When someone hears Kalighat paintings for the first time, the name might instantly conjure up the fierce and fearless deity of Hindu traditions, Goddess Kali. Kalighat art is indeed connected to mythology, but like any art form, it also highlights the social and political landscape of the bygone era. In this blog, we will learn about this genre, the Kalighat painting origin, the characteristics of the artworks, and more.
What are Kalighat Paintings?
Cradled in Kolkata (formerly Calcutta), Kalighat paintings stand out from the plethora of genres because of their distinct style and characteristics. Kalighat, the name which means “moorings” by the river Ganges, with the iconic temple of Kali, became the point of origin of Kalighat art. The genre was more focused on mythological tales, where Hindu deities like Lakshmi, Durga, and Lord Rama and Sita from the Hindu epic Ramayana became the subjects of this art.
As time progressed, the themes became more diversified, and socio-political commentary and satire were incorporated into these paintings. The tales of revolution and the courage of freedom fighters were woven into this art as well. Divided broadly into Oriental and Occidental, these artworks showcased both the religious tales of Hinduism and scenes from everyday life, along with the socio-political events that shaped people’s everyday lives.
Also, the art is renowned all over the world as a traditional painting style whose distinct features make it unique among all other genres. Several artists from the past have crafted famous Kalighat paintings, but only a few names are known today, and one cannot fail to think of Jamini Roy in this regard. In contemporary times, Uttam Chitrakar has become a well-known name in this genre, and the tradition continues to live on via artists trying to revive India’s richest narratives via art.
Kalighat Painting Origin
During the 17th century or the 18th century, it is largely assumed that there was a Kali temple on the banks of the river Ganges, known as Kalishetra, which can be roughly translated to “the abode of Kali.” The sacred place oversaw a crowd of pilgrims and devotees from everywhere who desired to visit the Kali temple. The patuas, or the artisan community of Calcutta, who were the original makers of this genre, migrated to the cities to earn their source of livelihood. They intended to sell these artworks as cheap religious souvenirs, a source of attraction for all pilgrims.
However, these paintings were not always easy to take as souvenirs, as they measured over 20 feet in length and were quite cumbersome. The patuas painted long narratives in scrolls or Kalighat patachitras, and these itinerant storytellers from the rural world of Calcutta journeyed from one village to the next, unrolling the scrolls and singing mythological tales to earn their income. Later, when the patuas migrated to the cities, the artworks became more portable and came to be known as Kalighat pats.
Less detailed, these paintings were reduced to single pictures and were no longer cumbersome. Some scholars believe that these paintings came in around the 1830s, while others are of the opinion that it was the 1850s when this painting style came into practice. At the zenith of its popularity in the 1870s, this genre of painting eventually started disappearing in the 1880s as printing and photography became the norm of the day.
Characteristics of Kalighat Paintings
The motifs in Kalighat paintings are characterized by bright colors and bold outlines.
While the eyes are long and almond-shaped, the faces are pointed and the mouths small.
Limbs are tapering and round.
The neck and limbs are either bent at sharp angles or have smooth curves.
This art has a three-dimensional look that is accomplished with heavy shading.
With a radiant appearance, the subjects of these paintings appear more prominent and highlighted against a neutral background.
This genre was painted on mill-made paper or cloth with the expertise of a master painter, using swift brushstrokes.
Natural pigments are prepared from crushed stones and sourced from everyday items.
For example, black is derived from soot (lampblack), yellow from arsenic, red from lead, and blue from indigo.
The paintbrush is made from squirrel or goat hair.
Major Challenge Faced by Kalighat Paintings
Usually, it is the commercially manufactured materials that replace the handmade items of the artisan community. This holds true for this artwork as well, where the traditional practice of this genre slowly faded from use and gradually passed into oblivion. However, since traditions are irreplaceable, they continue to exert themselves in some way or the other.
For example, cheaper Kalighat paintings continue to survive in the village life of West Bengal, like the Medinipur and Birbhum districts, where contemporary artists continue to use organic dyes to showcase modern themes as well as religious ones.
Bottom Line
Kalighat paintings in vivid yellows and bold outlines are not just aesthetic but also a way to connect to the enriching traditions of Hinduism and recount mythological tales through art. The popularity of this art is not a linear curve; it has almost disappeared, reappeared, and today, this religious token from the past survives in minor forms.
As art lovers and collectors, let us honor our culture and revive it with a purchase from the local artisans who are striving for their livelihood. Also, as artists, the least that can be done is to keep creating Kalighat art passionately because a single artwork can collectively make a huge difference.