Defying categorization in countless ways, tribal art has always been the art of people. Tribal arts are the sustainers of souls, storytellers of vibrant narratives, and reminders of the simple joys of life. Yet, in modern times, some of these artworks and the traditional practices around which they are created are fading along with their makers. Yet before they get lost in translation— some are pushing through contemporary contradictions, surviving in a world fixated on machine-made goods. Even so, it would not be entirely right to assume that tribal art and indigenous production of handcrafted items are competing with changing times, for they have their own ecosystem. However, with remarkable resilience, many of these art forms are still striving to reach us today in a range of ways.
Maa Durga in Kalighat by Uttam Chitrakar
The tradition of storytelling through scroll art shares an intimate bond with rural parts of Bengal and Odisha. Famous for depicting mythological scenes and episodes, it was created on leaves or old clothes. Travelling folk painters, regionally referred to as Patuas would wander from village to village to sing and perform the stories depicted in them. In the mid-eighteenth century when Calcutta was expanding its trade and commercial aspect, many patuas migrated from rural Bengal in search of opportunities. They would set up stalls outside the Kali temple and sell souvenirs to the visitors. Due to its location, these paintings were called Kalighat paintings, thus marking an evolution from scroll art to Kalighat, a scene based art; and from being created for religious purposes to becoming a means of earning one’s living. The Kalighat painters eventually faced a decline when machine-made artworks, oleographs and lithographs, started gaining prominence and were sold at a cheaper rate. Today, a handful of artisans practise the art of Kalighat in its true traditional form. While most have adapted to creating the Kalighat and Patua scroll paintings in a contemporary tradition, depicting present day issues and social evils. In our country, which has a diverse range of artistic expression, we can come across numerous accounts of such transformations.
Caption: Babu chased by Covid virus in Kalighat
The Fish: Madhubani art by Pratima Bharti
Enriched with vibrant colours and characters, the Madhubani art belongs to the Madhubani and Mithila region of Bihar and Nepal. Madhubani is claimed to have existed since the era of Ramayana. Madhubani art was readily made on the walls of the mud houses to mark and celebrate special occasions, like weddings. These eye-catching paintings brim with wonderful geometric and regional styles, floral motifs, animal motifs, religious motifs and references to the royal courts and weddings from the Hindu mythology. Today, many of these motifs have been found befitting to be printed in sarees and handkerchiefs. Traditionally, Madhubani paintings were made using colours made out of natural materials such as henna leaves, marigolds, bougainvillaea, cow dung, soot, and rice flour. In modern times, they are made using acrylic colours on mediums like paper and canvas.
An ode of Mumbai in Madhubani
Rama-Krishna story in Kavad by Satyanarayan Suthar
Another storytelling technique that evolved through devotional practice is the mobile storytelling art of Kavad from the Bassi village of Rajasthan. The artists belonging to the Kavad community use the surnames Suthar and Jangid to signify that they are the descendants of Lord Vishvakarma, the divine architect of the universe. Their glorious shrines and toys are an amalgamation of three professions coming together- the carpenter, the artist, and Kavadia Bhatt. The carpenter prepares the wood and creates the basic structure of the Kavad. The artists play the role of depicting the stories. Even today, the colour palette used by the Kavad artists is derived from minerals. The mineral colours are composed of yellow, green, blue, red and black. Originally, the stories from Puranas and epic texts were presented on a red background. Nowadays, artists incorporate a range of colours to serve a variety of audiences. The job of the Bhatt was to travel from place to place, singing the praises of kings, narrating legends and narrating sagas. At present, they go to cities to sell their Kavads, telling their customers the stories behind their creations.
Conclusion:
Other tribal and folk art forms like Warli paintings of Maharashtra, Pattachitra, Bhil, and Gond have experienced a significant transition, moving from walls of simple mud houses to canvases that reach a wider audience. Digital and social media have inevitably played a significant role in promoting the art and the artisans to broader regions. Additionally, government schemes have granted them special recognition. Yet, it is our awareness, love for art, and recognition of their cultural significance that will ultimately facilitate these traditions to grow and thrive manifold.
At present tribal arts and indigenous crafts are not just serving as a means of sustenance, they are also attracting tourists and people from all across the world. Thereby, contributing to the Indian economy.
References:
- 1.“Kalighat Art.” Unacademy, 29 Mar. 2022, unacademy.com/content/karnataka-psc/study-material/history/kalighat-art/.
- 2.“Tribal Art and Aesthetics – Tribal Cultures of India.” Inflibnet.ac.in, 2024, ebooks.inflibnet.ac.in/antp05/chapter/tribal-art-and-aesthetics/. Accessed 21 Oct. 2024.
- 3.Bora, Ankita. From Traditional Art to Sustainable Livelihoods: The Role of Tribal Art in India’s Economy. Mar. 2023, timesofindia.indiatimes.com/readersblog/the-bora-booktique/from-traditional-art-to-sustainable-livelihoods-the-role-of-tribal-art-in-indias-economy-51116/. Accessed 20 Oct. 2024.
- 4.Chaudhuri, Sharmistha . The Rise and Fall of Kalighat Paintings. www.sahapedia.org/rise-and-fall-kalighat-paintings. Accessed 20 Oct. 2024.
- Mandal, Anima . Development of Motifs from Madhubani Painting – a Study in Bihar. Dec. 2022, www.researchgate.net/publication/366821069_Development_of_Motifs_from_Madhubani_Painting_-_A_Study_in_Bihar. Accessed 20 Oct. 2024.
- “Preparing the Canvas for Madhubani Art.” Google Arts & Culture, artsandculture.google.com/story/preparing-the-canvas-for-madhubani-art-dastkari-haat-samiti/ewWBxpjXyNFMJQ?hl=en.
