Radha and Krishna with Gopis in Attendance

Email

Whatsapp

Facebook

Pinterest

Twitter

Copy link

Rendered using mainly black and white, yellow, for highlighting ornaments, some special areas of borders, or motifs and design-patterns used in them, costumes’ borders, brocaded ends and fields, and a few other objects like rods of umbrellas and royal standard, fan’s handle, flute, flower, napkin …, and pink, exclusively for a course in multi-layered border, the Pata-chitra represents Radha and Krishna in the centre flanked by attending Gopis, four on either side. The first on the left of the divine couple is carrying a royal standard; next to her, is a drummer, carrying a double drum, the third from the divine couple is an umbrella-holding Gopi, and the fourth and the last, holding a lotus to offer it to Lord Krishna. This fourth Gopi has behind her a cow. As suggest the multiple cloud motifs on the cow’s body and its white body-colour, it is none other than the cosmic cow Kamadhenu.

The first of those in attendance on the right of the divine couple is one blowing a flywhisk, the next to her is one holding in her hands the royal canopy well adorned with a gems-studded gold apex and the periphery with gold pendants, the third from Lord Krishna is holding a fan with golden handle, and the last on the right, is the Gopi carrying for Lord Krishna a napkin. The rhythmically gesticulated figure of the Gopi on the right appears as in a dance pose. Astonished by the unparalleled beauty of the divine couple her face and the gesture of her left hand betray an emotion of bewilderment. On the extreme right is another cow, an essential attribute of Krishna’s iconography. The style of hair-dressing of each of the eight Gopis and even Radha reveals a distinction and exclusivity. Except in case of two Gopis, one on the right, and other, on the left, whose lower garments are carried over the shoulder and are wrapped around, all Gopis even Radha, have a separate garment, sari or lehenga, for the body’s lower half, that is, below the waist, and a blouse and large sash for the upper halves. Except one wearing a sari in Bengal style and some putting on designed saris, all Gopis are putting on ‘langad-dhoti’ in typical Maharashtrian style.

Not a dramatic situation as are in abundance in Krishna-lila, the painting represents one of the many sublime occasions in Krishna’s life, especially when he was with Radha, symbolising union of sojourning self that is Radha, with the Supreme Self that is Krishna, and Radha’s friends Gopis, the other selves yet to begin their journey, hailing the divine act. Under a tree, symbolic of the mythical Kadamba, Krishna has been portrayed as standing in ‘tri-bhang’ – triple-curved posture holding his flute in his hands as playing on it, though with his attention drawn by just arrived Radha his face has turned to her on his left. With three curves of his body-posture, accompanied by the melody of his divine flute, Krishna pervades and enchants all three worlds. In earthly idiom, Krishna seems to have been standing under the Kadamba for whatever time, while all Gopis, even Radha, as suggests the position of every figure’s legs : long strides indicating swift walk, seem to have just arrived.

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.

Free Shipping. Delivered by to all international destinations within 3 to 5 days, fully insured.

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.