1st year craft documentation

8/10/2019 1ST YEAR craft documentation

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Patachitra: A gift from lord Jagannath

Parthasarathi Bal

Bachelor of Fashion Designing

KIIT School of Fashion Technology

KIIT University


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Patachitra: A gift from lord Jagannath

Parthasarathi Bal

Bachelor of Fashion Designing

KIIT School of Fashion Technology

KIIT University


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CERTIFICATE

This is to certify & declare that I, the undersigned Parthasarathi Bal, B.F.D, KIIT school of fashion

technology, have undergone an independent craft survey- research in Patachitra of Odisha from 24thmay to

13thJune 2010 as an academic requirement under the exercise CRAFT DOCUMENTATION. The document

is authentic recording of the 21 day pre-preparation and field study; where ever the support of external data

has been made, the same has been dully acknowledged.

Mr. Biswanath swain Sri Parthasarathi Bal

Place: Raghurajpur Place: Bhubaneswar

Date: 27.07.2010 Date: 27.07.2010


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PROLOGUE

A craft is a skill, especially involving practical arts. It may refer to a trade or particular art. The term is often used as

part of a longer word (and also in the plural). For example, a craft-brother is a fellow worker in a particular trade and a

craft-guild is, historically, a guild of workers in the same trade. "Ring craft" is part of a boxer's skill. The term is often

used to describe the family of artistic practices within the decorative arts that traditionally are defined by their

relationship to functional or utilitarian products (such as sculptural forms in the vessel tradition) or by their use of such

natural media as wood, clay, glass, textiles, and metal. Crafts practiced by independent artists working alone or in

small groups are often referred to as studio craft. Studio craft includes studio pottery, metal work, weaving, wood

turning and other forms of wood working, glass blowing, and glass art. Folk art follows craft traditions, in contrast to

fine art or "high art". Both Freemasonry and Wicca are known as 'The Craft' by their adherents.

The selected craft of patachitra is a very delicate and complex form of art evolved from the craft village of Raghurajpur

of puri, Odisha. Raghurajpur, a small village in Orissa, occupies a prominent position in the cultural map of India. The

village, in its paradisiacal setting, is perhaps the only one of its kinds in India, where each family is engaged in one

craft or the other. The varied and rich traditions of Oriya arts and crafts have been vibrantly kept alive by the skilled

villagers. Apart from producing fine handicrafts, Raghurajpur is also the home to a living tradition of performing arts,

known as Gotipua, the earlier form of Odissi. Guru Kelu Charan Mohapatra, a maestro of Odissi dance, was born in

this village and had his early trainings in Gotipua tradition here.


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AcknowledgementI am thankful to Parampara (NGO) for the hearty cooperation and helping me in this project work. I am also

indebted all the villagers of the Raghurajpur village, who have rendered immense help during the field work.

My special thanks to my friend Bishnu Kinkar Mahapatra for his loveable cooperation, sincere and ceaseless

efforts during my project work.

My deep sense of reverence goes to Mr. Bhasker Mitra Asso.Professor of fashion designing, who is my

source of inspiration and encouragement, under whose sincere guidance I have completed my project.

PARTHASARATHI BAL

Researcher


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Chapter 1 THE CRAFT-Yesterday, today & tomorrow..8

Chapter 2 CRAFT & ITS PLACE OF ORIGIN- past, present & times to come..19

Chapter 3 SOCIO-ECONOMIC IMPORTANCE- RELEVENCE OF THE CRAFT..27

Chapter 4 THE DOER- artisan making-practicing the craft 31

Chapter 5 THE MEDIUM- essential parameters required for generating the craft..39

Chapter 6 THE COST- factors influencing the cost of making the craft.. 55

Chapter 7 DESIGN INTERVENTION & GROWTH OPPORTUNITIES..57

EPILOGUE

GLOSSARY

BIBLIOGRAPHY..

About the RESEARCHER.

