Patachitra: A gift from lord Jagannath

Parthasarathi Bal
Bachelor of Fashion Designing
KIIT School of Fashion Technology
KIIT University

Patachitra: A gift from lord Jagannath

Parthasarathi Bal
Bachelor of Fashion Designing
KIIT School of Fashion Technology
KIIT University

CERTIFICATE
This is to certify & declare that I, the undersigned Parthasarathi Bal, B.F.D, KIIT school of fashion
technology, have undergone an independent craft survey- research in Patachitra of Odisha from 24th may to
13th June 2010 as an academic requirement under the exercise CRAFT DOCUMENTATION. The document
is authentic recording of the 21 day pre-preparation and field study; where ever the support of external data
has been made, the same has been dully acknowledged.

Mr. Biswanath swain

Sri Parthasarathi Bal

Place: Raghurajpur

Place: Bhubaneswar

Date: 27.07.2010

Date: 27.07.2010

PROLOGUE
A craft is a skill, especially involving practical arts. It may refer to a trade or particular art. The term is often used as
part of a longer word (and also in the plural). For example, a craft-brother is a fellow worker in a particular trade and a
craft-guild is, historically, a guild of workers in the same trade. "Ring craft" is part of a boxer's skill. The term is often
used to describe the family of artistic practices within the decorative arts that traditionally are defined by their
relationship to functional or utilitarian products (such as sculptural forms in the vessel tradition) or by their use of such
natural media as wood, clay, glass, textiles, and metal. Crafts practiced by independent artists working alone or in
small groups are often referred to as studio craft. Studio craft includes studio pottery, metal work, weaving, wood
turning and other forms of wood working, glass blowing, and glass art. Folk art follows craft traditions, in contrast to
fine art or "high art". Both Freemasonry and Wicca are known as 'The Craft' by their adherents.
The selected craft of patachitra is a very delicate and complex form of art evolved from the craft village of Raghurajpur
of puri, Odisha. Raghurajpur, a small village in Orissa, occupies a prominent position in the cultural map of India. The
village, in its paradisiacal setting, is perhaps the only one of its kinds in India, where each family is engaged in one
craft or the other. The varied and rich traditions of Oriya arts and crafts have been vibrantly kept alive by the skilled
villagers. Apart from producing fine handicrafts, Raghurajpur is also the home to a living tradition of performing arts,
known as Gotipua, the earlier form of Odissi. Guru Kelu Charan Mohapatra, a maestro of Odissi dance, was born in
this village and had his early trainings in Gotipua tradition here.

Acknowledgement
I am thankful to Parampara (NGO) for the hearty cooperation and helping me in this project work. I am also
indebted all the villagers of the Raghurajpur village, who have rendered immense help during the field work.
My special thanks to my friend Bishnu Kinkar Mahapatra for his loveable cooperation, sincere and ceaseless
efforts during my project work.
My deep sense of reverence goes to Mr. Bhasker Mitra Asso.Professor of fashion designing, who is my
source of inspiration and encouragement, under whose sincere guidance I have completed my project.

PARTHASARATHI BAL
Researcher

Chapter 1

THE CRAFT-Yesterday, today & tomorrow..8

Chapter 2

CRAFT & ITS PLACE OF ORIGIN- past, present & times to come..19

Chapter 3

SOCIO-ECONOMIC IMPORTANCE- RELEVENCE OF THE CRAFT..27

Chapter 4

THE DOER- artisan making-practicing the craft 31

Chapter 5

THE MEDIUM- essential parameters required for generating the craft..39

Chapter 6

THE COST- factors influencing the cost of making the craft.. 55

Chapter 7

DESIGN INTERVENTION & GROWTH OPPORTUNITIES..57

EPILOGUE
GLOSSARY
BIBLIOGRAPHY..
About the RESEARCHER.
Itee-THANK YOU

CHAPTER -1
THE CRAFT-Yesterday, today & tomorrow:(A) Historical relevance of the craft & other associated folklores with the origin-birth of the
craft.
(B) Religious significance of the craft in anthropogenic evolution of the craft & associated
culture-practices-ceremonies of the craft.
(C) Utilitarian aspects revolving around the craft.

PURI
RAGHURAJPUR

Puri, the holy land of Lord Jagannath has many names. It is mentioned in Puranas as
Srikshetra, Shankhakshetra, Neelachala, Neeladri, Purusottama Dhama, Purusottama
Kshetra, Purusottama Puri and Jagannath Puri. The word "puri" in Sanskrit means 'town',
or 'city'. May be, Puri is a shortened name for Jagannath Puri or Purusottama Puri. In some records pertaining to the British rule, the word
'Jagannath' was used for Puri. It is the only shrine in India, where Radha, also referred to as Durga, Sati, Parvati, Shakti abodes with
Krishna, also known as Jagannath.

