahi and Raghurajpur. Raghurajpur was designated a “heritage village” by the Indian National Trust for Art and Cultural Heritage (INTACH) in 2000, which has aided the artists in their exploration of other traditional art forms. In addition to pattachitra and palm leaf paintings, one can discover artisans creating wooden toys, masks, paper-mâché toys, cow dung toys, and other items. Each house of this village has kept alive the traditions of the olden days. The village used to be surrounded by beautiful coconut, Palm, and Jackfruit trees but after Fani the vegetation of the village has become very less. Raghurajpur The heritage craft village Of Orrisa, situated on the banks of the river Bhargabi ( Bhargavi), this village is located approximately 14 km from Puri District of Orissa and 55 Km from The Capital Bhubaneshwar, it is a quaint village with around 150 houses lining up in two rows and approximately 12 temples in between them facing each other, and every house has a member engaged in Pattachitra, the artform which has been practiced here since 12th century this craft has attracted the attention of artists and art enthusiasts alike since it is rooted in ancient culture and depicts mythological scenes with vivid colors and excellent craftsmanship. Earlier the village used to be surrounded by lots of vegetation consisting of coconut trees, palm trees, etc. but after the village got hit by the Fani cyclone in 2019, the village has completely changed according to the artisans who were telling the stories before the cyclone with nostalgia, presently there are very few vegetation and most of the trees are barren, devoid of even branches or leaves. Each house of the village has murals painted on the walls and doors and the craftsmen do paintings in their house itself which over time has become their workshops too. The village also has a series of temples situated between the houses of the deity Bhuasuni, the local deity, Radhamohan, Gopinath, Laxminarayan, Raghunath and Gauranga. The chitrakara Community migrated from Puri Fig.8 Fig. 7 The entry gate of Raghurajpur Fig. 8 Raghurajpur board
14 Dance and artforms: Raghurajpur is home to Odisha’s finest and most famous Pattachitra paintings other than pattachitra the artisans also engaged in making tala pattachitra ( palm leaf engravings), Tusser paintings, stone and wood carvings, cowdung and paper mache toys, masks, coconut paintings, Ganjapa playing cards etc. Tala pattachitra: Raghurajpur is renowned for producing tala pattachitra, or palm leaf engravings. This art form involves sewing together rectangular palm leaves of the same size to create a rectangular canvas, engraving images onto the leaves, rubbing them with black inked watercolor so that color setteles in the engravings, and then the surface is cleaned. They often depict paintings of the Dashavtars (ten incarnations of Vishnu), the Life of Lord Krishna, the Ramayana, or just birds and animals. Another variant of these paintings involves cutting circular sections from palm leaves to create a window-like structure that can be turned over to reveal three different paintings. Cow dung Toys: Fig.9 Fig.10 Fig.11 Fig.12
15 These toys are made from husk, cow dung, and lime powder. The cow dung is painted in vibrant colours with a Tulli or brush, and the design is maintained basic and sophisticated. The popular and common articles are figures of animals, birds, humans, and idols of Lord Jagannath and his companions. Papier Mache: Papier-mache masks and figures were influenced by conventional patachitra paintings. The word literally means chewed paper or pulped paper. It is a distinctive craft that uses waste paper, textile waste, and a variety of natural fibres. They are first soaked, then afterwards battered and combined with gum. Gum gives it strength and deters termites at the same time. Mukha, another name for a mask, is created using clay and newspaper mould. Additionally, layers of paper and fabric rags are added and put on the mould with readily accessible local gum. After that, a smooth coating of sawdust is spread, dried, and polished with sandpaper. The colours are created using seashells and rocks, the same as they are for Patachitra paintings. The patachitra-inspired crimson and black eyeliner is applied to the eyes. Masks of deities, demons and animals made from papier mache are used in local folk and classical dance performances. Apart from these masks, other articles such as dolls, pen stands, and lampshades are also made from Fig.9 Jagannath temple made of stone Fig.10 Taalpatrachitra Fig.11 Artisan making palm leaf painting Fig.12 Cow Dung toys in process and complete Fig.13&15 Paper mache wall hanging Fig.14 Paper mache toy in process Korani/ spatula, tulli/brush, nadiasadhei/ paint container, pathrakadhi/tamarind seed grinder and rubna/stone grinder are used to make articles from papier mache. Fig.13 Fig.14 Fig.15
