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THE PATUAS
(SCROLL-PAINTERS)
A sc roll-painter is known in West Bengal as
Patua, Chitrakar, Patikar and Patidar. In North-West Bankura and Purulia the Patidar name is more popular, in
Birbhum and certain areas of Midnapore the Chitrakar name is more current and in
south-west Bengal the Patua name is more widely known. Birbhum and Midnapore
districts have the majority of Patuas in West Bengal, distributed over a large
number of villages. The Patuas are generally very poor and socially outcast.
The Patuas in West Bengal may be divided into three groups, according to
the theme or subject they represent on their scrolls.
1.
The Patuas who represent mainly Hindu mythological themes.
2.
The Patuas who represent the conception of Heaven and various kinds of
tortures inflicted by Yama the Lord of Death, on the sinners.
3.
The Patuas who represent the theme of
the origin of a tribe (which is mainly
the Santhals in Western Bengal) and the passage of the Dead from this mortal
world to life beyond death.
The first group of scroll-painters who deal mainly with Hindu mythological
themes, constitute the most advanced' Hinduized' group. The terms 'Hinduized '
here does not mean their actual Hinduization, but their more frequent contact
with and economic dependence upon the surrounding Caste-Hindus who dominate
their social environment.
The second group of scroll-painters are Yama-Patuas. The Yama-Pat is an
adaptation of the Chakshu-dan pat for the consumption of the Hindu. In the Yama-Pat
popular Hindu morality tales are included and 'magic' is totally
excluded.
The third group of Patuas are largely found in Jhalda, Barabazar, Manbazar,
Jaipur, Raghunathbari and other areas of Purulia district, in some villages
in north-western part of Bankura, such as Bharatpur near Susunia Hills, in
Kalipahari and Geramdi and Salberia. This is predominantly a tribal zone and
among the tribes the Santhals are in majority. In the past, they used to paint
scrolls on the theme of the origin of the Santhals. The story of the origin of
the Santhals was pictorially depicted through stages on the scroll. The
Patidars of this region also demonstrate a kind of scroll, known as Chakshudan Pat
(eye
giving scroll), after the death of a person, before the members of the
deceased's family. The Patidar here performs the
role of a tribal magician-priest.
In the traditional style of the Patuas, a fresh spontaneity of conception and
execution can always be discerned. They are never drawn with the meticulous
perfection. It seems there is some influence of Muslim Calligraphy on the bold
and vigorous brush lines of the traditional Patuas. Pat-Painting can be
traced back to the Buddhist and the Jain tradition. It the richer among the Jains
than among the Buddhists.
The Patuas are dying group of
folk artists. Those who are still clinging to
the traditional profession are not painters and do not know the art of painting.
They are simply wandering minstrels, roaming and begging from village to village by entertaining the poor illiterate villagers with Hindu
mythological songs, illustrated on scrolls. These illustrations or paintings
were done by their fathers and grandfathers.
The traditional myths of Krishna
Radha, Kamalay Kamini, Manasa etc,
represented in the scrolls were being replaced by newly created myths of British
rule generated by the babus and babu-culture.
There are also studies of birds, animals, snakes and fishes.
A large number of Patuas from the western districts of Bengal started
migrating to the city of Calcutta from the beginning of the 19th century and
small settlements of Patuas (like Patuatola of central Calcutta, Patuapara of
Kalighat) sprang up in the neighbourhoods of important centres of
pilgrimage. In these new centers of pilgrimage in Calcutta a new hybrid style of
Patua-painting originated and developed, mainly
under the influence of European artists and their art-works.
One of such notable centres was Kalighat, the most important centre of
pilgrimage in Calcutta.
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