In the early 1800s, Calcutta- the then Capital of British India was developing into a thriving centre of industry and tourism, attracting, among others, migrant groups of rural artisans and craftspeople. This included the Patuas, who traditionally painted over twenty feet long narrative scrolls known as Pattachitras. Costly and difficult to carry, these Pattachitras found few takers among pilgrims visiting the city, compelling the artisans to create smaller, less detailed but more portable images, which would come to be known as Kalighat Art.
Some scholars believe that the tradition can be traced back to the 1830s or earlier when Patua artisans first moved to the city and began making paintings around the temple, while others argue that the thematic and visual characteristics that are more definitive of Kalighat painting, such as political caricatures, hairstyles, and ornaments, only go as far as the 1850s. It is, however, broadly accepted that Kalighat painting reached its peak around the mid 1870s and began to decline after the late 1880s, owing to the rising popularity of photography and printing technology imported from England & Germany.
Kalighat painting was often a family or group affair. Some members would sketch out the drawing, someone else would fill in the colors, and another person would add in the finishing touch to the paintings. This art style also relied on the use of extremely basic materials. Colors, when naturally made, were sourced from leaves, flowers, turmeric, etc. For instance, blue was obtained from Aparajita flower, black from the soot of the oil lamp and so on. Initially, cloth scrolls, and canvas were used. However, soon after, the paper from the mills took over. And the brushes used to paint were made from goat’s tail or squirrel’s hair.
The key characteristics of the Kalighat style are the rounded, tapering limbs and pointed faces with small mouths and elongated, almond-shaped eyes. The neck & limbs may be bent at sharp angles or drawn as fluid curves allowing the figures to have dynamic poses.
The development of Kalighat Art can be divided into three phases-
- -The first phase highlights the Patua artisans' move to Calcutta. In this phase, the paintings were heavily influenced by Pattachitra. The paintings, in itself, were more like religious souvenirs for pilgrims who’d visit Kalighat, portraying several Hindu Gods and Goddesses.
- -The second phase is marked by the expansion of Kalighat Art in terms of more artists taking up this art style as a result of which, incorporation of Islamic and Christian scenes also began.
- -In the third and final phase, Kalighat Art started to move away from religious portrayals and towards contemporary commentary, humorous, and satirical subjects. The artworks, which had grown popular among the migrants and non-elites of the city, began reflecting socio-cultural and political themes, ranging from topics such as courtesan culture, domestic pets, murder trials, horse racing and wrestling, among others. A frequent topic in this category was women’s emancipation.
Early 20th century onwards, Kalighat art saw a gradual and consistent decline which was primarily triggered by the introduction of cheaper printed copies of Kalighat style paintings. Unable to match the speed and price of the printed copies, several Kalighat painters moved to other professions, abandoning their practice of their art. But, it did leave a lasting impact, and inspired many. One of the most renowned painters of our time, Jamini Roy, was heavily influenced by the unparalleled legacy of Kalighat paintings.
