Krishna with his Female Friends

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In the embrace of Krishna, the gopis, maddened with desire, found refuge; in their love dalliance with him who was the master in all the sixty-four arts of love, the gopis felt a thrill indescribable; and in making love with him in that climatic moment of release, in that one binding moment, they felt that joy and fulfilment which could not but be an aspect of the divine. Through their experience, thus, the erotic the carnal and the profane became but an aspect of the sublime, the spiritual and the divine.This cumulative myth sustained one basic point: for women, Krishna was a personal god, always accessible and unfailingly responsive. He was a god specially made for women. In the popular psyche, Krishna and Radha became the universal symbol for the lover and the beloved. Krishna was the ideal hero, and Radha the ideal heroine.

Pata is a Sanskrit derivation which literally means canvas. The art of Pata Painting (or pata chitra) is practiced by the artists of Orissa, a state on the Eastern Coast of India.

The painter first chooses two pieces (generally tussar silk) of cloth and he sticks the pieces together by means of a paste prepared from tamarind seeds. They are then dried in the sun.

The tamarind paste is traditionally prepared as follows: The tamarind seeds are first kept in water for two to three days. When the seeds swell and become soft, these are ground with a pestle stone till the formation of a jelly like substance. In an earthen pot some water is poured along with this substance which is finally heated into a paste. The pieces of cloth thus pasted into one become a Patti.The Patti may be of an area of a few square meters. After the Patti is dried it is rolled up and from this roll, pieces of pata are cut and utilised for individual paintings.

The colors are hand prepared by the artists from natural ingredients like china-clay, soft clay(chalk), conch shell, red stone etc. The black color is prepared from charcoal powder. For white, the artists use sea shells which are available in plenty on the sea shores of Orissa, the home of pata paintings. The sea-shells are powdered and the powder is kept mixed with some water for two days.The mixture is stirred properly until it becomes soft and milky. This milky liquid is then heated with the gum of Kaitha fruit (Feromia Elephantum). The paste thus prepared is then dried in the sun to form a solid substance.

Black color is prepared by holding an earthen plate over the smoke of a burning wick. The soot thus collected at the bottom of the plate is thickened to a black substance. This is mixed with the gum of Kaitha fruit when used as black color in painting.

Green color typically is prepared from the juice of green leaves which is boiled and gum is mixed in the same proportion.

The materials used by these artists are totally of an indigenous character. To unite the colors they utilise wooden bowls made of dried coconut shells. The coarse brush is prepared from the root of a local plant called keya. Hairs of brushes are collected from a buffalo's neck, more fine brushes require the hair of mouse. These brushed are fixed to wooden handles. They are usually kept in the quivers made out of a hollow joint of a thick bamboo tree. The brushes may also be sometimes stored in leather cases or in dried pumpkin bowls.

It is truly said of these Pata paintings that " Strange is this world of Pata paintings, a world in itself, where every article and ornament keeps its unchanging shape, its place and importance, where every animal has its own stylized features, every personality its unerring marks of identification defined by the ancient texts, religious myths and local tradition. It is a world of myths and gods, but still more it is a world of folk imagination, the reflection of thinking and of the mental scope of millions of Indian peasants, fishermen and craftsmen, their joys, their hardships, binding faith and exacting beauty. So the paintings speak the language of their creators, they give realistic expression, a clear symbol, humorous details. They are familiar to the eye, close to the heart, bringing joy and expressing life".

Indeed the immensity of life and the diversity of the divine come together and stand in one in these Pata paintings.

Mastering the Ancient Technique: Exploring the Meticulous Creation of Pattachitra Paintings

The traditional Pattachitra is a scroll painting that is done on cloth. This is revealed in the name; Pattachitra is a Sanskrit term made from two words i.e. Patta meaning cloth and Chitra meaning picture. The main subject of this painting is portraying Hindu mythological narratives, scenes from religious texts, and folktales. Pattachitra paintings are especially practiced in eastern Indian states such as West Bengal and Odisha, and also in some parts of Bangladesh. This art form is closely related to Shri Jagannath and the tradition of the Vaishnava sect. It is believed that Pattachitra art originated in the 11th century and the people of Odisha practice it even today without any discrepancy. Bengalis use these scroll paintings for ritual purposes (as a visual device) during the performance of a song or Aarti.

Pattachitra paintings are characterized by creative and traditional motifs/designs, decorative borders, and bright colorful applications. The outline of the figure and motifs are bold and sharp. Some common shapes and motifs seen in these paintings are trees, flowers, leaves, elephants, and other creatures. The artists of Odisha and Bengal still use the traditional method of painting which gives a unique look to it altogether.

1. Canvas is prepared

The process of painting a Pattachitra begins by preparing the canvas (patta). Generally, cotton cloth is used for making the canvas. The local artists dip the cotton cloth in a mixture of tamarind seeds and water for a few days. The cloth is then taken out and dried in the sun. Now natural gum is applied over it to stick another layer of cotton cloth on it. Thus a thick layer of cotton cloth is formed. This layered cotton is sun-dried and a paste of chalk powder, tamarind, and gum is applied on both sides. The surface of the cloth is then rubbed with two different stones for smoothening and it is again dried. This process gives the cloth a leathery finish and it is now ready to be painted.

2. Natural colors are made using traditional method

The painters prepare and use vegetable and mineral colors for application in the painting. White color is made from conch shells, black is made by burning coconut shells, Hingula is used for red color, Ramaraja for blue, and Haritala for yellow.

3. Colors are filled in

The artist now makes a double-lined border on all four sides of the canvas. The local artists are so expert in painting that they do not draw figures and motifs with pencil but directly draw them with a brush. The paint brushes that the painters use are made of the hair of domestic animals, a bunch of which is tied to the end of a bamboo stick. The figures are now painted with natural colors using the indigenous brushes. The outline is thickened with black color.

4. Painting is given a finishing

Finally, the painting is varnished/glazed to protect it from any damage and to get a glossy shine on the surface.

The making of a Pattachitra is laborious work and therefore, one painting may sometimes take over a month to complete. Due to their classical look, these paintings are admired by people from all over the world. The artistic skills used in Pattachitra are passed down from one generation to another and thus are preserved to date.