Itee-THANK YOU


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CHAPTER -1

THE CRAFT-Yesterday, today & tomorrow:-

(A) Historical relevance of the craft & other associated folklores with the origin-birth of thecraft.

(B) Religious significance of the craft in anthropogenic evolution of the craft & associatedculture-practices-ceremonies of the craft.

(C) Utilitarian aspects revolving around the craft.


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Puri, the holy land of Lord Jagannath has many names. It is mentioned in Puranas as

Srikshetra, Shankhakshetra, Neelachala, Neeladri, Purusottama Dhama, Purusottama

Kshetra, Purusottama Puri and Jagannath Puri. The word "puri" in Sanskrit means 'town',

or 'city'. May be, Puri is a shortened name for Jagannath Puri or Purusottama Puri. In some records pertaining to the British rule, the word

'Jagannath' was used for Puri. It is the only shrine in India, where Radha, also referred to as Durga, Sati, Parvati, Shakti abodes with

Krishna, also known as Jagannath.

PURI

RAGHURAJPUR


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Chapter 1: THE CRAFT-Yesterday, today & tomorrow:-

(a)Historical relevance of craft and other associated folklores with the origin- birth of the

craft:

The patachitra was originated in Raghurajpur of Puri district, Orissa or odisha, astate of India, located on the east coast

of India, by the Bay of Bengal.The origin of the Patachitra paintings can be traced back to the 8th century AD and it is

considered as one of the earliest forms of indigenous paintings. This iconic art form of folk significance is unique in the

history of Indian as well as European paintings.These paintings were traditionally done only by males. However, in

recent times, some women artists have also taken up this artform. 'Patta' in Sanskrit means 'Vastra' or 'clothings'. Some

think it to be paintings done on 'Pata' or wood. Nevertheless, these paintings are also done on 'Pata' or wooden covers

of palm-leaf manuscripts.this painting has been developed by the ancient chitrakars to portray the story of Lord Vishnuregarding his Dasavatara and many other festivals of Orissa.

(b)Religious significance of the craft in anthropogenic evolution & associated culture-

practices-ceremonies of the craft:

Patachitra paintings are linked with the famous Jagannath temple of Puri, which was built by the Choda-GangaDeva.

The style was kept alive over the centuries due to the demands of millions of pilgrims who come to the shrine of

Jagannath from all over India. The patachitras are generally located as the earliest indigenous paintings in the state of

Orissa, apart from fragmentary evidence of cave paintings in Khandagiri, Udaygiri, and Sitabhinji. Mohanty traces the

origins of Pata paintings to the eighth century AD.


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The history of patachitra painting is linked inextricably with the history of the Jagannath cult. The patachitra chitrakars

(painters) are temple functionaries who live in and around the temple town of Puri. Now, the community of chitrakars

has spread beyond Puri district, and they have also begun using a variety of non-religious themes in their paintings.

However, this has not reduced the creation of patachitras based on Jagannath icons and traditional religious themes

and these still remain the core of the pictorial content of patachitra paintings.The patachitra is directly related to the

Jagannath culture.


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Gaja uddharana vesha

Sometimes Jagannath is depicted in a particular role. He may be identified with one of the ten incarnations of Vishnu,

such as Narasimha, in which form Vishnu slew the demon Hiranyakasipu. Or he may be depicted as the spouse of

Lakshmi. Or Jagannath may be shown in one of the incidents from the life of Krishna, such as the kaliya dalanepisode

in which Krishna subdued the snake demon Kaliya.

In the above Figure, Jagannath is shown as the rescuer of an elephant. This is his gaja uddharana vesha, or "elephant-

rescuing dress." This vesharefers to the story in which an elephant was seized by a crocodile. The elephant prayed to

Vishnu and the god came to his rescue.

