Mahavidya Shodashi as Tripura-Sundari

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Item Code:	PL62
Artist:	Rabi Behera
Specifications:	Watercolor on PattiArtist: Rabi Behera
Dimensions	12.0 inches X 18.0 inches

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Shodashi, also alluded to in some texts as Tripura Sundari, the most beauteous in three worlds, and as such having three forms defining three stages – Tripura-bala, the virgin, Tripura-Sundari, the beauteous, and Tripura Bhairavi, the terrible, is perceived as one with timeless youth and beauty, though not without frowns or angry looks. She is sometimes seen as the embodiment of sixteen modifications of desire and at other time as one created to arouse Shiva to procreative activity so that his creative powers could stimulate the world. In Hindu pantheon she seems to have emerged in around eleventh-twelfth centuries and had perhaps a few temples too, with one at Tehara near Bheraghat, Jabalpur, in Madhya Pradesh, devoted to her. Like Kali and Tara, Tripura-Sundari is also perceived as swaying all gods, though perhaps with her paramount beauty, not by Kali-like superior power. This superior position of Shodashi reflects in her iconography in which she sits on a lotus emerging from the navel of Lord Shiva.

The artist has attempted to highlight the goddess' beauty aspect with a charming nose ring, her golden complexion, the beautiful sari and above all her graceful manner of sitting.

This artwork was made in the sacred city of Puri, Orissa.

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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.