CRAFT DOCUMENATION

THE ART OF PATTACHITRA

(ODISHA)
By – Kuhu Singh
Semester 2 (Batch 2020-22)
Maharaja Ranjitsinh Gaekward Institute

CRAFT DOCUMENTATION 1
ACKNOWLEDGEMENT

I would like to thank my esteemed teacher – Mr. Manish Jha for his
supervision, support and guidance during the course. My gratitude
extends to the Faculty of Maharaja Ranjitsinh Gaekward Institute for
providing me with this opportunity to explore and experience work
and develop skills which are required for working in the near future.

Additionally, I would like to express gratitude to my peer members

Margi Trivedi and Devanshi Parmar for always helping and guiding
me though my documentation.

I would also like to thank my family and friends for their constant
support.

CRAFT DOCUMENTATION 2
PREFACE

I have done a research on a craft based in Odisha, India. The craft and
the craftsmen’s are all based there locally and the main work they do
is to create and discover new formations of craft. I would like to spot
light on the methods and the ways of making the products.

CRAFT DOCUMENTATION 3
CONTENT

1. What is Indian Craft…………………………………………….5

2. Importance of Indian Craft……………………………………...6
3. Indian craft industry…………………………………………….7
4. Handicrafts in India……………………………………………..8
5. Crafts of Odisha………………………………………………...9
6. Popular art and handicraft of Odisha………………………….11
7. Introduction – Pattachitra……………………………………...14
8. Theme and style used in Pattachitra…………………………..17
9. Prominent features of Pattachitra art…………………………..18
10. Pattachitra art – Today’s world……………………………19
11. Making of Pattachitra art………………………………….20
12. Making process of Pattachitra art…………………………21
13. Tools and material used…………………………………...24
14. Technique used……………………………………………27
15. Colour combination……………………………………….28
16. Shade card…………………………………………………29
17. Other famous work in Pattachitra…………………………30

CRAFT DOCUMENTATION 4
WHAT IS INDIAN CRAFT
 Indian handicrafts is an art of making crafts by hand in India is called Indian
handicrafts, in ancient India people lived in colonies called tribals and they were
used to make utility items for their daily need, that art of making the crafts called
handicrafts, and the items called handicrafts goods.
 Handicraft is about processing materials by hand with hand tools. The results
can be helpful things or decorative things. The materials utilized in the product
are natural, industrially processed or maybe recycled. The models of the product
are ancient, revised traditional or fashionable.
 Handicraft is deeply frozen in society and
contributes to preserving and sending
traditions. In their product, crafters transfer an
area of their cultural heritage in ideas, forms,
materials and work ways, similarly as their own
values, philosophy of life, fashion and self-
image.
 Craftspeople, conjointly known as artisans,
possess technical data of materials and work
ways. They’re skilled employees whose
profession relies on manual skills. Their main
tools are the power of work strategies and their
manual skills. Handicraft contains plenty of
implicit data which grows every year, aboard
with skills. The order and apprentice system has been widely used to transfer
skills and implicit data.
 Theme-based craft is a comprehensive, well-organized backline master of
fascinating, supported the following in style five choose themes – Needle Work,
tribal Crafts, fibre And Eco friendly Crafts,
Fashion Accessories and festal
Decorations providing in-depth info
regarding the craft, products, sellers and
awarded master craft persons in these
particular crafts.
 Indian crafts include metalwork, wood
work, cloth, textiles and fabric, jewellery,
terra cotta objects, pottery and objects
made from cane and bamboo. Some crafts
such as woodwork, painting and stonework are featured as architectural elements
and as objects of art. The oldest crafts are those produced in prehistoric times and
by the Indus civilization.