Chapter 1: THE CRAFT-Yesterday, today & tomorrow:(a)Historical relevance of craft and other associated folklores with the origin- birth of the
craft:
The patachitra was originated in Raghurajpur of Puri district, Orissa or odisha, a state of India, located on the east coast
of India, by the Bay of Bengal.The origin of the Patachitra paintings can be traced back to the 8th century AD and it is
considered as one of the earliest forms of indigenous paintings. This iconic art form of folk significance is unique in the
history of Indian as well as European paintings.These paintings were traditionally done only by males. However, in
recent times, some women artists have also taken up this artform. 'Patta' in Sanskrit means 'Vastra' or 'clothings'. Some
think it to be paintings done on 'Pata' or wood. Nevertheless, these paintings are also done on 'Pata' or wooden covers
of palm-leaf manuscripts.this painting has been developed by the ancient chitrakars to portray the story of Lord Vishnu
regarding his Dasavatara and many other festivals of Orissa.

(b)Religious significance of the craft in anthropogenic evolution & associated culturepractices-ceremonies of the craft:
Patachitra paintings are linked with the famous Jagannath temple of Puri, which was built by the Choda-GangaDeva.
The style was kept alive over the centuries due to the demands of millions of pilgrims who come to the shrine of
Jagannath from all over India. The patachitras are generally located as the earliest indigenous paintings in the state of
Orissa, apart from fragmentary evidence of cave paintings in Khandagiri, Udaygiri, and Sitabhinji. Mohanty traces the
origins of Pata paintings to the eighth century AD.

10

The history of patachitra painting is linked inextricably with the history of the Jagannath cult. The patachitra chitrakars
(painters) are temple functionaries who live in and around the temple town of Puri. Now, the community of chitrakars
has spread beyond Puri district, and they have also begun using a variety of non-religious themes in their paintings.
However, this has not reduced the creation of patachitras based on Jagannath icons and traditional religious themes
and these still remain the core of the pictorial content of patachitra paintings.The patachitra is directly related to the
Jagannath culture.

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Gaja uddharana vesha

Sometimes Jagannath is depicted in a particular role. He may be identified with one of the ten incarnations of Vishnu,
such as Narasimha, in which form Vishnu slew the demon Hiranyakasipu. Or he may be depicted as the spouse of
Lakshmi. Or Jagannath may be shown in one of the incidents from the life of Krishna, such as the kaliya dalan episode
in which Krishna subdued the snake demon Kaliya.
In the above Figure, Jagannath is shown as the rescuer of an elephant. This is his gaja uddharana vesha, or "elephantrescuing dress." This vesha refers to the story in which an elephant was seized by a crocodile. The elephant prayed to
Vishnu and the god came to his rescue.
This painting shows Jagannath in gaja uddharana vesha, or the "elephant-rescuing dress," accompanied by his two
siblings. The act of rescuing the elephant was performed by Vishnu, with whom Jagannath is here equated. Each of the
deities is crowned and stands on a lotus pedestal. Beneath Jagannath is shown the scene of the crocodile seizing the
elephant. The male deities are four-armed and dressed in yellow garments. The two-armed Subhadra wears a dark
green garment. The background of the painting is a sort of peach color. The painting has the common double border,
the outer and wider border with its wavy leaf design; the inner and narrower, with the stylized floral design.

12

Kanchi avijana
13

One of the most popular stories related to Jagannath is that of kanchi avijana (or journey to Kanchi, sometimes called
Kanchi-Kaveri). According to this story, the daughter of the Raja of Kanchi was betrothed to the Raja of Puri. That year,
the Raja of Kanchi came to Puri to pray to the Lord in the Jagannath temple on the occasion of the annual ratha yatra
(car festival). Now, the Raja of Puri was a servant of Lord Jagannath and, as part of his service at the time of the
festival, he was sweeping the area where the chariots were kept. When the Raja of Kanchi entered the temple precinct
and saw this occupation of his future son-in-law, he became enraged. He returned home and sent back word that he
would certainly not give the hand of his daughter in marriage to one who performs the vile work meant for an
untouchable. The Raja of Puri, on his part, was deeply insulted at the retraction of a wedding arrangement. He attacked
the kingdom of Kanchi, but he was soundly repulsed. The Raja of Puri returned home, defeated. He prayed to the
deities of the Puri temple. Moved by the prayer of their devotee, Jagannath and his brother Balabhadra, unknown to the
Raja, left their places in the temple and undertook a horseback journey to Kanchi. On the road, they grew thirsty and
chanced upon the milkmaid Manika, who gave them milk to quench their thirsts. In return, they gave her a ring. Later,
the Raja himself passed by with his army. When he learned from Manika what had happened, he understood from
seeing the ring that the two horsemen were Jagannath and Balabhadra and that the deities had answered his prayer.
He proceeded to Kanchi and subsequently conquered that kingdom and brought back the princess to be his bride.
Manika with a pot of milk balanced upon her head. The light-skinned Balabhadra, riding a black stallion, offers a finger
ring to the girl, who is extending her hand to receive it. The dark-skinned Jagannath follows behind on a white stallion.
Both deities carry lances. Stylized vegetation is present on the ground. The picture has the traditional red background.
The common double border is present. The wider, external border consists of two horizontal bands of a wavy leaf design
and two vertical bands, each of which shows a stylized tree. This picture is somewhat worse for wear, as some of the
paint has been lost.