This painting shows Jagannath in gaja uddharana vesha, or the "elephant-rescuing dress," accompanied by his two

siblings. The act of rescuing the elephant was performed by Vishnu, with whom Jagannath is here equated. Each of the

deities is crowned and stands on a lotus pedestal. Beneath Jagannath is shown the scene of the crocodile seizing the

elephant. The male deities are four-armed and dressed in yellow garments. The two-armed Subhadra wears a dark

green garment. The background of the painting is a sort of peach color. The painting has the common double border,

the outer and wider border with its wavy leaf design; the inner and narrower, with the stylized floral design.


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Kanchi avijana


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One of the most popular stories related to Jagannath is that of kanchi avijana(or journey to Kanchi, sometimes called

Kanchi-Kaveri). According to this story, the daughter of the Raja of Kanchi was betrothed to the Raja of Puri. That year,

the Raja of Kanchi came to Puri to pray to the Lord in the Jagannath temple on the occasion of the annual ratha yatra

(car festival). Now, the Raja of Puri was a servant of Lord Jagannath and, as part of his service at the time of the

festival, he was sweeping the area where the chariots were kept. When the Raja of Kanchi entered the temple precinct

and saw this occupation of his future son-in-law, he became enraged. He returned home and sent back word that he

would certainly not give the hand of his daughter in marriage to one who performs the vile work meant for an

untouchable. The Raja of Puri, on his part, was deeply insulted at the retraction of a wedding arrangement. He attacked

the kingdom of Kanchi, but he was soundly repulsed. The Raja of Puri returned home, defeated. He prayed to the

deities of the Puri temple. Moved by the prayer of their devotee, Jagannath and his brother Balabhadra, unknown to the

Raja, left their places in the temple and undertook a horseback journey to Kanchi. On the road, they grew thirsty and

chanced upon the milkmaid Manika, who gave them milk to quench their thirsts. In return, they gave her a ring. Later,

the Raja himself passed by with his army. When he learned from Manika what had happened, he understood from

seeing the ring that the two horsemen were Jagannath and Balabhadra and that the deities had answered his prayer.

He proceeded to Kanchi and subsequently conquered that kingdom and brought back the princess to be his bride.

Manika with a pot of milk balanced upon her head. The light-skinned Balabhadra, riding a black stallion, offers a finger

ring to the girl, who is extending her hand to receive it. The dark-skinned Jagannath follows behind on a white stallion.

Both deities carry lances. Stylized vegetation is present on the ground. The picture has the traditional red background.

The common double border is present. The wider, external border consists of two horizontal bands of a wavy leaf design

and two vertical bands, each of which shows a stylized tree. This picture is somewhat worse for wear, as some of the

paint has been lost.


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Raas Leela was the favorite pastime or sport of Shri Krishna. In Sanskrit, it is known as kreeda or activity. As soon as

Janmashtami arrives, one of the most famous aspect the strikes us is the Raas Leela. It is indeed one of the most important

aspects of the celebration of Krishnashtami. The divine sport of Raas Leela was enjoyed by the Lord with his gopis on the

banks of river Yamuna in Vrindavan. One of the most loved gopi of Krishna was Radhaji. She was closest to Him and her love

for the God was complete and in its pristine form. Even today, various renowned theater groups perform raas leelas.From the

age of ten, the God started playing raas leela with his gopis. And all the popular raas leelas were performed in the city of

Vrindavan. There is also a legend behind the raas leela of Shri Krishna. According to Hindu mythology, the Lord was greatly

loved by the gopis or devotees. They were so engrossed in Him that they forgot all their worldly chores and remained magna


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or engrossed with Him. Their love was divine love or prerna. While performing the raas leela, the Lord was center staged with

all the gopis surrounding Him. They all danced and sang in the glory of the Nandgopal.

This pata-chitra is attached to apedi, or dowry box shows a larger view of

this dowry box. The facing picture is an illustration of the scene of Krishna

lifting Mt. Govardhana. Above that scene is a female drummer. For many

of these dowry boxes, each side of the box, as well as each section of the

pyramid-shaped cover, includes a painted scene, typically from the life of

Krishna or Rama. These pictures are often done painted on clotha

typical pata-chitraand are then pasted on to the wooden surface.Such is

the case with this particularpedi.