16 Stone carving: The ancient art of molding stone into decorative and functional items is known as stone carving in Odisha. In the Indian state of Odisha, it is a long-standing custom. Although certain carvings may be found at Khiching in the Mayurbhanj Region, stone carving is primarily carried out by artists in Puri, Bhubaneswar, and Lalitgiri in the Cuttack district. One of the Odisha’s primary handicrafts is stone carving. The Sun Temple of Konark, with its detailed sculpture and delicate carvings on the red vibrant sandstone, serves as an example of the art form, which predominantly comprises custom-carved works. The Stupas of Udayagiri and Ratnagiri, as well as the temples at Jagannath, Lingaraj, Mukteshwar, and other temples in the area, are further important structures. Selecting a fine-quality stone is the first step in the creation process. The artist starts by outlining the statue’s general shape on the stone itself. When ready to begin carving, the artisans typically start by using a chisel and hammer to remove a sizable percentage of undesirable stones. The carving procedure is currently at the roughing out stage. Chisel and hammer are used to complete the bulk of the carving. With pointed instruments, delicate carvings and diamonds are created to get the right decorative shape. After the items are finished, the stone’s surface is brushed clean and polished with sandpaper. Fig.16 Fig.17 Fig. 16 Stone carving work in Raghurajpur Fig. 17 Stone carving idol of Lord Krishna Fig.18 Gotipua Dancer doing makeup Fig.19 Gotipua dancer
17 Wood carving: In Orissa, the wood that carvers love to utilize is known as “gambari wood.” The first step is to choose the wood and cut out the block of the necessary size. A block of wood is crudely marked with a pen after being cut to the proper length and width. On one block of wood are drawn the contours of the image that must be carved into an idol. On the wood block, rough shapes are made to make carving it easier. The artist uses the contours as a guide while they carve and chisel the wood. Artists carve out wood layer by layer with the use of a hammer and chisel. To begin, the artist crudely carves the idol’s basic form. After rough carving, smoothening is accomplished using various file types; this technique is referred to as fine carving. The idol might be identified at this point. The eyes, nose, and ears are the only parts of the idol that require significant further refinement or finishing; all other work is carried out with hand-held tools. To give the idol depth, smaller chisel tools are also used. To ensure a high-quality finish and errorfree work, detailing is done. After every last detail is added and the idol’s wood carving is finished, it is polished with wax. The artisans carve the idols in accordance with the requests they get. Dance: Raghurajpur is also famous for Gotipua dance which is almost an extinct dance form performed by males and is kept alive by a few of the families of this village ‘Goti’ in Odia means “single,” while “Pua” means “guy.” Young guys dress as girls and dance in this traditional folk style to honor Lord Jagannath and Lord Vishnu. Young guys begin learning the dance, which they continue into puberty when their androgynous appearance is diminishing. These young lads dance while displaying some truly impressive acrobatic skills. This is also the birthplace of the doyen of Odissi dance Guru Kelucharan Mohapatra. In the village, Padmashree Guru Maguni Das is in charge of the Dasabhuja Gotipua Odissi Nrutya Parisad, a Gotipua Gurukul. Fig.18 Fig.19
18 working in the verandah of each of their homes. Their homes feature stunning pattachitra murals painted on the walls and doors, and the houses themselves serve as the display center, shops, and workshops for the crafts They celebrate festivals with community participation. The people of this village are very friendly and welcoming and the treatment received by them as a visitor or tourists is very pleasing, They give a warm welcome inside their homes, Legend: There are many legends associated with the village one among them suggests how the village got its name ‘Raghurajpur’ which literally means the home of lord Rama. It is believed that during his 14 years of Exile Lord Rama stayed here for a