Episodes From The Life of Krishna

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Item Code: PL48
Artist: Rabi Behera
Specifications:
Watercolor on PattiArtist: Rabi Behera
Dimensions 38.0 inches X 23.0 inches
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
100% Made in India
100% Made in India
Fair trade
Fair trade
This painting, bathed in brilliant colours, used in their basic tones, without shading, and unmixed, is technically known as ‘pata-chitra’, a term used for a painting rendered on cloth. Different from all kinds of textile painting, a Nathadwara Pichhawai, Andhra Kalamakari, or even a contemporary canvas painting, a ‘pata-chitra’ does not pray for concessions in assessing its merit on account of its medium. In its excellence, maturity-level in execution, fineness of details, delineation and colouring, broadly, in things that make it a piece of art, a ‘pata-chitra’, especially from Orissa, is on par with, and sometimes even excels, a paper painting. The cloth-piece used in a ‘pata-chitra’ is duly processed to become a medium of art. Its surface is toughened and smoothened with various coatings and toughening ingredients making it fit to let colours reveal their beauty and brilliance, and lines, their minuteness and every detail, something that the miniature painter extracts from a piece of paper.

The ‘pata-chitra’ artist has used his canvas for representing two sets of Krishna-related theme, one, the Bhagavata-based concept of Rasa or Maharasa, the cosmic dance, which is the core of Vaishnava-bhakti movement, and other, some aspects of and episodes from Krishna’s life. Otherwise unmanageable for the representation of Rasa theme, represented, as a rule, in the form of a set of three concentric circles which require a square frame, the artist has manipulated the rectangular space that his canvas afforded by creating a square in its centre for representing the Rasa, and spaces on all four sides, for representing his exploits against demons and his ‘lilas’. The three concentric circles, the symbolic representation of cosmos, conceived as three-tiered, occupy the centre of the paining and are its focal point. Rasa is a cosmic dance which reveals in the act of Radha and Krishna, the Supreme Self and its arch seeker.

In slight variation, in this painting, the inner-most of the three circles – symbolic of the axis of cosmos, has in it Krishna with two Gopi-figures suggestive of the plurality of seeker self. The middle circle comprises twelve lotus-petal-like shaped windows enshrining in six of them icons of Krishna, in other six, alternating him, are six Gopis. The outer-most circle, a wider one, also has twelve arched windows each of which a form of Krishna and a Gopi-figure engaged in dance enshrine. The four corners of the square, beyond the outer circle, a stylised flower with leaf-arabesques unfurling on sides manipulates. The space beyond the square has been arranged into two rectangular frames. The inner one, containing the square in its centre, expands only on the right and left of the square, first into a row of five vertical windows, and then of four rectangular, on either side. The outer frame consists of thirty-four rounded windows framing the inner rectangle on all sides.

The ten windows in two vertical columns on the right and left represent Vishnu’s ten incarnations in characteristic Orissa tradition. It does not include Krishna in Vishnu’s incarnations but rather revere Krishna himself as Vishnu. From right to left and top to bottom these ten windows portray (1) Matsyavatara – Fish incarnation; (2) Kurma – Tortoise incarnation; (3) Varaha – Boar incarnation; (4) Narsimha – Half-man-half-lion incarnation; (5) Vamana –Dwarf incarnation; (6) Parasurama; (7) Rama; (8) Balarama; (9) Veda-Vyasa; and (10) the horse-riding Kalki. All eight rectangular windows, drawn in two rows of four each, flanking the Dashavatara panels on either side, with dancing figures of Radha and Krishna, seem to illustrate the Gita-Govinda.

From right to left the episodes/exploits/theme represented in the top row of the painting are : (1) Vishnu reclining on the coils of Great Serpent Shesh while Lakshmi, is consort, massaging his feet; (2) Devaki and Vasudeva in bridal costumes; (3) Vasudeva and Devaki in prison with folded hands suggestively paying homage to Vishnu, though he is not visible; (4) Vasudeva at Gokul at Nanda’s house where he lays Krishna with Yashoda and comes back with her daughter; (5) Vasudeva transporting newborn Krishna; (6) Vasudeva crossing river Yamuna with Krishna on his head. The Great Serpent Shesh unfurls his hood for protecting Krishna from rain; (7) Kansa killing Yogamaya, born to Yashoda as her daughter, under the impression that she is Devaki’s eighth child; (8) Krishna killing Purana, the female demon sent by Kansa to kill him; (9) Tranavarta, the cyclone demon, snatching away Krishna from the hands of the Gopi who was looking after him; (10) roped with a stone crusher Krishna drags it across two trees which uproot and fall. The trees were two Yakshas, Nalakubara and Manigriva cursed to turned into trees but get redeemed as soon as the trees fall. Paying homage to Krishna for redeeming them: (11) Krishna paying homage to great sage Narada; (12) Nanda and Yashoda persuading disgruntled Krishna.

Those in the bottom row from right to left are : (1) Vishnu appearing in the vision of Akrura when he is bathing in river Yamuna; (2) Krishna, Balarama and one of their Sakhas listening to someone’s payer; (3) Krishna coaxing Radha by massaging her feet; (4) Krishna taking Radha on boating expedition; (5) Krishna lifting Mount Govardhana; (6) Krishna subdues Kaliya. The viper’s wives pray Krishna to have mercy on him; (7) a Shiva-linga enshrined under a canopy and devotee worshipping; (8) Krishna killing Keshi, the horse demon; (9) Krishna killing Aghasura, the python demon; (10) Krishna eliminating Shakatasura, the cart demon; (11) Krishna killing Vatsasura, also named Pralamba, the bull demon; and (12) Krishna as Vishnu granting prayer of a devotee.

The ten panels, five on the right and other five on the left, portray respectively from bottom to top : (1) Krishna pulls a hunchbacked woman’s leg and restores her form, youth and beauty; (2) Krishna chastises Rajakabadha, Kansa’s washer man; (3) Krishna kills Kansa’s elephant demon Kuvalyapitha; (4) Krishna and Balarama kill Kansa’s wrestlers Charuna and Mustaka; (5) Krishna pulls down Kansa from the throne and kills him. (On the left, from bottom to top) : (1) Krishna killing Vakasura, crane demon; (2) Krishna sporting with Radha circumambulating a Kadamba tree; (3) Krishna and Balarama, Krishna holing something like a magic band, and Balarama, a trumpet type musical instrument; (4) Yashoda with a cane in hands scolds for some mischief of Krishna; and, (5) Krishna and his Sakhas stealing butter from a pot hung on a hanger suspending from the ceiling.

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. They have both collaborated together on a number of books.


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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.
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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.
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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.
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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.
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