Received on - 30th November ‘16

Revised & Accepted - 30th December ‘16

The Patuas of Raghurajpur, Odisha

and Kalighat Patuapara, West Bengal
- A Comparative Analysis

Practising Geographer
Vol 20, No 2, Winter 2016, pp 95 - 103
ISSN 0975-3850
Sharmila Chandra and Sumantro Mukherjee

Abstract : The patuas (folk painters) of the Bengal region have always evoked an
enormous interest among the anthropologists, social scientists, historians and art-lovers
over the globe for their wonderful works of art, diversified culture and ever changing
lifestyle. The painters of the Kalighat, Kolkata, West Bengal style have been popular all
over the world as the Kalighat patuas and have produced a chronicled history over
the last three centuries. On the other hand, pata painting has been a vibrant activity
in Raghurajpur in the Puri district of Odisha, so much so that the place has been
declared a ‘Heritage Village’ in 2002 by the Government of Odisha.

Introduction

This paper attempts a socio-cultural evaluation of the Chitrakaras of Raghurajpur

and the patuas of Kalighat Patuapara. In the process, a comparative analysis of
the socio-economic conditions of the two communities in the past and present
will be attempted.

Objectives

Kalighat Patuapara at present, belongs to Ward Number 73 of the Kolkata Municipal

Corporation (K.M.C.), West Bengal. This region lies in South Kolkata and is bounded
by Hazra Road in the south, Tolly’s Nullah in the west, Shyamaprasad Mukherjee
Raod and Ashutosh Mukherjee Road in the east and Bijoy Bose Road and several
lanes and by-lanes in the north. Raghurajpur is a hamlet village within the revenue
village, Janakdeipur, located in the Puri district of Odisha. Until recently, Raghurajpur
had remained an unexplored place and very little research has been conducted
on the Chitrakaras or folk-painters who adorn the village. It may be stressed
that quite a wide array of enquiry-oriented literature has been produced on
Kalighat Patuapara, but none of it is focused on the socio-economic evaluation of
the patuas. Both the Chitrakaras of Raghurajpur and the pata painters of Kalighat
 96 The Patuas of Raghurajpur, Odisha and Kalighat Patuapara

are exceptionally talented communities so that their artistry deserves to be

especially valued. Without an all-round socio-economic evaluation the workmanship
of an artisan community cannot be preserved. Hence, this attempt on the part
of the researcher.

Methodology

The research work undertaken is exploratory in nature. It is based mainly on

primary survey in the field, although both primary and secondary sources of
information have helped in developing the paper. The research was conducted in
three stages – pre-field, field and post-field.

Pre-field

In the initial stage, secondary information on the two areas of study was
collected from books and periodicals including news dailies. Data was collected
from District Census Handbooks, District Statistical Handbooks and Pilot Survey
Reports of Government and non-governmental agencies. Dissertations, project
reports, Ph.D theses and such other past works were consulted.

Field

Extensive field work was done by the researcher in both the areas of study.
Purposive sampling and random sampling were resorted to. For purposive sampling,
interractions took place with high-ranking government officials such as the B.D.O.,
Puri District, the Councillor of Ward No. 73, the Executive Engineer of Borough
VIII and Chairman, Borough VIII of the Kolkata Municipal Corporation. Interviews
were held with the painters of Raghurajpur and Kalighat Patuapara with the
help of questionnaire-schedules. Photography and observation were also undertaken
in the field.

Post-field

After completion of field work, the data collected was compiled and thoroughly
analysed. The major findings from the study were sort out. In the case of this
paper, the analysis was qualitative.

Discussion

In both Raghurajpur and Kalighat, pata painting began with the patronage of pilgrims
 Sharmila Chandra and Sumantro Mukherjee 97