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Raas Leela was the favorite pastime or sport of Shri Krishna. In Sanskrit, it is known as kreeda or activity. As soon as
Janmashtami arrives, one of the most famous aspect the strikes us is the Raas Leela. It is indeed one of the most important
aspects of the celebration of Krishnashtami. The divine sport of Raas Leela was enjoyed by the Lord with his gopis on the
banks of river Yamuna in Vrindavan. One of the most loved gopi of Krishna was Radhaji. She was closest to Him and her love
for the God was complete and in its pristine form. Even today, various renowned theater groups perform raas leelas. From the
age of ten, the God started playing raas leela with his gopis. And all the popular raas leelas were performed in the city of
Vrindavan. There is also a legend behind the raas leela of Shri Krishna. According to Hindu mythology, the Lord was greatly
loved by the gopis or devotees. They were so engrossed in Him that they forgot all their worldly chores and remained magna

15

or engrossed with Him. Their love was divine love or prerna. While performing the raas leela, the Lord was center staged with
all the gopis surrounding Him. They all danced and sang in the glory of the Nandgopal.

This pata-chitra is attached to a pedi, or dowry box shows a larger view of

this dowry box. The facing picture is an illustration of the scene of Krishna
lifting Mt. Govardhana. Above that scene is a female drummer. For many
of these dowry boxes, each side of the box, as well as each section of the
pyramid-shaped cover, includes a painted scene, typically from the life of
Krishna or Rama. These pictures are often done painted on clotha
typical pata-chitraand are then pasted on to the wooden surface.Such is
the case with this particular pedi.

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putana vadha
While Nanda Maharaja was returning home, he considered Vasudeva's warning that there might be some disturbance in
Gokula. Certainly the advice was friendly and not false. So Nanda thought, "There is some truth in it." Therefore, out of
fear, he began to take shelter of the Supreme Personality of Godhead. It is quite natural for a devotee in danger to think
of Krisna because he has no other shelter. When a child is in danger, he takes shelter of his mother or father. Similarly,
a devotee is always under the shelter of the Supreme Personality of Godhead, but when he specifically sees some
danger, he remembers the Lord very rapidly.

17

(C) Utilitarian aspects revolving around the craft.

The people and the surrounding were very friendly. The atmosphere provides special thoughts to develop different
conventional products like jewelry boxes, lamp shades, wall-hangings, paper mache toys, wooden trays, masks of
deities and devils, wooden toys, wooden statues of deities, tussar silk painting, screen painting, ceiling painting, door
painting etc.
Palm leave paintings were also made by them. These are made through certain procedure. Firstly the palm
leaves are collected and cut into rectangular pieces .then it is dried in the sun rays and the pieces are stitched one after
another. Thirdly painting is done by carving the leave with likhani (tool). Then the kala (carbon) was rubbed on it and
the background was cut out. And the painting got prepared. At least 15 to 20 days is required to complete one such
painting. Other products like key ring, wooden alphabets & numeric hanging for children, coconut showpieces,Painted
bottles etc are also made by them.

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Chapter 2
CRAFT & ITS PLACE OF ORIGIN- past, present & times to come.
(A) Observation on the regions suitability in the nurturing the craft.
(B) Inference on the regions support in the growth of the craft.
(C) Conclusion on the regions sustainable factors in promoting the craft.

19

Chapter 2: CRAFT & ITS PLACE OF ORIGIN- past, present & times to come.
(A) Observation on the region & suitability in nurturing the craft.

A Very Small Village Occupying a really rare place on the cultural canvas of India awaits you at Puri in Orissa.
Famous for its Patachitras, Raghurajpur, a small village has been the residence of Oriya artisans who have
mastered the skill of inscribing absolute poetry on pieces of treated cloth, dried palm leaf or paper. Carefully
nestled amongst thick groves of coconut, palm, mango and jack fruit, the village is situated on the southern bank
of river Bhargavi. The nearby paddy fields dotted with betel vines really serve as an idyllic setting for

20

Raghurajpur. Presenting the true picture of rural India, Raghurajpur has rows of houses facing each other that are
accompanied by a series of temples and a community meeting place of the villagers. Right from the local deity,
Bhuasuni, all the major Hindu gods are revered in the village with Radha Mohan, Gopinath, Raghunath,
Laxminarayan and Gouranga being some to name.

Having a unique identity of its own, Raghurajpur draws a number of tourist both domestic and foreigners for its
unique art and craft. A rare and awesome art form is depicted in the patta paintings, palm leaf engravings, stone
carvings, paper Mache toys, masks, wood carvings, wooden toys and cow dung toys that are crafted by these
craftsmen. Such a unique congregation of so many arts at one place is really rarely found. Raghurajpur is also
special in one more way as it is the only village that is known to have each family engaged in one craft or the
other craft. Approximately 311 artisans occupy a small number of just 103 houses in the village with some
National Awards winners too amongst them.

