Traditional Painting Art
The works of writing religious scripts in Plam leaf colloquially known as POTHI may be taken into consideration while discussing Traditional Painting Art. Since 5th Century AD the art of writing Pothi with pictures on palm leaf had been continuing serially. The writers and the artists of Utkal were practicing the art of writing and drawing pictures on the palm leaf. For this, special painting art was created. It was, indeed, rare art works, so meticulously engraved by them on the palm leaf, which is very rarely seen else where. The way they were doing was unique. In subsequent times the Painters used to practice Pal leaf painting and base paintings (Vitichitra) on the walls of Places, holes of Temples, Monasteries etc. During that time they used to do the painting with the natural colours using the brush made of Kewa leafs. This type of painting process traditionally continued till 11th Century following which the Painters applied a new process.
During that time how the detailed analysis of practicing art was prevalent in the society is clearly evident from series of different art scripts/books. The “Dutakabya”, an image play, written by Bhasa, “Abhilashitarthi Chintamani” by Somadeva, “Samarangana Sutradhara”, “Saraswati Silpa” by king Bhoja, “Siplaratna & Bishnudharmottara Purana” by Sri Kumar Pandita may be mentioned in this regard.
After the base paintings, the Painting Artists started pondering on how the paintings could be transferred to elsewhere. This led them to find out ways to do that and in initial attempt they started drawing pictures on the cotton cloth. On the both sides of the fabric they used to fix sticks for rolling the painting and easily sending to other places. In subsequent times towards 12th Century the Painters created a new method of Art Painting. Before this the painting was also done on wooden planks.
However, the new method of painting was popularly known as Pattachitra. Many researchers are of the opinion that this method of Pattachitra painting has evolved from the great service-culture of Lord Jagannath. This method of art painting is well protected and practiced in Puri Temple till today. The artists deployed in this Painting work are part of thirty six works (called Chhatisha Nijoga in Oriya) introduced by the king Narasinghadeba. On being authorized by the King the Chitrakaris (Art Painters) used to engage themselves in the painting works on different festivities and carnivals through out the year. Being regarded as the Sebayats(Servants) of Lord Jagannath these Chitrakaris used to paint pictures on Ratha(Chariot), Chandana Chapa, Snana Mandapa,(Bathing Pendal) Jhulana Mandapa,(Hanging Pendal) Jegaghera etc including supplying another Patta painting required for a special work in the Temple. Till date the practice of this service has been continuing on special rules and regulations.
This Service is otherwise known as Patta paintings of four images (Chaturdhamurti) of Lord Sri Jagannath during his sickness days (Anasara). On this patta painting the complete human images of three deities are drawn and the same is kept at the right time on the crown (Singhasana) and worshipped as per the tradition of service rules of Lord Sri Jagannath. The relationship of this patta painting with the tradition of this service is so close that the main objective of Pattacitra is never accomplished without principles and practices of Lord Jagannath. In fact this art painting is the main preamble to Odishi Chitrakala (Odishi Art Painting). Therefore, the dedication of this patta painting to the service of God is quite natural also.
The prevalence of this process of patta painting by special Chitrakaris (Painters) at Lord Jagannath Temple in Puri, otherwise known as “SRIKSHETRA”has been continuing since the beginning of the installation of deities in the Temple. Since that time traditionally patta painting in the form Bhitichitra (Base painting) is being done on the walls of Jagamohan near Mahalaxmi Temple, Koeili Baikuntha, Bimala Temple, Monasteries, and Temple Jegaghars. These pictorial places are regarded as the ancient art resource of Puri.
It is understood from the scripted Madalapanji in 16th Century that “ AI Ante Mahalia Mukundadeba Raja hele, Ehanka 25 Ankare Naskar Khan pipili jain Aila, Ehanka 42 sa Anke sunyabani hela, ehanka patra Pitambara Pattanaik Laxminka Jagamohan Kale. Ai Raja 100 Kahana bhiana kari Jagamohan jhulana mandapa, Gundichaghara chitra kale”. (The matter may be read in oriya script). The main essence of the writing is that the King used to make arrangements for art paintings in Laxmi Temples, Jhulana Mandaps and Gundicha Temple on the message of God (Sunya Bani).
The Chitrakari (Painter) community being inhabited in special colonies in Puri traditionally used to draw mythological picture paintings on different monasteries, walls of temples etc in the styles of Patta paintings and made “Jatripati” and other pictures for sustenance of their livelihood. Gradually due to the increase in the families of Chitrakaries, some of them shifted to nearby places like Danda Sahi, Raghurajpur etc and continued practicing of patta painting as their hereditary occupation.
Besides this, the tradition of Painter’s Service was also introduced in the Jagannath Temples and Monasteries that were built on the patronage of the then kings specifically in the hilly and forest regions. Among such places, the Temple of Biranchi Narayan in Buguda, Jagannath Temple in Dharakot, Sri Kalika Tepmle in Jeypore and the picturesque of other places indicate the broadness of Odishi Art Painting.