visiting the areas concerned. In Raghurajpur, the activity still centres around the
Jagannath cult. The Chitrakaras of Odisha dwell in particular areas called Chitrakara
Sahi. Originally, they congregated their art-forms around the Jagannath Temple of
Puri. The bulk of the purchasers of the paintings consisted of the pilgrims who
came to visit the Jagannath Temple from far and wide. They bought the patas
and took them home as souvenirs, paying the painters a hefty sum. Similarly,
pata making in Kalighat Patuapara was centred around the Kali Temple. Pilgrims
coming to pay homage to Goddess Kali, purchased the patas with drawings of
gods and goddesses and took them home as souvenirs to decorate their puja
rooms. At that time, i.e., just after the erection of the Kali Temple in 1809,
both the ‘Royal’ Patas and the ‘Rashi’ Patas designed by the patuas found a
good market as pilgrims thronged the area and new streets and lanes came
up such as Nepal Bhattacharya Lane, Nakuleshwartala, Amrita Banerjee Lane and
others. In these olden days the market for pattachitras in Puri was also thriving.
Hence, in his book, “The Indian Painted Scroll,” S.K. Sharma states, “The situation
may be compared with the Kalighat patuas, which gave rise to a school of
pata painting in 19th. century Bengal. Since the Jagannath Temple is older, the
school of Puri is older in comparison to that of Kalighat.”

Because of the great demand for their paintings in the early days, neither the
patuas of Kalighat nor those of Raghurajpur had to bear any anxiety regarding
their income. But with the passing of time, these patuas lost their market. This
was due to the advent of lithographs and oleographs in Calcutta (Kolkata) and
chromolithographic paintings in Odisha, which were much cheaper and easier to
produce. From then onwards, the economic condition of the patuas began to
deteriorate and their livelihood stood at stake.

A study of the past and present socio-economic conditions of the pata painters
of Raghurajpur and Kalighat Patuapara would produce an interesting picture of
similarities and differences between the two communities that stand out today
as the two most outstanding artisan classes of the Bengal and Odisha region.

From primary survey it has been found
22 patua families out of which only one
amounting to 4.5% of the total patua
idol-making and other activities. Not only
from Kalighat Patuapara due to lack of
years. On the other hand, the number of
increased from 102 in 2002 to 123 in
that Kalighat Patuapara at present houses
family is partially engaged in pata painting,
population. All the others are busy with
so, there has been large-scale outmigration
employment-opportunities in the past few
families inhabiting the village of Raghurajpur
2005 and further to 128 in 2014. Hence,
 98 The Patuas of Raghurajpur, Odisha and Kalighat Patuapara

possibly there has been an inflow of artisans into the village, which indicates
that artistry in Raghurajpur has been flourishing. Today, in Raghurajpur, almost all
the 128 households are involved in pata-art, as has been found from a primary
survey of the village.

In Kalighat Patuapara, the patuas have been neglected to the extreme point. The
patuas of this region have neither been promoted by any N.G.O. nor has the
Government taken any steps to preserve their traditional art. They have never
been organised into self-help groups. Nobody bothers to organise exhibitions on
their paintings nor are they taken to foreign countries to display their talent.
Thus, institutional apathy is the main factor responsible for the present condition
of the Kalighat patuas. This is an abnormal situation since Kalighat Patuapara
lies within an urban area, with ample scope of development.

On the other hand, the Chitrakaras of Raghurajpur have received support from
both governmental and non-governmental institutions. After Raghurajpur was
declared a ‘Heritage Village’ in 2002, the village was brought under the Rural
Tourism Project and all efforts were made to improve the quality of life of
the inhabitants. With the intervention of INTACH, special amenities were provided
for the tourists visiting the area, so that the villagers could benefit from the
promotion of tourism. As a result, while Raghurajpur at one time could draw
the occasional foreign tourist, today it attracts a large number of local and
national tourists. The tourist influx in Raghurajpur increased by 500% between
2001 and 2005. This was sustained after 2005. As a result, the average monthly
household income of the villagers reached Rs. 8875 in 2014 (Primary Survey).

In Kalighat Patuapara, most of the inhabitants have taken up idol-making as

an alternative occupation. From primary survey, it has been found that the
peak season for idol-making stretches from Viswakarma Puja to Jagaddhatri Puja.
During this peak season, they work day and night to complete their idols. But
the peak season lasts for only three-four months. Hence, they are turning into
marginal workers. In the lean season, which extends for about eight months,
they have no work. In this season, they may or may not receive contracts. Hence,
the Kalighat patuas are living in abject poverty.

In Raghurajpur, the peak season for selling patas and other handicraft items is
winter as this is the time when domestic and foreign tourists throng the village.
Although the peak season lasts from November to February, pata painting goes
on throughout the year and there is no lean season for this activity, as has
 Sharmila Chandra and Sumantro Mukherjee 99

been reported by the Chitrakaras during primary survey. Hence, they are not marginal
workers, but full-time pata painters and are classed as household industrial workers.

