Governance

Naya’s women patuas are preserving a traditional artform while also securing a livelihood & identity

The first generation women patachitra artists of the village sell their work online & are recognised world over, encouraging future generations to stay in the profession

By Lina Bose
Published: Tuesday 30 April 2024
A patachitra artist from Naya selling her products at an exhibition in Kolkata. Photo: Author provided

In West Bengal’s village of patuas (scroll painters), Swarna Chitrakar has emerged as a role model for the women. 

Naya village in Paschim Medinipur’s Pingla block is shielded from the rapidly expanding urbanity – the nearest railway station is 11 kilometres away – and is the microcosm of rural Bengal. It is also home to artists who have been making patachitra (scroll paintings) for generations. The patuas are unique artists – they paint scenes from their daily lives and also write songs on the stories that they present with the artwork.

Of the 300 patuas residing in Naya right now, Swarna is arguably the most sought after, with her husband and daughter supporting and participating in her venture. But that wasn’t always the case. She had to overcome years of oppression, poverty and gender discrimination in her pursuit of preserving her village’s indigenous artform.

In 2018, Swarna participated in the 7th General Assembly of UNESCO held in Paris and exhibited some of her exquisite works of art. “It makes me happy to set an example for the fellow women of my village and inspire them to take up the traditional cultural heritage as a passion and profession,” she said.

Swarna’s journey began at a very early age, initially pursuing patachitra as a passion. She went through a severe financial crisis as she also needed to support her family but she persevered with enthusiasm. 

Within a very short time, her work travelled to other parts of the world and won her accolades. She collaborated and worked with many artists across the globe, extending her skill beyond traditional spheres. Her works are on display in renowned museums around the world.

Today, not only does she earn a living through her art but has also inspired other women in the community to make it their livelihood and preserve their unique oral tradition. 

For Swarna, patua painting emerged as a personal identity that signifies her social status and role within her domain. Swarna's paintings and expressions convey deeper cultural meanings and essence and are intertwined with the socio-cultural life of the patua villages. 

Pingla has become a global market for this artform, with several non-profits and international organisations such as UNESCO encouraging the artform of these first generation women patuas. They also sell their products online through various websites and also make customised products based on the buyer’s requirements.

Their success has motivated the young members of the community to take up patachitra as a profession, thereby ensuring the continuity of the art and the community’s livelihood.

“For us, this is our identity. We have our own style of design, which distinguishes us from other regions. We went to many places and countries and people easily identify that we are from Pingla, from the house of Swarna Chitrakar,” said Mamoni Chitrakar, Swarna’s daughter.

Mamoni spoke enthusiastically about how they make patachitra to reflect their daily activities and the different facets of their identity. COVID-19, for instance, has featured in some of the latest works produced by the women patuas, she shared. The paintings also focus on the depiction of women as strong, independent and dynamic individuals and sometimes have many secular themes.

They use a variety of colours in their paintings, some of which are extracted from nature. But to make the scrolls last longer, they now use modern paints, colours and varnish. 

In their eyes, patua painting is not just a painting, rather an art carrying a sense of pride. Their engagement has created a sense of responsibility, thus transforming them as the core custodians in preserving the intangible patua tradition and way of life. The artform provides Pingla’s women a significant role within the community, contributing to their sense of self.

Lina Bose is an assistant professor at Amity University, Jharkhand. Views expressed are the author’s own and don’t necessarily reflect those of Down To Earth.

Comments are moderated and will be published only after the site moderator’s approval. Please use a genuine email ID and provide your name. Selected comments may also be used in the ‘Letters’ section of the Down To Earth print edition.

Subscribe to Weekly Newsletter :