The quintessential elements of Devi Durga iconography. The signature dashabhujadharini-roopa, the form (‘roopa’) possessed of (‘dharini’) ten (‘dasha’) arms (‘bhuja’). Unspeakable wrath writ large on Her face. The language of Her body conveying superior strength and invincibility. The painting that you see on this page is a work in superb skill and textual conformity. It is a depiction of the Mahishasuramardini, slayeress (‘mardini’) of the buffalo-demon (‘Mahishasura’), in all Her beauty and perfection.
She brings the mighty Mahishasura to his knees. Having seized Him by a shock of hair, She climbs atop His shoulders and drives the spear straight into His heart. Her trusty simhavahana (lion-mount) pounces upon him, making the defeat of adharma complete. This Mahishasura-vadha (‘vadha’ is Sanskrt for murder) image is an unusual one - while the Asura is traditionally depicted as having fallen to one side, the one in this painting practically occupies the lower half of the canvas surface area.
Speaking of canvas, the same has been fashioned from tussar fabric, an indigneous variety of rough-hewn silk. There is perfect symmetry about the details on the plinth and the surrounding temple structure, remarkable finesse about the lines and curves. From the blue of the annihilator’s flowing saree to the jewels studded on Her weapons, the colours glimmer against the inky blackness of the cosmos in the background.
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
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
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.
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.
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
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