Entrance of the village

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Raghurajpur
Raghurajpur is a heritage crafts village in Puri district, Orissa, known for its master Pattachitra painters, an art
form which dates back to 5 BC. in the region and Gotipua dance troupes, the precursor to the Indian classical
dance form of Odissi; it also known as the birthplace of one of finest Odissi exponents and Guru, Kelucharan
Mohapatra. Apart from that the village is also home to crafts like Tussar paintings, palm leaf engravings, stone
and wood carvings, wooden, cowdung and papier mache toys, and masks
In 2000, after a two-year research and documentation project by INTACH, starting 1998, the village was chosen
to be developed as state's first heritage village and developed as a Crafts village, soon the village had an
interpretation centre, commissioned artwork on the walls of the artists homes and a rest house.
It also has the distinction of the only place where the traditional decoration called Patas, used under the throne of
Lord Jagannath and on the three chariots during the annual Rath Yatra festival, which takes place at pilgrimage
town of Puri. Some 14 km away, known for the Jagannath Temple.

Food
As they are the people of rural area they like traditional foods in their diet. They often like to eat pakhala (waterrice), alubhaja (Fried potato), piaja (onion), sabuja panipariba (green vegetables), chuna machha (small-fish),
kandamula (sweet potato). The most delicious item for them is sukhuaa (dry salted fish), baiganapoda (burn up
brinjal).

22

Region & suitability in nurturing the craft.

Skilled and professional artists
The dexterity of these artists is their inborn quality, to which they always pay respect to keep maintain its dignity
in this world of Art. The proactive initiation has been inherited from their generation to generation. The exclusive
content of the skill lies on some of the following points. Such as:

SKILL OF LINING:
From the artistic point of view skill of lining plays a pivot role to develop any type of art. Such a thin and
complicated drawing of lining shows the great variation of Pattachitra Artists from others.
PLACEMENT:
Beside this the perfect and proper placement of the art form and placing motif also indicated their skilled attitude
in respect to their shape, size, proportion, ratio and mythological aspects.
DETAILING:
It has been created a remarkable identity in detailing part also. They detail very minutely to tell the sole identity of
the skilled artist. Their artistic movements of the hand shows like they have born with fully equipped and each
gene of the body are quite upgraded with the skill of Pattachitra.
MENDING:
Out of all these skilled, skill of mending is also measures, how perfectancy lies on the artist. Their finishing of
mending can explain in such a way that, a general artist also cant locate the damage.

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24

RAW MATERIALS
In the art of Pattachitra, collection of raw materials stands as an important process to bring it to a complete World
of Art. Their raw materials collection starts from the sea as the village is located in the coastal area. Fishermen
usually collect the coloured stones from the sea .Then immediately they sell it to the shopkeeper. Shopkeepers
part is to crush it into the powdered form to make it in a position for selling among Pattachitra artists.
Palm trees, tarmind and Kaintha plant are also abundantly available in those areas, used in the carving and
preparation of the gums respectively.

WORK CULTURE
Though they are born and brought up with Brahmin families, they always have a common set of culture such as
celebration of traditional functions at a time never became a barrier in their work culture as a result the
simultaneous leave structure gives a wide significance for maintaining an uniformity in their system of working.
In the lower category of labourers we dont find any caste discrimination but from the economical point of view
this category lives with bit miserable condition than that of the higher category of Brahmins. Palm tree cultivation
is a major part of the occupation of lower class of Brahmins.

The excellent representation of Pattachitra plays a major role to keep continue their culture of tradition before us.

25

Traditional techniques of painting

The entire process of preparing the patachitra painting is fully traditional. They used completely natural
techniques and materials in the painting. There is no use of any chemical or unnatural elements in this painting.
That is why it can be stored for many years without any type of chemical preservation.

Perfect imagination of Hindu mythological stories

Though, originally they all are belongs to Brahmin family, they believe on mythological stories. Worship of God
seems as a prime duty for them. In that they draw and render the ideas and tried to keep it in the canvas of
Pattachitra. They very sincerely learn and understand the stories and give an imaginative figure for the respective
characters.

(A) Inference on the regions support in the growth of the craft.

Establishment of NGO for advancement of the patachitra
Introduction of new marketing planning
Different governmental schemes
Introduction of developmental projects

26

Chapter 3
SOCIO-ECONOMIC IMPORTANCE- RELEVENCE OF THE CRAFT.
(a) Social role- support-patronage towards the craft.
(b) Economic contribution of the craft towards the rural economy & its larger
perspective in relation to the generic economic structure, encompassing the other
occupations / promoting subsidiary- by products.

27

Chapter 3: SOCIO-ECONOMIC IMPORTANCE- RELEVENCE OF THE CRAFT.

(a) Social role- support-patronage towards the craft.

In 2000, after a two-year research and documentation project by INTACH, starting 1998, the village was chosen to be
developed as state's first heritage village and developed as a Crafts village, soon the village had an interpretation centre,
commissioned artwork on the walls of the artists homes and a rest house
Crafts Development (INTACH)

28

Integrated Development of Raghurajpur (Orissa)

The USP of the village is its rich crafts tradition, for a majority of the households belong to craftsmen. Besides, the village is
also known for its rich dance tradition. Because of its proximity to Puri and Bhubeneshwar, the village has an enormous tourist
potential and attracts both foreign and domestic tourists.
While the ultimate aim of the development plan is to upgrade and maintain living standards for the villagers, following are the
major objectives that are achieved through continued interventions:
Promotion and sustenance of crafts This includes their documentation, development, design innovation and promotion.
Several workshops for skill up-gradation and design development are organised to equip the artisans to be able to market their
products both locally and in major urban centres.
The crafts include patachitra, wall painting, palm leaf etching, appliqu, coir and coconut shell products, stone carving, wood
carving, and bell metal crafts.
Promotion and sustenance of Wall paintings This includes the support and strengthening of the ongoing project of further
development of wall paintings including their maintenance programme.
Enhancement of Gotipua dance tradition To sustain the guru- shishya parampara as currently practised and provide better
facilities in the Gurukul.