CRAFT DOCUMENTATION 5
IMPORTANCE OF INDIAN CRAFT
 The Handicrafts Sector plays a significant & important role in the country’s
economy. It provides employment to a vast segment of craft persons in
rural & semi urban areas and generates substantial foreign exchange for the
country, while preserving its cultural heritage.
 Handicrafts have great potential, as they hold the key for sustaining not
only the existing set of millions of artisans spread over length and breadth
of the country, but also for the increasingly large number of new entrants
in the crafts activity.
 Presently, handicrafts contribute substantially to employment generation
and exports. The Handicraft sector has, however, suffered due to its being
unorganized, with the additional constraints of lack of education, low
capital, and poor exposure to new technologies, absence of market
intelligence, and a poor institutional framework.

PRODUCT

DESIGN
FORM
FUNCTION
NEED

MATERIAL TECHNIQUE

CRAFT DOCUMENTATION 6
INDIAN CRAFT INDUSTRY

 The Small Scale and Cottage Sector helps to solve social and economic problems
of the artisans, by providing employment to over 7 million artisans (including those
in the Carpets trades) which include a large number of women and people
belonging to weaker sections of the society.
 In addition to the high potential for employment, the Sector is economically
important from the point of low capital investment, high ratio of value addition,
and high potential for export and foreign exchange earnings for the country. The
industry is highly labor intensive and decentralized, being spread all over the
country in rural and urban areas. Many artisans are engaged in certain crafts work
on part-time basis.
 India is one of the important suppliers of handicrafts to the world market. Although
exports of Handicrafts appear to be sizable, India’s share in world imports is very
small. Despite the existence of production base and a large number of craftsmen,
India has not been able to en-cash existing opportunities.
 Handicraft is a sector that is still explored from the point of view of hidden potential
areas. Going back into the reason for small share of Indian handicrafts in the world
market, the main parameter which comes out is ‘SEARCH & EXPLORATION OF
HIDDEN CRAFTS OF INDIA’ the field which has not been ever touched by
Indian Handicraft Industry.
 In the changing world scenario, craft products exported to various countries forma
part of life style products in international market. The impact is due to the changing
consumer taste and trends. In view of this, it is high time for Indian Handicraft
Industry to go into the details of changing designs, patterns, product development,
innovations and requisite change in production facilities for a variety of materials,
production techniques, and related expertise to achieve a leadership position in the
fast growing competitiveness with other countries.
 The 7 million craft persons who are the backbones of Indian Handicraft Industry
possessing inherent skill, technique, traditional craftsmanship is quite sufficient for
primary platform. However, in changing world market, these craft persons need an
institutional support, at their places i.e. craft pockets for value addition and for the
edge with other competitors like China, Korea, Thailand etc.

CRAFT DOCUMENTATION 7
HANDICRAFTS IN INDIA

1) Pashmina Shawls
2) Phulkari (Punjab and Haryana)
3) Bamboo Handicrafts (East India)
4) Marble Stone Craft (Agra)
5) Puppetry (Rajasthan)
6) Puppetry (Rajasthan)
7) Bidri (Karnataka)
8) The Art of Pattachitra (Odisha)
9) The Art of Madhubani (Nepal and Bihar)
10) The Art of Gond (Madhya Pradesh)
11) The Art of the Warlis (Maharashtra and Gujarat)
12) Woodwork
13) Pottery
14) Jute
15) Leather, Maharashtra
16) Shell, Gulf of Mannar, Odisha
17) Terracotta Works (Assam)
18) Brass HandicraftS
19) Zardozi
20) Carpet Weaving
21) Saris and Silk