The genesis of evolution of Odishi Art Painting having been started from the Cave Pictures to base painting and pattachitra painting, its two most important patterns have drawn the attention of the Researchers. One is classical (Sashtriya) and the other is people oriented (Loukika) While the classical paintings included Pothichitra (religious script paintings), Pattachitra and Bhiti Chitra ( Base Painting) based on mythology, the broadness of peoples’ painting first gained popularity in the eyes of people. Traditionally this people’s art exists within our human society.
Creation of specific important people’s art has been possible in specific areas. On regional basis, the preservation of traditional art could be possible due to the attempt made by people to save their own hereditary occupation from dying. Irrespective of caste and religion, every family has introduced themselves as the Centres of People’s Art. In this context, every women of the family are the Art Teachers. In the process of hereditary family practices linked with indigenous culture, the likeness towards people’s art has been surviving taking the women folk as the main practitioners. Among the people’s art; Jhoti Chitra, Muruja writings, Tattoo impressions, nail colouring, folding of sarees, wall polishing, etc reflect the inherent likeness, desires, qualities and intuitive abilities of women to practice art. However, the selected theme “Chitra Rachana” (scripting Pictures) in the context of Chitrakala (Painting Art) may consider giving due importance to Jhoti Chitra& Muruja in the aspect of People’s Art (Lokakala).
It is understood from the above discussion that the history of two continually flowing streams such as Shastriya (Classical) and Loukika (People oriented) Art forms in the process of evolution of Odishi Painting Arts remains incomplete.
However, in this regard it would be worthwhile mentioning another pattern of Art Painting i.e the fundamental artistic inclinations of the early inhabitants. The ethnic people’s art paintings of tribal people are no less important when compared with the traditional Jhoti Chita and Muruja (the popular form of people’s art particularly done by women by hand in the mainstream society. The material used is rice paste or powder, Turmeric powder and other powders meant for worship). On critically analyzing the rural arts of Utkal this fact comes out easily.
It is understood from the historical research that the emergence of other forms of rural painting arts has taken place after the development of the traditional Art and culture of these tribal people. Like the way the tradition of Art painting is surviving in our rural lives, the so called tribal women have also been worshipping the Gods and Goddesses of their likeness and aesthetic scene. Their style of art painting seems to be complementary to the pre-historic art paintings that give different connotations to concepts and thoughts presented in the paintings. In this regard the wall painting Edital of Soura Tribes, Tikangkuda of Kutiakandha, Manjigunda of Dangaria Kondhs, Vhinta of Santhals, Chitra painting of Juang, Jhanjara painting of Paudi Bhyan tribes etc have taken the shapes of the said Art Paintings.
The basic thoughts behind the newness we get in the ultramodern art and craft today are clearly visible in the Tribal Arts. Since their wall paintings and moreover, the intuitive style of other paintings were limited to their social condition and tradition during the early ages of the civilization, it necessitates and calls for a thorough research and artistic evaluation of their art works in the context of present day society. Therefore, importance needs to be given on the Tribal Art while discussing the history of Odishi Painting Arts.
During that time how the detailed analysis of practicing art was prevalent in the society is clearly evident from series of different art scripts/books. The “Dutakabya”, an image play, written by Bhasa, “Abhilashitarthi Chintamani” by Somadeva, “Samarangana Sutradhara”, “Saraswati Silpa” by king Bhoja, “Siplaratna & Bishnudharmottara Purana” by Sri Kumar Pandita may be mentioned in this regard.
After the base paintings, the Painting Artists started pondering on how the paintings could be transferred to elsewhere. This led them to find out ways to do that and in initial attempt they started drawing pictures on the cotton cloth. On the both sides of the fabric they used to fix sticks for rolling the painting and easily sending to other places. In subsequent times towards 12th Century the Painters created a new method of Art Painting. Before this the painting was also done on wooden planks.
However, the new method of painting was popularly known as Pattachitra. Many researchers are of the opinion that this method of Pattachitra painting has evolved from the great service-culture of Lord Jagannath. This method of art painting is well protected and practiced in Puri Temple till today. The artists deployed in this Painting work are part of thirty six works (called Chhatisha Nijoga in Oriya) introduced by the king Narasinghadeba. On being authorized by the King the Chitrakaris (Art Painters) used to engage themselves in the painting works on different festivities and carnivals through out the year. Being regarded as the Sebayats(Servants) of Lord Jagannath these Chitrakaris used to paint pictures on Ratha(Chariot), Chandana Chapa, Snana Mandapa,(Bathing Pendal) Jhulana Mandapa,(Hanging Pendal) Jegaghera etc including supplying another Patta painting required for a special work in the Temple. Till date the practice of this service has been continuing on special rules and regulations.
This Service is otherwise known as Patta paintings of four images (Chaturdhamurti) of Lord Sri Jagannath during his sickness days (Anasara). On this patta painting the complete human images of three deities are drawn and the same is kept at the right time on the crown (Singhasana) and worshipped as per the tradition of service rules of Lord Sri Jagannath. The relationship of this patta painting with the tradition of this service is so close that the main objective of Pattacitra is never accomplished without principles and practices of Lord Jagannath. In fact this art painting is the main preamble to Odishi Chitrakala (Odishi Art Painting). Therefore, the dedication of this patta painting to the service of God is quite natural also.