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putana vadha

While Nanda Maharaja was returning home, he considered Vasudeva's warning that there might be some disturbance in

Gokula. Certainly the advice was friendly and not false. So Nanda thought, "There is some truth in it." Therefore, out of

fear, he began to take shelter of the Supreme Personality of Godhead. It is quite natural for a devotee in danger to think

of Krisna because he has no other shelter. When a child is in danger, he takes shelter of his mother or father. Similarly,

a devotee is always under the shelter of the Supreme Personality of Godhead, but when he specifically sees some

danger, he remembers the Lord very rapidly.


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(C) Utilitarian aspects revolving around the craft.

The people and the surrounding were very friendly. The atmosphere provides special thoughts to develop different

conventional products like jewelry boxes, lamp shades, wall-hangings, paper mache toys, wooden trays, masks of

deities and devils, wooden toys, wooden statues of deities, tussar silk painting, screen painting, ceiling painting, door

painting etc.

Palm leave paintings were also made by them. These are made through certain procedure. Firstly the palm

leaves are collected and cut into rectangular pieces .then it is dried in the sun rays and the pieces are stitched one after

another. Thirdly painting is done by carving the leave with likhani (tool). Then the kala (carbon) was rubbed on it and

the background was cut out. And the painting got prepared. At least 15 to 20 days is required to complete one such

painting. Other products like key ring, wooden alphabets & numeric hanging for children, coconut showpieces,Paintedbottles etc are also made by them.


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Chapter 2

CRAFT & ITS PLACE OF ORIGIN- past, present & times to come.

(A) Observation on the regions suitability in the nurturing the craft.(B) Inference on the regions support in the growth of the craft.

(C) Conclusion on the regions sustainable factors in promoting the craft.


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Chapter 2: CRAFT & ITS PLACE OF ORIGIN- past, present & times to come.

(A) Observation on the region & suitability in nurturing the craft.

A Very Small Village Occupying a really rare place on the cultural canvas of India awaits you at Puri in Orissa.

Famous for its Patachitras, Raghurajpur, a small village has been the residence of Oriya artisans who havemastered the skill of inscribing absolute poetry on pieces of treated cloth, dried palm leaf or paper. Carefully

nestled amongst thick groves of coconut, palm, mango and jack fruit, the village is situated on the southern bank

of river Bhargavi. The nearby paddy fields dotted with betel vines really serve as an idyllic setting for


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Raghurajpur. Presenting the true picture of rural India, Raghurajpur has rows of houses facing each other that are

accompanied by a series of temples and a community meeting place of the villagers. Right from the local deity,

Bhuasuni, all the major Hindu gods are revered in the village with Radha Mohan, Gopinath, Raghunath,

Laxminarayan and Gouranga being some to name.

Having a unique identity of its own, Raghurajpur draws a number of tourist both domestic and foreigners for its

unique art and craft. A rare and awesome art form is depicted in the patta paintings, palm leaf engravings, stone

carvings, paper Mache toys, masks, wood carvings, wooden toys and cow dung toys that are crafted by these

craftsmen. Such a unique congregation of so many arts at one place is really rarely found. Raghurajpur is also

special in one more way as it is the only village that is known to have each family engaged in one craft or the

other craft. Approximately 311 artisans occupy a small number of just 103 houses in the village with some

National Awards winners too amongst them.

Entrance of the village


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Raghurajpur

Raghurajpur is a heritage crafts village in Puri district, Orissa, known for its master Pattachitra painters, an art

form which dates back to 5 BC. in the region and Gotipua dance troupes, the precursor to the Indian classical

dance form of Odissi; it also known as the birthplace of one of finest Odissi exponents and Guru, Kelucharan

Mohapatra. Apart from that the village is also home to crafts like Tussar paintings, palm leaf engravings, stone

and wood carvings, wooden, cowdung and papier mache toys, and masks

In 2000, after a two-year research and documentation project by INTACH, starting 1998, the village was chosen

to be developed as state's first heritage village and developed as a Crafts village, soon the village had an

interpretation centre, commissioned artwork on the walls of the artists homes and a rest house.