To make the village a prominent tourist destination.

Provision of infrastructure - for the enhancement of the village by providing water facilities, sanitary and drainage
facilities, health related services and to maintain cleanliness in the village.
29

Provision for Visitors Provision for their stay and encouraging interaction with the local craftsmen, devising heritage
(nature), trails.

Community participation at all the levels creation of self help groups to manage and maintain village activities.
For the economic regeneration of the village through craft, dance and tourism.

Today it is also the venue of the annual Basant Utsav - Parampara Raghurajpur (Spring Festival), which was first
organized in 1993 under the aegis of State Tourism Department and astern Zonal Cultural Centre, Kolkata, held in the
month of February/March and an important tourist draw.

30

Chapter 4
THE DOER- artisan making-practicing the craft.
(a) Artisan Family History- engaged in the making of the craft since time immemorial.
(b) Artisans of the Past- a complete profile & other records.
(c) Artisans of the Present- a complete profile.
(d) Artisans of the Future- a complete profile.
31

Chapter 4: THE DOER- artisan making-practicing the craft.

(a)

Artisan Family History- engaged in the making of the craft since time immemorial.
Generally each and every artist of the village normally gets training from his father-grandfather who is very
skilled and experienced artists. All the family of the village were completely devoted to the craft. The Patachitra
was became the life of these villagers. They are totally economically dependent on this craft. From generation
to generation and time to time the significance of the craft was getting deeper in their heart. From most
remarkable, one of the artist was Gopal Maharana.

Artist profile with family history:

Artists Name
Age

: Gopal Maharana
: 58

Date of birth

: 26th August 1942

Award

: State level award (1979)

Wifes Name
Age

: Laxmi Maharana
: 46

Children

: 2 sons & 2 daughters

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Elder Daughter
Age

: Rekha Maharana
: 21

Elder son
Age

: Prakash Maharana
: 19

Younger Daughter : Sikha Maharana

Age
: 17
Younger Son
Age

: Akash Maharana
: 15

Fathers Name

: Late. Ari Maharana(1916-1996)

Mothers Name

: Late. Lalita Maharana (1923-1998)

Grandfathers Name: Late. kishore Maharana

The patachitra was the parampara(tradition) of the family. All the boys are bound to practice patachitra to protect
the running tradition. All the children started practising patachitar from the age of 10 to 12. Hence became more
professional in this field of expressing & ingenious art.

33

(b)

Artisans of the Past- a complete profile & other records.

Artisans Name
Age
Gender
Date of birth
Fathers Name
Mothers Name
Wifes Name
Education
Experienced
No. of members
in family
Economic status
Health problems
Monthly income
Time spent in
the craft/day
Working out side
Odisha

: Gangadhar Maharana
: 65
: Male

: 23 June, 1945
: Late. Jaydev Maharana
: Late. Maguni Maharana
: Subasini Maharana
: 7th class
: 45 years
:6
: no land, earning from patachitra
: Normal
: 5000 to 6000
:18 to 20 hour
: Delhi

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One of the best creative panting of

Gangadhar Maharana was selected for
the national award. Through this panting
he had describe the art of national living
means how the entire time from morning
to evening is related with lord Jagannath.

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ART OF NATURAL LIVING

(Morning to Evening)
Where life intersects with nature, there nature pours nectar of blessings. With the magical touch of nature-grass,
herbs, flowers, fruits, hillocks, beasts, birds, fountains, rivers of rural life became vivacious and surges honey of bliss
from every side.
By river bathing, in taking leaves, worshipping trees, obeisance to sun, serving cows, farming the field,
shows the way to vivacity. Heart become peaceful, mind become tender and life become arty. Thus life impulses to
absorb in temple worship, austere, nurture self and prayer to almighty. Food regarded as prasada. Body, life, heart,
and life become serene.

Boat play during chandana Festival with music dance chanting prayer makes make life ceremonial. From
this delightful psyche, emerges stream of vision. In this simple, serene, tender, stunning natural milieu of village,
initiates temple edifice, patta painting, farming, crafting, rural souk and life becomes colourful with the syrupy rhythm
of nature.

After sun set, tired folks back to temple ground to chant the glory of Lord, read and discuss scriptures, perform
Gotipua and Odissi Dance, and lamp beneath Tulsi herb symbolising light the darkness towards spiritual dome to
embrace divinity. The human life turns into divine life.

36

(c)

Artisans of the Present- a complete profile.