CRAFT DOCUMENTATION 8
CRAFT OF ODISHA

 Major handicrafts in Odisha include applique work, brass and bell metal, silver
filigree and stone carving. Other forms include Lacquer, sand art, Papier Mache,
and tribal combs, handlooms and wood and traditional stone carving
 The Indian state of Odisha has a rich cultural and artistic heritage. Due to the reign
of many different rulers in the past, arts and crafts in Odisha underwent many
changes giving an artistic diversity today in the forms of traditional handicrafts,
painting and carving, dance and music.
 Aside from the Odissi dance there are many other forms of dance and folk
performances in Odisha. These include Baunsa Rani, Chaiti Ghoda, Changu
Nata, Chhau, Dalkhai, Danda Nata, Pala, Dasakathia, Dhanu Jatra, Ghanta
Patua, Ghumura, Karma Naach, Kathinacha, Kedu, Kela Keluni, Laudi
Khela, Gopalila Medha Nacha, Naga Dance, Paika Nrutya, Jatra, Patua
Jatra, Puppet Dance, Ranappa and Samprada.

CRAFT DOCUMENTATION 9
CRAFT DOCUMENTATION 10
POPULAR ARTS AND
HANDICRAFTS OF ODISHA
PATTACHITRA
Believed to be originated in the early 12th-
century, Pattachitra is an icon painting which
makes it one of the most popular living art
forms in India. People in Odisha can be seen
practising it daily.

SAND ART
Odisha excels in creating sculptures from sand.
Evidently, Sand Art is one of the worldly-
famous arts that resides here in Puri, Odisha.
For the fact, the state also hosts an International
Sand Art Festival.

PALM LEAF PAINTINGS

From the days when communication was
done through writing, the Palm Leaf Painting
or locally known as Talapatra Chitra is an
ancient form of art in Odisha. This is one of
the art forms in the state which are
considered sacred.

JHOTI CHITA, MURUJA

A traditional Oriya art which is presented on
the floor and walls is Jhoti Chita. Extremely
popular in the rural areas, Jhoti is different from
line art and involves line art using a white
coloured liquid paste of rice or pithau.

CRAFT DOCUMENTATION 11
HORN WORK
The most popular art amongst all is Horn Work.
A mystical artwork of Odisha, Horn Work
showcases an impressive fashion design. In this
art, Horns of Cows and Buffaloes are used to
produce utility products like jewelry, ashtray,
and comb.

PAPIER MACHE
Most of the arts in Odisha have worldwide
acclamation and Papier Mache is one of
them. The art is practised in almost every
region of the state and involves the use of
waste cloth, natural fibres, and papers.

APPLIQUE WORK
In the village of Pipli, there prevails a
traditional art form - Applique Work. It is
a complex form of art where one material
is sewed to the other in order to make an
enthralling decorative pattern.

LACQUER WORK
Lacquer Work is one of the famous tribal
craft in India which is practised mainly by
women. The impressive folk items like
bangles, toys, and necklace are made by
using this technique of art.

CRAFT DOCUMENTATION 12
BELL METAL AND BRASS
HANDICRAFTS
An important native art coming from the
Kansari and Dhokra caste in Odisha, Ball
Metal and Brass Handicraft is a popular folk
art which produces various pieces of household
items and decorations items
SILVER FILIGREE WORK
Probably the most unique and finest of all art
forms in Odisha is Silver Filigree Work. This
more than 500-year old art form is practised
by local artisans mainly in Cuttack.
Ornaments and decorative items are two main
categories of this impressive artwork.

STONE CARVING
From very ancient times, the art of stone
carving is prevailing in Odisha. It is one of
the oldest forms of Oriya art which is
practised in different parts of the state.

TEXTILES
Odisha is famous for producing hand-woven
textiles produced by skilful handloom weavers.
Being a worldly-famous handicraft, textiles in
Odisha produces clothes like Saree, Dhoti, and
dress materials.