It also has the distinction of the only place where the traditional decoration called Patas, used under the throne of

Lord Jagannath and on the three chariots during the annual Rath Yatra festival, which takes place at pilgrimage

town of Puri. Some 14 km away, known for the Jagannath Temple.

Food

As they are the people of rural area they like traditional foods in their diet. They often like to eat pakhala (water-

rice), alubhaja (Fried potato), piaja (onion), sabuja panipariba (green vegetables), chuna machha (small-fish),

kandamula (sweet potato). The most delicious item for them is sukhuaa (dry salted fish), baiganapoda (burn upbrinjal).


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Region & suitability in nurturing the craft.

Skil led and professional art ists

The dexterity of these artists is their inborn quality, to which they always pay respect to keep maintain its dignity

in this world of Art. The proactive initiation has been inherited from their generation to generation. The exclusive

content of the skill lies on some of the following points. Such as:

SKILL OF LINING:

From the artistic point of view skill of lining plays a pivot role to develop any type of art. Such a thin and

complicated drawing of lining shows the great variation of Pattachitra Artists from others.

PLACEMENT:

Beside this the perfect and proper placement of the art form and placing motif also indicated their skilled attitude

in respect to their shape, size, proportion, ratio and mythological aspects.

DETAILING:

It has been created a remarkable identity in detailing part also. They detail very minutely to tell the sole identity of

the skilled artist. Their artistic movements of the hand shows like they have born with fully equipped and each

gene of the body are quite upgraded with the skill of Pattachitra.

MENDING:

Out of all these skilled, skill of mending is also measures, how perfectancy lies on the artist. Their finishing of

mending can explain in such a way that, a general artist also cant locatethe damage.


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RAW MATERIALS

In the art of Pattachitra, collection of raw materials stands as an important process to bring it to a complete World

of Art. Their raw materials collection starts from the sea as the village is located in the coastal area. Fishermenusually collect the coloured stones from the sea .Then immediately they sell it to the shopkeeper. Shopkeepers

part is to crush it into the powdered form to make it in a position for selling among Pattachitra artists.

Palm trees, tarmind and Kaintha plant are also abundantly available in those areas, used in the carving and

preparation of the gums respectively.

WORK CULTURE

Though they are born and brought up with Brahmin families, they always have a common set of culture such ascelebration of traditional functions at a time never became a barrier in their work culture as a result the

simultaneous leave structure gives a wide significance for maintaining an uniformity in their system of working.

In the lower category of labourers we dont find any caste discrimination but from the economical point of view

this category lives with bit miserable condition than that of the higher category of Brahmins. Palm tree cultivation

is a major part of the occupation of lower class of Brahmins.

The excellent representation of Pattachitra plays a major role to keep continue their culture of tradition before us.


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Tradit ional techniq ues of paint ing

The entire process of preparing the patachitra painting is fully traditional. They used completely natural

techniques and materials in the painting. There is no use of any chemical or unnatural elements in this painting.That is why it can be stored for many years without any type of chemical preservation.

Perfect imagination of Hindu my tholog ical stories

Though, originally they all are belongs to Brahmin family, they believe on mythological stories. Worship of God

seems as a prime duty for them. In that they draw and render the ideas and tried to keep it in the canvas of

Pattachitra. They very sincerely learn and understand the stories and give an imaginative figure for the respective

characters.

(A) Inference on the regions support in the growth of the craft.

Establishment of NGO for advancement of the patachitra

Introduction of new marketing planning

Different governmental schemes

Introduction of developmental projects


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Chapter 3

SOCIO-ECONOMIC IMPORTANCE- RELEVENCE OF THE CRAFT.

