INDIAN CRAFT - Pattachitra Art

 

CRAFT DOCUMENATION THE ART OF PATTACHITRA (ODISHA) By – Kuhu Singh Semester 2 (Batch 2020-22) Maharaja Ranjitsinh Gaekward Institute

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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 Gaek Gaekward ward Institute for  providing me me with this opportunity opportunity to explor exploree and exper experience ience 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.

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PREFACE I have done a research on a craft based in Odisha, India. The craft and the are all based locallyofand the Imain work do is tocraftsmen’s create and discover newthere formations craft. would likethey to spot light on the methods and the ways of making the products.

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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…………… Odisha……………………………………… …………………………………...9 ………...9 6. Popular art and a nd handicraft of Odisha………… Odisha………………………….11 ……………….11 7. Introduction – Pattachitra……………………………………...14 8.  Theme and style used in Pattachitra……………………… Pattachitra…………………………..17 …..17 9. Prominent features of Pattachitra art……………………… art…………………………..18 …..18

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Pattachitra art – Today’s world……………………………19 Making of Pattachitra art………………………………….20 Making process of Pattachitra art…………………………21 Tools and material used…………………………………...24 Technique used……………………………………………27 Colour combination……………………………………….28 Shade card…………………………………………………29 Other famous work in Pattachitra…………………………30

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WHAT IS INDIAN CRAFT 

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  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 selfimage. 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.

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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 f or the country, while preserving its cultural heritage. her itage.

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  Handicrafts have great potential, as they hold the key for sustaining not

only the existing set of millions of artisans spread sp read 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

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INDIAN CRAFT INDUSTRY 

  The Small Scale and Cottage Sector helps to solve social and economic problems of the artisans, by providing prov iding employment to over 7 million artisans (including those in the Carpets trades) whichof include a large number of women and people  belonging to weaker sections the society.

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  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 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.

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  India is one of the important ssuppliers uppliers 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.

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  Handicraft is a sector that th at is still explored from the point of view of hidden pot potential ential 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.

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  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 tthis, his, it is hi high gh time for Indian Handicraft Industry to go into the details of changing designs, patterns, product development, innovationstechniques, and requisite change production facilities a varietyposition of materials,  production and relatedinexpertise related to ac achieve hieve a for leadership positi on in the fast growing competitiveness with other countries. cou ntries.

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  The 7 million craft persons who are the backbones of Indian Handicraft Industry  possessing inherent skill, technique, traditional craftsmanship is quit quitee sufficient for  primary platform. However, in changing world m market, arket, these craft 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.

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HANDICRAFTS HANDICRAFT S IN INDIA 1) 

Pashmina Shawls

2)  3)  4)  5)  6)  7)  8)  9)  10)  11) 

Phulkari (Punjab and Haryana) Bamboo Handicrafts (East India) Marble Stone Craft (Agra) Puppetry (Rajasthan) Puppetry (Rajasthan)  Bidri (Karnataka) The Art of  Pattachitra (Odisha) The Art of Madhubani (Nepal and Bihar) The Art of Gond  (Madhya  (Madhya Pradesh) The Art of the Warlis (Maharashtra and Gujarat)

  12) 13)  14)  15)  16)  17)  18)  19)  20)  21) 

Woodwork Pottery Jute Leather, Maharashtra Shell, Gulf of Mannar, Odisha Terracotta Works (Assam) Brass HandicraftS Zardozi Carpet Weaving Saris and Silk

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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

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  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 Chaiti Ghoda, Changu  Nata, Chhau, Dalkhai, Danda Nata, 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.

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POPULAR ARTS AND HANDICRAFTS OF ODISHA PATTACHITRA

Believed to be originated in the early 12thcentury, Pattachitra is an icon painting p ainting 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 worldlyfamous 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.

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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, 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.

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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. 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.

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PATTACHITRA 

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   Pattachit  Pattachitra ra evolved from Sanskrit. When broken down into its two  parts, Patta means cloth, and Chitra means picture. Hence, Pattachit  Pattachitra ra 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. p icture. Pattachitra is thus a painting done on canvas, and is manifested by rich colourful application, creative motifs and designs, and portrayal p ortrayal of simple themes, mostly mythological in depiction.   Popular theme representation – o  Thia Badhia - depiction of the temple of Jagannath

  Krishna Lila - enactment of Jagannath as Lord Krishna displaying his

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 powers as a child

  Dasabatara Patti - the ten incarnations of Lord Vishnu

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  Panchamukhi - depiction of Lord Ganesh as a five-headed deity

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  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.

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  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

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Material –    

  Odisha Pattachitra depicting Radha Krishna

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  Cloth   Paper   Color   Theme

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THEME AND STYLE USED IN PATTACHITRA 

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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

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PROMINENT FEATURES OF PATTACHITRA ART 

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A floral border is a must around the    paintings

  The use of natural colors.   The paintings are executed primarily

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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

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  The gum of the kaitha tree is the chief ingredient, used as a base for making

colors.

different pigments by adding available raw materials. For instance, to get the shade of white, powdered conch shells are used.

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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

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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 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.

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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.

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  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 p ortrayal of simple themes, mostly mythological in depiction.

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

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  Paintings narrate the stories using colours for ornamentation and details.

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  A Pattachitra Artist teaches his unique

Mohapatras from Raghurajpur village in Puri are considered the Master Artists of Pattachitra.

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.

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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 n ew 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. available. Yellow from haritali stone and red r ed 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

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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 t he attires. Once the painting is completed, outline will be given to the figure using black color.

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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, 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

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  After cotton is dry, a paste of chalk powder, imli and gum is applied on

cotton is then sun dried.

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 both side of the layered cloth and it 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 in light pink, purple or brown. The painters only use natural vegetable and mineral colours. They  prepare their own colours. For instance, white colour 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 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

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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 hairthey which wooden handles. These used for the finer work dohave like ornamentation, face etc. are 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

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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 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. 

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  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.

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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.

preparation of the handmade Patta or Patti (canvas) is an extremely   The laborious task, for which artisans used two layers of old cotton saris

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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 which are washed in plain water thoroughly to remove all impurities from fro m 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 and if required, small  piece of the cloth is applied to avoid 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”

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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.

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  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 ar aree normally white, red, yellow, and black.

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  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 overlacquer a charcoal fireheldand is applied to the surface. This makes the painting water resistant and durable, besides giving it a shining finish.

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  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.

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COLORS CHOICE - PATACHITRA 

  In the 16th century, with the emergence of Bhakti movement the ppaintings aintings of Radha and Krishna were painted in vibrant shades of orange, red and

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yellow. There are typical and figures like Krishna, Gopis,scenes elephants, trees and other creatures that are seen in these paintings. Krishna is always  painted in blue and Gopis in light pi pink, nk,  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.

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  The colours used in the Patta Pa tta 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 o f 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 help of these crude brushes.

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SHADE CARD 

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  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

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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 this is known as Tala Pattachitra. Briefly speaking, here’s how it’s done.

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  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 equalsized 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.   Chandanpur.

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

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