while. Another legend about the origin of this village is the ancient text Skandpurana which is one of the 18 sacred Puranas of Hindu and tells about a Kapateshwara temple on the outskirts of Raghurajpur village it has a legend saying during their visit to Earth Lord Shiva and Parvati rested at the temple. Community Lifestyle: This is the village where each household is engaged in some form of traditional crafts and work and members of the family take pride in their work and possess a great talent. Due to the constant efforts of the late Guru Sri Jagannath Mohapatra and others, the pattachitra has become popular in India and abroad. Every home has both men and women who work and produce one or the other craft, and there is an unofficial division of labor in which women produce the more basic items— such as canvas and gum—while men produce the more intricate ones. Men, and occasionally women, can be seen Fig.20 Fig.21
19 Fig.20 Artist making Pattachitra painting at the door of his house Fig. 21 Village women praying Fig.22 Villagers setting their shop in the morning Fig.23 Artisan interacting with a tourist tell their tales of triumph and adversity, and leave an individual feeling happy. Anyone is not compelled to make a purchase. They take pride in their work and hope that others will recognize their talent. People who want to enjoy and live a village life can come and stay here with the villagers for residence purposes they have a guest house, and they also provide with what they eat i.e., typical Odia food which consists of Pakhala bhata, Dalma; a famous Orissa dish made up of different pulses and vegetables. Those who want to learn their crafts can also come and stay in the guest house and are always welcomed here, they teach each and every technique and method of doing a particular craft. Many tourists, Indian as well as foreigners come to this village to learn and experience the lifestyle of the people. The village features a few modest shops for everyday purchases, a guest house for travelers, and an auditorium where various performances of dance and shows are held. Fig.22 Fig.23
20 ABOUT THE CRAFT (ଶିଳ୍ପ ବିଷୟେର) •Pattachitra •Background & provenance •Clusters of pattachitra •Name of the clusters 2
21 ଶିଳ୍ପ ବିଷୟେର About the craft
22 did centuries ago, unchanged, and unaffected by time. The Yatri Pattis was one of the additional varieties of Pattachitra that emerged close to the temple. The Jagannath temple and the deity trio were both shown in these beautiful paintings. This was the only image of the temple that followers could carry with them at the time because photography had not yet been invented. Focusing on the Hindu epics, it expresses some of the religious and mythological elements of Oriya culture. The Ramayana and Mahabharata in general, as well as the Jagannath worship in particular. Pattachitra comes in a variety of forms, including TalaPattachitra, Jatripatti, Ganjapa, and Jautuka Peti. Tala pattachitra Tala pattachithras are pin-point-thin artworks from Orissa that are engraved on a string of palm leaves and accentuated with lampblack or kohl. These paintings on palm leaves depict both real-world incidents and mythological tales. • Tala Patta Chitra is a technique for conveying stories and merely ornamental images that represent the endless variety of tales found in Indian epics. • Scholars in many areas were given palm leaf manuscripts on Shrutis (Vedic Texts), Smritis (Dharmasastra), and the Puranas, including the Ramayana, Mahabharata, and Bhagavata, About the craft Pattachitra is a colorful Odia art form that is rich in “Puranic” culture, myths, and stunning details. The phrases “Patta” and “Chitra,” which both imply “paintings on cloth,” are the roots of the word “Pattachitra.” The cult of Lord Jagannath of Puri has shaped them. It all began when Painters from Odisha, began creating Chitra on a Patta as a spiritual offering to temples. These paintings depicted mythological tales and historical figures’ daily lives. The anasarapatti is one style of Patta painting that is very common. The famous Ratha Yatra, the Chariot festival, is held on the new moon day in the month of ashadha (June-July). From the celestial bath on Snana Purnima (the full moon day in the month of jyestha (May-June) until that day, the supreme triad (Jagannath, Balabhadra, and Subhadra) are thought to have a fever and are ‘treated’ in a separate room 108 pots of water are poured over each deity during this heavenly bath. The painted colours on the images are therefore washed away, allowing for their preservation in the anasaraghara. The traditional painters of Pattachitra are from the Odisha historical hamlet of Raghurajpur. The art style, which was originally called “Ansar Patti” to honor the 15 days the idols are sequestered, is now referred to as “Pattachitra.” These paintings continue to convey folklore in the same manner as they