(a) Social role- support-patronage towards the craft.

(b) Economic contribution of the craft towards the rural economy & its largerperspective in relation to the generic economic structure, encompassing the other

occupations / promoting subsidiary- by products.


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Chapter 3: SOCIO-ECONOMIC IMPORTANCE- RELEVENCE OF THE CRAFT.

(a) Social role- support-patronage towards the craft.

In 2000, after a two-year research and documentation project by INTACH, starting 1998, the village was chosen to be

developed as state's first heritage village and developed as a Crafts village, soon the village had an interpretation centre,

commissioned artwork on the walls of the artists homes and a rest house

Crafts Development (INTACH)


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Integrated Development of Raghurajpur (Orissa)

The USP of the village is its rich crafts tradition, for a majority of the households belong to craftsmen. Besides, the village is

also known for its rich dance tradition. Because of its proximity to Puri and Bhubeneshwar, the village has an enormous tourist

potential and attracts both foreign and domestic tourists.

While the ultimate aim of the development plan is to upgrade and maintain living standards for the villagers, following are the

major objectives that are achieved through continued interventions:

Promotion and sustenance of craftsThis includes their documentation, development, design innovation and promotion.

Several workshops for skill up-gradation and design development are organised to equip the artisans to be able to market their

products both locally and in major urban centres.

The crafts include patachitra, wall painting, palm leaf etching, appliqu, coir and coconut shell products, stone carving, wood

carving, and bell metal crafts.

Promotion and sustenance of Wall paintingsThis includes the support and strengthening of the ongoing project of further

development of wall paintings including their maintenance programme.

Enhancement of Gotipua dance traditionTo sustain the guru- shishya parampara as currently practised and provide better

facilities in the Gurukul.

To make the village a prominent tourist destination.

Provision of infrastructure - for the enhancement of the village by providing water facilities, sanitary and drainage

facilities, health related services and to maintain cleanliness in the village.


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Provision for VisitorsProvision for their stay and encouraging interaction with the local craftsmen, devising heritage

(nature), trails.

Community participation at all the levelscreation of self help groups to manage and maintain village activities.

For the economic regeneration of the village through craft, dance and tourism.

Today it is also the venue of the annual Basant Utsav - Parampara Raghurajpur(Spring Festival), which was first

organized in 1993 under the aegis of State Tourism Department and astern Zonal Cultural Centre, Kolkata, held in the

month of February/March and an important tourist draw.


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Chapter 4: THE DOER- artisan making-practicing the craft.

(a) Artisan Family History- engaged in the making of the craft since time immemorial.

Generally each and every artist of the village normally gets training from his father-grandfather who is very

skilled and experienced artists. All the family of the village were completely devoted to the craft. The Patachitra

was became the life of these villagers. They are totally economically dependent on this craft. From generation

to generation and time to time the significance of the craft was getting deeper in their heart. From most

remarkable, one of the artist was Gopal Maharana.

Artist profile with family history:

Artists Name :Gopal MaharanaAge : 58

Date of birth : 26thAugust 1942

Award : State level award (1979)

Wifes Name : Laxmi Maharana

Age :46

Children : 2 sons & 2 daughters


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(b) Artisans of the Past- a complete profile & other records.

Artisans Name : Gangadhar Maharana

Age : 65

Gender : Male

Date of birth : 23 June, 1945

Fathers Name : Late. Jaydev Maharana

Mothers Name : Late. Maguni Maharana

Wifes Name : Subasini Maharana

Education :7thclassExperienced : 45 years

No. of members

in family :6

Economic status :no land, earning from patachitra

Health problems : Normal

Monthly income : 5000 to 6000

Time spent in

the craft/day :18 to 20 hourWorking out side

Odisha : Delhi


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One of the best creative panting of

Gangadhar Maharana was selected for

the national award. Through this panting

he had describe the art of national living

means how the entire time from morning

to evening is related with lord Jagannath.


