Mahisasura-mardini

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Seated inside an elegantly cast shrine with a conventional floor of square patterns this image of the Devi is essentially a votive image, and it is in such character of the painting that the explanation for the unusual vividness of its theme and the scripturally conventional appearance of the Devi might be sought. The ten handed deity equipped with traditional weapons, sword, shield, trident, arrow, mace, conch, noose, snake etc. mounted on her formal decorative white lion is essentially in her deity form. The presence of Mahasaraswati, Mahalakshmi, Kartikeya and Ganesh on their vehicles respectively the swan, owl peacock and mouse and with their other attributes and that of Mahisasura cast in green consisting partly of the body of a buffalo and partly that of a man collates only such conventional aspect of Devi. Her figure has been clad in red and richly bejewelled, that of Mahasaraswati in white and of Mahalakshmi in a combination of deep red and green. This costume pattern too adheres to the tradition of Devi iconography.

Elimination of Mahisasura is the widest known episode of the Devi legend. Mahisasura, after he was able to acquire from Brahma the boon that he would remain invincible against all men, turned to a cruel demon inflicting atrocities on the innocent. After he had won the entire earth he invaded heaven, the seat of Indra and the abode of gods and expelled Indra and all gods from there. But in the meantime gods came to know that under a boon from Brahma Mahisasura was secured against all men and thus could only be slain by a woman. Hence, under a strategy they created out of their own attributes a female warrior, the Devi, and gave to her all their weapons. Mahamuni Narad in their behalf prayed the newly created Devi to save the abode of gods from the tyranny of Mahisasura and set the earth free from his atrocities. Devi accomplished the prayer of gods and was worshipped by them all and commemorated as Mahisasura-mardini.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi.

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.