CRAFT DOCUMENTATION 13
PATTACHITRA
 Pattachitra evolved from Sanskrit. When broken down into its two
parts, Patta means cloth, and Chitra means picture. Hence, Pattachitra is a
picture painted on a piece of cloth.
 Pattachitra style of painting is one of the oldest and most popular art forms
of Odisha. The name Pattachitra has evolved from the Sanskrit words patta,
meaning canvas, and chitra, meaning picture. Pattachitra is thus a painting
done on canvas, and is manifested by rich colourful application, creative
motifs and designs, and portrayal of simple themes, mostly mythological in
depiction.
 Popular theme representation –
o Thia Badhia - depiction of the temple of Jagannath

o Krishna Lila - enactment of Jagannath as Lord Krishna displaying his

powers as a child

o Dasabatara Patti - the ten incarnations of Lord Vishnu

CRAFT DOCUMENTATION 14
o Panchamukhi - depiction of Lord Ganesh as a five-headed deity

 The creation of the Pattachitra paintings is a disciplined art form, and the
chitrakars maintain rigidity in their use of colours and patterns, restricting
the colours to a single tone. Limiting themselves within the boundaries of
some rules, the chitrakars come up with such remarkable paintings depicting
stark emotional expressions that it is a surprise shading of colours is a taboo.
It is the display of emotions of the figures expressed in the paintings, which
is the crème de la crème of the art form, and the chitrakars put in their best
to bring out the most through their rich colourful motifs.

 The creation of the Pattachitra paintings is a disciplined art form, and the
chitrakars maintain rigidity in their use of colours and patterns, restricting
the colours to a single tone. Limiting themselves within the boundaries of
some rules, the chitrakars come up with such remarkable paintings depicting
stark emotional expressions that it is a surprise shading of colours is a taboo.
In fact, it is this display of emotions of the figures expressed in the paintings,
which is the crème de la crème of the art form, and the chitrakars put in their
best to bring out the most through their rich colourful motifs

CRAFT DOCUMENTATION 15
Material –
 Cloth
 Paper
 Color
 Odisha Pattachitra depicting Radha Krishna  Theme

CRAFT DOCUMENTATION 16
THEME AND STYLE USED IN
PATTACHITRA

 The theme of Odia painting centres round the Jagannath and

the Vaishnava sect. Since beginning of Pattachitra culture,
Lord Jagannath who was an incarnation of Lord Krishna has been the major
source of inspiration. The subject matter of Patta Chitra is mostly
mythological, religious stories and folk lore.
 The Pattachitra style are mix of both folk and classical elements but leanings
more towards folk forms. The dress style has Mughal influences. All of the
poses have been confined to a few well-defined postures. These are not free
from monotonous repetitions, though at times this is necessary to accentuate
the narrative character of the style. The lines are bold and clean and angular
and sharp.
 The background on which the figures are represented, is delineated with
decorations of flowers and foliages and is mostly painted in red colour. All
the paintings are given decorative borders. The whole painting is conceived
in the form of a design on a given canvas.

A depiction of Paradis of God Ganesha of Indian Mythology

CRAFT DOCUMENTATION 17
PROMINENT FEATURES OF
PATTACHITRA ART

 A floral border is a must around the

paintings
 The use of natural colors.
 The paintings are executed primarily
in profile with elongated eyes, as
well.
 With the use of such prominent solid
shades, the paintings end up depicting stark emotional expressions with great
detail.
 Following completion of a painting, the canvas is held over a charcoal fire and
lacquer is applied to the surface.
 The Chitrakars have painted on palm leaves and Tussar silk and have also
created wall hangings and showpieces. Because of the stringent methodology
of the art, it survives, preserving the effervescence of the aesthetic Pattachitra.
 The Chitrakars follow a traditional
process of preparing the canvas.
 A gauze-like fine cotton cloth is
coated with white stone powder and
gum made out of tamarind seeds.
This makes the canvass ready to
accept the paint, made of natural
colors.
 The gum of the kaitha tree is the chief ingredient, used as a base for making
different pigments by adding available raw materials. For instance, to get the
shade of white, powdered conch shells are used.