Artisans Name
Age
Gender
Date of birth
Fathers Name
Mothers Name
Education
Experienced
No. of members
in family
Economic status
Health problems
Monthly income
Time spent in
the craft/day
Working out side
Odisha
Hobby

: Bishnukinkar Mahapatra
: 23
: Male

: 1st July, 1987

: Sanatana Mahapatra
: Laxmipriya Mahapatra
: 9th class
: 13 years
:5
: earning from patachitra
: Normal
: Rs 3000/:14 to 16 hour
: No
: Swimming

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Artisans of the Future- a complete profile.

Artisans Name
Age
Gender
Date of birth
Fathers Name
Mothers Name
Education
Experienced
No. of members
in family
Economic status
Health problems
Monthly income
Time spent in
the craft/day
Working out side
Odisha
Hobby

: Souvagini Pradhan
: 20
: Female

: 31st may, 1990

: Narendra Pradhan
: Sushma Pradhan
: 10th class
: 5 years
:5
: earning from patachitra
: Normal
: Rs 200/: 6 to 7 hour
: No
: Singing

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Chapter 5
THE MEDIUM- essential parameters required for generating the craft.
(A) Raw material.
(B) Instruments & other machineries.
(C) Processes & techniques of craft making.
.(D) Finishing & other post production treatments.

39

Chapter 5: THE MEDIUM- essential parameters required for generating the craft.
(a) RAW MATERIAL.
(1) Types of Raw Material.
Natural glue made from Tamarind seeds
Natural glue made from Elephant fruit tree
Soft clay stone
Cotton clothes
Colours
White- Conch shell
Black- Lamp shoots

SOFT CLAY STONE

POWDER

Yellow- Haritala stone

Red- Hingulal stone
Blue- Indigo
Brushes
Dry coconut shells

DRY COCONUT SHELL

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COLOURS

BRUSHES

ELEPHANT
APPLE GUM
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(2) Raw Material Availability.

Traditionally collected and some are available in general stores and local markets.

(3) Raw Material Procurement.

Tamarind seeds is collected from the ripen tamarind after eaten. Then it is soaked in water for 3 to 5
days.
The tree of Kaintha was abundantly available in those areas, from which the glue is collected.
Soft clay stone is collected from the Nilgiri Mountain by the labourers and is sold to the local shops.
Cotton clothes are available in the local shop.
Colours:Conch Shells gives white colour is collected by the fishermen and sold to the shopkeeper. Then it is
available in powder from in the general shop.
Other colour stones are collected from the mountainous regions. Available in market.

(b) INSTRUMENTS & OTHER MACHINERIES.

As this craft is totally traditionally and aesthetically created it doesnt support machineries. The entire process is

naturally

carried out without using any types of instrument. But in case of palm leave carving a very thin pointed iron pen is used which
is known as LIKHANI.

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(c) PROCESSES & TECHNIQUES OF CRAFT MAKING.

(1) Pre Production Treatment of Raw Material.
Preparation of natural glue made up of tamarind paste.
Procedure This paste is made by soaking tamarind seeds in water for about 3 days. Then it has to
be grinded with a pestle till

it become jelly like in consistency. Next, this ground pulp is to get mix

with water in an earthen pot. Then it is heated to form a paste, which is traditionally called as
NIRYAS KALPA.

Kaintha Tree
Preparation of elephant apple gum
Procedure- They makes a cut mark on
the trunk of the Kaintha (elephant
apple) tree, from which the viscocious
substances is collected within two to
three days in its solid form. Then the
dry crystal is get socked in the water
and converted into liquid form. Then
they filter the substance through a
cloth to remove impurities.

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Preparation of colours
Procedure- For white colour the sea shells are available in market in its powdered form.They
brought it and mix with Kaintha gum to get converted into a soft ball shaped structure. It is dried and
stored for later use.For red and yellow the Hingulal and Haritala stones are used respectively. This
stone is grinded and mix with water up to two days to enhance its lustre. Then it is converted into
ball like form which get dried and stored for further use.
The lamp shoot which gives black colour undergoes the same process.

Preparation of Patta.
The cotton clothes are getting converted into pattas through a very complex method.

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(2) Production Preparations

Preparation of patta
Two pieces of cotton cloth of a particular size has to be cut into rectangular shapes of same size.
Firstly the tamarind paste gum is to be applied on one piece of cloth uniformly; then the second piece will
be placed upon the first one. Again the tamarind gum applied on both the side and left it to dry in sun light.
Secondly the soft clay stone powder is heated and gets mix up with the tamarind gum in a ratio of
75:25.This prepared is again getting applied on the dried patta uniformly and is left in sun light.
Thirdly the rough and smooth stones are get rubbed on the surface of the
patta respectively to make it more polished and shiny in appearance.

Mixing of colors
Different prepared ball shaped form of the color is collected in different dry
coconut shells. This get mix with water and get steering with figure up to half
an hour before using it. This is done to enhance the lusturity of the color.

(3) Special Techniques & other features of the production

method.
-The use of a standard palette of colors, typically including red, blue, yellow, green, black, white, and pink

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-A particular style of drawing faces in which noses are extended, chins jut out somewhat from the face,
and the eyes are elongated
-The drawing of faces in profile
-The drawing of fine details in clothing
-The use of red as a background colors the inclusion of a double border.
-The inner border often uses a sort of leaf-and-scroll motif and is narrower in width than the outer border, which
often uses a floral motif.
-The practice of filling in much of the background space with stylized forms
Besides these common characteristics, there are also many typical iconographic details in pata-chitras, such as
the following:

The use of blue for Krishna's body

The use of white for Balarama's body

The use of yellow for Radha's body and for the bodies of other gopis (cowherd girls)

The use of green for Rama's body

Due to complication of pattachitra a very special process must be carried out to complete each
and detailing completely.