23 so they could recite and explain them in public speeches. • Some of the significant themes are Kandarparath (Cupid’s Chariot) and Thia Badhia (representation of the Jagannath temple). Others include Dasabatara Patti (the ten incarnations of Vishnu), Nabagunjara (a figure composed of nine different creatures), and Krishana Lila (Jagannath as Krishana demonstrating his childhood feats). Kanchi Abhijana, or the Rama-Ravana Judha (War between Rama and Ravana) (Expedition against the Kingdom of Kanchi). •For the various types of figures, the crowns also varied. Four different crown types are depicted and given names based on their crests: “ambkasiaia” (tender mango) with a crest shaped like mango for queens; “pana Patri” (betel leaf) with a heart-shaped crest for Kali, Bhairavi, Tara, and other Goddesses; and “banka chulia” (tilted plume) for Krishna. Jattripatti patachitra Jatripatti (painting meant exclusively for pilgrims) In the past the only form of patta painting available on the market were jatripattis, painted on both primed paper and cloth of various shapes and sizes. It depicts the trinity in different postures and the architecture of the Jagannath temple at Puri. These jatripattis are named differently according to their shape and size, for example, anguthi (circular shape of finger-tip size),gola (circular type), panchamandiria (depicting five temples), and sankhanavi (depicting the temple’s architecture on a conch-shell painting). Ganjapa Ganjapa Circular paintings with a diameter of 1.2-2 cm were once used as playing cards. They were initially only embraced by royal or aristocratic families, but subsequently gained enormous popularity among farmers. A set of ganjapa cards typically has 96 cards, but occasionally has 108 or 112. Each card is a unique work of art with vibrant and varied illustrations and motifs that are allegedly never used again. Jautuka Pedi (dowry box) When brides left their parents following the wedding ceremony, they used to get a variety of clothing and home items. All of these items were put into a dowry box made of wood and painted with Patta artwork. Giving such boxes to brides in various sizes was common among the Chitrakaras. Fig.24 Fig.25 Fig.24 Tala patra chitra Fig:25 Ganjapa playing cards
24 It wasn’t traditional, but it was also well-liked by others. Small Patta paintings featuring lone gods and goddesses are also prevalent. Kings, emperors, and zamindars typically purchased large paintings showing numerous legendary stories. Background and Provenance Pattachitra style of painting is one of the oldest and most famous craft practiced in Orissa and West Bengal. The earliest record of Pattachitra came from the village of Puri where it is still practiced The origin of the artists in Raghurajpur is from Savar tribes and they are known as chitrakaras, there are two caste of chitrakaras ‘Maharanas’ and ‘Mahapatras’ who are the people associated from the starting of this craft but with time people from other families also took this work of painting. The main groups involved in this practise are the Sahu, Swain, Maharana, and Goldsmith communities. In the village, there is only one Brahmin. Around 19 century the market for pattachitra went down in Puri and only a handful of artisans were the only people left who could do this work and make a living out of it, because of this the people lost their interest in this and took up unskilled labor jobs like working as waged earners and agricultural laborers and some continued to be dance performers. As part of the American Friends Service Committee’s (AFSC) village improvement projects, a Polish-American couple named Philip and Helena Zealy traveled to Orissa in 1952. Helena, in particular, became involved in the revival of Odishian craft traditions and pursued small organizations like the American Museum, the University of Pennsylvania, Bengal Home Industries, and the Indian Institute of Art and Industry Craft Museum of Delhi to help breathe new life into the craft. Ms. Helena Zealy tried to resurrect the art form globally by organizing a Pattachitra exhibition in America and invited some of the top artists to view the Pattachitra from Lord Jagannath’s own country. Many people later express appreciation for the artworks. Finally, painters began shipping Pattachitra to America and making a considerable profit. She also organized a contest for the villagers’ artists, during which Jagannath Mohapatra, a well-known patta painter, was uncovered. Fig.26 Fig. 26 Jagannath Mohapatra Foundation