Primary survey has revealed that to increase the demand for their artistic
items, the Chitrakaras of Raghurajpur are working on utility goods. Flower vases,
diaries, lampshades, articles of interior decoration, jewellery-boxes and other items
are made by them and sold at high prices. Moreover, these artisans paint on
sarees which are highly priced and are purchased not only by the foreigners,
but also by the locals. In Odisha, the artistic skill of the patua is extensively
sought for not only decoration and illustration purposes, but also for cover-design.
Shankar Sengupta has stated, “There is a relation between patas and the cover-
design of books and illustrated punthis or handwritten scripts. The cover of the
punthi is popularly known as paataa. The horoscope, by which the astrologer
predicts future events of life is illustrated, where the technique of the patua is
utilised.” On the other hand, it was found that the Kalighat patuas have not
used their artistic skill in pata painting to make utility goods. This is perhaps
another reason why their articles cannot find a big market.

In the initial stage, the Kalighat patuas had drawn on religious themes and
later on, they switched over to ‘babu patas.’ The only family that today draws
patas in Kalighat Patuapara, still sticks to these old themes, although there are
exceptions. The Kalighat patuas have not taken up any contemporary issues in
creating their patas. They still stick to the themes of the Colonial Period and
the Imperial Period. That is why perhaps, the Kalighat patas are not attracting
the art connoisseurs.

In Raghurajpur, the themes are still mostly religious. They mainly draw on the
Trinity, Radha-Krishna and Krishna-Lila and represent other gods and goddesses such
as Lord Ganesha and Saraswati. However, the Chitrakaras of Raghurajpur keep in
mind the tastes of the customers or rather ‘connoisseurs”’ and create their
pattachitras accordingly. For this purpose, they now often take up secular themes
as subjects of their patachitras, such as the fish or the swan and other members
of the animal kingdom as was found from primary survey. Moreover, INTACH
developed an integrated project to provide the artisans with skill upgradation
and design development. The artisans are now working on contemporary shapes,
quality and finishing techniques while retaining the traditional essence of their
craft. This has helped them to find bigger markets in India and abroad.

From primary survey, it is obvious that in Kalighat Patuapara, there exists a

 100 The Patuas of Raghurajpur, Odisha and Kalighat Patuapara

conflict between the urge of the patuas to practise and showcase their work
of art and the obligation to take up other occupations to earn their bread.
But in Raghurajpur, there is no such conflict. The Chitrakara is free to practise
his art of drawing pattachitras, palm leaf engraving, coconut-painting, designing toys
of cowdung and making paper mache masks and toys. He is more relaxed and
less concerned about earning his bread, although he is not ‘rich’ in the true
sense of the term. As a consequence, in Raghurajpur, the artisans are much
more dedicated to their work There is an ambience of hospitality in the village.
This has helped to preserve the quality of their art.

The effect of urbanisation has been felt much more in Kalighat Patuapara. This
is an inevitable outcome since Kalighat Patuapara is located within the city of
Kolkata. In the patas that were once drawn by the Kalighat patuas, there is
an indication of the urbanisation of taste, coupled with a progressive decay of
the traditional pattern. This effect of urbanisation is felt less in Raghurajpur as
the village is situated far from the din of a noisy and bustling city life. Here
the Chitrakaras are still a community, bound by their traditional occupation of
pata painting. The designs of their pattachitras have not yet been overrun by
modern production techniques and the demands of globalisation. As stated by
J.P.Das in his book, “Puri Paintings : The Chitrakara and his work,” “Painting for
the Puri Chitrakaras is not a vocation only. It is an involvement. It is also a
religious experience as well as a means to satisfy the aesthetic and creative
urges. Painting is a kind of service to God for the icon painters….” As a
result, the village artisans have been able to establish an identity of their own
and Raghurajpur has occupied a unique place in the cultural map of India.