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First stage
Scaling
The rectangular space of the patta has to
be divided into small squares and circles
according to the required figure. This is
done very systematically and technically
using very fine brush and ruler.

Second stage
TIPPANA

(sketching)

The outline of the figures like human, birds, animals, fish etc is
made very finely with the help of needle lid point brush (0.5) which
is made up of the tail of squirrel.

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Third stage
JAMINI (Filling background)
The background of the figure is to be filled with handling
the brush very carefully. The background of the figure
has the very special identity in the art of pattachitra. In
most of the case they are filled red in colour which has
its traditional name called Hingulal.

Fourth stage
BARNAKA (Body colouring)
In this stage they colour the body of the figure with yellow in
case of female, blue or black for lord Krishna and other light
colour for normal figure. Beside this they filled the natural
colour of other associated trees, birds and animals etc.

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Fifth stage
GAHANA BARNAKA (jewellery work)
In this stage the figures are treated with jewellery. For example
necklace, armlet, bangles, crowns, kamar patti. Etc. Very fine
jewellery work is done in this stage.

RANGALEKHA (jewellery designing)Here, the artist

usually fill attractive colour on the jewellery work.The miniatures
designing of the jewellery such as placing diamonds, stones,
pearls, ghunura etc.

Sixth stage
CHITTA (designing the cloth)
It refers to designing the textile of the figure. That means the floral or geometrical
designing made on the cloth of the figures and other traditional motif.

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Seventh stage
MOTAKALA (Thick black out lining)
Where ever thick black out lining is required is done in this
stage.

SARUKALA (thin black out lining)

The finest and delicate slim out lining are done.

Eighth stage
GACHHA, PASHU, PAKSHI
(Filling empty background with living creatures)
In this stage the background and fore ground of the central figure is to get filled with
different types of trees, animals, birds, rivers, grass lands, flower garden etc
associated with the mythological stories of that particular painting.

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Ninth stage
SANKHA PATTA (Religious and other white mark)
In this stage the religious marks like the Religious thread on the shoulder,
mark of Vishnu, surya, naga etc. Are made on the fore head of the male
figures, while the bindis, nail colour, floral design on palm etc are made on
the female figure. And other white coloured marked decoration are done.

Tenth stage
DHADI (boarder)
The last and ultimate stage is the detailing decorations of
the boarder in the painting

(4) Production Process.

The entire above mentioned process itself is the production process.
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(D)FINISHING & OTHER POST PRODUCTION TREATMENT

(1) Finishing Methods:Generally we finish our paintings with general finishing method likewise it finishes with decorative boarder design.

(2) Finishing process.

As the pattachitra paintings are very valuable and expensing, they add a preservative method to protect it from
the destruction.
In this method they apply a thin coat of wax to prevent it from getting contact with water making it water proof.

(3) Post product treatments

Following the mentioned method the entire process of patachitra was completed. But the post product treatment
includes the ultimate finishing of the product. The tusser silk patachitra painting or the chitrapattas are
framed.hera we have to choose a particular design or style of boarder for framing the painting into a wall hanging
or photo.

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Chapter 6
THE COST- factors influencing the cost of making the craft.
(1) Raw Material.
(2) Instrument & other machineries.
(3) Processing- techniques of craft making- Cost of Human Labour.
(4) Finishing & other post production treatment cost.
(5) Other costing parameters.

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Chapter 6: THE COST- factors influencing the cost of making the craft.
(1) Raw Material.

Colours powders

Quantity

Amount

Sea shells

100 gm /-

Rs 30/-

Haritala
Hingulal

100 gm /100 gm /-

Rs 24/Rs 45/-

Lamp shoot
Garu
Waste cotton cloth

100 gm /100 gm /12 m/-

Rs 20/Rs 20/Rs 30/-

Brushes
Tamarind gum

1 set
100 gm /-

Rs 265/Rs 20/-

Stone powder

100 gm /-

Rs 40/-

(2) Instrument & other machineries.

The iron needle which is known as LIHHANI and used for carving is Rs 40. The entire process is naturally carried
out without using any types of instrument.

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(3) Processing- techniques of craft making- Cost of Human Labour.

According to the size of the paintings and art work composition the cost of human labour is determined. Suppose
a painting is of A4 size and not so delicately drawn then the price will be Rs 200 to 300.But if the same piece is treated
with very integrated fine art work, increases the cost up to Rs 700 to 800.If the piece is of A3 size or larger, then the
price may be Rs 2000 to 4000, according to the work done on it.
In this case the economical status is against the law of demand, which means more
the demand, increase in price while the law of demand says that rise in price, decrease in demand and vice-versa. As
much as complicated and delicates work will done, according to the demand of customer, the price and labour cost will
increase as per that.

(4) Finishing & other post production treatment cost.