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26 PROCESS (ପଦ୍ଧତି) •Raw materials •Tools •Process •Steps of the process •Design and motifs •Significance •Workspace 3
27 Process ପଦ୍ଧତି
28 Old cotton cloth for making the ‘patta’ (canvas) Conch shell or Samudra shankha which is used for making white color. Tamarind (Imli Seeds) for making the gum which is used to coat the cotton cloth with calkpowder Raw Materials Fig.27 Fig.28 Fig.29
29 Khandneela, a mineral stone used foe making blue color. A stone named Hingula used for making red color. Chalk powder used for making a solution with tamarind gum used for coating the canvas. Fig.30 Fig.31 Fig.32
30 Paint brushes or commonly known as ‘Tuli’ used for painting. Pencil, ruler and eraser for drawingt the rough sketches and outlines before painting on the canvas. Khaddar stone for smoothning the patta, it is pinkish-white in color. Tools Fig.33 Fig.34 Fig.35
31 Chikana stone which is yellowbrown in color and used for shining the canvas. Kainchi is called scissor for cut the pattas according to their needed sizes. Dried coconut shells used as container for colors. Fig.36 Fig.37 Fig.38
32 Production Process: Patta Making The first step of the process is getting the canvas ready. Firstly, the old cotton clothes are laid on the floor and the gum made up of Tamarind is applied and then the second layer of cloth is laid over it to paste them repeating the same process of applying the gum and letting it dry and any air bubbles or patches of gum between the layers should be removed. Second, the fabric is dried while tamarind and chalk powder are combined to make a paste. This paste is rubbed on the dried fabric. After drying, the canvas is smoothed by repeatedly rubbing it with khaddar stone. After the canvas has been polished, the chikana stone is used to polish the fabric. The canvas is prepared for painting and is cut to the necessary sizes for painting. Making of Natural Colors: The painters solely employ organic, mineral, and vegetable pigments. Earlier they used to make their own colours. For instance, conch shells are powdered, boiled, and filtered to produce the white colour. This procedure is extremely risky and labor-intensive. However, it is this procedure itself that gives the colour its brightness and durability. Red is created using a mineral pigment called “Hingula,” yellow with “Haritala,” and blue with “Khandneela.” Burning coconut shells produces pure lamp black. Red, yellow, indigo, black, and whites are the only main and brilliant colours commonly used in Pattachitra paintings. but nowadays these colors are provided in powdered form i.e., after processing by the government. The government provides this powdered color in the market from where the artisans buy them.
33 Fig.39 Fig.40 Fig.41 Fig.42 Fig.43 Fig.44 Laying the first layer of cotton cloth on the ground Applying the gum made of tamarind on the first layer. The second layer of cloth laid on top of first one The mixture of chalk powder and tamarind gum is applied on the cloth. The paste is laid onto the cloth. Patta is ready after it dries.
34 Composition: Pattachitras are typically painted using a set procedure. Dhandimara- Fig. 45 Drawing the borders is the first phase in the Pattachitra process. In Pattachitra, borders play a significant role. The picture has a contained feel and image thanks to the borders. The borders are not subject to any tight regulations. It is up to the artist whether it is thick or thin. A professional sketches right away using their imagination. Senior skilled craftsmen often portray the complicated and difficult scenes in intricate pictures. Prior to making a fresh start, the chitrakar roughs out the design by obstructing the figures because doing so will finally address the sensations of the numbers. First, the head is depicted as a circle with the suggestion of a jaw, then a middle is added, and finally, the legs are drawn. Modern artisans draw the sketch using a pencil. Fig.45 Fig.47 Fig.46 Hingula Banaka: Fig.47 The backdrop between the border and the figure’s portion is then painted in solid colours, using different colours for different regions. The second is Ranga Banaka, which is a character painting. Tippana: The figure’s outline is then drawn in white pigment, finishing touches include a delicately attenuated white tone and a fine brush.