CRAFT DOCUMENTATION 18
PATTACHITRA TODAY

 Pattachitra is a traditional style of painting that is of immense historical

significance to India. Its primarily showed rituals and religious beliefs of
Vaishnava sect.
 Today, same style of painting is used to create Art works for Home Décor.
These include paintings, bookmarks, wall and door hangings, bags and even
Arty Earrings, and Umbrellas.
 With the passage of time, the art of Pattachitra has gone through a
commendable transition, and the chitrakaras have painted on tussar silk and
palm leaves, and even created wall hangings and showpieces.
 However, this kind of innovativeness has never proved to be a hindrance in
their customary depiction of figures and the use of colours, which has
remained intact throughout generations.
 This constancy is the key factor that has maintained the effervescence of
Pattachitra, backed with the fact that the setting up of some special centres
for the art form in Odisha speaks volumes for its popularity.

CRAFT DOCUMENTATION 19
MAKING OF PATTACHITRA ART

 For Pattachitra painting, the

Chitrakars follow a traditional process
of preparing the canvas. A gauze-like
fine cotton cloth is coated with white
stone powder and gum made out of
tamarind seeds. This makes the
canvass ready to accept the paint,
made of natural colors. These colors
are an unique feature of Pattachitra.

 Pattachitra style of painting is one of the oldest and most popular art forms of
Odisha. The name Pattachitra has evolved from the Sanskrit words patta,
meaning canvas, and chitra, meaning picture. Pattachitra is thus a painting
done on canvas, and is manifested by rich colourful application, creative
motifs and designs, and portrayal of simple themes, mostly mythological in
depiction.

 Historically make only by male Oriya Artists, now some women artists are
also recognised for their beautiful work.

 Paintings narrate the stories using colours

for ornamentation and details.

 Mohapatras from Raghurajpur village in

Puri are considered the Master Artists of
Pattachitra.

 A Pattachitra Artist teaches his unique

style only to his son, but some secrets are
not revealed even to him .

 Raghunath Mohapatra is among the most renowned of Pattachitra master

artists and recipient of India’s highest honours.

CRAFT DOCUMENTATION 20
MAKING PROCESS OF PATTACHITRA
ART
1. Making Process of Canvas
The Process of painting Pattachitra begins with the preparation of canvas (pata).
They use western cotton cloth to prepare canvas as it is much softer and free
from starch unlike the new cotton from the mill.. Traditionally, cotton canvas
was used; now, both cotton and silk canvas are used for paintings. Processing of
cotton canvas starts from dipping of cotton in a solution of crushed imli seeds
and water for 4-5 days. The cloth is then taken out and sun dried.
After cotton is dry, a paste of chalk powder, imli and gum is applied on both
side of the layered cloth and it is sun dried. After drying, khaddar stone is
rubbed on the cloth several times for smoothening the canvas. When canvas is
smooth then chikana stone is rubbed for shinning the cloth.
2. Making of Color
The materials used in ancient time to make this painting were vegetable, earth
and mineral sources. Most commonly used colours were black, white, yellow
and red. Color making process was the time consuming and toughest process in
those days but now it is easy as they buy different types of stones from market
in order to prepare each different colours.
3. Ancient Method of Making Colors
Black color is made out of lampblack; a burning lamp is placed inside an empty
tin, till a considerable amount of soots collects on the underside of the tin. The
soot is then mixed with gum and water for use. The oil used in the lamp is from
polang tree seed, which are locally available.
Yellow from haritali stone and red from hingal stone, White is obtained when
conch shell is powdered and boiled with kaitha gum, till a paste is formed. For
use, little of this paste is mixed with water.
Green Is made by boiling green leaves like neem leaves with water and kaitha
gum.
Brown is obtained from geru stone, whose powder is mixed with gum and
water.
Red comes from a stone hingual, which is a locally available stone. The stone is
powdered and mixed with water and gum.
Yellow is derived from yellow stone called hartal, which is found in Jaipur. The
stone is powdered and mixed with water and gum for painting.
4. Modern Method of Making colors
All colors are mixed in dried coconut shells. Colors are prepared using different
varieties of stones and chemicals which are available in market. Different

CRAFT DOCUMENTATION 21
shades of colors are made by mixing the existing primary colors, like, red mixed
with white gives pink. In case the colors dry in the coconut shell then water is
mixed in the color and it is reused.
5. Pattachitra Painting Process
Borders are an integral part of painting and this is drawn first on the canvas on
all the four sides consisting of two or three lines according to the size. The
outlines of the figures are drawn first with pencil. The body colors are then
added followed by coloring the attires. Once the painting is completed, outline
will be given to the figure using black color.