When the overall picture of the patua community is considered, it is found

that the community is split into two groups – one group claims that they are
Hindus, while the other group identifies themselves with the Muslim community.
The Kalighat patuas were not the original inhabitants of this area, but came to
settle here from the adjoining districts of West Bengal such as East Medinipur,
South 24 Parganas, Birbhum, Bankura, Howrah, Hooghly and Murshidabad. These
patuas of rural Bengal were originally Muslims. The patuas of the Kalighat area have
taken up idol-making. They create idols of Hindu gods and goddesses and identify
themselves as Hindus today. These people changed their surname from Chitrakara
into Pal which is a typically Hindu surname. However, these patuas suffer from an
identity-crisis with regard to their religion. They cannot be fully incorporated into
the Hindu community as they are Muslims by origin, again they are not accepted
by the Muslim community wholeheartedly as they make idols of Hindu gods and
 Sharmila Chandra and Sumantro Mukherjee 101

goddesses. Islamite patuas who are engaged in idol-making claim that it is not
anti-Islam as they do not put eyes to the idol. Animation before puja is done
by the priest who bows down before the image after animation.

In Raghurajpur, the picture is different. All the Chitrakaras of this village identify
themselves with the Hindu community. Although J.P. Das is of the opinion that
the patuas or the Chitrakaras are Sudras, they are not looked upon as outcastes.
Caste distinction is not rigid in Raghurajpur and everyone can paint pattachitras
illustrating gods and goddesses. These Chitrakaras are held with respect, they do
not suffer from identity-crisis. This helps them to stick to one religion, lead a
stable life and concentrate on their work.

Jayanta Das, in an interview with Srishchandra Chitrakara published in Desh

Patrika, found that this last great patua of Kalighat expressed the opinion that
the clay-modellers and idol-makers that throng the streets of Kalighat Patuapara
today, are not patuas by origin. They are actually Kumbhakaras and coming from
other areas, they occupy the land in Patuapara at present. Every year, before
the Pujas, they come to this part of Kolkata from Kakdwip, Namkhana, Bakkhali
and the surrounding areas to make idols and sell them. This was confirmed
from primary survey recently, when the helpers of the idol-makers of Kalighat
Patuapara said that their ancestors had never drawn patas. They also said that
they were coming from Diamond Harbour, Sonarpur and Haldia and would go
back to their original homes after the festive season.

In Raghurajpur, this type of short-term inmigration or outmigration is not in

vogue. The Chitrakaras live in permanent homes, where they work on pattachitras
and other artistic items throughout the year.

The idol-makers of Kalighat Patuapara expressed the opinion that their ancestors
had never drawn patas, but have been making clay dolls for about 300 years
and this activity has helped them to become experts in the creation of patas,
although they do not at all belong to the patua community. On the other
hand, the Chitrakaras of Raghurajpur have been pattachitra painters for generations.
In most cases, their skill in pata painting is inherited from their parents and
grandparents, who were also pattachitra painters and were engaged in no other
occupation.

The youngsters in Kalighat Patuapara illustrate occupational pattern of varied forms.

They have a tendency to take up modern occupations and many are working
 102 The Patuas of Raghurajpur, Odisha and Kalighat Patuapara

as motor-mechanics, in the Electricity Department and some, after completing their

studies in schools and colleges, are working in Government offices in Kolkata.

In Raghurajpur, the Chitrakaras train the next generation in their traditional

occupation. All the members of the family including the young boys and girls,
are seen painting pattachitras and are engaged in pam-leaf engraving, although
they go to schools and even to professional training courses. Some members of
the family do stone-carving, but this is not done to supplement their income
and to earn their bread, they do it out of their love for creativity. So the
situation is much brighter in Raghurajpur.

Conclusion

On the whole, it is found from primary survey as well as from secondary

data that pata-art of Kalighat Patuapara that was once famous all over the
world, is now totally in a moribund state. Not only are the patuas living
below poverty-line but they also suffer from a feeling of insecurity with regard
to their present socio-economic conditions. As a consequence, lateral shift from
their primary occupation of pata painting is complete in Kalighat Patuapara. In
comparison, it can be said that although the artisans of Raghurajpur are also
poor and the literacy-level in this village is extremely low, the inhabitants do
not suffer from any feeling of insecurity. Hence, here the artisans have not
shown any marked lateral shift from their original occupation of pata painting.

References

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 Sharmila Chandra and Sumantro Mukherjee 103

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Authors’ Address : Dr. Sharmila Chandra, Post Doctoral Fellow, ICSSR and Professor Sumantro Mukherjee,
Department of Geography, Visva Bharati, Santiniketan-731235, West Bengal.