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Devi-Mahotsava

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$472.50
$630
(25% off)
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6 to 8 weeks
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$94.50 (20%)
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$378
Item Code: PC22
Specifications:
Orissa's Paata Painting Water Color on Patti
Dimensions 2.0 ft X 1.5 ft
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
100% Made in India
100% Made in India
Fair trade
Fair trade
This magnificently painted Orissa 'pata' represents the four thousand year old tradition of Devi festival in all its real colours and character. Devi Mahotsava is perhaps the earliest known rituals organised on the level of a festival. Vedas specifically prescribe nine night long worship of Devi twice a year, once during spring and second time during autumn, the two seasons which the Vedas call Kaladamstras, or the tusks of seasons, usually full of diseases, ailments and deaths. Observing fasts, kindling fire and burning incense and medicinal herbs etc. in 'yajna' effected atmospheric purgation and the recitation of hymns and 'mantras' purified the environment within and without. Vyasa has prescribed with great elaboration the mode and method of Navaratri-puja. A ten syllable 'mantra' - Aum Durge Durgekshini svaha, has been considered in Agni-Purana as the mightiest instrument which eliminates all that is evil in life and bad in atmosphere.

Three important festivals - Navaratri, Durga-puja and Mahanavami, are associated with Devi rituals and all three are alike old, though hardly different from each other. Mahanavami, far from being a regular annual feature, is an astronomical occurrence. Whenever the zodiac has during the night of Ashtami, the eighth day of Navaratri, a specific combination of planets, especially the Sun in the zodiac of 'Kanya', the ninth day, Navami, is considered more auspicious and is observed as Mahanavami. Devi rituals are observed for nine days twice a year and both periods are commonly known as Navaratri, that is, nine nights, obviously because these rituals are performed continuously for nine nights. The first Navaratri consists of the first nine days of the 'Shukla-paksha' or moon-lit half of the month of Chaitra, the opening month of Indian calendar, while the second one of the first nine days of Asvina Shukla, that is, the ninth month of the Indian calendar. Worship of Devi in her manifestation as Durga is a common feature of both Navaratris. During the Asvina Navaratri Durga is worshipped mostly in her Mahishasura-Mardini form. This period of Navaratri has its association with Devi's victory over demon Mahisha. It was on the tenth day, the day after Navaratri, that she was able to kill demon Mahisha. Dashami, the tenth day, is hence celebrated all over the land as Vijayadashami. In many parts including Bihar and Bengal this festival is called Durga-puja.

This 'pata' depicting Devi Mahotsava is unique not only in creating on canvas the vividness and vigour of a festival but also in its remarkable adherence to the ancient tradition of Devi rituals and worship. Texts have underlined how the Devi-Mahotsava is to be organised. It is obviously a public celebration to which masses have open access. These texts prescribe that the shrine of the Devi be erected in the midst of open ground whether in plain or on a mountain top. The shrine of the Goddess should consist of pillars with openings on all sides each to have cubic divisions, preferably sixteen as such number is the most auspicious. Devi image should be conceived with eighteen arms carrying in them various weapons and attributes - skull, shield, bell, mirror, bow, flag, drum, rope, dart, mace, trident, vajra, sword, spear, conch, wheel, antimony etc. The image should be placed on a raised 'pitha' to be well in view from every part of the ground. The Goddess should be riding a lion and killing the demon Mahisha. A male devotee has to be in her constant service and a band of musicians singing and dancing before her.

This excellent Orissa 'pata' renders most of its details as evolved during the long ancient tradition of Devi rituals. Enshrining deity is Mahishasura-Mardini, though conceived in deviation to textual prescription with just ten arms. But in most other things her representation adheres to ancient models. She is riding her lion and killing Mahishasura by her 'shakti', the trident headed spear held in two hands. She carries weapons in all her hands, on right side mace, battle-axe, wheel, arrow and sword and on her left mirror, goad, noose and bow. She has been richly adorned and wears a lavishly inlaid large crown. Unlike his most depictions Mahisha has no horns, though a hind half of a buffalo has been painted behind him to depict his identity as buffalo-demon. Mahisha was a ruler. The artist has hence painted him as wearing a large size splendid crown. In the style of her costume and ornamentation Devi has typical Orissa touch.

The scene, a blend of rituals and festivity, has been laid on a plain mountain top with wide expanse. The official band of musicians is performing ritual dance associated with recitation of hymns related to Devi's exploits in front of the shrine on a specially laid dais. On her right another band is performing horse-dance and on her left the dancing band is disguised as bears. Devotees - men and women, young, old, children, rich and poor, are seen thronging from all sides, some astonished at the performance of the bands of dancers and others with their hands extended towards the shrine in the posture of making offerings. Life-like details of deity, devotees and surroundings, representation of various life-styles, costumes and customs and an adherence to tradition without excluding the present and the colours of the Orissa soil are the outstanding features of the splendidly rendered 'pata'.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.


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Of Related Interest:

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Durga Puja (Paperback Book)

Mastering the Ancient Technique: Exploring the Meticulous Creation of Pattachitra Paintings

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 altogether.

1. Canvas is prepared

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 be painted.
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2. Natural colors are made using traditional method

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.
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3. Colors are filled in

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.
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4. Painting is given a finishing

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 date.
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