For framing the entire painting a price range between Rs 300 to 600 may charge, considering the design
and quality of the frame.

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Chapter 7
DESIGN INTERVENTION & GROWTH OPPORTUNITIES
(a) Product Development Methodology.
(1) Design Concepts
(2) Product Ideas.
(3) Market Survey.
(4) Customer Profile.
(5) Costing of the Product.
(6) Illustration of the Product.

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Chapter 7: DESIGN INTERVENTION & GROWTH OPPORTUNITIES

(a)

Product Development Methodology.

(1) Design Concepts
"The management of constraints". He identifies two kinds of constraint, negotiable and non-negotiable. The first
step in the design process is the identification, classification and selection of constraints. The process of design
then proceeds from here by manipulating design variables so as to satisfy the non-negotiable constraints and
optimizing those which are negotiable. It is possible for a set of non-negotiable constraints to be in conflict
resulting in a design with no solution; in this case the non-negotiable constraints must be revised.
Design, as a process, can take many forms depending on the object being designed and the individual or
individuals participating. A simple definition is that design is the process of giving form to an idea. "Form" could be
a plan of action or a description of a physical thing.
The chosen design concept is THE DEEP means the deep sea. Through this concept, the deepness of the
painting in compare to the depth of the sea. Due to very intricate and delicate rendering of slender lines, the
patachitra too very deep and difficult to draw. Beside this the stories and the culture of Jagannath on which the
art work is based on was also very hard and mysterious to understand.

57

Mood board

58

Design Development
Central theme

59

Background

60

Top & bottom boarder

61

Left & right boarder

62

(2) Product Ideas.

Technical view of product

63

Final placement illustration

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(3) Market Survey.

Market survey is done to know the demand and placement of the product in the market. This also helps to know the
status of the costumer profile; means to know which costumers are eligible to buy the particular product. The costumers
classes are divided into lower class, middle class, upper-middle class and higher class.
Generally plastic and artificial leather tables mats are available in the market .as patachitra is
a very complicated and finest art form, demand for the table mats of patachitra will be more high in the market. The uppermiddle class and higher class costumer will pay more interest in buying these products. The foreigners now likes these
traditional paintings, the product will get higher position in the international market.

(4) Customer Profile.

A vast array of individuals have bought and re-distributed these paintings. Famous politicians and big screen stars also adorn
their opulent homes with these paintings especially in the Indian subcontinent. Tourists in Orissa find it to be an important
"must have" souvenir. Special souvenir mementos showing the utsava image including the central sanctuary of the Puri temple
is painted for the tourists. These paintings, which carry brilliant colors and extremely detailed work, are considered to be
collector's items across the globe. Special large sized Patachitras are made by contracted artists for adorning foyers and
receptions of many five star hotels in various parts of the world. Academias also prefer to buy these paintings as it appeals to
their astute natures.

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(6) Costing of the Product.

The created design is very complex and difficult. Costing of the product will be very high. The price including raw
material, labour cost, finishing treatment cost, and packaging will be Rs 2000 to Rs 3000. The price range may vary according
to the size and quality of the table mats.

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EPILOGUE.

The entire research work was really .I enjoyed the project and learns a lot of things .the surrounding of the craft village
Raghurajpur is almost helpful and eco-friendly. Patachitra reflect the skilled work of experienced artists. The each and
every design and art framing, influence me to know more on this particular research.
If someone wants to study the art of patachitra, then a lot of patience and practice is required. I also achieve a lot of
knowledge about the Hindu mythological matters; learn swimming and plantation during the research period.
I also get an idea about the marketing and maintenance of the products. Lifestyle of the villagers was very unique and
independence. The beauty of tradition and reality reflects from them.
Crafting is considered as their day to day activity. They are not literate but were very through in their inborn talent.

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GLOSSARY
Choda-Gangadeva

- ancient king of puri.

Vesha

- a particular style or look of god.

Kanchi avhijana

- a story of Lord Jagannath

Manika

- a milkmaid

Nandagopal

- baby Krishna

Pedi

- dowry box

Gokula

- village of lord Krishna

Gotipua dance

- early dance form of odissi

Basant utsav

- spring festival

Chandan festival

- boat festival of jagannath

Kaintha

- Elephant apple (Feronia elephantum)

BIBLIOGRAPHY.
Odissi patachitra (Raghunath mishra)
http://en.wikipedia.org/wiki/Puri
http://pattachitra.blogspot.com/
http://www.indianetzone.com/1/patachitra.htm

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About my self
I Parthasarathi Bal now continuing the Bachelor of Fashion
Designing from Kalinga Institute of Industrial Technology had
completed my schooling from B.J.E.M school with CBSE and +2
from B.J.B College, Bhubaneswar, Orissa.
I enjoy a lot in every step of life till now, and wish for a shining
future. My hobbies are watching movies, dancing and painting.
From the beginning of the day, I was interested in entering the world of fashion. My
ambition to be a designer is on the way to success. I got aspiration and inspirations to
choose the way to fashion from my elder sister.
I like to communicate with new peoples, visiting new places searching innovative ideas
etc. I am thankful to all my faculty members for supporting me in doing my research
work in patachitra and friends.

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THANK YOU
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