CRAFT DOCUMENTATION 22
CRAFT DOCUMENTATION 23
TOOLS AND MATERIAL USED IN
PATTACHITRA ART
Raw material
The process of painting Pattachitra begins with the preparation of canvas
(patta). Traditionally, cotton canvas was used; now, both cotton and silk
canvas are used for paintings.
 They use old used sarees or cotton cloth for making canvas, as it is much
softer and free from starch unlike the new cotton from the mill.
 Processing of cotton canvas is a tedious task which starts from dipping of
cotton in a solution of crushed imli seeds and water for 4 -5 days .
 The cloth is then taken out and sun dried. thereafter, the cotton is placed
on the imli (tamarind) solution and Keith (wood apple) gum is applied
over the layer of cloth.
 Another layer of processed cotton is placed over the previous layer and
gum paste is applied on it, this is done to stick two layers. The layered
cotton is then sun dried.
 After cotton is dry, a paste of chalk powder, imli and gum is applied on
both side of the layered cloth and it is sun dried. After drying, khaddar
stone is rubbed on the cloth several times for smoothening the canvas.
 When canvas is smooth then chikana stone is rubbed for shining the
cloth. The canvas is ready for painting and can be stored and cut into
required sizes for painting The colours of Pattachitra. In the 16th century,
with the emergence of Bhakti movement, the paintings of Radha and
Krishna were created in vibrant shades of orange, red and yellow. Typical
scenes and figures like Krishna, gopis, elephants, trees, and other
creatures in Vrindavan are seen in these paintings. Krishna is always
painted in blue and Gopis in light pink, purple or brown.
 The painters only use natural vegetable and mineral colours. They
prepare their own colours. For instance, white colour is made from the
conch-shells by powdering, boiling, and filtering. This is a very
hazardous process and requires a lot of patience. However, it is this very
process that gives brilliance and permanence to the hue.
 Hingula’, a mineral colour, is used for red, ‘Haritala’, king of stone
ingredients, for yellow, and ‘Ramaraja’ a sort of indigo for blue. Pure
lamp-black or black is prepared by burning coconut shells. Pattachitra
painting mostly uses primary and bright colours, limited to red, yellow,
indigo, black and white.
 Finally, the brushes that are used by these ‘Chitrakaras’ are indigenous
and made of the hair from domesticated animals. Brushes are fashioned

CRAFT DOCUMENTATION 24
out of clumps hair tied to the end of a bamboo stick. It’s amazing how
these painters bring out lines of such precision using such crude brushes.

Tools
1. Brushes
The finer brushes used by the chitrakars (painters) are made of
mouse hair which have wooden handles. These are used for the
finer work they do like ornamentation, face etc. Other plane
brushes, which are not as fine as the mouse hair brushes,
available normally in the market are also used by the chitrakars.
All the brushes these chitrakars use lasts for 7-8 months, when
they work daily.
2. Pencil and Eraser
HB pencils are used for drawings, rough sketches and outlines
before painting on the canvas.
3. Scissors is used for cutting the desired size of the canvas.
4. Rubbing Stones
There are two types of stones which are used:
 Khadar stone is used for smoothening the canvas, which is
whitish-pinkish in colour.
 Chikana stone is used for shining the canvas. This stone is
yellow- brown in colour stones.