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(c) Artisans of the Present- a complete profile.

Artisans Name : Bishnukinkar Mahapatra

Age : 23

Gender : Male

Date of birth : 1stJuly, 1987

Fathers Name : Sanatana Mahapatra

Mothers Name : LaxmipriyaMahapatra

Education :9thclass

Experienced : 13 years

No. of members

in family :5

Economic status : earning from patachitra

Health problems : Normal

Monthly income : Rs 3000/-

Time spent in

the craft/day :14 to 16 hour

Working out side

Odisha : No

Hobby :Swimming


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Chapter 5THE MEDIUM- essential parameters required for generating the craft.

(A) Raw material.

(B) Instruments & other machineries.(C) Processes & techniques of craft making..(D) Finishing & other post production treatments.


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Chapter 5:THE MEDIUM- essential parameters required for generating the craft.

(a) RAW MATERIAL.(1) Types of Raw Material.

Natural glue made from Tamarind seeds

Natural glue made from Elephant fruit tree

Soft clay stone

Cotton clothes

Colours

White- Conch shell

Black- Lamp shoots

Yellow- Haritala stone

Red- Hingulal stone

Blue- Indigo

Brushes

Dry coconut shells

SOFT CLAY STONE

DRY COCONUT SHELL


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(c) PROCESSES & TECHNIQUES OF CRAFT MAKING.(1) Pre Production Treatment of Raw Material.

Preparation of natural glue made up of tamarind paste.

ProcedureThis paste is made by soaking tamarind seeds in water for about 3 days. Then it has to

be grinded with a pestle till it become jelly like in consistency. Next, this ground pulp is to get mix

with water in an earthen pot. Then it is heated to form a paste, which is traditionally called as

NIRYAS KALPA.

Kaintha Tree

Preparation of elephant apple gum

Procedure- They makes a cut mark on

the trunk of the Kaintha (elephant

apple) tree, from which the viscocious

substances is collected within two to

three days in its solid form. Then the

dry crystal is get socked in the water

and converted into liquid form. Then

they filter the substance through a

cloth to remove impurities.


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(2) Production Preparations

Preparation of patta

Two pieces of cotton cloth of a particular size has to be cut into rectangular shapes of same size.Firstly the tamarind paste gum is to be applied on one piece of cloth uniformly; then the second piece will

be placed upon the first one. Again the tamarind gum applied on both the side and left it to dry in sun light.

Secondly the soft clay stone powder is heated and gets mix up with the tamarind gum in a ratio of

75:25.This prepared is again getting applied on the dried patta uniformly and is left in sun light.

Thirdly the rough and smooth stones are get rubbed on the surface of the

patta respectively to make it more polished and shiny in appearance.

Mixing of colors

Different prepared ball shaped form of the color is collected in different dry

coconut shells. This get mix with water and get steering with figure up to half

an hour before using it. This is done to enhance the lusturity of the color.

(3) Special Techniques & other features of the production

method.

-The use of a standard palette of colors, typically including red, blue, yellow, green, black, white, and pink


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First stage

Scaling

The rectangular space of the patta has to

be divided into small squares and circles

according to the required figure. This is

done very systematically and technically

using very fine brush and ruler.

Second stage

TIPPANA (sketching)

The outline of the figures like human, birds, animals, fish etc is

made very finely with the help of needle lid point brush (0.5) which

is made up of the tail of squirrel.


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Third stage

JAMINI (Filling background)

The background of the figure is to be filled with handlingthe brush very carefully. The background of the figure

has the very special identity in the art of pattachitra. In

most of the case they are filled red in colour which has

its traditional name called Hingulal.

Fourth stage

BARNAKA (Body colouring)

In this stage they colour the body of the figure with yellow in

case of female, blue or black for lord Krishna and other light

colour for normal figure. Beside this they filled the naturalcolour of other associated trees, birds and animals etc.


