The Technique Of Pata Chitra}

The Technique Of Pata Chitra

by

Victor Epand

Pata is a Sanskrit derivation, which literally means canvas. So, pata-painting means a scroll painting on canvas, which is practiced by the artists of Orissa, which is a state on the Eastern Coast of India.

The painter first chooses two pieces of cloth, which is generally tussar silk, and sticks the pieces together by a paste that has been prepared from tamarind seeds, which are then dried in the sun. The tamarind paste is traditionally prepared, when the seeds are kept in water for two to three days. When the seeds swell and become soft, they are then ground with a pestle stone till the formation of a jelly like substance.In an earthen pot, some water is poured along with this substance which is finally heated into a paste. The pieces of cloth are then pasted into one, which becomes a Patti, which may be of an area of a few square meters. After the Patti is dried it is rolled up and from this roll, pieces of pata are cut and utilized for individual paintings.The colors are hand prepared by the artists from natural ingredients like china clay, soft clay or chalk, conch shell, red stone, etc. The color black is prepared from charcoal powder. White is prepared with the use of sea shells, which are available on the sea shores of Orissa, the home of pata paintings. The sea shells are made into a powder, then kept mixed with some water for two days. The mixture is stirred properly until it becomes soft and milky, then it is heated with the gum of Kaitha fruit. The paste is prepared by being dried in the sun to form a solid substance.Black is prepared by holding an earthen plate over the smoke of a burning wick. The soot is collected at the bottom of the plate is then thickened to a black substance. This is mixed with the gum of Kaitha fruit when used as black color in painting. Green is prepared from the juice of green leaves, which is boiled, then gum is mixed in the same proportion.The materials used by these artists are totally of an indigenous character. To unite the colors they utilize wooden bowls made of dried coconut shells. The coarse brush is prepared from the root of a local plant called keya. The hairs of the brush are collected from a buffalo’s neck, while finer brushes require the hair of mouse. These brushes are fixed to wooden handles, which are kept in the quivers made out of a hollow joint of a thick bamboo tree. The brushes may also be sometimes stored in leather cases or in dried pumpkin bowls.It has been said that the world of Pata paintings is strange, because it is a world in itself where every article and ornament keeps its unchanging shape, its place, and importance. It is where every animal has its own stylized features, every personality is unerring marks of identification defined by the ancient texts, religious myths and local tradition. It is a world of myths and gods, but still more it is a world of folk imagination, the reflection of thinking and of the mental scope of millions of Indian peasants, fishermen and craftsmen, their joys, their hardships, binding faith, and exacting beauty. So, the paintings speak the language of their creators, they give realistic expression, a clear symbol, humorous details. They are familiar to the eye, close to the heart, bringing joy and expressing life.

Victor Epand is an expert consultant for Krishna art, religious gifts from India, and Hare Krishna books. Please visit these sites for

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The Technique Of Pata Chitra}