Process
 Borders are an integral part of painting and this is drawn first on the
painting on all the four sides of the patta consisting of two or three lines
according to the size of the painting.
 The outlines of the figures are drawn first with pencil and then very thin
lines in white are drawn.
 The body colours are then added followed by colouring the attires.
 The figures are then adored with ornaments and coloured. Outline of
other motifs are then thickened with a thick brush with black colour.
Then small and fine decorative motifs are painted in white.
 It is interesting to note that the chitrakar begins his painting with the
colour white and ends with it too. The eyeballs are the last to be inserted
on the painting.
 Sometimes a painting is done only in black and white. With perfect
mastery over fine line drawing, the chitrakars make the paintings come
alive with their skill and workmanship.

CRAFT DOCUMENTATION 25
PAINTING PROCESS
 As per the information gathered from the artisans, the Pattachitra process
may be divided into two main headings Preparation of Canvas or
Pataastra (Basefabric) The Chitrakaras have unique technique of
preparing the Patta.
 The preparation of the handmade Patta or Patti (canvas) is an extremely
laborious task, for which artisans used two layers of old cotton saris
locally sourced from old cloth seller .
 In the late nineteenth century, the canvas was prepared by smearing it
with the mixture of cow dung and black earth. After drying in sunrays,
white coating was applied to cover the pores of fabric.
 Now days, the old cotton saris are also used which are washed in plain
water thoroughly to remove all impurities from the cloth.
 After drying it, the cloth is spread over the flat cemented floor and then a
coating of a gum made from tamarind seed powder is applied on the
fabric.
 A second layer of cloth is pasted on first layer and another layer of gum is
applied, fabric is then allowed to dry in sunlight. The bubbles and the
patches of gum in between the layers are removed and if required, small
piece of the cloth is applied to avoid torn portion of old used cotton cloth.
 The gum of tamarind seed is prepared to grind the
tamarind seeds in an electric grinder, earlier seeds were crushed on flat
stone bed.
 Later on grounded tamarind thick powder cooked with required quantity
of water to obtain gum. When the fabric is totally dry, the glutinous
coating obtained with soft white stone powder and tamarind gum in the
ratio of 1:4 is rubbed on the dried fabric with the help of cotton puff.
 When it is dry, the rubbing process is followed with sharp edged steel
glass, later on the same process is repeated with wet cotton puff and
stone.
 After drying the fabric, it is taken off the floor and cut into required
rectangular or square sizes without any wastage . The individual pieces
are polished with burnishing the smooth pebbles on both side of surface.
The entire process of making patta (canvas) is known as “Pataastra”

CRAFT DOCUMENTATION 26
TECHNIQUE OF PATTACHITRA
 The patachitra when painted on cloth follows a traditional process of
preparation of the canvas. First the base is prepared by coating the cloth
with the soft, white, stone powder of chalk and glue made from tamarind
seeds. This gives the cloth tensile strength and a smooth, semi-absorbent
surface, allowing it to accept the paint.
 The artist does not use a pencil or charcoal for the preliminary drawings. It
is a tradition to complete the borders of the painting first. The painter then
starts making a rough sketch directly with the brush using light red and
yellow. The main flat colors are applied next; the colors used are normally
white, red, yellow, and black.

 The painter then finishes the painting with fine stokes of black brush lines,
giving the effect of pen
work. When the
painting is completed it
is held over a charcoal
fire and lacquer is
applied to the surface.
This makes the painting
water resistant and
durable, besides giving
it a shining finish.
 The materials used in
the paint are from
vegetable, earth, and mineral sources. Black is made out of lampblack,
yellow from haritali stone, and red from hingal stone. White is prepared
from crushed, boiled, and filtered shells.