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Seventh stage

MOTAKALA (Thick black out lining)

Where ever thick black out lining is required is done in this

stage.

SARUKALA (thin black out lining)

The finest and delicate slim out lining are done.

Eighth stage

GACHHA, PASHU, PAKSHI

(Filling empty background with living creatures)

In this stage the background and fore ground of the central figure is to get filled with

different types of trees, animals, birds, rivers, grass lands, flower garden etc

associated with the mythological stories of that particular painting.


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Ninth stage

SANKHA PATTA(Religious and other white mark)

In this stage the religious marks like the Religious thread on the shoulder,mark of Vishnu, surya, naga etc. Are made on the fore head of the male

figures, while the bindis, nail colour, floral design on palm etc are made on

the female figure. And other white coloured marked decoration are done.

Tenth stage

DHADI(boarder)

The last and ultimate stage is the detailing decorations of

the boarder in the painting

(4) Production Process.

The entire above mentioned process itself is the production process.


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(D)FINISHING & OTHER POST PRODUCTION TREATMENT(1) Finishing Methods:-

Generally we finish our paintings with general finishing method likewise it finishes with decorative boarder design.

(2) Finishing process.

As the pattachitra paintings are very valuable and expensing, they add a preservative method to protect it from

the destruction.

In this method they apply a thin coat of wax to prevent it from getting contact with water making it water proof.

(3) Post product treatments

Following the mentioned method the entire process of patachitra was completed. But the post product treatment

includes the ultimate finishing of the product. The tusser silk patachitra painting or the chitrapattas are

framed.hera we have to choose a particular design or style of boarder for framing the painting into a wall hanging

or photo.


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Chapter 6:THE COST- factors influencing the cost of making the craft.(1) Raw Material.

Colours powders Quantity AmountSea shells 100 gm /- Rs 30/-

Haritala 100 gm /- Rs 24/-Hingulal 100 gm /- Rs 45/-Lamp shoot 100 gm /- Rs 20/-Garu 100 gm /- Rs 20/-Waste cotton cloth 12 m/- Rs 30/-

Brushes 1 set Rs 265/-

Tamarind gum 100 gm /- Rs 20/-Stone powder 100 gm /- Rs 40/-

(2) Instrument & other machineries.

The iron needle which is known as LIHHANI and used for carving is Rs 40. The entire process is naturally carried

out without using any types of instrument.


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(3) Processing- techniques of craft making- Cost of Human Labour.

According to the size of the paintings and art work composition the cost of human labour is determined. Suppose

a painting is of A4 size and not so delicately drawn then the price will be Rs 200 to 300.But if the same piece is treated

with very integrated fine art work, increases the cost up to Rs 700 to 800.If the piece is of A3 size or larger, then the

price may be Rs 2000 to 4000, according to the work done on it.

In this case the economical status is against the law of demand, which means more

the demand, increase in price while the law of demand says that rise in price, decrease in demand and vice-versa. As

much as complicated and delicates work will done, according to the demand of customer, the price and labour cost will

increase as per that.

(4) Finishing & other post production treatment cost.

For framing the entire painting a price range between Rs 300 to 600 may charge, considering the design

and quality of the frame.


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Mood board


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(2) Product Ideas.Technical view of product


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EPILOGUE.

The entire research work was really .I enjoyed the project and learns a lot of things .the surrounding of the craft village

Raghurajpur is almost helpful and eco-friendly. Patachitra reflect the skilled work of experienced artists. The each and

every design and art framing, influence me to know more on this particular research.

If someone wants to study the art of patachitra, then a lot of patience and practice is required. I also achieve a lot of

knowledge about the Hindu mythological matters; learn swimming and plantation during the research period.

I also get an idea about the marketing and maintenance of the products. Lifestyle of the villagers was very unique and

independence. The beauty of tradition and reality reflects from them.

Crafting is considered as their day to day activity. They are not literate but were very through in their inborn talent.


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THANK YOU

1st year craft documentation

Documents