The prevalence of this process of patta painting by special Chitrakaris (Painters) at Lord Jagannath Temple in Puri, otherwise known as “SRIKSHETRA”has been continuing since the beginning of the installation of deities in the Temple. Since that time traditionally patta painting in the form Bhitichitra (Base painting) is being done on the walls of Jagamohan near Mahalaxmi Temple, Koeili Baikuntha, Bimala Temple, Monasteries, and Temple Jegaghars. These pictorial places are regarded as the ancient art resource of Puri.
It is understood from the scripted Madalapanji in 16th Century that “ AI Ante Mahalia Mukundadeba Raja hele, Ehanka 25 Ankare Naskar Khan pipili jain Aila, Ehanka 42 sa Anke sunyabani hela, ehanka patra Pitambara Pattanaik Laxminka Jagamohan Kale. Ai Raja 100 Kahana bhiana kari Jagamohan jhulana mandapa, Gundichaghara chitra kale”. (The matter may be read in oriya script). The main essence of the writing is that the King used to make arrangements for art paintings in Laxmi Temples, Jhulana Mandaps and Gundicha Temple on the message of God (Sunya Bani).
The Chitrakari (Painter) community being inhabited in special colonies in Puri traditionally used to draw mythological picture paintings on different monasteries, walls of temples etc in the styles of Patta paintings and made “Jatripati” and other pictures for sustenance of their livelihood. Gradually due to the increase in the families of Chitrakaries, some of them shifted to nearby places like Danda Sahi, Raghurajpur etc and continued practicing of patta painting as their hereditary occupation.
Besides this, the tradition of Painter’s Service was also introduced in the Jagannath Temples and Monasteries that were built on the patronage of the then kings specifically in the hilly and forest regions. Among such places, the Temple of Biranchi Narayan in Buguda, Jagannath Temple in Dharakot, Sri Kalika Tepmle in Jeypore and the picturesque of other places indicate the broadness of Odishi Art Painting.
The genesis of evolution of Odishi Art Painting having been started from the Cave Pictures to base painting and pattachitra painting, its two most important patterns have drawn the attention of the Researchers. One is classical (Sashtriya) and the other is people oriented (Loukika) While the classical paintings included Pothichitra (religious script paintings), Pattachitra and Bhiti Chitra ( Base Painting) based on mythology, the broadness of peoples’ painting first gained popularity in the eyes of people. Traditionally this people’s art exists within our human society.
Creation of specific important people’s art has been possible in specific areas. On regional basis, the preservation of traditional art could be possible due to the attempt made by people to save their own hereditary occupation from dying. Irrespective of caste and religion, every family has introduced themselves as the Centres of People’s Art. In this context, every women of the family are the Art Teachers. In the process of hereditary family practices linked with indigenous culture, the likeness towards people’s art has been surviving taking the women folk as the main practitioners. Among the people’s art; Jhoti Chitra, Muruja writings, Tattoo impressions, nail colouring, folding of sarees, wall polishing, etc reflect the inherent likeness, desires, qualities and intuitive abilities of women to practice art. However, the selected theme “Chitra Rachana” (scripting Pictures) in the context of Chitrakala (Painting Art) may consider giving due importance to Jhoti Chitra& Muruja in the aspect of People’s Art (Lokakala).
It is understood from the above discussion that the history of two continually flowing streams such as Shastriya (Classical) and Loukika (People oriented) Art forms in the process of evolution of Odishi Painting Arts remains incomplete.
However, in this regard it would be worthwhile mentioning another pattern of Art Painting i.e the fundamental artistic inclinations of the early inhabitants. The ethnic people’s art paintings of tribal people are no less important when compared with the traditional Jhoti Chita and Muruja (the popular form of people’s art particularly done by women by hand in the mainstream society. The material used is rice paste or powder, Turmeric powder and other powders meant for worship). On critically analyzing the rural arts of Utkal this fact comes out easily.
It is understood from the historical research that the emergence of other forms of rural painting arts has taken place after the development of the traditional Art and culture of these tribal people. Like the way the tradition of Art painting is surviving in our rural lives, the so called tribal women have also been worshipping the Gods and Goddesses of their likeness and aesthetic scene. Their style of art painting seems to be complementary to the pre-historic art paintings that give different connotations to concepts and thoughts presented in the paintings. In this regard the wall painting Edital of Soura Tribes, Tikangkuda of Kutiakandha, Manjigunda of Dangaria Kondhs, Vhinta of Santhals, Chitra painting of Juang, Jhanjara painting of Paudi Bhyan tribes etc have taken the shapes of the said Art Paintings.
The basic thoughts behind the newness we get in the ultramodern art and craft today are clearly visible in the Tribal Arts. Since their wall paintings and moreover, the intuitive style of other paintings were limited to their social condition and tradition during the early ages of the civilization, it necessitates and calls for a thorough research and artistic evaluation of their art works in the context of present day society. Therefore, importance needs to be given on the Tribal Art while discussing the history of Odishi Painting Arts.