CRAFT DOCUMENTATION 27
COLORS CHOICE - PATACHITRA
 In the 16th century, with the emergence of Bhakti movement the paintings
of Radha and Krishna were painted in
vibrant shades of orange, red and
yellow. There are typical scenes and
figures like Krishna, Gopis, elephants,
trees and other creatures that are seen
in these paintings. Krishna is always
painted in blue and Gopis in light pink,
purple or brown colours.
 The painters use vegetable and mineral
colours without going for factory made
poster colours. They prepare their own
colours. White colour is made from the
conch-shells by powdering, boiling and filtering in a very hazardous
process. It requires a lot of patience.
 But this process gives brilliance and premanence to the hue. 'Hingula', a
mineral colour, is used for red. 'Haritala', king of stone ingredients for
yellow, 'Ramaraja' a sort of indigo for blue are being used. Pure lamp-black
or black prepared from the burning of coconut shells are used. There was
no blue either cobalt or ultramarine in the earlier colour sche mes.
 The colours used in the Patta paintings are primarily bright colours, limited
to red, yellow, indigo, black and white. The brushes that are used by these
'Chitrakaras' are also indigenous and are made of hair of domestic animals.
A bunch of hair tied to the end of a bamboo stick make the brush. It is
really a matter of wonder as to how these painters bring out lines of such
precision and finish with the help of these crude brushes.

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SHADE CARD

 Unlike artificial colour that flash when new and lose sheen over the years,
natural once used in classical pattachitra paintings have a soft glow that
lasts forever. They are worth the efforts it takes to make a stone bleed a
rainbow .
 Yellow comes from haritala ( a mineral)
 Blue comes from indigo
 White comes from powdered conch shells
 Red comes from hingula ( a material)
 Green comes from leaves like neem
 Black comes from soot

CRAFT DOCUMENTATION 29
OTHER FAMOUS WORK IN
PATTACHITRA
Palm leaf Pattachitra

 Apart from Pattachitra on cloth, there is also a form of Pattachitra

painting on palm leaf. In Oriya this is known as Tala Pattachitra. Briefly
speaking, here’s how it’s done.

 First of all, palm leaves are

plucked from palm trees and left
to harden. Then they are sewn
together to form a larger canvas.
On these, the images are traced
using black or white ink to fill
grooves etched on rows of equal-
sized panels of palm leaf. These
panels can also be easily folded
like a fan and packed in a compact pile for better conservation. Often
palm-leaf illustrations are more elaborate and created so by
superimposing layers that are glued together for the most part of the
surface, while leaving some areas open in the form of small windows that
reveal a second image beneath the first layer.
Raghurajpur and Pattachitra

Raghurajpur is a heritage crafts village in Puri

district, Odisha. It is well known for its master
Pattachitra painters and Gotipua dance troupes –
the precursor to the Indian classical dance form
of Odissi. Apart from this, the village is also
home to crafts like Tussar paintings, palm leaf
engravings, stone and wood carvings, wooden,
cow dung and papier-mache toys, and masks.
In 2000, after a two-year research and documentation project by INTACH,
Raghurajpur was chosen to be developed as the state’s first heritage village
Raghurajpur is situated 14 km away from the pilgrimage town of Puri, on the
southern banks of river Bhargabi (Bhargavi). To reach Raghurajpur, visitors
from Puri take the Bhubaneswar road, near Chandanpur, on NH 203, and the
right turn at Chandanpur Bazaar. Raghurajpur is about 1.5 km from
Chandanpur.

CRAFT DOCUMENTATION 30
BIBLIOGRAPHY

BOOK REFERENCE
 Indian Art In Context – Pattachitra
 Textile and crafts of India
 Living craft and traditions of India.
 Handmade in India
 Crafts of India Handmade.

ONLINE RESEARCH
 https://visitymypattachitra.wordpress.com/2017/02/13/tool-technique/
 https://www.unnatisilks.com/patachitra-tehnique-indian-crafts.html
 https://engrave.in/blog/pattachitra-art/
 https://sarmaya.in/guides/odisha-pattachitra/

CRAFT DOCUMENTATION 31